新德里爱之泉庭院，用AI转译罗马浪漫 / M:OFA

编译：王子萱 | 校对：王子萱 | 2025.09.22 14:12

设计单位 Manifestation of Fluid Architecture (M:OFA)

项目地点 印度新德里

建成时间 2024年

建筑面积 约60平方米

本文英文原文由M:OFA提供，由有方编译。

和许多21世纪初最具说服力的作品一样，爱之泉（Fonte D’Amore）庭院并没有以庞大的体量来展现其设计的野心。相反，这个位于德里住宅核心、面积仅60平方米的庭院，由M:OFA Studio的主持建筑师Manish Gulati设计，通过记忆、结构逻辑与数字工艺的精妙交汇，展现了如何将平凡转化为静谧而非凡的存在。

Like many of the most persuasive works of the early twenty-first century, Fonte D’Amore does not broadcast its ambitions through sheer size. Instead, this modest 60-square-metre courtyard carved from the heart of a Delhi dwelling, by Manish Gulati, Principal Architect at M:OFA Studio, demonstrates how a carefully weighted convergence of memory, structural reasoning and digital craft can transform the ordinary into the quietly extraordinary.

设计缘于业主个人化的叙事：业主希望重现五年前他们在罗马特雷维喷泉投币许愿的瞬间。设计师并未选择直白的引用，而是将记忆转译为空间与建构语言。从这个意义上看，该项目延续了从意大利文艺复兴庭院到德里Lutyens花园住宅的谱系：以石、水与光将私人神话呈现出来。

The commission arose from an intimate narrative: the clients wished to recall the moment, half a decade earlier, when they had tossed a coin into the Trevi Fountain. Manish could have easily succumbed to the literal quotation. Instead, he translated the memory into spatial and tectonic terms. In this respect the project belongs to a lineage that stretches from the Italian Renaissance courtyards to Lutyen’s garden homes of Delhi: private myth rendered in stone, water and light.

业主唯一始终坚持的要求是喷泉的声音，以及营造一个“带有文艺复兴感”的雕塑氛围。因此，最初的AI生成的情绪板以特雷维喷泉为图像起点，尝试了无数人物与水流的组合，最终形成了一个能够与房屋多样外壳对话的方案。

The client’s lone, consistent request was the sound of a fountain and a sculptural milieu “that feels Renaissance.” Early AI mood boards, therefore, began with the Trevi Fountain as iconography, testing countless compositions of figures and water before settling on a scheme that could converse with the house’s heterogeneous shell.

项目的底层保持对称，呼应文艺复兴的秩序感；而随着结构上升至三层，则逐渐溶解为富有表现力的云状几何。底部的高大文艺复兴拱券在上层转化为链状曲线，营造出梦境般的过渡，仿佛达利笔下的世界彼此融化。整个转变无缝自然：石材表面扭转弯曲，形成雕塑般的外壳，将住宅的每一层的视线串联起来。

At the ground level, symmetry prevails, an ode to Renaissance sensibilities. But as the structure rises through three levels, it dissolves into expressive, cloud-like geometry. Where the base registers tall Renaissance arches, the upper tiers warp into catenary curves, creating a dreamlike transition reminiscent of Dali’s worlds melting into one another. The transformation is seamless: stone surfaces twist and arc, forming a sculptural envelope that visually connects each floor of the home.

站在阳台可以俯瞰庭院，天花上开凿的圆形开口将自然光引入，使光影在墙面上舞动。茉莉藤攀爬于层叠的绿墙间，散发着芬芳。绿植分布于底层、中层露台与屋顶平台，构成一段由下至上的香气与柔美之旅。庭院几近冥想般的氛围，邀请人们在此久坐，聆听水声与鸟鸣，看光影流转，代替城市的喧嚣。顶部穹顶既是皇冠又是引导，其四个天窗如同风口，引入清风。

Balconies overlook the volume, and carved apertures in the ceiling, strategically placed oculi—invite daylight to dance across the walls. Jasmine creepers climb along tiered green walls, perfuming the air. Planters are stacked across levels—on the ground, intermediate terraces, and rooftop trays, creating an upward journey of scent and softness. The courtyard becomes almost meditative, inviting long moments of stillness where the sound of water, birdsong, and shifting light replace the city’s noise. The dome overhead acts as both crown and conduit, its four oculi serving as wind catchers that draw in breezes.

在德里酷热的夏季，庭院成为一处调节气候的凉爽空间。屋顶四个圆形开口如同捕风器；喷泉蒸发的水雾使体感温度下降数度。自然光也通过这些孔洞被柔化，掠过石面，令其如同连续的织物般一体。这里的建筑古老却又新颖：被动式气候策略，借助当代模拟得到重新演绎。

In Delhi’s oppressive summers the courtyard becomes a tempered room of air. Four circular openings at roof level act as wind-catchers; evaporative mist from the fountain lowers felt temperatures by several degrees. Daylight is modulated through the same apertures, grazing the stone so that it reads as a single continuous weave. Here again the architectural lesson is old and new at once: passive climate response re-tooled through contemporary simulation.

流动形态背后隐藏着严谨的数字设计骨架。轻质钢格壳支撑起有机外皮，被构思为“骨骼或叶脉”，由直线段组成以简化施工并减少材料浪费。石材表面通过AI生成的情绪板、3D铣削模板，以及1:1的陶土模型实现，这些模型经3D扫描确保精度。雕塑则逆转了常见的数字到实体流程：AI生成的初始概念成为艺术家Shersingh的形式线索，由其手工雕刻完成，恢复了手工的温度，建立起算法与工艺之间的对话。

Behind the fluid forms lies a backbone of rigorous digital design. The organic skin is supported by a lightweight steel parametric gridshell, conceived as the “bone or leaf-vein” of the space, made of straightened segments to simplify fabrication and reduce material waste. The stone surface itself was realised through AI-generated moodboards, 3D-milled formwork, and life-size clay prototypes, which were 3D-scanned for precision. The sculptures reverse the usual digital-to-physical workflow: initial AI concepts became formal clues for artist Shersingh, who hand-crafted each piece, reinstating the touch of the hand and creating a dialogue between algorithm and craft.

爱之泉庭院拒绝许多参数化设计常见的戏剧化堆砌。它的价值在于克制，在于数字流程如何扎根于清晰的功能、合理的结构与可靠的工艺。形式、性能与诗意，在这里被精心考量而非含混不清。在这个项目中，人们能感受到一种隐含的观点：算法设计的未来，依赖的不是炫目的曲面，而是记忆、气候与材料智慧的静默融合。

Fonte d’Amore resists the theatrical excess that has come to characterise much parametric production. Its virtue lies in restraint, in the way digital procedure is anchored to a precise programme, a measured structure and a credible craft. Form, performance and poetics are calibrated rather than conflated. One senses in Manish’s work an implicit argument: that the future of algorithmic design will depend less on spectacular curvature than on the quiet integration of memory, climate and material intelligence.

现代建筑始终与其历史保持着长久的对话。通过将特雷维喷泉的记忆带入德里、将高迪的灵感融入数字计算，这个项目提醒我们：延续并不是创新的敌人。相反，它表明：当技术手段服务于生活体验，当历史参照被内化而非直译时，建筑依然能够创造出既属于当下、又超越当下的形式。

Modern architecture is a long conversation with its own history. By filtering Trevi through Delhi, and Gaudí through computation, Fonte d’Amore reminds us that continuity is not the enemy of invention. On the contrary, the project suggests that when technological means are placed in the service of lived experience; and when historical reference is internalised rather than illustrated, architecture may still produce forms that are both of their moment and beyond it.