What Are Architects Doing? 43 — Haobo Wei: The Vernacular Is More Than a Fossil to Admire; It Has the Right to Develop
建筑师在做什么43 | 魏浩波：乡土不只是用于瞻仰的化石，它也有发展的权利
Our interviewee this time is Haobo Wei, principal architect of West-Line Studio. Recently he has been particularly interested in design through isomorphic organisation and repeated addition of units. He considers the Chetian Village Tourist Center, currently under construction, the most interesting project he is working on. Its organisation through isomorphic units and parallel addition conveys a vernacular approach to spatial organisation in which repetition and difference coexist.
这次我们采访的是魏浩波。他是西线工作室主持建筑师。他最近特别关注同构控制和单元复加的设计方式。他认为正在施工中的车田村游客中心是他最近做的最有趣的项目。这个项目用单元同构+平行复加的组织模式，透射出重复性与差异性共存的乡土空间控制思维。
He regards the extensive use of raw local materials and the revival of traditional structural techniques in large-scale rural construction as a false vernacular practice: it damages ecosystems and conflicts with economic realities. He favours contemporary social and technical conditions as the basis for new construction and reconstruction in China’s villages. The vernacular, he believes, is more than a fossil to admire; it is a living organism with the right to develop.
他认为，在规模开展的乡村建设中，以大量使用原生地材、恢复传统结构技术为方向的乡土实践是一种伪乡土建筑，既破坏生态环境，也不符合经济规律。他倾向以当代社会技术条件为基本手段来新建与重建中国乡村。他认为乡土绝不是用于瞻仰的化石，它是鲜活的生命体，也有发展的权利。
Archiposition: What is the most interesting project you are working on?
有方：最近在做的最有趣的项目是什么？
Haobo Wei: The Chetian Village Tourist Center (Figs. 1, 2 and 3), currently under construction, is very interesting. It is situated in Chetian Village in Guizhou’s Gui’an national-level new development area. This mountain village is built of stone and arranged along slopes and a river, naturally producing layers of parallel bands facing different directions. This forms a spatial organisation of isomorphic units and parallel rows.
魏浩波：正在施工中的车田村游客中心（图1.图2.图3）是个很有意思的东西，位于贵州省贵安国家级开发新区的车田村内；这是一山地石头村落，沿山坡与河流布局，自然造就了不同朝向的层层叠叠的条带平行组织方式，由此形成单元同构+列平行的空间控制模式。
Chetian Tourist Center — exterior of the main entrance
车田游客中心主入口外景
The design introduces this organisational model as the generative mechanism for space. Each of the three parallel functional bands uses isomorphic units, with its spatial configuration developed through variations of an L-shaped plan. The first band faces the road junction: its spatial type is the courtyard, enclosed by turning walls and finished entirely in white plaster, forming an entrance transition. The second occupies the site’s longest stretch: its spatial type is the lane. Stretched and twisted to follow the terrain, it turns around a small functional group at its northern end; built entirely of stone, it creates a winding, secluded route. The third band is the largest: its spatial type is the room, housing the main visitor functions. Its internal functional divisions also run in parallel. At the southern end, near the first two bands, a deliberate abrupt L-shaped turn interlocks all three into a whole. In this way, the otherwise open-ended parallel system is brought to a conclusion through a specific site structure.
游客中心的设计尝试导入这种控制模式作为空间成型的生发机制——三列功能平行带均采用了单元同构的方式，平面均以类“L”型的衍生方式完成各自的空间构成：直面交叉口的条带一，空间类别为“院”，通过折转围合成院，通体白色粉刷，是入口过渡空间；条带二地处基地最长地段，空间类别为“巷”，在利用地形进行拉伸扭转后，在北端绕出一方小功能组，通体石头砌筑，曲折通幽；条带三体量最大，空间类别为“房”，为游客中心主功能区，内部亦遵循平行方式进行功能分区，且在靠近条带一与条带二的南侧端头刻意做了个“L”型的突然转折，由此将三个条带咬合成一整体，将平行控制模式无精确边沿界限的状态调整为以某种特定的场地结构作为收束。
This organisation through isomorphic functional units and parallel addition preserves the relative independence of each row while gaining the homogeneity and unity of a parallel arrangement. It thus conveys a vernacular approach to spatial organisation in which repetition and difference coexist.
