建筑技艺 / Architecture Technique · 12.2018 · No. 279 · pp. 28–43
西线工作室地缘共同体的探索与实践——访西线工作室主持建筑师魏浩波、谢劲松
Exploration and Practice Based on Topographic Community of West-Line Studio
EXPLORATION AND PRACTICE
BASED ON TOPOGRAPHIC COMMUNITY OF WEST-LINE STUDIO
西线工作室地缘共同体的探索与实践
——访西线工作室主持建筑师魏浩波、谢劲松
[ 魏浩波 ]Haobo Wei
西线工作室主持建筑师，国务院政府特殊津贴专家，教授级高级建筑师，中国建筑学会资深会员，中国建筑学会青年建筑师奖获奖者。
Principal architect of West-Line Studio; recipient of the State Council Special Government Allowance; professor-level senior architect; senior member of the Architectural Society of China; recipient of its Young Architect Award.
[ 谢劲松 ]Jingsong Xie
西线工作室主持建筑师，教授级高级建筑师。
Principal architect of West-Line Studio; professor-level senior architect.
AT： 贵州具有独特的喀斯特地貌与多民族的地域文化特征，这一特征深刻影响着传统城市风貌格局与建筑空间的塑造，也影响着人们的日常生活形态。对此，您如何看待？
AT: Guizhou’s distinctive karst terrain and multi-ethnic regional culture profoundly influence traditional settlement patterns, architectural space and everyday life. How do you understand this relationship?
西线工作室： 贵州处于世界三大连片喀斯特发育区之一的东亚片区中心，是世界喀斯特地貌发育最典型、最复杂、景观类型最多的片区，涵盖贵州全省95%的县份；其地缘秩序为“位置经营+单元同构”，基于特殊的地形结构，贵州的乡土建造形成了特定的场所建造秩序。
West-Line Studio: Guizhou lies at the centre of the East Asian region, one of the world’s three major continuous karst regions. Its karst is exceptionally characteristic, complex and varied, extending across 95 per cent of the province’s counties. Its geographical order can be described as “positioning + grouping through related units.” Particular terrain has given vernacular construction a particular order of place-making.
“单元-位置经营”：在这种建造思路的影响下，积累了沿等高线分台布局、垂直等高线跌落布局、分散布局、环山布局等多种位置经营方式。这些方式体现了传统贵州乡土建造的精华，通过对基地位置的巧妙经营，降低成本，规避风险，便于控制。
At the level of the unit, careful positioning has produced many arrangements: terraces following contours, stepped arrangements perpendicular to contours, dispersed layouts and layouts around mountains. These embody the essential knowledge of Guizhou’s vernacular building. Intelligent positioning reduces cost and risk and makes construction more manageable.
“成组-单元同构”：各家庭单元依靠单元同构的成组方式，组织成可扩展的群组。成组原理为通过对某种基本空间组合方式（如围合、串联等）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，如此重复，最终发展成有序的群组系统。由于是由家庭小单元成组而成，有助于延续重复性与差异性并存的聚落空间特质，并易于整合成规模效应，建立一种由简至繁的组群结构。
At the level of the group, households form expandable clusters through repeated unit relationships. A basic spatial operation—enclosure or serial connection, for example—is repeated to combine units into groups, and groups into larger clusters. Repetition eventually produces an ordered system. Because it starts with small household units, it preserves a settlement’s combination of repetition and difference while permitting an increasing scale: a structure growing from simple to complex.
正是这样特殊的地缘秩序，为贵州带来了高山峰峦中的苗寨、宽谷河流带的鼓楼与风雨桥、峡谷绝壁间的悬棺、高原平湖畔的石板布衣寨、茫茫林海内的瑶屋、挂在红岩湍流上的赤水吊脚楼以及黔中的天龙屯堡等丰富多样的建造生态环境。
This geographical order has produced a rich built ecology: Miao villages among high peaks; drum towers and wind-and-rain bridges in broad river valleys; hanging coffins on canyon cliffs; stone-slab Bouyei villages beside plateau lakes; Yao houses within vast forests; Chishui’s stilt houses above red rock and rushing water; and the Tianlong Tunpu settlements of central Guizhou.
