來源：設(shè)計(jì)先鋒隊(duì)（ID:toot8448）

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At the foot of the Teton Mountains in Jackson Hole, Wyoming, JLF Architecture built a "breathing mountain home" for a family of five - the Plateau Estead House. This award-winning work uses "historical roots and modern branches" as the design code, juxtaposing rough logs and fieldstone with cold weathering steel and glass, outlining a family habitat on a steep mountain ridge that is rooted in pioneer history and embraces contemporary life.

在懷俄明州杰克遜霍爾的提頓山脈腳下，JLF 建筑事務(wù)所為五口之家打造了一座 “會(huì)呼吸的山居”—— 高原 estead 住宅。這座獲獎(jiǎng)作品以 “歷史根系與現(xiàn)代枝葉” 為設(shè)計(jì)密碼，將粗糲的原木、.fieldstone（毛石）與冷峻的耐候鋼、玻璃并置，在陡峭的山梁上勾勒出既扎根拓荒歷史、又擁抱當(dāng)代生活的家族棲居地。

The building complex falls down the hillside like naturally grown rocks: the main house, guest house, garage and other seven units are connected in series through corridors, and each block is parallel to the contour line to minimize the cutting of the mountain. The roof adopts a "broken" shape that combines double slopes and single slopes, which not only echoes the jagged ridgeline in the distance, but also introduces multi-angle light through scattered skylights. Looking up from the Snake River Valley, the building seems to be a mixture of metal and wood growing out of the rock layer, and together with the surrounding sagebrush and fir, it forms the texture of the earth.

建筑群落如自然生長(zhǎng)的巖石般沿山坡層層跌落：主屋、客舍、車庫等七個(gè)單體通過連廊串聯(lián)，每個(gè)體塊均與等高線平行，最小化對(duì)山體的切割。屋頂采用雙坡與單坡結(jié)合的 “破碎式” 造型，既呼應(yīng)遠(yuǎn)處鋸齒狀的山脊線，又通過錯(cuò)落的天窗引入多角度光線。從蛇河谷仰望，建筑仿佛是從巖層中生長(zhǎng)出的金屬與木材的混合體，與周圍的山艾樹、冷杉共同構(gòu)成大地的肌理。

The exterior uses a "double skin" narrative: the ground floor is built with locally mined fieldstone, which retains the irregular contours of the stones when mined, and the mortar gaps are deliberately widened to simulate the accumulation of boulders transported by glaciers; the upper floors are covered with siding (wall panels) made of recycled wood slats, and its varying shades of brown are in keeping with the seasonal changes in mountain vegetation. The cantilevered structure wrapped in weathering steel cuts into the mountain like a geological fault, and the rusty metal surface will form a color dialogue with the patina of the rocks over time.

外立面采用 “雙重表皮” 敘事：底層以當(dāng)?shù)亻_采的 fieldstone 砌筑，石塊保留開采時(shí)的不規(guī)則輪廓，灰漿縫隙故意加寬，模擬冰川搬運(yùn)的巨石堆積效果；二層以上覆蓋回收木材制成的木板條 siding（壁板），其深淺不一的棕色調(diào)暗合山地植被的季節(jié)性變化。耐候鋼表皮包裹的懸挑結(jié)構(gòu)如地質(zhì)斷層般切入山體，銹跡斑斑的金屬表面隨時(shí)間推移將與巖石的銅綠形成色彩對(duì)話。

The living room is based on the prototype of a "mountain lodge", but is infused with modernist structural aesthetics: a 12-meter-long weathering steel main beam spans the space, and its rough rust and hand-split cedar ceiling form a texture collision of "industrial vs. handmade". The floor is made of rare American chestnut wood, a wood that was nearly extinct due to disease and has been reborn after a century of recycling. The annual ring texture and the river stone fireplace in the center of the living room together tell the vicissitudes of nature. The floor-to-ceiling windows use a narrow-frame steel-glass system to frame the magnificence of the Grand Teton Peak. The outside of the window frame is covered with weathering steel of the same color as the exterior wall, hiding the material boundary between indoor and outdoor.

客廳以 “山地 lodge（小屋）” 為原型，卻注入現(xiàn)代主義的結(jié)構(gòu)美學(xué)：12 米長(zhǎng)的耐候鋼主梁橫跨空間，其粗獷的銹跡與手工劈開的雪松天花板形成 “工業(yè) vs 手工” 的質(zhì)感碰撞。地板采用稀有的美國板栗木，這種因疫病近乎滅絕的木材經(jīng)百年回收后重獲新生，年輪肌理與客廳中央的河石壁爐共同訴說著自然的滄桑。落地窗采用窄邊框鋼玻系統(tǒng)，將大提頓峰的壯麗框入視野，窗框外側(cè)覆以與外墻同色的耐候鋼，消隱室內(nèi)外的材質(zhì)邊界。

The master bedroom suite is designed with the concept of "tree house": the headboard wall is made of a whole wall of fir wood, with a 2 cm gap between the wood boards, revealing the weathering steel frame behind, forming a psychological suggestion of "warm wrapping and cold support". The bathroom floor is paved with heated stone slabs, and the bathtub is embedded in the original stone countertop. You can observe the star tracks through the skylight while taking a bath. The children's room adopts a bunk bed design, and the ladder handrail is transformed from old mine car track steel, matched with WRJ Design's custom-made deerskin cushions, transforming the western pioneer elements into a symbol of childlike fun.

