赤陶工作室

建筑設(shè)計：赤陶工作室 | 設(shè)計團(tuán)隊：Nguyen Hai Long,Tran Thi Ngu Ngon,Trinh Thanh Thu,Nguyen Anh Duc | 地點(diǎn)：越南，廣南省 | 基地面積：2000 平方米 | 建筑面積：49 平方米 | 攝影：Hiroyuki Oki

Design Company: Tropical Space | Design Team:Trinh Thanh Thu,Nguyen Anh Duc | Location: Dien Ban District,Quang Nam Province | Site Area: 2,000 m2| Built: 49 m2| Photo credits: Hiroyuki Oki

Terra Cotta Studio 工作室位于越南廣南省奠盤市（Dien Ban District），鄰近秋盆河（Thu Bon river），以著名藝術(shù)家Le Duc Ha 的工作空間而聞名。秋盆河對于當(dāng)?shù)鼐用裆钣兄匾绊?，多?shù)居民以農(nóng)業(yè)為生，也有人制作各式各樣的傳統(tǒng)手工藝，如陶器、草席及絲綢。

這棟建筑是由一個長、寬、高均為7 米的正方體構(gòu)成。周圍環(huán)繞著竹框架用于晾干陶制品，同時設(shè)置兩張長椅提供喝茶、休憩與放松空間；高架平臺亦作為圍籬，將工作室空間隔開。工作室的最外層以粘土磚砌成，讓人聯(lián)想到越南傳統(tǒng)的火爐，此外也帶有占婆文化的特征，因為此區(qū)曾經(jīng)是查喬（Tra Kieu）的一部分，查喬在4至7 世紀(jì)時是占婆王朝（Champa Kingdom）的首都。

墻體并非用來阻絕外部與內(nèi)部環(huán)境，我們透過磚塊交錯排序，產(chǎn)生有助于空氣流通和溫度調(diào)節(jié)的孔洞；因此藝術(shù)家在其中仍可感受到微風(fēng)、河流與周圍自然的聲音以及涼爽感，同時也替藝術(shù)家創(chuàng)建一定程度的隱私性。內(nèi)部空間是三層木框體系，由高度7 米以及60 平方公分的模塊組成；該設(shè)計可用于放置、展示以及收納陶藝作品，也兼具樓梯、廊道與座椅的功能。沿著走廊，訪客可透過窗戶看見工作室、河岸以及整座花園。

工作室的中心有兩層平面。在一樓有藝術(shù)家用于創(chuàng)作的轉(zhuǎn)盤工作臺，在陽光照射下，工作室從日出到日落都能與光影互動；空間展示出藝術(shù)家與作品之間的對話關(guān)系，更能不經(jīng)意地發(fā)現(xiàn)藝術(shù)家工作的身影。在夾層空間可看到工作室內(nèi)部及外部相異的空間樣貌，也能通過樓板中間的圓形天井空隙觀察到藝術(shù)家的工作過程；另外人們還能透過陽光角度的變化，感受時間在陶藝品上的痕跡。

設(shè)計促使藝術(shù)家將完成與未完成的作品放置在上層展示架，然而洪水也成為季節(jié)性的災(zāi)害考慮，以避免為藝術(shù)作品帶來重大損失。設(shè)計團(tuán)隊希望工作室能成為藝術(shù)家傳播思想、品味與情感的場所，更是一處能讓人們共享陶藝熱情，參與、體驗陶土之樂的地方。

This building is located next by Thu Bon River in Dien Ban District,Quang Nam Province.The river has a huge effect on the inhabitants around.Most people here live on agriculture along with several traditional occupations such as pottery,natural sleeping mat,rice paper wrappers making.

The studio is where the artisan works on his projects and comes up with new ideas.The building is a 7m×7m×7m cube inspired by the image of a block of clay pulled up from the nearby river.

The studio and exhibition spaces are created by“weaving” the natural surroundings,other watchers together with the daily activities of artisan around the potter’s wheel.Light is brought directly from the atrium to the central position where the turntable is located.The artist works in the boundary between light and shadow.He will be able to move between two areas of light and dark shadow area for contemplation.He can have soulful conversations with the works,his shadow and with himself.

The second floor space is a wooden frame system for exhibiting artist's completed works and a place to cope with floods -in October every year the water of the river rises more than 2m above the foundation of the studio.Everybody accesses freely in wooden shelves and blends into the space.These shelves are not fixed so that it can create void and filled space in between.From the wooden frame space,we can view the products,look outside over the garden where there are bamboo fences and a beautiful river,as well as observe the artisans working at the center.We want to make the wooden frame to be a connection between visitors,pottery,artisan and surrounding context.The shell of the building is seen as a thin layer of fabric surrounding the wall of a cube,which is made by stacking traditional terracotta bricks.We try to create a space where the external environment is able to interact with the internal architectural area.The artist can hear the sound of leaves swinging in the wind,the sound of birds,and feel the steam from the river while working at the center of his studio.

The outermost is a bamboo fence for drying unburnt potteries,and a place to hang out or have a relaxing tea break outdoors.It is also the conventional boundary between the building and the garden.The bamboo fence is made from the bamboo bushes nearby.This architecture conveys the simplicity and the admiration for pottery,thus telling a story about this occupation.We search for straightforward easy spaces with simple common materials,but still having the opportunity to embrace the complexity of attractiveness and where imagination communicates with place.