Canvas Hill Residence
Choo Gim Wah Architect
The Canvas Hill Residence, its name, a combination of a painter’s medium and the sloping Janda Baik site, reflects the spirit of the homeowner – a renowned local artist – that on many levels intuits its use and genius loci within a modern yet traditional-infused architectural proposition. The site’s naturally flat crest atop a 7m-high knoll proffered a datum that architect Choo Gim Wah would leverage on. “The design I envisioned was a courtyard by the slope, framed by two pavilions. It had to be direct, bold, strong. Yet, it also needed to be light. “So we thought of the traditional Chinese courtyard residence, or siheyuan, but with three sides where an infinity pool forms the enclosing fourth side.”
Canvas Hill Residence，它的名字，結合了畫家的媒介和傾斜的 Janda Baik 遺址，反映了房主的精神——一位著名的當地藝術家——在許多層面上直覺它的使用和天才的位置在一個現代而傳統的注入建築命題。 該場地自然平坦的頂部位於一個 7m 高的小山丘上，為建築師 Choo Gim Wah 提供了一個可以利用的基準。 “我設想的設計是一個斜坡上的庭院，由兩個亭子圍起來。 它必須是直接的、大膽的、強大的。 然而，它也需要很輕盈。 “所以我們想到了中國傳統的四合院，但有三個邊，一個無邊泳池形成了封閉的第四邊。”
The courtyard, seen through the house’s moon-gate entrance, is ostensibly defined by the residence’s pavilions that frame the picturesque horizon beyond. Of the two, the main dwelling-cum-art-spaces is the larger edifice; layered with cantilevered decks and flying roof, the three-storey pavilion manages to effortlessly project off the sloping terrain. The second more diminutive guest pavilion, though visibly grounded, retains a similar language. The scheme as a whole is overtly linear, but is skilfully manipulated to elicit the necessary lightness and dramatic effect desired for such a prominent site.
從房子的圓形拱門入口看到的庭院表面上是由住宅的亭台樓閣定義的，這些亭台樓架在遠處風景如畫的地平線上。 兩者中，主要的住宅兼藝術空間是較大的建築； 三層樓的展館由懸臂式甲板和飛簷屋頂分層，設法毫不費力地從傾斜的地形中伸出。 第二個更小的客人展館，雖然明顯接地，但保留了類似的語言。 該方案作為一個整體是明顯的線性，但被巧妙地操縱以引起如此突出的場地所需的必要的輕盈和戲劇性的效果。
Within the main pavilion, the residence’s three modes – private, semi-private and public – are negotiated via stacking. As a family home, the pavilion’s basement and first floors house the semi-private spaces; living and dining areas are gallery-like in their open-plan configuration, exposed to both courtyard and the 2.1m-wide cantilevered timber deck with a view of Genting Highlands. The second-floor family room and bedrooms are likewise encircled by a deck, connected to the level below through a steel staircase.
在主展館內，住宅的三種模式——私人、半私人和公共——通過堆疊進行協調。 作為一個家庭住宅，展館的地下室和一樓是半私人空間； 起居和用餐區採用開放式佈局，類似於畫廊，暴露在庭院和 2.1m 寬的懸臂木甲板上，可欣賞到雲頂高原的景色。 二樓的家庭房和臥室同樣被甲板包圍，通過鋼樓梯連接到下面的樓層。
An outdoor patio beneath the first floor deck serves as the artist’s workspace. Its 3m-high ceiling invites natural illumination ideal for producing artwork, simultaneously shielded from inclement weather by the generous overhang above. The art gallery directly adjoins the workspace, and features both the artist’s works and his private collection. Open to periodic viewing, the space represents Canvas Hill’s public programme, accessible by a dedicated entryway and guest parking at a lower platform separate from the home entrance.
一樓甲板下方的戶外露台是藝術家的工作空間。 其 3m 高的天花板採用自然照明，是製作藝術品的理想之選，同時通過上方寬敞的懸垂物遮擋惡劣天氣。 藝術畫廊直接毗鄰工作空間，展出藝術家的作品和他的私人收藏。 該空間可定期參觀，代表 Canvas Hill 的公共項目，可通過專用入口通道和位於與家庭入口分開的較低平台的客用停車場進入。
Indoor temperatures remain surprisingly respectable, courtesy of the building’s axial orientation, the elevated climes and cooler air; high-level louvres like those of traditional kampung houses ventilate the pavilion even when doors and windows are closed. On hotter days, the decks and flying roof provide shade and cooling without necessitating
air-conditioning, making the pavilion’s passive design an all-in-one solution.
由於建築物的軸向方向、升高的氣候和涼爽的空氣，室內溫度仍然令人驚訝地令人佩服； 即使在門窗關閉的情況下，像傳統甘榜房屋那樣的高層百葉窗也能為展館通風。 在炎熱的日子裡，甲板和飛天屋頂提供遮陽和冷卻，而無需空調，使展館的被動設計成為一個一體化的解決方案。
Chengal is used in the decking, the hardwood ending warmth, durability and colour to the residence’s most distinctive features. Vertical strips of merbau are integrated into the steel columns, extending further the ambience of wood into the private areas. “It was definitely more adventurous (doing this design). What you see is what you get,” remarks Choo on the collage. “But coordinating all of it was very tough. You have the different materials which require different details, different methods of construction. To make everything seamless was an ongoing battle.”
Chengal 用於裝飾，硬木終結了溫暖、耐用性和色彩，成為住宅最獨特的特徵。 垂直的印茄木條被整合到鋼柱中，將木材的氛圍進一步延伸到私人區域。 “這絕對是更冒險的（做這個設計）。 所見即所得，”Choo 在拼貼畫上評論道。 “但協調所有這一切非常困難。 你有不同的材料，需要不同的細節，不同的構造方法。 讓一切無縫是一場持續的戰鬥。”