如飞鸟轻轻落地：大伾山悬崖驿站 / 繁星建筑

编辑：李华（实习） | 校对：袁蓓祺 | 2023.06.16 18:34

设计单位 Galaxy Arch繁星建筑工作室

项目地点 河南鹤壁

建成时间 2023年5月

建筑面积 210平方米

本文文字由设计单位提供。

“初登大伾山，山石漫漫，青苔遍野，青松指路，古寺连绵。”

“As we ascended Dapi Mountain for the first time, we encountered endless rocks, moss-covered grounds, guiding pine trees, and a series of ancient temples.”

▲ 项目视频 ©繁星建筑

站在场地中环顾古寺林立的大伾山，我们深刻地感受到新建筑必然是一个配角，以一个低调的姿态融入到沉淀千年的历史氛围之中。

Standing amidst the ancient temple cluster on the site, we deeply felt that the new construction would inevitably play a secondary role, integrating itself humbly into the millennia-old historical ambiance.

缘起

2022年初夏，我们应邀参与“非遗点亮老家河南”的营造活动。对于河南的印象，有一望无际的麦田，有深沉的农耕文化，有沉淀千年的古朴气质。怀着敬畏与期待，我们踏上了北上的列车，展开一场朴素的建筑营造。

In the early summer of 2022, we were invited to participate in the 'Heritage Illuminates Our Hometown Henan' construction event. When thinking of Henan, vast fields of wheat, profound agricultural culture, and a deep-rooted simplicity come to mind. With a sense of awe and anticipation, we boarded a northbound train, embarking on a journey of an architectural construction.

大伾山位于河南省鹤壁市浚县，因有中国最早、北方最大的摩崖石刻大佛而闻名，山北有座始建于元代的观音寺，院内古柏参天，每逢初一十五，上山祈福烧香的人们络绎不绝。基地就位于观音寺北侧的悬崖边，有座荒废许久的平房，曾是游客们歇脚休憩的地方。业主希望在此处重新打造一处驿站，既给游客提供更好的游览体验，也希望建筑自身能够起到宣传当地非遗文化与技艺的作用。

Dapi Mountain is located in Xun County, Hebi City, Henan Province. It is renowned for housing the earliest and largest cliff-carved Buddha statue in China, and to the north of the mountain lies Guanyin Temple, which dates back to 700 years ago and is surrounded by ancient cypress trees. On the first and fifteenth day of every lunar month, people flock to the mountain to pray. The project site is situated on the northern edge of the cliff, adjacent to Guanyin Temple, where an abandoned bungalow once served as a resting place for visitors. The owner wished to revitalize this location into a station, providing visitors with an enhanced experience while showcasing the local intangible cultural heritage and craftsmanship.

初来场地踏勘，发现大伾山实际高度135米，不是想象中的崇山峻岭，而是一座平地突起的孤峰。整座山都由青石构成，拾阶而上，清幽素雅，满眼绿荫。最令人印象深刻的便是这青石山体，基地附近没有人工铺设的道路，满是山石本身的模样。如此极具自然之势的现状，让我们对建筑的气质充满期待。

During our initial visit to the site, we discovered that Dapi Mountain had an actual height of 135 meters, contrary to our initial perception of towering peaks. Instead, it stood as a solitary peak rising abruptly from a flat terrain. The entire mountain was composed of grey stone, ascending in gentle steps, exuding a serene and elegant ambiance with lush greenery all around. What left a lasting impression was the presence of these natural grey stone formations. There were no artificially constructed roads near the site; instead, the landscape was dominated by the rugged appearance of the mountain itself. This naturally expressive setting filled us with anticipation for the architectural character.

站在场地中极目远眺，穿越万千思绪，最终聚焦在实际设计问题中。如何在历史名山上打造一处展现非遗的空间？如何在基地中处理这极具自然之势的山体变化？如何为游客最大化地打开北侧视野？如何让建筑与大伾山进行自然且低调的对话？

Standing within the site, we traversed countless thoughts, ultimately focusing on the practical design challenges. How can we create a space that showcases intangible cultural heritage on this historically significant mountain? How can we handle the natural changes in the mountainous terrain within the site? How can we maximize the northward views for visitors? And how can the architecture engage in a natural and understated dialogue with Dapi Mountain?

因场地着笔

基地原址的入口位于西侧，相对隐蔽且狭窄，场地内仅有一个折线形体量的双坡平房。在对基地的地势与附近人流来向进行梳理后，我们将主入口布置在东侧，刚好此处山体形态变化剧烈，形成了约2米的高差。结合着有序列感的入口阶梯，我们希望建筑能够以最振奋人心的姿态迎接上山的游客。

The original entrance to the site was located on the west side, relatively concealed and narrow, with only a zigzag-shaped double-sloped bungalow within the site. After analyzing the topography of the site and considering the flow of people nearby, we decided to position the main entrance on the east side, where the mountain terrain underwent dramatic changes, resulting in a height difference of approximately 2 meters. Accompanied by a well-organized staircase at the entrance, we aimed to create an architecture that would greet visitors ascending the mountain in the most exhilarating manner.

