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山東淄博北河東村戲臺設計 | 傅英斌工作室+ 中國鄉(xiāng)建院

經(jīng)典案例 2020-10-14 來源：gooood

項目名稱：

山東淄博北河東村戲臺
項目地點：

山東省淄博市北河東村
項目規(guī)模：

140平米
設計公司：

傅英斌工作室（Fuyingbin Studio）中國鄉(xiāng)建院（CNRPD）
建成時間：

2018.8
圖片來源：

傅英斌、張浩然、丁沁

背景 The Background

戲臺自古以來就在中國鄉(xiāng)村文化生活中居于重要位置，通常戲臺是一個村落的公共活動中心，鄉(xiāng)間慶典，節(jié)日社火，村民集會幾乎都是圍繞戲臺這一公共設施展開，即使建國以后新的鄉(xiāng)村組織形成，戲臺依然沒有退出歷史，戲臺+主席臺的結合使得戲臺這一建筑形式有了新的發(fā)展。各種運動集會、鄉(xiāng)村選舉、節(jié)日演出等等活動繼續(xù)延續(xù)戲臺的生命。

Drama stages have occupied important position in the cultural life of Chinese countryside since ancient times. Usually a stage is a public activity center of one village. Rural constructions, celebrations, festivals and fires, and villagers’ gatherings used to be all centered around the stage, which is playing as a public facility. Even after the founding of the People’s Republic, drama stage has not withdrawn from the history. The combination of “stage and rostrum” had once gave this former traditional architectural element new life in modern context. Various sport events, rural elections, festival performances and other activities continue to extend the vitality of drama stages

^{▲戲臺外觀，external view of the stage ?傅英斌 Fu Yingbin}

然而在當下隨著鄉(xiāng)村治理結構的變化和互聯(lián)網(wǎng)生活的侵入，戲臺在當下逐漸消退了原有功能，許多村莊投資修建的大型戲臺長期處于閑置狀態(tài)，其封閉的空間形式、巨大的體量和單一的功能在當代鄉(xiāng)村的語境下日顯尷尬。

However, with the change of rural governmental structure and the invasion of internet life-style, nowadays the original function of stages is gradually fading away. Many large stages invested by villages have been idle for a long time. Their enclosing space character, massive volume and singular function have become increasingly embarrassing in the context of contemporary villages.

^{▲場地原狀，Existing conditions ?傅英斌 Fu Yingbin}

^{▲位置圖， Location Plan ?張浩然 Zhang Haoran}

文化設施的建設是新一輪的鄉(xiāng)村建設重要的組成部分，鄉(xiāng)村圖書室、文化站、大舞臺等等一些列文化設施在新農(nóng)村運動下被建成，然而多數(shù)設施沒有很好的發(fā)揮應有的文化效能，大多處于閑置和荒廢狀態(tài)，鄉(xiāng)村應該有一個怎樣的文化空間，作為鄉(xiāng)村文化標志性建筑的戲臺應當以怎樣的面貌出現(xiàn)在當下，是本方案設計師試圖探索和回答的問題。

^{The development of cultural facilities is a significant part of the new round of rural development. Numerous rural libraries, cultural stations, grand stages and other cultural facilities have been built under the New Rural Movement. However, most of the facilities have not work effectively to play a cultural role and are mostly idle or even abandoned. What kind of cultural space should rural areas have? What kind of image should the stage present as a cultural rural landmark in contemporary context? By this design scheme we try to explore and answer these questions.}

^{▲鄉(xiāng)村集市，戲臺和鄉(xiāng)村生活融為一體，Rural market, the stage became part of the local life ?丁沁 Ding Qin}

方案 The Scheme

北河東戲臺希望擯棄傳統(tǒng)戲臺過于封閉的空間和單一的功能，為村民提供多種日?；顒雍图瘯男驴臻g?？臻g形式上去掉了墻體，以一個巨大的漂浮天棚為各種活動提供遮蔽空間。將現(xiàn)有各種活動整合在天棚之下。天棚之下為一個四面開敞的空間，中間抬高形成視覺焦點，也便于演出等活動的展開，臺上兩側(cè)升起為座椅，平時非演出時在臺上活動的村民可以圍坐聊天，舞臺另外兩側(cè)向廣場逐級變?yōu)榕_階，為日常活動提供休息設施。鋪裝延伸至廣場后，邊緣設置觀演座椅。整個戲臺以一種自由開敞和公共的姿態(tài)呈現(xiàn)在村莊之中，承載村民的各種公共活動。

On designing Beihedong stage we hope to discard the over-enclosing space and singular function of traditional stages, to provide villagers new spaces for various daily activities and gatherings. Walls are discarded from the spatial formation, a huge floating skyhook ceiling is applied instead, providing shelter for various activities and integrating existing activities underneath. A space opened on all four sides is then formed under the suspended ceiling, with the middle raised to form a visual focus, also convenient for performances. The two sides of the stage are raised as seats, where villagers can sit around and chat when there are no performances on. The other two sides of the stage turn into steps providing rest facilities for daily activities. The pavement extends to back of the square, at its edge there are also audience seats. The whole stage is presented in the village in a free, open and communal manner, carrying all kinds of public activities for villagers.

