溫州山根村規(guī)劃改造設(shè)計(jì)景觀設(shè)計(jì) | 譜觀建筑

山根之花

Shangen Blossom Pavilion

緣起：鄉(xiāng)村到城市功能區(qū)的轉(zhuǎn)化

Origin: Transformation from Village to Urban Functional Area

山根村在溫州南部茶山一帶，位于市區(qū)南部邊緣，距離市中心僅十余公?。2017年初，SpActrum團(tuán)隊(duì)第一次來到這個(gè)地?。彼時(shí)，村民已經(jīng)為了整村的重新規(guī)劃和改造，而準(zhǔn)備整體遷移到場地北部的高層建筑新村之中。這個(gè)幾近空置的山腳下的小村，許多屋舍已經(jīng)破敗，但代表浙南“僑村”歷史的從清代到90年代各個(gè)不同時(shí)代的民居遺留建筑在政府和開發(fā)商的策動下得以整村的風(fēng)貌完整地保留了下來，甚為可貴。

Shangen Village is located in the Chashan(Tea Hill) area of southern Wenzhou, only ten kilometres away from the city centre. In early 2017, the SpActrum team visited the village for the first time. At that time, the villagers were ready to move to the newly constructed residential buildings in the northern part of the village. The existing buildings of the village were largely preserved under a regeneration development planned by the local government and a Wenzhou-born developer. Architects participated in the regeneration planning and renovation, to transfer Shangen into a city culture & tourism site. 

▼山根村原貌頂視航拍（2017）

▼改造后的新山根村頂視航拍（2020）

SpActrum參與進(jìn)?整治規(guī)劃和改造并在2018年形成了規(guī)劃方案。這個(gè)方案中，基本恢復(fù)了被多年的私搭亂建逐漸模糊的河北岸以平行河岸的三條街為基本骨架，南岸與村后山勢結(jié)合形成組團(tuán)的基本格局。對于遺存的?建筑，建筑師持更原生態(tài)的態(tài)度，主張最少的?預(yù)原有建筑，甚?保留某些 “廢墟”。建筑師認(rèn)為“廢墟”的狀態(tài)恰恰是具有意味的，它應(yīng)該?偏見的被視作場地的?種重要特質(zhì)。另一個(gè)規(guī)劃階段提出的建筑策略是對于現(xiàn)有建筑按照結(jié)構(gòu)的堅(jiān)固程度、美學(xué)價(jià)值綜合評價(jià)，拆除以后，插入新建筑。 而新建筑將使?當(dāng)代的建造?式和?格，為這個(gè)鄉(xiāng)村構(gòu)筑物的集合體添加屬于今天的遺留物。

In 2008, architects completed the planning, which restored the gradually blurred north bank of the river after years of illegal private construction, with three streets running parallel to the riverbank as the initial skeleton. The south bank and hills behind the village combined to form a basic pattern of building clusters. The architect advised to preserve the old buildings with as little intervention as possible. In their point of view, these “residues” in their current condition are the most intriguing part as they showcase a ‘true’ character of the village. Again, the renovation and transformation of the single building also followed this understanding. Another strategic proposal in the planning phase is to comprehensively evaluate the remaining buildings in terms of their structural strength and aesthetic value, then replace some of them with new ones. The implementation of new buildings would add a modern touch to the village. 

▼山根村的原始魅力之一正是這種混雜的生機(jī)（2017）

基于這樣的方案，四類現(xiàn)存建筑的典型案例都基本得到保留，代表了鄉(xiāng)村建筑在不同時(shí)代，以某種原型存在和發(fā)展的基本模式。它們分別是:?，清末的?構(gòu)架古建筑，在當(dāng)?shù)鼐?民與外國交流密切的浙南地區(qū)糅合了了巴洛克?格的影響;?，上世紀(jì)30年代民國以后流?的空心磚柱與本地紅色花巖?梁為主，再結(jié)合?構(gòu)架的浙南上世紀(jì)中頁常見風(fēng)格;三，上世紀(jì)后半期的鄉(xiāng)村磚混建筑，他們在?例上留有明顯的蘇俄舶來的現(xiàn)代主義建筑的痕跡，結(jié)合了鄉(xiāng)村常見材料和中國的建筑的裝飾母題; 四，改革開放之后滿?更個(gè)?化欲望的建筑物，其中?些是當(dāng)時(shí)歸國華僑委托外國建筑師的作品。