贵州乡土社会的地方性一方面反映出聚落格局与发展受制于特殊地缘条件，另一方面表现为因生活空间的限制而产生较为孤立的以聚落为边界的社会圈子——封闭的地缘条件+孤立的社会圈子共同打造出“乡里乡亲”般的公共生活模型。从社会关系性质来看，乡土社会是熟人社会，人和人之间相互知根知底，在相互熟悉的基础上，乡土社会的信任关系得以形成。这种社会关系反映出乡土社会的两个典型特征：一是规矩的内生性，即乡土秩序所依赖的规则基础是在村落内自然形成的，村里人在熟悉的环境中自然而然地明白该做什么、不该做什么，也就是礼俗规则，乡村秩序主要靠礼俗规则维持；二是规矩的习得性，即村民遵守礼俗规矩，不是靠专门的机构进行灌输和施教，而是在亲密交往中通过经常性学习获得并遵守的。
Locality in Guizhou’s rural society reflects both the constraint of particular geographical conditions on settlement growth and the relatively isolated social circles formed within limited living spaces. Enclosed terrain and isolated social circles together support public life among people who know one another intimately. Trust develops from this familiarity. This society has two characteristic relationships to rules. First, rules are endogenous: the foundations of rural order emerge naturally within the village. In familiar surroundings, people learn what should and should not be done; ritual and customary rules maintain social order. Second, rules are learned through living: people acquire and follow them through repeated, close interaction, rather than through instruction by a specialised institution.
在这种规矩内生的乡土社会公共生活的影响下，出现了几种经典的次文化圈层公共生活模型：一是肇兴侗寨-世族公社模型，它是世族公社制度的物化，在各个侗寨的中央空间均建构着一种理想田园社会的模型，即信仰+世俗公共性社会的物质性结构，这一结构具体由鼓楼、风雨桥与戏台组合转译完成；二是西江千户苗寨“山岳崇拜”公共生活模型，将长卑伦理制度结构与自然山体结合，
Several characteristic public-life models have developed within these subcultures. At Zhaoxing Dong Village, the clan-commune model takes physical form. The village centre embodies an ideal rural society joining shared belief and secular public life through drum towers, wind-and-rain bridges and theatres. At Xijiang’s Miao settlements, a model of mountain veneration
形成苗族特有的“山岳崇拜”公共生活结构，达成山顶为祭神与长老居住、山腰为普通民居、山脚为谷地田耕的地缘生活模式。
links the hierarchy of elders and juniors to the mountain itself: worship and elders’ dwellings at the summit, ordinary homes on the slopes, and cultivation in the valley below.
三是屯堡-军屯式公共生活模型，“家自为塾，户自为堡，倘贼突犯，各执坚以御之”是屯堡人读书与战争相交融的生活写照，屯堡带碉楼的若干合院，即碉楼+外堡内院+外石内木组成的基本防御单元的层级成组体系，亦察亦居亦守。整个村落布局、道路设施和院落结构形成了各屯的三重封闭性防御体系，山地玄关和秘密连廊的交通梳理使得弯曲的巷道四通八达，八寨呈互相钳制的组群离散式格局。
The Tunpu settlements embody a military-agricultural model. Their tradition of households combining learning and defence is expressed in courtyard compounds with watchtowers: outer fortifications and inner courtyards, stone outside and timber within. These basic defensive units form a hierarchy of groups, supporting dwelling, observation and defence. Settlement layout, roads and courtyards together create three layers of enclosure. Mountain gateways and concealed connecting passages link winding lanes into an extensive network, while groups of villages form a dispersed arrangement of mutual defence.
AT： 您和您的工作室扎根贵州多年来，在实践中已经形成一套自身的“地缘型场地秩序控制方式”，形成了具有地域性、本土性的当代空间营造方式。您曾指出乡土空间在应对复杂多样的原生自然环境中衍生出了平行等高线控制、群组控制、散点控制、多圆控制等因地制宜的地缘性控制机制。那么在贵安新区大学城消防应急救援中心与龙门文化中心设计中，进行了怎样因山就势的空间控制？
AT: Your practice has developed a geographically grounded way of controlling site order and creating contemporary spaces with local identity. You have described vernacular mechanisms such as contour-parallel organisation, grouping, dispersed points and multiple circles. How were these adapted to the terrain at the Guizhou Fire Station and Shui Cultural Center?
西线工作室： 贵安新区大学城消防应急救援中心的项目基地是夹于南北两侧山峰之间东西高差约30m的坡地，平面呈楔形，是典型的喀斯特峰丛地貌带。设计根据此地块峰丛地形的特殊性，因山就势，以平行退台的方式组织地势，并
West-Line Studio: The fire station occupies a wedge-shaped slope between peaks to the north and south, with approximately thirty metres of level change from east to west. It is a typical clustered-peak karst setting. Parallel terraces follow the terrain
由此强化峰丛地貌基座相连的地貌特征。该建筑形态由峰丛地貌的基本形态“山峰+基座”演变而来，由此在两座山峰之间插入一面红色的标志性大斜坡，既有助于峰丛地貌基座完形，又是消防救援功能属性的象征。
and reinforce the connected base of the peaks. The building’s form develops from the landscape’s fundamental relationship of “peak + base.” A large red slope inserted between two peaks completes the base composition and symbolises the fire and rescue service.
