建筑設(shè)計(jì)：李曉東工作室

Architects: Li Xiaodong Atelier

淼廬，麗江，云南，中國(guó)

The Water House,Lijiang,Yunnan,China,2009

建筑設(shè)計(jì)：李曉東工作室

Architects: Li Xiaodong Atelier

項(xiàng)目信息/Credits and Data

主持建筑師/Principal Architect: 李曉東/LI Xiaodong

建筑面積/Floor Area: 1100m2

攝影/Photos: 李曉東/LI Xiaodong

1 草圖/Sketch

它不是在那山上，它是屬于那山。

沒有建筑，沒有設(shè)計(jì)，只有風(fēng)景，春夏秋冬，風(fēng)雪晴梅。

1 基地

淼廬是一個(gè)私人會(huì)所，坐落在云南麗江郊外的雪山腳下，房子在山坡之上，坐山擁水而建。建筑的坡屋頂與山勢(shì)相和，中有水院，外有水池環(huán)繞，3塊水面像盤子一樣將建筑托起，和四面的山景一起，從內(nèi)到外為建筑創(chuàng)造了全角度的視野。

玉龍雪山腳下是一片開闊的平野，四周有山環(huán)繞，前有玉湖水庫。斑駁的火成巖和綠樹清水相映，為這一塊地區(qū)提供了豐富的顏色和質(zhì)感。附近的村落建筑受傳統(tǒng)影響，大多數(shù)是傳統(tǒng)院落式布局，一般是封閉內(nèi)向的?；仡欀袊?guó)的傳統(tǒng)院落，無論是北方的四合院，還是南方的天井式住宅，建筑邊界幾乎皆是墻壁，景色藏于院中。這種內(nèi)斂、含蓄的建筑法則專注于營(yíng)造建筑內(nèi)部的空間關(guān)系，卻與外界的山水天際保持對(duì)立。在此地，建筑則必須回答環(huán)境提出的特殊挑戰(zhàn)：如何在平野之處安然獨(dú)立，更與周圍景色相和并納之以為己用。

2 設(shè)計(jì)想法

結(jié)亭納虛豁，崔嵬進(jìn)南山。

——翁卷，題林遂之真意亭

南宋詩人翁卷在詩中如是寫到：在空曠的山原建造亭以吸納虛空之氣，南山的崔嵬形勢(shì)盡收眼底。李曉東認(rèn)為，“納虛”是指在空曠中營(yíng)造建筑，其勢(shì)必要穩(wěn)住氣場(chǎng)，藏風(fēng)蓄水，因景就勢(shì)?！拔业搅四莾海吹娇帐幍臍鈭?chǎng)，就覺得要把氣收住。在荒野中要讓人呆得住，就要有氣場(chǎng)。要靠水面、靠庭院、靠院子把氣留住。但是尺寸太重要了，太大太小都不行，收不住氣?！蓖ㄟ^尺度、視線安排以及位置和空間變化來設(shè)計(jì)建筑，使建筑能夠在曠野中有穩(wěn)定的根基，既留住院落的安全感與神韻，又借天然之景?！坝性鹤樱o你一個(gè)安全感，但院子又不是封閉的，是可以看出去的。院子的每個(gè)角度都能看到遠(yuǎn)山和水，這是一個(gè)很流通的表達(dá)形式?！?/p>