On this basis, the four typical genres of existing buildings were mostly preserved, representing varied modes of rural architecture styles of the different eras, including: 1. The wooden structure buildings of the late Qing Dynasty, which adopted the Baroque style as the southern Zhejiang region communicated closely and thus was influenced by overseas culture; 2. Popular styles of hollow brick columns and local red granite beams in the 1930s, and common styles of wood frames in southern Zhejiang Province in the 1950s; 3. Rural brick-concrete buildings, which in their proportions embody obvious traces of modernist architecture imported from Soviet Russia, as well as combining common materials and decorative motifs of Chinese suburban architecture; 4. Buildings that reflect the increasing demand for private dwellings after the reform and opening up of modern China, where these were commissioned to foreign architects by the returning overseas Chinese.

▼山根村是浙南民居各不同時(shí)代演進(jìn)的活化石 

（此照片可以看到山根村各個(gè)不同時(shí)期的代表性民居個(gè)案，）（2017）

這樣的規(guī)劃?案反映了政府、開發(fā)商、建筑師的一個(gè)共識:多種風(fēng)格的建筑的保留是對于鄉(xiāng)村歷史的基本尊重，?需擬古或者將建筑統(tǒng)?到某個(gè)特定年代風(fēng)格。這在當(dāng)代由政府主導(dǎo)的?旅改造項(xiàng)目中?疑是一個(gè)具有進(jìn)步精神的認(rèn)識。這個(gè)項(xiàng)目是對于鄉(xiāng)村的操作，但已經(jīng)成為某種城市化行為，與常規(guī)意義上的鄉(xiāng)建具有本質(zhì)的不同，在SpActrum的規(guī)劃下，山根村將成為一個(gè)古今并存、藝術(shù)與鄉(xiāng)韻融合的綜合文旅區(qū)。

The planning scheme reflected the consensus of the government, the developer, and the architect: to keep the various styles of old residential buildings in respect to the history of the village, and there is no need to limit all buildings into a specific era frame. From the beginning, this renovation plan had become a kind of urbanization, which was fundamentally different from village construction in the conventional sense. This is undoubtedly a major progress in contemporary government-led cultural & tourism renovation projects. 

回歸：混沌的復(fù)興

Retrieve: The Renaissance of Chaos

設(shè)計(jì)?完成山根的規(guī)劃方案后離場了，后期具體的建筑和景觀的實(shí)施他們并未介入。當(dāng)他們再度來到現(xiàn)場時(shí)，發(fā)現(xiàn)這片場地的?些珍貴的特質(zhì)過度的損失了。保留浙南民居百年類別豐富性的宏愿基本得以實(shí)現(xiàn)的同時(shí)，原來村?的魅?很?程度上來?自發(fā)、時(shí)間堆積、?活沉淀形成的含混不清和自然發(fā)?，換句話說，就是那一點(diǎn)點(diǎn)“臟”和“野”，隨著施工中更常規(guī)和普通的處理，變得過于干凈整潔了。另一方面，原計(jì)劃中幾個(gè)關(guān)鍵地點(diǎn)的新建筑的精細(xì)化設(shè)計(jì)，和其原設(shè)想時(shí)空穿越的體驗(yàn)流，在后來的實(shí)施中都由于實(shí)施技術(shù)手段和投入的限制?未能實(shí)現(xiàn)。

SpActrum left the project soon after they proposed the master plan during 2017-2018. When the architects visited the village again, they found that the site has been overly tidied-up and lost its original identity. The village had lost its original wild and rustic ‘sentimental attractiveness’ that had evolved naturally and over the slow passing of time. The village has been hugely cleaned up since then but has lost some of its ancient ambience. The once charming chaos has turned into the blankness of purposeful building activity. Meanwhile, some new buildings lost their original delicate and explicit design language during the construction phase due to technical and difficulties and budget shortages.

