門(mén)西愚園園林，南京，江蘇，中國(guó)

項(xiàng)目設(shè)計(jì)：陳薇/東南大學(xué)建筑設(shè)計(jì)研究院

門(mén)西愚園園林，南京，江蘇，中國(guó)

項(xiàng)目設(shè)計(jì)：陳薇/東南大學(xué)建筑設(shè)計(jì)研究院

愚園園林是有故事的園林

地點(diǎn)有故事：愚園所在地塊在南唐以前是城外，有山有水，其所處崗地也表明周?chē)牡匦斡衅鹩蟹?。南唐金陵都城相?duì)六朝南移，南城墻緊逼外秦淮河，愚園所在地塊圈入城內(nèi)。南唐南城門(mén)于明代重新修筑為聚寶門(mén)（今中華門(mén)），并形成南城門(mén)為起點(diǎn)的城市南北軸線，明代及現(xiàn)在一直沿用?？拷情T(mén)、軸線中華路以西地塊俗稱(chēng)“門(mén)西”，以東為“門(mén)東”。門(mén)西加門(mén)東，是南京老城南，所存格局基本以明清存留下來(lái)為主。“門(mén)西”在明清時(shí)期是大戶人家居住地，建筑以硬山為主，地形保留早期特點(diǎn)，有丘陵形勝?！伴T(mén)東”在明清時(shí)期商賈往來(lái)甚多，徽派建筑引進(jìn)，有馬頭山墻，建筑密度較大。

園林有故事：宋朝時(shí)這里因?qū)嬴P臺(tái)山，園初名鳳臺(tái)園；明代園為中山王徐達(dá)五世孫徐傅魏國(guó)公的別業(yè)，遂易園名為魏公西園；其后徐傅少子徐天賜又將該園重新修葺分別授予他的三子和四子；愚園屬三子徐繼勛錦衣衛(wèi)指揮使，位處門(mén)西，故又稱(chēng)為徐錦衣西園；后該園易主徽州商賈汪氏，又易吳氏；乾隆后園漸敗落；同治十三年（1874）清蘇州知府胡恩燮辭官歸里，購(gòu)下西園故址，光緒初年構(gòu)筑愚園，又名胡家花園。辛亥革命后毀于戰(zhàn)火。1915年胡家后裔胡光國(guó)重整家園，再次繁盛。然而1930年代初期，建筑家童寯教授步測(cè)愚園時(shí)，“疊石雖存，然久失修葺，已危不可登”?？箲?zhàn)期間，園再次被毀。我們接手規(guī)劃時(shí)，山荒水殘，僅宅部分尚存，1970年代返城搭建的棚戶擁擠不堪，但為南京市文物保護(hù)單位，所在為歷史風(fēng)貌街區(qū)。

設(shè)計(jì)有故事：愚園設(shè)計(jì)困難重重。首先，因?yàn)榻ㄖo(wú)存無(wú)法定位；其次，1960-1970年代挖防空洞取土填湖，山水格局改變；再次，古意向圖和近代平面圖與現(xiàn)狀范圍不符。因此除了大量研究外，我提出局部考古以確定水線。

之后又經(jīng)過(guò)了從外部到愚園、又從愚園到街區(qū)的規(guī)劃調(diào)整，從建筑到景觀、又從景觀到建筑的推敲調(diào)整，從歷史及環(huán)境對(duì)位到延續(xù)、又從現(xiàn)狀條件到場(chǎng)地的方案調(diào)整，從專(zhuān)業(yè)人員立意構(gòu)思到具體操作、又從甲方參與共同修改完成的復(fù)雜過(guò)程。但基本上以復(fù)原愚園經(jīng)典為目標(biāo)：在格局上表現(xiàn)南京私家園林獨(dú)有的高阜廣水的特點(diǎn)；在分區(qū)上體現(xiàn)大、中、小層次分明和大疏大密的景區(qū)特色；在建筑風(fēng)格上以門(mén)西硬山建筑為主，局部用歇山，素樸明朗；在景點(diǎn)上，三十六景一一再現(xiàn)，既有村野特色也有市井氛圍，將位于城南城墻腳下的園林特色發(fā)揮盡致，這也是歷史上環(huán)境變化與文化積淀的必然反映。

愚園故事尚待充盈。目前園林沒(méi)有開(kāi)放，建筑功能也未具體確定，所以沒(méi)有常規(guī)的完整圖紙，或者說(shuō)沒(méi)有和實(shí)景完全符合的圖紙（建筑定位圖是考古后的修改圖，相對(duì)原規(guī)劃圖已調(diào)整）?？梢韵胍?jiàn)，古代園林的修建大抵如此，一邊規(guī)劃設(shè)計(jì)，一邊修改調(diào)整，可能最后請(qǐng)諸如文徵明的名人作圖傳世；如果是買(mǎi)來(lái)的園林，則繼續(xù)原來(lái)的格局的喜歡，加減主人的好惡，還是參照先前的圖樣。愚園園林設(shè)計(jì)便經(jīng)過(guò)如此過(guò)程。我們開(kāi)展規(guī)劃設(shè)計(jì)時(shí)，屬于后者情形，主要參照歷史上留存下來(lái)的圖和照片，但也應(yīng)需求和現(xiàn)狀進(jìn)行有考古、設(shè)計(jì)諸多發(fā)揮和創(chuàng)新；目前的階段則屬于前者，基本完成，但總圖既不是最初的，也不是最后的，只是過(guò)程中的，更沒(méi)有像樣的整合各工種完成的漂亮圖景，這是將來(lái)要自己完成而不能指望效果圖公司的事情了。

