鄉(xiāng)愁與城市夢

策展人/參展人：孟凡浩

1 展覽裝置全景/Overall view of exhibition installation（攝影/ Photo: 柳炫竹/LIU Xuanzhu）

第17屆威尼斯建筑雙年展的總策展人，MIT建筑與規(guī)劃學(xué)院院長哈希姆·薩基斯提出的展覽主題——“我們?nèi)绾喂餐?？”意在建立一種新的“空間契約”，在政治分歧與貧富差距日益加深的背景下，呼吁建筑師思考可以讓我們從容地共同生活的空間。

作為建筑師，我們一直游走在城市和鄉(xiāng)村的不同地理環(huán)境中，同時(shí)為城市人和鄉(xiāng)村人進(jìn)行著不同尺度、不同類型的建筑實(shí)踐。期間發(fā)現(xiàn)，中國的城鄉(xiāng)關(guān)系像是一座“圍城”——城市人對垂直發(fā)展的城市密度感到厭倦，“回歸鄉(xiāng)村”成為其撫平心緒的一劑良藥；鄉(xiāng)村人則對城市的生活方式和消費(fèi)、文化懷有獵奇心理，“進(jìn)城”是一件時(shí)髦的事。兩個(gè)群體間錯(cuò)位的訴求催生出的空間生產(chǎn)成為城鄉(xiāng)作用的重要載體，并在一定程度上將單向流動的城鄉(xiāng)聯(lián)系轉(zhuǎn)為雙向融合。

“鄉(xiāng)愁與城市夢”是我們在當(dāng)代中國視野的現(xiàn)實(shí)場景與發(fā)展圖景中的思考，也是在實(shí)踐過程中對展覽主題“共同生活”的真實(shí)觀察——我們在為城市人治愈“鄉(xiāng)愁”，為鄉(xiāng)村人圓他們的“城市夢”。展覽通過3項(xiàng)實(shí)踐作品——東梓關(guān)鄉(xiāng)村復(fù)興實(shí)踐、飛蔦集·松陽陳家鋪、漁鄉(xiāng)茶舍，和3個(gè)維度——新型社區(qū)構(gòu)建、存量建筑再利用、公共空間營造，詮釋“不同群體將如何生活在一起”的命題，以不同的空間形態(tài)、建筑功能、建造策略等展現(xiàn)出當(dāng)代中國的城鄉(xiāng)關(guān)系，也是由建筑空間生產(chǎn)所引發(fā)的對新型城鄉(xiāng)混合體的模式探索。

與此同時(shí)，突如其來的新冠肺炎疫情，使得我們無法親臨現(xiàn)場，這對模型制作和現(xiàn)場布展都是非常大的挑戰(zhàn)。基于這個(gè)背景條件，展陳設(shè)計(jì)盡可能降低現(xiàn)場布展工作難度，以較保險(xiǎn)的方案保證長途運(yùn)輸和遠(yuǎn)程布撤展的可實(shí)施性。

1 新型社區(qū)構(gòu)建：杭州富陽東梓關(guān)村復(fù)興實(shí)踐

1.1 真實(shí)的展陳組織

展覽位于威尼斯軍械庫，在無遮擋的百余平米展覽空間中，通過建筑微縮模型、數(shù)字視頻、平面圖像等多種媒介，在斑駁的歐洲歷史建筑中還原生動的當(dāng)代中國城鄉(xiāng)生活圖景。

場地中央以東梓關(guān)46戶民居的1:30微縮模型，再現(xiàn)多樣的組團(tuán)形態(tài)和有機(jī)的村落肌理，并選取典型的8戶家庭和村民活動中心，以剖面形式還原真實(shí)生活場景。組團(tuán)模型的間距尺度是在真實(shí)的街巷尺度和觀展尺度間尋得的適當(dāng)比例，觀展者可以自由走入街巷，以人視點(diǎn)角度觀察和感受村民日常，從而形成一種街道空間、本土生活和觀展體驗(yàn)的互動關(guān)系。

