建筑設(shè)計(jì)：王昀Architect: WANG Yun

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薩蒂的家，北京，中國

建筑設(shè)計(jì)：王昀
Architect: WANG Yun

Satie's House, Beijing, China, 2015

“薩蒂的家”的設(shè)計(jì)是參加1993年日本《新建筑》國際競(jìng)賽的獲獎(jiǎng)作品。當(dāng)時(shí)的競(jìng)賽題目是埃里克·薩蒂的家。作為設(shè)計(jì)者，如何為這樣一位先鋒的音樂家設(shè)計(jì)他的住宅其實(shí)是有一定難度的，因?yàn)榘＠锟恕に_蒂早在1920 年代就離開了我們。設(shè)計(jì)的房子如何能夠成為薩蒂本人也喜歡的空間成為了設(shè)計(jì)的一個(gè)焦點(diǎn)。

我想，艾瑞克·薩蒂是一個(gè)音樂家，他的樂譜是他將自己大腦中的音樂世界投射到現(xiàn)實(shí)世界中的一個(gè)記錄，他所標(biāo)注的樂譜中的圓點(diǎn)、長(zhǎng)短線其實(shí)是他頭腦中的空間概念的一種表現(xiàn)。不同的是，他所標(biāo)出的這些符號(hào)被音樂家讀取后，馬上會(huì)在大腦當(dāng)中形成一組聲響，但在我眼里所看到的是埃里克·薩蒂頭腦中的空間的世界。從薩蒂所做的樂譜中選擇出他的生活空間的世界，一定也是薩蒂所喜歡的建筑的世界。想到這里，薩蒂的家其實(shí)就完成了。具體的操作方式如下：首先選擇了薩蒂的《高爾夫》（Le Golf）的樂譜，并以事先確定的48m×8m的建筑面積在樂譜中進(jìn)行選擇，邊選擇邊考慮住宅中餐廳、臥室、衛(wèi)生間等功能的布置問題。當(dāng)48m×8m所框的范圍恰好符合了頭腦中事先預(yù)設(shè)的功能布置關(guān)系，將這一部分選出配合相應(yīng)的層高，便完成了此次設(shè)計(jì)?！?/p>

1 頂視/Top view

2 北側(cè)鳥瞰/Aerial view from north side

3《高爾夫》的樂譜/Musical score of Le Golf

4 建筑師在《高爾夫》 空間圖示立體化所形成的空間中選擇“薩蒂的家” /The architect chose the Satie's House from spaces based on Le Golf（3.4圖片來源/Resource: 王昀. 音樂與建筑.北京：中國電力出版社，2015.）

項(xiàng)目信息/Credits and Data

項(xiàng)目負(fù)責(zé)人/Project Architect: 王昀/WANG Yun

設(shè)計(jì)團(tuán)隊(duì)/Design Team: 王昀，張捍平，趙冠男等/WANG Yun, ZHANG Hanping, ZHAO Guannan, et al.

建筑面積/Floor Area: 386.8m2

建筑高度/Building Height: 4.45m

設(shè)計(jì)時(shí)間/Design: 1993

竣工時(shí)間/Completion: 2015

攝影/Photos: 趙冠男/ZHAO Guannan

5 從東側(cè)看向薩蒂的家/View from east side

The project was the winning entry of Japan's New Architecture international competition in 1993 for the design of a house for éric Satie. There was certain di ffi culty on the designer's side to conceive a house for an avant-garde musician like Satie, as he already passed away in the 1920s. What kind of space would have pleased Satie himself became the focal point of the design.

I tend to think that, as a musician, éric Satie used his music scores as a record by which the music world in his mind could be projected onto the real world, and the dots and lines in his notes were actually embodiment of his spatial concept. Such symbols would be immediately translated into a series of sounds in the musician's mind, but in my eyes, they represent the inner spatial world of éric Satie. A living spatial world thus extracted from his music scores is sure to be the kind of architectural world that Satie would have liked. At this point the design for Satie's house may be considered as complete. The specific means of operation are as follows: first, the score of Satie's Le golf is selected, then a prescribed architectural area of 48 × 8m is used as a framework to extract the part of the score to be adapted to the house design and layout of dinning room, bedroom and bathroom. Once the framed part accords well with the prescribed functional composition, it is selected and assigned with corresponding floor heights, thus concluding the whole design. □

6-8 內(nèi)景/Interior views

9 平面/Floor plan

10 頂面/Top plan

11 剖面/Section （9-11圖片來源/Image Credit: ADA研究中心）

12.13 內(nèi)景/Interior views

評(píng)論

五十嵐太郎：在對(duì)建筑與音樂的理論性探索上，王昀不滿足于紙面，他還用1:1的比例將其建造起來，這令我很受觸動(dòng)。不過，將樂譜的一部分進(jìn)行建筑化時(shí)，需要明確截取哪一部分。把二次元轉(zhuǎn)變?yōu)槿卧膊皇亲詣?dòng)完成的，需要設(shè)計(jì)高度和大小等。恐怕對(duì)熟悉現(xiàn)代主義或聚落的他而言，正因?yàn)橛辛舜_定的比例或材料的感覺，音樂的建筑化才得以實(shí)現(xiàn)。（辛夢(mèng)瑤 譯）劉東洋：建筑師王昀在北京建筑大學(xué)大興校區(qū)，把自己當(dāng)年參加日本《新建筑》雜志舉辦的國際競(jìng)賽時(shí)獲獎(jiǎng)的設(shè)計(jì)方案“薩蒂之家”澆筑了起來。這是一棟平面直接截圖于法國作曲家薩蒂曲譜的長(zhǎng)閣。建筑師以看似隨意、實(shí)則苦心孤詣的反功能方式，直接把標(biāo)注著節(jié)拍、音高、調(diào)式的曲譜記號(hào)變成了一道道豎起來的墻片段，并把由此產(chǎn)生的節(jié)奏均衡、內(nèi)外交融、適合憂郁地沉吟漫步的空間，送給他景仰的身為玫瑰十字會(huì)成員的作曲家。

Comments

Taro Igarashi: In his theoretical exploration of architecture and music, WANG Yun is not simply contented with paper projects, but manages to materialize them on a 1:1 scale. This touches me deeply. But still, it must be speci fi ed which part of the music score is to be extracted when converting the musical into the architectonic. Nor is it an automatic process when transforming the two-dimensional into the three-dimensional, as it would involve consideration of heights and sizes. For WANG Yun, who is familiar with modernist designs or settlements, the conversion of music into architecture is made possible precisely through his sure sense of proportion or material.

LIU Dongyang: On the Daxing campus of Beijing University of Civil Engineering and Architecture, architect Wang Yun materialized his design for the Satie House, the winning entry of the 1993 international competition organized by the Japanese magazine New Architecture. The plan of this elongated house was extracted directly from a score by the French composer éric Satie. Though seemingly random, the contra-functionalism of the design was actually conceived with extraordinarily painstaking efforts, through which the architect was able to transform the music notes of meter, pitch and mode into an elevated sequence of wall segments. The result is a rhythmically balanced, integrate space with a fitting ambience for contemplative strolling, a space that the architect could fi nally dedicate to his admired composer.