定式的困境
Predicament of stereotype
“幾梯幾戶”、“幾室幾廳”、“幾南幾北”，這便是今天用來描述“家”的通用語彙。結構技術的進步並未帶來居住空間的自由，走廊串聯房間仍是最受青睞的模式。空間的佈局、尺度甚至容納的功能都有一定之規，設計逐漸轉向精確的計算與排列組合。能夠選擇的，只剩下風格，中式、日式、地中海抑或北歐風……人們對“家”的認知形成了某種定式，戴上枷鎖，再也動彈不得。
Such common vocabularies as “Stairs and Households”, “bedrooms and Living rooms”, “South and North” are used to describe “home” today. The progress of structural technology did not bring freedom of living space. Corridor series is still the most popular mode. Composition, scale and even function obey certain rules. Design gradually turned to the precise combination of calculation and arrangement. We can only choose the style, Chinese, Japanese, Mediterranean or Nordic… In this way, the awareness of “home” in people’s mind have a certain set of stereotype, , just like wearing a yoke, can no longer move.
▼改造後的堂屋，after transformation
我們的家是一處不足七十平方米的老房子。沒有像樣的客廳，倒有三間臥室，兩間大的在南邊，小的朝北。 除了一個院子，和一個長得像院子的露天雜物間，沒有任何特殊之處。磚混結構，更是把改造的可能性降至最低。看起來，設計陷入困境，定式難以打破，生活即將一成不變。
Our home is an old apartment of less than 70 square meters. There is no decent living room but three bedrooms, two large in the south, one small in the north. There is nothing special but a yard and an open debris that looks like a yard. Brick and concrete structure also minimized the possibility of transformation. It seems that transformation is in trouble and stereotype is difficult to break. Life is about to die.
▼改造前後平面圖對比，before and after
造園的可能Possibility of making garden
出於對中國傳統園林的痴迷，我一直惦記著造個屬於自己的園子。心繫造園實在是件幸福的事，所以我們的 家叫“系園”。建不了廳堂樓閣，也無法掘池堆山，純粹的形式操作和符號堆砌，都難逃裝修的範疇。造園的可能，在於園林中處處透露出的精妙“關係”，這也正是“系園”的另一重含義所在。 “內外”、“大小”、“明 暗”、“真假”，甚至中國人篤信的“陰陽”，都是互為對仗且相反相成的“關係”。古人造園子，並不執著於“實際 的大小”，在乎的是“感知的大小”。一百四十平方米的“殘粒園”，造出無窮的山水意境。純粹的大，絕對的大，並非園林所求，小有小的好處，小中可以見大。由此入手，便有了在家造園的可能。
Out of obsession with the traditional Chinese garden, I have been thinking about making our own garden. Heart of the garden is really a happy thing, so our home called “Relation Garden.” Neither hall pavilions nor pond or mountain can be built. Form operation and symbolic piling up are unable to escape the scope of decoration. The only possibility of making garden lies in is the exquisite “relationship” revealed everywhere in the garden, which is another important meaning of the “Relation Garden.” “Inside and outside”, “light and dark”, “true and false”, and even “yin and yang” the Chinese people believe, are mutually antagonistic and opposite the “relationship.” Ancient man-made garden, didn’t care about the “actual size”, but the “perceived size”. “Residual grain garden” of only 140 square meters, created infinite landscape mood. Pure large or absolutely large, is meaningless in gardens. Small benefits from small can see big. Starting from this, there will be the possibility of our home garden.
▼前院，courtyard
▼入口，entrance
真與假：山水的意境 Truth or false- sense of landscape
想造園子的都是痴迷山水之人。不能終日生活在自然山水中，便在園子裡造一套山水，不下堂筵，就能坐窮泉壑。追求的是“真”山水的意境，眼見的卻是“假”山水之形。院子裡的石峰是前任屋主所留。背後有一面老牆，正是《夢溪筆談》中的“敗壁”，可得畫意，可悟山水。牆壁下部因潮溼多有脫落。損壞處重新粉刷，完好處予以保留，再以白漆罩面。偶然在牆上塗抹出高低兩峰，以及遠山一組。泥土在下雨時濺起，附著於牆角，像是山前的一片密林修竹。襯著壁前的石峰，山林之意便是有了。
People who want to create a garden must be obsessed with the landscape. If they cannot live in the natural landscape, they made create a set of mad-made landscape in the garden. They want to pursuit of the feeling of “true” landscape while seeing the shape of “false” landscape. The stone in the courtyard was left by the former owner. There is an old wall behind it, just as broken wall said in “Mengxi Bi Tan”. It can be painted, and also can be realized landscape. The lower part of thewall had fallen off due to moisture. We re-painted the broken part and preserved the nice part, and then covered with white paint. Occasionally on the wall the high and low peaks appeared, as well as a group of far-away mountains. The soil splashed in the rain, attached to the corner, like bamboos in front of the mountain. Lining the wall before the peak, the meaning of the forest is there.