这种功能单元同构+平行复加的组织模式，既保持了列与列之间相对的独立性，亦获取了平行组合所具有的匀质性与整体性，因而透射出重复性与差异性共存的乡土空间控制思维。
Archiposition: Alongside interesting projects, do you have to undertake less interesting ones?
有方：最近在做有趣的项目的同时，是否也出于某种原因，做另一些无趣的项目？
Haobo Wei: Building is our most ordinary and fundamental work. Whether it is interesting or frustrating, professional ethics and responsibility remain essential. Most Chinese architects working at grassroots level face a great deal of ordinary construction. Amid everyday routine, mediocrity, financial interests and pressure, maintaining professional principles, basic construction quality and tectonic awareness is itself a fundamental skill.
魏浩波：造房子就是我们最日常最基本的工作，无论有趣也好，无奈也罢，你的专业操守与工作责任心是必须在的，大量的平凡建造是当下大多数基层的中国建筑师必须直面的现实，在平常、平庸、利益、强迫的现实与诱惑下，有效地坚持专业原则，保证基本的建造质量、传导建构意识也是一种专业基本功。
Archiposition: What currently frustrates you most in your work?
有方：最近在自己的业务上你觉得最烦的事是什么？
Haobo Wei: Efficiency—more specifically, delays in delivering drawings. Quality and efficiency seem continually in conflict. European colleagues often question “Chinese efficiency,” associating it with rough construction. Yet efficiency is a basic condition of China’s current system. A team’s survival and growth, and the realisation of a good building, depend on existing institutions and social demands. Learning to handle this conflict is unavoidable.
魏浩波：效率，具体点就是拖图现象，品质与效率似乎总是这般冲突，欧洲同行也常常质疑“中国效率”，“中国效率”似乎总是与粗糙建造挂钩；但是中国的现行运作机制，效率是一个基本条件，一个团队的生存与成长，一个有质量的建筑的成立都离不开当下的制度与社会需求，效率当然是中国状态的特色了，如何处理效率与品质的冲突必然是要学着克服的问题。
Archiposition: What questions are you concentrating on?
有方：最近在集中琢磨什么问题？
Haobo Wei: For almost ten years, West-Line Studio has pursued a long-term direction: “exploring vernacular ways of working within broadly applicable construction technologies.” This consists of several enquiries. Recently we have concentrated on the “isomorphic organisation of vernacular space.” Through sustained village fieldwork and concrete practice, we have gradually identified a fundamental technique of spatial grouping in traditional settlements, which we call an “isomorphic organisational mechanism.” By repeatedly applying a basic spatial combination technique at different levels, units are combined into groups, and groups expanded into clusters. Repetition eventually develops an ordered spatial system, with the following advantages:
魏浩波：西线工作室有一个近十年的长期工作方向，即是：“摸索通用建造技术背景下的乡土工作方式”，由若干子项构成，最近集中关注其中的“乡土空间的同构控制机制”——在长期的乡村调查与具体实践中，我们逐渐发现传统聚落中存在着一种原理性的空间成组技术，即所谓的“同构控制机制”，这种机制是通过各层级对某种基本空间组合技术的重复使用，将单元体组合成单元组，再将单元组扩展为单元群，如此反复，最终发展成某种有序的群空间系统，其具有如下优势：
First, because individual units are relatively independent, damage to the terrain and original natural environment can be reduced. Second, grouping and clustering small spatial units sustains the settlement’s coexistence of repetition and difference, while allowing integration at scale. Third, forming a system helps organise complex functions. Finally, extending space through repetition of a single spatial combination technique assists practical execution and control of junctions.
首先，由于各单元体相对独立，能有效降低对地缘结构与原生自然的伤害；其次，由于是小空间单元体成组成群，有助于延续重复性与差异性并存的聚落空间质感，并易于整合成规模效应；再次，由于是系统成型，有益于对复杂功能进行秩序组织；最后，由于采用重复使用单一空间组合方式的手段拓展空间，有利于实际操作与节点控制。
The Chetian Village Tourist Center mentioned earlier is the latest practical project in this series; its particular mode is repetition of isomorphic units. The Danxia World Natural Heritage Chishui Visitor Center, completed this May, uses a focused isomorphic model (Figs. 4 and 5), while the Bailong Miao Village Folk Culture Complex in Huaxi, Guiyang, completed in 2007, uses hierarchical nesting (Fig. 6). These are all derivatives of this fundamental “isomorphic organisational mechanism.”
