艾斯普利斯咖啡廳，德黑蘭，伊朗

建筑師：Hooba設計團隊

艾斯普利斯咖啡廳，德黑蘭，伊朗

建筑師：Hooba設計團隊

1　外景/Exterior view

面積僅有28m2的艾斯普利斯咖啡店位于德黑蘭市中心的內賈圖拉希大街，周圍滿布伊朗手工藝品商店，對面緊鄰伊朗工藝品組織大樓。項目企圖對一個禮品商店進行更新，將其改造為咖啡廳。考慮到建筑的小尺度面積與其位置環境，受城市文脈語境啟迪而生發出將傳統元素轉化為建筑室內空間的核心想法。

在進行空間圖解的過程中，空間實體的概念始終以塑造一個由外而內連續延展的完整幾何形體為基礎。

建筑立面的靈感來自街道對面的伊朗工藝品組織大樓所使用的紅磚外立面，建筑師受此啟發在咖啡店中使用了相同的材料。基于對建筑體量很小這一情況的考量，每個尺寸為5cm×10cm×20cm的磚塊被切割為8個5cm×5cm×5cm的小磚塊，小磚塊的一面飾以土耳其藍玉色釉面。在增加抗菌表層覆面后，這些陶土磚也能夠更好地保持衛生狀況。

原有建筑地面層僅2m的層高和更低的閣樓夾層層高很容易給人留下深刻印象。而在處理現存建筑結構的相關問題時，這一特征也成為空間設計的入手點。

閣樓層的前半部分被拆除，改變為一個更小的閣樓空間，從而為地面層創造出更高的層高。布置在閣樓層中的廚房和后勤空間通過樓梯和小電梯與地面層連接。

接下來在空間構圖中需要完成的則是為廚房提供通風系統。為了達到將通風系統隱藏于建筑形體當中來與廚房連接的目的，則衍生出從體量外部延伸至內部，將廚房、室內空間和外在形體連接在一起的立體圖解。

通過立體圖解而構建的整合結構，不僅要滿足需通過現存結構來解決的各個設計要點，還要清楚地勾勒出基于此圖解便可以將所有磚塊定位布置的形體。

設計當中一個要點是在狹小的空間中為形式創造視覺上的變化。在這一概念中，訪客與建筑之間的相對位置關系對理解建筑形式尤為重要，當所處方位改變時，人們能夠對磚塊上色彩的構成產生不同的感知。立體圖解中構造出了從人行步道一直延伸至咖啡店內的整塊磚表皮形體，磚塊涂有土耳其藍玉色的一面全部朝向形體的南側布置。

項目的照明方式通過布置在磚塊連接節點間縫隙中的燈具來完成，其靈感來自于伊朗傳統建筑，在這里被轉譯為現代設計語言呈現出來。

另一種應用于室內空間的材料是用在地板、家具、連接廚房的后墻等部分的深色木材。

設計中最后一項需要完成的目標是提供一種簡潔易行的建造技術，為完成建造的建筑工人提供便利。為實現這個目標，每一個磚表皮形體的剖面都被以1：1的大比例打印。金屬框架被放在打印出來的圖紙上，再彎曲成設計的曲線形狀。磚塊全部通過固定在金屬框架上的柱狀連接件進行定位，借助磚塊后部的小孔完成安裝，這在立體空間圖示中已經描述出來了。

在這個項目中，照明材料特別選擇了SMD燈和有機玻璃的組合，以便于將來通過手工即可完成維修和更換。（陳茜 譯）

項目信息/Credits and data

客戶/Client: 私人/Private

建筑用途/Building's Purpose: 咖啡館/Coffee bar

建筑面積/Usable Floor Area: 28m2

磚材類型/Brick Type: 飾面磚/Facing bricks

建造周期/Construction Period: 2012.09 – 2014.08

攝影/Photos: Parham Taghioff

2　改造前立面/Facade before renovation

3　改造后立面/Facade after renovation

4　裝有LED燈的磚墻細部/Brick detail with LED element

5　內部空間生成/Diagram of inner space

6　LED燈效生成/Diagram of LED element

Espriss Cafe with 28m2space is located in Nejatollahi street in center of Tehran surrounded by Iranian handicrafts shops， neighboring the building of Iranian handicrafts organization. The aim of the project was to renovate a gift shop and change it to a cafe， considering the small size of the project and its location the main idea inspired by the urban context to transform the traditional elements into an architectural interior space.

In designing the spatial diagram， the materiality concept is based on an integrated geometry continues from outside to inside.

The neighboring building， Iranian handicrafts Organization with brick facade， was the inspiration to use the same material for the cafe. Concerning the small size of the project， a brick with 5×10×20 dimensions sliced into eight smaller pieces of 5×5×5 centimeters which one side of the bricks glazed in turquoise blue color. The terracotta bricks are also hygienic as they covered with antibacterial layer.

Taking a glance at the existing building with two meters ceiling height on ground floor and lower height on mezzanine floor became the starting point to design the spatial diagram that could work out the issue of the existing structure.

At the begin half of the mezzanine floor demolished and changed into a smaller level to reach a higher ceiling for ground level， then the kitchen with services area placed in the mezzanine floor connected with the other level by stairs and a small lift.

