大槐樹(shù)下的場(chǎng)院，山西韓洪溝鄉(xiāng)村公共空間設(shè)計(jì) | 三文建筑

▼大雪中的村落，紅色裝置格外醒目

Village in heavy snow with red installation particularly striking

▼大槐樹(shù)和新元素 

Big locust tree and new elements

場(chǎng)地現(xiàn)狀：老村的公共空間和精神之地

Site status: public space and spiritual place of the old village

項(xiàng)目位于山西省沁源縣韓洪溝老村。村莊位于縣城東部城郊結(jié)合處，距離縣城4公里。村莊始建于明洪武年間，因村中有一條泄洪溝而得名。全村共有138戶(hù)，人口488人。老村現(xiàn)狀絕大部分人口已經(jīng)遷至新村居住，老村中只有4戶(hù)居民常住。

老村與新村毗鄰，村莊原始格局完整，自西向東呈多級(jí)臺(tái)地地形；建筑依地形而建，大致分為土墻雙坡頂民居，窯洞兩種，平地區(qū)域多為雙坡頂民居，山坡邊以窯洞為主。老村建筑傳統(tǒng)風(fēng)貌保持良好，保留有古樹(shù)、古護(hù)坡等歷史痕跡，具有較高的文化價(jià)值。此外因?yàn)槭强箲?zhàn)時(shí)期太岳區(qū)黨政軍機(jī)關(guān)后勤部門(mén)的所在地，村莊中還留有多處當(dāng)年紅色記憶的舊址，也為韓洪溝村未來(lái)發(fā)展提供了支點(diǎn)。

老村絕大部分房屋屬于閑置狀態(tài)，常年無(wú)人居住和年久失修使大部分房屋或多或少存在損壞情況；此外，人口的外遷，缺乏產(chǎn)業(yè)支撐，也使韓洪溝老村日漸凋敝。如何在保留村莊傳統(tǒng)面貌的同時(shí)，植入新的產(chǎn)業(yè)，拉動(dòng)村莊經(jīng)濟(jì)，改善環(huán)境和村民生活質(zhì)量，增強(qiáng)村莊活力，最終完成鄉(xiāng)村振興，是本次工作面臨的挑戰(zhàn)和需要解決的問(wèn)題。

The project is in the old Hanhonggou Village, Qinyuan County, Shanxi Province, China. The village is located at the junction of the eastern suburbs of the county, 4 kilometers away from the county seat. The village was built in Hongwu Period of Ming Dynasty, named after a flood discharge ditch in the village. There are 138 households in the village, with a population of 488. At present, most of the population in the old village has moved to live in the new village, and only four residents in the old village live there.

The old village is adjacent to the new village, and the original pattern of the village is complete. From west to east, the village is in a multi-level platform terrain. The buildings are built according to the terrain, which can be roughly divided into two types, i.e. residential houses with earth wall and double slope roofs, mostly in the flat area, and cave houses, mostly near the hillside. The traditional features of the old village buildings are well preserved, with the historical traces of ancient trees and ancient slope protection, which has a high cultural value. In addition, because it was the location of the Logistics Department of the party, government and army in Taiyue District during the Anti-Japanese War, there were many old sites with red memories of that year in the village, which also provide a fulcrum for the future development of Hanhonggou Village.

Most of the houses in the old village are in idle state and, because of the uninhabited and disrepair all the year round, are more or less damaged. In addition, the continuously moving out population and the lack of industrial support also make the old village in Hanhonggou wither day by day. How to keep the traditional face of the village, at the same time, implant new industries, promote the village economy, improve the environment and the quality of life of the villagers, enhance the vitality of the village, and finally complete the revitalization of the village, are the challenges and problems to be solved in this work.

▼場(chǎng)地原貌 

Original situation of site（攝影：何崴）

本項(xiàng)目是韓洪溝老村整體復(fù)興計(jì)劃一部分，基地是一個(gè)三合院，位于韓洪溝老村中部，地勢(shì)較高。院落中有一個(gè)處空置的三孔窯洞，現(xiàn)狀保持較好，但廂房、倒座、圍墻和院門(mén)已經(jīng)坍塌，只剩下基礎(chǔ)的石塊。場(chǎng)地中最為重要的元素是院外的大槐樹(shù)。它已經(jīng)有數(shù)百年的樹(shù)齡，但仍然枝繁葉茂，如同神靈般守護(hù)著村莊。聽(tīng)村里老人介紹，大槐樹(shù)下一直是村民集會(huì)的地方，以前是韓洪溝老村重要的公共空間，也是村莊的精神之地。

This project is a part of the overall rehabilitation plan of the old Hanhonggou Village, of which the base is a courtyard, located in the middle of the old village, with high terrain. There is an empty three-hole cave house in the courtyard. The current situation is good, but the side rooms, a reversely-set house (north facing house opposite to the main house), walls and gates have collapsed, leaving only the foundation stones. The most important element in the site is the big locust tree outside the yard, which is hundreds of years old, but still full of branches and leaves, guarding the village like a god. According to the introduction of the old people in the village, under the big locust tree has always been the place where villagers gather, which used to be an important public space and the spiritual place of the old village.

