‘Homage to Iberia,’ says Kenneth Frampton. I regard this as an affirmation of, and the highest praise for, contemporary architectural practice in Spain. Deep reflection and self-criticism encompass a distinctive understanding of place; the inheritance and further development of the mutually generative relationship between historicity and contemporaneity; continually renewed methodological systems; the growth of a tectonic tradition in which structure defines space, originating in the successive adjustments to the structural system of the Mosque–Cathedral of Córdoba; the establishment of universal architectural ideas operating across cultures; the extension of modern architecture's basic semantic elements; and deeper inquiry into material systems and tectonic relationships. These have made clear formal systems, precise spatial-control systems and subtle systems of contextual expression important features of contemporary Spanish architecture. They have enabled the path of modern architecture, interrupted by Franco's regime, to be resumed and to develop healthily in contemporary Spain. Given the widespread deterioration, alienation and decline of modernism under contemporary conditions, this is undoubtedly a miracle. Spanish modernist architecture intersects with the richness of the human world and with contemporaneity, producing spatial modes of existence with greater ambiguity and more possibilities. These are the fruits of carefully considered modernism. Contemporary architectural practice in Spain has enriched modernism's fundamental substance.

“向伊比利亚致敬”，肯尼思・弗兰姆普敦（Kenneth Frampton）如是说。我以为，这是对西班牙当代建筑实践的肯定与至高的褒奖。对地点独到理解力、历史性与当代性互生关系的承继与再发展、不停推陈出新的方法论体系、源自科尔多瓦清真寺大教堂结构体系随时间段调整所导致的结构定义空间的建构传统的成长，有着横向跨文化状态的普遍性建筑理念的建立、现代建筑基本语义要素扩展，以及材料系统与建构关系的深入等方面的深度思考与自我批判，导致清晰的形式系统、精细的空间控制系统与精微文脉表达系统成为西班牙当代建筑的重要特征，使因佛朗哥政权而中止的现代建筑之路得以在当代西班牙重拾，并健康地持续发展，这相对于现代主义在当代条件下普遍性的变质、异化与衰退现状而言无疑是一种奇迹。西班牙的现代主义建筑方式与丰富的人类世界状态及当代性纵横相贯，生产出更具多义性与更多可能性的空间存在方式，它们是现代主义深思熟虑的成果，西班牙当代性建筑实践丰富了现代主义的基本内涵。

Over these years, I have repeatedly travelled to Spain in time taken from work, crossing the country and visiting nearly fifty towns and cities simply to seek traces of contemporaneity. These were immersive, wholehearted experiences and direct exchanges. Works that deeply moved me include Aranguren & Gallegos Architects' conversion and extension of the Parador in Alcalá near Madrid; Nieto Sobejano Architects' subterranean Madinat al-Zahra Museum; the contemporary art museum in León, winner of the 2007 Mies van der Rohe Award; RCR's series of projects in Girona; the Aragón Congress Centre; the Navarra Congress Centre and Auditorium; and Rafael Moneo's National Museum of Roman Art in Mérida. I repeatedly say that successive generations of Spanish architects, adhering to a modernist position, use particular methodological systems to develop context with specific meanings precisely, within particular periods, places and cultural circles. In their eyes, heritage is an accumulation of presents.

这些年，我利用工作的闲暇时间，多次前往西班牙，横跨全境，走访了近五十个城镇，只为了寻找当代性的踪迹，那是身临其境的全身心的感受与切身的交流，阿兰古楞•加耶各事务所（Aranguren & Gallegos Architects） 设计的位于马德里近郊阿尔卡拉（Alcala） 小镇的国营古堡酒店改扩建、涅托-索贝汉诺事务所（Nieto Sobejano Architects）的沉于地下扎赫拉城博物馆（Madinat al Zahara）、2007年密斯・凡德罗获奖作品莱昂当代艺术博物馆、RCR事务所的希罗那系列、阿拉贡会议中心、纳瓦拉会议中心与会堂以及拉斐尔•莫内欧梅里达国家罗马艺术博物馆等都深刻地打动着我：我反复说：西班牙几代建筑师，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，精准地发展着蕴含特定意义的文脉，在他们眼中遗产是现在时的叠加。

To make this Spanish issue of Urban Architecture reflect more accurately the ways contemporary Spanish architectural activity thinks about historicity and contemporaneity, and to help our colleagues understand the interaction between scholarly thought and practice, I invited Miguel Gentil Fernández and Javier Caro Domínguez of the Spanish practice BAUM to co-edit the issue. Both are partners in BAUM, and both graduated with master's degrees in Sustainable Urban Design and Architecture from the University of Seville. They represent a substantial force in Spanish architectural design. Their views of contemporary Spanish architecture bring us closer to its realities, and they have guided my deeper understanding of Spain's history and contemporaneity. Following discussions with the issue's responsible editor, Zhang Jun, we jointly established its framework: scholarly essays by distinguished Spanish academics organised around four keywords—place, method, structure and time—together with a special interview, analytical essays by Chinese scholars and projects by several contemporary Spanish practices.

为了使这次《城市建筑》西班牙专辑更确切地反映西班牙当代建筑活动中应对历史性与当代性这两大基本命题的思考方式，以及让我们的同行更理解西班牙建筑实践中学术思考与实践互动的基本状态，我特别邀请西班牙Baum工作室的米格·亨迪•费尔南德斯 （Miguel Gentil Fernandez）与哈维•卡罗•多明戈斯 （Javier Caro Dominguez）两位先生共同主编本期杂志，他们都是鲍姆斯工作室的合伙人，一同于西班牙塞维利亚大学可持续城市设计和建筑学专业硕士毕业，是西班牙建筑设计的中坚力量。他们对西班牙当代建筑状况的看法，更能逼近真实：他们也是我深度理解西班牙历史与当代性引路人。经过与本期责任编辑张隽讨论，共同建立了以地点、方法、结构与时间四个关键词为主体由西班牙著名学者执笔的学术文章组+一个特别访问+中国学者的分析文章组+西班牙若干当代事务所的实践项目组为主框架的专辑骨架。

The principal essay on place is ‘Places of Identity’, by Francisco Gómez Díaz, professor of development projects at the Seville School of Architecture and a distinguished scholar of architectural heritage. Inside the Mosque–Cathedral of Córdoba, I once listened to this expert on the city vividly analyse how portions of the old mosque's column grid had been ingeniously transformed in later periods into structural frameworks for the two churches, one large and one small, inserted within it. He is a natural interpreter of place. ‘New Methods’ is written by Belinda Tato, a principal partner of Ecosistema Urbano and a former visiting professor at Harvard's Graduate School of Design. From a contemporary perspective, she describes present interactions among people, processes, tools and networks. ‘Structural Ideas in Spanish Architecture’ comes from Dr Antón García-Abril and colleagues, internationally known architect-scholars whose practice has made outstanding advances in exploring how structure defines space. BAUM's ‘Architecture Towards Eternity’ presents its choices, reflections and working methods when confronting historicity and contemporaneity. The professional conversation between BAUM and Nieto Sobejano, which can be called a classic, is inevitably one of the issue's most brilliant chapters. It reveals the important contribution made by Nieto Sobejano—representing the highest level of contemporary Spanish architecture and among Europe's most celebrated teams—to enriching modernism and ensuring its healthy growth, as well as the fluid, spontaneous tectonic relationship it is developing between a cross-cultural condition and universal ideas… In short, this issue selects historicity and contemporaneity as a cross-section through the diversity of current Spanish practice. It seeks to establish a mirror of reference through place, method, structure and time, reflecting ourselves alongside our Spanish colleagues so that we can see our present condition more clearly.

