流動的透明性

風月襟懷是日治時期大甲黃清波的故居，完工於日治大正十三年（1924年），是將近一百年歷史的四合院。建築中軸線採左右對稱配置，二進式四合院，面寬五開間，坐西朝東。屋頂為日式四披水。爾後風月襟懷由建築文化人黃志成先生所有，並於2014年委託哈塔阿沃設計。此案最大的挑戰在於新增建物與傳統四合院老宅的對話。歷經六年設計規劃、施工，終於在2020年呈現老宅新生的面貌。

增建的風月之屋大約三十坪，位在四合院後方的轉角空地，包含一個廚房、一個餐廳、一個房間，三個空間各自形成一個獨立的量體，共同支撐一個雙翼的大屋頂，讓地面層可以自由穿梭流動。屋頂型態中間高、兩翼低，轉譯傳統四合院屋頂馬背的語彙，在屋頂下的二樓陽台則是以另一個居中的高度俯瞰後院與四合院老宅的牆角。建築主體結構是鋼構，其中一翼是雙曲面屋頂，鋼構廠以土法煉鋼的方式，將鋼樑用四片精準計算的雷射切割鋼板分別加工彎曲，再將四片鋼板焊接成一支雙曲線鋼樑。之後全棟先在工廠預先組裝，確定無誤之後再移到現地組裝。外牆則是包覆紅銅金屬板，讓紅銅質地襯映四合院的紅磚屋瓦。

風月之屋在基地上有著緊湊而微妙的距離關係。轉角被壓縮再挖空所釋放出來的空間，讓風景在縮放、明暗間流動，物與物的關係逐漸清晰，流動的透明性由此而生。新與舊之間宛若是小孩與老人、現代與傳統的對話。想像拉長之後的時間軸，紅銅氧化變色......時間是一去不復返的美好畫面。

Fluid Transparency

Completed in Taisho 13 (1924) during the Japanese Colonial Period, the Feng Yue Chin Huai, courtyard house with a nearly century-old history, is the former residence of Qing-Po Huang in Dajia District. Facing east, the two-entrance courtyard house, with a facade of 5 bays in width and Japanese style hip roofs, is constructed in conformity with the central axis that renders the layouts of both sides symmetrically arranged.

The courtyard house was held thereafter by the man of letters and architecture, Chih-Cheng Huang, and commissioned to the Hataarvo Design in 2014. The foremost challenge of the project lies in how to create a dialogue between the new buildings and the traditional courtyard house. With six years of planning, design and construction, a new visage is finally reborn out of the old soul in 2020.

On the corner of the open space behind the courtyard house is located the newly-built Wind Moon House of about 99m2 consisting of a kitchen, a dining room and a room. The three independent spaces support collectively a huge gullwing roof under which renders the space of the ground floor more free and fluid. High in the middle with two low wings, the roof model translates the horseback style of the traditional courtyard house. The balcony of the first floor under the roof overlooks at modest altitude the backyard and the corners of the old residence. The main body of the building structure is made of steel and one of its roof wing bears a hyperboloid feature. The steel structure factory observes the tradition of steel making to produce a hyperbolic beam: four laser-cut steel plates accurately calculated undergo separately the bending process before they are welded in the end onto a universal beam. Then the whole building structure is pre-assembled in the factory and will be reassembled on the site if every detail proves to be affirmative. The outer wall is covered with red metal plates of copper whose texture goes well against the red bricks and tiles of the courtyard house.

A close and subtle relationship of distance between the Feng Yue Chin Huai and the Wind Moon House on such a site can be vividly conveyed. The very fluid transparency comes from the space released from the corner, compressed and hollowed, where the landscape flows in zooming scales, between light and darkness, and the bonds of things are gradually, clearly portrayed. The relationship between the new and the old is like a dialogue between the children and the aged, modernity and tradition. Imagine a prolonged timeline, with the red copper discolored of oxidation. Time is a beautiful frame that will never be captured again.