中泰合作學院

項目地點：泰國巴吞他尼府

建設單位：蘭實大學

用地面積：3 100平方米

總建筑面積：2 000平方米

建筑/室內 /景觀設計：Studiomake

首席建筑師：David Schafer, Im Sarasalin Schafer

設計團隊：Supasit Muangsrikul

結構工程師：Borvornbhun Vonganan

設計時間：2011年

竣工時間：2015年

攝影：Spaceshift Studio

Location: Pathumthani, Thailand

Client: Rangsit University

Site Area: 3 100 m2,Gross Built Area:2 000 m2

Architects / Interior / Landscape: Studiomake

Chief Architect: David Schafer, Im Sarasalin Schafer

Design Team: Supasit Muangsrikul

Structural Engineer: Borvornbhun Vonganan

Design Year: 2011

Completion Year: 2015

Photography: Spaceshift Studio

我們很少從圖像學或象征主義角度開始一個項目——對我們來說，形式總是其他決定和關系的雙重產物，但建筑本身對我們的客戶來說是一個重要的姿態體現，一個標志著大學致力于泰國和中國之間的學術和文化合作交流的象征。因此，我們試圖將一系列相關的概念編織在一起，這些概念既宏大又細致。理想情況下，從建筑中的某些元素和態度會產生這樣的問題：“什么是中式風格？什么是泰式風格？”

Rarely do we start a project from iconography or symbolism— for us, form is always a bi-product of other decisions and relationships, but the building itself was an important gesture for our client,a symbol to mark the University’s commitment to a collaborative academic and cultural exchange between Thailand and China. So we sought to weave together a tapestry of relatable notions both grand in scale and intimate in detail. Ideally certain elements and attitudes within the architecture ask the questions “What is Chinese? What is Thai?”.

我們總是從材料和制作開始談起，開始思考兩種文化之間共享的基本和相關的建筑方法。磚塊是一個聚合的過程，許多簡陋的個體聚集在一起，形成一個潛在豐富而復雜的整體。泰國磚為紅色，而中國磚為灰色——這與土壤的性質有關。我們對灰磚的中性方面感興趣（紅磚是西方學術建筑的象征），但自然對在中國生產磚并將其運往泰國所帶來的環境負擔不感興趣。在討論概念的同時，我們開始參觀當地的磚廠，發現一家工廠正在做雙燒磚的試驗。我們看到，通過在特殊的加熱環境中雙燒，粘土的顏色從紅色轉變為灰色。我們立即聯想到，土壤屬泰國，但顏色為中式風格。

Our conversations always begin with material and making, and we started thinking about the basic and relatable construction methods shared between the two cultures. Bricks are an aggregative process,many humble individuals come together to form a potentially rich and complex whole. Thai bricks are red while Chinese bricks are grey— this has to do with the nature of the soil. We were interested in the neutral aspect of a grey brick (red brick is an emblem of western academic architecture), but naturally weren’t interested in the environmental burden of producing bricks in China and shipping them to Thailand. Concurrently with our conceptual discussions we began visiting local brick factories and found a factory that was doing experiments in double-firing bricks. We saw that by double-firing in a special heat setting, the clay color shifts from red to grey. We immediately connected with the idea that the soil would be Thai, but the color would be Chinese.

我們早期的大規模研究始于一個具有更微妙入口的古典對稱建筑的想法；建筑堅固且極具標志性，但其使用和抵達過程為一個更加親切且精致的體驗。該項目分為公共展覽空間和更多的私人辦公空間，在一個單一的屋頂下，在材料上統一，但在細節上有所區別。我們的想法是設計一個可以響應程序差異的單一模塊，并以兩種截然不同的方式進行部署。水平排列時，磚塊形成立體排面，偏移的頂端在某些區域對齊，形成清晰的陰影線，在其他區域交錯排列，形成粘重質地，急轉直下。垂直排列時，磚塊形成間隔緊密的圓柱體，這些圓柱體聚集成一個掩蔽，偏移頂部相結合以改變圓柱體的形式和相等的空隙。

Our early massing studies began from the idea of a classically symmetrical building with a more nuanced entrance; the image of the building is strong and iconic but its use and process of arrival becomes a more intimate, choreographed experience. The program was divided between a public exhibition space and more private office spaces leading to equal volumes, under a single roof, unified in material but differentiated in detail. Our idea was to design a single brick that could respond to the programmatic distinction and be deployed in two dramatically different ways. Used horizontally, the bricks form a solid mass, with the offset peaks aligned in certain areas creating a crisp shadow line and staggered in other areas creating a heavy texture, almost a turbulence. Used vertically, the bricks form tightly-spaced columns that gather as a screen, the offset peaks combined to variate the form of the columns and the equal voids.

一個露天的中央庭院將兩個空間連接起來，坐落在山峰和寬闊的后張拉混凝土屋頂的懸挑下。

An open air central courtyard connects the two volumes and sits under the peak and generous overhangs of the sweeping post-tensioned concrete roof.