宀屋：旧物被庇护，新屋招枝而生 / 素建筑

魏唐辰希（实习生） | 2018.01.26 10:00

素建筑设计事务所

宀（miǎn），意为覆盖，这个简单而古老的手法成为这幢小房子唯一的形式动作。从材料到做法可见之处，全部采用了在地的方式；而承重加固等不可知之处，则用了现代的技术和材料。来获得一种隐形的“现代性”。这则小品建筑采用了这种“以新修旧，如旧补新”的方式，达到一种微妙的在地感和现代性的调和。

In Chinese, λ implied to cover; this simple and ancient way becomes the only form of action in this small house. The use of material and way of practice are both localized and mode technologies and materials are used in load-bearing reinforcement in some unknown place in order to obtain an invisible modeity. This architecture adopts such a way of " renewing the old architecture with new technology，vest the newly built house with old look" to achieve a delicate reconciliation of the sense of locality and modeity.

地气

The envelope of the site

取名为“桃源”的村落不胜枚举，足见中国人对于故乡总有对世外桃源的文学幻想：“林尽水源，便得一山”，“土地平旷，屋舍俨然”，“黄发垂髫，怡然自得”。宀屋位于安徽省祁门县闪里镇的“桃源村”，起源于南宋迁至此处的陈姓家族。先祖“见山秀地美，水口紧扎，深爱之”，村子藏在两山之间的谷地，水口河埠，良田山丘，一应俱全，历经上千年的积淀，形成了典型徽州村落的格局。

The village titled "Taoyuan" is so numerous in China,since Chinese people always have a cultural complex on their hometowns from some fantasy literature, such as "Where the forest ends, where the headwaters is; then the mountain shows", "The houses are dignifiedjust like the extensive flat land", “No matter the aged and the young,everyone is self-satisfied with joy”. The site of the λhouse is located at a "Taoyuan" villages in the town called Shanli which in Qimen, Anhui Province. This "Taoyuan Village", originated a group family suamed Chen that moved here since the Southe Song Dynasty. The ancestors of this family "see the beauty of the mountains and the waters, deeply loved in this land". This village hidden in the valley between two mountains, full with water sources and farmland hills, it is a gift land for living and multiply. After thousands of years, the patte of a typical Huizhou village had been formed.

桃源村有上百户，同姓陈，有九个祠堂之多，这在全国都实属罕见，足见桃源村曾富甲一方的盛况。明清时期，徽商纵横全国，在强烈的乡族意识和故土情节影响下，徽商发迹之后回乡兴修祠堂牌坊等公共建筑。而今，由于桃源村相对闭塞，村落的原始格局和徽派建筑的风貌仍然保留完好。其中，散落在村子的不同角落的九个祠堂成为文保建筑，依旧完好如初。

There are hundreds families in Taoyuan village that all suamed Chen, there are as many as nine ancestral templeswhich are rarely seen. These temples recorded how flourish and wealthy this village used was in history. During Ming and Qing Dynasties, the merchants from Huizhou were throughout the country, under the influence ofstrong township consciousness and the nostalgia complex, it was a tradition to construct the ancestral temples and other public buildings when they retued home with fortune . Nowadays, due to the protection of natural environment, the original layout patte of the village and the Huizhou style architectural appearanceare still remain intact. Among them, the nine temples scattered in different location of the village have become the historic preservationbuildings that still intact.

起意

To conceive a design

宀屋位于通向村子内部的小路一侧，紧邻叙五祠（古九祠之一）。四周农田环绕，相对独立。房子体量很小，占地只有60平方米。建筑原状为两层，一层堆放农具，二层由于木屋架高度很低，基本处于空置状态。屋顶为普通穿斗式木构，但已经几近腐朽，墙体则为当地惯常空斗墙做法。

The λ house is located on the side of apath leading to the village, close to Xu Wu Ancestral Temple (one of the nine ancestral temples in ancient China). Surrounded by farmland, relatively independent, the house is very small, covering only 60 square meters. The original structure has two floors, first floor with stacked farm tools and second floor in vacant state due to the low height wooden truss. The roof is anordinary column-and-tie construction, but has been almost decayed while the wall is made in a local way, hollow bond wall.