刚才提到的车田村游客中心就是这个系列中的最新的实践项目，其具体同构模式为：单元同构重复；今年5月刚落成的丹霞世界自然遗产赤水游客中心为聚焦同构模式（图4.图5）；2007年竣工的贵阳花溪摆陇苗寨民俗综合体则是层级嵌套模式（图6），这些均是具有这个具有原理意味的“同构控制机制”的衍生型。
Archiposition: What is the most interesting book you have read recently?
有方：最近读的最有趣的一本书是什么？
Haobo Wei: Lothar Ledderose’s Ten Thousand Things. It argues that Chinese writing, bronze casting, industrial art, architectural frameworks, printing, official forms and brushwork all involve techniques of grouping through hierarchical, repeated units.
魏浩波：德国人Lothar Ledderose所著的《万物》，书中认为中国的汉字系统、青铜铸造术、工厂艺术、建筑构架、印刷术、官府风貌、画笔方式等等都是一种单元层级复加的成组技术。
Archiposition: Where did you travel most recently?
有方：最近一次旅行去了哪里？
Haobo Wei: Across Spain, visiting fifty or sixty towns and cities. Old houses, castles and churches; Islamic, Renaissance, Baroque and modern architecture; Roman, Visigothic and Muslim civilisations alongside fashionable contemporary life—all vividly interwoven.
魏浩波：横跨西班牙全境，走了五六十多个城镇，鳞次栉比的老屋古堡教堂、零零种种的伊斯兰式、文艺复兴式、巴洛克式与现代式等等活色生香，罗马文明、西哥特文明与穆斯林文明、时尚生活交相辉映……
Since its resurgence in the 1990s, Spanish architecture has distinguished itself through clear formal systems, precise spatial control and subtle engagement with context. Its development of geometric organisation is particularly impressive. Traditional axial, centripetal and enclosing systems have expanded into layered historical relationships, as in Rafael Moneo’s Murcia City Hall; rescaled prototypes, as in Alberto Campo Baeza’s Museum of the Memory of Andalusia; oblique light, as in S-M.A.O.’s Alicante Museum of Contemporary Art; and repeated-unit systems. These connect simple geometric rules to a rich contemporary world, producing spaces that respond subtly to context while sustaining multiple meanings. Successive generations have maintained a modernist position, using specific methods at specific times and places to develop meaningful contexts. For them, heritage is the accumulation of countless present moments.
西班牙当代建筑自二十世纪九十年代全面崛起以来，以其简洁清晰的形式系统、精细的空间控制系统与精微的CONTEXT表达系统独步世界，尤其在基本几何体空间控制系统与组织方式的发展方面成就突出，逐渐从传统的轴线控制、向心控制、围合控制等几何方式发展为多层次历史关系投射控制（如拉斐尔·莫里欧设计的穆尔西亚市新政厅）、范式原型尺度重组控制（如坎波·贝萨主笔的安达卢西亚历史博物馆）、斜切光控制（如SMAO设计的阿里坎特当代艺术博物馆）、单元复加控制等多样性的空间控制机制，将单纯的几何控制法则与丰富的世界状态及当代性相贯，生产出既能精微照应文脉，更具当代性的多义的空间存在状态。西班牙几代建筑师，一脉相承，执着地恪守现代主义立场，在特殊的时间段，特殊的地点，特殊的文化圈，以特定的方法体系，精准地发展着蕴涵含特定意义的CONTEXT，在他们眼中：遗产是无数现在时的叠加。
Archiposition: Have you discovered an architect who particularly inspires you?
有方：最近有没有新发现某位很有趣的建筑师，对你特别有启发？
Haobo Wei: Mansilla and Tuñón. Their contemporary art museum in León, winner of the 2007 Mies van der Rohe Award, is an exemplary repeated-unit system. Closed polygonal units with zigzag plans connect across a low, spreading composition. Its basic unit is a zigzag polygon, its organisation a planar linkage, and its collective space a glass-like crystalline field. The interwoven geometry seems related to traditional local mosaics. Different geometries combine through neighbouring elements to create a particular site structure. Staggered rows produce branching nodes, choices and labyrinthine routes. Connections between each unit and its neighbours generate unexpected diagonal spaces. Repetition preserves unity while multiplying diversity and choice. Starting from a point, units join into a field that remains potentially unfinished and growing, entering the city without a rigidly precise edge.
