建筑及室内设计  泛式建筑

项目地点  浙江湖州

设计时间  2018年—2024年

建筑面积  500平方米

本文文字由设计单位提供。

老郑在莫干山的上皋坞原先有个房子，为上世纪七八十年代农村房的设计模样，但是荒废多时。2018年民宿产业还是蒸蒸日上时，他便想着重建这个房子，一来可以作为民宿有点营收，二来考虑到早先的房子结构并不稳妥，同时空间上跟北面的邻居有些粘连，便想通过重建来一通解决掉。

Zheng used to have a house in Shang'ao Village of Moganshan, which had the design style of rural houses in the 70s and 80s, but it had been left vacant for a long time. In 2018, when the homestay industry was still thriving, he thought about rebuilding the house. On one hand, it could serve as a homestay and generate some revenue. On the other hand, considering that the structure of the original house was not very stable and there was some adhesion to the space with the neighbors to the north, he wanted to solve these issues through reconstruction.

通过船长和小青的引荐，我们收到了老郑的设计委托。老郑要求很很简单，在良好的设计基础上能有足够多的房间。

We received Zheng's design commission through the recommendation of Chuanzhang and Xiaoqing. Zheng's requirements are simple: to have more rooms on a good design basis.

或者我们把房间作为一个概念的引子，串联起整个设计。

'Room' can be the concept as a starting point to connect the entire design.

每个作为建筑的房间

A Room as a Building

我们将建筑看成是多个房间的集合，而把每个房间看成一个建筑。于是，对于整体建筑的采光、通风、视线的设计规划就被分解成了对每个房间的环境分析。

We view the building as a collection of rooms and consider each room as a building itself. Thus, the design planning for the overall building's daylight, ventilation, and views is broken down into environmental analysis for each room.

视线：我们仔细梳理了老郑场地周边的景观特质——山、竹、溪水、菜园、传统民房，以及2000年后的水泥自建房。我们将房间建筑同其所在的空间位置映射到所绘制的景观环形图中，从而确定了每个房间建筑的视觉朝向，以及窗与窗之间是否需要对景联动。

Views: We carefully examined the landscape characteristics surrounding Zheng's site, including mountains, bamboo, streams, vegetable gardens, traditional houses, and later self-built concrete houses. We mapped the rooms and their spatial positions to the drawn landscape ring diagram, thereby determining the visual orientation of each room building, and whether the windows need to be linked for mutual views.

采光：多面采光对于塑造一个空间的立体感及通透性尤为重要。每个房间建筑在不同的空间位置受到周边的环境及相邻的房间的日照干扰，迫使我们调整房间的形态来获得多面采光的可能性，插入的院子也为每个房间的多面采光提供了机会。

Daylight: Multi-directional lighting is particularly important for shaping the three-dimensional sense and permeability of a space. Each room, located in different spatial positions, is affected by the surrounding environment and the sunlight interference from adjacent rooms, forcing us to adjust the shape of the rooms to obtain the possibility of multi-directional lighting. The inserted courtyard also provides opportunities for multi-directional lighting for each room.

通风：多面采光及开窗带来了自然对流通风的可能性。

Ventilation: Multi-directional lighting and window openings bring the possibility of natural cross-ventilation.

综合了上述视线、采光以及通风等众多因素，最终形成了每个房间的形态。

By integrating the aforementioned factors such as views, lighting, and ventilation, the final design of each room is ultimately formed.

作为建筑的房间的社区性

The Communality of Rooms as Buildings

既然房间被看成了建筑，那么建筑的集群便形成了社区。我们希望这种社区性能在空间上有所表达。

Since rooms are considered as buildings, a cluster of buildings forms a community. We hope that this communal nature can be expressed in space.

在二层及三层的处理上，我们有意在房间之间插入了一些露天的公共空间，这些空间或是阳台，或是以露台的形式。房间的住客可以在这些空间乘凉聊天或者欣赏风景。而这种公共空间同时意想不到地给了整个建筑如同山谷般的空间结构，视线通过这些空间穿透过去，消减了建筑的实体感，让居住在北侧的村民也能从这些空隙中瞥见南侧的风景。

In the treatment of the second and third floors, we intentionally inserted some open public spaces between the rooms, which are either balconies or terraces. People can socialise or enjoy the scenery in these spaces. These public spaces unexpectedly give the entire building a valley-like spatial structure, with views penetrating through these spaces, reducing the sense of solidity of the building. This allows neighbours living on the north side to catch glimpses of the scenery on the south side through these gaps.

