捷克瓦拉什斯凱 Janošík總部暨陳列空間
白色喀爾巴阡山脈下，森林逐漸過渡為草地，Janošík 全新的總部與展示空間佇立於其間。這間專注於當代建築窗戶與門系統的家族企業，選擇以一座 1950 年代穀倉的改造作為起點，重新思考建築如何透過「開口」，形塑空間與風景之間的關係。設計延續對窗作為建築核心語彙的思考，將原本封閉、內向的結構逐步打開，使建築轉化為連結室內、草地與遠景的介面，讓光線與景觀自然滲入其中。由此，建築被命名為 Spoj（The Link），一處介於室內與自然之間的過渡場域。此外，產品不再以靜態陳列，而是在工作與生活的流動中被實際體驗，使建築本身成為一冊可被閱讀的「活型錄」。
Beneath the ridge of the White Carpathians, where forest gives way to meadow, stands the new headquarters and showroom of Janošík, a family company specialising in windows and door systems for contemporary architecture. Designed by Jakub Janošík, the project transforms a former 1950s grain hall into a workplace that reconsiders the role of windows as mediators between interior space and landscape. By opening up the previously enclosed structure, the building now acts as an interface between workspaces, the surrounding meadow, and distant views. Window and door systems are integrated throughout the architecture, not as displays but as everyday working elements. Experienced in use rather than exhibition, the building itself becomes a living catalogue.
建築量體由兩個部分構成：一側保留具有傳統人字屋頂的原有穀倉，另一側則新增一座向景觀敞開的混凝土量體，順應地形條件展開。新量體將草地引入建築邊緣，使位於離地約五公尺高度的辦公空間，得以直接銜接自然地形。過去由道路與圍籬形成的分隔，在改造中被消解，建築重新與周邊草地建立起連續而開放的關係。
The architectural mass is composed of two interwoven volumes: the original hall with its traditional gabled roof, and a new concrete extension that opens the building toward the landscape. This addition draws the meadow directly to the building, allowing offices positioned approximately five metres above ground to step seamlessly into the terrain. Where the hall was once separated from its surroundings by roads, fences, and enclosing walls, these boundaries have been gradually dissolved through the transformation.
原有穀倉的形式被簡化至最基本的線條，使新舊量體之間的對話更加清晰。從街道與側向望去，建築呈現近乎紀念碑式的姿態；面向景觀的一側，量體則水平延展並嵌入地形之中，轉化為低伏而內斂的尺度。量體上精準配置開口：面向山景的大尺度窗景映照室內活動，立面兩側則鑿出凹入式陽台，使辦公空間可直接通往戶外。南側更延伸為露台與花園，同時兼具遮蔭與引入冬季日照的環境調節功能。設計選擇再利用既有結構而非拆除重建以響應永續理念，透過強化保溫性能與更新門窗降低能源需求。並且將屋頂太陽能板與屋面齊平配置，低調融入整體量體之中。
The form of the original hall was reduced to its most essential lines, clarifying the dialogue between old and new. From three sides, the building reads as a compact, almost monumental volume; toward the landscape, it softens and extends horizontally, settling into the terrain as a low, restrained gesture. Carefully positioned openings puncture this wooden volume: large windows at each gable end frame contrasting views, while the main façade features a generous opening measuring 9 × 3.2 metres, revealing interior activity and acting as a clear visual marker for visitors. Recessed loggias are carved into the sides of the building, providing direct outdoor access from individual offices.
On the southern side, these extend into a terrace and garden, while also serving as passive shading devices—protecting the interior from summer overheating and allowing low winter sun to penetrate. Rather than demolition and new construction, the project prioritised reuse of the existing structure. Improved insulation and new window systems significantly reduce energy demand. Photovoltaic panels are integrated flush with the roof surface, remaining visually unobtrusive against the dark volume of the building.
室內空間由凹入式陽台、挑高屋頂與一條貫穿建築的中央走廊共同組織，核心位置則形成一處開放的共享工作與交流空間。家具多由公司自有工坊製作，桌面、層架與廚房系統以金屬細節構成，僅在座椅與部分設備上選用少量現成產品。整體配置刻意保持低調，讓空間回歸窗外的景觀，以及光線、結構與比例所形塑的日常節奏。室內以白色為基調，如同承載風景的畫布，並搭配漂白雲杉、天然橡木、深灰色混凝土地坪與亞麻織物，呼應著當地的建築傳統特色。
The interior is organised by a sequence of recessed loggias, a generous roof volume, and a central corridor that runs through the building. Most furnishings were custom-made in the company’s own workshop, with metal details shaping tables, shelving, and the kitchen system. Only a limited number of standard products were introduced for seating and equipment. Decoration is kept to a minimum, allowing attention to return to the landscape beyond the windows and to the daily rhythm shaped by light, structure, and spatial proportion. Inside, white surfaces form a neutral backdrop for views of the landscape, complemented by bleached spruce, natural oak, dark grey concrete floors, and linen textiles—subtly referencing local architectural traditions.
陽光無法直接觸及之處，設計團隊則透過三項藝術與設計介入，延續建築與地景之間的關係。穿過低矮而深色的入口大廳後，一處高達 12 公尺的挑高空間豁然展開，建築中最大的窗景在此投射進空間，強化其抽象而純粹的氛圍。藝術家於此設計了一件介於雕塑與樓梯之間的裝置，而建築中留白空間，則由 15 幅繪畫作品加強展示氛圍感。一系列吊燈、立燈與花器，僅以球體為基本形式，透過玻璃質地的差異展現獨特表情；相同的設計原則亦應用於辦公室門片的玻璃，使光線得以穿透，同時保留必要的隱私。
The furniture design does not draw attention, decoration is almost absent. The space is instead filled with ever-present views of the landscape and the natural forces flowing inward, shaping moments of space: structure, light, darkness, proportion, height, rhythm, transitions between open and closed, and surprise. Where the powers of nature did not reach, three artistic-design interventions extend the relationship between building and landscape. They emerged from discussions about atmosphere and its development. Behind the low, dark entrance hall opens a space with a height of 12 metres. Into it projects the largest window of the building, reinforcing the abstraction of the space. Here, Maxim Velčovský designed an object somewhere between sculpture and staircase: The emptier spaces of the building are animated by a cycle of 15 paintings by Lukáš Musil, tailored in size, mood, and technique. DECHEM Studio created a collection of pendant lights, lamps, and vases of varying sizes. The design relies only on the spherical form, while the texture of the glass is vivid and unique in each piece. The same principle was used for the glass in the office doors, transmitting light while preserving privacy.
建築周邊花園延續了既有地景脈絡，亦以當地植栽為主：橡樹、冷杉、白樺與椴樹錯落其間，草地一側則規劃為果樹園。延伸至混凝土平台上，則以低矮松樹、野草莓、野薔薇與山楂點綴，使人工構築與自然植被在尺度與質地上逐步過渡，形塑一片由建築緩緩退入地景的綠意邊界。
The garden around the building continues the surrounding landscape. It was planted with trees and plants from the region: oaks, firs, birches, linden trees; a meadow with an orchard of apple, plum, and cherry trees. On the concrete extension—low pines and wild strawberries, even dog rose and hawthorn.
