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1、每天更新，每天享受注册筑龙结构超爽会员 超爽0币、超爽1币资料海量资料即刻下载超爽0币下载 100套超级好图，鸟巢、国家大剧院图纸免费下！超爽1币下载 图纸、详图、毕业设计、软件应用、经验、表格、讲义、抗震超爽2折下载 全部成套图纸、节点详图、毕业设计、讲义讲稿、软件应用、计算示例.详情咨询：QQ：29436561长 春 工 程 学 院 毕 业 设 计文章出处：书刊名/作者(Title/Author)Richard Meier Smith House, Darien, Connecticut. 1967 House in Old Westbury,Long Island, New York.
2、1971/Futagawa, Yukio ed. ; Morton, David出版项(Publish Info.)Taipei/Hus Book/1983作品语言(Language)ENG稽核项(Description)1 v.p.图书名/图书号(Series)Global architecture主题标题 (Subject)Architectural design.主题标题(Subject)Architecture - Views.原文：Smith House, Darien, Connecticut. 1967House in Old Westbury, Long Island, New
3、 York. 1971 Key words: private residences, architectural ideas, circulation paths, bearing wall, framing system, spiral staircase Richard Meier is something of a phenomenon in American architecture. These and other of his many projects would tell much about Meiers architecture, but his unique and hi
4、ghly personal approach is perhaps best expressed in a growing body of extraordinary, single-family private residences.Because there are few mysteries in the program for a house, it can occupy a unique position in an architects work; it can, in effect, stand testament to his architectural theories an
5、d design ideas. But even though this program may be well understood, the form that results, as Meiers work clearly shows, may be highly intricate and complex. Two of his houses are shown here; they have emerged directly from, and are inextricably bound to, a complicated, highly personal repertoire o
6、f architectural ideas.The Smith house in Darien, Connecticut, and the much larger house in Old Westbury, New York, although quite dissimilar in many respects, find some common antecedents in the work and thought of Le Corbusier. This is perhaps most readily seen in the use of a grid system of column
7、s that supports the horizontal planes, and thus liberates the walls of their supportive function and frees them for use only as a means of enclosure. Although bearing walls are used at the entry plane of both houses, and elsewhere in the Smith house, the ensuing clarity brought about by the column s
8、tructural system allows spaces to be freely disposed within the interior volume. Consequently, in both houses the form of the plan shifts from level as the volume shifts. In both houses the interplay of light, both inside and outside, has been of paramount concern, but particular attention has been
9、given to the balance of interior natural light. Each house is oriented so morning sunlight enters the bedrooms and the softer, afternoon light comes into the living areas. But the movement of the sun has further implications for these houses. Both of them are painted white, on the exterior and in th
10、e interior, to reflect the various colors of natural light at different times of the day. This, Meier says, brings the houses into contrast with nature, thereby reinforcing its presence. The whiteness, he adds, also helps one to perceive the colors of nature, in all of their changing manifestations.
11、In both houses, Meier has responded in a similar and direct manner to the clients needs for a clear division between the more private, intimate and closed spaces and the large, more public open spaces. In both houses the separation between these different kinds of spaces is controlled and mediated b
12、y a complex system of vertical and horizontal circulation paths, which consequently have become the dominant organizing devices within each house. The circulation paths, in other words, no longer serve only the simple functional requirement needed for passage from one place to another; instead, they
