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故事必須從2005年說起。那一年，居住于中國腹地重慶的人們第一次接觸到了來自遙遠歐亞大陸另一端盡頭的生活夢想。開發(fā)商在宣傳單上寫下這樣的句子：“在伊比利亞半島上點燃的熱情，會沿著地中海的岸線一直蔓延到意大利的腳跟。在托斯卡納的平崗上接受來自世界的頂禮。建筑，因此成就了風(fēng)格”。在席卷神州的房地產(chǎn)浪潮下，“風(fēng)格”成為一個寄托未來生活希望的標(biāo)簽。仿佛這被稱為“西班牙式”的風(fēng)格能賦予的不僅僅是建筑外觀，還能將西班牙終年強烈的陽光、刀削斧鑿般銳利的陰影、以及干爽的空氣一并帶到重慶。
The story begins in 2005. That year, people living in Chongqing, deep in the hinterland of China, first brushed against a dream of life from the far end of the Eurasian continent. Developers wrote lines like this on their flyers: "The passion ignited on the Iberian Peninsula will spread along the Mediterranean coastline all the way to the heel of Italy. Receive the world’s adoration on the hills of Tuscany. Architecture, thus, achieves style. "Under the real estate wave sweeping across China, "Style" became a vessel for hopes of a future life. It was as if this so-called "Spanish Style" could bestow not just an architectural fa?ade, but also transport Spain’s year-round intense sunlight, sharp, chisel-cut shadows, and dry air all the way to Chongqing.
在時間的見證下，“風(fēng)格”敗給了“生活”。重慶的光影因云層遮擋缺乏立體感，氣候潮濕悶熱。在地自然條件與西班牙南轅北轍。多云氣候下特有的漫射陽光無法通過窄窗進入室內(nèi)。因此即使在盛夏正午，偏愛明亮居室的父親也不得不點亮所有燈具以保障基本的光照。缺乏直射陽光更嚴(yán)重后果，是導(dǎo)致緊鄰擋土墻的一層因重慶漫長的梅雨季節(jié)而潮氣凝聚。由于室內(nèi)墻體和地面結(jié)露，人始終被濕冷環(huán)繞。除了終年開著除濕機，母親甚至將墻體刷成明亮的黃色，期望用視覺的溫暖來彌補觸覺的不適。這個家在空間上留給我最強烈的印象就是昏暗的光線，不知應(yīng)作何用途的天井和后院，以及許多難以使用和打掃的犄角旮旯。
In the fullness of time, "Style" lost out to "Life." Chongqing’s light, filtered through heavy cloud cover, lacks depth, and the climate is humid and stifling. The local natural conditions are diametrically opposed to those of Spain. The diffused light, characteristic of cloudy weather, could not penetrate the narrow windows into the interior. Consequently, even at high noon in midsummer, my father, who prefers bright rooms, had to turn on every light just to ensure basic illumination. A more serious consequence of the lack of direct sunlight was the accumulation of moisture on the ground floor, which sits tight against a retaining wall, due to Chongqing’s long Plum Rain season. With condensation forming on the walls and floors, one was constantly surrounded by cold dampness. Aside from running dehumidifiers year-round, my mother even painted the walls a bright yellow, hoping to use visual warmth to compensate for the tactile discomfort. The strongest impressions this home left on me spatially were dim lighting, an atrium and backyard of unknown purpose, and many nooks and crannies that were difficult to use or clean.
遷居十五年后，父母提出了希望由我來改造住宅的想法。除了改造老化失能的管網(wǎng)以及更換損壞的設(shè)備，他們也希望根據(jù)他們已經(jīng)形成的生活經(jīng)驗重塑空間。父母對設(shè)計提出了三點希望：“簡單”，“經(jīng)濟”，“易用”。在設(shè)計過程中，我和父母的對話始終圍繞著“在這里會發(fā)生什么”，而非“應(yīng)該擺放什么”或“應(yīng)該表達什么”。設(shè)計非常小心地選擇需要改造的界面，盡可能的為已經(jīng)存在的家具、尚可繼續(xù)使用的門窗妥善地在新居內(nèi)找到用武之地。我和父母在設(shè)計過程中達成了一個共識，即家作為生活展開和變化的舞臺，而不是占領(lǐng)生活的“工藝品”。在如此思考的引導(dǎo)下，改造不再堅持基于“風(fēng)格”或者“敘事”的創(chuàng)作，而演變?yōu)橐淮握砩畹呐Α?/span>
Fifteen years after moving in, my parents proposed the idea that I renovate the house. Beyond upgrading the aging, dysfunctional plumbing and replacing broken equipment, they hoped to reshape the space based on the living experience they had accumulated. They had three requests for the design: "Simple," "Economic," and "Easy to use." During the design process, the dialogue between my parents and me centered consistently on "what will happen here," rather than "what should be placed here" or "what should be expressed." The design was very careful in selecting which interfaces to modify, striving to find appropriate uses in the new home for existing furniture and doors that were still functional. My parents and I reached a consensus: the home is a stage for life to unfold and evolve, not an "artifact" that occupies life. Guided by this thinking, the renovation ceased to be a creation based on "style" or "narrative" and evolved into an effort to organize life.