連續(xù)的、不對稱坡屋頂是東梓關(guān)民居的另一設(shè)計(jì)要點(diǎn)，是由江南民居的曲線屋頂提取、解析、抽象演繹而來的。在展覽模型中，屋面被單獨(dú)抽離出來懸浮在半空中，以此提供多角度的觀察視角和豐富展廳內(nèi)的豎向空間層次。

1.2 東梓關(guān)村民活動中心

村民活動中心是東梓關(guān)全體村民的公共活動場所，豎向分解的場景模型展示了活動中心流動的空間體系、本土化的材料語言和自發(fā)性的使用場景。與大多數(shù)因長期封閉而失去活力的村民活動中心不同，東梓關(guān)村民活動中心以連續(xù)起伏的鋼構(gòu)屋面與多個(gè)小尺度的單元盒子共同構(gòu)建出“大屋檐下的小世界”。開放的空間體系滿足不同時(shí)態(tài)下的生活場景，回應(yīng)不同群體的聚居需求，集會、看戲、廣場舞、書畫展、棋牌放映，以建筑為媒介構(gòu)筑起“村莊活力源”。

1.3 城鄉(xiāng)融合的聚居形態(tài)

在過去的3年里，東梓關(guān)村借助媒體傳播，產(chǎn)生了意想不到的流量效應(yīng)，從而激發(fā)新的商業(yè)和產(chǎn)業(yè)的生成，促發(fā)原住民回歸和藝術(shù)家、青年創(chuàng)業(yè)者等新人群的流入，形成了一種新的鄉(xiāng)村社區(qū)模式，是一種超越城市和鄉(xiāng)村的聚居形態(tài)。

微縮模型選取的8戶典型家庭——古琴家庭、種菜家庭、土灶家庭、棲遲民宿、校長之家、書法家庭、植物家庭、茶室家庭，分別代表著這個(gè)新型社區(qū)中不同的生活狀態(tài)與聚集模式。

The 17th International Architecture Exhibition organised by La Biennale di Venezia, curated by architect and scholar Hashim Sarkis. The theme of the exhibition is to establish a new "space contract", which calls on architects to imagine spaces in which we can generously live together in the context of widening political divides and growing economic inequalities.

As architects, we have been walking in different geographical environments of cities and villages, and at the same time carry out construction practice of different scales and types for urban and rural people. During such practice, we find that the urban-rural relationship in China is like a "fortress besieged" - urban people are tired of the density and vertical development of urban areas, and "returning to the countryside" has become a medicine to soothe their minds; while rural people are curious about the lifestyle, consumption and culture of the city, and "going to the city" has become a trend. The spatial production drawn forth by demands dislocation of the two groups has become an important carrier of functions of urban and rural areas, and can to a certain extent transform the one-way flow into a two-way integration of urban and rural areas.

"Rural Nostalgia and Urban Dream" is our reflection on the realistic scene and development picture of contemporary China's vision, as well as the observation of the exhibition theme "live together" during practice - we are healing the "rural nostalgia" for urban people and fulfilling the "urban dream" for rural people. In the exhibition, three works of Dongziguan Rural Revival Project, Stray Bird Art Hotel · Songyang Chenjiapu, and Teahouse in Jiuxing Village with three dimensions of construction of new-type community, reuse of existing buildings, and creation of public space, respond to the proposition of "how will different groups live together". It shows the urbanrural relationship in contemporary China with different spatial forms, architectural functions and construction strategies, and is also the exploration of new urban-rural mixture models caused by architectural space production.

Meanwhile, the unexpected COVID-19 pandemic makes it impossible for us to visit the exhibition site, which poses a great challenge to both model making and on-site exhibition arrangement. For this reason, the design aims to make the exhibition arrangement as simple as possible, and a guaranteed scheme is put forward to ensure the enforceability of long-distance transportation and long-distance exhibition arrangement and removal.

