灵感来自印度阶梯井的私人别墅

发布于：2023-05-26 10:56:26 来自：园林景观/景观规划设计 [复制转发]

除了主要的钻石和纺织行业，最近其他行业如石油、航运和冶金使苏拉特在很短的时间内发展成为一个庞大的大都市，使它成为全国最富有的城市之一，也是一个充满活力的城市。

Alongside the major diamond and textile industry, recent other sectors such as oil, shipping and metallurgy have contributed to the growth of Surat into a sprawling metropolis in a very short time, making it one of the richest cities in the country and one that is highly vibrant in character.

海滨小镇杜马(Dumas)距离熙攘的城市仅20公里，这里曾经是纳瓦布(国王的贵族)的众多havelis(宅邸)，现在则是一片宁静环境，使得人们选择从城市搬到这里。项目是一个珠宝商的房子，业主一对夫妇和他们的儿子，离海岸只有几分钟的路程，只需要一些在棕榈树之上的高地，便可以欣赏到阿拉伯海的壮丽景色。淡水井在现场被发现，这在沿海地区是罕见的。并将它们这两者结合的水编织在房子里，成为设计理念。

Located only 20 km away from the hustle bustle of the city is the coastal town of Dumas, marked once by its numerous havelis (mansions) for the Nawabs (noblemen of the kings), now its peaceful setting is the reason people opt to move here from the city. The site for the house of a jeweler couple and the family of their son, lies minutes away from the coast and required only some elevation over the palms, to be able to afford breathtaking views of the Arabian Sea. An old baori (fresh water well) was found on site, a rare find in the coastal regions - and the joining of these two waters and weaving them through the house, became the driving force of the design.

空间的规划是由Vaastu的严格限制所强加的，必须遵守印度传统建筑设计的限制原则，这往往源于神话。这是违背理性和理性情境思维过程，它将各种空间和元素的固定位置分配给主要方向——包括入口、水体、厨房和每个卧室，连床的朝向，甚至连马桶都有问题。

The planning of spaces was imposed by the strict limits of Vaastu that had to be adhered to- a set of principles of traditional Indian building design that often arise from myth and defy rational and contextual thought processes. It assigns fixed locations of various spaces and elements to the cardinal directions – including the entrance, water bodies, kitchen and each of the bedrooms, down to the orientation of beds, even water closets.

过去的元素体现在房子的石头砌筑围护中，高高在上给道路一侧形成视觉和音障，并在场地宁静的内部两侧开放。薄薄的混凝土管堆在这个巨大的石头基座上，推拉形成框景，四周广阔的景色尽收眼底。这留下了一个内在的空白作为主角—— 一个蜿蜒的体量，收缩和扩张，缠绕着五层楼中的每一层变成了一个无缝的连续体。

Fragments of the past are manifested in a stone masonry enclosure for the house, high on the road side to form a visual and sound barrier, and open on the serene internal sides of the site. Thin concrete tubes are stacked up on this massive stone base, pushed in and pulled out to frame views of the expansive landscape all around. This play leaves behind a void within that emerges as the protagonist – a snaking volume that constricts and dilates, entwining each of the five floors into a seamless continuum.

上层的每个管道都为家庭成员提供了私人套房和公共空间，包括生活区、寺庙、入口前厅、厨房和公用设施都坐落在它们的正下方。其中，家庭生活区结合了餐厅。进入房子角落的半开放式阳台和游泳池可以欣赏远处的景观。主卧室和儿童卧室和一楼的休息室可以看到这个空间，默认情况下，它形成为房子的核心。从在这里，业主可以从一边看到深埋在地下的水井，从另一边看到天空。

While each tube on the upper floors contains private suites for members of the joint family, the common spaces of the house including the living areas, temple, entrance vestibule, kitchen and utilities are all nestled directly beneath them. Of these, the family and formal living areas along with the dining, open out into a semi open verandah at the corner of the house adjoining a swimming pool and landscape beyond. With the sit out of the master bedroom and childrens' lounge on the first floor looking into this space, it forms the nucleus of the house by default. From

here, one looks at the baori deep into the ground on one side and sky through the void on the other.

设计灵感来自于现在已经消失的古印度阶梯井（一段很长的台阶通往不断波动的地下水位的通道），沿着井底旋转内部环绕着阳光照射的空间，连接所有上升到顶部的空间走150级台阶到海边。

Inspired by the now extinct typology of the ancient Indian step well, a long flight of steps that give access to an ever fluctuating table of water - the stair starts from the base of the well, rings along the inside and wraps around the sunlit void, connecting all of the spaces as one rises to the top - a walk 150 steps up to the sea.