風厝

風厝 _ 2012 - 2013

■ 2014年 第二屆ADA新銳建築奬

蔡氏姊妹
一對姊妹委任兩個獨立住宅,大風厝為姐姐使用,小風厝為妹妹和父母親同住。兩個住宅圍著中間綠地的介面空間像是連繫內與外的重要半戶外空間。除了可直接到達另一棟住宅,也因為介面空間使用的頻繁增加兩個住宅的溝通。

九降風起
如果台東的靈魂是太平洋,宜蘭的靈魂是水,那麼新竹的靈魂就是九降風了。九降風就是東北季風,每年秋天風起,東北季風翻過中央山脈進入新竹,帶來大量的風,柿餅、米粉、板條也因地制宜的盛產,「風城」因此而得名。剛到新竹,觀察在地的房子的立面大多小開窗,進到室內則因密不通風與反潮,不良的氣味影響居住品質。

風向是看不見的基地條件,在新竹,風的影響可能更勝看得見的周邊條件。

風的表情
順著寶山的緩坡倚北朝南,因應著季節變化每一項牆產生不一樣的建築表情。在佈局上因為風、雨及日射變化,每一個空間都找到其合適的位置。

大面積與大開口朝向南向的洗衣空間,夾在玻璃空間裡,對內部空間而言增加了一個過渡空間,也形成雙層穿透空間的保護。夏天迎接南風雨遮陽,冬天則少量的開啟第一層窗,可多量的開啟第二層窗,確保秋冬季的室內空氣與溫度的品質。

北向的空間都可帶到東向或西向的日射與對流,不會因為北面小開窗而影響北向空間的室內品質。東西向的牆體角窗,因為北風與南風的差異而產生不同的大小。

延伸視覺的同時,因為日射也調節了北風吹襲下,北向室內空間的溫度。每一面牆都做自己,因為風而形成了風的表情。

光的表情
風的表情所產生不同開口變化的延續,到了室內,流暢的牆體分割與日照的移動形成了光的表情。加大的懸臂板與反樑結構豐富了日照進到室內的表情,每一道光線在室內的流竄因為加大的遮陽保護而顯得恰到好處。

從早到晚的室內空間也因此呈現不同光的表情。

手工藝的技術延續
歷久彌新的樸拙材料本質與手工藝技術能更凸顯材料的特色。
墨綠色的洗蛇紋石大牆、角鋼焊製的鐵窗、清水模天花板、頁岩、鑿面花崗岩地坪、婆羅洲鐵木與夾板,都呈現材料本來的面貌。材料會因為時空感,而具有特色。看見了材料的本質,也延續了手工藝的技術傳承,也留住了時空感。

誠實室內,真實四方!
建築依節氣選擇開窗的大小位置,日射自然會依照四季與早晚的不同在室內產生表情。這個時候人是主角,太多的室內家具與裝飾反而顯得矯情。桌板、地板、書櫃、衣櫃所界定出不同的家具尺度,不同高度的地板變成床板、桌板變成椅子、椅子下方同時是儲藏室或大尺度的階梯同時也是椅子,將家具含於天地牆內,使用行為將更為流暢。誠實的室內擺設,真實的四方感受!

■ 2014 ADA Award for Emerging Architect

The Tsai Sisters
Two sisters commissioned two independent residential houses. The Wind House L is for the older sister to live in and the Wind House S is for the younger sister and their parents. The green interfacial space surrounded by the two houses is the critical semi-outdoor space connecting inside and outside. In addition to connecting to another house, the frequent usage of the interfacial space also increases the communication between these two houses.

Winds of September
If the soul of Taitung is the Pacific Ocean and the should of Yilan its water, the soul of Hsinchu, then, is the winds of September. The winds of September are the north-eastern monsoon that started in fall every year. It crosses the Central Mountain and enters Hsinchu, brining fierce wind and the production of persimmon cake, rice noodle and flat noodles. Hence the name of Hsinchu as the Wind City. When we observe the local houses of Hsinchu, the opening on the facade are small. The inside spaces are stifling and humid. Wind direction is the invisible site condition. In Hsinchu, in particular, winds impact the design more than other visible contextual conditions.

The Expressions of Winds
Along the southern slope of the Bao Mountain, each wall yields different architectural expression as the season changes. Every space has its suitable place in the layout for changes in winds, rain, and sunlight. Laundry room of large area and openings facing south, placed in between glass chambers. It contributing one more transitional space inside and a protection of double-layered protection of the space. In the summer it accommodates the wind, rain and sun from the south; in the winter the first window is closed most of the time when the second one open for the air flow and temperature control. Although the openings of the northern space are small, the quality of the room is achieved by receiving sunlight and air flow from the east and west sides. The corner windows of the east-west orientation varied in sizes due to the differences between southern and northern winds. They serve to extend the sight lines and regulating the temperature of the northern interior space under the fierce north wind. Each wall has its own character and expression in response to the wind.

Expression of Light
While the expressions of winds form the varied openings, those of light shape the division of walls and the movements of sunlight. The enlarged cantilevere plate and anti-beam structure enrich the interior expressions of sunlight, each flows in its own place because of the suitable protection of the enlarged sun screens. The daytime and nighttime present distinct expression of light.

The Care of Craftsmanship
Austere and raw materiality and the craftsmanship amplify the character of material. The original surface of material are presented: Serpent-patterned marble of dark green, wielded L-bar window, exposed concrete ceiling, shale rock, granite floor of chiseled surface and borneo ironwood and plywood. Material gains character as time passes. When the nature of materiality made visible and the legacy of craftsmanship continue, the senses of time and space are also retained.

Truth to Perception and Self, Inside and Outside
Building has openings in response to climate and weather. Sunlight yields interior expressions for changes in day and night and seasons. People are performers in space. Too much furniture and decoration would appear artifice. Here surfaces of tables and floors define different scales, their varied heights can also serve as a bed, chair, or storage rooms. The staircase can also be seatings. When the walls, floors, and ceilings become part of furniture, the flow of interior space will be more fluent and the movement in the space easier. If we see truth to decoration and truth to self as the same affair, we perceive the world with our true senses.

COPYRIGHT @ WANG P. J. Architect Lecture, Dept. of Architecture. ALL RIGHTS RESERVED.

王柏仁 WANG PE JEN ARCHITECTS