1 Construction of a New-type Community: Dongziguan Rural Revival Project in Fuyang, Hangzhou

1.1 Organise the exhibition in a real way

The exhibition is held in Arsenale in Venice. In the unobstructed exhibition space covering more than 100 square metres, architectural miniatures, digital videos and graphic images are used to vividly reproduce the contemporary urban and rural life image in China in the mottled European historical building.

In the heart of the site, the 1:30 miniature model of Dongziguan Village shows the diverse housing form and organic village texture. The sections of selected typical eight families and villager's activity centre has restored real life scenes. The spacing of the individual model is an appropriate scale ratio between streets of the real village and aisles in the exhibition. Visitors can freely walk into the aisle, which is also the street in the village, obverse and experience the daily life of villagers, thus forming an interactive relationship between street space, local life and the experience of the exhibition.

4 東梓關(guān)村民活動中心模型/Model of Dongziguan Villager's Activity Centre （攝影/Photo: 楊嘯/YANG Xiao）

5 古琴之家模型/Model of Guqin Family

6 種菜家庭模型/Model of Vegetable Planting Family

7 土灶之家模型/Model of Mud Stove Family

8 棲遲民宿模型/Model of Qichi B&B

A03古琴家庭：陜西傳統(tǒng)手工藝人在政府扶持下租賃民居，在此制作古琴、傳播傳統(tǒng)文化。

A06種菜家庭：兩位老人在自家園子里種植蔬菜自給，過著樸素的農(nóng)村生活。

A22土灶家庭：典型的小農(nóng)經(jīng)濟(jì)家庭，在院子里做農(nóng)活，用傳統(tǒng)土灶做飯，延續(xù)以前的生活習(xí)慣。

A20棲遲民宿：民宿是村子里的新業(yè)態(tài)，也是當(dāng)?shù)厝俗晕医?jīng)營創(chuàng)收的新形式。

A32校長之家：退休老校長的一家七口共居，室內(nèi)裝修和布局都延續(xù)了傳統(tǒng)的中式風(fēng)格。

A26書法家庭：藝術(shù)家的復(fù)合功能空間，一層用于書畫展覽，二三層用于經(jīng)營民宿。

A53 植物家庭：一家三口共居，院子里栽滿了植物，室內(nèi)裝修是精致的城市樣板房風(fēng)格。

A57茶室家庭：文藝青年情侶在搬離城市后來到東梓關(guān)，將民居改為茶室，為游客提供一處品茶歇腳的地方。

2 存量建筑再利用：飛蔦集·松陽陳家鋪

9 書法之家模型/Model of Calligraphy Family

10 校長之家模型/Model of House of Principal

The continuous and asymmetrical sloped roof is another key point of Dongziguan dwellings, which is extracted, analysed, and abstracted from the curved roof of dwellings in Jiangnan region (regions south of the Yangtze River). In the exhibition model, roofs are extracted separately and suspend it in mid-air to provide multi-angle observation perspectives, which also greatly enriches the vertical spatial hierarchy in the exhibition hall.

1.2 Dongziguan Villager's Activity Centre

The villager's activity centre is a public activity place for all villagers. The vertically decomposed scene model truly shows the fluid space system, localised material language and spontaneous usage scenes of the activity centre. Unlike most villager's activity centres that have lost their vitality due to long-term closure, Dongziguan Villager's Activity Centre aimed to construct "a small world under the big roof" by using a continuous undulating steel roof and multiple small-scale unit boxes. The open space system meets the needs of different groups in different life scenes, such as gatherings, watching plays, square dances, painting and calligraphy exhibitions, chess and card games, which builds the "village vitality source" with architecture as a medium.

11 植物之家模型/Model of Plant Family

12 茶室之家模型/Model of Teahouse Family （5-12攝影/Photos：陳曦/CHEN Xi）

1.3 Cluster form of urban-rural integration

In the past three years, Dongziguan Village has unexpectedly attracted a flow of people through media communication, thereby stimulating the generation of new businesses and industries, and promoting the return of indigenous people and the influx of new groups including artists and young entrepreneurs. A new rural community is formed there, which is a kind of cluster that transcends cities and villages.