只有少量的其他元素，如北角的训练塔和白色的荣誉大厅，从外部红色斜坡中穿插而出。大厅的设计与建筑的其他部分明显不同，其目的是创造一个精神性的场所空间，即“荣誉大厅”——高耸的空间通过白色的材质和阴翳进行场所表达。
Only a few other elements, including a training tower at the northern corner and a white Hall of Honour, project through the red slope. The hall is deliberately distinct. Its lofty space, white materials and shadows create a spiritual place associated with professional honour.
龙门文化中心是将喀斯特峰丛地貌重峦叠嶂的地貌特征，转译为三个由当地松木为模板的清水混凝土材料所建造的尖顶大厅。在水族祭祀大厅中，通过色彩浓重的光氛围与汉白玉祭坛转换为铜鼓祭坛+水书的隐秘、内向的祭祀性场景结构，不同于外向的纪念碑式的铜鼓塔；文化展示大厅薄雾溟溟，幽谷迎宾，通过高远漂浮的屋架与轻盈的漫射光氛围，使人在坡道上行走时能够联想起在贵州山野的雾气中行走的记忆，这也是地缘性空间的当代转译；游客服务大厅其实是仪式化的功能厅，通过高耸入云的楼梯间，形成登高望远的抽象转译。与地缘系统平行的外部水景广场则将水族中的“水”字与建筑融入到紧邻河流、三面环水的环境之中。
At the Shui Cultural Center, overlapping karst peaks are translated into three pointed-roof halls of exposed concrete cast against local pine formwork. In the ritual hall, intense coloured light and a white-marble altar create an inward, mysterious setting associated with the bronze drum and Shui script, unlike the outward monumentality of the drum tower. In the cultural exhibition hall, a high, seemingly floating roof and diffuse light recall the experience of walking through misty mountain valleys. The visitor service hall is also a ritualised functional space: its soaring stairwell abstracts the act of climbing to look into the distance. Outside, a waterside plaza joins the Shui association with water to a site surrounded by a river on three sides.
AT： 基于您提出的影响地缘场地原境的三个重要节点：场地秩序（位置经营+同构控制）、源于地缘的形式原型、关注“经验”的通用建造，其中，场地秩序在贵安新区大学城消防应急救援中心设计中以单元同构、公共模型体现；形式原型与情境创造在龙门文化中心体现得更多，是否可以这样理解，请您详细阐述？
AT: You identify three important concerns in a geographically grounded setting: site order, combining positioning and related units; formal prototypes rooted in geography; and widely applicable construction attentive to experience. Is site order especially evident in the fire station, and formal prototypes and atmosphere in the cultural centre?
西线工作室： 具体来说可以作如下理解。
West-Line Studio: This can be understood as follows.
（1）场地秩序
(1) Site order
龙门文化中心和贵安新区大学城消防应急救援中心尝试建立两种不同的共同体模型，分别是“专业共同体工作模型”和“族群共同体”模型。
The Shui Cultural Center and the Guizhou Fire Station attempt to establish two different community models: a professional working community and an ethnic community.
龙门文化中心尝试建立以仪式系统为核心的多层次向心结构，并贯彻“记忆”的工作方法，试图通过一组仪式系统、一组地缘系统、一组屋面表皮象征系统、
The cultural centre establishes a multilayered, inward-focused structure around ritual, using memory as a working method. Ritual, geographical setting, symbolic roof surfaces
一组体验性路径系统建构水族的“族群共同体”模型。由于水族次文化圈层的核心内容是神秘的“铜鼓+水书”的祭祀结构，故族群共同体模型的建立以“铜鼓+水书”的祭祀结构为基本场所原型，并贯彻“记忆”的工作方法得以展开。“仪式系统+地缘系统+屋面表皮象征系统+体验性路径系统共同体场所系统”的建立是由核心仪式标志物转换的仪式系统、地缘围合体转换的地缘系统、水书转换的屋面表皮象征系统、受众群体转换的体验路径系统组成，并以仪式系统为核心形成了多层次的向心结构。
and experiential routes together construct a Shui community model. At its heart lies the secretive ritual relationship between bronze drums and Shui script. The ceremonial marker becomes a ritual system; the enclosing landscape becomes a geographical system; the script becomes a symbolic roof surface; and the participating audience becomes a system of experiential routes. Ritual connects these into a layered, centripetal whole.