out 6 — 改造前外观 The exteal appearence before reconstruction

这样一个小柴房能做什么用？基于宀屋所处位置的公共性，我们为她设想了两个诉求：一方面，作为祁门红茶的产地，尽管家家户户都有红茶，但村子里尚未有一个专门的红茶体验馆。村里人招待客人，仅是在自家客厅里售卖，缺少品茶、赏茶、论茶的过程。桃源村需要有一个礼仪性的品茶空间。

What can we do in such awoodshed ? Since the λ house is located in a public area, we envisioned two demands for her: On the one hand, as anoriginof Keemun Black Tea, although there is black tea in every household, a special black tea experience museum has not been established in the village. Villagers usually sell tea directly in living room. Since there are no tea tasting, connoisseurshipand appraisal, Taoyuan Village needs a space for tea ceremony show and tea tasting.

另一方面，桃源村九个祠堂，只有在祭祖节庆等重要时节才被使用。村民平日只能在巷间门口，三五成群地乘凉闲谈。因此我们希望宀屋又是一个为村民开放的，较为轻松和日常的公共场所。于是，宀屋的目标逐渐清晰起来，在一个占地60平方米的两层农舍里，建造一所兼顾日常性和礼仪性的茶楼。

On the other hand, nine ancestral temples in Taoyuan Village were only used during important festivals such as worships.Villagers can only chat in groups in front of the lane.Therefore, we hope that it is also a more relaxed and daily public place open to villagers.As a result, the function of λ house gradually became clearer: to build a daily and ceremonial teahouse in a two-layer, 60-square-meter farmhouse.

制艺

Arts and crafts

老房子历史悠久，气息已经完全得融入这座古村。我们原封不动地保留老房子的四个立面，包括粗糙有致的白缝空斗砖墙，老木隔栅窗，旧的杉木板门以及徽州民居特有的凸形气窗，而对已经破损的木结构和屋顶进行重建。所幸，老房子的屋顶和墙体是彼此独立的承重体系，使得换顶不动墙的方案成为可能。但是空斗砖墙本身结构稳定性比较差，需要加强内部结构来保持稳定。为了保护老墙体在施工过程中不受影响，在拆除内部木结构之前，工人先用钢筋网片加水泥在内墙面多层粉刷，以形成老墙的内部加固层，同时起到施工保护老墙的作用。之后再小心拆除屋顶和木架。

The old house has a long history, and her atmosphere has been fully integrated into this ancient village. We kept intact the four facades of the old house, including rough hollow bond brickwall with white seam, old wood grilles, old fir door and the convex transom which is typical of Huizhou civil residence. Yet the wowooden structure and the roof were reconstructed.Fortunately, the roof of the old house and the wall are independent load-bearing system, making it possible to replace the roof without changing the fixed wall. However, the structural stability of hollow bond brick wall itself is relatively poor, and the inteal structure needs to be strengthened so as to maintain itsstability.In order to protect the old wall from being affected during the construction, before removing the inteal wood structure, the workers first use steel mesh and cement to coat the inner wall surface with multiple layers to form the inteal reinforcing layer of the old wall, and at the same time, to play the role of protecting the old wall. After that, the roof and the wooden frame were carefully removed.

DJI 0005 — 内墙加筋粉刷 Interior wall paint and reinforcement

木架拆除后，我们重新在矩形墙里布置柱网，采用当地最常见的杉木作为梁柱结构。木构一层仍然按照传统的穿斗方式承托楼板，而到了二层承托屋顶的地方，木构采用了一种拟物化的形式语言，用一种俏皮的方式，以树冠的造型将屋顶向外悬挑，来覆盖和保护老墙。

After the wooden framewas removed, we re-arranged the column net in the rectangular wall, using the most common Chinese fir as the beam-column structure. On the first floor, a traditional column-and-tie construction is continued to use to support the floor plate. While on the second floor, employingSkeuomorphism, the wood structure roof is made a smart cantilevered crown-shape to cover and protect the old wall.

最终，建筑一层作为品茶的空间，保留了老房子昏暗内向的氛围。空间的焦点在室内唯一一张深色胡桃木的长茶桌之上。杉木梁柱，横平竖直中正规矩，营造了某种礼仪性。新的杉木柱故意同旧墙窗洞不对位，来暗示这种不明显的新旧关系。

Eventually, the ground floor serves as a space for tea tasting. The dim introverted atmosphere of the old house is retained. The focal point of space indoors lies in an only deep color walnut long tea table. The fir beams and columns, vertical and horizontal normal, creates some kind of ceremonial atmosphere. The new fir column is purposely constructed in front of the old window opening, showing such an unobvious relationshipbetween old and new.

