定式的困境
Predicament of stereotype
“几梯几户”、“几室几厅”、“几南几北”，这便是今天用来描述“家”的通用语汇。结构技术的进步并未带来居住空间的自由，走廊串联房间仍是最受青睐的模式。空间的布局、尺度甚至容纳的功能都有一定之规，设计逐渐转向精确的计算与排列组合。能够选择的，只剩下风格，中式、日式、地中海抑或北欧风……人们对“家”的认知形成了某种定式，戴上枷锁，再也动弹不得。
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.
▼改造后的堂屋，after transformation
我们的家是一处不足七十平方米的老房子。没有像样的客厅，倒有三间卧室，两间大的在南边，小的朝北。 除了一个院子，和一个长得像院子的露天杂物间，没有任何特殊之处。砖混结构，更是把改造的可能性降至最低。看起来，设计陷入困境，定式难以打破，生活即将一成不变。
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.
▼改造前后平面图对比，before and after
造园的可能Possibility of making garden
出于对中国传统园林的痴迷，我一直惦记着造个属于自己的园子。心系造园实在是件幸福的事，所以我们的 家叫“系园”。建不了厅堂楼阁，也无法掘池堆山，纯粹的形式操作和符号堆砌，都难逃装修的范畴。造园的可能，在于园林中处处透露出的精妙“关系”，这也正是“系园”的另一重含义所在。 “内外”、“大小”、“明 暗”、“真假”，甚至中国人笃信的“阴阳”，都是互为对仗且相反相成的“关系”。古人造园子，并不执著于“实际 的大小”，在乎的是“感知的大小”。一百四十平方米的“残粒园”，造出无穷的山水意境。纯粹的大，绝对的大，并非园林所求，小有小的好处，小中可以见大。由此入手，便有了在家造园的可能。
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
真与假：山水的意境 Truth or false- sense of landscape
想造园子的都是痴迷山水之人。不能终日生活在自然山水中，便在园子里造一套山水，不下堂筵，就能坐穷泉壑。追求的是“真”山水的意境，眼见的却是“假”山水之形。院子里的石峰是前任屋主所留。背后有一面老墙，正是《梦溪笔谈》中的“败壁”，可得画意，可悟山水。墙壁下部因潮湿多有脱落。损坏处重新粉刷，完好处予以保留，再以白漆罩面。偶然在墙上涂抹出高低两峰，以及远山一组。泥土在下雨时溅起，附着于墙角，像是山前的一片密林修竹。衬着壁前的石峰，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.
▼园中的石峰，stone peak
园中无水，可习旱园水做之法，扬州寄啸山庄算是典范。堂前平台高出院子地面，在角部空砌几皮青砖，既 是围栏也是座凳。院子以老青砖铺地，缝中生出苔藓，有了氤氲之意。想来，平台像是伸在水面之上。加之 侧院的一池青瓦，就理清了“水”的来龙去脉。
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.
▼园中青砖，the black brick
外与内：堂屋的方向 Inside and Outside-Direction of the main hall
在中国传统生活中，堂屋是极其重要的。接待宾朋、婚丧嫁娶甚至祭祀祖先，都在这个空间里。堂屋一定朝向院子，门多半是不关的，在潮湿的江南地区，甚至不设门扇。这里承载了人的家庭活动，同时也容纳了自然，处于内外之间。从这种意义上来说，现代生活中的客厅，仅仅是个内向的房间，与其它使用功能无异。
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
“系园”之中，外与内原本并无关联，院子与房子仅通过卧室的一扇小门相连。空间局促，不由面积大小而起，是因明确的内外界面所致。为了堂屋，我愿意牺牲一间南向的卧室。朝着院子的小门，改造成通高的玻 璃折叠门，春秋尽数打开，冬夏按需关闭。地面向院子延伸，形成三米见方的平台，界面感进一步弱化。余下的两间卧室及餐厅、厨卫归为内室。堂屋到内室的门洞被竭力压缩，抬起门槛，削掉四角，窄到仅容一人 通行。堂屋的空间方向已然清晰，外与内的界面从一堵墙和一扇门，变成了有厚度的空间，“系园”格局由此 落定。院子为外，内室为内，堂屋则居内外之间。
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.