关于地点专题的主题文章是 《身份之场所》，作者系弗兰西斯科・戈梅斯 （Francisco Gomez Dias），西班牙塞维利亚建筑技术学院发展项目教授，著名的建筑历史遗产研究学者，我曾在科尔多瓦清真寺大教堂内聆听这位科尔多瓦通绘声绘色地分析古清真寺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，他是当然的地点的阐释者；《新方法》一文的写手来自 城市生态系统“事务所（Eco-Sistema Urbano） 主要合伙人贝琳达，塔多（Belinda Tato），曾担任哈佛大学研究生院客座教授，她以当代性的视野叙述着人，流程、工具与网络在当下的某种互动；《西班牙建筑中的结构理念》则出自具有国际知名度的学者型建筑师安东・加西亚•阿布里博士等人之手，他的工作室在探讨结构定义空间方面成果突出：Baum工作室则以一篇《面向永恒的建筑》再现着他们直面历史性与当代性选择、思索与工作方式：而鲍姆斯工作室与涅托-索贝汉诺事务所的那段堪称经典的专业对话必然是本期专辑中极富华彩的篇章了，从中可以看出作为当代西班牙建筑最高水准的代表与当代欧洲最负盛名团队——涅托-索贝汉诺事务所对现代主义建筑的丰富与健康成长所作出重要贡献，与其正努力建立着的横向跨文化状态与普遍性理念流畅而自发的建构关系⋯⋯总之，本期专辑试图从当代西班牙建筑实践的多元性中，选择历史性与当代性的切面，建立一个参照镜，从地点、方法、结构及时间等方面，与西班牙同行镜像，在镜中看清当下的我们。

The theme of this Urbanism and Architecture academic salon is ‘West-Line Studio in Conversation with BAUM: Regional Identity and Contemporaneity in Architectural Practice’. We have also invited several influential architects in Guizhou, as well as people who care about architecture, to join the discussion and explore further how regional identity can continue to develop amid large-scale urban construction. Spain, where BAUM is based, and Guiyang, where we are, happen to lie at the same latitude. Harbin, where Urbanism and Architecture is based, and Guiyang occupy the northeastern and southwestern corners of China respectively. This spatial relationship also corresponds to the theme of our salon: regional identity and contemporaneity. When I saw these two terms, I thought of two others: the vernacular and the international. We have been keeping our heads down, busy working on our own patch of land, and then, suddenly looking up, we discover that the ‘international’ has unquestionably arrived around us. So let us consider what ‘international’ means from another perspective. The international is, in fact, made up of countless local worlds; globalisation is the condition reached through the interplay and exchanges among them. The relationship between the two is therefore very subtle, and it corresponds precisely to the relationship between these two practices. West-Line Studio may appear to be vernacular and BAUM international, but viewed the other way round, is Spain, where BAUM works, not also a local home ground? West-Line Studio, too, frequently goes abroad to study buildings and participate in international competitions.

本次《城市建筑》学术沙龙主题是“西线工作室对话Baum工作室—关于建筑实践的地域性与当代性”，并特别邀请了贵州一些有一定影响力的建筑师，以及建筑的关爱者们共同参与讨论，进一步探讨在大规模城市建设背景下，如何能够使地域性得到连续的发展。其实Baum工作室所在的西班牙与我们所在的贵阳恰好处在同一纬度上，而《城市建筑》所在哈尔滨与贵阳正好是中国的东北角与西南角，这样的空间状态也对应了本次沙龙的主题——地域性与当代性。当我看到这两个词的时候，我想到了另外两个词——乡土与国际。我们一直低头忙着在自己的这块土地上做事情，突然抬头一看，发现“国际”已经毋庸置疑地来到我们身边。那么换一个角度来思考什么是国际—其实国际是由无数个乡土组成的，正是在无数乡土间博弈和交流中达到的全球化状态。因此这两者之间关系非常微妙，正好与这两个事务所的关系对应起来，看起来似乎西线工作室是乡土的，而Baum工作室是国际，但反过来看，Baum工作室所在的西班牙不也是一片乡土基地么！西线工作室也经常走出去，去考察、去参与国际竞赛。

To return to the question I raised earlier: once we have immersed ourselves in our work for a certain time and to a certain degree, we begin to think about what that work means. As architects, is our task simply to put up buildings? Not necessarily. Once a building is completed, it becomes part of a city, and many people will work and live in it. At that point, its social dimension becomes apparent. In these circumstances, architects across China face a shared transition from acting spontaneously to acting consciously, thinking more actively and purposefully about the relationship between their own local world and the international world composed of many such localities. From this perspective, I think this conversation has particular significance. It is only a beginning. I believe there are more practices and working groups in Guizhou doing this kind of work. They will carry it forward, and our local worlds will have more international exchanges. Let us now begin the conversation between the two studios.

再回到我刚才讲问题，当我们埋头自己的工作到一定的时间和程度之后，就会思考这些工作的意义，作为一个建筑师，只是盖房子那么简单么？不一定。因为建筑建成之后，它就是一个城市部分，会有很多人在里面工作、生活，那么这个时候它的社会性就呈现在我们面前。在这种情况下，整个中国的建筑师都会面临一种群体的状态，就是从自发开始转向自觉，更主动和积极地思考自己所在的乡土与由许多的乡土组成的国际之间的关系。所以我觉得从这个角度来讲，本次的对话是别有深意的。这只是一个开始，我相信在贵州会有更多的事务所、工作小组在做这样的事情，他们会把这件事情继续下去，乡土将有更多国际交流。下面就开始进行两个工作室的对话。

I will introduce West-Line Studio's ‘Up to the Mountains and Down to the Villages’ series of projects. Through this series, we have developed our own distinctive approach to contemporary regional architectural practice. In western China today, construction is largely carried out under semi-industrial conditions. We use standardised systems and strictly controlled, generally applicable construction methods, yet most of the people carrying out the work are migrant workers who have had no training. Bodily involvement is therefore very important: embodied work and standardised technology come together. This is a very particular condition of production in the history of contemporary architectural development in China. West-Line Studio's working method has, in fact, taken shape as a response to this unusual condition of production while retaining regional characteristics. The ‘Up to the Mountains and Down to the Villages’ series began in 2004. To date, more than a dozen projects have been completed, all with an exploratory aspect. We began with small buildings; the scale of our projects has now become considerably larger. In Guizhou, 50 per cent of the territory is rural and 70 per cent is mountainous. Faced with these conditions of architectural practice, we must investigate an appropriate working method, one grounded in China's circumstances rather than directly transplanting an approach from elsewhere. The series emerged on this basis. Our work has three stages: first, identifying the fundamental structures of the vernacular; second, translating those structural relationships into ways of controlling space; and third, implementing them through contemporary, generally applicable construction systems. One basic theoretical reference for this practice is a reconsideration of the ‘differential mode of association’ proposed by Fei Xiaotong in From the Soil. In China, vernacular building is essentially based on the repetition of units: a small house, for example, is repeated and accumulated to form a settlement. This is the basic way in which vernacular buildings in western China form groups. Later, through work on several projects, West-Line Studio found that this system of repeated units is organised and grows in scale through hierarchical nesting. The underlying conditions of contemporary Guizhou involve geography, the vernacular and a society shaped by generally applicable systems. Our ‘up to the mountains’ means translating the geographical constraints and seasonal environmental factors of mountainous terrain into ways of controlling space; ‘down to the villages’ means exploring generally applicable construction informed by vernacular systems. The first stage of our work is to uncover the essential structures of the vernacular; figure–ground analysis plays a part in this discovery. The second is to establish a mechanism for controlling space. West-Line's emphasis is not simply on combining forms and materials, but on a fundamental way of organising and controlling space. Finally, the formal and spatial relationships analysed from tradition must be broken down into standardised controls for construction, based on technical specifications. The purpose is therefore not merely to complete one or two examples, but to establish a paradigm.

