缘起：乡村到城市功能区的转化
Origin: Transformation from Village to Urban Functional Area

山根村在温州南部茶山一带，位于市区南部边缘，距离市中心仅十余公⾥。2017年初，SpActrum团队第一次来到这个地⽅。彼时，村民已经为了整村的重新规划和改造，而准备整体迁移到场地北部的高层建筑新村之中。这个几近空置的山脚下的小村，许多屋舍已经破败，但代表浙南“侨村”历史的从清代到90年代各个不同时代的民居遗留建筑在政府和开发商的策动下得以整村的风貌完整地保留了下来，甚为可贵。

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.

▼项目概览，general view ©朱迪

SpActrum参与进⾏整治规划和改造并在2018年形成了规划方案。这个方案中，基本恢复了被多年的私搭乱建逐渐模糊的河北岸以平行河岸的三条街为基本骨架，南岸与村后山势结合形成组团的基本格局。对于遗存的⽼建筑，建筑师持更原生态的态度，主张最少的⼲预原有建筑，甚⾄保留某些 “废墟”。建筑师认为“废墟”的状态恰恰是具有意味的，它应该⽆偏见的被视作场地的⼀种重要特质。另一个规划阶段提出的建筑策略是对于现有建筑按照结构的坚固程度、美学价值综合评价，拆除以后，插入新建筑。 而新建筑将使⽤当代的建造⽅式和⻛格，为这个乡村构筑物的集合体添加属于今天的遗留物。

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.

▼项目鸟瞰，aerial view ©朱迪

▼鸟瞰近景，closer view ©朱迪

基于这样的方案，四类现存建筑的典型案例都基本得到保留，代表了乡村建筑在不同时代，以某种原型， 存在和发展的基本模式。它们分别是：⼀、清末的⽊构架古建筑，在当地居⺠民与外国交流密切的浙南地区糅合了了巴洛克⻛格的影响；⼆、上世纪30年代民国以后流⾏的空心砖柱与本地红色花岩⽯梁为主，再结合⽊构架的浙南上世纪中页常见风格；三、上世纪后半期的乡村砖混建筑，他们在⽐例上留有明显的苏俄舶来的现代主义建筑的痕迹，结合了乡村常见材料和中国的建筑的装饰母题；四、改革开放之后满⾜更个⼈化欲望的建筑物，其中⼀些是当时归国华侨委托外国建筑师的作品。

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.

▼项目俯瞰，top view ©朱迪

▼俯瞰近景，closer view ©朱迪

这样的规划⽅案反映了政府、开发商、建筑师的一个共识：多种风格的建筑的保留是对于乡村历史的基本尊重，⽆需拟古或者将建筑统⼀到某个特定年代风格。这在当代由政府主导的⽂旅改造项目中⽆疑是一个具有进步精神的认识。这个项目是对于乡村的操作，但已经成为某种城市化行为，与常规意义上的乡建具有本质的不同，在SpActrum的规划下，山根村将成为一个古今并存、艺术与乡韵融合的综合文旅区。

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.

▼由河岸望向“山根之花”，the “Shangen Blossom Pavilion” from the river bank ©朱迪

回归：混沌的复兴
Retrieve: The Renaissance of Chaos

设计⽅完成山根的规划方案后离场了，后期具体的建筑和景观的实施他们并未介入。当他们再度来到现场时，发现这片场地的⼀些珍贵的特质过度的损失了。保留浙南民居百年类别丰富性的宏愿基本得以实现的同时，原来村⼦的魅⼒很⼤程度上来⾃自发、时间堆积、⽣活沉淀形成的含混不清和自然发⽣，换句话说，就是那一点点“脏”和“野”，随着施工中更常规和普通的处理，变得过于干净整洁了。另一方面，原计划中几个关键地点的新建筑的精细化设计，和其原设想时空穿越的体验流，在后来的实施中都由于实施技术手段和投入的限制⽽未能实现。正在这时，山根桥头的一块空地在拆除原有建筑后暴露出来，甲方邀请SpActrum再为山根设计一个具有开放性的小品建筑，一个乡村的集合点，建筑师抓住这个机会以实践表明了⾃己的态度，为这样的问题提出了⼀个创造性的参照。

▼场地原貌，the original site ©谱观建筑

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. 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.

▼位于山根桥头的“山根之花”，the “Shangen Blossom Pavilion” at the end of the bridge ©朱迪

对于多数浙江村庄，村头、桥头都是具有鲜明特征的记忆点。桥不仅具有交通意义，联结河的两岸。它们更具有社会性意义，是村庄⾥少见的视觉⾛廊，建⽴了对于村庄整体视觉形象的认识场所。⼭根中心桥也正是这样的认识节点。桥北岸是⼏座保存最为完整的⼗九世纪的乡村大屋，南岸正对两个组团的分界点，西侧组团部分拆除后产⽣了一个较大的空地，正对桥头，背靠渐渐⾼起的石山。⾯对山根那始终难忘的蕨类丛⽣生的破旧庭院，耿耿于怀于简单框架下⽣命力的迸发和⼊侵。SpActrum构想了“山根之花”，并将这座无法定义的构筑物献给山根。

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”与“中心桥”的关系，the relationship between “Shangen Blossom Pavilion” and “Central Bridge” ©朱迪

▼由中心桥望向“山根之花”，the “Shangen Blossom Pavilion” from the bridge ©朱迪

“山根之花”立于桥头的空地，是个具有开放性的⼩品建筑，一个乡村的集合点。在创作“山根之花”时，数码化的设计思路⾸先被⽤来寻找与场地整体势态的联系。这⾥被设想为⼀个连接的关节，⾸先在地⾯高度承接桥头，之后抬⾼到地⾯⼀层以上，形成对桥头观望的平台，这个平台同时可以与组团现存建筑相连接。螺旋上升的沿双轨道旋转的形体可以用来完成这样的⾏为，更进⼀步为形体寻找结构上的支撑，继续向上旋转，并将双轨道设置为外边界和内边界两条轨道。最终得到的是一个复杂曲⾯面形成的旋转体，这个旋转体外侧从地⾯升起，形成平台后继续升⾼为⾐领⼀样的外廓， 另⼀侧形成收拢的盘旋体。

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.