贵安新区大学城消防应急救援中心尝试建立以共同专业信念为核心的“荣誉+办公系统、应急救援系统、体能训练+普及教育系统”等有荣誉感与教化感的“专业共同体工作模型”。“专业共同体”是指建立在专业基础上的特定信仰和救援实务相关联的人群共同体，是依据一定的社会责任和专业规范结合而成的一个专业工作上相互关联的大集体，其核心特征一是共同信念结构的建立，二是专业系统框架的成立。建立以共同信念为核心的同心圆结构：纯白的荣誉大厅从红色功能斜面上猛然凸起，形成强烈的视觉焦点，红与白的对比也传达出具有专业荣誉感与纪念性特征的场所精神；同时应急救援系统、办公系统、体能训练系统、普及教育系统围绕白色荣誉展厅共同完成此信念同心圆结构的建立。
At the fire station, shared professional belief links the systems of honour and administration, emergency rescue, physical training and public education. A professional community is a group connected through a common vocation, specific beliefs and rescue practice, social responsibilities and professional standards. Its two essential characteristics are a shared structure of belief and an organised professional framework. The white Hall of Honour rises abruptly from the red functional slope, forming a strong visual focus. The red-and-white contrast conveys professional honour and commemoration. Emergency rescue, administration, training and public education surround the hall to complete this concentric structure of shared belief.
（2）地缘原型(2) Geographical prototypes
消防应急救援中心在设计中采用的层级同构方式源于同样位于喀斯特峰丛地貌核心区的摆陇村落成组方式的承基与发展，即从“单元”到“单元组”再到“单元群”的自相似扩展逻辑的生成。摆陇村是通过多次重复基本单元的围合性组合架构进行自相似扩展，形成一种空间上呈等级递增的控制关系——典型的层级同构模式。这种系统组织方式的优势包括：1）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；2）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；3）由于是系统成形，有益于对复杂功能进行秩序组织；4）由于采用重复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 fire station’s hierarchy of related units develops from the grouping principles of Bailong Village, also in the core of a karst clustered-peak region. Its logic expands through self-similar relationships from unit to group to cluster. In Bailong, the repeated enclosure of basic units produces a hierarchy of increasing spatial scale. This has several advantages. Relatively independent units reduce disturbance to terrain and the original natural setting. Small units organised into groups preserve a settlement’s combination of repetition and variation while allowing scale. A system makes complex functions easier to organise. Repeating a basic spatial operation also makes practical construction and the control of connections more manageable.
消防应急救援中心贯彻与发展了这一层级同构机制。首先设立六个基本的功能单元体（这些基本功能体的剖面均为单坡梯形），分别是功能体A——荣誉展厅；功能体B——办公区；功能体C——对外服务区；功能体D——应急救援区；功能体E——消防知识社会普及教育展区；功能体F——体能训练区。其次依据层级同构机制，体成组，组成群：1）A+B为功能一组，形成荣誉+办公系统；2）C+D为功能二组，形成应急救援系统（含对外服务）；3）E+F为功能三组，形成斜向逐层退台的体能训练系统+普及教育系统组合体。最后由此达成嵌套关系：三个L形功能组相互平行咬合，形成红+白的综合体形态。
The fire station develops this principle through six basic functional units, each with a single-slope trapezoidal section: A, the Hall of Honour; B, offices; C, public services; D, emergency rescue; E, public fire-safety education; and F, physical training. A and B form the honour-and-administration group. C and D form the rescue group, including public services. E and F form the stepped training-and-education group. These three L-shaped groups interlock in parallel, creating the nested red-and-white complex.
（3）通用建造(3) Construction
龙门文化中心主要使用了两种不同质感的材料。一是手工材料，以当地松木为模板的清水混凝土材料，呈现出木模板组合产生的手工感及松木纹肌理与粗犷混凝土对比状态下独特的材料张力。清水混凝土与传统松木结合的特殊材料，再现了石木结合的山地建筑的传统编制建构方式。二是工业材料，历经12道工序的工业制造流程的铜钢板，用当代工艺制造方式再现了古老的水族重器材料——青铜的质感，体现出水族源于殷商时代的青铜礼仪文化。此外，彩色透明玻璃将水书祭祀方式转化为光的仪式性场所氛围，特殊的光氛围绵延着水族悠远的历史。通过多组轻与重的对比，形成
The Shui Cultural Center principally combines two different material qualities. One is handcrafted: exposed concrete cast against local pine. The assembled formwork and timber grain create a tension with rough concrete, recalling the interweaving of stone and timber in traditional mountain construction. The second is an industrial material: bronze-finished steel plate produced through twelve manufacturing processes. Contemporary fabrication recreates the texture of bronze, the material of the Shui people’s ceremonial vessels, expressing a bronze ritual culture originating in the Shang era. Coloured transparent glass also transforms Shui-script rituals into an atmosphere of light that carries the Shui people’s long history. Contrasts of lightness and weight allow
历史与当代的互文观望。在整体材质上，通过对厚重铜板的穿孔加工，实现了材质形式上的轻重转换。又通过三都县特有的松木模板，使得清水混凝土与三都传统木构建筑形成互文，同时取得了木构建筑的轻盈特质。
past and present to respond to one another. Perforation makes heavy-looking metal sheets visually light. Local pine formwork connects contemporary concrete to Sandu’s timber buildings, while imparting some of timber construction’s lightness.