空間營(yíng)造：重塑場(chǎng)所精神，并給予新的氣質(zhì)

Space construction: reshape the genius loci and endow new temperament

正如韓洪溝老村的現(xiàn)狀一樣，大槐樹(shù)也已經(jīng)物是人非，昔日的熙熙攘攘早已不復(fù)存在。如何重新建構(gòu)鄉(xiāng)村公共空間，從而重新塑造場(chǎng)所精神（genius loci）是本次設(shè)計(jì)的重點(diǎn)。此外，設(shè)計(jì)師也不希望只是簡(jiǎn)單的重復(fù)歷史，畢竟韓洪溝老村已經(jīng)有了新的產(chǎn)業(yè)定位，即：基于地域建筑風(fēng)貌和紅色歷史傳承的鄉(xiāng)村旅游。新的鄉(xiāng)民，新的產(chǎn)業(yè)定位，需要大槐樹(shù)和樹(shù)下空間扮演新的角色。

Just like the current situation of old Hanhonggou Village, the big locust tree has changed, and the bustling of the past no longer exists. How to reconstruct the rural public space, so as to reshape the spirit of place, the genius loci, is the focus of this design. In addition, the designer does not want to simply repeat history. After all, the old Hanhonggou Village has a new industrial orientation, that is, rural tourism based on regional architectural style and red historical heritage. New villagers and new industrial orientation need the big locust tree and the space under it to play a new role.

▼改造后的場(chǎng)地

Reconstructed site

▼草圖-1  

Sketch-1

▼草圖-2 

Sketch-2

設(shè)計(jì)師將新功能設(shè)定為鄉(xiāng)村記憶館和小劇場(chǎng)。老窯洞被整修，外觀保持原貌，室內(nèi)空間被重新布置為小型歷史展廳，用以展示韓洪溝老村的歷史和抗戰(zhàn)時(shí)期太岳軍區(qū)的事跡。坍塌的廂房和倒座并沒(méi)有被恢復(fù)，設(shè)計(jì)師并不希望簡(jiǎn)單的“修新如舊”，而是希望通過(guò)新建筑物的加入，給予場(chǎng)地新的場(chǎng)所精神。

The designer set the new functions as rural memory hall and small theater. The old kiln cave was renovated, its appearance remained unchanged, and the interior space was rearranged as a small historical exhibition hall to show the history of old Hanhonggou Village and the deeds of Taiyue military region during the Anti-Japanese war. The collapsed wing rooms and inverted seats have not been restored. The designer does not want to simply "build new as old", but hopes to give the site a new spirit of place through the addition of new buildings.

▼新建的看臺(tái)、紅色傘狀裝置與老窯洞 

Newly built audience grandstand, red umbrella installation and old cave dwelling

▼由老窯洞改造的村史館

Old cave dwellings transformed into Village History Exhibition Hall

▼從場(chǎng)地下面的道路能看到突出的劇場(chǎng) 

Overhanging theater seen from road below the site

昔日村民聚集在大槐樹(shù)下，互通有無(wú)，互相交流的場(chǎng)景給了設(shè)計(jì)師靈感。這是一個(gè)半開(kāi)放的公共空間：大樹(shù)的樹(shù)冠限定了場(chǎng)所的“邊界”，樹(shù)冠、陰影和人的活動(dòng)構(gòu)成了場(chǎng)所的氣質(zhì)和場(chǎng)所中的事件。這是一種公共空間的原型。

In the past, the villagers gathered under the big locust tree to communicate with each other, which inspired the designer. This is a semi open public space: the crown of the tree defines the "boundary" of the place, and the crown, shadow and human activities constitute the temperament of the space as well as the events in it. This is a prototype of public space.