The selected 8 typical families - Guqin (Chinese zither) Family, Vegetable Planting Family, Mud Stove Family, Qichi B&B, House of Principal, Calligraphy Family, Plant Family, and Teahouse Family, which represent different living conditions and cluster modes in this new type of community.

A03 Guqin Family: A traditional craftsman from Shanxi, supported by the local government, rents a house in the village and makes Guqin here to spread traditional culture.

A06 Vegetable Planting Family: The old couple plant vegetables in their garden and live a simple rural life.

A22 Mud Stove Family: The typical peasant family do farm work in the yard and cook with a traditional mud stove, maintaining the previous living habits.

A20 Qichi B&B: B&B is a new form of business in the village and a new form of self-management for local people to generate income.

A32 House of Principal: The 60-year-old retired principal and his six family members live together. The interior decoration and layout follow the traditional Chinese style.

A26 Calligraphy Family: The artist's complex function space, the first floor is used for calligraphy and painting exhibitions, and the second and third floors are used for operating guest houses.

A53 Plant Family: A family of three live together. The yard is full of plants, and the interior decoration follow the style of an exquisite urban model house.

A57 Teahouse Family: The hipster couple move out of the city and live in Dongziguan, where they change their residence into a teahouse to provide tourists with a place to enjoy a tea break.

2 Reuse of Existing Buildings: Stray Bird Art Hotel · Songyang Chenjiapu

Stray Bird Art Hotel · Songyang Chenjiapu is a resort B&B converted from two traditional houses. The traditional rammed earth walls represent the juxtaposed new and old structures and alternate urban and rural lifestyles. For this reason, choose a model that dismantles the building structure vertically to display the usage scenes horizontally was chosen in the exhibition.

Based on the in-depth study of the local construction system of Songyang residential settlement, the project repaired rammed earth walls with traditional manual techniques, updated door and window systems, and provided better building physical properties. The interior of the building is a light skeleton built by light steel structures. In order to adapt to the special construction environment in rural areas, structural members and indoor partition walls were prefabricated in the factory and assembled on site.

The rammed-earth buildings juxtaposed with the new and old structures not only heal the "rural nostalgia" of urban people, but also provide the material basis for the development of "urban dream" for rural people. More importantly, through the scientific reuse of existing buildings, the traditional villages in which such buildings are located are protected as well as are developing.

3 Creation of Public Space: Teahouse in Jiuxing Village

As its name implies, Teahouse in Jiuxing Village aims to create a pleasant place for tea tasting in a watery fishing village with mountains, waters, and misty rain. Maximising the landscape interface and integrating the building volume into the environment are the two basic ideas of architectural design. Therefore, in the exhibition design, split the project model longitudinally to clearly show the dissolution relationship between the building and the environment, and the organisation of the building itself. The complete bird's-eye view model is embedded in the lower left corner of the building, showing the

13.14 飛蔦集·松陽陳家鋪模型/Model of Stray Bird Art Hotel · Songyang Chenjiapu

飛蔦集·松陽陳家鋪是由兩棟傳統(tǒng)民居改建而成的度假民宿，傳統(tǒng)夯土墻包裹著的是并置的新舊結(jié)構(gòu)和交替的城鄉(xiāng)生活方式，為此，展陳選擇一種豎向拆解建筑結(jié)構(gòu)和橫向展示使用場景的模型體系。

在深入研究松陽民居聚落的鄉(xiāng)土建構(gòu)體系的基礎(chǔ)上，建筑外部通過運(yùn)用傳統(tǒng)手工技藝修復(fù)夯土墻體，更新門窗系統(tǒng)，提供較好的建筑物理性能；建筑內(nèi)部是由輕鋼結(jié)構(gòu)體系搭建的輕盈骨架，為適應(yīng)鄉(xiāng)村地域特殊的施工環(huán)境，結(jié)構(gòu)桿件、室內(nèi)隔墻等均由工廠預(yù)制，現(xiàn)場裝配建造。