13、 assume the much larger purpose of controlling and ordering a highly coherent and interconnected system of movement and flow throughout the various levels and zones within the organism of the house.SMITH HOUSEThe Smith house was completed in 1967 for a family with two children. Its structural system
14、 is organized around wood-framed bearing walls surrounding the enclosed half of the house; in the open, living spaces a line of evenly-placed steel columns support beams at one end, which return to the bearing wall for support at the other end. In the orientation of the house to the site, and within
15、 the plan and the volume of the house itself, a complicated and dynamic interaction exists in the oppositions set up between the diagonal and the orthogonal, and between the concepts of open versus that of closed. One of these pairs of oppositions cannot be discussed without considering the other, b
16、ecause together they form a highly disciplined conceptual framework that establishes the basic mood, organization and orientation of the house.On entering the site, progression is through a dense, closed grouping of trees shielding a drive that is in diagonal relationship to the site, but which soon
17、 turns before finally terminating at the garage, which is orthogonally related to the site but which is diagonally related to the house. The garage is turned precisely 45 degrees from the house, and from its walkway, which returns to an orientation diagonal to the site, one transverses the site thro
18、ugh an open space before ending at right angle, squarely in front of the essentially solid and closed entry plane of the house. Here, the sense of enclosure and privacy is further heightened by two large trees on each side of the entry plane; they continue the sense of the barrier and conceptually s
19、tabilize the frontal plane of the house.The house itself, which is the dominant form on the site, is placed on the diagonal. Inside the volume of the house another diagonal is established in longitudinal section through the overhanging trays of the living room and library over the dining area. But w
20、hile there are no diagonals actually built into the plan, the circulation paths are conceptually related to an implied diagonal that extends from the front, interior stairs to the rear, exterior stairs.While the diagonal-orthogonal relationship may be a strong influence on the site and on the forms
21、placed on it, the main influence within the house is seen in the oppositions that exist between the ideas of open and close, public and private, solid and transparent. Movement throughout the house, and the disposition of spaces within it, are based on a strong orthogonal pattern, but the dominate i
22、dea that emerges is one of open versus closed.Movement begins at the solid, closed entry plane, followed by a zone of essentially private and enclosed rooms. Next, progression is into the transitional area of circulation, and finally out into the high, transparent living area that literally seems to
23、 explode to the outside. But the dialogue between open and close, transparent and solid, does not stop here, for Meier has carried this opposition to the interior walls where, when vision is possible in one direction, it is not possible in the opposite direction.In fact, for every action in the hous
24、e, there is a counter response. A sense of pushing and pulling has been established throughout the volume of the house, both in plan and in section. The entry, for instance, seems to push into the house. In reaction to it, the fireplace pulls out of the other side. In section, the enclosure on the r
25、oof leading to the roof garden is pulled from the house vertically in reaction to the pushing in of the entry. And in the relationship between the layering of spaces within the interior volume, an enclosed space on one plane may be met by a void on another plane.Ultimately, and somewhat incredibly,