我要介绍的是西线工作室的“上山下乡“系列（作品），这个系列在当代地域建筑实践中形成我们自己独特的方式。在当代中国西部，多是半工业状态下的建造实践，我们采用了规范化的体制和严格控制的通用建造方式，但是参加建造的人大多是没有经过培训的农民工，所以其实身体性是很重要的，身体性和技术的通用化结合在了一起—这是中国当代建筑发展进程史上非常特殊的生产状态。西线工作室工作方式实际上是为了应对这样特殊的生产状态并且保持地域性特质而形成的一种工作方法。“上山下乡“系列是从2004年开始的，到目前为止该系列已完成了十几个项目，且都具有一定的探讨性。最初是做一些小建筑，现在项目规模已经比较大了。在贵州，50%地区是乡土地区，70%的地区为山地，所以面对这种建筑实践条件，我们必须研究其相应工作方法，而且这种工作方法应该是在中国状态下方法，不是外来方式的直接移植。“上山下乡”这个系列就是在此基础上形成的，工作包括三个环节：首先是发现乡土的基本结构：然后把这种结构关系转换成空间控制方式：最后用当代的通用建造体系来实施。“上山下乡“实践有一个基本的理论参考，就是对费孝通先生在《乡土中国》中提出的差序格局的再思考。在中国，乡土建造基本上是单元重复模式，比如盖一个小房子，这个小房子重复累积形成一个聚落—这就是西部乡土成群的基本方式。后来西线工作室在几个项目具体实践中，发现这个单元重复体系是依靠层级嵌套体系组织与形成规模。当代贵州的基本状态是地理的、乡土的、普适社会的，我们的“上山”是将山地的地理限制性要素与物候因子转化为空间控制方式：而“下乡”则是摸索乡土系统投射下的通用化建造。我们的工作环节首先是乡土本质结构发现，实际上乡土本质结构的发现工作有一部分是图底分析法在起作用；其次是空间控制机制的建立，西线工作的重点不在于形式和材料的单纯组合，而在于一个基本空间的控制方式：最后要把这种从传统当中分析得出的形态与空间关系分解为控制施工的、以技术规范为依据标准性控制，所以它的作用不是只完成一两个案例，而是希望起到一个范式的作用。

In the Dream Stream hillside housing development in Huaxi, Guiyang, we should first set aside the buildings' forms and understand their mountainous geographical setting. We translated the experience of walking on a mountain—stopping and starting, ascending and descending—into branching, three-dimensional circulation routes. We then inserted courtyards at the branching points, creating a spatial organisation that drifts up and down. Branching is an effective way of increasing the complexity of routes, and we placed particular importance on movement within the housing. Here, the experience of space is clearly a dynamic process unfolding over time, departing from the usual static model of spatial experience. The branching route system brings recurring spatial encounters and more possibilities for everyday life. It draws me into imagining what stories might unfold along these branching, intersecting paths. In short, the project's system of spatial control is established through the branching routes and a second subdivision by lightwells.

对于贵阳花溪梦溪笔谈山地居住群，先不要关注建筑的形式，而是了解其所处的地理环境是山地，我们将在山上走走停停、上上下下行走方式转换成分岔的立体循环路径，然后在分叉点插入院落，形成了上下飘零的空间组织形式。分岔是增加路径复杂性的有效方法，把住宅中运动放在了很重要位置来考虑。在这里，对空间的体验显然是一个按时间展开的动态过程，摆脱了常见静态的空间体验模式。分岔的路径系统带来了重复出现的空间经历，也带来更多的生活可能，吸引我去猜想在这些分岔、交错的路径上将发生什么样的生活故事。总之，这个项目的控制方式就是由分岔的路径和天井的二次划分建立起来的。

Another mechanism for controlling space is dense organisation. This is a rather distinctive method of analysis. When we designed the series of entrance landscape buildings for Chishui Bamboo Forest National Park, we first analysed the relationships within the bamboo forest. The habitual response to a bamboo-forest project would be to use bamboo as a structural material to make bamboo buildings, or to imitate the form of bamboo. We abandoned these approaches and observed the space of the bamboo grove as a whole. We eventually identified a characteristic: self-similar, repeated configurations that change with sunlight, rain and dew. This spatial prototype was particularly interesting and subsequently became the most important spatial prototype and mode of organisation in West-Line Studio's series of regional architectural projects. Water beneath the building plays a role: in the early morning, on rainy days and under similar conditions, the temperature below the water's surface can be higher than at the surface, producing evaporative mist. We also considered the different kinds of light in the bamboo forest. By coordinating coloured transparent glass elements in the roof and vertical planes, we modulated natural light into three familiar atmospheres of light and colour: white, suggesting misty rain and a vast, hazy expanse; yellow, suggesting myriad radiant beams and magnificent brilliance; and red, suggesting the glow of the setting sun. Within the dense organisation of the bamboo grove, a group of lighting conditions thus acts as a mechanism for activating the atmosphere. This building is about ‘concealment’: repeated configurations allow it to hide within its surroundings, while light and bridges bring it into focus.

另外一个（空间控制机制）是密集组织结构。这种分析方法是比较特别的。我们在做赤水竹海国家森林公园入口景观建筑系列的时候，首先分析了竹海的关系。一般做竹海项目会惯性地想到用竹材料来做结构形成竹建筑，或者是模仿竹的形式。我们放弃了这种方式，把竹群空间作为一个整体来观察，最后发现已有一个特点，就是自相似重复同构，它会随着阳光、雨露的变化而产生变化。实际上这样的空间原型是非常有意思的，后来这也成为西线工作室地域建筑实践系列中最重要的空间原型和空间组织方式。建筑下部水的作用是，水下温度在清晨、雨天等情况下会高于水面温度形成蒸腾雾。同时考虑竹海的各种光线，将置于天面与垂直面的彩色透明玻璃体有效搭配，把自然光调配成竹海中常见的三种不同的光色氛围：白色—烟雨蒙蒙，一片苍茫：黄色——万道光芒，壮丽辉煌；红色—斜阳西下的光辉。所以在整个竹林的密集组织关系上，实际是有一组光作为环境氛围的策动机制来处理的。这栋建筑就是一个“藏”，用重复同构方式藏到环境里，同时用光和桥来点醒它。

The memorial at the Huangpidong Red Army battle site stands on a hilltop. We controlled the pores in the concrete. Knowing that construction would not achieve a high degree of precision, we concentrated on controlling its roughness accurately and increasing the density of its pores.

黄陂洞红军战斗遗址纪念场是建在山顶上的。我们对混凝土的孔隙进行了控制，因为考虑到施工肯定达不到较高的精度，所以这个项目就是注重准确控制它的粗糙程度，增加它的孔群密度。

The density of pores is important to this building. At a high density, they create clusters of shadows in sunlight and hold clusters of water droplets in the rain. Without the bright red five-pointed forms on the walls, the surfaces might simply appear rough; the carefully positioned forms turn that roughness into an effective atmospheric backdrop. Spatially, the building comprises three groups of chambers: the chamber formed by the central monument's square spiral; the open chamber formed by the ramp and the concrete walls on either side; and the semi-enclosed, sunken cylindrical chamber with a circular plan. Each chamber uses a different means to guide people's emotions. In the first, reflected patches of light on the exposed concrete of the ascending square spiral provide the control; in the second, it is the pores of the rough concrete; in the third, it is the specially made red sandstone paving bricks.

对这栋建筑而言，孔群密度很重要，如果密度大的话，在阳光下会形成阴影群，在雨天会饱含水珠群。墙面上如果没有鲜红的五角形，可能会令人感觉很粗糙，但是精心布置五角形把粗糙变成了很好的渲染背景。在空间处理上，这栋建筑是三组腔体：中心的方螺旋纪念碑主体形成的腔体，坡道与其两侧混凝土墙形成的开敞的腔体，以及圆形的半封闭的下沉的圆柱腔体。每个腔体用一种方式来控制人们的情绪，第一个腔体是由方螺旋向上清水混凝土的反射光斑来控制，第二个腔体是用粗糙混凝土孔群控制，第三个腔体是以地面的自制红色砂岩砖控制。

We designed a visitor reception station at the entrance to Foguangyan in Chishui, part of the China Danxia World Heritage site. In this project, we cut Danxia stone into bricks for masonry. Building with large blocks would have made construction and transportation more difficult. Since Danxia stone is easily cut, reducing it to brick dimensions allowed us to approach the work as brick masonry, a method familiar to the workers. One group of buildings lies beneath a steep cliff and establishes a relationship with the mountain; another stands beside a stream and establishes a different relationship with water. The dense organisation developed in the Bamboo Forest project was explored further here. In this group of buildings, we also considered turning a planar light source into a volumetric one. For example, where there is a red light source overhead, it combines with the corresponding red-glass façade to create a zone of red light. Another particularly interesting aspect is the system of lightwells. The plan reveals a dense network of lines and multiple lightwell systems. Their most distinctive feature is that they combine with roof drainage and underground water flows to form an organised water system. On rainy days, this produces a unified and magnificent spectacle of falling water. The Exhibition Center and Visitor Center for the China Danxia Chishui World Heritage Site, due for completion this August, likewise uses dense organisation to form its exhibition halls. The halls are then hierarchically nested to create a whole. Essentially, each space is controlled by a well-like spatial volume, producing an inward-looking experience.

