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作品圖 Works photo 
BROWNMIST
139 票 VOTE
作品介紹
公共藝廊與私密住家的並存 uncanny valley 熟悉的日常生活,熟習的建築樣貌,卻是熟悉的似曾相識、自我異化的表現。 <身體感> 舒服的身體感,以鳥窩的形狀為例,是以身體去撞擊調整出最舒服的身體位置,如此形成鳥窩(巴加斯東•巴舍拉在《空間詩學》中論及)。巢穴建立於身體的親密與安全感,而如此內在性的私密感如何構築呈現?家,可見的視覺性與不可見的內在性如何回應;如何將家的迷人生活轉換為建築物質性。 <第五面> 主臥室私密的藏在建築二樓中心位置,扮演私密通關的防線。在主臥室私密中心的外圍,面對自我空間的是後側書房,由內往外的是浴廁、西曬陽台及偽立面。 主臥室的上方有一個第五面向的戶外梯穿過,從外觀建築元素無法窺看出隱藏的內在世界。如此緊密構成的內在與外在關係,是天地神人的世界觀所需要的心理防衛機制(Self-defense Mechanism)。清水模的單一材料面對多重內部關係,將消失的中央內庭與後花園的概念,轉換到私密內部空間的依存關係。 <安居> 天:外在社會關係;內在個人窩巢。 地:外在環境的莫名雜處關係;內在基地的正面西曬問題。 神:是面對世界與自我之間的安全感。 人:公共性藝廊與私密性住家的需求因應。 <認知失調> 當面臨外在世界壓力,設計的「偽立面」形成一種心裡與外表的保護,是原始防禦機制的本質。 在uncanny valley概念下,以「偽立面」回應「認知失調」與不可思議的矛盾。而正面朝西,大小不一的開口後方是陽台,陽台連接的是有水氣的浴廁,然後才是房間。陽台是透空的格柵版,疏散西曬的熱氣。正立面亦是設備的立面,背後不是生活的房間,而是西曬的調節。正面唯見的建築元素是一個朝天梯,身體感在經歷一個三層高的連續直梯,重新被塑造家的尺度感。「偽立面」,對外是製造霧裡看花的模糊感,於內是以窺視模式看世界。

Description
As Gaston Bachelard mentioned in his book The Poetic of Space, the sense of comfort comes from using the body to create a space, just as a bird using its body to push around a space in the nest. The essence of a nest is the sense of intimacy and security, which we have been yearning to create with tectonic means. How do we translate the endearing quality of a home into the materialization of a building? How do we create the dialogue between the visible and invisible interiority in a house? The owner of the house is an artist. The placement of paintings and potteries, found object and collected items, as well as the senses, visuals, temperatures and sounds of the environments, together they form the beginning of a home. The master bedroom hides itself in the center of the 2nd floor, with a large wood door acting as a barrier to privacy. Old furniture, closets and lamps populate the interior of the room. On the side to the bedroom as the center of privacy, there is a backside study, a corner of introspection. From the inside to the outside, there are the restroom, the westward balcony and the pseudo-facade. The interior space is concealed from the outside, except for an exterior staircase passes over the master bedroom. The tightly constructed relationship between the interior and the exterior suggests a self-defense mechanism that is central to the worldview of dwelling. The single surface material of exposed concrete holds complicated internal spaces within the building, as in the traditional idea of a house, the building protects its inner courtyard and gardens from the outside. Every new home is a search for self-establishment away from the original household. We pursuit an ideal prototype of living in the sense of Heidegger’s dwelling, existing between the earth, the sky, the mortals and the divinities. The “sky” in this project is the external environments on the site, while the “earth” is the complicated spatial condition and the westward exposure of the house. The “divinities” refer to the sense of security for one self while facing the world, and the “mortals” are the requirements to fulfill while holding a public gallery in private residence. How to draw a line between inside and outside? It is a question of self-defense mechanism, as well as a subconscious idea of one’s ego. How does the self-defense mechanism translate to everyday behaviors, and further more materialized into architecture? The concept of the “uncanny valley” is the strangeness from everyday life, when the usual understanding of things becomes alienated. The “pseudo-facade” of the building forms a formal and mental protection as part of the ancient defensive mechanism in dwelling. Baudrillard claimed that the architects operate in the mode of “counterfeit” from renaissance throughout industrial revolution, and in this project we work with the “uncanny valley” concept to use the pseudo facade to solve the paradox of cognitive dissonance. The facade faces west, with its various openings connecting to the balconies in the back, themselves connecting to bathrooms before opening to bedrooms. The balconies are made of metal grills to dissipate the moist and the heat from the sunlight. The facade therefore becomes an elevation for the equipment, while supporting not directly to the rooms but instead mediating the heat from the western exposure. The only architectural element visible from the outside is an open-air staircase that is three stories high and leads the user to sense the scale of the house by their movements. The “pseudo-facade” creates an ambiguous appearance from the outside, while for the inside it is a wall with windows to peek through to the world.
序號 Series number / 20548


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