与北侧邻居粘连的院子

The Courtyard Adjoining the Neighbor to the North

考虑到采光的问题，我们在设计初期便确定了在建筑北侧插入一个院子，院子的介入又可以让房子跟北侧的邻居保持一段距离。

Considering the issue of daylighting, we decided to insert a courtyard on the north side of the building in the early design phase, which would also maintain a certain distance between the house and the neighbour to the north.

老郑原来的房子是一个祖上传统四合院部分空间的延伸，所以内部还保留着老四合院的木质结构，颇为有趣。但是如此一来，这房子跟边上的房子没有了清晰的结构边界。这正是老郑所不希望的。

Zheng's original house was an extension of a traditional ancestral quadrangle, and it still retained the wooden structure of the old quadrangle, which was quite interesting. However, this meant that the house no longer had a clear structural boundary with the adjacent house. This was exactly what Zheng did not want.

我们的初衷还是希望能尽量把原有的木结构保留住，既然无法将其吸收进建筑内部，那么让这些结构成为庭院的一部分也未尝不可。于是，院子的设计就是根据原先这个木结构来确定范围及走向，让这些结构残留能成为院子的一个记忆留存。

Our initial intention was to try to preserve the original wooden structure as much as possible. Since it could not be integrated into the new building, it was not a bad idea to let these structures become part of the courtyard. Therefore, the design of the courtyard was determined based on the original wooden structure to define its boundary and orientation, allowing these remnants to become a memory preserved in the courtyard.

项目从2018年开始，到了2024年才算真正的结束，整个6年的设计施工过程中这残落的木结构一直都还保留着。但是由于一直疏于对木结构的防护，最后一刻老郑以结构腐烂之名将其拆除，甚是可惜。

The project started in 2018 and only truly ended in 2024. Throughout the entire 6-year design and construction process, these decaying wooden structures were still preserved. However, due to the lack of protection for the wooden structure, Zheng had them demolished at the last moment under the pretext of structural decay, which was quite regrettable.

未被规训的空间

The Undisciplined Space

村里人们对于空间的使用充满了临时性和随机性，这时常激起我的兴趣。客厅对于他们来说无处不在，比如一张放在门口的椅子就可以变成跟邻居聊一个下午的会客室。餐厅也是，两条长凳并起来，搬到一个有窗的位置便可以形成一个吃饭的氛围。在“现代”概念来临之前，这是否就是人们日常对空间使用的常态？空间没有被指向性的设计成特定的功能，它允许任何事情发生。

The way villagers use space is full of temporariness and randomness, which often piques my interest. For them, a living room is everywhere, such as a chair placed at the door that can become a reception room for chatting with neighbours for an afternoon. The dining room is also like this: two benches lined up and moved to a window can create a dining atmosphere. Before the concept of "modernity" arrived, was this the normal way people used space daily? Space was not designed with a specific function in mind; it allowed anything to happen.

我想起了相传周文矩构画的一个个由文人、家具和自然所营造的小空间形态，所有的这些小空间串在一起，在绢帛这个无方向性的大空间中缓缓展开。

I am reminded of the small space forms created by scholars, furniture and nature in the paintings of Zhou Wenju, all of these small spaces strung together, slowly unfolding in the non-directional large space of silk.

在一楼的公共空间，我们试图营造这样的一种无指向性空间。我们以中间木柱为中心嵌入一个45度旋转的正方体，空间有了某种隐秘的均质性。空间多入口的设置进一步模糊掉一楼空间的特定性。客厅餐厅家具的摆放变得不再显而易见，似乎任何局部都可能成为餐厅或者客厅，抑或其他被激发的功能。我们的平面图没有提供任何正式家具摆放的可能性，而是希望老郑能给出他的答案。

On the ground public area we tried to create such a non-directional space. We embedded a 45-degree rotated cube with the central timber column as the center, giving the space a certain secretive homogeneity. The multi-entry setting of the space further blurs the specificity of the ground floor space. The placement of living room and dining room furniture becomes less obvious, as if any part could become a dining room or living room, or other functions that might be stimulated. Our floor plan does not provide any formal furniture arrangement possibilities but we hope that Zheng can provide his answer.