AT： 贵安新区大学城消防应急救援中心作为一个综合应急救援、办公、体能训练、荣誉与普及教育的多功能公共体，应该怎样梳理其山地路径系统以组织其空间、功能？
AT: How are mountain routes organised to connect rescue, offices, training, honour and public education?
西线工作室： 贵安新区大学城消防应急救援中心设计从场地的形态出发，建筑由不同标高的平行条带组成，平面关系十分丰富，形成了不同的功能分区：荣誉展厅、体能训练区、应急救援区以及办公区。各功能平面分布在不同的标高上，由环形的斜向路径系统将这些位于不同标高的氛围衍生体群串联起来，共同营造出特殊的山地氛围、工作氛围与教化氛围融合的空间系列。与此同时，西线工作室特别注意楼梯的设计，这些空间不仅是各楼层之间的竖向通道或连接，也表现出悬挑的力量感和静谧的光氛围。这些处理手法均以山地路径系统与营造氛围为工作原型。
West-Line Studio: The design begins with the shape of the site. Parallel bands at different levels contain the Hall of Honour, physical training, emergency rescue and offices. A looping, diagonal route links these groups and their distinct atmospheres, creating a sequence in which mountain setting, work and education interact. We pay particular attention to stairs. They are more than vertical connections: they express the force of cantilevers and the stillness of light. Mountain routes and the making of atmosphere are the prototypes for these operations.
AT： 您的地缘型乡土工作模式建立起了对传统场地控制经验与形式建构原型的分析，以及寻找传统乡土建造技术与当代技术的匹配，更好地服务于贵州当地的建造状态。基于山地建造的贵安新区大学城消防应急救援中心与基于水族文化、传统的龙门文化中心的建造，各有哪些特点呢？
AT: Your approach analyses traditional site organisation and formal prototypes, and matches vernacular techniques to contemporary technology. How do the mountain-based fire station and the culturally grounded Shui Cultural Center differ?
西线工作室： 龙门文化中心和贵安新区大学城消防应急救援中心都采用了西线工作室独特的工作方法：地缘秩序+共同体模型+场所精神+复合建造。 在龙门文化中心项目中，西线工作室通过对水族祭祀仪式的长期观察与分析发现，水族祭祀场所结构的基本空间组织方式与组织要素，即以铜鼓祭坛为核心的向心结构或轴线结构，其组成要素为地缘围合体、核心仪式标志物、传播媒介和受众群体。1）地缘围合体：祭祀场所通常位于峰丛地貌环绕的坝子或隐秘的祭祀厅中；2）核心仪式标志物——铜鼓祭坛：象征着权力和家运的铜鼓平时被谨慎地收藏在隐秘的内室，只在重要的节日以特殊仪式请出，并放置在神圣的祭坛之上，升华为精神的坐标；3）传播媒介：掌管水书祭文的祭师吟诵水书，水书是连接天、地、人的载体，也是教化的传播媒介；4）受众群体：有秩序环绕祭坛的静默人群祭拜祖先接受教化。据此分析，水族祭祀场所结构是一个具有仪式性、公共性与投射共同体宇宙模型的向心型地景结构。
West-Line Studio: Both use our method of “geographical order + community model + spirit of place + composite construction.” Through sustained observation of Shui rituals, we identified a basic spatial organisation: a centripetal or axial structure centred on the bronze-drum altar, comprising an enclosing landscape, a principal ritual marker, a medium of transmission and an audience. The enclosing landscape is often a basin surrounded by karst peaks, or a concealed ritual hall. The bronze drum symbolises authority and family fortune; normally kept in a hidden inner room, it is ceremonially brought out on important occasions and placed on the altar as a spiritual focus. A priest recites ritual texts in Shui script, a medium connecting heaven, earth and people and transmitting knowledge. An ordered, silent gathering surrounds the altar, worshipping ancestors and receiving instruction. This is a centripetal landscape structure with ritual and public dimensions that projects the community’s model of the cosmos.