整理的第一件事：描摹生活軌跡
既有的三層建筑位于跌落的地形上，南北貫通。多年生活習(xí)慣形成了垂直功能分區(qū)：連接南側(cè)小區(qū)機動車道的二層是主入口，分布著起居室、車庫、客房、陽臺和天井；連接房屋人行次入口的一層背靠山體擋墻、面朝后花園，由餐廳、廚房和娛樂室組成；三層則是最為私密的就寢區(qū)域，有兩個臥室與一個書房。在經(jīng)過不斷地討論與方案比選后，該分區(qū)被改造方案繼承。思考集中在如何讓房屋釋放空間潛力，成為未來生活演進的催化劑。
The existing three-story building sits on terraced terrain, accessible from both north and south. Years of habit had formed a vertical functional zoning: the second floor, connecting to the vehicular road in the southern community, served as the main entrance, housing the living room, garage, guest room, balcony, and atrium; the first floor, backing against the hillside retaining wall and facing the rear garden, connected to the pedestrian secondary entrance and consisted of the dining room, kitchen, and entertainment room; the third floor was the most private sleeping area, containing two bedrooms and a study. After continuous discussion and comparison of schemes, this zoning was retained in the renovation. The thinking focused on how to release the spatial potential of the house to become a catalyst for the evolution of future life.
整理的第二件事：以“輕”動作解放空間
考慮到房屋是與其他三個鄰居共享建筑結(jié)構(gòu)，以及經(jīng)濟性原則，改造完整了保留了原結(jié)構(gòu)體系以及上下水主體管網(wǎng)。優(yōu)化集中在容易拆改的非承重砌塊墻體，力圖以最“輕”的手段介入。在二層，通過挪移一堵面向天井的墻體，設(shè)計解決了增加無障礙電梯、改變客房位置，擴大天井面積半戶外部分使用潛力、增加了換鞋更衣間等目標(biāo)。在一層，通過取消一排墻體，北向的娛樂室與晾曬門廊被并入室內(nèi)，餐廳被前移至靠近后院，第一次讓室外景觀成為就餐活動的一部分。超長的中島成為空間焦點。它被設(shè)計為一個舞臺，處于灶臺、餐桌、麻將桌的環(huán)繞下。在聚會的時候，熱衷親自下廚的父母能夠與家人朋友討論廚藝的同時一顯身手。開放的樓層中有一面墻體延伸向室外。它在協(xié)調(diào)出一個半開放的烹炒隔間，避免川菜的重油煙影響就餐空間。它還在后院中切割出設(shè)備間，整合了空調(diào)室外機、熱水器、晾曬等功能。在三層，通過增加一堵外墻體，將一段半室外走廊消除，從而放大了室內(nèi)空間的靈活性，改善了夏季和冬季的體感，并解放了衣帽間等原本只能位于建筑布局深處的功能，激發(fā)了新的生活想象。建筑設(shè)計并不追求強烈的風(fēng)格宣言，自然而然地讓房屋的外立面延續(xù)了過去的風(fēng)格，無聲地沒入社區(qū)環(huán)境之中。設(shè)計心思被用在與身體有關(guān)的細節(jié)上：大門拉手和樓梯扶手的形式呼應(yīng)了推拉門扇與上下樓梯的具體動作需要；設(shè)備與收納體量像是穿插進生活的盒子，為喜歡收納打掃的父母提供了可拓展的儲藏空間；自然紋理的木材、質(zhì)感涂料、及拉絲不銹鋼配件的材料搭配力求素樸和溫暖，并易于保養(yǎng)與更換。
Considering the house shares its structural framework with three neighbors, and adhering to the principle of economy, the renovation completely preserved the original structural system and the main plumbing lines. Optimization focused on non-load-bearing block walls that were easy to alter, attempting to intervene with the "lightest" possible touch. On the second floor, by shifting a wall facing the atrium, the design achieved several goals: adding an accessibility elevator, relocating the guest room, expanding the usable semi-outdoor area of the atrium, and adding a cloakroom/mudroom. On the first floor, by removing a row of walls, the north-facing entertainment room and drying porch were merged into the interior. The dining room was moved forward near the backyard, making the outdoor landscape a part of the dining activity for the first time. An extra-long island became the focal point of the space. Designed as a stage, it is surrounded by the stove, dining table, and mahjong table. During gatherings, my parents—who love to cook personally—can discuss culinary arts with family and friends while showing off their skills. In the open floor plan, one wall extends outdoors. It coordinates a semi-open stir-fry cubicle (avoiding the heavy oil smoke of Sichuan cuisine affecting the dining space) and carves out an equipment room in the backyard, integrating the AC outdoor units, water heater, and laundry drying functions. On the third floor, by adding an external wall to eliminate a segment of semi-outdoor corridor, we amplified the flexibility of the indoor space, improved thermal comfort in summer and winter, and liberated functions like the walk-in closet that could previously only be located deep within the layout, sparking new imagination for living. The architectural design does not seek a strong stylistic manifesto; it naturally allows the fa?ade to continue the past style, silently blending into the community environment. Design effort was spent on details related to the body: the forms of door handles and stair handrails echo the specific movements of pushing sliding doors and climbing stairs; equipment and storage volumes act as boxes inserted into life, providing expandable storage for parents who love to organize and clean; the material palette of natural wood, textured paint, and brushed stainless steel strives for simplicity and warmth, while being easy to maintain and replace.
