石上纯也新作：洞穴中的“家与餐厅”

日文撰文：石上纯也；英文翻译：Fraze Craze | 编辑：李博超 | 校对：李博超 | 2022.09.19 15:36

设计单位 junya.ishigami+associates

项目地点 日本山口县宇部市

建成时间 2022年3月

建筑面积 270.72平方米

日文撰文 石上纯也

英文翻译 Fraze Craze

本文首发于GA Houses 182, A.D.A. EDITA Tokyo。

这是为一家法式餐厅老板设计的住宅与餐厅项目。业主是我的一位老朋友，曾委托过我设计了“餐厅的桌子”（Tables for a Restaurant）。他希望我设计出一个尽可能“重”的建筑：“我想要一处随着时间的推移而愈发厚重的建筑。不能是那种人为的光滑，它应该包含着大自然的粗犷。正宗的料理需要这样的空间：似乎已在场地存在多时，也将一直存在下去。”

The project is a residence/restaurant for a French restaurant owner. He is an old friend of mine, and he was the one who commissioned the Tables for a Restaurant. I was asked to design a building as “heavy” as possible. “I want an architecture whose heaviness would increase with time,” he said. “It cannot be artificially smooth but rather something with the roughness of nature. Authentic cuisines require such a place.” He also told me that “it has to look as if it has been there and will continue to be there for the longest time.”

业主希望创造一家“历史悠久”的餐厅，既是家又是餐厅，还可以传给子孙后代。客人来到餐厅，就好像朋友到家中做客，一些特殊的客人还可以受邀前去客厅，甚至是留宿家中过夜。当餐厅不营业时，大厅就成为了家庭活动的场所，也是孩子们学习的地方。在平面布局上，餐厅在北，起居空间在南，它们通过三个庭院分隔开来。

His idea was to create a brand-new long-established restaurant. He was longing for something that is both a house and a restaurant, something he could pass on to his children and grandchildren. Now, he invites guests to the restaurant as he would invite friends to his house, and with someone special, he would let them into the living room or even stay overnight. When the restaurant is closed, the hall serves as a place for the family to spend time or for the children to study. The plan is arranged with the restaurant on the north and the residence on the south. To go back and forth between the spaces, they can walk through any one of the three courtyards that separate them.

住宅区的起居空间 ©junya.ishigami+associates（上）；YASHIRO PHOTO OFFICE（下）

在建造方面，我们希望这是一个不断开放、接受和呈现施工现场中偶发与意外的过程，以创造出一个在内部表达出自然形变与不确定性的建筑。具体来说，就是先在地上挖开一个洞来浇筑混凝土，待硬化后再挖掘出这一体量，最后装上玻璃来确立室内空间。

In terms of construction, we conceived a process of constantly sharing, accepting, and referencing the un-precisions and accidents that occurred on the site to create an architecture that internalizes natural distortions and uncertainties. More specifically, we dug a hole in the ground to pour concrete, excavated the volume, and fixed glasses to create interior space.

首先，我们对体块建模进行研究，将其转化成三维数据，并将三维坐标值输入到全站仪中，在施工现场中确定点位。同时，施工人员在iPad上不断确认位置和体块形状的同时，徒手挖孔以保证精度。团队尽可能地保留了一些意外的因素，比如草的生长、土壤的塌陷，或是手工施工时带来的偏差。

First, a mass model that went through countless modifications was converted into 3D data. The 3D coordinate data was then input into a total station (TS) survey instrument to determine the points utilizing a navigation system for pile driving. At the same time, construction workers dug the hole manually for precision while constantly confirming the position and shape on an iPad. Unexpected factors such as growing grass, soil collapsing, or errors due to manual labor were tolerated as much as possible.

待混凝土凝固后，挖掘出的结构上粘有大量的土壤。由于各个地块的地质有别，结构上土壤的外观和质地也有所不同。我们原本计划冲洗掉土壤，露出灰色的混凝土结构，然而这些土壤给人的印象是如此深刻，我们最后还是决定保持原貌，不再去除这些土壤。也是此时，我们第一次感受到建筑山洞般的气氛，并决定以新的形象来重新塑造这座建筑。

When the structure was excavated after concrete solidification, it was caked with mud. With the range in geology, the nature and appearance of the soil differed from place to place. We originally planned to wash away the dirt to reveal a gray concrete structure. However, we were impressed by how it looked with soil that we decided to leave it as it is. It was then that we sensed the atmosphere of a cave and decided to redesign the building with a new image.

在设计内部空间时，我们用三维图像将设计图纸和挖掘出的实际结构进行比较，将坐标的差异进行可视化。在相互重叠中，两者间微小的差异创造出一个意料之外的新空间。顺应这一关系，我们进一步调整空间的使用场景。因此，建筑设计的流程也被逆转过来：玻璃窗格的数量和位置、家具的布置及尺寸，以及机电设备的定位及装配方式，均依照建筑结构的位置来进行设计。

In designing the interior space, we visualized in 3D images the differences between the design drawings and the actual surface coordinates of the excavated structure. This process revealed new spaces that we had not anticipated to emerge from the overlapping discrepancies. We discovered such places and updated the way to inhabit the architecture accordingly. Thus the architectural design process was flipped, to reference the structure to determine the designs including the placement and number of glass pieces, arrangement and size of the furniture, and positions and details of MEP facilities.

设计尺寸与实际施工尺寸对比 ©junya.ishigami+associates

挖土开模（上）、混凝土脱模（中）及对混凝土的手动微调（下）©junya.ishigami+associates

例如，我们根据实际现场的测量结果来调整和确定玻璃的位置，并利用三维扫描数据来验证玻璃在安装及开关时是否会与框架的尺寸冲突，同时调整铰链的位置。给排水系统被设计为直线穿过三个庭院，以简化管道布置，水龙头、排水管和通风管均从朝向院子的玻璃窗上穿入房间。

For example, where to fix the glass was adjusted based on actual on-site measurements, and 3D scan data was used to verify that the glass would not break by hitting the structure during the construction nor by opening/closing, and to adjust the position of the hinges. To simplify the plumbing route, the water supply and drainage were planned to pass through the three courtyards in a straight line, and faucets, drainage pipes, ventilation ducts, etc. were installed to penetrate the glass windows into the rooms.

接纳并适应不确定性，混凝土块在不断尝试和调整中逐渐演变成建筑。未来业主也将住在这里，在经营餐厅的同时，持续对这个地方进行更新。

Accepting uncertainties, the concrete mass will gradually be transformed into architecture through cut-and-try. The owner will start a life here, run a restaurant, and continue to renew this place.