我们在中国丹霞世界遗产地赤水佛光岩入口设计了一个游客接待站，在这个项目中我们把丹霞石切成砖进行砌筑，若采用大块石材砌筑，会增加施工难度与运输困难等，于是根据丹霞石易切割的特点，将之切成砖尺度之后，就可以用砖建筑的砌筑方式加以考虑，而且工人也比较熟悉。一组建筑在陡壁下面，形成了与山体应对的一种关系，另一组建筑则在溪流的旁边，形成了与水应对的另一种关系。竹海项目中的密集组织结构也在这个项目中得到了深入和发展。而且在这组建筑中，我们把面光源变成了体光源来考虑，某处若顶部是红色光源，就会形成和它对应红色玻璃立面的红色光源区。另外，这个项目最有趣的一点是它的天井系统，通过平面图我们可以看到密集的线条关系，并且有多个天井系统，这个天井系统最大的特点是和屋面排水、地下水流形成一个组织性的水系统，在下雨天会形成整体而壮丽的落水景观。今年8月份将竣工的中国丹霞赤水世界遗产地展示中心与游客中心，仍然以密集组织形成各个展厅，再由展厅层级嵌套形成一个整体，并且基本上每个空间都用一个类“井”的空间体控制，产生一种内向性的体验。

The ‘Down to the Villages’ series originated in a survey of Bailong Miao Village in Shiban Town, on the outskirts of Guiyang, which I carried out with a group of students from the Department of Architecture at Guizhou University. We found that the village was laid out within a light-responsive geographical container. Its generative order of forming groups ultimately developed into a hierarchically nested structure. By reconstructing its original traditional structure analytically, we discovered that its organisation was based on paired, separate dwellings for father and son. The father built a stone house on one side; when the son grew up, he built his house on the opposite side; when the grandson reached adulthood, he built between the two, eventually forming a three-sided courtyard. The courtyards of several families then formed a larger courtyard, and larger courtyards in turn formed major spatial nodes. This is a basic pattern of development through hierarchical nesting.

“下乡“系列起源于我与贵州大学建筑系的一组学生对贵阳郊区石板镇摆陇苗寨的村落调研，发现它是一个以感光性的地理容器布点村落，村落以组成群的生成秩序最后发展成层级嵌套结构。我们将其原来传统结构进行了恢复和还原，发现村落的组织结构是父子双分宅，父亲宅是将石头房子修在一边，儿子长大了就将房子修在相对的那边，孙子成人后再修建在二者之间，最终形成一个三合院：随后几家的院落再形成大院落，大院落再形成大的空间节点，这就是一个层级嵌套的基本发展模式。

Bing’an Memorial is one of West-Line Studio's important works and a highly representative building in the area. It is entirely timber-framed and is difficult to distinguish from a distance. Only the arrangement of its V-shaped roofs, which differs from local roofing patterns, hints at its presence. All the interior spaces are formed by a dense structure of timber strips. This serves several purposes. First, the open timber screens maintain visual permeability, enlarging the sense of space and allowing a small interior to feel expansive. Second, some exhibition images are hung, while others are displayed around the spaces. Third, the dense linear relationships break the traditional timber structure's impact on the interior into fragments, so that the structure becomes a set of fragments of memory, like the displayed images and objects. Fourth, the dense array of timber strips establishes a new order for controlling the interior, rebelling against the traditional conventions of the exterior. Fifth, the lines of the timber screens act as a sensitive device for registering light and its colour. The building's exterior follows conservation principles and lies concealed within its traditional surroundings, while its interior is governed by contemporary methods of controlling light and creating atmosphere. It is a clear example of an interior and exterior with different characters.

丙安纪念馆是西线工作室重要作品之一，也是该地区很有代表性的建筑。它全部是木结构，人们在远处很难发现这栋建筑的，只有从“V“型屋顶的关系可以看出这栋建筑不同于当地的屋顶方式，暗示了它的存在。建筑内部空间全部由密集的木条结构形成，其作用包括：一是通过通透的木格栅确保视线通透，放大空间，小中见大：二是作为展陈的图片有些是挂着展示的，有些是围着展陈的：三是通过线的密集关系将传统木构对室内的影响化整为零，使之与展示图片和展示实物一般成为一种记忆片段：四是密集的木条阵成为控制室内空间的新秩序，是之于外部的传统惯性的反叛：五是木格栅线条即是敏感光线与光色的装置。这个建筑实际上外部遵从保护的原则，潜伏在传统环境中，但内部是由当代性光线控制方法和氛围营造方法来控制的，典型表里不一。

At the Wuzhufeng Visitor Center in Chishui, within the China Danxia World Heritage site, we established three interwoven orders moving from outside to inside. The first is the outward-facing weave of nature, a projection of sensory experiences such as those of the woods. The second is the traditional weave of the roof surfaces, an allusion to traditional instructive stories. The third is the spatial weave of the roof structure, creating a sensitive, embodied space with a rhythm of rises, falls, pauses and accents. The Exhibition Hall at the Red Army Martyrs' Cemetery in Chishui, Guizhou, also combines dense organisation and courtyards. Here, the emphasis was on studying courtyards and on breaking down a relatively large building through its relationship with the surroundings so that it would not dominate them. We placed the archetype of a raised platform within the courtyard, giving the courtyard the significance of a platform and suggesting a ritual quality, since platforms are sacred in traditional architecture. At the same time, most of the existing trees were retained. The building explores permeability. If the courtyard were bounded entirely by glass, it would become extremely open; if bounded by completely solid surfaces, it would become withdrawn and closed. We therefore used an interface of vertical lines, allowing a gradual interpenetration between exterior and interior space. To address the building's relationship with the central axis of the Chishui Martyrs' Cemetery, we placed the entrance off to one side rather than in the centre. The broad steps could have faced the entrance directly, but after repeated consideration we turned them through 90 degrees. Reducing the visual centre of gravity in this way moderated the impact on the cemetery's existing commemorative axis. Throughout this project, we discussed the subtle influence of lightwells. We deliberately introduced a porous system of exemplary lightwells with an instructive meaning into the exhibition hall, in order to fulfil the educational function of a commemorative space. We intentionally created three kinds of lightwell—ritual, poetic and sublime. Together they form a sequenced network for regulating atmosphere, producing a spiritual pleasure through which their instructive influence works imperceptibly. We also sought to create spaces with a low profile: the building and its surroundings adopt a restrained posture, and even its monumentality is subtly subdued. This corresponds rather well to the Red Army's condition at the time: lives animated by lofty aspirations, but lived under severely constrained circumstances.

中国丹霞世界遗产地赤水五柱峰游客接待中心，则是建立了三重由外向内的编织秩序，一重是外向的自然编织，是对树林等感官体验的投射：一重是屋面的传统编织，是对传统教化故事的隐喻：一重是屋盖的空间编织，制造抑扬顿挫的敏感的身体性空间。贵州赤水红军烈士陵园展陈馆也是密集组织结构和院落，这栋建筑重点在于研究院落，以及如何把一个规模比较大的建筑通过与环境的结合分解成一个不抢眼的建筑。在院落中我们把一个台的原型放在那里，因此院落就有了台的意义，也暗示了空间的仪式性—因为台在传统建筑中是神圣的。同时，环境中的树基本得到保留。这栋建筑探讨了一个渗透性的方式，如果是全玻璃界面和院落的关系，院落会变得非常开放：如果是全封闭型界面，院落会变得很自闭：所以我们则采用竖线条界面，使得外空间和内空间产生一种慢慢的渗透关系。为了考虑和赤水烈士陵园中轴线的关系，建筑入口不立正中，反偏安一隅，本可直面入口的大台阶，经反复斟酌，最终转为与入口呈90°设置，由此通过削减视觉重心的方式化解对烈土陵园原有纪念中轴的影响。在这栋建筑中我们一直在讨论天井潜移默化的作用，刻意组织一套具备教化意义的多孔的模范天井集系统介入到展陈馆中，目的是完成纪念空间的教化功能：三种性质的天井（仪式性的，诗性的，崇高的）被蓄意制造，共同配置出一张有序列的氛围调控网，由此成就了一种精神之悦，从而潜移默化地实现教化。另外，还有低姿态空间营造，建筑和环境压低姿态，建筑的纪念性也巧妙地压低，这其实和当年红军的特征—生命很高远，但是生存状态很压抑的一种状态也蛮吻合。

