Health is a good state of physical, mental and social interaction, not just the elimination of disease or infirmity.
Having experienced an epidemic disaster that is related to the fate of every individual and group in the world. Under the shadow of repression and fear, it will also be a long-term proposition to re-examine individual life and social dignity from the perspective of the design profession.
The sequoia trees on both sides of the main entrance of the building remind us of the famous architectural photographer Hélène Binet's photographic work on the moss wall of Suzhou Lingyuan. Sometimes the expression of life is tall and luxuriant, sometimes it is small and lowly.
The entrance of the building is connected with the road through two newly built landscape bridges. Looking through the metasequoia forest on the river bank, under the epidemic, there is a sense of passing through the Paimio Tuberculosls Sanatorium that we have never known before.
20世纪60年代后，社会理论领域逐渐开始转向以福柯（Michel Foucault）、列斐伏尔（Henri Lefebvre）等为代表的学者，着重探讨了空间正义的缺失，并试图把空间正义的理论应用于实践。从建筑学的视域看来，“空间正义”是政治学意义上的“正义”概念狭义的隐性向度。空间关系既是社会关系的衍生，又反向固化了社会关系，所以建筑空间应该无法回避空间使用时如何塑造一个正义的社会。随着社会学、人类学等高分辨率的内容逐渐被投射到设计中，我们建造空间，空间同时塑造我们。尊严存在于附近所构建出的各种关系之中，当然也包括人与空间的关系。
After the 1960s, scholars such as Michel Foucault and Henri Lefebvre began to focus on the lack of space justice, and tried to apply the theory of space justice to practice. From the perspective of architecture, "space justice" is a narrow implicit dimension of the concept of "justice" in the political sense. Space relationship is not only the derivation of social relationship, but also the reverse solidification of social relationship, so architectural space should not avoid how to shape a just society when space is used. As high resolution content such as sociology and anthropology is gradually projected into design, we build space, and space shapes us at the same time. Dignity exists in various relationships constructed nearby, including the relationship between man and space.
For a long time, the functional public indoor space, which is closely related to each social individual and is dominated by the government, seems to be separated from the professional vision collectively. For example, the public health centers widely existing in urban and rural areas discussed in this paper are hardly found in design journals and professional media.
The original fixed concept and space mode presupposition have various explicit or implicit influences on the formation of the justice space. The innovation in the public space paradigm is often squeezed under the premise of following the correct track of a certain presupposition and safe and sound concept, sometimes even depending on the personal understanding and preference with decision-making power. The fixed mode and the evaluation context of the established "standard answer" are also one of the fundamental reasons why most of the people's livelihood function spaces have been difficult to improve for a long time.
At the same time, most functional public spaces tend to fall into the same pattern unconsciously in terms of management during the use period: the project is usually not long after completion, the walls are already covered with various propaganda slogans, posters, or announcements, temporary display boards placed disorderly in response to the situation, rows of low red flowers and green leaves on the ground... All these seem to have become the common and customary standard configuration of such government public functional spaces.
The time when we were involved in the design was when the local design institute had just completed the preliminary design of the building. At this time, the difficulty of the design work was to deal with the "existing" problems. How to coordinate the modification work that had been completed by other disciplines after the indoor function implantation. In many cases, we became the "annoyance maker". Such professional "arrogance" would lead to a large number of modifications and re submission of drawings that had been completed by other disciplines. Therefore, under the premise of controlling the economy of the project, we adjusted the fault tolerance range and made a principled grade division for the content to be modified. It also provides detailed adjustment plans for building, structure, equipment, curtain wall and landscape design as far as possible to reduce peer pressure, which also benefits from the coordination and support of the construction unit and the agent.
The functional nature of the space and the characteristics of low-cost construction also determine that design thinking focuses more on the rational corresponding expression between space form and function: the change of the form of the functional area entrances on both sides of the hall on the first floor originates from the hidden treatment of several fire doors on the interface of the fire compartment directly facing the hall, as stated in the building theory of Yuanye, written by Ji Cheng, a famous garden architect at the end of the Ming Dynasty - "If the scenery outside is vulgar, try to block it. If it is beautiful, try to become my thing.", The transition of space streamline through garden language not only eliminates the visual barrier of the facade, but also endows each functional area with new spatial changes and identifiability.
The multi-functional public health information release hall originally had no natural lighting. By redesigning and arranging the fan equipment covering the roof, a 400 wide zone was built on both sides, the structure was adjusted, and the roof was opened to form a "valley of light".
The anti arc ceiling of the north tower lobby is a rational response to the regional cultural form of local elevation reduction caused by the crossing of large smoke exhaust ducts.
During the design process of the project, the replacement and adjustment of many important functions have been experienced. To be exact, the rapid response methods that change with changes in the later period are more from intuitive design. This is related to the intuitive feelings of individuals since the outbreak of the epidemic. Some spiritual needs become a kind of conditional reflection and are mapped into the design. The core essence of humanism generated in the Renaissance is to care for human personality, maintain human dignity, and trace back to the architecture and art of that time. The language that was originally worried about being too metaphysical has become clear.
无论是大厅因进深过大而在顶部打开结构新建的圆形采光，还是源自拉斐尔（Raffaello）绘画《解救》（LIBERAZIONE DI S PIETRO）构图的局部空间形式关系，都是试图用带有古典人文主义光辉的温柔共情，去化解传统空间冷漠固化的直觉性尝试。
Whether the new round lighting of the structure is opened at the top of the hall due to its excessive depth, or the local spatial formal relationship derived from the composition of Raphael's painting "Rescue", it is an intuitive attempt to resolve the cold solidification of traditional space with gentle empathy with the brilliance of classical humanism.
By combining the structural space itself and the selection of materials, the space and regional culture are appropriately expressed. The isolated structural columns are sewn back into the wall that opens the pseudo stone gate hole in the lobby lounge.
The red brick cross has an explicit traditional construction meaning from the masonry method to the properties of the materials themselves, and at the same time, it is self-evident that it fits the functionality of the Red Cross.
And the stone screen wind of Taihu Lake realized by digital technology is also a contemporary artistic reconstruction of regional cultural characteristics
变化是这个不确定时代最大的特征，如何在不确定的日常公共生活中重塑汉娜·阿伦特（Hannah Arendt）和尤里根·哈贝马斯（Jurgen Habermas）在公共理性运思之下的公共性，对深陷困境中的我们显得尤为重要。
Change is the biggest feature of this uncertain era. How to reshape the publicity of Hannah Arendt and Eugene Habermas under the public rational thinking in the uncertainty of daily public life is particularly important for us in the predicament.
The tradition of enlightenment, which is the foundation of modern society, is created by reason, freedom and fairness as the logical basis and value yardstick. In addition to expressing aesthetic ambition, fun and fun, design is more valuable in thinking about how to cut into appearances, clearly respond to the real life of this society, and find social respect and personal dignity for each individual under space justice.
Rather than passively expecting changes from top to bottom, it is better to actively touch changes through bottom-up design practices.
 Paimio Tuberculosls Sanatorium—Alvar Aalto 1933
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