Stories about Yuyuan Garden

Story about location: The block where Yuyuan Garden surrounding with hills and water was located outside the city until the Southern Tang Dynasty. The low land where it lay indicated the terrain changes. The capital city of Nanjing in Southern Tang Dynasty was moved southward as opposed to that in the Six Dynasties Period, with its southern city wall approaching the external reach of Qinhuai River. The area where Yuyuan Garden stood was planned inside the city. The southern city wall that was originally built in Southern Tang Dynasty was rebuilt into Jubaomen Gate, which is now called Zhonghuamen Gate. The north-south city axis, starting from the southern city gate, was then formed since the Ming Dynasty. The area to the west of Zhonghua Road, where the city gate and axis are situated, is called Menxi; that to the east, Mendong. Menxi and Mendong are at the south of the old Nanjing city. Its existing pattern is basically in the style of Ming and Qing Dynasties. Menxi was the dwelling place of rich and influential families in Ming and Qing Dynasties. Its architecture was characterized as flush-gabled-roof, with its terrain pattern remaining earlier style of upland. Mendong was often crowded with merchants at that time. Its architecture was of Huizhou style, with crow gable and high building density.

Story about the garden: In Song Dynasty when the garden was firstly constructed, it was named as Fengtai Garden because the location was belong to Fengtai Mountain area. In Ming Dynasty, the garden was used as a villa of XU Bo, the Duke of Wei Kingdom, who was the fifth generation of XU Da, the Prince of Zhongshan, so its name was changed to West Garden of Duke Wei. Then the son of XU Bo, XU Tianci, redecorated the garden and gave it to histhird and fourth son. When it was belong to the third son, XU Jixun, who was a commander of the imperial guards, the name was changed to Western Garden of Imperial Guard XU because the garden was located on the west of the gate. Later, the garden was transferred to a merchant surnamed WANG from Huizhou, and then to another merchant surnamed WU. It gradually declined since Qianlong period of Qing Dynasty. In 1874, HU Encan, who was a magistrate of Suzhou in Qing Dynasty, retired and came back hometown. He bought the garden and reconstructed the garden during early Guangxu period, and named it Yuyuan Garden, which was also called HU’s Garden. The garden was destroyed in war during the Revolution of 1911. In 1915, HU Guangguo, who was a descendent of HU’s family, renovated the garden and made it thriving again. But in the early 1930s when Prof. TONG Jun, the famous Chinese architect, inspected the garden in the field, he made the remark that, "though there are stones laying in the garden, they are too dilapidated to be climbed upon." The garden was again turned down during China’s anti-Japanese war. When we started the planning project, the garden was deserted largely, with only the housing part reserved, where crowed shacks were constructed for people returned from countryside due to the Cultural Revolution. It was ranked as one of the cultural relics protection units of Nanjing and the street where the garden is located at was a classified historic street.

Story about design: We encountered many difficulties during the design of Yuyuan Garden. First of all, it was hard to establish the basic style due to the destruction of original architecture; secondly, the landscape pattern was altered by the activity of earth excavation for air-raid shelter construction during the 1060s - 1070s; thirdly, there were distinct disparities between the ancient conceptual graph, the plan atmodern times, and the existing scope. Considering all these factors, I suggested conducting partial archaeological study to determine the waterline, besides a great amount of related researches.

Then having gone through the planning of external part, Yuyuan Garden and blocks, the balancing of architecture, scenery and building, the alignment and extension of history and environment, the adjustment of status quo and sites, as well as the complicated process of conception, operation and joint modification with the client and completion. All the designs aim at recovering the classical Yuyuan Garden in the following aspects: to manifest the unique pattern with high mound and broad water of Nanjing private gardens; to display the distinct leveling and distribution of the scenic spots; to show the structural style, mainly of flush gabled roof but also of gable and hip roof which is simple and bright; to represent the 36 buildings both with countryside views and marketplace atmosphere and give full play to the garden features at the foot of the city wall of the south of the city, which clearly reflect the environmental change and cultural prosperity through history.

