書(shū)摘
探索空間和形式：創(chuàng )建架構
THE SEARCH FOR SPACE AND FORM: Creating Architecture
With a suffi cient understanding of my client’s preferences, and a sense of the amenities and constraints of the site, I began the process of creating space and its enclosing form. The design of a home is a complex problem. Hundreds of issues need to be resolved. Looking back over the process, I seemed to have grappled with this complexity by breaking down the problem into smaller sub-problems, where fewer variables could be more readily comprehended and manipulated. I attacked these sub-problems through a series of drawings, which explored and tested solutions. The process started out abstract and global but, as components were resolved, became more specifi c and detailed. I produced a series of tracing paper overlay sketches in which an initial abstract diagram was transformed into a three-dimensional solution. Each drawing was a refi nement of preceding ones. Each recorded my current understanding of the problem and proposed a partial solution, which was then tested against how well it would meet the objectives defi ned in the program, and my own desires for good architecture. Each new issue was exposed, then addressed and tentatively solved in the following sketches.
These tracing paper overlay drawings were a series of refi nements (although, sometimes, they led to a completely new direction), which helped organize and prioritize the elements of the work. Some of the improvements shaped by this process, adding richness and subtlety to the fi nal design, were: functional improvements, more appropriate volumetric and spatial arrangements and proportions, better defi nition of vistas and incorporation of sunlight, more meaningful arrangement of walls and openings, a better relationship to the land, and easier constructability.
The expression of the house was generated through a dialogue between internal and external infl uences. I continually worked back and forth resolving confl icts between the spatial needs on the inside of the house and the form expression of that space on the outside. My overriding goal was to design a special place, one that would fi t my client’s lifestyle and which would respond to, and express, the unique nature of their site.
The following sketches illustrate the process of generating space and form.
The site for this house is an open fi eld on the north-facing slope of a mountain (Figure 2). From this elevated location, there are outstanding panoramic views over the surrounding countryside and long vistas to distant mountains.
I began the process by responding to the program and the site. Information from the program was converted into an abstract ‘circulation diagram’ (Figure 3) that enabled me to examine, comprehend and establish general relationships between spaces and their connection to the site. The diagram was a useful way to describe and understand the relative position of each space and the connections between them, and to account for the impact of external conditions on their location. To the extent that I understood how each space functioned, I located it in a position that seemed appropriate to its needs. Spaces were positioned to achieve a logical circulation fl ow between them, with an appropriate separation of private spaces from public ones, and an orientation that took advantage of sunlight and views. As I organized the diagram, I also tried to be mindful of the site’s constraints, such as the location of buildable areas, property line setbacks, topography, wind direction (to locate protected outdoor living areas), and the location and proximity of adjacent pedestrian and vehicular access ways. From previous site visits, I had identifi ed two site locations that seemed most appropriate based on topography, views, adjacency to an existing garage/guest cottage, and sun orientation. I had these two locations in mind as I manipulated the diagram.
Although abstract, this diagram set down basic spatial relationships and implied, through the abstraction of connecting lines, where there would be required additional transitional spaces not listed in the program, such as foyers, hallways, galleries, entries and vestibules. Once I was comfortable with the logic of the diagram, I needed to transform it into a scaled drawing, as the actual size and proportion of spaces topologically affects their arrangement. Some alternative plans (see Figures 4 and 5) were laid out, with spaces positioned using the relationships in the diagram as a guide. Spaces were sized and proportioned in a rough attempt to accommodate basic activities, knowing that they would be developed and refi ned later into more livable and comfortable places.
As I proceeded, I reconsidered each of the activities being contemplated. Who would participate in the activities? How would the participants move about? From where would they come? Where would they go? What furniture, fi xtures and equipment would be required? Where should they be located? How much space would they need? Tentatively, I sketched some furniture locations to test whether preliminary room confi gurations would be adequate, wall surfaces suffi cient, and overall proportions appropriate. Since most furniture is made to fi t straight walls and rectangular configurations, I started with rectangular shaped spaces and laid out the spaces orthogonally. Once I had a better comprehension of issues, I knew I would be able to try other confi gurations. I thought about enclosing surfaces. How opaque or transparent should they be? In addition, people need to move about logically, so I positioned spaces for easy connectivity with other spaces and I defi ned each one to ensure unimpeded movement within.
When initially confi guring these spaces, I was especially mindful of the direction of sunlight and views. Although pleasing views were desirable everywhere, due to functional and topological considerations, it was impossible to incorporate the best view from every room. Some prioritizing or compromise was necessary—I favored more heavily used spaces. Paradoxically, the restriction of not being able to take advantage of views from every room resulted in a more innovative and creative organization as I attempted to overcome this constraint. I fi nd this irony an important aspect of the creative process. The very fact that I was unable to achieve an objective working in a conventional way, led to more interesting, unconventional ways to overcome the limitation.