建筑沿用了原址的围合式布局，采用柔和的条形体量，串联起东西两侧入口空间，也为南侧留足供人休憩的庭院空间。同时为了让内部空间不会显得逼仄狭长，我们在北侧景观视野最好的位置增设了一个小体量，与主体一气呵成，让建筑东入口的形态更为丰富，呈现一前一后、一高一低的状态。体量的交接因不规则轮廓变得格外复杂，三条屋脊和一个阴脊交汇于一点，不仅数理关系上彼此相切连贯，高度变化也彼此不一，这一方面是为了形态的丰富，另一方面也是为了排水的合理性。

The architectural layout adopted the enclosed arrangement of the original site, employing a gentle linear volume that linked the entrance spaces on the east and west sides, while also providing ample courtyard space for resting on the south side. To prevent the interior space from appearing cramped and elongated, we added a small volume in the best position for northern landscape views. It seamlessly integrated with the main structure, enhancing the visual richness of the eastern entrance, presenting a contrasting front-back and high-low state. The junction of the volumes became particularly complex due to irregular contours, with three ridges and one valley converging at a single point. Not only did they intersect and connect with each other in terms of mathematical relationships, but they also varied in height. This approach aimed to enhance the architectural form's diversity while ensuring proper drainage.

沿着主入口拾级而上，走过红枫掩映的毛石景墙，便进入到开敞的休憩空间，南侧是连续的实木门扇，透过古韵雅致的窗棂能直接看到室外的花园庭院。北侧窗外是一览无余的山景，推开门便来到了露台上，站在这里凭栏远眺，任由山风吹拂而过。

Ascending the steps along the main entrance, tourists walk past a grey stone wall adorned with red maple trees and enters into an open rest area. On the southern side, there are continuous solid wood doors with elegant window frames that offer views of the outdoor garden courtyard. Looking out from the north-facing windows, an unobstructed mountain view stretches before us. Opening the doors leads to a terrace where they can stand, leaning against the railing, and gaze into the distance, allowing the mountain breeze to brush past.

从次入口进入场地，则是另一种截然不同的体验。穿过柏树林间的条石台阶，沿着屋檐下的长廊缓步前行，左手边是一堵肌理丰富的弧形夯土墙，右手边则是视野开阔的庭院风光与半人高的毛石景墙，随着视线逐渐压低，人们便走进了驿站空间。长廊下的丰富体验也弱化了夯土墙另一侧的服务空间。

Entering the site through the secondary entrance provides a completely different experience. Passing through a path of grey stone steps amidst a grove of cypress trees, people strolls leisurely along the covered corridor. On the left side, a richly textured curved rammed earth wall presents itself, while on the right side, there is an expansive view of the courtyard scenery and a half-height stone feature wall. As the line of sight gradually lowers, people step into the station space. The varied experience under the covered corridor diminishes the prominence of the service area on the other side of the rammed earth wall.

走进驿站室内，家具则是墙体的衍生。书柜、接待台和置物架分别延续了墙体走势，进一步表达了空间的限定方式。如果说屋顶是一个将设计元素统筹起来的要素，家具则是空间中的结构，用统一的语汇，描绘出不同的层次变化，从外走到室内，空间由封闭到逐渐通透，缓慢地将景观场所过渡到了室内环境。

Stepping inside the station, the furniture becomes an extension of the walls. Bookshelves, reception counters, and storage racks follow the contours of the walls, further emphasizing the spatial delineation. If the roof serves as an element that brings together the design elements, the furniture acts as the structural component within the space, utilizing a unified vocabulary to depict different levels of variation. Moving from the exterior to the interior, the space transitions from enclosed to gradually transparent, slowly merging the outdoor landscape into the indoor environment.

从山间消隐

纵观场地全貌，建筑以一个低调的姿态呈现在这历史名山之中，与旁边观音寺、八卦楼等百年古建相呼应。沿用周边古建的坡屋面形式，主体结构采用现代营造手法，让建筑形态更为轻盈。建筑延续了古建飞檐起翘的语汇，将东西两个入口的檐口高度缓缓抬起，造入口之势，中间则尽量压低，刚刚不会碰头。而山体走势则相反，中间山石最高，往两侧逐渐降低，与建筑逆向而行，二者之间的张力愈发明显。

Taking a panoramic view of the entire site, the architecture should present itself in a discreet manner within this historic mountainous landscape, resonating with the nearby ancient structures such as the Guanyin Temple and Bagua Tower. While preserving the sloping roof form of the surrounding ancient buildings, the main structure was constructed using modern construction methods to achieve a lighter architectural form. The architecture continues the language of ancient buildings with upturned eaves, gradually raising the eave heights of the eastern and western entrances to create a sense of grand entrance, while keeping the center portion as low as possible, just enough to avoid bumping heads. In contrast, the terrain of the mountain slopes gradually decreases from the center, moving in the opposite direction of the architecture, creating a noticeable tension between them.

