1. 場所與地點 | Place and Site
東鄉文化中心位於甘肅省東鄉族自治縣唐汪鎮馬巷村。馬巷村除南面以外三面被黃河的支流洮河所環繞，雖然位於黃土高原上但是這裡相對海拔較低，只有大約1700米左右。這裡的地理位置優越，既是信仰穆斯林的東鄉族同胞的定居地，也是漢族的傳統村落同時由於緊鄰藏區，所以這裡也有許多藏傳佛教的寺廟。雖然馬巷村是一個很小的村莊，但它並不簡單，這裡有著在鄉村中特別罕見的豐富多元的歷史文化。在馬巷村中，既有信仰穆斯林的禮拜寺，也有道觀還有源自藏傳佛教的吉祥寺。因此新建的文化中心將以何種方式介入到這個多元文化的時空壓縮體之中將是建築師首要面對的問題。
▼文化中心遠景鳥瞰，distant bird-eye’s view of the culture center ©金偉琦
Dongxiang Culture Center is built in Maxiang village, Dongxiang autonomous county, Gansu province, China. On three sides (except for the south side) is the village surrounded by Tao River , a tributary of Yellow River. It is located on the Loess Plateau with an altitude of about 1,700 meters. The village is not only the settlement of Dongxiang people who are Muslims but also a village of the Han people. Due to its close proximity to the Tibetan area, there are also many Tibetan Buddhism temples in the region. Being a small village but full of rich and diverse history and culture, Maxiang is a extremely rare place in countryside with Muslim mosques, a Taoist temple and a Tibetan Buddhism temple. Therefore, how to involve the newly-built culture center in this multi-cultural complexity of space and time is the focus for the architect.
▼文化中心鳥瞰圖，bird-eye’s view of the culture center ©金偉琦
面對如同厚重的沉積岩般堆疊的人文歷史，文化中心以一種輕盈的方式被輕輕的置入其中。她沒有選擇歷史的語彙，而是以現代的方式輕裝上陣。文化中心將成為地方文化的閱讀者而非講述者。事實上，沒有一座建築能夠把如此眾多的故事都講全，因此這是一座傾聽的建築。
當你穿越一路的黃土高原，轉過幾座大山，被洮河所環繞的馬巷村突然映入眼簾，確實如同一片世外桃源。2018年受中國扶貧基金會的委託，車飛老師赴現場踏勘並最終選定現在的位置作為文化中心的選址。文化中心沒有選擇村子外面的空地而是選擇嵌入村子內部的肌理之中。這裡曾經是搬遷前的吉祥寺舊址。現狀除遺存廟門外已成為一片空地。在基地的東側不遠處是洮河，北側的不遠處則是新建的吉祥寺，西南是高山環抱的馬巷村。高山、河谷、黃土高原以及平川構成了項目地點獨特的自然環境。
▼文化中心和場地軸測圖，axon of the culture center and the site ©超城建築
In a context of the human history stacked like thick sedimentary rocks, Dongxiang Culture Center was gently placed into it not with a historic vocabulary but in a modern way. The culture center is supposed to be a reader of local culture rather than a narrator. In fact, no building can tell such numerous stories and it becomes a listening building.
After crossing the Loess Plateau all the way and turning over several mountains, Maxiang Village surrounded by the Tao River suddenly comes into your view, appearing like a paradise. Entrusted by China Foundation for Poverty Alleviation in 2018, Prof. Dr. Che Fei investigated the village and finally suggested to choose the current location as the site of the culture center. It has been decided not to put the culture center in the open space outside the village but to embed it in the fabric of the village. The chosen site was the former site of Jixiang Temple before its relocation. The existing site has become a vacant lot except for the gate left from the former temple. Not far away flowing Tao river in the east, closely in the north standing the newly built Jixiang Temple and the farm houses of one part of the village distributing in the southwest surrounded by far mountains, the project site encompasses an unique natural environment of big mountains, river valleys, Loess Plateau and riveside.
▼俯視圖，文化中心嵌入村子內部的肌理之中，aerial view of the culture center that is embedded in the fabric of the village ©金偉琦
▼文化中心與吉祥寺靜列在一起，如同為歷史地層增加了新的一頁，the culture center and Jixiang Temple are lined up, adding a new stratum to the history of the village ©金偉琦
2. 空間與形態 | Space and morphology
馬巷村的空間形態大多呈內向性，村落空間被高大厚重的圍牆所包圍，即便是清真寺或寺廟等公共空間也是被圍牆所包圍的內向空間。建築類型大多是平頂的合院式建築。文化中心被置於村落的中心將創造一個開放與交往的空間，這裡在未來將成為旅遊者、藝術家、本地村民的共享空間。而文化中心作為一個外向性的公共建築，其基本概念是將內向性的合院式類型反轉為外向性。這樣既保留了傳統肌理的歷史記憶，同時又實現了空間形態的外向性。
▼文化中心西北方向鳥瞰，bird-eye’s view of the culture center from northwest ©金偉琦
The architecture typology of farm houses in Maxiang village is mostly flat roofed 1- or 2-story building with a courtyard in the center fenced by tall and thick walls which makes its spatial form introverted. Even public spaces such as mosques or temples are also inward spaces surrounded by walls. the culture center being built in the center of the village is creating an open and communicative space shared by tourists, artists and local villagers. As an extroverted public building, the concept of the culture center is to reverse the introversion of the local traditional courtyard into an extroversion not only to present the historic memory of the village fabric but also to create the extroversion of the spatial morphology.
