福州•东形西见新址：以新生致敬过往-灵感家

福州•东形西见新址：以新生致敬过往

刚刚

创造性的怀旧揭示了时代的幻想，而未来正是在这些幻想和潜力中诞生的。我们怀旧，怀念的不是过去所存在的方式，而是过去可能存在的那种方式。我们所力求在未来实现的，就是这类的过去的完美。

“哲学是怀着永恒的乡愁寻找家园。”
———– 诺瓦利斯
“Die Philosophie ist eigentlich Heimweh – Trieb überall zu Hause zu seyn.”
———–Novalis Schriften

▼办公空间概览，overview of the office area ©许晓东

东形西见新址位于闹市中心地段，隐秘在一个千年古寺后旧建筑群内，原址为福州大学机械厂。对于这栋就地重建的建筑，东形西见更多地思索它的”再生”，思考城市再生空间的重新利用，以新生致敬过往。

The new site is located in the bustling downtown area, hidden behind an old building complex of thousand-year-old temples. The former site was the Machinery Factory of Fuzhou University. For this locally rebuilt building, East To West Design think more about its “regeneration”, thinking about the reuse of urban regeneration

▼以旧机械厂改造的办公楼，
the office building transformed from an old machinery factory ©许晓东

因而，新建筑在此，是记忆的承载者，也是庇护者。是一种想象、一种乡愁的补救，让存在者在场自行进入转化或愈合，让存在者在自身的出现与常住在场的真实。在场所内部，为了探索和再现过去的生动与复杂性，所有的结构/材料与形式的关系，从概念到具体的呈现都多维度的展开，从对场所的感性想象入手再到具体的建筑秩序如何有组织的探寻，也是一个感知与思辨不断交互印证的过程。

Therefore, the new building is here, the bearer of memory, but also the shelter. It is a kind of imagination, a remedy of homesickness, allowing the presence of the existence to enter into transformation or healing by itself, allowing the presence of the existence in its own appearance and the reality of permanent presence. Inside the site, in order to explore and reappearance vivid and complexity of the past, all the structure/material and form of relationship, from concept to a specific rendering is multi-dimensional, from the perceptual imagination of the place to the concrete construction order how organized, is also a process of constant interaction confirm perception and thinking.

▼办公楼接待台，the front desk of the office building ©许晓东

▼办公楼楼梯入口，the entrance of the office building ©许晓东

▼从楼梯进入公共办公区，entering the public office area from the stairs ©许晓东

▼楼道空间近景，close shot of the corridor ©许晓东

这些老木材虽说是一种从自然而来的涌现、非对象化的制作，尽管有对老木质料的取用、对于其形式的赋予，却仍然不是一种把作为存在者整体的自然视为单纯的制作，倒不如说是一种外在于自然的、对存在者之存在的别具一格的开抛。

Although these old wood is a kind of emergence from nature, rather than objectified production; Despite the use of old wood materials and the gift of its form, it is still not a simple production of nature as a whole of existence, but rather a unique opening of nature outside of the existence of existence.

▼从楼梯看向办公区，a view from the stairs to the public office area©许晓东

▼新办公室给旧工厂带来生机，the new office brings vitality to the old factory ©许晓东

▼旧木材在新办公室里的应用，the old wooden materials were used in the new office ©许晓东

于是，伫立在此的怀旧乡愁，它不会只是单向度地敞开一切，而是同时庇护着被疏朗与被遮蔽。而之所以能够使物显示其所是，恰恰并非它栩栩如生地展现出各个细节，使其置于某种纯粹的亮光之下，看到符合一致，而是因为在这种庇护中，在光亮的荫蔽之处发生了真实，真实的世界涌现在这仅有的光亮之中。

Therefore, standing here nostalgia, it will not only open everything unidirectionally, but at the same time sheltered by the sparse and covered. And what makes things manifest is not precisely the fact that they are vividly presented in detail, and placed under some pure light, and seen in accord, but because in this shelter, in the shadow of the light, reality takes place, and the real world springs up in the only light.

▼从夹层俯瞰办公室，a view from mezzanine to the office ©许晓东

空间既是一种规约性力量，也是自由的承载方式，在被预构为行动发生之配景的世界中，将这一系列行为作为一种意图的实现以回溯过去的方式“捏合在一起” ，在一片更大的存在里，疯长着细腻的情感，从源至末。

Space is both a kind of normative force and a way of carrying freedom. In the world preconstructed as the background of action, this series of behaviors are “knead together” in a way of retrospecting the past as the realization of intention. In a larger existence, exquisite emotions grow wild, from source to end.

▼窗户营造出的光影效果，the light and shadow created by the window ©许晓东

一经落成，便为我们开辟出了这样一个场所：一方面，人得以立足其中并保存自身，得以观看、聆听并言说记忆与未来，世界由此被敞开出来；另一方面，不断涌现的记忆得以在此与我们照面，自然照亮了建筑的轮廓并证明了此间世界的坚固。由此，将我们置于建筑与此间世界的敞开领域之中。

When it builds, a place where one can stand and preserve oneself, where one can see, hear and speak of memory and the future, where the world is opened up; On the other hand, the emerging memories are able to confront us here, illuminating the building’s contours and testifying to the solidity of the world here. Thus, we are placed in the open field of architecture and the world between.

“创造性的怀旧揭示了时代的幻想，而未来正是在这些幻想和潜力中诞生的。我们怀旧，怀念的不是过去所存在的方式，而是过去可能存在的那种方式。我们所力求在未来实现的，就是这类的过去的完美。”

“Creative nostalgia reveals the fantasies and potentials of The Times from which the future is born. What we miss is not the way it used to be, but the way it might have been. It is this kind of past perfection that we strive to achieve in the future.”