贵安新区大学城消防应急救援中心实践了西线工作室惯常的“单元层级同构”山地空间组织方式。整个消防站由一系列开放和静谧的庭院组成：一部分院落宽而开阔，便于在那里锻炼与举行集体仪式；一部分庭院静谧且配有水景，创造出不同的场所感。在整个项目中，光线起着非常重要的作用，它赋予了各个空间不同的特性：水上训练区和室内运动场充满了静谧的漫射光；荣誉大厅里则通过对光线的明暗、色彩和阴影的精准控制，营造出诗性的仪式感。这些空间中都利用了天窗群与线条，来营造与不同功能空间相吻合的光环境。
The fire station instead develops our familiar organisation of mountain space through related units arranged in a hierarchy. It comprises open and quiet courtyards. Some are broad enough for exercise and collective ceremonies; others, quieter and containing water, create different senses of place. Light gives each space its character. Water-rescue training and indoor sports receive calm, diffuse light. Precise control of brightness, colour and shadow gives the Hall of Honour a poetic ceremonial atmosphere. Groups of rooflights and linear openings produce light appropriate to each function.
AT： 将漫长乡土社会中日积月累的处理复杂地形的场地控制经验与形式原型转换为当下空间的生成机制，一定是十分不易的。在今天贵阳或其他区域的规划格局下，对山地城市、建筑空间格局产生了怎样的影响？关于中国的乡土建筑，您想要推广或引起公众意识的是什么？
AT: Transforming accumulated vernacular experience into contemporary spatial mechanisms must be difficult. How do current planning patterns affect mountain cities and architecture? What should the public understand about Chinese vernacular architecture?
西线工作室： 在地缘特征上，贵州是以喀斯特地貌为主的地区，是一组地面与谷地空间的基本单元；从共同体模型的角度分析，贵州在历史上是迁徙民族的发展地，形成多彩的民族聚落；因而产生了很多独特的次文化圈公共生活模型；
West-Line Studio: Geographically, Guizhou consists largely of karst landscapes structured through ground and valley spaces. Socially, it has historically received migrating peoples and developed diverse ethnic settlements and distinctive subcultural models of public life.
以建造方式为视点，当代贵州形成了半工业化、半乡土、半传统的“三半”建造状态，这也是典型的当代中国西部基层的建造现实。
In construction, contemporary Guizhou combines the semi-industrial, semi-vernacular and semi-traditional. These “three halves” characterise much everyday construction in western China.
贵州经历了一个多世纪的近现代历程，其建筑基本确立了功能理性的原则与形式组合的技术，理性主义的普世系统方式已被广为接受。但是，由于不确定的政策导向、大干快上的建设诉求与受利益原则的左右，理性主义尚停留在对外来的吸收与消化状态，移植方式居多，扎根探索尚弱；更忽略了对贵州本土地缘模型与乡土模型遗产的深入分析与研究，对本土性特质缺乏总体性与系统性认识。同时，现代主义精准的空间控制技术、建构理性原则与场所结构的观念这些最核心的内容尚未引起重视，自然缺乏一定的研究工具，必然在多元乱象的现实中陷入茫然的形式游戏，以及对普世生活方式梦游式拷贝与不知所措的跟风状态。总之，这一个多世纪的近现代历程是贵州建筑普世社会的价值体系由渗透到主导的历程。
Over more than a century of modern development, functional rationality and formal composition have become established, and universal systems of rationalism widely accepted. Yet uncertain policies, pressure for rapid large-scale construction and competing interests have kept much of this at the level of importing and absorbing outside models. Rooted inquiry remains weak. The inheritance of local geographical and vernacular models has received too little systematic study. Modernism’s central achievements—precise spatial control, tectonic rationality and an understanding of the structure of place—have likewise received insufficient attention. Without suitable research tools, practice becomes lost in arbitrary formal games, unthinking copies of standardised lifestyles and uncertain imitation. Guizhou’s modern history has thus seen the values of a universalised society move from an external influence to a dominant position.
由于当地对传统文明的不自信，造成传统次文化圈公共生活模型与地缘秩序逐渐被忽略。我们担心在这种情况下会吞噬一个地域的整体性特质，因此希望引导公众意识到传统中国西部乡土世界是一套完整的关于复杂地貌与次文化圈公共生活模型的诗意建构系统，以人伦（社会结构）、野性（非正统）、诗学（触景生情）及山水关系为核心，以层级嵌套结构为空间生长骨架，注重身体性，成熟而性情地处理人与自然的关系。并通过对此类乡土空间本质结构的再发展，将之与通用技术体系连接，在当代性的背景下再生这一生存版本。西线工作室正试图探索出一条更为敏感的现代主义实践方式，将传统地缘秩序与共同体公共生活世界渗透其间；在传统和未来之间寻找中国西部建筑的当代范式，并保持其独特的地缘特征与文明品质。
A lack of confidence in local civilisation has encouraged neglect of traditional subcultural public-life models and geographical order. We fear the loss of a region’s overall character. We want the public to recognise western China’s vernacular world as a coherent, poetic system joining complex terrain and subcultural public life. Its core concerns are human relationships and social structure, the wild and unorthodox, the poetry of memories evoked by places, and relationships between mountains and water. Nested hierarchies support its spatial growth. It attends to bodily experience and handles the relationship between people and nature with both maturity and feeling. By developing these underlying structures and connecting them with contemporary technical systems, we seek to renew this way of living. We aim for a more sensitive modernist practice informed by geographical order and communal public life: a contemporary paradigm for western Chinese architecture between tradition and the future, retaining its distinctive geography and cultural qualities.
