树屋，林中面具/莫光工作室

树屋，林中面具/莫光工作室
The Treehouse, Mask in the Forest / Moguang Studio

空间与环境融合：树屋项目在有限的90平方米地块内巧妙地避开了三棵古树的根系，同时满足了功能需求。通过将建筑整体抬高，设计师不仅创造了上下两种截然不同的空间品质——上层的安静与下层的活力，还利用银杏树冠为客房提供隐私和景观。这种设计策略不仅保护了自然环境，还增强了建筑与自然的互动性，使树屋成为自然景观的一部分，而非单纯的建筑存在。

几何与功能的统一：树屋的设计以精确的几何形式回应场地的路径和树木轮廓。几何形状并非单纯追求美学，而是基于现场视觉感知的综合设计条件。设计师从不规则的地块边界中提取几何控制线，并通过平面和剖面迭代，优化了建筑体积与场地、人体之间的关系。这种设计手法不仅解决了功能与场地的矛盾，还通过旋转楼梯核心等巧妙设计，引入新的结构表达，延长了空间的探索感，使小场地显得开阔。

材料与光影的互动：树屋在材料选择上展现了极高的设计智慧。金属氟碳漆的使用巧妙地反射周围环境，使建筑在夜晚灯光亮起时宛如一艘宇宙飞船停靠在树林中。立面采用烧焦的雪松木板，其光泽和纹理与自然环境相协调，同时具备防护功能。通过材料的反射、吸收和色调变化，建筑在光影的作用下呈现出抽象而美丽的小空间，为使用者带来独特的视觉体验。

建筑师提供的文字描述湖北省随州市的广家冲峡谷距离著名的银杏谷风景区仅15分钟车程。树屋位于通往山谷的两条小路的交汇处。环境有点热闹，在有限的90平方米的地块内，设计需要避开三棵古树的根系，同时容纳两间每间不小于50平方米的标准客房和一间公用储藏室。在他们的第一次实地考察中，设计师和业主制定了一个明确的策略：提升整个建筑。这种方法不仅创造了两种截然不同的空间品质——上面安静，下面充满活力——而且利用郁郁葱葱的银杏树冠为客房提供隐私和风景。同时，地面层被释放为半户外活动区，自然支持各种度假活动，如用餐、烤银杏果、荡秋千和在阴凉处放松。
Text description provided by the architects. Guangjiachong Valley in Suizhou City, Hubei Province, is just a 15-minute drive from the famous Ginkgo Valley Scenic Area. The Treehouse is located at the junction of two paths leading into the valley. The environment is somewhat bustling, and within a limited 90㎡ plot, the design needed to avoid the roots of three ancient trees while accommodating two standard guest rooms of no less than 50㎡ each and a utility storage room. During their first site visit, the designer and the owner established a clear strategy: to elevate the entire building. This approach not only created two distinct spatial qualities—quiet above and dynamic below—but also utilized the lush ginkgo canopies to provide privacy and scenic views for the guest rooms. Meanwhile, the ground level was freed up as a semi-outdoor activity area, naturally supporting a variety of vacation activities such as dining, roasting ginkgo nuts, swinging, and relaxing in the shade.

森林中的树屋以精确的几何顺序响应场地的路径和树木轮廓。几何形状的目的不是直接呈现美学吸引力，而是基于现场视觉感知的设计条件的综合。
The treehouse in the forest responds to the site's paths and tree contours with precise geometric order. The purpose of the geometric form is not to directly present aesthetic appeal but to emerge from a synthesis of design conditions based on on-site visual perceptions.

设计师从不规则的地块边界中提取几何控制线，并通过平面和剖面迭代细化体积、场地和人体之间的关系。地面上的一个重大举措是将中央楼梯核心从其原始垂直轴对齐旋转60度。这一调整开辟了空间，引入了新的结构表达。人们被树木和秋千吸引，进入高架的一楼，转身发现楼梯入口，然后登上俯瞰棕榈林和客房入口的露台。这段穿越森林的旅程延长了探索的感觉，尽管场地很小，但让人感觉很开阔，同时与丰富的自然环境直接接触。
The designer extracted geometric control lines from the irregular plot boundary and refined the relationship between volume, site, and the human body through plan and sectional iterations. A significant move at the ground level was rotating the central staircase core by 60 degrees from its original vertical axis alignment. This adjustment opened up space and introduced new structural expressions. People drawn by the trees and swings, enter the elevated ground floor, turn to discover the staircase entrance, and ascend to the terrace overlooking palm groves and the guestroom entrances. This journey through the forest prolongs the sense of exploration, making the site feel expansive despite its small size, while providing direct engagement with the rich natural surroundings.

核心和立柱上的金属氟碳漆巧妙地反映了周围的环境。夜幕降临，室内灯火通明，树屋就像一艘停在树林里的宇宙飞船，准备开始航行。
The metallic fluorocarbon paint on the core and columns subtly reflects the surrounding environment. As night falls and the indoor lights glow, the treehouse resembles a spaceship perched in the woods, ready to embark on its voyage.

Plan of the treehouse

在树屋的抽象形式中，“几何开口”取代了“具象窗户”，用隐藏在墙壁内的可操作面板来保持这些开口的纯粹性。树屋体积和景观之间的相互作用内化在窗户开口与风景元素的对齐中，塑造了人们如何使用室内空间和沿着自己的道路移动。这揭示了日常自然景观中的非凡之处：客人既可以舒适地呆在室内，也可以在室外自由漫步。
In the Treehouse's abstract form, "geometric openings" replace "figurative windows," with operable panels concealed within walls to maintain the purity of these openings. The interplay between the treehouse volume and the landscape is internalized in the alignment of window openings with scenic elements, shaping how people use the interiors and move along their paths. This reveals the extraordinary within the everyday natural landscape: guests can both stay comfortably indoors and wander freely outdoors.

通过正交和非正交几何系统的相互作用，设计在房间之间创造了微妙的联系，摆脱了传统的“从头到尾”的空间体验。不规则的过渡空间活跃了建筑氛围，为度假环境增添了俏皮和分散的品质。
Through the interplay of orthogonal and non-orthogonal geometric systems, the design creates subtle connections between rooms, moving away from traditional "start-to-end" spatial experiences. The irregular transitional spaces enliven the architectural atmosphere, adding a playful and decentralized quality to the vacation environment.

反光棕色金属漆、粗糙的白色灰泥和木饰面在光吸收、反射和色调方面创造了多样化的材料表现。光线通过金属表面扩散，色调随着周围植被的变化而变化，创造出抽象而美丽的小空间。
Reflective brown metallic paint, rough white stucco, and wood finishes create diverse material expressions in light absorption, reflection, and hue. Light diffuses through the metallic surfaces, with hues shifting in response to the surrounding vegetation, creating abstract yet beautiful small spaces.

Sectional axonometric drawing

建筑立面采用30x45cm烧焦的雪松木板，部分抛光并涂上亚光清漆。烧焦的雪松的微妙光泽和裂纹纹理与自然荒野相协调。碳化木材表面充当建筑的防护装甲，提供对白蚁、害虫和水分的抵抗力。
The building façade features 30x45cm charred cedar planks, with portions polished and coated with matte clear varnish. The subtle gloss and cracked texture of the charred cedar harmonize with the natural wilderness. The carbonized wood surface acts as a protective armor for the building, offering resistance to termites, pests, and moisture.