建筑設(shè)計(jì)：孫君/中國(guó)鄉(xiāng)村規(guī)劃設(shè)計(jì)院孫君工作室

郝堂村一號(hào)院改造，信陽(yáng)，河南，中國(guó)

建筑設(shè)計(jì)：孫君/中國(guó)鄉(xiāng)村規(guī)劃設(shè)計(jì)院孫君工作室

1 草圖/Concept sketch

2 改造前外景/Exterior view before reconstruction

項(xiàng)目信息/Credits and Data

客戶/Client：郝堂村村委會(huì)/Haotang Village Committee

施工團(tuán)隊(duì)/Construction Team：本地農(nóng)民施工隊(duì)/Local Farmers Construction Team

主持人/Principal Designer：孫君/SUN Jun

建筑材料/Materias：石頭，木頭，水泥磚，土/Stone, wood, cement brick, earth

設(shè)計(jì)時(shí)間/Design Period：2011.03

工程造價(jià)/Cost：73000RMB

攝影/Photos：王佛全，孫曉陽(yáng)/WANG Foquan, SUN Xiaoyang

鄉(xiāng)村建設(shè)與城市相比，從設(shè)計(jì)的難易程度來(lái)講，似乎鄉(xiāng)村的構(gòu)成元素更為單一，功能需求也并不復(fù)雜。但從事過相關(guān)工作的人都知道，一旦深入到實(shí)施層面，總會(huì)遇到各種各樣的問題——要么房子不舒服了，鄉(xiāng)土的味道丟了；要么夠鄉(xiāng)土了，老百姓不接受，說(shuō)是“改來(lái)改去還讓我們住這破房子”。

郝堂村之前沒有過建筑改造的活動(dòng)，村里的房子要么拆了重建，要么廢棄不管，農(nóng)民們都封閉在自己對(duì)房子建設(shè)的理解中。村里人認(rèn)為老房子沒價(jià)值，是一定要被拆掉的，沒人肯為老房子花錢。經(jīng)過村干部的協(xié)商，第一戶試點(diǎn)選定，戶主是黨員張厚建，是村里的生產(chǎn)隊(duì)長(zhǎng)，還在城里做裝修，房子被命名為一號(hào)院。這個(gè)房子質(zhì)量是比較好的，格局比較典型，建造時(shí)間大約是1990年代初，算是村里最早一代的新房子。兩層平頂?shù)拇u房，外墻貼瓷磚，有一部室外樓梯，沒有室內(nèi)衛(wèi)生間。紅磚墻圍起的院子里，設(shè)有廁所和豬圈。這樣的房子，建筑形式是現(xiàn)代的，但布局延續(xù)了傳統(tǒng)的方式，說(shuō)明戶主有向現(xiàn)代生活方式過渡的需求。

戶主原想把房子拆了蓋新的，對(duì)房子不滿意的地方主要是5個(gè)方面：第一，兒子兒媳過年回家探親，不愿意住在家里，因?yàn)閹谠鹤永?，覺得不方便（但房主本人又不喜歡廁所放在屋里，覺得有味道）；第二，現(xiàn)在的樓梯在外面，上下樓很不方便；第三，家里沒個(gè)晾衣服的地方；第四，屋頂開始滲水了；最后，院子臭味重，因?yàn)橛袀€(gè)豬圈。

拆掉圍墻的“小”家

正房對(duì)面的外圍有一圈紅磚院墻。高高的院墻，是私密性的保證。在很多農(nóng)民的觀念里，沒了院墻就不像個(gè)家。改造的第一項(xiàng)——拆墻，便成了一個(gè)難題。解決問題的方法先是與戶主打心理戰(zhàn)，擺道理：第一，房子是農(nóng)村人的臉面，改好了得“炫耀”給別人看看；第二，原來(lái)開門見廁所，拆掉以后開門見山，風(fēng)水大好；第三，圍墻里面一個(gè)人字是“囚”，寓意不好。而后再講功能：無(wú)墻可通風(fēng)，豬圈的味道就沒有了；而且，沒了院墻，原本墻外的空地只要稍加整治，從心理上到視覺上都像極了自家的新院子，面積無(wú)形中被放大了一兩倍，將來(lái)還可以在家做個(gè)小生意。墻拆了之后，視野果然開闊了，戶主的心里也敞亮了，覺得拆得真好。