Through these years of practice, West-Line Studio's ‘Up to the Mountains and Down to the Villages’ series has gradually developed a coherent working method of its own. First is the roof system, with mechanisms for giving form according to type and organising topological space. Second is the ground system, with mechanisms responding to terrain and setting. Third is the spatial organisation system, with mechanisms of dense organisation. Fourth is the atmosphere-making system, with mechanisms for configuring evocative effects and illusions of light. Fifth is the lightwell system's instructive role, operating through subtle, gradual influence. Sixth is the construction system, grounded in bodily building. This working condition of moving up and down reflects a partial withdrawal from a society organised through generally applicable systems: a retreat from a commercial society primarily concerned with production and consumption towards a vernacular society primarily concerned with human and ethical relationships. The pressure of this partial retreat forces our working model to combine two forces, the vernacular and generally applicable technology. Consequently, the guiding direction of West-Line's work is to realise vernacular mechanisms through generally applicable construction.

通过这些年的实践，西线工作室的“上山下乡”系列建筑已经逐步形成了自成体系的工作方法：第一是屋面系统，随类赋形与拓扑空间机制：第二是底系统，应地应景机制：第三是空间组织系统，密集组织机制：第四是氛围制造系统，光幻象意境配置机制：第五是天井教化系统，潜移默化机制：第六是建造系统，基于身体建造。上与下的工作状态，反映了局部从普适社会的退出，意味着从生产和消费为主商业型社会退回到以人伦关系为主的乡土型社会，这种局部退回的逼上梁山式的工作状态迫使我们的工作模型必然是乡土和通用技术两股力量结合的产物，导致西线工作的方向指南系乡土机制的通用化建造。

—is a source of pride in Han culture. It has, in fact, influenced the lifestyles and building practices of the local ethnic minorities. Some customs and cultural practices from six hundred years ago survive here to this day. These villages are their inhabitants' secure homes, retaining certain militarised functional and spatial arrangements. Benzhai, for example, has seven watchtowers. The courtyards near them are interconnected, forming a defensive system. The houses use locally available materials, so I call them ‘white houses’. Stone is the principal building material, and the village feels as though stones from the ground have been raised to a certain elevation. Yunshantun is a village within a valley, with slate roofs arranged in an orderly, fish-scale pattern. When I spoke with the Spanish architects earlier, they said that northern Spain also has vernacular houses with this kind of texture. To me, this reflects a shared condition of human survival in relation to nature. Through analysing the details of Tunpu dwellings, I hope to understand how their inhabitants brought architecture and nature together, as well as their cultural memories. We found, for example, that street corners are rounded. Stone is used to make thresholds, steps, door stones, niches, millstones and wells. Courtyards contain drains shaped like Chinese knots, frogs, dragons and coins. Wulong Temple on Tiantai Mountain is a very organic building. It occupies a small site but contains a large floor area. Its spatial form comprises three successive courtyards: from the entrance platform, one passes into the incense courtyard, then the courtyard of Zen contemplation, and finally the abbot's courtyard. It is built entirely in response to the terrain. One can see the organic growth of stone and mountain together, which is also what makes such a large floor area possible.

故事是汉文化的骄傲，它实际上影响了当地少数民族生活方式以及建造方式。至今，这里仍然保留着600年前的一些习俗和文化，这里的村落就是他们的安全家园，因为仍存有一些军事化的功能空间布局。比如本寨有7座碉楼，碉楼附近的这些院落都是连通的，构成了一个防御体系。他们房屋是就地取材，所以我把它们定义为“白房子“，因为建造以石头为主，所以感觉这个村寨是把地平面的石头升到了一定标高。云山屯是在山谷里面的村寨，那里的鱼鳞状的石板屋顶很有秩序，刚才与西班牙的建筑师交流，他们说西班牙北部也有这样肌理的民居，实际上我觉得这是人面对自然时相同的生存状态。我希望通过对屯堡民居细部的分析，了解他们如何处理建筑和自然的结合，以及他们文化记忆，比如我们发现他们的街道转角都是倒圆角，他们会用石材制作门槛、台阶、门当、龛、磨、井等，院落中还有“中国结”地漏、蛙形地漏、龙形地漏、铜钱地漏等。天台山五龙寺是个很有机的建筑，占地面积很小，建筑面积却很大，空间形态为三进院，从入口平台到香火院，再到悟禅院，最后是方丈院，完全结合地形建造的，可以看到石头和山体的有机生长，这也是它之所以能建造出这么多建筑面积的原因。

Because I love Tunpu, I have followed it for more than a decade and have also organised exhibitions. These include my solo architectural photography exhibition ‘This Stone, This Place: Impressions of Six Hundred Years of Tunpu Stone Architecture’, held in Guiyang on 23 December 2002; ‘This Stone, This Place: Tunpu Dwellings in Anshun, Guizhou’, held in Shanghai on 28 November 2009; and the architects' photography exhibition ‘Dwellings and People’, held in Guiyang in March 2013. In 2006, we rented a watchtower in a local village called Benzhai and established Qianren Architectural Culture Studio. We wanted to design houses for farmers free of charge, but never had an opportunity to put this into practice. At the time, I worked with students from Guizhou University to convert the watchtower into a studio. It was both an exercise in conservation-led renovation and an experiment in teaching. Later, we wrote a ‘property brochure’ for Tunpu dwellings, Stones in the River Roll Uphill, and made an independent art film about them, Faces. This year, we also established a Tunpu work camp, jointly organised by the Shanghai Ruan Yisan Heritage Foundation and the French Union of Volunteer Heritage Conservation Work Camps. Everyone is welcome to join the volunteers, protect our homeland and repair our old houses.

Haoyan Wei: I find this sequence of presentations—from abroad to contemporary Guizhou, then back to Tunpu—very interesting. What Mr Yue is doing, respecting spaces used by local people and preserving them, is both meaningful and very modern. It takes today's subject to a deeper level. Those present are experienced architects, teachers with valuable insights, and administrators connected with the profession. I believe you must all have much to reflect on, and I hope you will speak freely.

因为喜欢，十几年来我一直在关注屯堡，也做了一些展览。比如2002年12月23日在贵阳的“此石此地-六百年屯堡石头建筑印象”建筑摄影个展、2009年11月28日在上海的“此石此地—贵州安顺屯堡民居”建筑摄影展，以及2013年3月在贵阳的“民居与人”建筑师摄影展。2006年，我们在当地一个叫 本寨”的寨子里租了一栋碉楼，成立了黔人建筑文化工作室，想为农民免费设计房子，但是一直都没有实践机会。当时我带着贵州大学的学生把碉楼改造成了工作室，这是一次保护性的改造实践，同时也是一次教学实验。后来，我们为屯堡民居写了一本“楼书”—《河里石头滚上坡》，又为屯堡民居拍了一部独立艺术电影《脸谱》，今年还为屯堡民居成立了屯堡工作营，这是上海阮仪三城市遗产保护基金会和法国遗产保护志愿者工作营联盟联合组织的工作营，欢迎大家加入到工作营的志愿者行列，去保护我们的家园，修缮我们的老房子。魏皓严：我觉得这个发言顺序—从国外到贵州当代，再回到屯堡—是很有趣的，其实越先生做的这些事情—尊重当地人使用过的空间，把它保护下来—是很有意义的，也是很现代的。这正好把今天的话题引得更深。在场的诸位都是有经验的建筑师或者是有见地的教师以及和这个行业相关的管理者，我觉得大家应该都会有很多的感触，希望能畅所欲言。

Through several encounters with Spanish architects, I have come to feel that Spanish architecture is indeed distinctive. When designing, they first analyse factors such as the position of the area to be planned within the city and its surroundings, and only then decide how to approach the design. This way of thinking offers much that we can learn from in our own design work. In Guizhou, there are not many architects like Mr Wei who both develop a considered understanding of regional architecture and put it into practice. Guizhou does not actually lack talented people; rather, our academic atmosphere is not particularly strong, and we rarely have opportunities for academic exchanges like this. Mr Yue is also doing substantive work in Guizhou. He has undertaken important groundwork for its architectural community.