Next step was providing a ventilation system for the kitchen in the spatial diagram. The purpose was to hide the ventilation system inside the form and link it to the kitchen， so the 3D diagram stretched from outside to inside of the volume and create a connection among the kitchen， internal space and the outer geometry.

The 3D diagram created an integrated structure for all the features to work out the issues of the existing structure， which also introduces the morphology of brick an light as all the bricks are positioned based on the 3D diagram.

One of the main issues of design was creating a visual variation of the form in a small space. In this concept， the situation of visitors in relation to the project is significant in order to understand the form as they can differently perceive the composition of colors on the bricks regarding to their position. The turquoise blue glazed side of the bricks are facing south shaped with the monolithic geometry of brick laying that was modeled by the 3D diagram started from the pavement of the pedestrian and continues inside of the cafe.

The lightening of the project is formed by the lamps provided in the gaps in between the joints of the bricks inspired by Iranian traditional architecture which translated into a modern language of design.

The other material used for the interior space is dark wood， as applied to the floor， furniture， and back side wall linked with kitchen.

At last the goal was to develop a simple technique so every builder would be able to complete the construction. To achieve this goal each section of brick contours printed in large format in one to one scale. the metal frames placed on the printed posters and bent following the curve lines， each brick positioned using the small cylinders attached to the frames and installedvia the holes on the back side of the bricks which done in order to the 3D spatial diagram.

Combination of SMD lamps with Plexiglas material selected for this project so fixing and changing them would be manually done in the future.

評論

韓孟臻：在狹小空間改造項目中，建筑師通過插入三維曲面，洗練地劃分出店面、夾層和設備空間；該曲面同時以“低分辨率”、像素化的方式形成了內外空間的界面表現。作為構成墻面的最小標準單元，磚自然而然地在很多項目中扮演起虛擬空間中三維曲面的標準像素。本設計中將磚切割成8份，以縮小像素體積的手段，相對提高了小尺度三維曲面的分辨率。替代砂漿砌筑的干掛構造，使磚以受拉的姿態脫離地球引力，專職再現了三維軟件中非重力的自由曲面形態。由于磚的長期歷史沉淀給人留下的記憶，又會使人產生出厚重、親切、甚至砌筑而成的心理錯覺。如果僅憑直觀感受置身其中，不禁會聯想起磚石穹頂下的空間體驗，進而聯想起路易·康的詰問：“磚，你想要什么？”

Comments

HAN Mengzhen: In an attempt to maximise and renovate the narrow， small existing space，the architect allocated space for for the café， mezzanine and equipment storage by employing curved surfaces. The resulting wall utilizes the concept of "low resolution" and "pixelation" for inspiration， and the result forms an interface between the interior and exterior space. As the smallest unit in the wall space， the brick naturally can act as the standard surface "pixel" in many projects. The designer reduced the size of each pixel by dividing the bricks into eight components，effectively increasing the resolution. Mortar has been replaced with brickwork in this dryhanging structure， which allows the bricks to be liberated from gravity. This configuration presents a non-gravitational freeform surface that is usually seen in 3D software. Due to the long-standing and established notions the public have regarding brickwork， this particular design resonates a sense of thickness， warmth and solidity. When standing within the structure，a person could easily associate the design with a brick arch， which reminds one of the question asked by the famed architect Louis Kahn – "What do you want， brick？"

袁烽：艾斯普利斯咖啡廳以一種特殊的磚石建構方式對建筑室內外進行了一體化的處理，在創造了一種內外空間的連貫性的同時，打破了磚石的固有建構形象，形成了一種像素化的復雜建筑曲面形態。建筑師采用龍骨懸掛的方式對磚石進行砌筑，整個建構過程是建立在一個系統化的三維圖解的基礎上，建筑師通過將圖解規則向參數幾何進行轉譯形成了整個曲面形態的砌筑邏輯。同時，建筑師以參數化的圖解思維在形態處理和磚石排布上追求著一種圖案的漸變和退暈效果，并將這種效果與人工照明相結合，在相對尺度不大的空間中形成了豐富的視覺體驗。由于建筑師在材料選擇上采用了尺寸較小的磚塊，配合上述的視覺設計，形成了更加近人的形體尺度和友好的材料觸感，體現了建筑與人體本身最為直接的交流。

Philip F. Yuan: Espriss Café introduces a particular method of brick assembly that intends to integrate indoor and outdoor surfaces into a single entity. Its pixelated， curvilinear form breaks the traditional impression of tectonics and creates a spatial continuity between the interior and exterior. The hanging brick system is presented as a 3D geometrical diagram， in which the translation from diagrammatic rules to geometrical parameters generates the internal logic of brick distribution. Based on parametric thinking， the gradual variations of the brick pattern，combined with a lighting design integrated into the brickwork， creates various visual experiences. Moreover， the architect chose miniature bricks to achieve a friendly tactile impression of the wall， which establishes a direct communication between the building and the human body.

Espriss Café， Tehran， Iran， 2014

Architects: Hooba Design Group

7　內景/Interior view