二层空间因屋顶的抬高留出缝隙，空间围合感被彻底改变。新屋顶同老墙之间的空隙使得内与外有了更多的互动：祠堂、田园、山峦的景观从不同的方向涌入内部。有了屋顶的庇护，在二层的公共空间，村民可以从新的视点欣赏村子里熟悉的景观。

Due to the rise of the roof, the second floor is left a gap. Therefore,the sense of confinement is completely changed. The gap between the new roof and the old wall allows for more interaction between the inside and the outside: the ancestral halls, idyllic and mountainous landscapes flow in different directions.With the roof as shelter, in the second floor public space, villagers can enjoy the familiar view of whole village from a newdeck.

情境

Circumstances

“以冠补履”，老墙覆以冠顶，谓之“宀屋”，以一种遗世独立的姿态立于老村里，同老村子发生着某种“既熟悉又陌生”的想象。旧物被庇护，新屋招枝而生。

The old wall is covered with crowned roof, which is called the λ house, an independent relic in the old village which brings people both familiar and unfamiliar imagination on the old village. Old things are sheltered, while the new house is bo.

人视村子 1

“遮天探目”，屋顶覆盖，完全遮蔽了天空，外部景致被重重压于檐下，使得旁边的老祠堂被定格，横向展开，以一种长卷的方式来呈现。

Covered by the roof，the sky and exteal scene are both shaded by the eaves, which makes the old ancestral temple a motionless scene as if it is expandinghorizontallyin hand scroll format.

“借山观山”，保留的山墙同屋檐形成了一条山形的缝，看山，以一种无边界的特殊框景，获得一种独特的观山体验。

There is a mountain shaped space betweenretained walland eave; people can enjoy a special mountain view through such special brimless frame.

“爱上层楼”，徽州民居中，老房子屋顶没有保温，二楼冬冷夏热，舒适性不佳。在宀屋中，二层因开敞和通风，成为一个更为舒适放松的闲谈空间，村民更喜欢在二层逗留和畅谈。宀屋展现了预想中的世俗性。

In Huizhou residential houses, there are not insulating roofs. The second floor is cold in winter and hot in summer, which is very uncomfortable.In λ house, the second floor is a more comfortable and relaxing space for chatting because of openness and ventilation. Villagers prefer to stay inand chat on the second floor. The λ house sufficientlyshows the envisioned secularity.

“举首戴目”，在越来越平面化的城市空间里，“通高空间”被教条化，只作为一个物理状态存在，而忽略了共享和交流的人的核心。而在这样一个村子里，因单纯的宗族关系，能够还原最原始的交流场景：穿行于小路上的女子忽闻呼唤，循声望去，喜见躲在层楼之上的闺友。二人一高一低闲谈片刻，路人继续行路，观者依旧观望。

In an increasingly flaturban space, shared spaceis dogmatized and exists only as a physical state, ignoring the core of people who share and communicate.In such a village, because of pure clan relations, the most original exchange scene can be restored: women walking through the path suddenly hear somebody’s calling her name, following the sound, being delighted to find an upstairs friend.The one on the village road and the other upstairs chat for a while; Then the passer-by continues walking and the other keeps viewing.

后记

Postscript

当下，大家都在谈论城市要在经济上反哺乡村，但同时，乡村要在文化上反育城市。城市因现代化几乎丢失了文脉传承，而在尚未被城市化切碎的乡村仍然保留着许多本土物质化的文化遗产。然而可惜的是，尽管物还在，原来一整套思考和建造的逻辑、审美、观念已被逐渐遗忘。不同于现代主义的理性和精确，传统艺术是感性的、务虚的、形而上的，这使得我们对于传统的挖掘有了不同层次，不同时期，不同深度的理解。

Nowadays, there is a hot topic that cities shall give economic assistance to rural area while the rural area shall educate the cities in those lost cultures. Due to modeization, citieshave lost most of the materializedcultural heritage,which is still reserved in villages that have not been shredded by urbanization. However, it is a pity that, despite of some physical heritage, the original logic, aesthetic and concept of a whole set of thinking and construction have gradually been forgotten. Different from the rationalism and precision of modeism, the traditional art is sensual, retreat, and metaphysical, which enables us to understand the exploration on traditions at different levels, different periods and different depths.