贵安新区大学城消防应急救援中心
Guizhou Firestation
贵安新区大学城消防应急救援中心位于贵州高原中部贵阳市贵安新区的核心区域，项目基地位于夹在两峰之间高差30m的坡地，楔形基地的南边长352m，北边长137m，东边长180m，西边长95m。基地东边花燕路宽46m，南边城市道路宽30m，东北为花燕互通立交，距离约300m。
The station occupies the core of Gui’an New Area, Guiyang, on the central Guizhou plateau. Its wedge-shaped site lies on a slope between two peaks with thirty metres of level change. The southern boundary is 352 metres long, the northern 137 metres, the eastern 180 metres and the western 95 metres. Huayan Road, 46 metres wide, runs to the east; a 30-metre-wide urban road lies to the south. Huayan Interchange is approximately 300 metres to the northeast.
空间控制：整个项目实践了空间“单元平行成组+复加”的组织方式。以单坡梯形剖面为基本单元，实现了从大功能空间到小天窗群组的全面贯彻。
Spatial organisation: the project groups units in parallel and adds them through repetition. The single-slope trapezoidal section is the basic unit, applied consistently from major functional spaces to small groups of rooflights.
业主：贵安新区管委会 建设地点：贵州省贵安新区 建筑设计：西线工作室 项目负责人：魏浩波、谢劲松 设计团队：李元平、付定平、杨小强、石洪波、欧明华 总建筑面积：13 890.25m² 建成时间：2017.06 图片版权：西线工作室
Client: Gui’an New Area Administrative Committee Location: Gui’an New Area, Guizhou Architects: West-Line Studio Project principals: Haobo Wei and Jingsong Xie Team: Yuanping Li, Dingping Fu, Xiaoqiang Yang, Hongbo Shi and Minghua Ou Gross floor area: 13,890.25 m² Completed: June 2017 Image copyright: West-Line Studio.
获奖：2018年欧洲杰出建筑师奖（LEAF Awards）—综合建筑类唯一最高奖、2018年德国国家设计奖（German Design Award）—建筑设计类大奖等。
Awards: 2018 LEAF Awards—sole top award in the mixed-use category; 2018 German Design Award—architecture category award, among others.
位置经营：因山就势的地形设计。充分利用山地特征，平行退台组织空间，借助山势达成恢宏的建筑意象，并体现出庄严的建筑气质。
Positioning: the terrain design follows the mountain. Parallel, stepped terraces make full use of the site, drawing on its topography to create a grand architectural presence and a solemn character.
共同体模型：尝试建立以共同专业信念为核心的“荣誉+办公系统、应急救援系统、体能训练+普及教育系统”等有荣誉感与教化感的“专业共同体工作模型”。
Community model: shared professional belief underpins a working community combining honour and administration, emergency rescue, physical training and public education, with a sense of honour and an educational purpose.
色彩关系：主要色彩采用红色系和白色系。白色体块传达神圣、圣洁的职业特点，红色斜面隐喻了热血的献身精神，二者与彩色玻璃天窗群洒下的光芒共同达成特殊的场所感。
Colour: the principal colours are red and white. White volumes convey the sacred character of the profession; red slopes evoke passionate dedication. Together with light falling through groups of coloured-glass rooflights, they produce a distinctive sense of place.
氛围制造：山地路径系统+楼梯间的氛围，二者共同营造出特殊的山地氛围与教化氛围。
Atmosphere: the mountain circulation system and the atmosphere of the stairwells together create a particular mountain setting with an educational character.