为了能让建筑更好地融于周围环境中，建筑高度被精确控制，不高于观音寺的山门，使其在古建面前呈现出低伏谦逊的姿态。同时在建筑材料的选择上，建筑使用了许多当地材料，如太行山的青石，当地古建中常用的防腐木，带有乡土气息的夯土墙，以及增加屋顶肌理的石板瓦。多重设计手法下的自然材料，能够很大程度地体现出建筑隐匿于自然环境这一特点。

In order to better integrate the architecture into the surrounding environment, the height of the building was precisely controlled, not exceeding the height of the main gate of Guanyin Temple, presenting a humble and modest posture in front of the ancient buildings. At the same time, in the selection of building materials, many local materials were used, such as grey stone from Taihang Mountain, locally used preserved wood, rammed earth walls with a rustic atmosphere, and slate tiles to enhance the texture of the roof.

泥咕咕的传承

这份委托是一个半命题任务书，业主希望建筑能够起到宣传当地非遗的作用。在仔细翻阅当地各项非遗介绍后，我们最终选择了“泥咕咕”作为此次的主题。泥咕咕是一种民间泥玩，拿在嘴边能吹出“咕咕”的声音，以咕咕鸟为主要形象。它作为传承千年的手工艺品，既能表现出手艺人的工匠传承，也契合了建筑营造中的工匠精神。

This commission was a semi-propositional task, with the owner hoping for the architecture to serve as a promotion of the local intangible cultural heritage. After carefully reviewing various local intangible cultural heritage practices, we ultimately chose "Clay Gugu" as the main theme for this project. "Clay Gugu" is a traditional clay toy that can produce a "gu gu" sound when blown into, often depicting the image of a cuckoo bird. As a handcrafted art form passed down for centuries, it not only showcases the craftsmanship of artisans but also aligns with the spirit of craftsmanship in architectural creation.

我们希望能从建筑整体到细部体验，都能让人无时无刻地感受到非遗文化的渗透。在入口处，咕咕鸟石台开门见山地传递着设计主题。在大面的夯土墙旁，能感受到当地工匠对于泥土的塑造，如制作泥咕咕的手艺人般得心应手。在围合的花园庭院中，布置的真假泥咕咕装置一隅，像是瞥见山顶飞来一只咕咕鸟，轻盈地落在古寺旁。

We aimed to immerse people in the permeation of intangible cultural heritage throughout the entire architecture, from its overall design to the smallest experiential details. At the entrance, the stone platform features a Gugu bird, setting the thematic tone right from the start. Next to the large rammed earth wall, tourists can feel the local artisans' mastery of shaping the clay, reminiscent of the skilled craftsmen who create the "Clay Gugu". Within the enclosed garden courtyard, a display of authentic and replica "Clay Gugu" installations catches the eye, as if glimpsing a Gugu bird flying towards the mountaintop and gracefully perching beside the ancient temple.

值得一提的是，屋面采用了石板瓦这种与大地底色一致的材料，塑造一种飞鸟的轻盈感。水泥瓦，陶板瓦的色彩和机理选择很多，但是最薄也有2厘米厚，石板瓦非常薄，边缘有时候略有缺损，和山体的表面有着细节上恰如其分的相似。在施工过程中，我们与施工队反复地确认了屋面的做法，檐口的出挑距离，天沟的排水方式，让石板瓦材料尽量满铺在屋面而金属收边或者天沟则尽可能的小。一日之中，阳光从东边移动到西侧，屋面的瓦片随时间变化泛起粼粼反光，好似鸟儿的飞羽般灵动。

It's worth mentioning that we used slate tiles for the roof, a material that blends seamlessly with the earthy tones of the surroundings, evoking a sense of lightness akin to a flying bird. While there are many choices in terms of color and materials for cement tiles and ceramic tiles, with thicknesses ranging from 2 centimeters and above, slate tiles are remarkably thin, occasionally featuring slight imperfections on the edges that harmonize well with the surface of the mountain. Throughout the construction process, we repeatedly collaborated with the construction team to ensure the proper roof installation, the desired eave projection distance, and the drainage system of the gutters, aiming to maximize the coverage of the slate tiles on the roof while keeping the metal edging or gutters as minimal as possible. As the sun moves from east to west during the day, the roof tiles shimmer and reflect light, resembling the graceful feathers of a bird in motion.