▼“山根之花”場地原狀（2017）

▼“山根之花”設(shè)計(jì)概念的靈感：在場地附近的一座破敗的民居中，生機(jī)盎然的蕨類植物占領(lǐng)了原本人類的起居活動空間，自然與人造物之間的此消彼長，建筑和景觀邊界的突破和消解，激發(fā)了這一無法被簡單定義的設(shè)計(jì)

正在這時(shí)，山根橋頭的一塊空地在拆除原有建筑后暴露出來，甲方邀請SpActrum再為山根設(shè)計(jì)一個(gè)具有開放性的小品建筑，一個(gè)鄉(xiāng)村的集合點(diǎn)，建筑師抓住這個(gè)機(jī)會以實(shí)踐表明了?己的態(tài)度，為這樣的問題提出了?個(gè)創(chuàng)造性的參照。

Under this circumstance, a small plot at the end of the bridge was emptied and now presents an opportunity for the architects to recall and restore the power of ambiguity in Shangen Village.

對于多數(shù)浙江村莊，村頭、橋頭都是具有鮮明特征的記憶點(diǎn)。橋不僅具有交通意義，聯(lián)結(jié)河的兩岸。它們更具有社會性意義，是村莊?少見的視覺?廊，建?了對于村莊整體視覺形象的認(rèn)識場所。?根中心橋也正是這樣的認(rèn)識節(jié)點(diǎn)。橋北岸是?座保存最為完整的?九世紀(jì)的鄉(xiāng)村大屋，南岸正對兩個(gè)組團(tuán)的分界點(diǎn)，西側(cè)組團(tuán)部分拆除后產(chǎn)?了一個(gè)較大的空地，正對橋頭，背靠漸漸?起的石山。?對山根那始終難忘的蕨類叢?生的破舊庭院，耿耿于懷于簡單框架下?命力的迸發(fā)和?侵。SpActrum構(gòu)想了“山根之花”，并將這座無法定義的構(gòu)筑物獻(xiàn)給山根。

The site is an empty plot adjacent to a traditional 1950’s – 60’s style village house. It’s in a strategic location, close to the village’s central bridge, and the river has the potential to be a focal point both for the view and as the community spiritual centre. The site is an ideal spot for people to gather at the heart of the village and provides a beautiful view towards the river and the magnificent Qing Dynasty houses. Due to the small scale of the adjacent buildings, the new structure needs to harmonize with them in height and scale. The flower-like cone opening towards the sky is both a geometrical and pragmatic solution to support the proposed structure and bring “nature” into the building.

“山根之花”立于橋頭的空地，是個(gè)具有開放性的?品建筑，一個(gè)鄉(xiāng)村的集合點(diǎn)。在創(chuàng)作“山根之花”時(shí)，數(shù)碼化的設(shè)計(jì)思路?先被?來尋找與場地整體勢態(tài)的聯(lián)系。這?被設(shè)想為?個(gè)連接的關(guān)節(jié)，?先在地?高度承接橋頭，之后抬?到地??層以上，形成對橋頭觀望的平臺，這個(gè)平臺同時(shí)可以與組團(tuán)現(xiàn)存建筑相連接。螺旋上升的沿雙軌道旋轉(zhuǎn)的形體可以用來完成這樣的?為，更進(jìn)?步為形體尋找結(jié)構(gòu)上的支撐，繼續(xù)向上旋轉(zhuǎn)，并將雙軌道設(shè)置為外邊界和內(nèi)邊界兩條軌道。最終得到的是一個(gè)復(fù)雜曲?面形成的旋轉(zhuǎn)體，這個(gè)旋轉(zhuǎn)體外側(cè)從地?升起，形成平臺后繼續(xù)升?為?領(lǐng)?樣的外廓， 另?側(cè)形成收攏的盤旋體。

這個(gè)模型并非直接實(shí)施的建筑體量。在鄉(xiāng)村建筑的背景下，建筑師以前面一年多時(shí)間對于當(dāng)?shù)亟ㄔ煨苑e累的經(jīng)驗(yàn)，對于建造的技術(shù)層級做出了判斷，同時(shí)認(rèn)識到，建筑師在此情況下應(yīng)該不會深?設(shè)計(jì)到結(jié)構(gòu)細(xì)節(jié)， 這?部分?作會由施??進(jìn)?，建筑師只能控制?個(gè)相對精確的體量方案。所以接下來是主動的簡化，這種簡化并非減損，?是再一次的創(chuàng)造。將復(fù)雜的?何形體歸結(jié)為?系列三?形和四邊形。最終的形體具有比之前曲面更明確的指向，同時(shí)這種形體組合不是常規(guī)的平?構(gòu)思的塑形路徑所能夠設(shè)想的。

