House of Belongings_China House Vision @ Atelier Deshaus

大舍 | Atelier Deshaus 大舍建筑设计事务所于 2001年成立于上海， 主持建筑师柳亦春和陈 屹峰均毕业于同济大学 建筑系，获建筑学硕士 学位。大舍的作品受邀 参加了如威尼斯双年展 等重要国际建筑与艺术 展，并获得英、美、 法、德等多个国家地 区颁发的重要奖项。大 舍的代表作品包括夏雨 幼儿园、嘉定新城幼儿 园、青浦青少年活动中 心、螺旋艺廊、龙美术 馆西岸馆等。

家，既是具体生活的场所，也是情感记忆的处所。对都市游牧者来说，家需要在频繁迁徙的节奏中，仍 保持这双重的属性。周期性的迁徙，使得私有之物，更能让人保有一份对家的情感和记忆。私物邸是这 些物品的一个个家，它们随着时间的推移，也共同构成了都市游牧者的理想之家。

Atelier Deshaus was founded in 2001 in Shanghai. Its founders and principals Liu Yichun and Chen Yifeng both received their M.arch degree from Tongji University. Atelier Deshaus has been involved in major international architecture and art exhibitions such as Venice Bi e n n a l e a n d h a s w o n prestigious awards in UK, US, France, Germany etc.

Its major projects include Xiayu Kindergarten, J i a d i n g N e w To w n K i n d e r g ar te n , Q i ng pu Yo u t h C e n t e r, S p i r a l Gallert, Long museum West Bund etc.

Home is where life happens and where memory dwells. For urban nomads who live in a constant state of moving, home needs to be both. In their periodic moving lives, their belongings become embodiments of their memories of homes. House of belongings houses these belongings and as time passes, they together shape a vision of a home for urban nomads.

私•物•邸 CHINA HOUSE VISION 理想家

House of Belongings

2. 重构熟悉的“家” Ghost "Home" 私物邸 House of Belongings

私物邸是为网络时代的都市游牧人设计的家。它 既是都市游牧人不断迁徙的生活中一处栖居之 处，也是他们的每一件备受珍视的物品的小小的 家。

House of Belongings is a home for urban nomads in the internet age. It is a dwelling for urban nomads in their constant moving lives as well as micro-house for each belonging that they cherish.

在中国，迁徙生活并非一个新生的现象。然而， 伴随着互联网的发展，新都市游牧人在年龄层 次、工作领域、生活地点和迁徙模式等方面都涵 盖了更广的范围。对他们来说，传统意义上的 “家”的固定的地点和内容在不断迁徙的生活中 被迅速地消解，而只有某些他们所拥有、并珍 视的物品，才构成了变化的生活状态中的“路 标”。这些物品即是我们所定义的“私物”。它 们是游牧人过往生活的记忆的一部分，也是游牧

In China, nomad life is not a fresh phenomenon.

However, with the development of the internet, urban nomads today cover a wider range of populations in terms of age, job type, place of residence, moving pattern etc. For them, the fixed location and content of home in a traditional sense have been rapidly dissolved by their constant state of moving. It is certain cherished objects that become “beacons” in their ever-changing lives. These objects are what we define as “belongings”.

For urban nomads, they’re memories of past and embodiments of personal identities.

1

House of Belongings operates within existing architectural space and infrastructures. Based on different characters of rooms, it consists of bedroom module, living room module, study module and kitchen module. Each of these modules could be integrated into an existing home and could be brought with urban

1. 带着私物、迁徙至新空间的都市游牧人 New home, old belongings

4. 记忆之“家”的重现 "Home" in memory 3. 放置私物 Boxes and belongings

nomads as they move. Several modules could also be used to create a homey atmosphere in a temporal dwelling space.

2 人身份特征的一部分。 私物邸依托于现存的建筑空间与生活基础设施而 存在。根据不同房间的特性，它分为卧室模块、 客厅模块、书房模块和厨房模块。这些模块或可 以和游牧者现有的家结合在一起，当他们需要迁 徙之时，只需带上所需模块即可；或可以在一个 临时的居住空间中，创造出一个功能齐全的家。 私物邸由两部分组成：轻质的、可由居住者自行 按需拼装的立方体框架结构和一系列用于存放不 同私物的箱体。前者是一套可在不同地点进行租 售的通用结构体系，它既是家具也是形成空间 的手段，而后者则体现着游牧人的各自独特的特 征、身份与记忆，同时也为他们往往简陋的、临

House of Belongings includes two parts: light modular cube structures that could be assembled by dwellers based on their needs and a series of boxes housing various belongings. While the former is a universal structure system that could be bought or rent at different locations, the later represents each urban nomad’s unique character, identity and memory, adding a personal aesthetic touch to their typically undistinguished temporal dwelling space.

Thus, House of Belongings sits between such concepts as object, decoration, furniture and space and is characterized by the lifestyle of urban nomads. This is where it innovates the furniture industry. While it capitalizes on the design knowledge and production techniques of the industry, it could not simply be categorized as object or furniture. Rather, it is the representation of a new form of nomadic life.

6. 框架结构的扩展 More cube structures 5. 私物的积累 New belongings

时居住的空间增添了一丝个人化的美学意味。 在私物邸中，物品、装饰、家具和空间之间的 界限变得模糊，它是带着游牧人生活特征、具 有独特风格的家。这也恰恰成为了私物邸对家具 产业的革新之处。它基于家具的设计经验与生产 技术，却不能够简单被以物品或是家具所定义， 而更多的是都市游牧生活这种新的生活形态的彰 显。 私物邸希望通过居住者有意识地去定义生活中对 自己有意义的物品来了解自己与自己的需求。它 促使每个人，无论是否正在游牧式生活，重新思 考自己与物品、空间之间的关系。它是一种对游 牧生活所体现的自我、物和空间之间的自在关系 的追求: 无需居住者时常迁徙，而更在乎其对自己 的所有物的态度。

7. 都市游牧人又一次的迁徙 New journey

By asking its dwellers to be conscious about meaningful things in their lives, House of Belongings reminds them of who they are and what their true needs are. It urges everyone, whether he or she is currently leading a nomadic life, to examine their relationships with things and space. It seeks an easier relationship between self, belongings and space that is typical of nomadic lives.

Thus it is not so much about the actual nomadic living condition as it is about one’s attitude towards things.

A dweller may not be a nomad, but could still live in the House of Belongings and lead a nomadic life.

1. Location and content are dissolved in urban nomads' home.

2. Hannes Meyer's Co-op Zimmer house and Ito Toyo's Pao house.

3. Boxes in the House of Belongings.

一位居住者或许久居一地，却依然可以选择住在 私物邸、过着“游牧式”的自在生活。 1. 都市游牧者的“家”在地点和内容上被消解.

2. 汉斯梅耶与伊东丰雄为不同时代的迁徙人群设计的住宅.

3. 私物邸中的不同箱体单元.

3