由专筑网阿宁，卢荣姝编译
来自事务所的描述：这座建筑是一个穿着信息时代外衣的现代主义结构。这是一个诠释信息时代的无结构性、随机性和不和谐性的实验。结合主观分析和理性决策一起，通过自然通风降低能源消耗。
From the architect. This house is a modernist structure with an information age face. This is an experiment in expressing the amorphousness, randomness, and dissonance of the information age. This subjective analysis is paired with rational decisions to reduce energy usage through natural ventilation.
© Hiroyuki Oki
这个住宅的基本目的是为建筑师和他的家人在退休后提供一个舒适的住所。地处热带气候，户内外的大量阳光和空气急需被利用起来。需要自然通风的同时尽量少地使用空调，因此外立面的很大部分做成开放的，好让微风通过。
The primary goal for this house is to provide a comfortable place for the architect and his family in retirement. Lots of light and air are desired to take advantage of the indoor/outdoor opportunities provided in this tropical climate. Natural ventilation is desired while minimizing air conditioning, so a large proportion of the exterior facades are given over to openings to let the breeze flow through.
© Hiroyuki Oki
Floor Plan/平面图
在越南，法国殖民者的早期现代主义住宅在外墙的上部和每层的内墙上都有很大的通风孔，后来使用吊扇来驱使空气从洞口流动。但越南近二十年大多数住宅变得更像洞窟，因为空调价格下降使得人们更容易接受。空调需要密闭空间，因此通风孔减少，门窗保持关闭。
French colonial and early modernist houses in Viet Nam had extensive vents at the tops of exterior and interior walls on each floor, and later used ceiling fans to move air through the openings. But most houses in Viet Nam over the past two decades have become more like caves as air conditioning became more available at a reasonable cost. Air conditioning requires contained environments, so openings have been eliminated and doors and windows remain closed.
© Hiroyuki Oki
© Hiroyuki Oki
这座住宅中在所有外墙和内隔墙均安装有玻璃百叶窗，使整座房子以及开放式楼梯得以通风。当必须打开空调时，百叶窗可以关闭，但实际上几乎不需要开空调，微风每时每刻都会穿过房间。
This house has louver glass windows at the tops of all exterior and interior cross-walls to allow ventilation throughout the house as well as up the open stairway. The louver windows may be closed if necessary to allow air conditioning, but in practice, air conditioning is rarely required and the breezes move through the house at all times.
© Hiroyuki Oki
大多数越南住宅为了通风，白天打开门窗，但晚上为了安全必须关闭。大部分房子的门窗内侧使用钢栅或钢板。在这座住宅里，钢栅覆盖了所有阳台的外部，这样门窗在需要的时候可以保持打开。这种效果更像鸟笼而不是监狱。阳台外的钢屏让房间延伸与阳台一体。
Windows and doors are opened during the daytime in most Vietnamese houses for ventilation, but they must be closed at night for security. In most houses, steel grids or screens are provided on the inside of all windows and doors. In this house, the steel grid envelops the house at the outside of all balconies, so windows and doors may remain open at all times if desired. The effect is like living in a bird cage instead of jail cells. The steel screens outside of the balconies thus extend the rooms to include the balconies.
© Hiroyuki Oki
Section/剖面图
阳台在越南住宅中很常见，但通常是一米宽的长方形，只能放下一两把椅子。室外的门窗和阳台边缘张开的角度使阳台呈3米宽，能放下更多的桌椅。
Balconies are common on Vietnamese houses, but are usually rectangular at 1 meter wide, which only allows a chair or two. The exterior doors and windows and the balcony edges of this house are splayed at angles to allow tables and chairs at the 3-meter-wide ends of the balconies.
© Hiroyuki Oki
每层阳台边界张开角度的组合，以及钢质安全屏为超越现代主义的建筑提供了机会。建筑师非常尊敬越南建筑师过去80年来发展出的独特的现代主义建筑形式。他们一直对抽象的线条、图案、材料、质感、颜色、形状和体积进行组合的实验。但这些组合经常是互相垂直的。而这个设计并不是。
This combination of splayed balcony edges on each floor, as well as the steel security screens, provides opportunities for an architecture beyond modernism. The architect highly respects the uniquely Vietnamese modernist style for houses that Vietnamese architects have developed over the past 80 years. They continue to experiment with abstract compositions of lines, patterns, materials, textures, colors, shapes, and volumes. But these compositions are almost always orthogonal. This design is not.
© Hiroyuki Oki
阳台成角度的边缘，和每层比下一层退后的一米，强迫钢栅如瀑布般扭曲着倾泻下四层立面。扭曲表现出信息时代的不定形态，钢屏与阳台和浅色架子之间的层次感表现了信息时代的不和谐性。这样通过一个简单的概念表达了信息时代的复杂性。
The angular edges of the balconies, with each floor set back a meter from the one below, compels the steel grid to cascade down the four-storey face of the house, warping as it goes. The warping exhibits amorphousness, the pattern of the steel cross-bars expresses randomness, and the layering of the screens against the balconies and light shelves displays the dissonance of the information age. The complexity of the information age is thus expressed in a simple concept.
© Hiroyuki Oki
© Hiroyuki Oki
© Hiroyuki Oki
Detail/细节
建筑设计：Mel Schenck
地点：越南，胡志明市，Tân Phú
设计团队：Mel Schenck, Nguyen Thi Tra Giang
面积：309平方米
项目年份：2015年
摄影：Hiroyuki Oki
Architects: Mel Schenck
Location: Tân Phú, Ho Chi Minh, Vietnam
Design Team: Mel Schenck, Nguyen Thi Tra Giang
Area: 309.0 sqm
Project Year: 2015
Photographs: Hiroyuki Oki
出处：本文译自www.archdaily.com/，转载请注明出处。
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