通过几次与西班牙建筑师的接触，我觉得西班牙的建筑确实很有特点，他们在做设计的时候，首先会分析将要规划的区域在城市中位置、周围的环境等因素，最后确定如何做设计，实际上这样的设计思路对我们的设计创作来说有着很大的借鉴意义。在贵州，像魏总这样总结地域性建筑并实践的建筑师并不多。贵州其实并不缺乏人才，只是我们的学术氛围不是太浓，大家平时很少有这种机会进行学术交流。越总也是在贵州做实事的，他为贵州建筑界做了一些基础工作。

I feel that buildings in Guizhou tend either to have local characteristics but lack innovation, or to have distinctive forms but no local character. We have therefore been exploring how to combine the two. We should not simply apply ethnic symbols to buildings. We should bring our culture into them and respond to conditions such as terrain, climate and resources, so that the buildings seem to grow from this land. I hope West-Line Studio will move ahead and take a leading role in the development of Guizhou's architectural profession.

我感觉贵州的建筑要么有地方特色而缺乏创新性，要么造型独特却没有地方特色，所以我们一直在探索如何把两者相结合。我们不应简单地把一些民族符号用在建筑上面，而是要把我们的文化用上去，根据地形、气候资源等条件，使得建筑像从这块土地里长出来一样，希望西线工作室走在前面，为我们贵州的建筑行业发展起到带头作用。

The presentations by BAUM and West-Line Studio have given me a great deal to think about. Dr Haoyan Wei mentioned that our engagement with regional identity is moving from a spontaneous to a conscious stage. I think many architects may already have entered a third stage: self-examination. A salon like today's is itself a form of self-examination. I teach at Guizhou University and do not undertake a great deal of design work in my everyday practice. I also studied in Britain for nearly two years, so my understanding may be more strongly influenced by experiences abroad. Discussions of regional identity and contemporaneity take place overseas too. The perspectives may differ, but the essential concerns are the same. I believe contemporaneity is a way of thinking grounded in the present: a historic building can also possess a contemporary spirit. Regional identity, meanwhile, is an attitude towards design—how we respect every piece of land entrusted to us. The two are therefore not contradictory. Regional identity can also encompass contemporaneity; they can be brought together. The works of these two studios seem to me to be points of activation. They express an understanding of regional identity and, still more, an understanding of ways of life. In essence, regional identity is a pursuit of authenticity. It is not simply a matter of designing a building, but of considering the building's environment, its available resources and the professional questions involved. An honest expression of respect for the environment, learning from tradition and a calm analysis of design problems should therefore form the basis of creative work. This may also be an accurate expression of regional identity.

听了Baum和西线两个工作室的作品介绍，感触特别多。魏皓严博士提到我们的地域性是从自发转到自觉的阶段，其实我觉得可能很多的建筑师现在已经进入到第三个阶段，就是自省阶段，比如我们今天这样的一场沙龙正是自省的一种方式。我是贵州大学一名老师，平时做设计不是特别多，而且我在英国学习了近两年的时间，所以可能我的认知受到国外的影响更大一些。在国外也有这样关于地域性和当代性的讨论，可能角度不同，但是核心内容是一样的。我认为当代性是立足当代的一种思考，一个历史上的建筑也可以具有当代的精神，而地域性是一种设计态度，就是在设计中如何尊重我们拿到的每一块土地。所以这两者并不矛盾。同时，地域性也可以涵盖当代性，两者是可以统一的。我觉得两个工作室的作品就像一个激活点，是对地域性的理解，更是对生活方式理解。其实地域性本质上是一种真实性的追求，不是单纯设计一个建筑，应该是对建筑所处的环境、所拥有资源以及职业问题的思考，所以真实地表达对环境尊重、对传统学习以及对设计问题冷静分析，应该是创作基础，也可能是对地域性的准确表达。

I would like to share a new planning approach in London. Many cities now use the concept of a green belt, but London's plan offers a new perspective by introducing urban agriculture into it. I think this is a new way of expressing regional identity, relating to the urban colour that Director Shi mentioned earlier. To me, urban colour includes not only the colours visible to the naked eye but also the way citizens live. This London plan has moved and inspired me. When undertaking urban or architectural design, we need to consider not only questions of design and construction but also the most basic questions of use and human needs. Canada, too, is vigorously promoting this approach. There is a project called ‘Carrot City’, a form of ‘food planning’ proposed by a well-known local professor. It treats food as a new system within urban planning. Rather than focusing solely on the urban spaces and settlements we currently consider, it returns to fundamentals: cities and people's most basic needs. Another example comes from the United States, where many neighbourhoods inhabited by Black residents have serious public-safety problems. An American planning expert has therefore actively promoted a movement called ‘community gardens’. This is not merely a planning method or technique. It seeks to address neighbourhood issues such as public safety and social structure, using food as a medium to reorganise existing, rather unhealthy social relationships. I find this a very interesting subject. The urban problems we face may be different, because our level of urbanisation is not as high, but I believe these approaches can offer us some inspiration.

我想跟大家分享伦敦的一个新规划。现在很多城市都是采用城市绿带的概念，但伦敦的规划给我们带来新的角度，它把都市农业的概念引入到城市的绿化带里面，我觉得其实这是对地域性的一种新的表达方式，正是刚才史院长提到城市色彩。我觉得城市色彩不仅是单纯肉眼看到的颜色，还包括市民的一种生活状态。伦敦的这个规划给了我很多触动和启发，我们在做一个城市设计或者建筑设计的时候，不仅要关注设计问题、建造问题，还要考虑最基本的使用问题和人的需求问题。加拿大也在大力推进这样的方式，他们有个项目叫“胡萝卜城市”是当地一个比较著名的教授提出来的“食物规划”。他把食物作为城市规划的一个新系统，不是单单关注我们现在考虑城市空间、城市聚落，而是回归本源—城市和人最基本需求。还有一个例子，在美国有很多黑人居住的街区，都是社会治安非常混乱地方，因此美国的一位规划专家全力推动一个运动——“社区花园”，这不单单是一种规划方法和手段，而是想解决治安、社会结构等社区问题，通过食物这样一个媒介，把人们现有的这种不是很健康社会关系重新组织起来。我觉得这是个很有意思的课题。可能我们面对城市问题与他们并不相同，因为我们的城市化进程没有那么高，但我觉得他们的这些东西可以给我们一些启发。

Yue Jian: I feel that regional identity and contemporaneity form a unity. Contemporaneity is the wisdom with which we face reality, and that reality is regional identity. This regional reality includes the local natural environment, cultural context and historical memory. In the Spanish architects' renovation of the Islamic building, I think the treatment of the windows reflects regional identity, yet it is also a contemporary building. I think of the Tunpu settlers arriving here six hundred years ago: they had both to fight and to establish homes. Using the building methods of the Central Plains, they constructed highly functional houses that could serve both defence and habitation. Six hundred years later, West-Line Studio is again confronting nature here and demonstrating wisdom. To me, this is contemporaneity.

Haoyan Wei: I see that some students are sitting nearby. Is there anything you would like to ask?

Zhou Xiao: I would like to ask Mr Haobo Wei how you collaborate with the Spanish architects. They have projects in Spain, and you have projects in Guizhou. Do you design separately in your respective locations and then discuss the work together, or do you travel back and forth to participate in one another's projects?

Haobo Wei: A few years ago, Mr Zhou and I went to Spain on a study trip. When we saw BAUM's work, we felt that their working methods could offer insights into our own professional development and serve as a useful reference. At first, we did not discuss collaboration with them, because we felt that our methods and working conditions were very different. Six months later, they came to Guizhou to see our work and suggested that we had much in common in our design methods and could collaborate. Such collaboration gives our architects opportunities to exchange ideas with overseas colleagues and participate in more projects abroad, while also giving the Spanish architects opportunities to work in China. At present, our usual working method is online conversation: we arrange a time with the Spanish architects and meet face to face by video. The greatest difference between the studios' working methods, however, is that Chinese architects emphasise efficiency. Under contemporary conditions in China, efficiency comes first. The Spanish architects, by contrast, are accustomed to a slower pace of life and need time to think. Combining good professional practice with efficiency is a problem that our collaboration through W&B International Workshop must resolve.