房屋大改造

“畫”房子最關(guān)鍵的一步——從功能到形象的全方位大改造。功能如果不改，還是不能適應(yīng)現(xiàn)代化的生活方式；形象不改，又沒有鄉(xiāng)村的味道。

第一，內(nèi)部衛(wèi)生間。請(qǐng)孩子回來(lái)住，家里不能沒有衛(wèi)生間；老倆口年紀(jì)大了，夜里行動(dòng)不方便，也得有這個(gè)衛(wèi)生間。我讓搞裝修的戶主想想他在城里賓館看過的室內(nèi)廁所，干干凈凈的，也沒什么味道，屋里不適合放衛(wèi)生間的疑慮消除了。

第二，改樓梯。將原本在室外的樓梯改到屋里面，這樣以后就不用擔(dān)心上下樓時(shí)遇到壞的天氣。這點(diǎn)主人沒有任何異議，也是他原本的希望。

第三，陽(yáng)臺(tái)不要窗。一號(hào)院原本的垂直交通（樓梯）在外面，需要一個(gè)與其相連的水平交通流線來(lái)連接2層的兩個(gè)房間，也就是現(xiàn)狀懸挑出的走廊。走廊雖然開了窗，但房間里的采光和通風(fēng)并不是很好。我把腦筋動(dòng)在了窗戶上——去掉窗子，形成部分開放式陽(yáng)臺(tái)，問題是不是就可以解決了？有了想法之后，勸說(shuō)戶主的“談判”又開始了：中國(guó)漢字里 “堂”屋的堂字，拆開最上面是太陽(yáng)，然后是房子，再下面的口字代表人，最下面是土地。也就是說(shuō)陽(yáng)光進(jìn)來(lái)的屋子才是堂，現(xiàn)在的走廊窗子遮住了陽(yáng)光，這樣好不好呢？戶主聽后覺得很是有理。

二層的兩扇窗子，一側(cè)增加了中式的木質(zhì)窗框，減弱了原本鋁合金窗戶的冰冷生硬感；另一側(cè)拆掉了窗子，又拆掉部分墻體，增加了通透的范圍，改造后的陽(yáng)臺(tái)，方便了農(nóng)村人晾衣服、曬豬肉、曬魚等等，功能上又成了一個(gè)曬臺(tái)。

第四，屋頂防水。現(xiàn)在的房子是平屋頂，既沒有坡度又沒排水管道，天長(zhǎng)日久，雨天屋頂很容易積水、滲水。做法是將原有平頂改為坡屋頂，既解決了排水問題，又提升了保溫效果，同時(shí)與鄉(xiāng)土建筑的風(fēng)格相契合，可謂是一舉三得。

第五，重修家門。中國(guó)人的傳統(tǒng)理念，大門要像家里的男人一樣，得是頂梁柱，要撐起門面。“就好像中國(guó)繁體字中老板的闆字—— 一個(gè)門、三個(gè)口，大門要罩得住三口之家，家才會(huì)旺，家里才能出大老板，財(cái)源廣進(jìn)！”重修的大門更像是北方比較有特色的門頭，樸實(shí)又大氣。

