辰山植物園礦坑花園，上海，中國

朱育帆/ZHU Yufan

辰山植物園礦坑花園，上海，中國

朱育帆/ZHU Yufan

Chenshan Botanical Garden Mine Garden, Shanghai, China, 2009

1 坑體利用路徑/Path within the pit

2 坑體北壁/North face of the pit

3 臺(tái)地區(qū)/Terrace

2007年7月5日第一次來到辰山西礦坑現(xiàn)場，那時(shí)對(duì)于礦坑改造的經(jīng)驗(yàn)為零，但提前“做功課”并不是我的工作方式，有時(shí)經(jīng)驗(yàn)（無論是直接還是間接）會(huì)讓設(shè)計(jì)師丟掉某種本真，先驗(yàn)的空白更容易讓自己在初到場地時(shí)跟隨直覺的指引。在遣散了陪同人員之后，我開啟了最喜歡的體驗(yàn)?zāi)Ｊ剑粋€(gè)人、一個(gè)本和一只筆。

與攝影獲取信息的全面、豐富但扁平化相比，快速紀(jì)錄式的草圖必然是場地閱讀果斷的提煉和呈現(xiàn)。面對(duì)行刑般的場地，壓迫、眩暈、不安和絕望，第四自然讓我體會(huì)到了作為人的渺小與偉大，設(shè)計(jì)對(duì)策也在筆的代言下漸漸清晰?！?/p>

I came to Chenshan West Mine site for the frst time on July 5, 2007. By then, I had no experience of the renovation of a pit. However, "doing homework" in advance is not my way of working.Sometimes experience (either directly or indirectly) might kill designers' genuine instinct. Without prior knowledge, it is easier for themselves to follow the intuition when they frst arrive at the venue.After sending aside my accompanies, I began my favorite touring mode - myselfy alone with a notebook and a pen.

Compared with photography's comprehensive, rich but flattening way of getting information,the quick recording sketch is a decisive scanning and refnement of the venue. In the face of a venue which likes an execution ground, I felt a sense of oppression, dizziness, anxiety and despair. The Fourth Nature let me feel the tininess and greatness of human beings. And the design strategy gradually appeared from the sketch.□ (Translated by QI Yiyi)

項(xiàng)目信息/Credits and Data

設(shè)計(jì)團(tuán)隊(duì)/Project Team: 朱育帆，姚玉君，孟凡玉，王丹，嚴(yán)志國，翟薇薇，郭暢，孟瑤，張振威，馮紓苨，孫建羽，何曉洪，崔愛軍/ZHU Yufan, YAO Yujun, MENG Fanyu, WANG Dan, YAN Zhiguo, ZHAI Weiwei, GUO Chang, MENG Yao,ZHANG Zhenwei, FENG Shuni, SUN Jianyu, HE Xiaohong, CUI Aijun

建筑面積/Floor Area: 43,000m2

攝影/Photos: 陳堯/CHEN Yao

4 坑體南壁/South face of the pit

5.6 外景/Exterior views