新舊結(jié)構(gòu)并置的夯土建筑在治愈城市人“鄉(xiāng)愁”的同時(shí)，也為鄉(xiāng)村人提供實(shí)現(xiàn)“城市夢”的物質(zhì)基礎(chǔ)。更重要的是，通過對存量建筑的科學(xué)再利用，實(shí)現(xiàn)了與其所處的傳統(tǒng)村落發(fā)展并行的保護(hù)。

3 公共空間營造：漁鄉(xiāng)茶舍

“漁鄉(xiāng)茶舍”顧名思義，便是在有山有水、煙雨朦朧的水鄉(xiāng)漁村中營造一處品茶的好地方。風(fēng)景界面最大化和體量融于環(huán)境是建筑設(shè)計(jì)的兩個(gè)基本出發(fā)點(diǎn)，展陳使用縱向剖開的建筑模型清晰地展現(xiàn)出建筑與環(huán)境的消解關(guān)系、建筑自身的組織路徑。完整的鳥瞰模型嵌在實(shí)體左下角，從另一個(gè)維度表現(xiàn)出建筑形體與山體間的咬合關(guān)系。模型的混凝土粗糙質(zhì)感也還原了項(xiàng)目建造中運(yùn)用的特殊的木模板混凝土材質(zhì)。

相較常見的鄉(xiāng)村建筑的傳統(tǒng)坡屋頂、分散布局、鄉(xiāng)野材料、木構(gòu)工藝等形式手法，漁鄉(xiāng)茶舍通過對地形的借用、對體量的消解、對材料的再思考，呈現(xiàn)出在江南典型的鄉(xiāng)村山水環(huán)境中，公共空間營造的另一種可能性。

4 “鄉(xiāng)愁”與“城市夢”間的思考

從人口流動和空間集聚的角度來看，在城鄉(xiāng)互動和融合發(fā)展的過程中，城市化離不開鄉(xiāng)村人的融入，鄉(xiāng)村建設(shè)也離不開城市人對鄉(xiāng)村的向往?！班l(xiāng)愁”與“城市夢”不只是空間訴求和符號愿景，更是城鄉(xiāng)關(guān)系聯(lián)動的群體表象，也是重構(gòu)城鄉(xiāng)關(guān)系的內(nèi)核驅(qū)動。在人群需求和建筑設(shè)計(jì)的相互作用下，隨之形成的是多功能混合的、多群體聚居的場所，而如何融合處理混居群體對共享空間、文化空間產(chǎn)生的新訴求，成為我們在空間生產(chǎn)中對城鄉(xiāng)人群聚居新模式的持續(xù)性思考。

另一方面，相比城市，鄉(xiāng)村是一個(gè)更復(fù)雜的生態(tài)體，普遍存在組織結(jié)構(gòu)不完善等問題。而此時(shí)，建筑師的身份不再是一個(gè)被動的、單一的、單向的問題解決者，而是主動的、復(fù)合的、多向的組織引導(dǎo)者，完成以設(shè)計(jì)為驅(qū)動展開的空間賦能——跳出建筑設(shè)計(jì)范疇，與特定的社會語境相結(jié)合，整合上下游資源，架構(gòu)一整套從規(guī)劃策劃到建設(shè)運(yùn)營傳播的項(xiàng)目運(yùn)作流程，以設(shè)計(jì)推動開發(fā)范式的創(chuàng)新。這也是回應(yīng)本次雙年展“我們將如何共同生活”的主題，我們所做的思考以及付諸的行動。

項(xiàng)目信息/Credits and Data

地點(diǎn)/Location: 意大利威尼斯軍械庫/Arsenale, Venice, Italy

委托方/Commissioner: La Biennale di Venezia, Hashim Sarkis

策展人/參展人/Curator/Exhibitor: 孟凡浩/MENG Fanhao 設(shè)計(jì)負(fù)責(zé)/Design Principal: 何雅量，胥昊/HE Yaliang, XU Hao