整理的第三件事：讓陽光進入室內(nèi)
為了解決“西班牙式”建筑為重慶的居住帶來室內(nèi)光照不足問題，天井的北側(cè)墻體被打開，在三樓和二層分別安裝了巨大的玻璃窗。二十年來第一次，父母不必在白天全部打開室內(nèi)的燈光。其中二層的玻璃墻體重新定義了天井與室內(nèi)的關(guān)系，讓二者在視覺上被整合為一體，兩者互為背景和縱深——天井從此前純粹的交通空間轉(zhuǎn)變?yōu)槠鹁邮业难由?。原本被放在室?nèi)的一套茶桌椅被搬到了天井的屋檐下，成為父親午后享受陽光和茶點的去處。為了達成這一設(shè)計目標(biāo)，我們訂制了一面3米高、3.8米寬的單片玻璃，作為天井落地玻璃幕墻系統(tǒng)的核心產(chǎn)品（由于其尺度超過了建筑入口，我們采用了吊車將其吊裝進入天井進行安裝，成為改造期間具有紀(jì)念意義的瞬間）。這個連續(xù)的、包含起居室入口的玻璃幕墻與天井等寬，消解了院落由于原始建筑風(fēng)格而產(chǎn)生的封閉感和沉重感。建筑的二層仿佛脫離了重力的約束，懸置在金屬和玻璃組成的通透隔斷之上。在室內(nèi)，因經(jīng)濟考量而保留的室內(nèi)樓梯成為一個引導(dǎo)光線進入室內(nèi)的“裝置”。它并沒有被理所當(dāng)然地設(shè)計為一個完全通透的玻璃樓梯。相反，一個基于光照分析的實體雕塑體量貫穿建筑的垂直方向，在不影響光線進入的前提下，通過塑造陰影讓光變得可被感知。在人的通行功能被電梯取代后，樓梯成為光在建筑內(nèi)上下移動的主要手段。
To solve the issue of insufficient indoor lighting brought by the "Spanish Style" architecture to Chongqing living, the north wall of the atrium was opened up, and huge glass windows were installed on the third and second floors. For the first time in twenty years, my parents did not have to turn on all the indoor lights during the day. The glass wall on the second floor, in particular, redefined the relationship between the atrium and the interior. It visually integrated the two, making them background and depth for one another—the atrium transformed from a purely transitional space into an extension of the living room. A tea table set originally kept indoors was moved under the eaves of the atrium, becoming a place for my father to enjoy the afternoon sun and tea. To achieve this, we custom-ordered a single pane of glass 3 meters high and 3.8 meters wide as the core of the atrium’s curtain wall system (since its scale exceeded the building entrance, we used a crane to hoist it into the atrium for installation, which became a memorable moment during the renovation). This continuous glass curtain wall, equal in width to the atrium and containing the living room entrance, dissolved the sense of enclosure and heaviness caused by the original architectural style. The second floor seems to break free from gravity, suspended above a transparent partition of metal and glass. Inside, the staircase—retained for economic reasons—became a "device" to guide light indoors. It was not designed as a cliché fully transparent glass staircase. Instead, a solid sculptural volume based on light analysis cuts through the vertical direction of the building. Without hindering the entry of light, it makes light perceptible by shaping shadows. Now that human transit is handled by the elevator, the staircase has become the primary means for light to move up and down within the building.