第六，立面做“丑”。一號(hào)院房子的外墻面原本貼滿了白瓷磚，如果將來(lái)要對(duì)外，要做生意，立面風(fēng)格上也得有特色、有價(jià)值，這里鄉(xiāng)土氣息就很重要。立面選材的過程又是一次有趣的談判。我想用當(dāng)?shù)氐氖^，戶主不同意，覺得石頭是常見材料里最丑的；用當(dāng)?shù)氐拿鉄u，戶主也不愿意，覺得是磚頭中最丑的。我又跟他講道理：“這個(gè)漂亮?。∵@樣的磚看著像青磚一樣的，又比青磚古樸大氣；下面配上石頭，房子看著多結(jié)實(shí)。房子就是要有結(jié)實(shí)感，你現(xiàn)在的房子看起來(lái)跟個(gè)紙片似的，這才是不漂亮。”之后畫了不同角度的立面給戶主看，看著看著，他也覺得真是漂亮了。

一號(hào)院原本是一個(gè)完整的瓷磚房，所以設(shè)計(jì)中也盡量保持了原有瓷磚房的主體概念，沒有把它改得面目全非。二層除去因開窗拆掉的部分墻體之外，余下部分墻面的白瓷磚被全部保留。我希望人們能夠既看到一種時(shí)代的象征，也看到它與鄉(xiāng)土的對(duì)話。對(duì)于一層立面的處理，實(shí)際上是將原有二層走廊下的灰空間加建出一個(gè)新的廊道。新廊道與重修的大門相結(jié)合，采用磚石做結(jié)構(gòu)，最“丑”的磚和最“丑”的石頭終于上了一號(hào)院的墻。同時(shí)用青瓦拼接的花格做立面裝飾，又結(jié)合中式木格窗，最終完成了立面的改造。改造后的立面表現(xiàn)了不同材質(zhì)的對(duì)話，形成了層次更為豐富的構(gòu)圖。

花園一樣的院子

拆掉院墻后，一號(hào)院原有的院子和院前的空地在視覺上合二為一，仿佛都成了戶主家的鄉(xiāng)野花園，只要稍加整治便又是一番別樣的風(fēng)景。

第一，院落的景觀格局。一號(hào)院原始院墻包圍的內(nèi)部地面高程略高于墻外，這樣的小高差剛好在心理上成為內(nèi)外院的分界線。界線以內(nèi)盡量保證院子平整開闊，便于日后室外經(jīng)營(yíng)活動(dòng)的開展；分界線上已經(jīng)形成的陡坎由石塊加固，其上再布置約30cm高的磚砌矮籬。矮籬裝飾有青瓦拼接的花格，這樣的處理既強(qiáng)化了原本的小高差，增加心理上對(duì)內(nèi)院范圍的限定感，又隨著矮籬走向的變化，自然界定出更改后的道路邊緣；分界線以外采用石材鋪設(shè)道路，三合土鋪設(shè)外院的地面，結(jié)合布置竹、芭蕉等植物和廢舊農(nóng)具巧妙利用后的鄉(xiāng)村小景，整個(gè)院子的格局就此確定。

原來(lái)院子里的豬圈，按一號(hào)院的未來(lái)發(fā)展設(shè)想，暫時(shí)不再需要了。不過，這其實(shí)是一個(gè)遺憾。在我的理念中，有豬的農(nóng)家才更像一個(gè)農(nóng)家。

第二，污水處理池。按照預(yù)期，房子改造完成以后必定會(huì)有很多人前來(lái)參觀，做農(nóng)家樂就是自然而然的事了。但開辦農(nóng)家樂用水量會(huì)增大，污染也會(huì)增多，不能因?yàn)橐患覓赍X破壞了村莊的環(huán)境。那么，建立一個(gè)家庭污水處理池就十分必要。戶主也贊同這樣的觀點(diǎn)，于是一個(gè)小型家庭濕地生態(tài)水池出現(xiàn)了。