Jingsong Xie: Let me add that, when working on specific projects, we intend to send our architects to Spain regularly to study and work alongside the local architects. An exchange of architects is already being planned.

Haobo Wei: Spanish architecture places particular emphasis on establishing and passing on theoretical systems. Four generations of Spanish architects—de la Sota, Rafael Moneo, Campo Baeza, SMAO, Mansilla and Tuñón, among others—have inherited a tradition with a well-developed theoretical framework. Take light, for example. In SMAO's architecture, light completely controls spatial form and the mechanisms of spatial organisation. This oblique light was gradually developed and refined from Rafael Moneo through Campo Baeza to SMAO. That is a tradition. Modern Chinese architecture has, in fact, some catching up to do, because we have not established a tradition of sustained development in theoretical analysis. Our generation must therefore think more, discuss more and articulate our theories. Even if a theory is not yet mature, only by expressing it can we provoke further thought. This is very important.

越剑：我感觉地域性和当代性是统一的，当代性是面对现实的智慧，而这个现实就是地域性，这个现实的地域性包括本土的自然环境、文脉、历史记忆等方面。我觉得西班牙建筑师在做那个伊斯兰建筑改造时，开窗方式反应了地域性，然而它又是当代的建筑。我在想600年前，屯堡人到这个地方时，既要打仗，又要建立家园，他们利用中原的营建方式建造了功能性很强的既能防御又能住人房屋，然而600年后，西线工作室又在这里面对自然，展现智慧，我觉得这就是当代性。魏皓严：我看旁边还坐了一些学生，不知道你们有没有什么想要问的？周骁：我想请问魏浩波老师，您和西班牙建筑师采用怎样的合作方式？因为他们在西班牙有项目，而您在贵州有项目，是你们分开在各自地方进行建筑设计，然后一起讨论，还是相互往来参与彼此的项目？魏浩波：前些年，我和周总去西班牙考察，当我们看到Baum工作室的建筑作品时，我们觉得他们的工作方式对我们专业发展有一定启示作用，可以作为一种借鉴。刚开始的时候我们并没有和他们谈合作的事情，因为我们觉得工作方式以及工作状态有很大区别，后来他们在半年之后到贵州看我们的作品，提到我们在设计方法上有很多的共通之处，可以进行一种合作。这样的合作，一方面使我们的建筑师有机会和国外同行交流，有更多机会参与国外的项目；另一方面也给西班牙建筑师带来了在中国做建筑的机会。目前，我们常用的工作方式就是网络对话，我们与西班牙建筑师约定好时间，通过视频面对面交流。但是两个工作室的工作方法最大的不同是中国建筑师讲求效率，因为在中国当代的条件下，效率是第一位的，但是对于西班牙建筑师来说，他们习惯的是慢生活，他们需要一段时间去思考。如何把一个好的专业状态和效率结合起来这是目前W&B国际工作站合作中必须解决的问题。谢劲松：我补充一句，在做具体项目的时候，我们有打算定期派我们的建筑师到西班牙，和当地建筑师一块学习、工作，交换建筑师的方式已在计划中。魏浩波：其实西班牙建筑尤其强调理论体系建立与传承，西班牙的四代建筑师—索玛•德拉塔、拉斐尔・莫内欧、坎波•巴埃萨、SMAO、曼尼西亚、图尼翁等，已承袭了一个理论体系健全传统。比如说光，在SMAO建筑中，光完全控制了整个空间形态和空间控制机制，这个斜角光是从拉斐尔・莫内欧到坎波，巴埃萨，一直到SMAO逐渐发展完善的，这就是传统。中国现代建筑其实是需要补课的，因为我们没有建立一个理论分析持续发展传统，所以我们这一代一定要多思考、多讨论，把理论讲出来，哪怕理论并不成熟，但是只有讲出来才能引发更多思考，这是很重要的。

Haoyan Wei: We can compare this with architectural education in Japan. From the economic take-off of the 1960s onwards, Japan sent large numbers of architects around the world to study, particularly to study ancient settlements, including those in Africa and the Americas. As a result, when we look at buildings by young Japanese architects today, we find an underlying prototype: the settlement model. This architectural prototype is also regarded as relatively democratic and respectful of the individual. Architectural education across a country is therefore extremely important. By the generation of architects such as Sou Fujimoto, even though they may not have extensive sociological theories, their architectural training is very thorough. ‘Speaking’ is therefore something that must be done in every field of education: ideas must be articulated.

Miguel Gentil Fernández: I find a salon like this very interesting. Everyone in the discussion has offered constructive opinions. Architecture requires reflection, and reflection takes time. In Spain, I feel that we have more time during the design process to think about a project and respond to it, whereas in China people have to complete one or several projects in a very short period. Thirty years ago, everything in Spain was also developing very rapidly. Later, however, we realised that excessive speed could become detrimental to architecture. The more we think, and the more time we have, the better the results will be. For us, process and outcome are equally important, because the process can inform the next project, whereas the outcome may not. (Interpreted on site by Qin Qin.)

Javier Caro Domínguez: I would like to add that an architectural or planning project requires a great deal of knowledge. We need to study a place's culture and history, and this takes time. To undertake a project in Guizhou, it is important that we come here and understand its culture. This salon is also very meaningful: we can share our work with you and learn a great deal from you as well. (Interpreted on site by Qin Qin.)

Miguel Gentil Fernández: When we came to China, we were surprised to discover so many similarities between Spain and China. Here, one sees newly constructed buildings imitating old ones. Twenty years ago, Spain, too, was full of imitations. Such fakes do great harm to the genuine articles. Yet this is also human nature: when people have lived in a closed society and a dazzling outside world suddenly appears before them, they become curious about the unfamiliar. After a time, however, they begin to look for what is real. They slowly reflect and rediscover what they truly need. I think this is something people share. Having seen Mr Yue Jian's presentation, we feel that these are genuine things. They are particularly important because they bear witness to that period of history. Re-created things are contrived and artificial. (Interpreted on site by Haoyan Wei.)

魏皓严：这个可以对比下日本的建筑教育，从20世纪60年代经济腾飞的时候开始，他们派了大量的建筑师到全球学习，尤其是学习古代聚落，包括非洲和美洲。所以我们现在看日本年轻建筑师做建筑都有一个原型，这就是聚落模型，这种建筑原型也被认为是比较民主的、尊重个人原型。因此整个国家的建筑教育是非常重要的，到了藤本壮介这一代建筑师的时候，他们虽然没有很多社会学方面的理论，但是在建筑这方面的训练是非常到位的。所以“说”是每个教育领域里都必须做的事情，必须说出来。米格·亨迪•费尔南德斯：我觉得这样的沙龙是非常有意思的，在这个讨论中每个人都说了一些很有建设性的意见。建筑是需要我们去反思，反思的过程是需要时间的。在西班牙我觉得设计的过程中我们有更多的时间对这个作品进行思考和反馈，而在中国大家却需要在很短的时间内完成一个或者多个作品。30年前的西班牙，所有的事情发展速度也都很快，但是后来我们发现，如果发展的速度过快，将会成为对建筑不利的因素。我们思考得越多，时间越充分，得到的结果才会越好。对于我们来说，过程和结果是同等重要的，因为这个过程是可以借鉴到下一个项目当中的，但结果却不一定。（现场翻译：秦勤）哈维•卡罗・多明戈斯：我想补充一点，做一个建筑或者规划项目是需要有很多知识的。我们需要学习这个地方的文化和历史，这就需要一些时间。对于我们来说，要在贵州做项目，很重要的是我们必须来到这个地方，了解这里的文化。本次的沙龙也是非常有意义，我们既可以与大家分享我们的作品，也可以从大家这学习到很多知识。（现场翻译：秦勤）米格·亨迪•费尔南德斯：当我们来到中国的时候，我们惊讶地发现原来在西班牙和中国之间会有这么多的相同之处。在这里会看到一些新建的仿古建筑，20年前我们西班牙也到处都是赝品，赝品实际上是对真品极大伤害，但是这也是人之常情，当我们一直处在一个封闭的社会里，突然在你面前出现一个眼花缭乱的外部世界，人们都会有种猎奇心理，但过一段时间又会寻找真东西在哪。然后人们会慢慢思考，重新找回自己真正需要的东西，我觉得这是人的共性。看了越剑先生的介绍，我们觉得这是一些真正的东西，它们特别重要，因为它们就是那段历史的见证，再造的东西都是牵强的、做作的。（现场翻译：魏皓严）

Since contemporary Spanish architecture's comprehensive rise in the 1990s, it has distinguished itself internationally through concise, clear formal systems, precise spatial-control systems and subtle systems of contextual expression. Its achievements in developing the control and organisation of geometric space are particularly remarkable. Traditional classical methods such as axial, centripetal and enclosure-based control have gradually developed into diverse mechanisms including multi-layered projection, paradigmatic prototypes, oblique light and additive units. Simple laws of geometric control intersect with the richness of the world and with contemporaneity, producing spatial conditions that respond subtly to context while possessing greater contemporary relevance and multiple meanings.