整理的第四件事：把 “問題”變?yōu)椤翱赡堋?/span>
以上所有的墻體挪移、外維護開洞、或者功能變化，都必定會與原建筑實體發(fā)生沖突，進而制造出“冗余”。它們或者是處于房間之中的柱子，或者是因建筑造型凹凸進退的墻體，或者是高度不齊的橫梁，不一而足。誠然，為了更加驚人的“設(shè)計效果”，我們可以通過技術(shù)手段來消除掉它們。（例如透過結(jié)構(gòu)強化來取消部分柱子和改變橫梁尺寸）但是否解決一些問題的關(guān)鍵是通過不再將之視為問題，而是可能性？是否建筑可以充當(dāng)新與舊的協(xié)調(diào)者？因此在改造中，我們保留了這些“冗余”，賦予了它們新的意義。二層北側(cè)曲折的墻體被改造為兩個“飄窗”，成為父母喜愛的夏日午睡地點。起居室中間的柱子被作為裝飾燈照亮天花。衛(wèi)生間和玄關(guān)隔墻被輕輕“擱放”在地面上，與樓梯一起形成起居空間的視覺焦點。餐廳內(nèi)高低不同的橫梁露出吊頂，成為區(qū)分就餐區(qū)、娛樂區(qū)、和廚房的線索。三層的柱子則成為一個全身更衣鏡。這些冗余的更大價值在于它們都在一個開放的場域內(nèi)劃分空間，以一種非強制性性的方式區(qū)別了場所。這種分割空間的動作是由人的身體與這些實體構(gòu)筑物互動時激發(fā)的。它們是每一個空間內(nèi)最具有決定性意義的“家具”。
All the aforementioned wall movements, exterior openings, or functional changes inevitably conflicted with the original building entity, creating "redundancies." These were columns sitting in the middle of rooms, walls protruding or receding due to architectural molding, or beams of uneven heights. Admittedly, for a more stunning "design effect," we could have used technical means to eliminate them (e.g., structural reinforcement to remove columns or altering beam sizes). But isn't the key to solving some problems simply to stop viewing them as problems, but rather as possibilities? Can architecture act as a mediator between the new and the old? Therefore, in the renovation, we kept these "redundancies" and endowed them with new meaning. The zigzagging wall on the north side of the second floor was transformed into two "bay windows," becoming my parents' favorite spot for summer naps. The column in the middle of the living room became a decorative light feature illuminating the ceiling. The partition wall between the bathroom and the foyer was gently "placed" on the ground, forming a visual focus of the living space alongside the stairs. In the dining room, beams of different heights were exposed below the ceiling, becoming cues to distinguish the dining area, entertainment area, and kitchen. A column on the third floor became a full-length dressing mirror. The greater value of these redundancies lies in the fact that they delineate space within an open field, distinguishing places in a non-coercive manner. This act of spatial division is activated when the human body interacts with these physical structures. They serve as the most definitive 'furniture' within each space.
整理的第五件事：浸潤
這是一個沒有“故事”的設(shè)計。我們相信建筑所做的退卻，是生活邁出第一步的催化劑。激進而離奇的故事會被綿延的日常所消磨。隨著父母的入住，建筑開始了新的生命周期。這一次父母自己成為了設(shè)計的主角，讓改變持續(xù)發(fā)生著。從舊的家里搬來的一切慢慢地充實起空間：舊沙發(fā)、麻將桌、工藝品、字畫、照片、餐具、書籍… …來訪的客人常被提前請到一樓的餐廳，一邊玩棋牌一邊與準(zhǔn)備飯菜的母親拉家常。起居室中央的大長桌是父母愛好的堆場，隨時都放滿了雜志、茶具、零食。父親也開始構(gòu)想在天井里為孫子放上一個充氣泳池、或是在家庭聚會時在后院擺上一桌火鍋。父母的生活經(jīng)驗沒有成為設(shè)計的約束。相反，它幫助我們著眼于真正重要的瞬間，而不是產(chǎn)品與概念。
This is a design without a "story." We believe that the retreat made by architecture is the catalyst for life to take its first step. Radical and bizarre stories are eventually worn down by the continuity of daily life. As my parents moved in, the building began a new life cycle. This time, my parents themselves became the protagonists of the design, allowing change to happen continuously. Everything brought from the old home slowly filled the space: the old sofa, mahjong table, crafts, calligraphy, photos, tableware, books... Visiting guests are often invited directly to the dining room on the first floor to play cards while chatting with my mother as she prepares the meal. The large long table in the center of the living room is a depot for my parents' hobbies, always piled with magazines, tea sets, and snacks. My father has also started envisioning putting an inflatable pool in the atrium for his grandson, or setting up a hot pot table in the backyard during family gatherings. My parents' life experience did not become a constraint on the design. On the contrary, it helped us focus on the moments that truly matter, rather than products and concepts.
項目信息
項目名稱：父母宅
項目地點：重慶
項目面積：350㎡
設(shè)計單位：也似建筑
設(shè)計主創(chuàng)：羅韌、趙耀
設(shè)計團隊：王盈力、溫一帆
業(yè)主單位：私人業(yè)主
攝影版權(quán)：朱雨蒙
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