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Front of Village Committee Building with Big Fish Facade
大鱼,琴泉村广场更新

封面照片
大鱼,琴泉村广场更新
image © Yu-Zhou
所有图片及文字来源:产业园区研究中心

 

项目名称:大鱼,琴泉村广场更新

设计方:清华大学建筑设计研究院有限公司产业园区研究中心

联系邮箱:cmcityoffice@126.com

项目设计&完成年份:2019

主创及设计团队:廉毅锐,焦泽通,周宇,黄子铭,司帅,李丹,Brian Wong, 刘思嘉,卢鹏鹏,刘旭东,陈又新,蒋功名,王祺,周洁(实习生),杜雪静(实习生)

项目地址:山西省沁源县琴泉村

项目面积:568㎡

摄影版权:金伟琦,周宇

客户:沁源县沁河镇人民政府

 

乡村建设的展开吸引了很多建筑师走入陌生的乡村寻找建造的意义,大家无一例外地都在谈振兴乡村文化、留住乡愁。其中最困难的问题似乎是:抽象的乡愁能否反映在具体的建造中?我们认为,重拾乡愁即重拾对当地和集体的归属感,而我们的工作即再现这种归属感的物质载体。

The rise of rural constructions attracts architects to rush into the wild rural area as aliens, hunting for the meaning of construction there. Most architects focus on rural cultures and consider “nostalgia” as a major concept in their design works. The difficulty here is how to represent this poetic, yet abstract concept with a physical presence of architecture. For us, to regain nostalgia is to regain the lost sense of belonging to the community and the homeland by means of architecture.

从前的村庄拥有绝对核心的公共场所,但随着乡村主体的迁移,这些地方渐渐变得冷清。因此,在设计之初要观察挖掘村民现在的聚集场所,顺势改造。琴泉村的聚集场所围绕着村口牌楼与村委会小楼所形成了东西向轴线展开,这样的核心公共区域,自然地成为了本项目的主要更新对象。

There used to be a core public space in Chinese villages, but most of them have become desolate nowadays as the removal of the village host. Therefore, it requires designers, from the beginning of a rural project, to locate that lost space and start from there. In Qinquan Village, we found that core public space defined by an east-west axis, which starts from the village memorial gate and ends at where the village committee building is. Core area as such naturally became our design priority.

从村庄入口两侧展开的两道矮墙一直起伏曲折,穿越整个广场,结合座椅、雨棚和原有的路边树木、罗马柱的长廊,营造出丰富的路边的小广场。引入图像是我们在琴泉村更新中的额外尝试。在壁画上,设计师开放了很大的建议权给村民们,从而衍生出了更多“接地气”的主题。

Across the entire plaza, we designed a series of zigzag short walls, enclosing multiple micro plaza spaces on both sides of the axis, which provide seats and canopies with the existing trees and Roman columns. Introducing into our design more graphics is an extra experiment we did in this project. We took advices from the local residents for themes of the paintings on the short walls, which did enrich the spatial experience with paintings that are more familiar to the local, bringing the project closer to the village.

村委会所在的二层小楼还包含多种公共功能,因此它既是全村的空间核心,也是公共活动核心,改造它成为整体更新中的焦点。我们设计了一套低技的“呼吸幕墙”,由28736片包含15色的半透明亚克力片组成了一幅巨幅“锦鲤”图。它以纯粹的图像呈现了村里古老的文化图腾——鲤鱼,用最直白的图像建立与村民的情感连结;此外,活动的亚克力片解决了这一核心建筑西晒问题的同时保证了室内充足的采光通风。最重要的是,我们极度简化了施工,并将最后的施工步骤设计为由村民共同悬挂亚克力片,让村民能够参与到对自己生活场景的图像化创作中去。新的幕墙因而成为一项连结村民与集体的故土文化作品。

Apart from being the village committee, the two-story building contains a few public programs, so it’s not only the geometric center, but also the activity center of Qinquan Village. Renovation for this building is therefore the highlight of the whole project. We proposed a low-tech “breathing skin” façade system, which is a matrix of 28,736 pieces of translucent acrylic panels with 15 colors, forming a huge fish image. The fish is the village totem from a famous local historical story, thus conveying the most emotional connection with the local inhabitants. In addition, to guarantee the basic environmental performance of the existing building, the new façade shades the west elevation while allowing for a decent amount of daylighting and ventilation. More importantly, we simplified the construction process and designed the last step of construction to allow unprofessional local residents to hang the acrylic panels onto the wire mesh themselves, participating in the creation of their own life scenes. So that the project became a collective work that evokes a sense of belonging among local residents.

琴泉村的改造项目使之成为了沁源乡村改造中村民眼里最耀眼的明星村落之一。村民们带着久违的自豪感称之为“大鱼”。

The project made Qinquan Village one of the most successful rural revitalization projects in Qinyuan County. “Big Fish”, as the local call its nickname with the long-lost pride.

大鱼是笨拙的。它用最粗糙的工艺,廉价的材料,非专业的施工。没有精妙的建构表现(或隐藏),也没有深奥的形式语言,大鱼只为承载一幅图像,解决一点问题。大鱼却更是灵动的。它允许并利用现场误差,根据施工调整设计,拆装简易不求精确。不拘泥于建构的斤斤计较,大鱼反而在乡野获得了最在地的自由。

The big fish façade is clumsy. It was completed with rough craft, cheap materials and unprofessional constructions. No tectonic detail sophisticatedly designed to show off (or hide), no obscure formal language pursued, the big fish façade was purely constructed to carry an image, to solve some functional problems. The big fish façade is meanwhile flexible. It’s designed with fault tolerance, adjustable in accordance with construction and easy for installation. Without any narcissism on architectural tectonics, the big fish instead gets its freedom in the remote rural.

2020.03.16
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