Shangen Blossom Pavilion stands in the open space at the head of the village bridge. It is an open landscape/architecture, a meeting point of the village. When conceiving Shangen Blossom Pavilion, digital design strategy was initially used to find the resonance with the overall situation of the site. It was eventually composed of two spirals; the outer one rises from the ground to form a platform that connects to the adjacent buildings’ upper floor. This provides an elevated panorama of the village. The inner spiral is a cone that supports the platform. It splits into two, allowing light to penetrate the rooms from the openings.

The general geometry comes from a computer-generated shape that embodies the function and power it needs to deliver. This forms a very complex geometry, but was later manually simplified into triangles and quadrangles to fit the technical capacities of construction in a village.

▼計(jì)算機(jī)生成的連續(xù)螺旋面被轉(zhuǎn)化成為一系列在鄉(xiāng)村建造中可實(shí)現(xiàn)的連續(xù)折面

以這種?式，?種新的形式語?被創(chuàng)造出來。這也是SpActrum對于建筑形式的一種認(rèn)識: 新的建筑形態(tài)往往來源于形式所需要回應(yīng)的問題，以及采取什么樣的?方式對這種問題進(jìn)?編碼，來源于產(chǎn)?形式生成的過程，?并不來?某種直接的雕塑過程。設(shè)計(jì)經(jīng)常意味著設(shè)計(jì)這樣的?成過程。在將復(fù)雜曲面平面化的過程中，對于?為、結(jié)構(gòu)等建筑學(xué)議題的判讀起到了指向性的作?。這時(shí)?個(gè)重要的工作是提供可用場所，同時(shí)保持不被定義的含混感。建筑的構(gòu)件取得了多義性和含混性。 

The project dispels the existing definitions of the man-made environment. It responds to people’s behaviour and requirements within the specific site conditions. Building, landscape, shelter, pavilion, you name it. The performance of such a construction enriches people’s experience in the village; it highlights the central bridge, provides tiered seats for resting with a view, provides a shelter in a rough climate, and gradually becomes an alternative landmark, a landmark filled with people, a landmark that reconnects to nature and the built environment.

▼“山根之花”總平面圖

▼“山根之花”一層平面圖

▼北立面圖

▼東立面圖

▼剖面圖 

在可建造形體形成后，接下來的工作分為兩個(gè)部分，一方面，這個(gè)非常規(guī)的幾何形體在建造時(shí)如何在空間中定位放樣成為一個(gè)挑戰(zhàn)，SpActrum團(tuán)隊(duì)采用了平面坐標(biāo)與角度高程相結(jié)合的定位方法，形成一個(gè)文件，為施工方的施工圖設(shè)計(jì)深化和現(xiàn)場形體定位提供依據(jù)，將地面定位擴(kuò)展為空間定位，再建立空間點(diǎn)之間的聯(lián)系，完成空間放樣。 

▼山根之花建造的空間定位點(diǎn)位圖

▼“山根之花”使用了具有當(dāng)?shù)靥厣膫鹘y(tǒng)建造工藝&鄉(xiāng)土建材

另?方面，為空間匹配正常使用需要的樓梯、欄桿、 砌體、內(nèi)部涂裝等。整個(gè)建筑體盡可能的使用了當(dāng)?shù)氐?、有機(jī)的材料。扶手部分，設(shè)計(jì)以十分工業(yè)化的螺紋鋼來進(jìn)行塑造。?最為有趣的是，受浙江傳統(tǒng)牡蠣墻和蠣灰涂刷?藝啟發(fā)，將內(nèi)部空間以粗糲的灰漿塑造成了特殊的室內(nèi)表?效果。

The design captures possible trends through the digital design tool, and then adapts to the locality with appropriate construction techniques. The covered indoor space is a function room, its inner walls rendered with a traditional oyster shell clay technique to form a very bumpy surface. The design team also developed a methodology to control the form’s spatial coordinates with simple faceted surfaces, and the resulting geometry was then simplified for the local construction team. By the involvement of such a team, the construction process regains the authenticity of architectural behaviour: build for demand, not for desire.