魏浩波：西班牙建筑师曼西利亚与图尼翁组合，他们设计的2007年密斯·凡德罗奖获奖作品——莱昂当代艺术馆（图8），系单元复加体系的范式：整个建筑由平面呈锯齿形的封闭型多边形单元空间体重复链接而成，平面整体呈现摊开的扁平态势。其空间控制可概括为：基本单元体——锯齿状多边形空间体；组织方式——平面链接；集合空间——玻璃晶体。这种组织方式似乎源自于当地传统的马赛克镶贴方式般所编织在一起的网状几何体系，允许叠放不同的几何外形以及通过邻近的要素和联系而产生的某种特定的场地结构；由于列与列间单元体的交错方式，导致交错点形成分岔的空间节点，由此生成多项选择的与迷宫般的路径体系；每个基本单元体都与其周围的基本单元体产生关联，这种链结方式导致内部空间出现惊人的、意外的对角空间。总之，基本单元空间的不同组合使单元复加在保持整体性的同时更蕴含了多样性与选择性，这正是曼尼西亚与图尼翁重复性与差异性共存的设计思想直接作用的结果；同时这种单元复加式的组织系统是从某个具体的点出发，通过基本单元拼接，由点成面，最终达成一种未完成的持续生长状态，并以缺乏一定的边沿精度界限的方式渗透进城市环境中。
Sadly, Luis Mansilla died in Barcelona in February 2012. I was then visiting one of his nearly completed buildings near Madrid’s Royal Palace. Hearing the news left me deeply saddened: someone whose work felt close to me, though we had never met, was gone.
遗憾的是曼西利亚在2012年2月在巴塞罗那辞世，那时我正徘徊在马德里皇宫附近，一座他设计的即将竣工的房子内，听闻此事，久久郁闷，一位从未谋面的知音去了。
Archiposition: What current tendency in Chinese architecture troubles you most?
有方：最近中国建筑界哪种现象最让你反感？
Haobo Wei: Large-scale rural construction has brought a practice that proclaims authentic tectonic qualities through extensive use of raw local materials and the revival of traditional structural techniques. On a small scale, as a personal indulgence, it may be harmless, but as a trend it becomes dangerous. Today, rural building is usually carried out at scale and within a short period, unlike the lengthy construction once undertaken by a single family. Large-scale building consumes substantial materials quickly; extensive use of raw materials inevitably causes serious damage to local ecosystems. Moreover, the social and technical systems that sustained old buildings have long passed away. Forcing them back into use today makes ordinary construction disproportionately expensive and conflicts with economic realities. The potential harm of this “false” vernacular practice, working against ecology and against its own time, is troubling.
魏浩波：当下，乡村建设的成规模开展，出现了一种标榜真实建构性特征的、以大量使用原生地材为主要建造用材、以恢复传统结构技术为方向的乡土实践。这样的东西作为小范围的孤芳自赏并无大碍，但作为一种潮流就危险了。今天的乡土建造大多数情况下是成规模短时间的建造，已不同于老时候仅仅限于一家人合力的漫长建造了，规模建造耗材大、周期短，若大量地使用原生材料，势必对当地生态环境破坏严重。同时，老建筑赖以生存的社会技术体系早已是大江东去水，在当下的背景中强行去做，豆腐盘成肉价钱，也不吻合经济规律，这种“伪”乡土建筑现象的逆生态与逆时间方式潜伏的危害是令人担忧的。
Old buildings that carry a settlement’s memory and origins should of course be repaired and protected where they are not unsafe. For rebuilding and new construction, however, I favour contemporary social and technical conditions as the basis. The vernacular is not merely a fossil to admire. It is alive and has the right to develop. Our inquiry into vernacular work within contemporary building technologies responds to that reality.
对一个聚落有纪念意义与存在渊源的老房子只要不是危房，当然采用修缮与保护方式，但重建与新建，我还是倾向以当代社会技术条件为基本手段；乡土绝不只是用于瞻仰的化石，它更是鲜活的生命体，它有发展的权利；西线工作室的“通用建造技术背景下的乡土工作方式的摸索”正是针对这种现实的努力。
Archiposition: What kind of recently completed architecture do you consider worst?