水池由鄉(xiāng)村景觀設(shè)計(jì)師鮑國(guó)志完成，鄉(xiāng)村工程師李如道監(jiān)理，位于外院的一角，呈不規(guī)則狀近圓形，駁岸采用了當(dāng)?shù)亻_采的山石堆砌成仿自然式，石間偶然點(diǎn)綴一個(gè)陶罐，罐口1/4處與水面相平，視覺上又像是一個(gè)由罐口出水的水口一般。水池與正房之間保留了原有的幾棵小樹，軟化建筑外輪廓的同時(shí)，與建筑一同形成了水池身后層次分明的畫面背景。水池中搭配種植的水生植物可以有效地完成污水中有害成份的凈化過程。

第三，公廁與沼氣池。在我的建議下，院子里又建了一個(gè)男女分開的小型公廁，也是考慮到開辦農(nóng)家樂的使用需求。當(dāng)?shù)卣膭?lì)開發(fā)沼氣作能源，沼氣技術(shù)和資金由政府負(fù)擔(dān)，這樣將來(lái)兩個(gè)廁所的排泄物一起進(jìn)入沼氣池，沼氣能源所需的原料就基本滿足了，節(jié)能又環(huán)保。

結(jié)語(yǔ)

作為郝堂村的第一戶試點(diǎn)，7～8萬(wàn)元左右的改造費(fèi)用，完成了建筑結(jié)構(gòu)、功能改造和室內(nèi)裝修，還完成了庭院景觀和生態(tài)系統(tǒng)的重建。一號(hào)院還沒有完成的時(shí)候，已經(jīng)有6～7戶人家找到我要求改造。中國(guó)農(nóng)民的模仿能力強(qiáng)，創(chuàng)新能力弱。像一號(hào)院這樣的房子在中國(guó)農(nóng)村，有極好的示范價(jià)值，一個(gè)試點(diǎn)成功了，后續(xù)的建設(shè)活動(dòng)會(huì)很容易開展。從一戶試點(diǎn)入手，而不是整體規(guī)劃后全面實(shí)施，這可能是村莊建設(shè)與城市建設(shè)一個(gè)非常重要的區(qū)別。這次改造多了一層探索意義和推廣價(jià)值。

規(guī)劃與設(shè)計(jì)，在我看來(lái)，它是一種文化與理念傳播的載體，是一個(gè)設(shè)計(jì)師文化與品質(zhì)的體現(xiàn)，更體現(xiàn)一個(gè)設(shè)計(jì)師的社會(huì)責(zé)任感。未來(lái)的中國(guó)，在我看來(lái)，一定是鄉(xiāng)村文化在影響著城市文明，同時(shí)也是城市科技在助推鄉(xiāng)村的發(fā)展。兩種文化在城鄉(xiāng)交融，在這個(gè)時(shí)代合并，我們?nèi)绾蚊鎸?duì)，這需要我們用愛與責(zé)任來(lái)鑒別。

Rural construction, compared with that of the city, from the complexity of design, seems more monotonous in architectural elements and simpler in functional requirements. Concerning implementation, however, there will be all kinds of problems: The house is uncomfortable to live in, or it has lost its local flavor, or it has become too pastoral for the villagers as they have complained, "how come you still let us live in such a broken house after making so many changes on it?"

Haotangcun Village has never been renovated before. Old houses were either removed and rebuilt, or abandoned. The villagers were trapped in their own understanding of house-building. They thought old houses were of no value and should be removed. No one was willing to spend money on them. After discussion by the leaders of the village, the house of Zhang Houjian, a CCP member, was selected as the first house to be renovated. He was the leader of production team in the village and was also doing decoration works in the downtown. His house, named No. 1 Yard, was built approximately in the early 1990s, which was of high quality and in the typical layout of village house. It was one of the 1st-generation houses in the village and was a brick house with two-layered flat ceiling and tiles on the exterior walls. There was an outdoor staircase, no indoor bathroom. The yard, surrounded by redbrick walls, had a toilet and a pigsty. Its modern architectural style and traditional layout showed that the householder tended to adapt to the modern way of life.