2.1 關(guān)于布局

為了營(yíng)造這種氣場(chǎng)和流通感，建筑師著意設(shè)計(jì)了從入口到廳堂的空間序列。建筑與道路之間有一段高差，由遠(yuǎn)至近是看不到完整建筑的。從停車場(chǎng)走到大門，要穿過水池下的狹窄門洞，經(jīng)過臺(tái)階才到高臺(tái)之上，此時(shí)如鏡水面與開闊山景瞬間盡收眼底。高臺(tái)上清澈如鏡的水面沒有曲折的形狀，水面一直鋪陳到高臺(tái)的邊緣，替代了欄桿圍護(hù)的作用，使得廣場(chǎng)上沒有刻意的邊界。水池的邊緣進(jìn)行了降低處理，人在高臺(tái)上看不到落水的線腳，一線水面上即是山景。一入大門后又是影壁圍出的小空間，轉(zhuǎn)折后沿內(nèi)院的水面，經(jīng)過一段小徑進(jìn)入客廳，再次通過百葉看到水面和山景。低矮的座椅使人得以最大限度接近水面看出去，視野中平整的水面為嵯峨遠(yuǎn)山加上了恰當(dāng)?shù)淖⒛_。李曉東曾把這個(gè)建筑比作法國(guó)大餐：“大片的水面就像一個(gè)托盤把房子托起，很大一個(gè)盤子，中間是小小的一道菜”。通過水面看出去，則山景又似盤中美味。

2.2 關(guān)于建筑

建筑主體只有一層，沒有很大的高低起伏，依靠體量、屋頂?shù)霓D(zhuǎn)折關(guān)系、樹木的種植，分出了遠(yuǎn)近的層次，從廣場(chǎng)上看過去，建筑輪廓與背景山勢(shì)融為一體。建筑師謹(jǐn)慎地使用當(dāng)?shù)氐牟牧虾秃?jiǎn)單的構(gòu)造技巧，營(yíng)造了低調(diào)的建筑語言，將“人造”元素融入自然和當(dāng)?shù)匚幕?。這里的焦點(diǎn)是空間與氛圍，重點(diǎn)是當(dāng)?shù)丶y理而非裝飾性細(xì)節(jié)。簡(jiǎn)單的木材與玻璃組成的建筑使人聯(lián)想到傳統(tǒng)的形式，但也有著明顯的當(dāng)代特征。輕質(zhì)的板條墻體巧妙地遮擋了光線，竹子成為建筑中央庭院中繁茂的綠色核心。涼爽平靜的水面穿過住宅，低矮的屋檐界定并圍合出室內(nèi)與室外空間。室內(nèi)空間設(shè)計(jì)簡(jiǎn)潔，目的就是要使室內(nèi)盡可能清晰簡(jiǎn)單，讓人們能在室內(nèi)充分享受自然的美景?！八笔黔h(huán)境營(yíng)造中的主要元素，“以水烘托環(huán)境，用院落擁抱環(huán)境”，包括中庭、外庭與門外的3片水池交相呼應(yīng)，與漢字“淼”相得益彰，也營(yíng)造出心如止水的禪之意境。

在建構(gòu)語言上，建筑師一直在避免刻意使用地域符號(hào)。從玉湖完小到之前建成的福建橋上書屋，都試圖采用適當(dāng)?shù)漠?dāng)代語匯解釋經(jīng)典空間。淼廬平整的坡屋面、大面積玻璃、鋼柱，這些現(xiàn)代材料及其簡(jiǎn)潔的用法使人感到放松、自在。同時(shí)，開闊的房間、平直的水面、均勻如紗的百葉構(gòu)建了一種大氣的空間尺度。淼廬中的木柱與地面的交接處、木梁之間的交接采用了鋼節(jié)點(diǎn)，以及木百葉飾面和水院的構(gòu)造，很多細(xì)節(jié)都表達(dá)了精確的現(xiàn)代感，與巖石的院墻、石子地面的手工質(zhì)感相對(duì)比，為空間增添了適度的張力。這種現(xiàn)代技術(shù)語言放松且從容，既不是表現(xiàn)式的炫技，也不是矯情的回避，而是在謹(jǐn)慎地與當(dāng)?shù)夭牧虾褪┕ぜ夹g(shù)尋找簡(jiǎn)潔明了的結(jié)合方式，它們盡量使自身成為背景，而讓人們將注意力集中于建筑的尺度與空間。

