精神之旅是对自身存在的探索,或者说是对存在和不存在以及两者之间关系的探索,最终实现超越探索的纯粹存在。位于艾哈迈达巴德的多学科设计工作室Design Ni Dukaan的创始人兼创意总监Veeram Shah的最新建筑杰作 “Enclosure”–占地2,137平方米–也不例外,最重要的学习也许是自我否定。

A spiritual journey is an inquiry into one’s own existence, or rather an inquiry into existence and non-existence and the relation between the two, culminating in the realization of pure existence beyond inquiry. Founder and Creative Director of Ahmedabad-based multi-disciplinary design studio Design Ni Dukaan Veeram Shah’s latest architectural masterpiece “Enclosure” – spread across 2,137 square meters — has been no different, and perhaps the most important learning has been one of self-negation.

一个人如何设计一个无形的房子?这是产生该项目的概念基础的主要探索。这导致了设计师对建筑形式的基础提出质疑。这引起了设计师观念的转变,导致了一种由内而外的设计方法,在这种方法中,来自内部的空间体验优先于外部形式,第二层皮肤包裹着结构,将独立的部分固定在一起,并定义了一系列的庭院,这是房屋体验的内在因素。就这样,它成了一个没有立面的房子,一个内向的 “围墙”,位于印度西部古吉拉特邦的古朴小镇Himmatnagar,Sabarkantha地区的行政总部。

How does one design a formless house? This was the primary inquiry from which the conceptual foundation for the project was generated. This led to the designer questioning the very basis of built forms. This caused a shift in the designer’s perception that resulted in an inside-out approach to the design, wherein the experience of space from within took precedence over the external form and a second skin wrapped around the structure, holding the separate parts together and defining a series of courtyards that are intrinsic to the experience of the house. And so, it became a house without elevations, an inward-looking “Enclosure” located in India’s Western state Gujarat’s quaint town Himmatnagar, the administrative headquarters of Sabarkantha district.

围墙的物质性是对偏远农村地区的建筑物流的平行调查的产物。客户自己从一个农民变成了一个成功的商人,现在又回到了自己的家乡,他坚持雇用当地的劳动力,所以作为一个实验,要求一个村里的承包商用混凝土建造一个样品墙,结果是:一个不可预测的但美丽的纹理,由没有螺栓的木制模板的移动和扭曲引起的;是迷人的。这些 “预期的不完美 “被接纳为建筑过程的一部分,甚至将这种选择延伸到其他材料的使用上。

The materiality of the enclosure was the product of a parallel inquiry into the logistics of construction in the remote, rural location. The client, who himself had gone from being a farmer to a successful businessman now returning to his roots, insisted on employing local labor so as an experiment a village contractor was asked to build a sample wall in concrete, and the outcome: an unpredictable but beautiful texture caused by the shifting and warping of unbolted wooden formwork; was fascinating. These “anticipated imperfections” were embraced as part of the construction process, even extending this choice to the use of other materials.

混凝土变色的科塔石、白色和木材等柔和的材料调色板偶尔会被温暖的赤土色调所点缀:在主入口处(它构成了黄铜Bindu的背景,象征着原点),在游泳池里,在季节性开花的树木周围的座位上,以及散落在房子和花园里的雕塑物品上。唯一使用颜色的地方是房子里最私密的空间–浴室,每间浴室都被渲染成不同的粉色色调,并由塔状天窗大幅照亮。

The muted material palette of concrete discolored Kota stone, white and wood is occasionally punctuated by a warm terracotta tone: at the main entrance (where it forms the backdrop to a brass Bindu, signifying the point of origin), in the swimming pool, on seats around seasonally flowering trees, and sculptural objects scattered throughout the house and garden. The only other use of color is found in the most private spaces of the house, the bathrooms, with each being rendered in a different pastel shade and dramatically illuminated by turret-like skylights.

占地面积的规划试图将房屋的公共区、半私人区和私人区分开,同时围绕中央开放空间保持流动的连续性。房子的所有部分都通过一个有顶的走廊通向一个庭院,以及较小的私人庭院,确保他们获得足够的光线和通风,同时免受恶劣的热带阳光和热风的影响。

The footprint planning attempts to separate public, semi-private, and private zones of the house while maintaining a continuity of flow around a central open space. All parts of the house open onto a courtyard, via a covered corridor, as well as onto smaller, private courts, ensuring that they get adequate light and ventilation while being protected from the harsh tropical sun and hot winds.

在许多方面,这个项目指导了工作室(Design Ni Dukaan)在其形成期的轨迹。在Covid-19期间,他们被几次延误打乱了,花了近九年时间才完成这个项目。事实上,这个时间跨度让他们有机会反复评估他们对建筑是什么、设计实践应该是什么的想法,并深入研究这些问题,同时仍然能够在需要时脱离和抛弃概念。随着项目的进展,从建筑到室内到景观的一切都得到了解决,以发展一种全面的设计语言,所有的元素,直到最小的,包括家具、硬件和灯具,都是由他们的工匠严格地细化和定制的。该项目确实是对创造行为的庆祝,对我们来说,这已经成为我们设计实践的本质。

In many ways this project directed the trajectory of the studio (Design Ni Dukaan) during its formative years. Disrupted by several delays during Covid-19, it took them almost nine years to finish the project. The span of time, in fact, gave them the opportunity to repeatedly reassess their ideas of what architecture is, of what a design practice should be, and to delve deeper into these questions while still being able to detach from and discard concepts when required. As the project progressed, everything from architecture to interiors to the landscape was addressed to develop a comprehensive design language, and all elements down to the smallest, including furniture and hardware and light fittings, were rigorously detailed and custom-made by their craftsmen. The project was truly a celebration of the act of creation, which has become for us the essence of our design practice.

Architects: Design Ni Dukaan
Area : 2137 m²
Year : 2021
Photographs :The Fishy Project
Lead Architect : Veeram Shah
City : Himatnagar
Country : India