有方：你觉得最近建成的最糟糕的建筑作品是哪类？
Haobo Wei: A so-called simplified European style is spreading across Guizhou. However refined or accomplished its execution, it is consuming the integrity of the region’s character.
魏浩波：贵州各地正弥漫着一种所谓的简欧风格，不论它造得怎样的精致与成熟，但毋庸置疑的是：它正吞噬着一个地域的整体性特质。
Archiposition: What social issue concerns you most?
有方：最近哪件社会议题最让你关注？
Haobo Wei: Small as Guiyang is, it contains three enormous Chinese housing developments: China Railway International Ecological City, with a total floor area of 20.38 million square metres (partly built); Huaguoyuan, Guiyang, with 18.30 million square metres (substantially complete and selling well); and Dachuan Platinum City, with a planned total floor area of 16 million square metres (partly built).
魏浩波：小小的贵阳竟然有中国三大楼盘：中铁国际生态城，总建筑面积2038万平米（部分建成）；贵阳花果园楼盘，总建筑面积1830万平米（基本竣工，销售很好）；大川·白金城，规划总建筑面积1600万平米（部分建成）。
Archiposition: Apart from design, what takes most of your energy?
有方：最近除了设计外，花最多精力的活动是什么？
Haobo Wei: In recent years, West-Line Studio has sought ways to establish practical professional cooperation and connections with European architects. In Seville in 2012, we met BAUM, whose framework for analysing and developing ideas through [TIME], [PLACE], [PROCESS] and [ACTION] caught my interest. That autumn, BAUM visited our “Up to the Mountains and Down to the Villages” projects. They were excited: “At last we have seen contemporary Chinese architecture close to its origins, something very different from the internationalised central cities.” They had not expected to encounter a similar methodological enquiry so far away in western China. Cooperation developed naturally, and in 2013 WB International Workshop was established. Obstacles involving rules, understanding, distribution, working mechanisms and operations followed; we negotiated them one by one and gradually came closer. The hardest obstacle remained the conflict between Western working habits and Chinese speed. At the end of that year in Seville, we reviewed two years of projects and discussed a methodological framework accommodating both sides’ ways of working. In an old hill town in Córdoba, we examined on site how BAUM’s care centre, nicknamed “Three Eyes” (Fig. 9), connected a pure contemporary approach with deep tradition. On the Roman bridge, discussion of the form and urban relationships of a newly completed visitor centre at the old city’s main entrance led to debate about the city’s historical origins and overall skyline. Inside Córdoba’s mosque-cathedral, we listened to Professor Cabo of the University of Seville’s architectural history department vividly explain how parts of the old mosque’s column grid had later been ingeniously transformed into the structural frameworks for two inserted churches, one large and one small …
魏浩波：这几年西线工作室一直在尝试着寻找与欧洲建筑师建立一种落地性的专业合作与联系的方式。2012年在塞维利亚碰见了BAUM工作室，BAUM以[TIME]、[PLACE]、[PROCESS]与[ACTION]四要素所建立的IDEAL分析与拓展框架，令我动了念想；同年秋，BAUM事务所造访西线工作室，历览了西线的“上山下乡”系列项目之后，他们兴奋了：“终于看到了近本原的中国当代建筑，这是远不同于国际化中心城市的东西”，没想到在远隔万里的中国西部竟有与他们类似的方法体系的摸索；2013年，合作水到渠成，WB国际工作站就此成立，规则障碍、理解障碍、分配障碍、工作机制障碍、运作障碍等等接踵而至，逐一协调，渐行渐近；但最难于克服的障碍还是西方的工作习惯与中国速度的矛盾；同年岁末于塞维利亚，对两年的工作项目作回顾性分析，讨论满足双方工作特点的方法体系的骨架；在科尔瓦多古老的山地小镇，就地问答BAUM设计的戏称“三只眼”的养老中心（图9）是如何以纯净的当代性的方式与深厚的传统产生关联；罗马桥上，以科尔瓦多古城主入口处新近落成的一游客中心的形式处理及城市关系是否妥切为引，从城市的历史渊源与宏观轮廓线的角度展开争论；在科尔瓦多大清真寺内，聆听塞维利亚大学建筑历史系教授卡柏先生，绘声绘色地分析着古清真寺的局部柱网体系是怎样在后世巧妙地转化为插入其间的大小两所教堂的结构骨架的……
Meanwhile, WB International Workshop attracted the attention of the major Spanish national newspaper El País. WB was interviewed by a senior journalist (Fig. 10), whose questions covered three areas: 1) How do you compare the design standards of Spanish architects and architects in western China? During western China’s extensive development, can Spanish participation offer substantial help to Chinese colleagues? 2) What are the greatest obstacles to cooperation between China and the West? 3) What modern direction does the joint design work take, and how does it respect local context and local life?
