李亮：雙溪書院設計設計頭條網

2020-02-21 09:30:27 藝術與家

　　“全國詩人半在湘”，湖湘文化所具有的最鮮明的特徵即是其內涵的“詩性”。雙溪書院則以其獨特的山水人居的方式——依山取勢，臨溪而居，分合佈局，錯落有序——來重新詮釋這一詩性。在這裡，似乎建築設計中所有物理空間的構想都應當被賦予某種情境：遊山、訪古、尋幽、高臥、倚竹、觀魚、濯足、鼓琴、品茶、焚香，這些詩意的片段都自然的再現，並又被自然而然的重新置入當代人文精神與生活之中，展現出新的“詩性”。正如海德格爾所倡導的：“正是詩意首先使人進入大地，使人屬於大地，並因此使人進入居住。”在此地，詩意成為最自然的生活，也成為禪境與超然的場景。

There is an old saying goes like this: "Half of Chinese poets are in Hunan", which shows the most distinctive feature included in Hunan's culture, that is, "poetic". Such poetic feature can be reinterpreted by the unique scenery residence of Shuangxi Academy -- laying alongside mountains and beside brooks with randomly scattered but well clustered residence. Here, all kinds of spatial designs in architecture seem to be given certain meanings: no matter it is enjoyable sightseeing or peaceful resting, bamboo leaning or fish viewing, footbath enjoying or musical instrument playing, tea tasting or incense burning, you will always find natural reflections of poetry inside. With such poetic segments melted into humanistic spirit and life, refreshed poetic symbols are created. Just like what Martin Heidegger advocated: "it is poetry that leads us to the land and makes us belong to it and live on it." In Shuangxi Academy, poetry has entered normal lives and become a place for Zen and aloofness.

　　這一詩意的訴求使建築設計在一開始就被賦予了一種明確的畫面感。一方面，如何讓建築真正的融入環境，從而加強這種場景感而不會破壞它，成為前期“規劃”的一條基本準則。說是規劃，實則更像一種隨地形變化的自然的“安排”——幾條枝杈狀的11-14米寬的溪谷向不同的方向蜿蜒，建築就被契入山谷之中，只呈現出谷口的一個立面。於是，雙溪書院的七個單體建築，除了接待大堂（也做餐廳）和茶室兩個公共功能的建築外，都被分別隱藏在四條張開的山谷內，互不相望，各自以各自獨特的視角存在，這種關係有些像傳統山水畫中的散點透視，每個局部自成一體，又能夠“拼貼”成一幅完整的畫面。

The pursuit of poetry gives architectural design a sense of picture even at the beginning. On the one hand, the basic line for designing is to find a way of embedding buildings into their surroundings without damaging the scenario but enhancing it instead. It is actually more of a natural arrangement than artificial design -- pronged brooks of 11m to 14m width twist toward different direction, engraving buildings into the valley and presenting to us the facade of valley entrance only. As a result, seven single buildings of Shuangxi Academy, except for the reception hall (or restaurant) and tea room, are all hidden in four open valleys, each with its unique view. Such structure is just like cavalier perspective used in traditional Chinese painting - independent components which together form an integrated picture.

　　另一方面，在建築的風格樣式上，雙溪書院的建築是運用現代的建築材料和結構技術來體現地域傳統建築意向的嘗試。從內天井的結構佈局，到木構構架與高聳的白牆，連續的灰瓦坡頂，到石、木、瓦等材料肌理，這些建築設計的形象生成既來源於當地的傳統民居建築，同時也是對更廣義的中國南方民居的建築符號的片段提取和抽象提煉。在建造上，除了常規的混凝土框架作為基礎結構，還使用了大量的竹鋼，鋁板金屬屋面，和一部分GRC（玻璃纖維加強混凝土）材料，這些材料的組合也對施工工藝提出了新的要求。在風格上，雙溪書院的七個單體建築，總體有相似的元素，但又因山勢而樣貌迥異，各有特點。

On the other hand, in the architectural style, modern material and structural technology are applied, trying to recreate traditional local building images. All these architectural design images like interior courtyard, wood frame, white wall and tiled slope, as well as elements like brick, wood and tile, are originated from traditional local buildings or partly and abstractly extracted from architectural symbols of southern China. As for construction, in addition to traditional concrete frame, materials of bamboo steel, aluminum plate metal roof and GRC (glbumm concrete) materials are also used, which raises new requirements to construction technology. As for styles, seven single buildings of Shuangxi Academy share similar elements and different features at the same time due to the landform of mountains.