3 外景/Exterior view

4 總平面/Site plan

5 首層平面/Floor 0 plan

會(huì)所建筑的特殊之處是其造價(jià)限制相對(duì)自由，其設(shè)計(jì)的關(guān)鍵則是在于對(duì)環(huán)境、生活的理解和對(duì)空間、尺度的把握。從這點(diǎn)可以說，建筑師在淼廬的設(shè)計(jì)中合理地找到了對(duì)話的切入點(diǎn)，以人工收自然之氣，為山水作注。找到對(duì)話的命題和精確的切入點(diǎn)，建筑便有了根基，足以一氣呵成。

2.3 關(guān)于當(dāng)代性與地域性

以灰色的瓦和木色百葉組成建筑的主色調(diào)，加上圍合出的天井、建筑的外廊，讓人想到了麗江的納西民居?！耙粋€(gè)作品建成后，希望是屬于這個(gè)地方的，是從這個(gè)地方長(zhǎng)出來的”，這是建筑師對(duì)自己作品一貫的期許。在淼廬的設(shè)計(jì)中，很多點(diǎn)上看出了和納西建筑文化的重合，然而它卻又不拘泥于一些前人總結(jié)的關(guān)于納西民居特點(diǎn)的“理論”：納西民居大多為土木結(jié)構(gòu)，而這個(gè)建筑主體為鋼結(jié)構(gòu)，在8度的抗震等級(jí)下，鋼結(jié)構(gòu)無疑是最堅(jiān)固的答案，這樣的結(jié)構(gòu)形式也相對(duì)更自由、更輕。建筑本身也對(duì)結(jié)構(gòu)形式毫不掩飾，鋼結(jié)構(gòu)的構(gòu)架、節(jié)點(diǎn)等，一些構(gòu)造細(xì)節(jié)都暴露在視野中；而納西民居中常提到的所謂“三坊一照壁，四合五天井，正房一坊較高，方向朝南”等，在這座建筑中既有相對(duì)的體現(xiàn)，又有建筑師針對(duì)功能、地理位置的特殊性所做的重新詮釋。

李曉東認(rèn)為，“理論只是幫助理解的論述，并不是實(shí)踐的樣板，也不能成為那些表面的模仿和符號(hào)的直譯借口”。所謂的當(dāng)代性應(yīng)該是一種立足當(dāng)下的思考，所以一個(gè)歷史上的建筑同樣可以擁有當(dāng)代性的解釋。而地域性其實(shí)是一種態(tài)度，是如何立足當(dāng)下處理每一次對(duì)待土地、對(duì)待設(shè)計(jì)的態(tài)度，這種地域性實(shí)踐是擁有當(dāng)代性的，擁有批判性的。

3 結(jié)語

全球化的浪潮帶來了大量信息流通的便利與資源共享的優(yōu)勢(shì)，不同族群之間的界線逐漸模糊，交融越來越大，但相對(duì)地也喚起對(duì)本土文化的反思及本土意識(shí)的重視。保羅·里柯在《普世文明與民族文化》中談到：“一個(gè)正在從欠發(fā)達(dá)狀態(tài)升起的民族所面臨的問題是：為了走上現(xiàn)代化的道路，是否必須廢除那些成為本民族生存理由的古老文化的過去？”

