赤陶工作室

建筑设计：赤陶工作室 | 设计团队：Nguyen Hai Long,Tran Thi Ngu Ngon,Trinh Thanh Thu,Nguyen Anh Duc | 地点：越南，广南省 | 基地面积：2000 平方米 | 建筑面积：49 平方米 | 摄影：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 工作室位于越南广南省奠盘市（Dien Ban District），邻近秋盆河（Thu Bon river），以著名艺术家Le Duc Ha 的工作空间而闻名。秋盆河对于当地居民生活有着重要影响，多数居民以农业为生，也有人制作各式各样的传统手工艺，如陶器、草席及丝绸。

这栋建筑是由一个长、宽、高均为7 米的正方体构成。周围环绕着竹框架用于晾干陶制品，同时设置两张长椅提供喝茶、休憩与放松空间；高架平台亦作为围篱，将工作室空间隔开。工作室的最外层以粘土砖砌成，让人联想到越南传统的火炉，此外也带有占婆文化的特征，因为此区曾经是查乔（Tra Kieu）的一部分，查乔在4至7 世纪时是占婆王朝（Champa Kingdom）的首都。

墙体并非用来阻绝外部与内部环境，我们透过砖块交错排序，产生有助于空气流通和温度调节的孔洞；因此艺术家在其中仍可感受到微风、河流与周围自然的声音以及凉爽感，同时也替艺术家创建一定程度的隐私性。内部空间是三层木框体系，由高度7 米以及60 平方公分的模块组成；该设计可用于放置、展示以及收纳陶艺作品，也兼具楼梯、廊道与座椅的功能。沿着走廊，访客可透过窗户看见工作室、河岸以及整座花园。

工作室的中心有两层平面。在一楼有艺术家用于创作的转盘工作台，在阳光照射下，工作室从日出到日落都能与光影互动；空间展示出艺术家与作品之间的对话关系，更能不经意地发现艺术家工作的身影。在夹层空间可看到工作室内部及外部相异的空间样貌，也能通过楼板中间的圆形天井空隙观察到艺术家的工作过程；另外人们还能透过阳光角度的变化，感受时间在陶艺品上的痕迹。

设计促使艺术家将完成与未完成的作品放置在上层展示架，然而洪水也成为季节性的灾害考虑，以避免为艺术作品带来重大损失。设计团队希望工作室能成为艺术家传播思想、品味与情感的场所，更是一处能让人们共享陶艺热情，参与、体验陶土之乐的地方。

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.