▼改造后的窯洞外觀與紅色裝置

Remoulded cave dwelling and red installation

▼場(chǎng)地成為村莊新的公共空間

Site as new public space of village（攝影：何崴）

▼村民與紅色裝置 

Villagers and red installation（攝影：何崴）

設(shè)計(jì)師希望用一種新的、“似是而非”的設(shè)計(jì)語(yǔ)言，重現(xiàn)這一場(chǎng)景，這一原型。一組傘狀的構(gòu)筑物被設(shè)計(jì)出來(lái)，“傘帽”大小不一，彼此連接，形成由多個(gè)圓組成的不規(guī)則的“頂”，它覆蓋了院落1/4的面積，并隱約成圍繞大槐樹(shù)的半環(huán)抱狀。院落西側(cè)倒塌廂房的位置，一個(gè)室外看臺(tái)被構(gòu)建起來(lái)，它呈梯形，東低西高，與老窯洞、大槐樹(shù)，以及傘狀構(gòu)筑物一起，重新定義了場(chǎng)地的空間屬性。室外看臺(tái)一方面為室外劇場(chǎng)提供了觀眾的座位，另一方面也為俯視村落提供了一個(gè)高點(diǎn)。

The designer hopes to reproduce the scene and prototype with a new "specious" design language. A group of umbrella-like structures are designed, with caps in different sizes and connected with each other, forming an irregular "top" composed of multiple circles. It covers 1 / 4 of the courtyard area and looms into a semi encircling shape around the big locust tree. The location of the collapsed wing room on the west side of the courtyard, an outdoor stand is constructed, which is trapezoid in shape, lower in the east and higher in the west. Together with the old kiln cave, big locust tree and umbrella structures, it redefines the spatial attribute of the site. On the one hand, the outdoor stand provides the audience seats for the outdoor theatre. On the other hand, it also provides a high point for overlooking the village.

▼從下沉劇場(chǎng)屋頂平臺(tái)看場(chǎng)地 

Site seen from roof platform of sunken theater

▼紅色裝置、窯洞與大槐樹(shù)一起形成對(duì)場(chǎng)地的圍合

Red installation, cave dwelling and big locust tree forming enclosure of site

▼夜晚的場(chǎng)地 

Site in night

設(shè)計(jì)師利用戶(hù)外看臺(tái)斜向樓板下的室內(nèi)空間設(shè)計(jì)了一個(gè)下沉式劇場(chǎng)，可以放映電影或者影像內(nèi)容，與戶(hù)外看臺(tái)功能互補(bǔ)，滿(mǎn)足了北方地區(qū)冬季的室內(nèi)活動(dòng)需求。小劇場(chǎng)西南側(cè)從場(chǎng)地挑出，落地玻璃和石墻形成的虛實(shí)對(duì)比進(jìn)一步加強(qiáng)了建筑的視覺(jué)性，它為進(jìn)入老村的路徑提供了視覺(jué)引導(dǎo)。室內(nèi)劇場(chǎng)、歷史展廳和室外空間一起，形成了新的大槐樹(shù)下公共空間，豐富了鄉(xiāng)村的業(yè)余生活，為本地人及未來(lái)的新村民提供了文藝活動(dòng)的場(chǎng)地。

Using the indoor space under the inclined floor of the outdoor stand, the designer designed a sunken theatre, where movies or video content can be shown, complementing the functions of the outdoor stand, meeting the needs of indoor activities in winter in the northern region. The southwest side of the small theatre overhangs from the site, and the contrast between the real and the virtual formed by the floor-to-ceiling glass and the stone wall further strengthens the visibility of the building, which provides a visual guide for the way into the old village. Together with the indoor theatre, historical exhibition hall and outdoor space, a new public space under the big locust tree has been formed, which enriches the rural spare time life and provides a venue for the local people and the new villagers in the future.

▼從入村道路看出挑的劇場(chǎng)

Overhanging theater seen from road entering villag

▼下沉劇場(chǎng)放映廳 

Screening room of sunken theater

藝術(shù)介入：既可以是建筑也可以是裝置

Artistic intervention: both architecture and installation 

在這里，設(shè)計(jì)師還試圖“混淆”建筑與藝術(shù)裝置的邊界。室外看臺(tái)，傘狀構(gòu)筑物被紅色覆蓋，形成了強(qiáng)烈的，不同于常規(guī)建筑學(xué)的視覺(jué)語(yǔ)言。它更趨近于藝術(shù)性的表達(dá)，單純、強(qiáng)烈，甚至略顯極端；同時(shí)，紅色給予了空間一種新的氣場(chǎng)：更開(kāi)放的公共性，戲劇性、敘事性和張力都比建筑語(yǔ)言更簡(jiǎn)單，更具力量。