淼廬的設(shè)計(jì)代表了一種建筑師主動(dòng)尋找對(duì)話的對(duì)象的案例。由此引申開去，反思中國(guó)城市中的新建筑，我們看到有相當(dāng)一部分因缺乏對(duì)話的語境而陷入無病呻吟式的自我表現(xiàn)。當(dāng)下發(fā)展中的中國(guó)城市環(huán)境繁亂蕪雜，建筑實(shí)踐往往難以通過相互對(duì)話而進(jìn)行接力式的發(fā)展。有的建筑實(shí)踐者偏好于借用傳統(tǒng)符號(hào)語言，落入“新中式”、“新古典”的復(fù)古改良潮流，有的醉心于表現(xiàn)性的新技術(shù)，投身“數(shù)字建筑”，卻難以付諸實(shí)踐。這樣的結(jié)果往往是不可持續(xù)的，因?yàn)槠洳⑽磩?chuàng)造出新的語言和可以延續(xù)的對(duì)話客體。在這個(gè)理應(yīng)英雄輩出的年代，中國(guó)的城市建筑實(shí)踐還流連在語匯缺乏的狀態(tài)，相當(dāng)一部分建筑師的智力資源在悄悄地被浪費(fèi)。規(guī)避語境的荒漠，主動(dòng)尋求更豐富的對(duì)話環(huán)境，淼廬“以農(nóng)村包圍城市”的建筑實(shí)踐可能為當(dāng)代建筑師發(fā)揮自己創(chuàng)造力、觀察力和想象力提供一種新思路。

2 外景/Exterior view

The Water House is part of rather than built in the mountain.

What one sees is not the house or design,but the natural beauty in whichever season or weather.

1 Site

The Water House (Miaolu) is a private house,located at the foot of a snow-capped mountain,in the suburbs of Lijiang,Yunnan Province Situated on a hillside,it is surrounded by mountains and water Its pitched roof is perfectly integrates perfectly with the magnificent mountain and the three pools-the central water yard and the encircling water outsideseem like plates holding up the house This,together with 360 degrees of mountain scenery allows for uninterrupted panoramic views from the interior out.

At the foot of Yulong Snow Mountain,there is an open plane in front of which lies the Yuhu reservoir Dappled igneous rocks,coupled with trees and water,enrich the color and texture of this area Most houses in neighboring villages are traditional with enclosed courtyards In the traditional Chinese courtyard (either the siheyuan (courtyard) of northern China or the tianjin (patio) residence of southern China),walls mark almost all boundaries and the scenery is what the courtyard captures This architectural principle focuses on the spatial qualities of the interior of a house has an opposite attitude towards the landscape beyond The Water House had to respond to specific environmental challenges: how to occupy the open field (rather than a bounded courtyard) and integrate with-and even use-the surrounding landscape.

2 Thinking of Design

The pavilion built in the open mountain plateau is to absorb the wild flow of energy,from which sees the panoramic view of the magnificent southern mountains.

- From Weng Juan's To Lin Suizhi About Zhenyi Pavillion

Like Weng Juan,a poet in the Southern Song Dynasty,LI Xiaodong believes that "naxu" means to set up buildings in the open field,to stabilize qichang (a flow of energy),to harbor the flow of air and water,and to make good use of local landscape and condition:

"When I got there and saw the wild qichang,I felt I should gather qi A wild field should be equipped with qichang to let people enjoy staying there To keep qi relies on water and courtyard The size of the building is of prime importance,because it is impossible for either a too big or too small building to keep qi."

Architecture relies on scale,visual arrangement,place and spatial alternation to have a stable foundation in the wildness-to retain the security and charm of the courtyard and make full use of the natural landscape "People in the yard feel a sense of security,but it's not enclosed And they can see the distant mountains and water from each corner,which is a form of expression."

2.1 About the Layout

In order to create qichang and a sense of circulation,the architects designed a deliberate spatial sequence from the entrance to the hall Because of the height difference between the building and the road,the entire building cannot be seen from the outside-from nearby or at a distance From the parking lot to the gate,one has to walk through a narrow doorway built under the pool and then up stairs to the high platform.It is only from there that one has a panoramic view of the mirror-like water surface and the broad mountain landscape The still mirror-like water surface extends to the edges of the high platform and plays the roleof railings.It creates a square without deliberate borders The edge of the pool is lowered on purpose In this way one sees only the mountain scenery on the water Walking into the gate,one sees a small space enclosed by a screen wall After a turn,and a distance along a path on the water surface of the internal courtyard,there is the living room from which people can see water and mountain scenery through louvers Sitting in a low chair that is as close as possible to water,and looking into the distance,one notices that the flat water surface adds delicate ornamentation to the magnificent mountain beyond LI Xiaodong once compared this house to French cuisine: "the broad water surface is like a large plate holding up the central dish-like house." Looking across the surface of the water,the mountain landscape resembles a delicacy.