▼吉祥寺老廟門形成了歷史記憶的地標，the remained gate of the former Jixiang Temple becomes a landmark of historic memory ©金偉琦
▼文化中心將鄉村小路轉換為對外開放的公共空間，the rural road has been changed into a public space because of the new square by the culture center ©金偉琦
▼老吉祥寺遺存的廟門與文化中心的西側立面，the historical gate of the former Jixiang temple and the west facade of the culture center ©金偉琦
▼圍繞老吉祥寺的廟門所形成的小廣場，既保住了馬巷的鄉愁記憶也保留了村民們的公共空間，the tiny square surrounding the historic gate remains both the village memory of Maxiang and the public space for the villagers ©金偉琦
▼文化中心外觀近景，close view of the culture center ©金偉琦
▼文化中心東南立面，the southeast facade ©金偉琦
▼一層的內凹空間與二層的外凸空間疊加在一起形成了豐富的立面形態，the concave space on the first floor and the convex space on the second floor are superimposed creating a dramatic facade shape ©金偉琦
▼一層的外向展廳與二層的內向展廊共同構成了混合空間形態，the outward hall on the first floor and the inward gallery on the second floor compose a mixed space form ©金偉琦
▼朝向東面洮河的入口，the entrance facing the Tao River on the east ©金偉琦
文化中心的形式概念源於內外反轉的當地合院建築類型，原先的庭院轉化為展廳等功能性空間，而圍合建築則轉化為走廊等公共空間。這樣的轉變使得馬巷村的中心出現了一個積極開放的公共空間，這將深遠的改變整個村莊的空間形態，並以此為中心將周邊的小路轉變為街道。相信在不遠的將來，民宿或其他服務業也會逐步在周邊出現。這也將改變這裡以農業生產為主的鄉村經濟形態。
▼文化中心空間爆炸軸測圖，exploded axon of the culture center ©超城建築
The architecture concept of the culture center originates from reversing the outside and the inside of the Dongxiang farm-house courtyard. The original courtyard is transformed into functional spaces such as exhibition halls while the enclosed buildings are transformed into public spaces such as corridors, that makes an active and open public building in the center of Maxiang Village. It will profoundly change the spatial morphology of the entire village, becoming a core connecting the rural roads which will gradually transform into streets as a result. It is believed that hotels and other service industries will appear in the surrounding in the near future which will hopefully change the existing only-agriculture-dominated economic situation.
▼文化中心室內入口門廳（朝向入口），the entrance hall to the entrance ©金偉琦
▼文化中心室內入口門廳（朝向樓梯），the entrance hall to the staircase ©金偉琦
▼室內首層朝向庭院，first floor to the courtyard ©金偉琦
在文化中心的二層，其空間形態再次反轉，恢復為合院形態，由連廊組成的展廊空間圍合露天庭院，這樣在二層參觀者將體驗到東鄉傳統合院建築的空間感受。而文化中心的屋面所呈現出的第五立面也將與周邊的建築融為一體。
On the second floor of the culture center, its spatial form is reversed again and it is restored to an original local courtyard style. The exhibition space composed of connecting corridors surrounds the open-air courtyard through which visitors on the second floor will perceive the spatial experience of Dongxiang traditional courtyard buildings. The fifth façade displayed on the roof of the culture center is also considered to be integrated with the surrounding buildings.
▼連接首層與二層的樓梯空間成為首層外向空間形態與二層內向空間形態的轉換，the staircase space connecting the first floor and the second floor becomes the transition of the extroverted space on the first floor and the introverted space on the second floor ©金偉琦
▼二層的展廊，corridors as exhibition space on the second floor ©金偉琦
▼出挑的空間，cantilevered spaces ©金偉琦
▼文化中心街景夜景，street view of the culture center at night ©金偉琦
▼文化中心夜景局部，partial night view of the culture center ©金偉琦
▼地塊選址，the location ©超城建築
▼總平面圖，site plan ©超城建築
▼一層平面圖，1F plan ©超城建築
▼立面圖，elevations ©超城建築
▼剖面圖，section ©超城建築
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