為了進(jìn)一步強(qiáng)化這種藝術(shù)化語(yǔ)言，設(shè)計(jì)師在部分圓頂上安裝了反射鏡面。人站立在傘狀構(gòu)筑物下方，可以從反射鏡面中看到自己的影像。自己與自己的對(duì)話，使場(chǎng)地更有趣味，更輕松，也更容易引起共鳴。

傘狀構(gòu)筑物的支柱除了讓人與空間之間的身體接觸更為豐富外，也進(jìn)一步加強(qiáng)了戲劇的不確定性。這也是設(shè)計(jì)師的有意而為：支柱的存在讓?xiě)騽o(wú)法以常規(guī)的形式出現(xiàn)，但同時(shí)也促使表演和空間之間發(fā)生關(guān)系。當(dāng)然，倒座位置的空地還是能保證正常表演的進(jìn)行。無(wú)形中，場(chǎng)地變得更為不確定，不同的使用者，使用情況，可以對(duì)場(chǎng)地進(jìn)行重新定義。這也許正是后工業(yè)時(shí)代所需要的空間模式。

Here, the designer also tries to "confuse" the boundary between architecture and art installation. On the outdoor stands, umbrella-like structures are covered with red color, forming a strong visual language different from conventional architecture. It tends to be more artistic expression, simple, strong, even slightly extreme. At the same time, red gives the space a new aura: more open publicity, dramaticism, narrativity and tension are simpler and more powerful than architectural language.

In order to further strengthen this artistic language, the designer installed reflection mirrors on some domes. Standing under the umbrella-like structure, people can see their own image from the reflection mirrors. The dialogue between one and oneself makes the venue more interesting, relaxed and resonant.

In addition to enriching the physical contact between human and space, the pillars of umbrella-like structures further strengthen the uncertainty of drama, which is also the designer's intention: the existence of pillars makes the drama unable to appear in the conventional form, but also promotes the relationship between performance and space. Certainly, the open space in the inverted seat position can ensure the normal performance. Virtually, the site has become more uncertain, which can be redefined by different users and use conditions. This might be the space model needed in the post-industrial era.

▼燈光加強(qiáng)了紅色裝置的表現(xiàn)力

Lighting enhancing performance of the red installation

▼從入口部分看紅色傘狀裝置 

Red umbrella-shaped installation seen from entrance

▼傘帽細(xì)部 

Details of umbrella caps

講好紅色故事：色彩、材質(zhì)、明暗對(duì)比中的娓娓道來(lái)

Tell good red stories: storytelling in the contrasts of colors, materials, light and darkness

設(shè)計(jì)師認(rèn)為建筑及環(huán)境既是過(guò)去故事承載體，也可以成為當(dāng)代故事的敘述者。紅色記憶的展示可以不僅僅是墻面上刻板的展板，更可以是空間體驗(yàn)，甚至是通過(guò)戲劇、活動(dòng)的方式被人們理解和傳頌。

空間中采用了大量紅色元素以產(chǎn)生特定主題的心理暗示，同時(shí)又加入了跳躍的材質(zhì)（如傘狀構(gòu)筑物下的鏡面材質(zhì)）讓整體氛圍不至于過(guò)分嚴(yán)肅。室內(nèi)外兩個(gè)劇場(chǎng)空間產(chǎn)生明暗上的區(qū)別，分別對(duì)應(yīng)了觀看歷史影像和當(dāng)下表演的不同氛圍需求；村史館窯洞內(nèi)的低矮空間及土墻材質(zhì)被完整保留，定制的五星壁燈裝置，定義了空間的主題，內(nèi)部展陳收集了村內(nèi)的老物件及老照片，使得參觀者可以更真切感受到場(chǎng)地所承載的厚重歷史。

設(shè)計(jì)師希望通過(guò)建筑及環(huán)境的多種空間語(yǔ)言，間接地將場(chǎng)地承載的故事娓娓道來(lái)，從而讓使用者在使用空間的過(guò)程中，產(chǎn)生對(duì)紅色主題的共鳴。

The designer believes that architecture and environment are not only the carriers of past stories, but also the narrators of contemporary stories. The display of red memory can not only be a rigid display board on the wall, but also a space experience, and even be understood and praised by people through drama and activities.

A large number of red elements are used in the space to produce psychological hints of specific themes, while bouncing materials (such as the mirrors under the umbrella-like structures) are added to make the overall atmosphere less serious. There are differences in light and shade between the indoor and outdoor theatre spaces, which respectively correspond to different atmosphere requirements for viewing historical images and performing at present. The low space and earth wall materials in the kiln cave of the village history museum are completely preserved. The customized five-star wall lamp device defines the theme of the space. The internal exhibition collects the old objects and photos in the village, so that visitors can feel more vividly the heavy history borne by the site.