3 改造后外景/Exterior views after reconstruction

4 改造后外景/Exterior views after reconstruction

5 村民參與施工/Local villager participate in construction

The householder intended to demolish the house and to build a new one. He was not satisfied with the house mainly for the following five reasons: First, his son and daughter-in-law did not want to live in it when they came back for a visit because the toilet was in the yard, which was inconvenient. On the other hand, the householder did not like to have the toilet inside the house because of its smell. Second, the outside stairs were very inconvenient.Third, there was no place for drying clothes. Fourth, the roof was leaking. Finally, the yard was smelly due to the pigsty.

Demolishing the walls

There was a ring of redbrick walls in the exterior around the house. High walls guaranteed privacy. In the minds of many farmers, home must have walls. To renovate, the first thing was to tear down the walls, which became a problem. The first step was to reason with the householder heart to heart: Firstly, in rural culture, the house was the villagers' "face" and renovation was to serve as a showoff. Secondly, after the demolition of the walls, the geomantic omen would become better compared with the original arrangement of the main door facing the toilet. Thirdly, the original layout was reminiscent of the Chinese character Qiu ("prisoner" in Chinese), which was a Ren ("man" in Chinese) in an enclosure. The next step was to talk about the function: There would be better ventilation and no more pigsty smell after the teardown of the walls. In addition, without the walls, the original space could still look like a new yard from the psychological or visual perspective as long as it was handled properly. The area could also seem to be enlarged by one or two times, big enough for doing small business. As a result, after the demolition of the walls, the vision was widened and the householder felt more delighted.

Big renovation

The key to "Paint" the house was a complete renovation covering both the function and the image. If the function did not change, it would not be able adapt to the modern life style; if the image did not change, there would be no country flavor.

The first step was to build an indoor toilet. The householder could not ask the child to come back home if there was no indoor toilet. Moreover, as the old couple grew older, it would be inconvenient for them to use the outdoor toilet at night. I ask the householder, who did decoration works as mentioned above, to think about the indoor toilets of hotels in the city. They were clean and with no smell. The doubt about the feasibility of an indoor toilet was thus eliminated.

The second step was to relocate the stairs. The original outdoor stairs were relocated inside the house so that the family did not have to worry about bad weather. The householder did not object to this point as it was also his original expectation.

The third step was to remove the windows of the balcony. The original outdoor vertical stairs required a horizontal connection between the two rooms on the second floor, so there was a cantilever corridor. Although the corridor had windows, the rooms were not well lit or well ventilated. The problem might be solved by removing the windows to make the balcony partly open. With this idea, I negotiated with the householder: The Chinese character Tang ("hall" in Chinese) was made up of four parts, meaning sun, house, people and earth. In other words, only houses with sunshine inside could be called Tang and those without sunshine were small rooms. As the corridor windows blot out the sun, the whole family seemed to be living in a small room. It made sense to the householder.

Wooden frames were added to one of the two windows on the 2nd floor, to weaken the coldness and stiffness of aluminum alloy. The other window, together with part of wall, was pulled down to allow more light in. After the transformation, the balcony became a good place for the family to dry clothes, to dray pork or fish, or even to have sun-bath.

The fourth step was to build a waterproof roof. The house had a flat roof, with neither slope nor drainage pipe. Rainwater could be accumulated there and seepage problem could easily occur. The roof was changed to have slopes, which did not only solve the drainage problem, but also improved the thermal insulation effect. The new roof became harmonious with the local architectural style. Therefore it had threefold advantage.

The fifth step was to rebuild the gate. In traditional Chinese concept, the gate, like the man of a family, is as important as the pillar to maintain the facade. Just like the Chinese traditional character "Ban" of the word "Lao Ban" ("boss" in Chinese), there is a door with three mouths inside. It means that only when the gate is big enough to cover a family of three, the house will be able to produce a big boss who makes big fortunes. The rebuilt gate is more of the unique Chinese Northern style, simple and splendid.