主臥套房以 “樹屋” 為設(shè)計(jì)概念：床頭墻由整面冷杉木板拼接，木板間保留 2 厘米縫隙，透出后方的耐候鋼骨架，形成 “溫暖包裹與冷峻支撐” 的心理暗示。浴室地面鋪設(shè)加熱石板，浴缸嵌入原石臺(tái)面，泡澡時(shí)可通過天窗觀察星軌。兒童房采用雙層床設(shè)計(jì)，爬梯扶手以老礦車軌道鋼改造，搭配 WRJ Design 定制的鹿皮絨坐墊，將西部拓荒元素轉(zhuǎn)化為童趣符號(hào)。

The building is oriented precisely to the south-facing sunlight. In winter, large areas of glass are used to absorb solar radiation, and the concrete floor is used as a "thermal mass" to store heat. In summer, high windows facing north are opened to form a cross-hall breeze through the chimney effect, reducing the reliance on air conditioning. The rooftop photovoltaic panels are hidden behind the weathering steel eaves, and combined with the ground-source heat pump system, the annual energy consumption is reduced by 65% compared to traditional houses.

建筑朝向精準(zhǔn)對(duì)準(zhǔn)南向日照，冬季利用大面積玻璃吸收太陽輻射，混凝土樓板作為 “熱質(zhì)量體” 儲(chǔ)存熱量；夏季開啟北向高窗，通過煙囪效應(yīng)形成穿堂風(fēng)，減少空調(diào)依賴。屋頂光伏板隱藏于耐候鋼檐口后方，配合地源熱泵系統(tǒng)，實(shí)現(xiàn)年能耗較傳統(tǒng)住宅降低 65%。

90% of the wood comes from recycled barns and old railway sleepers within a radius of 50 kilometers, fieldstone is collected from nearby abandoned quarries, and weathering steel components use recycled steel. Most of the interior furniture is custom-made or vintage items: Edward Wormley sofas in the living room and Finn Juhl armchairs in the dining room, which not only reduce the consumption of new materials, but also enhance the historical sense of the space through the traces of time. The landscape design retains native vegetation and only supplements local grass species. The irrigation system relies on rainwater collection pools to achieve "zero external water source" ecological self-consistency.

90% 的木材來自方圓 50 公里內(nèi)的回收谷倉與舊鐵路枕木，fieldstone 采自附近廢棄的采石場(chǎng)，耐候鋼構(gòu)件則使用再生鋼材。室內(nèi)家具多為定制或 vintage（復(fù)古）單品：客廳的 Edward Wormley 沙發(fā)、餐廳的 Finn Juhl 扶手椅，既減少新材料消耗，又通過時(shí)間痕跡增強(qiáng)空間的歷史厚重感。景觀設(shè)計(jì)保留原生植被，僅補(bǔ)充本地草種，灌溉系統(tǒng)依托雨水收集池，實(shí)現(xiàn) “零外來水源” 的生態(tài)自洽。

The building is specially designed with a "heritage corridor" where old pioneering photos of the owner's family, cowboy saddles and mineral specimens are displayed on the walls, and bronze sculptures of Wyoming maps from different eras are embedded on the ground. The basement wine cellar adopts the support structure of the old mine, and the wine rack is paved with abandoned mining tracks. The industrial chandelier on the top reproduces the shape of early mining lamps, becoming a time-space tunnel connecting the past and the present.

建筑特別設(shè)置 “遺產(chǎn)走廊”，墻面陳列業(yè)主家族的拓荒老照片、牛仔馬鞍與礦物標(biāo)本，地面嵌入不同年代的懷俄明州地圖銅雕。地下室酒窖采用老礦井的支護(hù)結(jié)構(gòu)形式，藏酒架由廢棄的采礦軌道鋪設(shè)而成，頂部的工業(yè)吊燈復(fù)刻早期礦燈造型，成為連接過去與現(xiàn)在的時(shí)空隧道。

The greatness of the plateau estead residence lies in that it transcends the dispute of styles and creates a "third type of space" - it is neither a simple reproduction of the western pioneer cabin nor a pure modernist declaration, but through the juxtaposition of materials, the superposition of craftsmanship, and the evolution of functions, it allows history and the present to dialogue in the mountain wind. When the sunset gilds the weathering steel surface, when snowflakes fall on the century-old chestnut wood windowsill, and when children play on the ladder transformed from the old mine car track, this building completes the ultimate interpretation of "home": it is a shelter against the wilderness, a time box to continue family memories, and a gentle contract for the reconciliation of humans and nature. JLF has proved with forty years of regionalism practice that the real modern mountain residence is never a conquest of nature, but like sagebrush, it finds its own growth posture in the cracks of the rocks.

高原 estead 住宅的偉大之處，在于它超越了風(fēng)格之爭(zhēng)，創(chuàng)造出一種 “第三類空間”—— 既非對(duì)西部拓荒小屋的簡(jiǎn)單復(fù)刻，亦非純粹的現(xiàn)代主義宣言，而是通過材質(zhì)的并置、工藝的疊加、功能的進(jìn)化，讓歷史與當(dāng)下在山地風(fēng)中對(duì)話。當(dāng)夕陽為耐候鋼表皮鍍上金邊，當(dāng)雪花落在百年板栗木窗臺(tái)，當(dāng)孩子們?cè)诶系V車軌道改造的爬梯上嬉戲，這座建筑便完成了對(duì) “家園” 的終極詮釋：它是抵御荒野的庇護(hù)所，是延續(xù)家族記憶的時(shí)光匣，更是人類與自然重新和解的溫柔契約。JLF 用四十年的地域主義實(shí)踐證明：真正的現(xiàn)代山居，從來不是對(duì)自然的征服，而是像山艾樹一樣，在巖石縫里找到屬于自己的生長(zhǎng)姿態(tài)。

編輯：夏邊際

撰文：豆寶寶

校改：吳一仁

編排：布忠耀

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