The designer hopes to indirectly narrate the story carried by the site through a variety of space languages of the building and environment, so that the users can resonate with the red themes in the process of using the space.

▼村史館記錄了太岳軍區(qū)一段革命的歷史 

Revolution history of Taiyue Military Area Command recorded in Village History Museum

▼村史館展廳  

Exhibition hall of Village History Museum

▼下沉劇場(chǎng)序廳，透過(guò)窗戶(hù)可以看到村莊 

Village seen through the window of lobby of sunken theater

▼紅色裝置與紅色的看臺(tái)

Red installation and red audience stand

小結(jié)

Conclusion

本項(xiàng)目設(shè)計(jì)團(tuán)隊(duì)在仔細(xì)閱讀場(chǎng)地文脈context的基礎(chǔ)上，通過(guò)加入新的功能，重塑場(chǎng)地的場(chǎng)所精神，使之更符合韓洪溝老村的新產(chǎn)業(yè)訴求，以及新鄉(xiāng)民的審美和精神需要。在設(shè)計(jì)手法上，運(yùn)用當(dāng)代性的建筑和藝術(shù)語(yǔ)言形成新與舊的對(duì)話。這種對(duì)話并不是對(duì)抗性的，也不是混淆時(shí)代的信息，而是一種“忘年交”式的共生關(guān)系。

On the basis of carefully reading the context of the venue, the design team of the project reshapes the genius loci the venue by adding new functions, so as to make it more in line with the new industrial demands of the old Hanhonggou Village, as well as the aesthetic and spiritual needs of new villagers. In terms of design techniques, the use of contemporary architectural and artistic language forms a dialogue between the new and the old. This kind of dialogue is not antagonistic, nor confusing the information of the times, but a symbiotic relationship of "forgetting the ages".

▼夜景 

Night scene

▼錯(cuò)落的傘狀裝置改變了場(chǎng)地的氣質(zhì)

Scattered umbrella-shaped installation changed the temperament of site

▼場(chǎng)地成為村莊新的公共空間  

Site as new public space of village（攝影：何崴）

▼當(dāng)?shù)卮迕裨趫?chǎng)院中唱戲 

Local villagers performing in courtyard（攝影：何崴）

▼施工過(guò)程

Construction process（三文建筑提供）

▼施工過(guò)程-2 

Construction process-2（三文建筑提供）

▼總平面圖 

General site layout

▼首層平面圖 

First floor plan

▼軸測(cè)圖 

Axonometric drawing

▼剖面圖 

Section

▼墻體細(xì)部 

Detailsl

_{項(xiàng)目信息：}

_{名稱(chēng)：大槐樹(shù)下的場(chǎng)院}

_{地點(diǎn)：山西省沁源縣沁河鎮(zhèn)韓洪溝村}

_{業(yè)主：沁源縣人民政府}

_{建筑、室內(nèi)、景觀設(shè)計(jì)：三文建筑（www.3andwichdesign.com）}

_{主持建筑師：何崴、陳龍}

_{項(xiàng)目建筑師：梁筑寓}

_{設(shè)計(jì)團(tuán)隊(duì)：桑婉晨、曹詩(shī)晴、趙馨澤、李俊琪}

_{項(xiàng)目顧問(wèn)：周榕、廉毅銳}

_{設(shè)計(jì)時(shí)間：2019年4月-7月}

_{建成時(shí)間：2019年11月}

_{場(chǎng)地面積：800平方米}

_{建筑面積：250平方米}

_{攝影：金偉琦，何崴}

_{Project information:}

_{Name: Threshing Ground under the Big Locust Tree}    

_{Location: Hanhonggou Village, Qinyuan County, Shanxi Province, China}

_{Owner: People’s Government of Qinyuan County}

_{Architecture, interior and landscape design: 3andwich Deisgn / Hewei Studio （www.3andwichdesign.com）}

_{Principle architects: He Wei, Chen Long}

_{Project architect: Liang Zhuyu}

_{Design team: Sang Wanchen, Cao Shiqing, Zhao Xinze, Li Junqi}

_{Project consulting: Zhou Rong, Lian Yirui}

_{Design period: April – July 2019}

_{Completion time: Nov. 2019}

_{Site area: 800sqm}

_{Building area: 250sqm}

_{Photographer: Jin Weiqi, He Wei}

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_{投稿郵箱：info@landscape.cn}

_{項(xiàng)目咨詢(xún)：18510568018（微信同號(hào)）}