The sixth step was to make the facade "ugly". The outside walls of No. 1 Yard were originally covered with white tiles. If the house is to be open to the outside world for business, it is important to have a facade with unique local flavor. The process ofchoosing materials for the facade was an interesting negotiation. I wanted to use the local stones but the householder did not agree with me, insisting that stone was the ugliest material. I suggested burningfree bricks, but the householder still disagreed with me, thinking that they were the ugliest bricks. I reasoned with him again: "They are beautiful! They look like grey bricks, but they have more primitive simplicity. If they are juxtaposed with stones, the house will look more solid than now. Currently, your house looks like a piece of paper." After I showed the householder the drawings of the facade at different angles, he agreed that the new one was much better.

No.1 Yard was originally a ceramic tile room and the design tried to keep the same concept by not making too much change to its original image. On the second floor, except the part that was removed for windows outside, all the white tiles on the remaining part of the wall were reserved. I wanted people to find a symbol of times and its dialogue with the rural land. As for the treatment of the facade of the first floor, the gray space below the original corridor of the second floor was transformed into a new corridor. The new corridor and the rebuilt gate were combined by brick structure. The "ugliest" brick and the "ugliest" stone finally appeared together on the wall. At the same time, with the tilespliced lattice as facade decoration and the Chinese style wood-framed window, the renovation of the fa?ade was finally completed. After transformation, the fa?ade had a richer composition, displaying the dialogue between different materials.

A garden-like yard

After the teardown of the walls, No. 1 Yard seemed like the householder's country garden as its original yard and the open space in front visually combine into one. The scenery was created through a small renovation:

Firstly, the landscape pattern of the courtyard. The internal ground elevation inside the original walls was slightly higher than that of the outside. Psychologically, the discrepancy in elevation was like a dividing line in between. Within the boundary, arrangement was made to ensure the courtyard was as smooth and open as possible, and to facilitate future outdoor activities. The scarp on the dividing line was reinforced by stones and a low brick fence of thirty centimeters high was built on it. The fence was decorated with grey tile lattice, which strengthened the discrepancy and increased the psychological sense of boundary of the inner courtyard. With the changing of the direction of the fence, the edge of the path was naturally defined. Outside the boundary, the path was paved with stones and the ground of the external yard with cement. The delightful rural scenery was cleverly laid out with bamboos, banana trees, and used farm tools.

According to the plan for No.1 Yard, The pigsty was not to be kept. It was a shame to me. In my mind, a farmhouse with pigs was more like a farmhouse.

Secondly, the sewage treatment pond. We expected a lot of people to come to visit the yard after the renovation. It would lead to agritainment business and would increase water consumption and pollution. It would become a moral issue if environment was sacrificed for earning money. So it was necessary to build a sewage treatment pond, which was also agreed by the householder.Therefore, a small wetland ecological pond came into being.

The pond was completed by Bao Guozhi, a rural landscape designer, and supervised by Li Rudao, a rural Engineer. It is located in a corner of the outer yard in irregularly suborbicular shape. The revetment was built with local mining rocks, which was piled up to imitate nature. A pottery was set "accidently" among the rocks. The surface of the pond came to the height of one-fourth of the top of the pottery so that the water in the pond seemed to be poured out from the pottery. The original small trees between the pool and the house are retained. They softened the building's outline. And together with the building, they formed a layered background for the pond. The assorted aquatic plants in the pond effectively got rid of the harmful elements of polluted water.

Thirdly, a public toilet and a methanegenerating tank. Following my proposals and taking into consideration the requirement of agritainment business, small toilets with separated men's and women's rooms were built in the yard. The excrement from both the men's and women's rooms was disposed directly into the methanegenerating tank, becoming the raw materials for biogas energy generation, which was energy-saving and environmentally friendly. The local government encouraged the use of biogas as energy by bearing all the cost of the technology needed.

Conclusion

The renovation of the first pilot house for Haotangcun Village cost between seventy thousand to eighty thousand yuan, including structural and functional transformation, interior decoration, as well as the reconstruction of garden landscape and ecological system. Before No.1 Yard was completed, six or seven families had come to see me, asking for renovation of their houses.