Yuyuan's Story to be replenished: Now the garden has not been opened and the architectural functions not been confirmed. Therefore, there is no complete blueprint or drawing that fully accords with the real scene. The sketch map and the general plot plan of the 36 buildings are different. We can imagine that the construction of the ancient gardens is probably like this: planning, designing, modifying, adjusting and displaying drawings by WEN Zhengming and other famous literati artists. On the other hand, if the garden is bought, the previous plan will be referred to continue or modify the primary pattern according to the preference of the owner. The Yuyuan Garder design goes through such process. We will adopt the latter way in planning development on the basis of the present requirements by reference to the preserved drafts and pictures in history, and meanwhile, dig into archaeology and creative design. Now we have largely entered the former phase, with the in-progress construction location map as the general plot plan. There is no decent view for the completion of all types of work. It will be done by us instead of by the company for design sketch.

項(xiàng)目信息/Credits and Data

委托方/Client：南京秦淮風(fēng)光有限公司/Nanjing Qinhuai Scenery Co., Ltd.

工程負(fù)責(zé)人/Project Director：陳薇/CHEN Wei

規(guī)劃設(shè)計(jì)/Planning：陳薇，王建國(guó)，是霏，楊俊/CHEN Wei, WANG Jianguo, SHI Fei, YANG Jun

建筑設(shè)計(jì)/Architectural Design：陳薇，高琛，顧效，胡石，都熒，戴薇薇，馮耀祖/CHEN Wei, GAO Chen, GU Xiao, HU Shi, DU Ying, DAI Weiwei, FENG Yaozu

景觀設(shè)計(jì)/Landscape Design：陳薇，楊舜，陶敏，楊冬輝，伍清輝，許楊/CHEN Wei, YANG Shun, TAO Min, YANG Donghui, WU Qinghui, XU Yang

建筑結(jié)構(gòu)/Structural Design：梁沙河，孫遜/LIANG Shahe, SUN Xun

水電設(shè)備/Hydroelectric Facility：趙元，羅振寧/ZHAO Yuan, LUO Zhenning

用地面積/Site Area：3.45hm2

建筑面積/Floor Area：3618m2

評(píng)論

朱光亞：園林遺產(chǎn)的保護(hù)和修繕不同于普通的建筑遺產(chǎn)，這不僅是世界遺產(chǎn)保護(hù)運(yùn)動(dòng)中共性的問(wèn)題，尤其是重視意境觀念的中國(guó)文化背景下的必然性的問(wèn)題，這種必然性激發(fā)了園林遺產(chǎn)的復(fù)建和勃勃生機(jī)的可能性，愚園即為最新且典型的案例，若干遺存、童寯教授的測(cè)繪圖、新主人的愿望、城市已經(jīng)變化的現(xiàn)代環(huán)境，這些無(wú)一不影響著愚園復(fù)建藍(lán)圖的艱難繪制。原狀的研究是整個(gè)復(fù)建的基礎(chǔ)，但似也不必過(guò)于計(jì)較已被破壞了的遺存中的謎團(tuán)，重要的是那個(gè)有著那么多期待的再現(xiàn)的意境被認(rèn)可了，愚園的真實(shí)性、完整性和延續(xù)性以一種新的形式解讀出來(lái)了。

王昀：將僅存“一鱗一爪”的園林舊跡，喚發(fā)出“真龍宛在”的新貌，不僅需要兼具“造園”和“修繕”兩者的用心，更需有考古的嚴(yán)謹(jǐn)及復(fù)原的洞察力和想象力。陳薇教授及其團(tuán)隊(duì)依僅存的園林舊照，采用問(wèn)訪及對(duì)舊跡遺址進(jìn)行挖掘考證的方法，結(jié)合尚存文人畫(huà)作與墨客描述，將愚園呈現(xiàn)，為吾等曾心向往之者補(bǔ)全了夢(mèng)中期待。

Comments

ZHU Guangya: Different from the ordinary architectural heritage, landscape architecture heritage protection and renovation is a common issue in the process of world heritage conservation movement, a necessity in the Chinese cultural background which puts particularly stress on artistic conception. Therefore, in China, it is more likely to both renovate the landscape architecture heritage and activate its vitality. Yuyuan Garden is a latest and typical case whose blueprint for renovation is difficult to draw under the influence of such factors as the relics, Prof. TONG Jun's survey drawings, the new owner's wishes, and modern urban environment. Although the research on the original condition of the Garden is the basis of the renovation, it is not necessary to pay too much attention to the destroyed remains. What is the most important is to meet all the expectations and to interpret its authenticity, integrity, and continuity in a new form.

WANG Yun: Based on the few remains in the garden in the past, this design creates a new look which is very similar to the ancient garden. It requires the designer to have not only the commitment of "rebuilding" and "repairing" the garden, but also the strictness in archaeological exploration and the insight and imagination in restoration. According to the only old photos of the garden, and in combination with the remaining paintings and descriptions of the literati, Prof. CHEN Wei and her team conduct surveys and explorations about the site to find useful clues and finally reproduce the Yuyuan Garden, which fulfills the dream of those who have yearned for a visit there.

Yuyuan Garden at Menxi, Nanjing, Jiangsu, China, 2012

Project Design: CHEN Wei/Architects & Engineers Co. Ltd. of Southeast University