龙门文化中心
Shui Cultural Center
位于贵州省黔南的龙门文化中心是三都县的门户，是水族的象征。水族是中国的少数民族之一，他们中的绝大多数居住在贵州，虽然总人数不多，但水族人仍然保留着自己的语言和自己独特的象形文字系统——大约有400个字，主要在仪式和祭祀活动中使用。西线工作室特别注意研究少数民族的文化与传统，以便将一些特殊元素融入到设计之中。文化中心的标志性造型遵循了“山”这个字的形状，是对水族语言的致敬。正面图案也受到水族传统文字的影响，用到了呈三角形的“山”这个字，反复出现以形成“雨”字。
The Shui Cultural Center is a gateway to Sandu County in southern Guizhou and a symbol of the Shui people. Most members of this minority live in Guizhou. Despite their relatively small population, they retain their own language and a distinctive pictographic script, described in the source as approximately four hundred characters used mainly in ritual. The studio studied these traditions closely. The building’s mountain-like form pays tribute to the script: the triangular sign for mountain is repeated in the surface pattern to form the sign for rain.
业主：三都水族自治县人民政府三合街道办事处 建设地点：贵州省三都水族自治县 建筑设计：西线工作室 项目负责人：魏浩波、谢劲松 设计团队：骆玉丹、欧明华、李元平、杨小强、石洪波、许兰玉、Martina Muratori（马英） 总建筑面积：4 223.59m² 建成时间：2017.12 图片版权：西线工作室
Client: Sanhe Subdistrict Office, People’s Government of Sandu Shui Autonomous County Location: Sandu Shui Autonomous County, Guizhou Architects: West-Line Studio Project principals: Haobo Wei and Jingsong Xie Team: Yudan Luo, Minghua Ou, Yuanping Li, Xiaoqiang Yang, Hongbo Shi, Lanyu Xu and Martina Muratori (Ma Ying) Gross floor area: 4,223.59 m² Completed: December 2017 Image copyright: West-Line Studio.
获奖：2018年欧洲杰出建筑师奖（LEAF Awards）—公共建筑类唯一最高奖、2018年世界建筑新闻奖（WAN Awards）—立面建筑唯一大奖、2018年美国A+Award建筑设计大奖—混凝土建筑单元最佳建筑奖等。
Awards: 2018 LEAF Awards—sole top award for public buildings; 2018 WAN Awards—sole façade award; 2018 Architizer A+Awards—best building in the concrete architecture category, among others.
项目用地面积为13 800m²，紧邻河流的一个弯道，三面环水。在西侧，水景广场把参观者引到入口。“水族”中的“水”就是字面意思，这就是为什么“水”这个元素与场地和项目都密切相关。北面的水景是鱼龙塔，塔顶有铜鼓。铜鼓是水族文化中一种典型的仪式元素。青铜也用于水族祭坛上，受此启发，建筑师使用穿孔青铜钢板来造顶。这种模式使得板材更轻，与重型混凝土结构形成鲜明对比。透过阳光，一旦进入室内就会创造出一种戏剧效果。混凝土在松木模板内浇注，十分结实。松木是三都地区最常见的材料之一，并且在这里体现出当代的混凝土结构与当地的传统木结构相呼应。
The 13,800 m² site occupies a river bend and is surrounded by water on three sides. A western water plaza leads to the entrance. The literal meaning of “Shui” is water, making it central to both the community’s name and the project. To the north stands Yulong Tower, topped by a bronze drum, a characteristic ritual object. Bronze associated with the altar inspired the perforated bronze-finished steel roof panels. Perforation lightens their appearance against the heavy concrete and produces dramatic interior daylight. Concrete cast against local pine formwork connects contemporary construction to Sandu’s timber traditions.
建筑本身由三个主要区域组成，将旅游文化中心的所有功能结合起来。首先是水族祭祀大厅，其边缘锐利，色彩浓郁，空间狭窄，为参观者留下的第一印象非常强烈，就像走进了一个明显不同的空间；第二个区域仍然使用尖型的屋顶，但只用了些许引人注目的色调，作为文化展示大厅来迎接参观者；第三个区域有两层楼，在首层使用斜屋顶来创建具有所有主要功能的更为传统的空间——参观者和服务中心、自助餐厅、卫生间、商务中心和楼上的办公区域。
Three principal zones combine the centre’s functions. The ritual hall’s sharp edges, intense colours and narrow spaces create a powerful first impression of entering a different world. The exhibition hall retains the pointed roof but uses fewer emphatic colours to welcome visitors. The visitor and service zone combines sloping roofs with more familiar accommodation, including the visitor centre, cafeteria, toilets, business facilities and upper-level offices.
龙门文化中心具有标志性和独特的形态成为了一个新的当代地标，向当地文化和传统建筑致敬。通过独特的材料和形态以及一个神圣的空间来凸显水族的文化，并且将参观者带入一段神奇的旅程，让他们沉浸在水族古老的世界中。
The centre’s distinctive form establishes a contemporary landmark that honours local culture and building traditions. Material, form and sacred space foreground Shui culture and invite visitors into its historical world.