▼園中的石峰，stone peak
園中無水，可習旱園水做之法，揚州寄嘯山莊算是典範。堂前平臺高出院子地面，在角部空砌幾皮青磚，既 是圍欄也是座凳。院子以老青磚鋪地，縫中生出苔蘚，有了氤氳之意。想來，平臺像是伸在水面之上。加之 側院的一池青瓦，就理清了“水”的來龍去脈。
Even though there is no water in the garden, we learned dryland water just as Jixiao Villa in Yangzhou. The platform in front of the main hall is higher than the courtyard ground. In the corner several bricks were built as both fence and bench. The courtyard was paved by the old bricks, sewn out of moss, with the meaning of mixing. In this way, the platform is like stretched over the water. In addition, the grey tiles in the side yard clarified the context of water.
▼園中青磚，the black brick
外與內：堂屋的方向 Inside and Outside-Direction of the main hall
在中國傳統生活中，堂屋是極其重要的。接待賓朋、婚喪嫁娶甚至祭祀祖先，都在這個空間裡。堂屋一定朝向院子，門多半是不關的，在潮溼的江南地區，甚至不設門扇。這裡承載了人的家庭活動，同時也容納了自然，處於內外之間。從這種意義上來說，現代生活中的客廳，僅僅是個內向的房間，與其它使用功能無異。
In Chinese traditional life, the main hall is extremely important. Reception of friends, weddings and funerals and even worship ancestors, are happened in this space. The main hall must be facing the yard, and the door is mostly open. In the wet south area, the main hall even has no doors. The traditional main hall not only accommodates the human family activities, but also takes in the nature, between inside and outside. In this sense, the modern living room is just an introverted room, there is no difference from other functions.
▼堂屋，the main hall
“系園”之中，外與內原本並無關聯，院子與房子僅通過臥室的一扇小門相連。空間侷促，不由面積大小而起，是因明確的內外界面所致。為了堂屋，我願意犧牲一間南向的臥室。朝著院子的小門，改造成通高的玻 璃摺疊門，春秋盡數打開，冬夏按需關閉。地面向院子延伸，形成三米見方的平臺，界面感進一步弱化。餘下的兩間臥室及餐廳、廚衛歸為內室。堂屋到內室的門洞被竭力壓縮，抬起門檻，削掉四角，窄到僅容一人 通行。堂屋的空間方向已然清晰，外與內的界面從一堵牆和一扇門，變成了有厚度的空間，“系園”格局由此 落定。院子為外，內室為內，堂屋則居內外之間。
There is no association between inside and outside before. Only a small door connected the yard and the house. The cramped space is due to not by the size but a clear internal and external interface. For the main hall, I am willing to sacrifice a south bedroom. The small door Toward the courtyard is transformed by a high glass folding door, spring and autumn open, winter and summer on demand closed. The ground extended to the yard to be a three square meters platform, the interface feel further weakened. The remaining two bedrooms, dining room, kitchen and toilet form the inner house. the door between the main hall and the inner house was trying to compress, lift the threshold, cut off the four corners, narrow to only one person. The direction of the main hall is clear, and the interface between the outside and the inside turned a wall and a door, into a space of thickness, “Relation Garden” pattern was settled. Yard for the outside, room for the inside, the main hall is between inside and outside.
▼堂屋與內屋由狹窄房門通行，the main hall and the inner house are connected by a narrow door
大與小：書房的尺度 Big and Small-Size of the study room
書房由衣櫥改造而來，位於堂屋之中，八角門旁。兩個空間位置相鄰，其尺度便互為參照：書房越大，堂屋就顯得越小；相反，書房越小，堂屋看起來就比其應有的尺度更大。1.5m×1m的空間剛好容一人坐下，因 此，書房的小，無法通過壓縮尺寸獲得，而需要讓書房裡的傢俱儘量大些。
Study room located in the main hall is transformed from the wardrobe beside the octagonal door. Two space positions adjacent to the scale will be a reference to each other: the larger the study, the main hall is even smaller. In contrary, the smaller the study, the main hall looks bigger more than its scale. 1.5m × 1m of space just accommodates one person to sit down. Therefore, small size of the study cannot get by the compressed size, but to make the furniture in it as big as possible.