設(shè)計(jì)團(tuán)隊(duì)/Design Team: 祝駿，鄧皓，葛震亮，王雨斌，邢舒，王昕宇，涂單，李胤賾/ZHU Jun, DENG Hao, GE Zhenliang, WANG Yubin, XING Shu, WANG Xinyu, TU Dan, LI Yinze

項(xiàng)目執(zhí)行/Project Executive: 方怡，何雅量/FANG Yi, HE Yaliang

紀(jì)錄片拍攝/Documentary: 左靖工作室，飛蔦集，陳曦/ZuoJing Studio, Stray Bird Art Hotel, CHEN Xi

視頻剪輯/Video: 劉欣慧，陳鈺凡，石凡成，方思韜/LIU Xinhui, CHEN Yufan, SHI Fancheng, FANG Sitao

微縮模型制作/Miniature Model Making: 石凡成，樓詩媛，方思韜，孫陽，薛羽卉，孫殊荻，陳鈺凡，陶思序，陶思言，劉怡敏/SHI Fancheng, LOU Shiyuan, FANG Sitao, SUN Yang, XUE Yuhui, SUN Shudi, CHEN Yufan, TAO Sixu, TAO Siyan, LIU Yimin

建筑模型制作/Building Model Making: 杭州天涵建筑造型設(shè)計(jì)有限公司/Hangzhou Tianhan Architectural Modeling Design Co., Ltd.

現(xiàn)場執(zhí)行/On-site Executive: 楊嘯/YANG Xiao

項(xiàng)目面積/Project Area: 106 m2

設(shè)計(jì)時(shí)間/Design Time: 2019.09-2021.04

竣工時(shí)間/Completion Time: 2021.05

16-19 展覽裝置/Exhibition installations （13-19攝影：柳炫竹/Photos: LIU Xuanzhu）

攝影/Photos: 柳炫竹，陳曦，全球知識雷鋒，楊嘯/LIU Xuanzhu, CHEN Xi, Global Knowledge Lei Feng, YANG Xiao occlusal relationship between the architectural form and the mountain from another dimension. The rough concrete texture of the model also reproduces the special material of wooden formwork concrete used in the construction of this project.

Compared with the traditional sloped roofs, scattered layouts, rural materials, wooden craftsmanship and other techniques used in common rural buildings, Teahouse in Jiuxing Village presents another possibility of public space construction in the typical rural landscape environment in Jiangnan region through the adjustment to terrain, the disintegration of building volume and the rethinking of materials.

4 Thoughts on "Rural Nostalgia" and "Urban Dream"

From the perspective of population flow and spatial agglomeration, in the process of urbanrural interaction and integrated development, urbanisation cannot be separated from the inflow of rural people, and rural construction cannot be separated from urban people's yearning for the countryside. "Rural nostalgia" and "Urban Dream" are not only spatial appeals and symbolic visions, but also group representations of the linkage of urban-rural relations, and are also the core drive for the reconstruction of urban-rural relations. Under the interaction between the needs of the crowd and the architectural design, a multi-functional and multi-group gathering place is formed. How to deal with the new demands of the mixed group for shared space and cultural space has become our continuous concerns about the new mode of crowd cluster in urban and rural areas in space production.

On the other hand, compared with city, rural area is a more complex ecological system, with common problems such as imperfect organisational structure. At this time, the identity of the architect is no longer a passive, single, one-way problem solver, but an active, composite and multi-directional organisation leader, thus completing the design-driven space authorisation-not only the architectural design, but combined with specific social context and policies, integrate multiple resources, build a set of project operation procedures from planning and design to construction and operation, so as to innovate a paradigm that promotes development by architecture design. This is also our thinking and action in response to the theme of "how will we live together".□