同时，WB国际工作站引起了西班牙重要的国家媒体EL PAIS报纸的关注，WB接受了该报资深记者的采访（图10），主要是三个方面的提问：1) 如何看待西班牙建筑师与中国西部建筑师的设计水准？在中国西部大建设进程中，西班牙建筑师的参与对中国同行能有实质性帮助吗？2) 中西合作的最大障碍是什么？3) 共同合作的设计是怎样的现代性取向，同时又是如何尊重地方文脉与地方性生活的？
This July in Guiyang, we undertook a professional analysis of why BAUM’s proposals struggled to win commissions and be realised in western China. Although such practical cooperation still faced many difficulties, it began a process through which West-Line Studio could become familiar with and understand European colleagues’ working methods. Early this year I also happened to meet a group of Nordic colleagues studying rural life, and a pair of Italian architects focusing on relationships between rural economies and settlements. I am planning to visit them.
今年七月，在贵阳，就BAUM方案在中国西部难于中标，落地性差作专业分析，虽然这种合作的落地性问题依然困难重重，但开启了西线工作室熟悉与理解欧洲同行工作方式的进程。今年年初我无意中结识了一组研究田野乡土的北欧同行，与一对注重乡村业态与聚落关系的意大利建筑师，我正计划去造访。
With such short building cycles in western China, developing our own system while engaging colleagues who think systematically about similar problems can improve methods and ideas and shorten our learning process. Comparison exposes blind spots and clarifies our direction.
在建造周期如此短暂的西部建设中，在立足自身设计体系建立的同时，寻找对我们直面的现实问题有着系统思考的欧洲同行，对西部建筑师在设计方法与观念上的提高与压缩成长期是有帮助的，有利于过滤思维的盲点，在相互参比中，明确我们自己的方向。
Archiposition: Have you felt confused or tired of architecture and considered changing careers?
有方：最近有没有对建筑设计感到困惑、厌倦，想过改行，改做哪一行？
Haobo Wei: I have never considered it. One should care about the work one does. I do not really know what else I could do. In an age of such specialised technical divisions, can architects still be as universally capable as the great figures of the Renaissance?
魏浩波：从没想过改行，做一行爱一行吧，改行了，还真不清楚能做什么。技术分工如此细化的时代，建筑师还能如文艺复兴时期那帮伟大的先贤们万能吗？
Architect’s biography
Haobo Wei
建筑师简介
魏浩波
Haobo Wei is principal architect of West-Line Studio. He holds a master’s degree in architectural design and theory from Chongqing Jianzhu University, is a professor-level senior architect, a recipient of the State Council Special Government Allowance, a senior member of the Architectural Society of China, and a recipient of its eighth Young Architect Award. His work has received international, national and provincial honours, including fifth place in the American Institute of Architects’ “AFFORDING HOUSING” international competition in 1997; selection for the Royal Institute of British Architects’ “DIVERSECITY” international touring exhibition in 2004, with the work permanently collected; two silver awards at the third Weihai International Architectural Design Competition in 2006; gold awards in both architecture and planning at the 2012 National Classic Habitat planning and design competition; and the sole gold award for rural architecture at the 2013 China Architecture Design Awards.
西线工作室主持建筑师，重庆建筑大学建筑设计及其理论专业硕士研究生，教授级高级建筑师、国务院政府特殊津贴专家、中国建筑学会资深会员、第八届中国建筑学会青年建筑师奖。其作品曾荣获国际、国内、省级各类奖项：其中1997年获美国建筑师协会“AFFORDING HOUSING”国际建筑竞赛第五名；2004年英国皇家建筑师协会“DIVERSECITY”建筑设计作品环球巡回展”最终入围名单，作品被永久收藏；2006年第三届中国威海国际建筑设计大赛双银奖；2012年获全国人居经典建筑规划设计方案竞赛建筑、规划双金奖；2013年中国建筑设计奖（乡村建筑）唯一金奖等。
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