隐形建筑与身体对话 | 法国艺术家工作室设计_办公空间_设计案例作品

发布时间：2022-09-26 13:04:42 {{ caseViews }} {{ caseCollects }}

设计亮点

以黑色橡胶覆盖的偏移体量与环境对话，关注艺术家工作需求和姿态。

概述 | Overview

在Saint-Langis-lès-Mortagne的乡间，Didier Fiúza Faustino为其好友、法国概念艺术家Jean-Luc Moulène设计了一座365平方米的工作室，这是一座参照隐形建筑类型，同时又完全无法被忽略的存在。身体作为当今建筑师所关注的一切问题的中心，这是Faustino一直在探索的主题。工作室的建筑由一系列相互偏移的、被黑色橡胶覆盖的体量组成，一方面，它有意地与居住在其空间内部的身体进行对话；另一方面，它也与其自身所在的诺曼底的自然环境进行对话。

A build manifest that manages at once to reference the typology of a stealth building and to be completely unmissable arrives in Saint-Langis-lès-Mortagne. Didier Fiúza Faustino’s 365 m² atelier designed for French conceptual artist Jean-Luc Moulène is now complete — continuing the French-Portuguese experimentalist’s investigation in centering the body within all concerns of an architect today. The studio is composed of a series of volumes distributed in constant offset and covered with black rubber membrane: intentionally in dialogue with the bodies inhabiting its space first and foremost; second with the Normandy nature that surrounds it.

▼项目概览，Preview

▼建筑外观，Exterior view

好的、坏的与丑陋的

THE GOOD, THE BAD AND THE UGLY

工作室被命名为“The Good, the Bad and the Ugly”，它坐落在一个古老的农场建筑群旁边，为艺术家Jean-Luc Moulène提供了他在巴黎之外的工作前哨。作为艺术家的好友，Fiúza Faustino描述到：“在一天之中，Jean-Luc不断地改变着他的活动，例如6点到8点画画，9点开始制作模型等。他的活动像是编排好的剧目，从一个时刻切换至另一个时刻。所以我的关注点是去创造一个可以让他根据需要来调整行动轨迹的空间。”

A studio building conceived as an architectural tool for the French conceptual artist — and friend of Fiúza Faustino — Jean-Luc Moulène.Coming to life in a new building next to an old farm complex in the countryside outside the village of Saint-Langis-lès-Mortagne, in the Normandy region of France, the space builds a new studio outpost outside of Paris for the artist.

“Each moment in the day Jean-Luc changes his activity: from 6 to 8 he draws, from 9 on he produces models, and so on. His activity is a kind of choreography, from one moment to another, to another. So my point was to create a space that allows him to adapt his trajectories according to his needs.”

▼入口立面，Entrance facade

▼首层开放空间，Ground floor open space

▼双层高空间，The double-height space

▼夹层空间，Mezzanine floor

▼室内一角，Interior view

自然采光和人工照明相结合，Different modes of light treatment (natural and artificial)

围绕着艺术家的姿态、行动和创作，建筑师采用了一种精确又极简的语言，以尽可能地满足前者的需要，并迎合他不同的创作模式、使用的工具以及手与机器间变换的尺度。紧凑温馨的空间与自然和人工照明相结合，有助于思考和休息，不同角度的窗户则带来丰富的视角。在夜晚，建筑和它开启的窗户使人联想到一组并置的太阳能板，展现了建筑对外的凝视以及对内的环境考量。

To conceptualize this project, a precise and minimal language was developed around gesture, work, and creation to best meet the needs of the artist: in his different modes of production, in the use of his tools, on the scale of both the hand and the machine. More intimate spaces, conducive to reflection and rest, have also been created — all linked to different modes of light treatment (natural and artificial) and to perspectives taken within the space. At night, the structure and its open windows are almost reminiscent of a collection of solar panels, referencing its outward gaze and environmental approach to interior.

▼艺术家工作室，Theartist’s studio

▼室内细节，Interior view

▼空间迎合了艺术家不同的创作模式、使用的工具以及手与机器间变换的尺度，A precise and minimal language was developed around gesture, work, and creation to best meet the needs of the artist

从外部看，建筑由5个相互平行但错位的4米宽的体量组成，每个体量都带有一个朝北的半透明倾斜立面；南北向的屋顶由不透明的玻璃墙划定边界。

从内部看，首层是一个265平方米的开放空间，并拥有8米的屋脊高度，其中央位置被一个东西向的空间截断，容纳了入口区域，并连接至100平方米的夹层空间。

From the outside, the building is composed of a series of identical volumes distributed in constant offset over five parallel 4m wide bays. Each of these volumes has a north-facing translucent sloping façade; a north-south roof slope terminating in an opaque glass wall in continuity with the roof. Inside, the assembly defines an open space of 265 m² on the ground under 8m of height at the ridge, cut in its centre by an east-west fault where the entrance and the access to a mezzanine of 100 m² are located.

▼每个体量都带有一个朝北的半透明倾斜立面，Each volume has a north-facing translucent sloping façade

▼错位的体量，The volumes are distributed in constant offset

▼建筑外观，Exterior view

墙壁和屋顶由预制的木框架沉箱构成，并固定在钢筋混凝土板上，其外部覆盖以黑色的防水橡胶膜。整齐划一的黑色哑光外皮使建筑像影子一般消失在环境中，仿佛它不希望被人们看到，仅仅是使用就好。整座建筑被简化到一种最基本的状态，这有利于为艺术家提供理想的创新实践场所。

The walls and roofs are made of prefabricated wood-framed caissons fixed to a reinforced concrete slab and covered with a waterproof black rubber membrane. This uniform matt black skin transforms the building into a shadow, making it disappear into its environment like a building not meant to be seen; only used. The structure is pared down to its barest essentials — in this case referring to an ultimate site for creative practice.

▼建筑外部覆盖以黑色的防水橡胶膜，The volumes are covered with a waterproof black rubber membrane

立面细节，Facade detailed view

建筑内的照明亦是由Fiúza Faustino工作室专门为该项目设计，它们将作为一个场景元素出现在EXIST/RESIST展览中。该展览是Fiúza Faustino为期三十年的建筑和艺术实践的首次机构展览，将于今年秋天在里斯本的MAAT开幕。

The lighting in the pavilion is designed specifically for the atelier by Fiúza Faustino, and the lamps will appear as a scenographic element in EXIST/RESIST; the first institutional exhibition surveying the artist-architect’s three decades of practice, opening this fall at MAAT in Lisbon.

▼夜间视角，Night view

▼体块示意，Diagram

▼平立剖绘图，Drawings

THE GOOD, THE BAD AND THE UGLY

Artist Studio / Atelier d’artiste

Location / Situation : Saint-Langis-Lès-Mortagne, département de l’Orne, région Normandie, France

Client: Jean-Luc Moulène

Area / Surface : 367 m2

Material / Matériaux : EPDM, Danpalon, prefabricated wood structure

Status / Statut : built

Project owner / Maîtrise d’ouvrage

SA BLUEBIRD, Jean-Luc Moulène