在上层的每个房间设计中，我们也希望未来空间能承担除了作为卧房以外其他使用的可能性。五边形的房间以及多面采光消除了空间的方向性，这极大地解放了房间床及家具的摆放定式，带来了特殊的居住空间体验。

In the design of each room on the upper floor, we also hope that the future space can serve purposes other than just being a bedroom. The pentagonal shape of the rooms and the multi-directional lighting eliminates the directional nature of the space. This greatly liberates the conventional placement of beds and furniture in the room, bringing a unique living space experience.

钢结构中“虚伪”的木柱和山石

"Hypocritical" Timber Columns and Mountain Stones in Steel Structure

钢结构的采用一方面为了提高乡村施工的精度，另一方面解决一些转⻆开窗导致产生很多抽柱的问题。在郑宅中，钢结构没有被显性地暴露出来，而是以一种刻意的方式隐藏起来。在一楼公共空间中，我们用一根木柱替换了其中一根钢柱，并且显露在正中间。这是室内唯二显露出来的结构构件，另外一个便是支撑楼梯的山石。

The use of steel structure is partly to improve the precision of rural construction, and on the other hand, to solve the problem of column-free caused by corner windows. In Zheng's residence, the steel structure is not exposed explicitly but is deliberately hidden. In the public space on the first floor, we replaced one of the steel columns with a timber column, which is exposed in the centre. This is one of the only two structural components exposed indoors, the other being the mountain stone supporting the staircase.

木柱的介入指向原有房子中曾经的木结构遗存。在木柱与周边结构的交接处理上，我们以一种莽撞的方式将木柱下端直接杵在水泥地面上，上端跟钢结构的交接让天花将其封存。木柱粗笨的连接方式像一个玩笑，故意将其构造性细节隐藏起来，而留下某种装饰性构件的错觉。

The introduction of timber columns points to the wooden structural remnants that once existed in the original house. In terms of the connection between the timber columns and the main steel structure, we have adopted a rather reckless approach by directly placing the lower end of the timber columns on the concrete floor, and the upper end is concealed by the ceiling in its connection with the steel beams. The clumsy connection method of the timber columns is like a joke, deliberately concealing its structural details and leaving an illusion of a decorative element.

与木柱并置的另外一个显露结构为山石。我们挪用了中国园林中的置石传统，并将其作为支撑楼梯的结构构件，置石从而便有了其具体的建筑意义。山石的介入让原本的结构变得更为具象，但又模糊不清，一种类似木柱装饰性构件的错觉显现。

Another exposed structure placed alongside the timber column is the mountain stone. We borrowed the tradition of stone placement in Chinese gardens and used it as a structural component supporting the staircase. The stone placement thus has a specific architectural meaning. The introduction of mountain stones makes the original structure more figurative, yet ambiguous, revealing an illusion similar to that of the decorative components of the timber column.

木柱与山石作为两个具象结构锚点，与抽象的一层无指向性空间并置，竟使得一层空间交织出中国园林的质感。

The timber column and mountain stone, as two firgurative structural anchors, are juxtaposed with the abstract, non-directional space of the first floor, creating a texture reminiscent of Chinese gardens in the space.

2024年初，项目完工，一些民宿品牌老板前来咨询，希望跟老郑合作来运营民宿，老郑却有了一些新的想法，父母年事已高，他打算把父母先接进来安顿，其他事情再慢慢考虑。

In the early days of 2024, with the project successfully concluded, several homestay brand proprietors approached Lao Zheng with the intention of collaborating on the operation of their lodgings. Yet, Lao Zheng harbored fresh thoughts on the matter. With his parents advancing in age, his priority was to ensure their comfort and well-being by settling them in first. Only after this would he turn his attention to deliberating on other aspects of the business.

设计图纸 ▽

完整项目信息

项目名称：莫干山郑宅

项目类型：住宅

建筑及室内设计：泛式建筑 / 王莽源，杨洋，李睿

结构设计：百谷营造 / 冯李慧

摄影师：Biosphere 建筑摄影（周子杰，俞诵陶），杨洋，王莽源

鸣谢：胡臻杭，船长，小青

设计时间：2018—2024

建筑面积：500平方米

版权声明：本文由泛式建筑授权发布。欢迎转发，禁止以有方编辑版本转载。
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