扎根于大山

因为项目地处半山腰，特殊的地理位置给结构设计和施工作业带来了不小的挑战。大伾山山体是地质遗产，不能做深基础开挖，所以每个柱位都做了单独开挖，根据不同的岩层高度来进行基础埋深计算。现场对每个基坑进行拍照、编号、测量、计算，多次调整优化后，方才顺利施工。最终基础深浅各不相同，最浅处仅有300毫米，最深则落在了2米深的悬崖边上，整个基础就像一个人的手指，长短合作才牢牢抓住了山体。

Due to its location halfway up the mountain, the project posed significant challenges to structural design and construction operations. The Dapi Mountain is a geological heritage site, prohibiting deep excavation for foundations. Therefore, individual excavations were carried out for each column base, with the foundation depth calculated based on the varying rock layers. Each foundation pit was photographed, numbered, measured, and calculated on-site. After multiple adjustments and optimizations, the construction proceeded successfully. The foundation depths varied, with the shallowest being only 300mm and the deepest located on a 2m cliff edge. The entire foundation resembled a person's fingers, working together to firmly grasp the mountain.

驻扎在大伾山上时，我们与施工队现场讨论解决了几乎每一个设计环节。从最开始讨论屋面的构造层次，到阴脊处的防水措施；从封檐板细部处理，到椽子与闸板的交接构造；从钢结构的现场二次拉弯到石板瓦的模拟搭接，现场控制对一个项目的完成度起到至关重要的作用。

While stationed on Dapi Mountain, we had extensive discussions with the construction team to address nearly every design aspect. These discussions ranged from the construction layers of the roof to waterproofing measures at the ridge. We delved into detailed treatments of eaves boards and the connection structures between rafters and gate boards. From on-site secondary bending of steel structures to simulating the overlapping of slate tiles, on-site control played a crucial role in the completion of the project.

也是在驻场的这段时间，我们感受到当地手艺人的工匠精神。寸三道的石材工艺，毛石景墙每块石材进行切割和密拼堆砌，实木门窗的安装和制作，景观木亭的木瓦片，这些工序都由他们来生产和安装，摒弃了工厂批量化生产精确和精致，反而多了几分手工感的细腻和变化，最终才建成了这座手工感浓厚的建筑。

Moreover, during our time on-site, we witnessed the craftsmanship and artisan spirit of local artisans. The stone craftsmanship for the stone cladding, cutting, and precise stacking of each stone in the grey stone walls, installation and production of solid wood doors and windows, wooden tile shingles for the landscape pavilion—these processes were all carried out by them, eschewing the precision and uniformity of factory mass production in favor of the delicacy and variability of handmade craftsmanship. It is through their efforts that the building, emphasizing a sense of craftsmanship and a wild aesthetic, was ultimately completed.

感言

驿站从设计到施工落地运营经历了整整一个春夏秋冬。初到大伾山是盛夏的时候，其山景之优美文化之厚重让人动容。施工开始后，逐渐步入隆冬，其艰难的施工条件让我们感受到了自然的粗犷坚硬与人工的细腻雕琢是一种既对峙又互补的两股力量——我们既要尊重山体谨慎施工，又要使山石为我所用。

The construction of the Station has been a journey that spanned an entire year, experiencing the full cycle of seasons from spring to winter. Arriving at Dapi Mountain in the midst of summer, the breathtaking beauty of the mountain scenery and the profound cultural heritage left a deep impression. As construction began, we gradually entered the harsh winter, where the challenging construction conditions reminded us of the ruggedness of nature and the delicate craftsmanship of human intervention—a contrasting yet complementary interplay of two forces. We had to respect the mountain and proceed with caution.

项目接近尾声，已是春暖花开的时节，万物复苏，枝头的新叶和建筑一样开始散发出生机。迎接新的盛夏的是一个崭新的大伾山。咕咕来仪是一个联合了地方政府、施工队、手艺人多方力量的建筑作品，许多人都为此付出了心血，希望最终投入运营后，它能成为一个文化平台，持续地为宣传地方非遗文化事业发光发热。

Approaching the completion of the project, it is now the season of spring, where everything comes alive, and the building, just like the new leaves on the branches, exudes vitality. Welcoming the coming summer is a brand-new Dapi Mountain. Dapi Mountain Pavilion is an architectural work that brought together the efforts of the local government, construction team, and artisans, with many individuals investing their time and energy into it. We hope that once it is fully operational, it will serve as a cultural platform, continuously shining a light on the promotion of local intangible cultural heritage.

设计图纸 ▽