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这座尺度适中的庭院住宅位于芝加哥西北大学校园内，几乎完全由砖材构成。选择芝加哥的“普通砖”（common brick）作为建造材料，是因为它拥有与传统红砖不同的外观：这是由于密歇根湖的黏土地质和独特的烧制方法而产生的结果。不均匀的颜色和肌理使得普通砖看上去非常朴实。这是一种看上去平凡无奇的建筑材料，通常用于构建遮挡性的侧墙和后墙、烟囱道以及立面后方的结构支撑。

▼住宅外观，exterior view

Located within a few blocks of the campus of Northwestern University in the suburbs of Chicago, this modest sized courtyard house is wrapped almost entirely in brick. Chicago “Common” brick, as it is known, was chosen because they look different from typical red bricks – a result of the geological composition of the indigenous Lake Michigan clay and the way in which it is fired. It’s variegations and irregularities made “Common” bricks unattractive, cheap and an abundant resource—a prosaic building material used in places generally obscured from the street such as side and back walls, chimney flues, and structural support behind facades.

▼入口立面，entrance facade

在该项目中，“普通砖”却显得非常醒目，成为了建筑中最为突出的设计元素。临街立面由扭转的砖砌单元构成，随着光线的律动形成虚实结合、充满变化的观感，在经过时会看到一种云纹绸般的动态肌理。根据观察角度的不同，庭院的立面有时看上去亲切而开放，有时则显得封闭而私密。砖墙后方的玻璃表面使射入的阳光变得柔和，并在夜间使屋内的光亮散发出来。透过砖墙之间的空隙，自然光在室内的墙壁和地板上投下具有几何感的光影图案，并在一天中不断产生变化。

▼砖墙立面，brick screen

▼“普通砖”（common brick）拥有不均匀的颜色和肌理，the variegations and irregularities of “Common” bricks

▼扭转的砖砌单元，Thayer Rotated Brick Diagram

Conversely, the brick at the Thayer House is highly visible and featured as a prominent design element. The street facade is organized in vertical twisting columns to create an ever-changing pattern of opening and closing as light moves across and thru the facades. As the viewer passes by the home, the façade creates a moire-like pattern that appears to be constantly in motion. Depending on one’s location, the porous courtyard façade courtyard can appear open and welcoming while also feeling closed and private. This allows glare free daylight to penetrate into the building through glazed surfaces behind them, as well as creating a glow from within when the lights are on at night. Light seeping through the brickwork produces a shifting geometric pattern of light and shadow on the walls and floors of the rooms, circulation areas and neighboring structures that alters throughout the day.

▼立面随着光线的律动形成虚实结合、充满变化的观感，the street facade is organized in vertical twisting columns to create an ever-changing pattern of opening and closing as light moves across and thru the facades

▼立面细部，facade detail

▼如云纹绸般的动态肌理，a moire-like pattern that appears to be constantly in motion

▼庭院内部，courtyard

▼从庭院看砖墙，view to the brick screen from the courtyard

▼庭院景观，the landscaped courtyard

▼从室内望向庭院，courtyard view from the

▼餐厨空间，dining room and kitchen

▼走廊，corridor

▼庭院边的休憩空间，seating area facing the courtyard

设计深入考量了材料、形式和体验之间所能够形成的张力。其中最有趣的一点是，建筑师并未试图去改变这些不起眼的材料，而是让它们保持最原始的状态，从平凡中展现出非凡的特质。这一做法能够让使用者对自身与自然环境乃至集体文化之间的基础而微妙的关系产生更加深刻的认知。

The design examines the tension between materials, form and experience. Of particular interest is the idea of transcending traditional craft and elevating humble materials without trying to make them into something other than what they really are. It is an attempt to find and reveal the extraordinary from within the ordinary. This exploration encourages the user to forge a deeper and more meaningful understanding of the fundamental, yet delicate relationships that exist between themselves, the natural world, its vital resources, and our collective cultures.

▼夜间，砖墙后方的玻璃使屋内的光亮散发出来，the porous façade creates a glow from within when the lights are on at night

以不寻常的方式来应用寻常的材料，能够带来一种亦旧亦新的感觉。这会促使人们更深地感受到超乎建筑本身的场所感，一种无意识且意想不到的体验。具体的事物固然重要，但体验则能够带来更加深远的影响，它所带来的是超越物理和视觉的更加恒久的存在。这使我们有机会去了解设计之外的事物，了解自己、了解集体性的文化以及我们在社会中的位置。哲学家约翰·杜威将这一观念描述为从潜意识记忆向有形的统一整体的转变。建筑需要被放在类似的语境下去理解，并与社会产生关系。这种观念提供了一种历史性的视角，将建筑与人以及我们的集体文化联系起来。一旦脱离这种语境，建筑将只是一个用来观看的对象，而不是一个能够为人带来生机和价值的场所。

By using the familiar in an unfamiliar location and application, the material become perceptually both old and new at the same time. This makes one more aware of, not just the building, but also our sense of place. There is a sense of discovery, something spontaneous and unexpected. The object is important but it’s the experience that has a profound impact and leaves something that lasts well beyond the mere physical and visual existence of the building. This gives us the opportunity to not only learn about design but also, about ourselves, our collective cultures and our place in society. The philosopher John Dewey described this idea as the transformation and conversion of memories from our subconscious into a tangible and unified whole. Buildings need this context to be understood and to be relevant to society. It gives historical perspective, connecting buildings to people and our collective cultures. Without such context, buildings are simply objects to look at, and not places that bring vitality and meaning to people.

▼冬季视角，exterior view in winter

▼轴测图，axon

▼首层平面图，first floor plan

▼二层平面图，second floor plan

▼剖面图A，section A

▼立面渲染图，rendered elevation

▼扭转模式示意，diagram – brick rotation guide

▼立面示意图，elevation abstract

Lipton Thayer Brick House
Project Details
Project’s Formal Name: Thayer Brick House
Location of Project: 2600 Thayer Street, Evanston, IL 60201
Client/Owner: Robert Lipton
2600 Thayer Street, Evanston, IL 60201
Total Square Footage: 2,800 sf
Total Cost: $1.2 million
Completed: 2018
Project Credit: Brooks + Scarpa with Studio Dwell
Architects: Brooks + Scarpa (Design Architect)
Studio Dwell (Local Architect of Record)
Project Team: Brooks + Scarpa
Lawrence Scarpa, FAIA – Lead Designer/Principal in Charge,
Angela Brooks, FAIA, Jeff Huber, AIA, Arty Vartanyan, Chinh Nhan Nguyen, Cesar Delgado, Eleftheria Stavridi, Fui Srivikorn, Matt Barnett- Project Design Team
Studio Dwell
Mark Peters, Principal in Charge, Jonathan Heckert, Project Manager
Landscape: Brooks + Scarpa
Engineering: Louis Shell Structures – Structural Engineering
Studio Dwell– Electrical and Lighting
Brooks + Scarpa – Lighting design
Studio Dwell – Civil
Specifications: Studio Dwell
General Contractor: Studio Dwell
Photography: Marty Peters and Brooks + Scarpa

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