“擁抱”別墅 希臘帕羅斯島

設計單位：React建筑師事務所

主創建筑師：Natasha Deliyianni， Yiorgos Spiridonos

合作建筑師：Ioannis Kouzoumis

結構工程師：Christos Smyrnis

機電工程師：Nikos Chrystofyllakis

場地監管合作人：Ioannis Vagias

面積：150 平方米

項目年份：2017年

攝影師：George Messaritakis

Architects： React Architects

Architects in Charge： Natasha Deliyianni， Yiorgos Spiridonos

Collaborating Architect： Ioannis Kouzoumis

Structural Engineering： Christos Smyrnis

Mechanical & Electrical Engineering： Nikos Chrystofyllakis

Site Supervision Collaborator： Ioannis Vagias

Area： 150 m?

Year： 2017

Photographs： George Messaritakis

“擁抱是一種表達親密的肢體語言，在人類文明社會中是通用的。擁抱就是兩個或兩個以上的人將手臂圍繞在另一個人的脖子、后背或者腰部，緊緊相抱。”

該項目位于帕羅斯島上的Aghios Ioannis Detis。場地的東邊朝向大海，遠處即為納烏薩海灣。這片區域受特殊保護，且與Aghios Ioannis Detis 建造的環境公園相鄰。

整個項目由兩個單獨體塊組成，二者共用一片戶外空間，其中包含一個游泳池。單個大體量建筑被分成兩個，協同適應這片地形。兩個體塊均面向海景，二者之間的空間則打造成中央庭院，用以適應傾斜的場地和免受北風侵襲。

在場地西側的至高點，兩側的磚石墻壁形成建筑的入口。小體量的建筑盡可能地適應基地的形態和坡度。最低目標要求是一個建筑體塊就能承擔保護區域的重量。免受強風侵襲的后院，通過直接引導人流進入建筑體量的核心空間來組織功能排布。這樣的形式與修道院的空間形式如出一轍，后者周邊為單個空間，中央則是禮拜堂。類似的空間排列還有傳統的綜合建筑‘katoikiés。

石墻圍繞并且“擁抱”建筑，保護建筑不受人窺探。整個項目中，有的地方石墻與建筑相連成了建筑的墻體；有的地方則是利用石墻圍合形成庭院，以適應場地和環境。只有在庭院內部才能看到建筑的抹灰白墻，路人只能看到部分立面。立面包括了圍繞中央庭院的墻體；在這個方面實現了形式的可塑性，整合成統一的建筑方法。開口的設計結合了建筑的特色。主要以重復和標準化的特征為主。在場地邊界上的開口則盡可能少。遠處有小山坡的景色，因而側重強調“第五立面”，即屋頂。

通過利用基克拉迪建筑的特點，我們設計了一系列的建筑和地形景觀，以適應基克拉迪無水的條件，以期在環境中留下盡可能小的足跡。著眼于創造一種當代建筑語言的基克拉迪建筑形態特征的轉變，以及與自然景觀的融合，是設計的指導原則。

建筑師希望建筑的整體介入能夠在與景觀的對話中，創造一處宜居的空間。通過打破屋頂和室外空間的界限，創造空間和地域性的熟悉感，擁抱人類活動。

"A hug is a form of physical intimacy， universal in human communities， in which two or more people put their arms around the neck， back， or waist of one another and hold each other closely."

The work is situated at the Aghios Ioannis Detis location on the island of Paros. It has an eastwards orientation， with a view towards the sea and the Naoussa bay. The area is under a special protection order， and adjacent to it the Environmental Park of Aghios Ioannis Detis has been created.

The complex consists of two buildings with a shared open-air space and a swimming-pool. The large mass of a single building is broken down into two and is harmoniously adapted to the terrain. The masses are laid out facing the view， and the central courtyard has been created between them， adapted to the slope of the terrain and protected from the north? winds.

The entrance is on the western side of the site， at its highest point， and has been inserted between the masonry buttressing walls. The buildings， of a small mass， are adapted as much as possible to the incline and topography of the terrain. A basic aim has been the least burdening with a building mass of the protected area. The courtyard at the rear， protected from the strong winds， organises the functions by creating a nucleus with direct reference to the building masses. Such forms are encountered in monasteries， which have the cells on the perimeter and the church in the centre. Similar arrangements are also to be found in traditional complexes of ‘katoikiés.

The stone walls encircle and ‘hug the building， protecting it from prying eyes. Ιn some places， the walls become a building， and in others， courtyards are created， adapted to the ground and to the environment. The plastered white walls of the buildings are visible only from the inner courtyard， and fragments of the elevations can be seen by the passer-by. The elevations consist of walls around the central courtyard; in this way plasticity of form is achieved， integrated into a unitary approach to architecture. The design of the apertures is combined with the architectural character of the building. The feature of the repetition and standardisation predominates. The apertures in the perimeter wall are as few as possible. Great emphasis is placed on the ‘fifth elevation， the roofs， as there are views from the hills round about.

By employing the features of Cycladic architecture， we have designed an ensemble of buildings and a landscaping of the terrain adapted to the waterless Cycladic conditions， with a view to leaving the smallest possible footprint on the environment. The transformation of the morphological features of Cycladic architecture with a view to creating a contemporary architectural language is， together with its integration into the natural landscape， the guiding principle of the design.

The totality of the intervention realised is in dialogue with the landscape and creates a space for habitation. Βy breaking down the boundaries between the roofed and open-air space， it embraces human activity in creating a familiarity with the space and the locality.