▼堂屋与内屋由狭窄房门通行，the main hall and the inner house are connected by a narrow door
大与小：书房的尺度 Big and Small-Size of the study room
书房由衣橱改造而来，位于堂屋之中，八角门旁。两个空间位置相邻，其尺度便互为参照：书房越大，堂屋就显得越小；相反，书房越小，堂屋看起来就比其应有的尺度更大。1.5m×1m的空间刚好容一人坐下，因 此，书房的小，无法通过压缩尺寸获得，而需要让书房里的家具尽量大些。
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.
▼书房由衣橱改造，the study room is transformed from the wardrobe
北侧一整面墙为书架，家里最大且最舒服的一把圈椅也在这里。架几案是我最喜欢的家具，整张书案太长， 就做成“半几案”，只放得下半张桌子的书房，也足够小了。书房本就不大，三件大家具填满整个空间，使其 尺度急剧变小，也把坐在其中的身体包裹到极致。家具的大，对仗书房的小；而书房的小，则是为了成全堂 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.
▼书房大小仅容一人，the study room just accommodates one person to sit down
明与暗：行游的序列Light and Dark-Sequence of path
堂屋朝着院子敞开，自是足够明亮。八角门后是内室的过厅，也是全屋唯一没有窗户的空间。吊顶选用木色，高度被尽量压低，为的是让这里更暗。暗了便显得幽深，近处的被推远了，小园子也就变大了。厨卫及卧室皆从过厅进入，空间以白色为主，便再次明亮起来，与过厅的“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.
▼内屋，the inner house
▼卧室，bedroom
在园林中，游览的顺序左右着观者的感受。原本从北侧楼道入户，进门便是一条走廊，串联着各个房间。格局尽收眼底，既无藏露曲折，亦无明暗交错。改成南边入园，先到院子，这符合中国人的习惯，也可以把序列拉得最长。空间要分明暗，明与暗层层排叠，使行游变得有趣，序列随明暗依次展开，留园的入口便是如此。正院朝南最为明亮，由平台转向西北，推开竹门，便到了侧院。这里本是用来堆放杂物的空地，被改造成友人聚会的茶棚。茶棚很大，硬是把侧院挤得只剩下一线天井，光线暗下来，像是正院旁的另一处洞天。
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.
▼侧院入口，entrance of the back yard
▼侧院，back yard
▼茶棚，tea shed
破局的开始 The beginning of breaking up
“家”的定式，满足了我们的惰性，宁愿被动选择，也不肯主动营造。依赖定式固然稳妥，却使生活陷入死局，只得眼睁睁困于其中。园林带来破局的机会。说到底，园林是一种观念。认知和审美以此为准则，喜欢什么，厌恶什么，皆受之影响。重视关系，追求意境，却不设定式，对形式和表象极为宽容。造园子，就是 在这观念下，造自己的生活，经营自己的世界。
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.
▼细节，detail
“系园”是一次尝试，试着在“家”造园。希望让“家”的定式稍有改观，也希望刻板的生活略有情趣。这只是个开始，心有所系，时时惦记，再小的地方，也能造得出园子。当园林浸透到生活的每个角落，定式便会土崩瓦 解，我们也将破局而出。
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.
▼轴测图，axon
▼剖面图，section
项目地点：南京
建筑面积：70㎡
基地面积：140㎡
建筑师：吉星帅、殷奕
摄影：黄瑞
微信公众号：系园
Location: Nanjing
Building Area: 70㎡
Site Area:140㎡
Architects: Ji Xingshuai , Yin Yi
Photographer: Huang Rui