內(nèi)部的倒錐體作為支撐整個(gè)平臺的結(jié)構(gòu)物，同時(shí)開向天空，將?水引?內(nèi)部，在倒錐體底部匯合成一個(gè)池塘，與外部的?態(tài)池相連。這匯聚在整個(gè)內(nèi)壁的?水滋養(yǎng)了內(nèi)壁留槽里的蕨類植物。這樣， 內(nèi)部與外部、景觀與建筑的邊界消解了。進(jìn)?步制造了定義之間犬牙交錯的是椎體的一分為二，兩個(gè)半錐之間錯開光縫，將室內(nèi)最暗處引?自然的光亮。

The planter walls of the cone act as a flag to attract people from a distance and showcase how living creatures can coexist with man-made structures, as this village did in the past. The keynote of the project is the rejection of any single identity or labelling. It combines landscape features, functional space, a communal gathering point and a sensual expression of how nature blends into the built environment. 

山根之花致敬生命、致敬?然、致敬建筑中難以名狀的?理需求和?為方式。再過幾年，當(dāng)藤蔓爬滿磚墻，當(dāng)蕨類占據(jù)了倒錐體的整個(gè)內(nèi)壁，浮萍和菖蒲長滿池塘；當(dāng)人們習(xí)慣夏日的午后在這里的臺階上坐著看日落，在平臺下呷著一口咖啡，建筑師會欣慰曾經(jīng)在這里撒了一點(diǎn)兒野，幫助混沌的力量回來。

The design employs easily accessed local materials and develops them into a particular architectural language, just as the original village buildings did for hundreds of years. The generic material ensures low construction and running costs; the heavy platform confers high sustainability on the indoor space. Plants in the cone constantly grow, adding a dimension of time to this man-made structure. It is a project that integrates completely with its surroundings, while inviting natural elements and people to celebrate its ambiguity and polysemy.

_{項(xiàng)目信息}

_{項(xiàng)目名稱：山根之花}

_{項(xiàng)目地點(diǎn)：浙江省溫州市山根村}

_{項(xiàng)目類型：建筑設(shè)計(jì)&景觀設(shè)計(jì)}

_{客戶：浙江云澗旅游投資有限公司}

_{項(xiàng)目狀態(tài)：建成}

_{設(shè)計(jì)公司：SpActrum／譜觀建筑}

_{主創(chuàng)設(shè)計(jì)師：潘巖}

_{設(shè)計(jì)團(tuán)隊(duì)：潘巖、李真、唐一萌、陳俊友}

_{設(shè)計(jì)時(shí)間：2019-2020}

_{完成時(shí)間：2020}

_{總建筑面積：120 平方米}

_{施工圖及施工承建：浙江云澗}

_{材料：噴射混凝土砌塊、回收手工制青磚、蠣殼灰涂料、玻璃、鋼}

_{攝影師：朱迪}

_{Project Information} 

_{Project Name: Shangen Blossom Pavilion}

_{Project Location: Shangen Village, Wenzhou, Zhejiang Province, P.R.China}

_{Project Type: Architecture Design & Landscape Design}

_{Client: Zhejiang Yunjian Tourism Investment Ltd.}

_{Project Status: Built} 

_{Design Company: SpActrum}

_{Principle Architect: Yan Pan}

_{Design Team: Yan Pan, Zhen Li, Yimeng Tang, Junyou Chen} 

_{Design Period: 2019-2020}

_{Completed Year: 2020} 

_{Gross Floor Area: 120 sqm}

_{Construction Drawing & Contractor: Zhejiang Yunjian}

_{Applied Materials: Spray Concrete, Recycled Old Bricks, Oyster Shell Rendering, Glass, Steel} 

_{Photographer: Di Zhu} 

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_{投稿郵箱：info@landscape.cn}

_{項(xiàng)目咨詢：18510568018（微信同號）}