▼对桥头观望的平台，the platform facing the bridge ©朱迪

▼平台与组团现存建筑相连接 ©朱迪
the platform is connected to the existing complex

▼螺旋上升的石阶，the spiral stone steps ©朱迪

▼石阶一瞥，a glimpse of the stone steps ©朱迪

这个模型并非直接实施的建筑体量。在乡村建筑的背景下，建筑师以前面一年多时间对于当地建造性积累的经验，对于建造的技术层级做出了判断，同时认识到，建筑师在此情况下应该不会深⼊设计到结构细节， 这⼀部分⼯作会由施⼯⽅进⾏，建筑师只能控制⼀个相对精确的体量方案。所以接下来是主动的简化，这种简化并非减损，⽽是再一次的创造。将复杂的⼏何形体归结为⼀系列三⻆形和四边形。最终的形体具有比之前曲面更明确的指向，同时这种形体组合不是常规的平⾯构思的塑形路径所能够设想的。以这种⽅式，⼀种新的形式语⾔被创造出来。这也是SpActrum对于建筑形式的一种认识：新的建筑形态往往来源于形式所需要回应的问题，以及采取什么样的⽅方式对这种问题进⾏编码，来源于产⽣形式生成的过程，⽽并不来⾃某种直接的雕塑过程。设计经常意味着设计这样的⽣成过程。在将复杂曲面平面化的过程中，对于⾏为、结构等建筑学议题的判读起到了指向性的作⽤。这时⼀个重要的工作是提供可用场所，同时保持不被定义的含混感。建筑的构件取得了多义性和含混性。

▼模型分析，sketch diagram ©谱观建筑

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. 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.

▼越过相邻屋顶望向屋面几何体，the roof geometry from the adjacent roof ©朱迪

▼屋面细部，roof details ©朱迪

在可建造形体形成后，接下来的工作分为两个部分，一方面，这个非常规的几何形体在建造时如何在空间中定位放样成为一个挑战，SpActrum团队采用了平面坐标与角度高程相结合的定位方法，形成一个文件，为施工方的施工图设计深化和现场形体定位提供依据，将地面定位扩展为空间定位，再建立空间点之间的联系，完成空间放样。另⼀方面，为空间匹配正常使用需要的楼梯、栏杆、 砌体、内部涂装等。整个建筑体尽可能的使用了当地的、有机的材料。扶手部分，设计以十分工业化的螺纹钢来进行塑造。⽽最为有趣的是，受浙江传统牡蛎墙和蛎灰涂刷⼯艺启发，将内部空间以粗粝的灰浆塑造成了特殊的室内表⾯效果。

▼材质分析，material diagram ©谱观建筑

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.

▼栏杆与阶梯，railings and steps ©朱迪

内部的倒锥体作为支撑整个平台的结构物，同时开向天空，将⾬水引⼊内部，在倒锥体底部汇合成一个池塘，与外部的⽣态池相连。这汇聚在整个内壁的⾬水滋养了内壁留槽里的蕨类植物。这样， 内部与外部、景观与建筑的边界消解了。进⼀步制造了定义之间犬牙交错的是椎体的一分为二，两个半锥之间错开光缝，将室内最暗处引⼊自然的光亮。

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.

▼室内一览，interior overview ©朱迪

▼倒锥体支撑旁的接待台，the reception desk next to the cone ©朱迪

▼光缝引入阳光，the light slit introduce sunlight ©朱迪

▼椎体表面，surface of the cone ©朱迪

山根之花致敬生命、致敬⾃然、致敬建筑中难以名状的⼼理需求和⾏为方式。再过几年，当藤蔓爬满砖墙，当蕨类占据了倒锥体的整个内壁，浮萍和菖蒲长满池塘；当人们习惯夏日的午后在这里的台阶上坐着看日落，在平台下呷着一口咖啡，建筑师会欣慰曾经在这里撒了一点儿野，帮助混沌的力量回来。

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.

▼夜景，night view ©朱迪

▼总平面图，site plan ©谱观建筑

▼一层平面图，ground floor plan ©谱观建筑

▼东立面图，east elevation ©谱观建筑

▼北立面图，north elevation ©谱观建筑

▼南立面图，south elevation ©谱观建筑

▼剖面图，section ©谱观建筑

项目信息：
项目名称：山根之花
项目地点：浙江省温州市山根村
项目类型：建筑设计&景观设计
客户：浙江云涧旅游投资有限公司
项目状态：建成
设计公司：SpActrum／谱观建筑
主创设计师：潘岩
设计团队：潘岩、李真、唐一萌、陈俊友
设计时间：2019-2020
完成时间：2020
总建筑面积：120 平方米
施工图及施工承建：浙江云涧
材料：喷射混凝土砌块、回收手工制青砖、蛎壳灰涂料、玻璃、钢
摄影师：朱迪