2.2 About the Architecture

The main building sits on one level,without huge ups or downs Between the shifting relationship of building volume,roof and the planted trees the layered views near and far are discerned Looking out from the square,the building profile integrates with the mountain and the setting as a whole The architects carefully used local materials and simple construction techniques to create a quiet architectural language,integrating the "artificial" elements with nature and the local culture The focus here is on space and atmosphere,and local texture rather than decorative detailing is emphasized The wood and glass house reminds people of traditional forms without excluding significant contemporary features Lightweight slatted walls subtly veil the light,and bamboo becomes the green core of the central courtyard The cool and smooth water passes through the house and low eaves define and enclose the indoor and outdoor space The interior space planning is kept simple so that people can fully enjoy the beauty of nature Just as "environment decorated with water and embraced with courtyards," the water here creates the environment The three pools in the atrium,and those outside the yard and the gate,echo the Chinese character of "Miao - constituted by three Chinese "water" characters,and create a still water Zen state.

6 水池平臺(tái)/Terrace on the pool

When it comes to tectonic language,architects have been deliberately avoiding the use of regional symbols In the Yuhu Elementary School and the Bridge School in Fujian,the architects attempted to find the appropriate contemporary language to express a classic space The Water House's simple modern materials-glass and steel columnstogether with its low-pitched roofs make a relaxing and comfortable place The spacious room,smooth water surface and sweep of gauze-like louvers suggest grand scale Numerous details express a modern attitude: steel joints are used where the wooden columns meet the ground and at the junction of wooden beams The wooden louver screens,structure of the water yard against texture of the rocky courtyard wall and pebble ground,all add tension to the space The modern technical language is relaxing and calming It is not showy or falsely reticent.Instead,it works in combination with local materials and construction techniques in a concise way The details blend with the setting and allow people to focus on the scale and space of the building rather than how it was made.

What is special about the Water House is the relative freedom the architects had in terms of the cost of the project.The designers were able to focus on issues of perception of environment,how the building would be lived and the articulation of space and scale It is in these issues that the architects found the starting points for their dialogues with nature,methods for artificially absorbing the energy flows of the place and for adding more color to the landscape These conceptual "entry points" formed the foundation for the successful and smooth completion of everything else.

7 內(nèi)院/Inner courtyard

8.9 剖面/Sections

10 內(nèi)院/Inner courtyard

2.3 Contemporary & Regionalism

The colors of the House,mainly those of its gray tiles and wooden louvers,along with its enclosed patio and the veranda,remind people of Naxi dwellings in Lijiang This is what the architects anticipated from the start: "an accomplished work is supposed to be part of and grow from the location." There are a lot of coincidences between the design of the Water House and Naxi architectural culture But these correspondences do not just stem from "theories" concerning the characteristics of Naxi dwellings Most Naxi dwellings are wood structures,whereas the main part of the Water House is built of steel There is no doubt that steel structures are the strongest for anti-seismic levels of 8 or below.This kind of structure is also relatively freer and lighter to deploy The architects made no effort to hide the steel structure and deliberately exposed some of the structural details of the steel framework and jointing But what is often referred to in Naxi dwellings as the so-called "three squares a screen wall,four yards,five patios,one higher square of the principal room,and facing south," is entirely reflected by the building and the way the architects interpreted the particularities of the Water House's functions and location.

LI Xiaodong believes,"theory is only to help understand,it is not the model of the practice,let alone a literal imitation and symbolic excuse." For him,contemporary thinking should be based in present situation and,similarly,an historical building should also be interpreted for now Regionalism is a kind of attitude,an attitude about how to deal with any piece of land or a design This kind of regionalism is what is means to be contemporary and critical.

