Koya 之家,加拿大, Alain Carle Architecte

该地块是位于劳伦蒂亚地区圣索韦尔镇的房地产开发项目的一部分。该地区位于蒙特利尔的第二环外围社区,居住者选择在这里定居,以结合自然环境(山区)的生活方式和地区小城镇的便利。他们还选择通过为祖父母和他们的孩子分配空间,使他们的项目具有多代性。因此,存在一种时间关系,这给这个住宅的空间设计带来了一个有趣的问题。建筑师对改变项目的性质、家庭组成以及居民在空间中的位置感兴趣,这些空间在建筑群中必然会随着时间的推移而改变。

The site is part of a real estate development on the approaches to the town of Saint-Sauveur in the Laurentians. This area is in Montréal’s second ring of outlying communities, where the occupants have chosen to settle to combine a lifestyle in a natural setting (in the mountains) with the conveniences of a small regional town. They have also chosen to make their project multigenerational, by allocating spaces for grandparents and their children. There is thus a temporal relationship, which poses an interesting problem for the design of this residence’s spaces. The architect is interested in changing the nature of the program, the family composition, and the residents’ location in the spaces that are bound to change over time within the complex.

该项目反而围绕着这种时间关系,通过构建一个与地形特征相关的实施模式,而不是郊区典型的单户排屋的逻辑。该项目的形态从物质上区分了住宅中较永久的混凝土元素和较短暂的木制部件。就像一个雕塑浮雕一样,场地上的主要交通轴线成为建筑群构成的两个轴线。

The project instead revolves around this temporal relationship, by structuring a mode of implementation related to the topographical features rather than to a logic of single-family row housing, typical of suburban areas. The project’s morphology materially distinguishes the more permanent elements of the residence, in concrete, from the more ephemeral components in wood. Like a sculptural bas-relief, the main traffic axes on the site become the two axes of the composition of the complex.

不同的混凝土挡墙、平台和过渡楼梯在场地上安装了一个新的地形,为接下来发生的事情提供了一个结论性的结构。深层地热井 “固定 “在可持续发展的构成中,并以隐喻的方式而不是严格的技术术语来解决能源需求。

Different concrete retaining walls, landings, and transitional stairways install a new topography on the site, a conclusive structuring for what happens next. Deep geothermal boreholes “anchor” the composition in sustainability and address the energy needs metaphorically rather than in strictly technical terms.

然后,三个木质体被放置在这个新地形的外部,以适应项目的变化性质。它们悬臂在混凝土结构上,处于一种不稳定的状态,并分别指向相反的方向。因此,这个综合体脱离了郊区单户住宅的传统构成,后者通常在前后立面之间有非常明显的表达,而对侧面则不利。相反,Maison Koya试图在更广泛的意义上与场地建立一种更开放的关系。这里的形态反而试图通过多种锯齿状的模式和小型的户外子空间,建立一种对景观的多样化解读,而不考虑地段的结构或单一的景观组成部分。

Three wooden volumes are then deposited on the exterior of this new topography to accommodate the changing nature of the program. They are cantilevered on the concrete structures, in an unstable situation, and point respectively in opposite directions. Thus, this complex is detached from a conventional composition of the suburban single-family home, which often has a very distinct expression between the front and rear facades, to the detriment of the sides. Maison Koya instead seeks to establish a more open relationship with the site in the broader sense. The morphology here instead attempts, by multiple sawtooth patterns and small outdoor subspaces, to establish a diversified reading of the landscape, regardless of the structure of the lots or a single landscape component.

倾向于景观的单一视角(作为主导观察者)的想法似乎证明了一个反复出现的建筑问题,即倾向于将建筑作为 “对象 “的思维结果。从这个角度来看,空间是在缺乏现实的情况下设计的,因为它被提供了所有的模糊性和不确定性,使一种风格化(即经典)的方法合法化,而不是基于形式的改变的方法。再一次,问题不是为了模糊性而模糊性,使其成为一种 “风格 “本身,而是接受现实的无限配置所提供的改变性份额。

The idea of preferring a single point of view on the landscape (as the dominant observer) seems to attest to a recurring architectural problem, the outcome of thinking that favors the building as an “object”. In this perspective, the spaces are designed in the absence of reality as it is offered, in all its ambiguity and impurity, legitimizing a stylistic (i.e. canonical) approach instead of an approach based on the alterity of the form. Once again, the issue is not to work with ambiguity for the sake of ambiguity, to make it a “style” per se, but rather to accept the share of alterity offered by the infinite configurations of reality.

这座建筑有多个入口,没有特定的等级制度。在与景观的连续性中,这些通道与低层空间有一种流动的关系,建筑内部交通系统的差异化寻求与景观的非等级关系(见邻近建筑的典型郊区背景)。

There are multiple accesses to the building without a specific hierarchy. In continuity with the landscape, these accesses have a fluid relationship with the lower spaces, where the differentiation of the building’s internal traffic system seeks to engage a non-hierarchical relationship with the landscape (see the typically suburban context of the neighboring structures).

只有位于三个木质结构交汇处的中央空间构成了居住在该建筑群的三代人的交汇处。这是一个隐喻性的聚会场所,一个物质性地刻在矿物结构的永久性中的 “公共场所”。这是建筑群的创始地,铭刻在运动中。这种在建筑内部和外部之间移动的可能性涉及到一种开放性的使用,一种随着时间的推移重新配置空间的可能性,就好像这三个结构中的每一个都可以根据使用的变化而重新配置。

Only a central space situated at the intersection of the three wood structures constitutes a place of convergence for the three generations inhabiting the complex. This metaphorically is the meeting place, a “public place” materially inscribed in the permanence of the mineral structure. This is the founding place of the complex, inscribed in movement. This possibility of moving between the internal and external parts of the building engages a type of open use, a possibility of reconfiguration of the occupations of the spaces over time as if each of the three structures could be reconfigured according to the changes of use.

在某种程度上,这个项目的本质在于为每个建筑结构创造时间性的必要性之间的关系,将空间的概念铭刻在时间中,或者至少是对时间的预期。

In a certain way, the essence of the project resides in the relationship between the necessity of creating a temporality for every built structure, of inscribing the concept of space in time, or at least in anticipation of time.

Architects: Alain Carle Architecte
Area : 696 m²
Year : 2019
Photographs :Raphael Thibodeau
Manufacturers : Alumilex
Lead Architect : Alain Carle
Project Manager : Isaniel Lévesque
Landscape Design : Carlos Ipser
City : Saint-Sauveur
Country : Canada