接待堂/Reception Hall

　　山谷的場地限定了人的視線，這使人在遊覽建築時只能從特定的角度開始。在這些特定視角形成的“畫面”中，近景可能是幾棵樹或一叢竹林，遠景則是向兩側蜿蜒升高的山脊，這使建築自然成為畫面中的中間層次，也使其立面的平面形態超越了體量本身，變的更加重要。

　　接待堂的設計，頂部是一條向下弧的屋簷線，立面是被概括的豎向的線條。儘管傳統建築的典型的灰瓦的大坡屋頂被取消了，但簷口以下由層層的椽子向立柱傳力的基本結構意向還能夠表達出和傳統結構的一種關係。其他側立面則是正立面的直接複製，最終形成一個圍繞“天井”的正方形佈局。總體形態上，這個“回”字形的結構是啟發自傳統平江地區的民居內天井的佈局形態的。接待堂向四周翹起的屋簷是對周邊天際線的最好呼應，也為室內帶來更好的光線和更通透的觀景效果。

　　西側連接接待大堂的部分，是一個幾乎完全契入山體的部分，主要佈置了廚房、餐廳包間、小展廳等輔助功能。一個巨大的單坡屋頂順山勢傾斜，與接待大堂的屋頂形成疊落的關係。為了達到更輕薄的形體效果，建築主體採用竹鋼搭建，豎向的立柱每根都為承重住，從而達到均勻受力的效果。“柱”與“梁”的連接部分採用簡單的交錯堆疊起來進行構造的方法，使其在形式上產生出類似斗拱結構的效果。而屋頂則採用GRC預製板，直接“平落”在竹鋼框架上；屋頂面層採用金屬瓦，而非傳統瓦，這些做法都極大的減輕了屋頂重量，使整體結構輕量化，更傳達出一種具有現代氣質的南方建築的秀美。

Because valleys limit people's vision, so tourists can only start visiting from a specific angle. Viewing from these angles, tourists will first see trees or bamboo forest, then divert their attention to further mountain ridges, positioning the sites where they stand as the medium tier of the whole picture, and surpassing the facade's mass over its flat form.

At the top of reception hall, the roof line is downward arc and facade is simplified as a vertical line. Though the typical design of tiled slope is not used here, layered rafter under the cornice can still show their links with traditional structure. Other side elevations are the direct copies of the front elevation, forming an square structure that surrounds "courtyard". Basically, such structure that resembles Chinese character "回" is inspired by the interior courtyard of residence in Pingjiang district. Turnup eaves of the reception hall correspond to above skyline and also bring better hall's light and a more transparent view.

The west part that connects reception hall is almost embedded in the mountain and mainly serves as kitchen, restaurant or small exhibition hall. A huge single-slope roof tilts along mountain line, stacking and overlapping with the roof of reception hall. To thicken building structure, its main body is constructed by bamboo steel. Each vertical pillar is designed as a king tower in order to even the roof stress. Pillars and beams simply overlap with each other, forming a bucket arch in the form. The hall roof is made by GRC plate, spreading right upon bamboo steel structure. The roof surface is covered by metallic tile instead of traditional tile, which not only lowers roof load, but also lightens body structure, expressing to us a streamlined modern beauty of southern China.

茶室／Tea Room

　　茶室東側立面在佈局上與接待堂東側立面形成一條軸線，以求得在主要視點透視線上的連貫性。茶室的總面積為109平方米，是一個 “L”形的半圍合院落，一端契入山體，另一端延伸並挑出到池塘上空。轉折處的屋角約8米高，指向東南向的天空。這個“屋角”成為三條山谷會合處的空場的標識物，也成為和接待堂呼應的軸線上的制高點。屋面連續向兩端陡降，形成一個狹長的內斜屋頂。立面通高的玻璃幕牆不僅帶來了更寬闊的視覺體驗，還給室內提供了充足的自然光線。

The tea room's east facade is on the same axis with the east facade of the reception hall, achieving coherence in major viewpoints' perspective line. Total area of the tea room is 109m2. One side of the room is embedded in the mountain, the other side stretches out upon the pond, forming a half-closing L-like yard. Room corner around turning point is 8m high, pointing to the southeast sky. This "room corner" has become a marker where three valleys converge together as well as the top point that correspond to the reception hall on the axis. The roof slopes continuously toward both sides, forming a long and narrow angled-in roof. The glass wall brings broader visual experience and sufficient natural light for the indoor space.