^{▲環(huán)境分析圖，Context analysis diagram ?張浩然 Zhang Haoran}

^{▲建成鳥瞰，bird view of the built stage ?傅英斌 Fu Yingbin}

場地位于村莊廣場一端，西北兩側(cè)為建筑圍墻，東南側(cè)為廣場和道路，由于現(xiàn)有建筑的阻擋，戲臺原本四面敞開的想法難以實現(xiàn)，因此面向圍墻的兩側(cè)順勢向上抬起變?yōu)樽?，而另外兩外兩?cè)戲臺空間向外延伸，形成一個小型的觀演區(qū)域。整個戲臺底層平面與屋頂形成一大一小兩個錯位的正方形，形成一種特殊的空間錯位關系。

^{The site is located at one end of the village square, with building walls on both sides of the northwest, whereas square and roads on the southeast. Due to the obstruction of the existing buildings, the idea that the stage should be open on all sides became difficult to realize. Therefore, the two sides facing the walls are lifted upward and then turned into seats, while the other two sides extend outward, forming a small audience area. The whole floor plane of the stage and the roof form a set of two malposed squares, one large and one small, forming a special staggered spatial relationship.}

^{▲戲臺兩側(cè)為圍墻，另外兩側(cè)向外延伸，形成觀演空間，two sides of the stage that are not facing the walls extend to be a small audience area ?傅英斌 Fu Yingbin}

^{▲戲臺靠墻的兩側(cè)升起成為座椅，two sides of the stage that a facing the walls were extruded as seats ?傅英斌 Fu Yingbin}

鄉(xiāng)村建設不必刻意恢復傳統(tǒng)結構技術和材料，作為一個鮮活的“生命體”，有自我發(fā)展的權利。鋼網(wǎng)架作為一種極為成熟的結構體系被廣泛用于大跨度屋面，戲臺頂棚也采用了鋼網(wǎng)架結構，網(wǎng)架由工廠加工完成后現(xiàn)場只需要兩天時間就可以快速組裝完成。網(wǎng)架四周下垂鋼格柵如同垂幕，使整個屋頂形成一個具有漂浮感的“傘蓋”，向下投射出一個具有空間感的場地。

^{We think rural development does not have to deliberately reuse traditional tectonics and materials, instead, as a growing “l(fā)iving body”, it has the right of self-evolution. As a very mature contemporary structural system, steel grid is widely used in large-span roofs. Steel grid structure is also used in the ceiling of this village stage. It takes only two days on site to assemble and complete the whole steel structure, after pre-casted by the factory. The sagging steel grille of the skyhook ceiling acts as a hanging curtain, which makes the whole roof became a floaty-look “umbrella”, projecting the site downward with spaciousness airiness.}

^{▲屋頂形成“傘蓋”，投射出一個具有空間感的場地，the whole roof became a “umbrella”, creating a place with spaciousness downward ?傅英斌 Fu Yingbin}

^{▲觀演區(qū)，audience area ?傅英斌 Fu Yingbin}

^{▲分解軸測圖，exploded axonometric ?張浩然 Zhang Haoran}

紅色是中國鄉(xiāng)村喜愛的色彩，整個屋面結構被喜慶的紅色噴涂，猶如一個紅燈籠，成為村子的標志性構筑。戲臺所在的廣場同時還是一個鄉(xiāng)村集市的場地，每當集市的時候五顏六色的貨攤和熙熙攘攘的人群與這座巨大的紅傘蓋形成一幅奇幻而又互相映襯的鄉(xiāng)村生活景象，同時傘蓋和下放多功能的基座空間還可以容納一部分集市攤位，使戲臺與鄉(xiāng)村集市融為一體。

^{Red is a favored color in Chinese countryside. The whole roof structure is sprayed with festive red, like a red lantern, which becomes a landmark installation in the village. The Plaza where the stage located is also a place for the rural market. When markets are held, colorful stalls and bustling crowds form a fantastic and mutually contrasting picture of rural life under the huge floating red canopy. At the same time, the red canopy and its multi-functional basement space also accommodate part of the market stalls, integrating the stage with the rural fairs.}

^{▲細部，紅色的結構和地磚，details, red structure and brick ?張浩然 Zhang Haoran}

影響 The Impact

戲臺建成后迅速成為公共活動的聚集場所，村里老人曬太陽、聊天、打牌、等一系列活動均依托戲臺展開，即使陰雨天氣巨大的屋面同樣為活動提供遮蔽空間，同時戲臺也成為鄉(xiāng)村集市的交易中心，外圍的坐凳和基座的臺階都成為擺攤售賣的絕好設施。鄉(xiāng)村建設不是造“盆景”，不必過于拘泥于形式和材料上的“傳統(tǒng)”和“傳承”，以當代社會技術條件為基本手段，服務于當下鄉(xiāng)村的切實空間訴求或許是更好的選擇。

The stage quickly became a gathering place for public activities once upon completion. Elder villagers enjoy the sun, chatting, playing cards around the stage, where the roofs providing shelter for activities even in rainy weather. At the same time, the stage became a flexible trading center for the rural market, as the benches and steps at the base of its periphery become excellent retail places. Rural development is not to create bonsai; therefore, its design has not to be fully constrained within the forms and materials chasing “tradition” and “inheritance”. Sometimes it is perhaps a better choice to honestly serve the realistic and unique demands of current countryside using contemporary techniques as fundamental methodologies.