26、all of these concepts are coherently brought togetherthe tensions, dynamics, contrasts and oppositions that occur throughout the site and within the houseinto an astonishing richness where, Richard Meier says, “something happens in what is otherwise a fairly simple, box-like building.”HOUSE IN OLD W
27、ESTBURYThe much larger house in Old Westbury, New York, was completed in 1971 for a family with six young children. Structurally, it is composed of steel columns in a rigid grid pattern, steel beams and framing system and, as in the Smith house, a bearing wall that establishes the plane enclosing th
28、e private side of the house from the outside.The house has been placed deep into the gently sloping site, which was formerly used as a pasture for grazing cattle. The orientation of the house appears strange ay first; but while there may seem to be a contradiction in turning the house to face the pu
29、blic road, a dense barrier of trees shields it from the view. Furthermore, and more importantly, this orientation allows morning sunlight into the bedrooms and allows the house to take advantage of the pastoral view across the meadow to the pond.On entering the land, one first sees the house oblique
30、ly, set against a dark background of trees, resting lightly on the edge of a natural clearing. The house is sited in a straightforward, orthogonal manner that is established by the public road and by a natural, linear plane of trees in front and in back of the house. As usual in Meiers residential w
31、ork, the natural characteristics of the land were altered as little as possible; only a few trees were removed from the driveway, the pond was slightly reshaped and the grade was raised slightly to bring the living area of the house to an elevation that would overlook the pond.Because the family oft
32、en entertains guests, including the childrens friends and grandparents, and because they have a stuff who live on the premises, an unusually large number of bedroomselevenand baths were required. The nature of these repetitive elements, coupled with the familys desire to be able to maintain a sense
33、of awareness and visual communication with each other in the large house, indicated that the main circulation route should become the major organizing element of the design. Consequently, it was given a strong linear expression. Ramps, which are rarely considered appropriate for residential use, hav
34、e been effectively and intelligently used to extend the circulation into the vertical dimension, thus offering rich visual possibilities while providing a highly coherent continuity of movement throughout the house.Conceptually similar to the smaller Smith house, the interior here is also organized
35、according to an orthogonal pattern. Rooms of a more private nature, those with repetitive and service elements, are tightly organized into a series of single-level spaces off of the main circulation axis of each level. In contrast, the public spaces on the other side of the linear axis are more free
36、ly organized into volumes of shifting heights. High, glazed walls enhance the sense of vast openness here, where the geometric spaces are dramatically oriented to the outside world.On the open side of the house, a garden courtyard pierces the volume to expose the entire length of the ramp, thus reve
37、aling a highly expressive, dynamic interior line of motion. At the southern end of the house, the line reappears as an open, covered passage between the living room and pool house; its roof is an open bridge between the family room and a playroom above the pool house. At the other end of the house,