書院與先生房／ Academy and Teacher's Room

書院與先生房位於西側的谷內，隱藏在一片茂密的竹林之後。隨坡而上，一側是小溪，一側是茂密的竹林。路盡頭是書院的入口大門，位於白色院牆左側，這和右側越過白牆挑出的休息室共同形成均衡的構圖關係。進入大門，U形的庭院才清晰可見：庭院被臺地分成兩級，連接兩個單體，錯落的空間關係形成了更豐富的景觀體驗。建築看似由兩棟獨立的單體構成，但通過相同的結構和材質，使兩者之間形成一種整體的關聯。書院建築的屋頂從兩側向內傾斜，並由遠及近逐層錯落，形式與周邊山勢輪廓相呼應的輪廓，應對與周邊的景觀關係。

Academy and teacher's room are in the western valley which is hidden behind a dense bamboo forest. Walking upwards along the slope, there is a stream on one side and a dense bamboo forest on the other. At the end of the road is the entry to the academy, which is located on the left side of the white wall, forming a balanced composition with the lounge on the right side. A U-shaped yard jumps into the eyes once entering the door. The yard is divided into two levels by a platform which connects two units. The well-arranged space forms an abundant landscape experience. The architectures which seem to be formed by two independent buildings can be regarded as a whole because of the same structure and materials. The roof of the academy slopes from both sides to the middle part and distributes layer by layer from far to near, forming a lineament echoing the surrounding mountains and answering the landscape around.

山谷客房／Valley Guest Rooms

　　總體上看，這一 86米長的狹長形體隨山谷曲折，只在谷口保留了一個完整而突出的立面，依山勢而下的溪水在建築周圍匯聚成水面，將入口的立面映射其中，形成安詳而靜謐的畫面。

　　這一建築單體總面積約1100平方米，建築形態完全契合原有的山谷地形，呈折線形隨地勢逐級抬高，通過高低錯落的坡屋頂圍合構成具有南方鄉村特徵的巷道空間。巷道兩側的客房屋頂成V字形態，從總體的形態上和接待堂，書院建築是一致的。單坡屋頂相對於客房而言，為室內提供了更好的觀山視野。

　　一層在結構上成為底部架空的附屬空間，主要設置為多功能的休閒大廳，咖啡、水吧，以及一個小型會議室，並且一層三分之二的面積是埋入山體之中的。一層在交通組織上和二層是分別設置的，而所有的客房均位於二層，需通過主入口的景觀樓梯單獨進入二層小巷，這樣是二層的客房區相對安靜獨立。18間客房即沿著小巷分佈兩側。

In the general, the 86m long and narrow form winds along the valley, leaving a complete and prominent facade on the valley mouth. The stream which flows downwards along the mountain converge around the architecture and form a peaceful and tranquil picture.

This architecture, with a total area of 1,100m2, has its form tallied with the original valley terrain completely, presenting a situation of raising broken line with the terrain. The sloping and well-arranged roofs form a lane space with features of southern countryside. The guest room roofs on both sides of the land are V-shaped, which are the same with the reception hall and the academy on general form. Lean-to, with respect to guest rooms, provides better view to see the mountains from indoor.

The first floor becomes an affiliated space built on stilts on structure. It's decorated into a multi-functional lounge, coffee and water bar and a small meeting room; besides, two third of the area is embedded in the mountain. The first floor differs with the second on traffic organization. All the guest rooms are placed on the second floor, which could be entered from the observation elevator in the main entrance independently only, making the guest rooms on the second floor quiet and independent. 18 guest rooms are distributed on both sides along the lane.

三折別墅／Three-folded Villa

　　這棟建築在形態上與山谷客房有著相似之處，即都是迎著谷口的端頭立面作為建築的主立面，而主要的體量則隱匿在谷中。建築隨著山谷地形走勢呈現折線關係佈置，一層有三個獨立的單體“盒子”，主要為公共活動空間，穿插其間的是幾處半戶外的“亭子”空間。這些空間由一條邊廊連接。二層為臥室等私密空間，成線狀排布成一條通長的“廊橋”結構，連續的竹鋼格柵立面增加了“廊橋”在結構視覺上的整體性。在實際的功能劃分上，多數使用狀態下二層的臥室等私密功能是獨立分割的；只在必要時可以通過二層的走道相連接。屋面三角的折面關係使整體形態更相似與傳統坡屋頂的意向。