3 Conclusion

Globalization has brought the convenience of information exchange and the advantages of resource sharing It is gradually blurring the boundaries between different ethnic groups,facilitating greater and greater blending But it has also evokes focused our attention on local culture In his Universal Civilization and National Cultures,Paul Ricoeur wrote that the question a developing undeveloped nation faces,as it embarks on the path to modernization,is whether it should abolish the past of its culture in order to survive.

The Water House represents a case of an architect actively seeks a dialogue with that past In the new architecture of Chinese cities,we see so many buildings trapped in fussy self-expression,buildings that seem to be rejecting any kind of conversation In the complicated environment of developing China,it is difficult for architectural practices to have enough presence of mind to engage in a broader discourse Some practitioners prefer to borrow traditional symbolic language and fall into the "new Chinese style" or "Neo-classicalist" camp.Others are engrossed by the performance of new technologies such as "digital architecture," promises that are difficult to put into practice In this era,Chinese architectural practice is still short of vocabularies and a considerable part of architects' intellectual resources go without expression and are being wasted soundlessly In the Water House,we see an example of the "countryside encircling cities." The project is a signal to contemporary architects for how to make good use of their creativity,powers of observation and imagination.(Translated by LI Min)

11 回廊/Corridors

評(píng)論

陳一峰：淼廬印象

第一次去淼廬是在一個(gè)煙雨朦朧的傍晚,車開過坎坷的山路忽然看到這座飄忽在山崗上的精舍,走進(jìn)并穿過水院來到廳堂,憑欄眺望山崗下的云雨,印象是一個(gè)悠然而禪意的淼廬.第二次前往則是在一個(gè)陽光清麗的早晨 ,雪山叢林下的淼廬浮在湛藍(lán)如鏡的水面上，樹的倒影、白云的倒影都靜靜地躺在腳下，印象是一個(gè)純凈而詩意的仙境。淼廬被厚重的地域人文氛圍與壯美的雪山風(fēng)景所包裹，設(shè)計(jì)以樸素鮮明的地方材料語匯，以極簡(jiǎn)精練的現(xiàn)代語法來塑造它的空間與構(gòu)筑，營(yíng)造了一個(gè)能引起人心底和諧共鳴的場(chǎng)所。相比常見的那些只能看到一堆向西方致敬的手法和理念卻絲毫不能打動(dòng)人心的前衛(wèi)建筑，李曉東設(shè)計(jì)的淼廬是那樣平易清新，這種從心底流淌出來的設(shè)計(jì)所體現(xiàn)出的氣質(zhì)和達(dá)到的境界，是炫技的先鋒建筑師們難以達(dá)到的，也是之后涌現(xiàn)在麗江的那些豪華或超豪華的五星級(jí)酒店所望塵莫及的。

Comments

CHEN Yifeng: Impressions of the Water House

It was a hazy evening when I went to the Water House for the first time Driving along the bumpy mountain road,I suddenly saw this elegant house standing on a hill From across the water yard,I came into the hall Leaning by the railing and overlooking the landscape beyond,the leisurely Zen state of the situation was palpable On a sunny morning,I returned and found myself in a pure and poetic wonderland.The Water House,which is built at the foot of the snow-capped mountain,was floating on blue mirror-like water,the reflections of trees and clouds were lying together still at the mountain's foot Imbued with a thick cultural atmosphere and wrapped by magnificent snow scenery,the harmony of this placecreated of simple local material and concise modern design-strikes a chord Compared to so much avant-garde architecture based on Western concepts,LI Xiaodong's Water House is plain and pleasant What it is able to express is far beyond the reach of so-called pioneer architects or the faux luxurious buildings of Lijiang.

12 回廊與水池/Corridor and pool

13 剖面/Section