38、the axis is continued by the main entry, which is protected under a high, cut-out portico below the third floor. Near the entry, protruding into the portico, a storage unit has been especially designed to encourage the sensation of pulling one into the house. Beyond it, an outside tool shed is desig
39、ned to interact with the entry, and thus to further enhance its sense of pulling. Next to the shed, a free-standing column on the structural grid symbolically terminates the linear circulation axis while, at the same time, it signals the grid pattern of the columns within the house.Returning to the
40、interior of the house, one finds that the living and dining rooms are connected by a spiral staircase that sweeps through the space as a beautiful, kinetic object before it disappears encased on the open roof terrace that is level with the third-floor bedrooms. At the opposite end of the house an ad
41、ditional set of stairs connects directly to all levels within the volume.Ultimately, the houses meaning is primarily centered around its system of circulation. The interaction between the ramps, stairs and passageways makes the experience of moving through the house one of constantly unfolding, wher
42、e all movement finally returns on itself in a different path.译文：史密斯住宅/康尼狄克州/达润城/1967年老卫斯伯里住宅/纽约，长岛/1971年关键词：在当今美国建筑界，理查德迈耶算得上是一个奇才。呈现在我们面前的这些作品，正是在向我们展示他的“迈耶式”风格的建筑。而其中最能显示出迈耶独特而高度个性手法的，便是他所设计的那些不同寻常的私家住宅，因为比起其它类型的建筑，唯有在私人住宅的设计中，所谓的创意，在无碍于种种繁杂或个别要求的明快计划下，才有机会凝聚并且具体体现出来。由于住宅设计的内容并没有玄妙难解决的地方，它可能在建筑师的作
43、品中占有独特的地位与份量，事实上，它能够鲜明的标示出建筑师的建筑理论与设计理念。然而，即使住宅设计的内容如此的清晰易解。正如迈耶的作品中明显展示出来的形态，却使住宅变得错综复杂。这里将介绍迈耶设计的两个住宅，它们都是与迈耶具有必然联系并直接产生在迈耶复杂、极端个性的建筑理念中的。位于康尼狄克州达润城的史密斯住宅，与远大于史密斯住宅的位于纽约长岛的老卫斯伯里住宅，两者在各方面虽然是有明显的区别，但是却可以发现它们有一些源自柯布西耶的作品与思想中的共同之处。最明显的可能是使用了格子形排列的柱子来支撑水品的楼板，因此将墙壁在承重的功能中解放出来，使之自由并只当作围合空间的工具来使用。虽然这两个住宅的
44、入口处以及史密斯住宅的其它地方都使用了承重墙，但是由于柱网结构带来的明快感与穿透性，使内部空间可以任意安排。正是因为这样，在这两个住宅中，平面的形状随着空间的变动而一层层错移。对于室内与户外光线的相互联系，在这两个住正在的设计中，迈耶都下了相当大的功夫，他的用心尤其显示在对室内自然光的调节上。每一个住宅都仔细地对准方位，使早晨的阳光能够射入卧室，而较为轻柔的午后阳光则射入起居空间。而且，太阳的运转对这些建筑物而言还有更深的一层含义，它们从外表到内部全部是白色的，这样就能够在一天当中的不同时刻反射自然光的各种色泽。如此，迈耶说，使建筑和自然形成对比，并因此强化了建筑的存在。迈耶进一步解释说，白色
45、有助于人们觉察自然光的千变万化。当色彩被刻意的使用时，它就会因此具有更重大的含义。迈耶对色彩的运用非常谨慎，但是通常在阳光照射不到的或无法感觉自然色彩的地方，他的用色却非常强烈。由于色彩在不同的场所，因为自然光或人工光的强度照射，会呈现出不同的内含，它们的主要功能仅仅是为了营造视觉效果塑造一种情调，加强或削弱空间元素，如门窗或一些家具的空间角色，或者是加重墙面在空间中的雕塑性。 迈耶在这两个住宅中以类似而直接的手法，反映出业主对诸如更具私密性、亲切而且封闭的空间，以及宽敞而且更具有社交性的开放空间等，予以清除划分的要求。同时在这两个住宅中，借着一个复杂的垂直与水平联络通道系统，来控制并调节这些
46、不同空间的分隔状态，这个通道系统因而在每个住宅中成为主宰空间组织的角色。换句话说，连接通道绝不仅仅是只为了满足一个地方通道另一个地方的路径这种单纯的机能方面的需求。相反的，它们的存在是为了在住宅的有机组织中，贯穿多重的楼层与区域，掌握并安排一种高度依附、紧密联系的运动与联通系统。史密斯住宅 完成于1967年的史密斯住宅，是一个为了有两个小孩的家庭而设计的住宅。它的结构系统是建筑物围合的半边使用木构架承重墙四周围绕；而在开放的起居室的另半边则为一列等距排列的钢柱，支撑梁的一端，另一梁端则架在木构架承重墙上，起居室的外墙是大面积的玻璃幕，而建筑物的背侧表面则使用垂直的木墙板覆盖。位于康尼狄克州达润
47、城，俯瞰长岛的这个五室住宅，坐落于一处岩石与树林交错之地，经过细心的方位上的安排，正好使它取得了面向海湾、海岸以及远方海洋的最佳视野。这片土地大体上仍然保持了其原有的味道；在进口车道两旁稠密的长绿树木遮掩了从公路上看过来的视线。在另一边，地势起起伏伏，一直延伸到礁石散布的岸边。这一片土地的等高线顺着一个明显的走向，仿佛这一系列的地层指示了基地的一种强烈的方向感，并且塑造出这个基地的轴向。这个建筑物被置放在基地面向海洋的一侧，正好是地形上隆起的一个滑落处，而不是在这个隆起的地形最高处，将建筑物放置在地形的隆起处或许是一种比较常见的手法，但是，如果那样做的话，无疑会破坏这个基地上自然特点之一。就建
48、筑在基地上，坐落方向与其本身的平面以及空间体系而言，在由斜交与直交以及开放与封闭的概念所构成的对立关系中，存在着一种复杂而又生动的相互作用，对于这些由对立关系形成的空间形态，实在是没有办法仅仅就其中的一个角度来讨论它，由于这种对立关系的结合，形成一个非常严谨的概念框架；正是因为这个才构建了建筑的基调、组织及其方向性。一进入基地，方向性由一条被苍翠树林保卫而且与基地斜交的车道来引导，但这个方向性很快地在车道的尽头的车库那里转向，车库的方位与基地直交，但与住宅却是斜交的，车库的方位由住宅的轴线旋转了 45度角，从车库转入走到，方向又转变为与基地斜交，走道横穿过进地上的一片开阔空间，引导到垂直、方形
49、，大体上是实体而且封闭的建筑物入口的一面。在这个正面的两侧有两棵大树，进一步增强了空间的被包围感与私密性，它们延伸了屏障的感觉，并且使建筑物的正面得到一种概念上的稳定作用。在基地上属于主宰性形体的住宅本身，以对角的方式布置，而在建筑物的内部空间，沿着纵剖面，由悬挑的书房、起居室到餐厅，在空间上形成了另一组对角的关系。虽然在平面的空间组织上并没有加入任何斜角的形式，但是有住宅前方的室内楼梯延伸到后侧户外楼梯的连通通道，在理念上，似乎可视为一种对角的形式。尽管前面所谈到的斜交与直交的关系，可能是对掌握基地以及布置在基地上的建筑形态是一种强有力的影响因素，但是在建筑物内部我们会发现，最主要的支配力量，仍然是存在于开放与封闭，公共与私密，实体与虚体等概念中的对立形态，虽然整个建筑物的内部活动路线与空间排列，都是衍生于一种鲜明的直交坐标系统。但是显而易见的是，支配