Chinese farmers are capable of imitation but weak in innovation. No.1 Yard is a very common house in China's countryside, which means it has high demonstration value. Once a pilot project is successful, subsequent construction will be easy to carry out. To start from one pilot project rather than an overall planning followed by full implementation may be a big difference between the construction of the village and the city. Therefore, this project has great exploratory significance and is worthy of promotion.

Planning and designing, in my opinion, is a dissemination carrier of culture and ideas. It is an embodiment of the designer's perception and taste of culture, and even his sense of social responsibility. I think, in China, it is the rural culture that will exert impacts on urban civilization in the future, but at the same time the science and technology of the city will push forward the development of the rural areas. Both the urban and suburban cultures will mix with each other in this era. How do we face it? Love and responsibility will be needed in our judegment.

評(píng)論

柳亦春：這是一個(gè)村宅改造項(xiàng)目，如果不了解這個(gè)項(xiàng)目進(jìn)行的過程，究其改造結(jié)果，我們可以稱贊其處理基本空間的務(wù)實(shí)態(tài)度以及引入庭院水池的生態(tài)與景觀的雙重作用，卻很難從建筑學(xué)的角度予以進(jìn)一步的評(píng)價(jià)。但是從另一個(gè)角度，畫家孫君所做的工作，卻無(wú)疑是直面中國(guó)農(nóng)村現(xiàn)實(shí)的先鋒工作，他以個(gè)體的學(xué)識(shí)和經(jīng)驗(yàn)，為建筑學(xué)這個(gè)早有脫離大眾之嫌的“高雅”專業(yè)如何進(jìn)入中國(guó)農(nóng)村的在地實(shí)踐，提供了一次有益的溝通經(jīng)驗(yàn)。

張曉春：城里人眼中的鄉(xiāng)土景觀與鄉(xiāng)村人眼中的鄉(xiāng)土景觀，或者說(shuō)，城里人創(chuàng)造“鄉(xiāng)土景觀”的需求和鄉(xiāng)村人生活在“鄉(xiāng)土景觀”中的感受并不一致；專業(yè)人士與非專業(yè)人士對(duì)“新”與“舊”、“美”與“丑”的認(rèn)識(shí)也存有偏差；現(xiàn)代的生活方式和鄉(xiāng)村傳統(tǒng)的生產(chǎn)、生活方式之間的矛盾，不是非此即彼。要在其中尋找一個(gè)共識(shí)和重合區(qū)域，或許是鄉(xiāng)村民居建筑改造的起點(diǎn)。

6-7 草圖/Concept sketches

Comments

LIU Yichun: This is a rural housing renovation project. Judging based on the renovation result without knowing its process, one can praise the designer's practical attitude in basic space arrangement and in introducing the courtyard pond with both ecological and landscape effects, but further architectural comment would be difficult. However, from another perspective, the work by SUN Jun as an artist is undoubtedly pioneering in facing the reality in rural China. With personal knowledge and experience, he provides a beneficial communication experience in how to bring architecture, an "elegant" discipline that has long been broken away from ordinary people's life, into the down-to-earth practice in the countryside.

ZHANG Xiaochun: The rural landscape in the eyes of urban people is not the same as in the eyes of the rural people, or in another word, the demand of creating "rural landscape" by the urban people is different from the feeling of the rural people who actually live in the "rural landscape". Alike, professionals and lay persons hold different understanding of "new" vs. "old", and "beautiful" vs. "ugly". When discussing the contradiction between the modern life style and the traditional production and life style in the countryside, we shall keep in mind that the answer may not be one or the other. Instead, we should find the common and overlapped ground between them and use it as a starting point for rural housing renovation.

Renovation of No.1 Yard of Haotang Village, Xinyang, Henan, China, 2011

Architects: SUN Jun/Sun Jun Studio, China Rural Planning and Design Institute