This building is similar to the valley guest rooms in architectural form because the main facade of the architecture is set on the side of the valley mouth and its main body is hidden in the valley. The architecture is arranged along the valley on a broken line. There are three independent "boxes" on each floor, which are public activity space, among which are several half-outdoor "pavilion" spaces. These spaces are connected by a corridor. Private space such as bedrooms are arranged in line on the second floor just like a "gallery bridge". The continuous bamboo steel grating facade increases the integrity of the "gallery bridge" visually. On the actual functional partitioning, the private space such as bedrooms on the second floor, when using, are independent and separated; only when necessary, they could be connected through the aisle on the second floor. The triangular folding relationship of the roof makes the integral shape more similar to traditional roof.

四分別墅／Quartered Villa

　　雙溪書院的所有建築單體都幾乎全部採用V字形內傾的屋頂形式，這本身也源自平江傳統民居院落的剖面關係。這種剖面關係在四分別墅中反映的更為直接。內傾屋面的四個體塊成為四個獨立的休息空間，體塊與外圍牆界定的區域即為巷道和公共區域，這種類似聚落的形式也使整個建築更適應場地，並避免體量過大帶來的突兀感。四個獨立的功能體塊與一個通透的玻璃盒子相互套嵌，產生了居者在室內外不斷交互的空間體驗；同時，通過圍牆的隔擋形成獨立的六個小院子，在室內，透過圍牆上局部的取景窗洞，使庭院中的人造景觀與戶外的自然景觀形成一個重疊對景的關係。

　　通透的玻璃盒子將南側的自然光引入室內，使建築形象變得更加柔和。退出室內，從更遠的視角看，建築的整體形象中翹起的屋簷與兩側逐漸升高的山脊線完全是為了達到一種呼應——儘管因此而削弱了正立面的視角應有的體量感。

Almost all the architectures in Shuangxi Academy adopt a V-shaped introvertive roof, which is derived from the profile of traditional courtyard in Pingjiang. Such a profile is reflected at quartered villas more directly. The four blocks of the introvertive roof become four independent spaces for rest. The areas defined by the block and the outer wall are galleries and public areas. Such a form similar to cluster makes the whole architecture more integrated into the site and avoids the congruous sense caused by the huge volume. Four independent functional blocks are inserted into a transparent glass box, producing a spatial experience of traveling between indoors and outdoors continuously; at the same time, six small yards are formed by walls. The partial viewing windows on the wall bring with opposite scenery created by the artificial landscape in the yard and the natural scenery outside the door.

The transparent glass boxes bring the natural light from the south side into the room, making the architectural image softer. Walking outside the room and viewing from a further visual angle, you will find that the tilted roof of the architecture and the ridge line gradually rising on both sides echoing each other, even though the sense of volume of front elevation from the facade is therefore weakened.

當建築契入自然時，一切所謂專業的設計或闡釋都應當順從於自然的某種“力”或“勢”。自然的包裹使建築必然由一種對抗轉到順從，或者更恰當的說是一種融入或共生。就如中國山水畫中房子總是若影若現於山水之間，這種畫面中的詩意似乎拉近了我們和古人的距離。古人可以臥遊，通過這種心歷去體悟自然山水中的哲學。今天我們仍然努力在自然與建築之間創造某種請景，某種我們能通過建築與自然對話的情景。或許這種情景就隱藏在雙溪書院的環境之中吧，遊走在這幽邃的山谷之中，小溪之畔，很容易使人想起南宋平江文人鄒輗的詩句：花陰不正月將西，欲到溪邊步懶移。坐對前山無一語，此心惟有古人知。

When an architecture is inverted in the nature, all the so-called professional design or explanation should submit to the "force" or "tendency" of the nature. The enclosure of the nature makes architectures turning from confrontation to obedience, or to integration or mutualism. For example, houses in Chinese landscape painting are partly hidden and partly visible between hills and waters. The poetry in such paintings narrows the distance between the ancients and us. The ancients can enjoy landscape paintings, instead of traveling, to experience the philosophy contained in the nature. Today, we are still trying to build some scenes between the nature and architectures, some scenes for us to communicate with the nature through architectures. Such scenes might be hidden in Shuangxi Academy. When walking in the deep valley and beside the quiet stream, we may think of the verse of Zou Ni, a litterateur of the Southern Song Dynasty: "The flower shadow turns oblique and the moon westwards, I am not in the mood to move when I'm in the brook. I say nothing in front of the mountain, as only the ancients know what I'm thinking about."