▼書房由衣櫥改造，the study room is transformed from the wardrobe
北側一整面牆為書架，家裡最大且最舒服的一把圈椅也在這裡。架几案是我最喜歡的傢俱，整張書案太長， 就做成“半几案”，只放得下半張桌子的書房，也足夠小了。書房本就不大，三件大傢俱填滿整個空間，使其 尺度急劇變小，也把坐在其中的身體包裹到極致。傢俱的大，對仗書房的小；而書房的小，則是為了成全堂 屋的大。
The bookshelf stands in north side of the whole wall, the largest and most comfortable chair is also here. “Jia Ji Case” is my favorite furniture. The whole case is too long for the space, so I made it “half case”. A study room which can only accommodate a half desk is small enough. Study is not big, three pieces of large furniture have filled the entire space, so that the scale of a sharp smaller, but also to sit in the body wrapped to the extreme. The big furniture helps to make small study room; and the small study also helps to make a large main hall of the house.
▼書房大小僅容一人，the study room just accommodates one person to sit down
明與暗：行遊的序列Light and Dark-Sequence of path
堂屋朝著院子敞開，自是足夠明亮。八角門後是內室的過廳，也是全屋唯一沒有窗戶的空間。吊頂選用木色，高度被儘量壓低，為的是讓這裡更暗。暗了便顯得幽深，近處的被推遠了，小園子也就變大了。廚衛及臥室皆從過廳進入，空間以白色為主，便再次明亮起來，與過廳的“暗”相反，亦互成。
The main hall is open to the yard, and it is bright enough. Octagonal door is the chamber of the hall, but also the whole house without the windows of the space. Ceiling selected wood, the height was pushed down as much as possible so that it was darker. Dark will appear deeper; near being pushed away, the small garden will become larger. Kitchen and bedroom are all arrived from the transitional space, into the space to white-based, then bright again, on the contrary of the dark transitional space.
▼內屋，the inner house
▼臥室，bedroom
在園林中，遊覽的順序左右著觀者的感受。原本從北側樓道入戶，進門便是一條走廊，串聯著各個房間。格局盡收眼底，既無藏露曲折，亦無明暗交錯。改成南邊入園，先到院子，這符合中國人的習慣，也可以把序列拉得最長。空間要分明暗，明與暗層層排疊，使行遊變得有趣，序列隨明暗依次展開，留園的入口便是如此。正院朝南最為明亮，由平臺轉向西北，推開竹門，便到了側院。這裡本是用來堆放雜物的空地，被改造成友人聚會的茶棚。茶棚很大，硬是把側院擠得只剩下一線天井，光線暗下來，像是正院旁的另一處洞天。
In garden, the viewer’s feelings depended on the sequence of their path. Originally the entrance is in the north side of the corridor. We changed the entrance to the south side of the house, first to the yard, which in line with Chinese people’s habits; you can also pull the longest sequence. Space is divided to layers by light and dark to make travel interesting, just as the entrance space of Lingering Garden.The front yard facing south is the brightest. After turning northwest from the platform, pushing the bamboo door, then we will arrive at the back yard. This used to be debris of the open space, was transformed into the tea shed for friends get together. Tea shed is so big that push the back yard to be a row of light left, just like another cave beside the front yard.
▼側院入口，entrance of the back yard
▼側院，back yard
▼茶棚，tea shed
破局的開始 The beginning of breaking up
“家”的定式，滿足了我們的惰性，寧願被動選擇，也不肯主動營造。依賴定式固然穩妥，卻使生活陷入死局，只得眼睜睜困於其中。園林帶來破局的機會。說到底，園林是一種觀念。認知和審美以此為準則，喜歡什麼，厭惡什麼，皆受之影響。重視關係，追求意境，卻不設定式，對形式和表象極為寬容。造園子，就是 在這觀念下，造自己的生活，經營自己的世界。
The family’s formula satisfies our inertia. People would rather make passive choice, than take the initiative to create. Relying on the stereotypes of course makes life into a dead end. The garden has a chance to break. In the final analysis, the garden is a concept. Cognitive and aesthetic as a criterion, like what, hate what, are affected by the impact. We focused on the relationship and the atmosphere, but no rule of the form and appearance. Making the garden, that is, in this concept, made their own lives, operating their own world.
▼細節，detail
“系園”是一次嘗試，試著在“家”造園。希望讓“家”的定式稍有改觀，也希望刻板的生活略有情趣。這只是個開始，心有所繫，時時惦記，再小的地方，也能造得出園子。當園林浸透到生活的每個角落，定式便會土崩瓦 解，我們也將破局而出。
We try to make a “home” garden, and want to make a little change of the stereotype of “home”, but also hope that rigid life slightly fun. This is just the beginning. We believe if we always thinking, and then a small place can also make out of the garden. When the garden soaked into every corner of life, the traditional formula will fall apart, we will break out.
▼軸測圖，axon
▼剖面圖，section
項目地點：南京
建築面積：70㎡
基地面積：140㎡
建築師：吉星帥、殷奕
攝影：黃瑞
微信公眾號：系園
Location: Nanjing
Building Area: 70㎡
Site Area:140㎡
Architects: Ji Xingshuai , Yin Yi
Photographer: Huang Rui
