树屋·林中面具 / 末广建筑

Tree House · Mask in the Forest/Moguang Architecture
树屋·林中面具 / 末广建筑

设计策略与空间营造：该树屋项目最显著的亮点在于其巧妙的设计策略，成功应对了狭小、嘈杂的场地限制。设计师将建筑抬高架空，创造了上静下动的空间层次，地面层释放出来，为人们提供了聚餐、休闲的开放空间。建筑师通过对楼梯核心筒的旋转处理，以及与大树和秋千的互动，引导人们在建筑内外自由穿梭，丰富了空间体验。这种对场地限制的积极回应，不仅提升了建筑的实用性，也赋予了其独特的个性，使得建筑与周围环境融为一体，创造出一种引人入胜的空间叙事。

几何秩序与自然融合：项目的精髓在于它将精确的几何秩序与自然的融合达到了高度统一。设计师从不规则的场地红线中提取几何控制线，并将建筑体量与路径、树木轮廓巧妙结合，形成和谐的整体。通过几何洞口替代具象窗，窗洞与景观元素的对位关系，实现了建筑与景观之间的深度连接。这种设计手法，让人们在室内外之间自由切换，感受到建筑与自然的互动。同时，通过不同材料的运用，例如反光金属漆、粗糙的白色灰泥和木饰面，营造出丰富的光影变化和材料质感，进一步强化了建筑的艺术性与自然性。

材料语言与细节处理： 项目的成功离不开对材料和细节的精湛把控。烧杉板外立面的运用，与周围的自然环境完美契合，其微妙的光感和皴裂质感，赋予了建筑独特的野性美。金属质感氟碳漆的应用，隐约反射周围环境，更使得树屋在夜幕降临后呈现出如“飞船”般的视觉效果。在内部，材料的质感和光线的变化相互作用，创造出抽象而美丽的空间氛围。这种对材料的精准选择和细节的精心处理，不仅提升了建筑的美学价值，也体现了设计师对建筑品质的极致追求，使整个项目成为一个令人印象深刻的建筑作品。

Guangjiachong Valley in Suizhou City, Hubei Province is only a fifteen minute drive from the famous Ginkgo Valley Scenic Area. The site of the treehouse is located at the intersection of two paths in the valley, with a slightly noisy environment. Within the cramped 90 square meter area, it is necessary to avoid the roots of three ancient trees and accommodate two rooms and equipment storage rooms with an internal area of no less than 50 square meters. The designer and the owner set a clear design strategy during their first on-site survey - to elevate the entire building and create two types of spatial qualities: static and dynamic, through the lifting of the building; The lush canopy of ginkgo trees provides a private barrier to the room and becomes a scenery in the window; Release the ground layer for dining, baking ginkgo fruits, swinging, hiding in the shade, etc.
湖北随州市的广家冲山谷，距离著名银杏谷风景区仅十五分钟车程。树屋的场地在山谷里两条路径的交汇处，环境略显喧闹，90㎡的局促用地内需要避让三棵古树的根系，且需容纳两间套内面积不小于50㎡的房间与设备储藏间。设计师与业主在第一次去现场勘察时定下了明确的设计策略—— 将整座建筑抬高架空：通过建筑抬升生成上静下动的两类空间品质；银杏的繁茂树冠给予房间私密屏障并成为窗中的景致；释放出地面层以聚餐、烤银杏果、荡秋千、躲阴凉等。

The treehouse in the forest echoes the relationship between the path and tree contours within the site with precise geometric order. The designer extracts geometric control lines from irregular red lines of the homestead and carefully considers the relationship between the volume, site, and body.
林中树屋以精确的几何秩序性呼应场地内路径和树木轮廓的关系，设计师从不规则的宅基地红线里提取出几何控制边线，推敲体量、场地与身体的关系。

On the ground floor, the staircase core tube originally arranged along the vertical axis center rotates 60 degrees, causing the core tube to retreat and make way for an empty space, bringing new structural expression. After being attracted into the elevated ground floor by the big tree and swing, the person turned around and found the entrance to the stairs. Climbing up the stairs, they encountered the terrace of the palm grove and the entrance to the room. The body shuttles between the woods, and the extended turning path makes people forget the narrowness of the site and face the diverse and rich nature.
地面层上，原沿垂直轴线中心布置的楼梯核心筒旋转60度，让核心筒退后、让出空场，带来新的结构表现力。人被大树和秋千吸引进入架空底层后，转身发现楼梯入口，拾级而上遇到棕榈林的台地与房间入口。身体穿梭于树林之间，延长转折的路径让人忘却场地的狭小，直面多样丰富的自然。

The metal textured fluorocarbon paint sprayed on the surface of the staircase barrel and steel columns vaguely reflects the surrounding environment. As night falls and indoor lights turn on, the treehouse is like a spaceship perched in the woods, waiting to fly back.
楼梯筒体和钢柱表面喷涂的金属质感氟碳漆，隐约反射出四周的环境。夜幕降临、室内灯光亮起，树屋如同栖息于林间的飞船，待飞返航。

Plan of the treehouse

Replace "concrete windows" with "geometric openings" in abstract form relationships, and open the fan hidden in the wall. The connection between the volume of the treehouse and the landscape is internalized as the alignment between window openings and landscape elements, outlining the way people use the interior and the path they travel: people can both stay in the house and wander between the sites.
在抽象的形体关系中以“几何洞口”替代“具象窗”，开启扇隐藏在墙体中。树屋的体量与景观之间的联系内化为窗洞与景观元素的对位关系，勾勒人使用室内的方式与游走的路径：人既能在房子里待得住，也在场地间逛得起来。

通过正交体系与非正交体系的几何扭转，营造房间与房间之间的模糊联系。平面上非规整的过渡空间表现出活泼的空间氛围。

Reflective brown metallic paint, rough white plaster, and wood veneer all have different material expressions in terms of absorbance, reflectivity, and hue. The light diffuses into the interior through the metallic paint, and the color changes with the plants outside the window, forming an abstract and beautiful small space.
反光的棕色金属漆、粗糙的白色灰泥和木饰面在吸光度、反光度以及色相上都有不同的材料表情。光线通过金属漆漫射到室内，色相因窗外植物的颜色变化，形成抽象而美丽的小空间。

Sectional axonometric drawing

The exterior facade of the building is made of 30x45cm burnt fir board hanging panels and partially polished with matte varnish. The subtle light and cracked texture of the burnt fir board match the natural wildness. The charred wood on the surface is like armor covering the building, with functions such as insect and ant resistance, moisture resistance, etc.
建筑外立面采用30x45cm的烧杉板挂板以及局部打磨上哑光清漆，烧杉板微妙光感和皴裂质感契合了自然的野性。表面炭化的木头宛如为建筑披上了铠甲，具有防虫蚁叮蛀、防潮等功效。