西班牙当代建筑自20世纪90年代全面崛起以来，以其简洁清晰形式系统、精细空间控制系统与精微的文脉表达系统独步世界，尤其在几何空间控制系统与组织方式发展方面成就突出，逐渐从传统的轴线控制。向心控制、围合控制等古典控制方式发展为多层次投射控制、范式原型控制、斜切光控制、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。

Rafael Moneo's new town hall in Murcia stands in the centre of the medieval city in southern Spain near the Mediterranean (Fig. 1), north of the old riverside town hall. It occupies the western end of an irregular quadrilateral medieval square and faces, across its long axis, the sixteenth-century Baroque cathedral to the east (Fig. 2). To the north are multi-storey garden residences with viewing balconies, eighteenth-century in character and owned by the urban middle class. To the south stands the palace of Cardinal Belluga, designed by the celebrated seventeenth-century Spanish architect and Baroque sculptor Baltasar Canestro. In a public square with such a long history and central religious role, the key design questions are how a new building should appear and how it should relate to old buildings from different periods. Moneo first positions it as a ‘spectator’ within the square. This identity reveals his strategy for addressing the particular context. The ‘spectator’ is essentially a collection of historical fragments projected onto it and superimposed upon its own characteristics. Being projected upon is an important aspect of its character. How, then, are those historical fragments projected onto the new building? European architecture has long maintained a tradition of strict proportional control based on elementary geometry. The famous golden section, originating in the fifth century BCE, and tripartite compositions using various numerical ratios are important systems within that tradition. Moneo's sketches and on-site observation reveal an ordered, multi-layered method of projection centred on this system of proportional control.

拉斐尔•莫内欧（Rafael Moneo）设计的穆尔西亚市新政厅位于西班牙南部毗邻地中海的中世纪古城穆尔西亚市（Murcia）中心地段（图1），立于沿河老市政厅北侧，地处异形四边形中世纪广场西端，与建于广场长轴东段16世纪巴洛克式大教堂遥遥相对（图2）：广场北部系城市中产阶级拥有的18世纪风情的带观景阳台的多层花园式住宅；南侧是17世纪西班牙著名建筑家以及巴洛克雕塑家巴尔塔萨，卡内斯特罗（Baltasar Can-estro）设计的贝鲁嘉红衣主教宫（Plaza Cardenal Belluga）。在这样有着悠久历史的具有宗教核心地位的公共广场上，新建筑以怎样的姿态现身，如何与不同时期的老建筑达成关联系本设计的关键。莫内欧首先将新建筑定位为广场中的“观者”，“观者”身份的确立暴露了莫内欧处理特定文脉的策略。所谓“观者”实质是环境中各类历史性片段投射其上并与观者自我特征叠加着的集，被投射性是“观者”的重要性格。那历史的片断又是以怎样的方式投射在这新建筑之上的呢？欧洲建筑自古就建立了一套基于基本几何学严格的空间比例控制法则的传统，产生于公元前5世纪者名的黄金分割法与各种数据系统配比的三段式都是其间重要的比例尺度控制系统，从拉斐尔•莫内草图与现场观察可以发现其在以此比例尺度控制系统为核心的基础上，采取了一套有序的多层次投射方式。

The first layer projects relationships from the cathedral and has two aspects. Projection of the formal system (Fig. 3): the new town hall's east elevation, facing the cathedral, is deliberately treated as a geometrical framework of colonnades and balconies reflecting the cathedral's tripartite organisation. At the top, open viewing colonnades occupy the eastern and western sides. The middle is the principal zone, composed of three vertically stacked, equally spaced galleries; the base is solid wall. Their proportions are approximately 1:√3:1.618, broadly corresponding to the cathedral's tripartite ratios. Detailed proportions also consistently apply the classical golden ratio, including the height ratio between top and base, between the upper columns and the spacing of paired columns, and between the column heights of the uppermost and penultimate storeys. Projection of character (Fig. 4): the cathedral's complex Baroque orders and combinations are simplified into groups of columns governed purely by proportional and numerical systems and projected onto the balcony elevation. Careful adjustments of spacing and density give each level a different rhythm. Stacked in parallel, they seem to perform a passage of classical Baroque music together. These musical variations and formal manipulations, apparently seeking to shed a predetermined order, deliberately suggest that the grouping of columns projects Baroque artifice. The second layer projects relationships from the cardinal's palace. The top of the stone parapet on the town hall's third-level east balcony and the top of the fourth-level glass balustrade align respectively with the palace's ground-floor and second-floor cornices. The lowest square window in the base aligns with the palace's square base windows. More intriguingly, the top of the small mirror-glazed window at the southern end of the base's second level also aligns with the top of the side entrance at the western end of the palace's square-facing elevation. This use of points to suggest lines seems to imply that the historical spirit concealed within the palace—

第一层次，是大教堂关系投射，具体细分为两个层面。形式系统投射（图3）新市政厅直面大教堂的东立面被蓄意处理为投射了大教堂三段式关系的几何骨架式的柱廊阳台系统，顶部的东、西两侧为透空的观景柱廊厅，中部为三列垂直等距廊相叠加的主体段，基座部分则系实墙体，三者比例关系近似1：√3：1.618，基本对应对面大教堂三段式比例关系：同时细部比例关系的处理也坚持贯彻经典黄金比例，如顶部与基座的高度比、顶部柱高与双柱间距比、顶层柱高与倒数第二层柱高高度比等。性格特征投射（图4）大教堂巴洛克柱式复杂的样式与组合被简化为纯粹比例系统与数据系统控制的立柱群，并投射在阳台系统立面上，更通过精心调整各层柱间距与密度，形成各层不同的韵律节奏，这些层上下平行叠合仿佛在合奏一曲古典巴洛克音乐片段，这种试图褪去既定秩序的音乐般的变奏组合与形式把玩似乎在刻意透露出柱群组合的本质系巴洛克矫揉造作本性的投射。第二层次，是红衣主教宫关系投射。新市政厅东立面第三层阳台石材栏板顶部、第四层玻璃栏杆顶部分别与南侧红衣主教宫的底层檐口、二层檐口保持在同一高度：基座部分最低处的那一口方窗与红衣主教宫基座的方窗也保持在同一高度：更有意思是基座部分二层南端配镜像玻璃那一小方窗顶线竟然也与主教宫广场立面西端那一侧门顶部处在同一标高上，这以点带线的处理方式似乎暗示着那潜藏在红衣主教宫内的历史之灵

—is quietly drifting, little by little, along the square's southwestern curve into the new town hall… The third layer projects relationships from the eighteenth-century garden residences. The town hall's fourth-level east balcony is approximately level with the fourth-level balcony of the residences to the north. The bottoms of the two adjacent vertical openings at the northern end of the base's second level also broadly align with the bottom of the residences' second-level balcony. This treatment is essentially the same as that used for the cardinal's palace. The fourth layer projects relationships from the former building on the site (Fig. 5). The demolished round-ended house is represented entirely through the new building's sunken space. Its curve recreates the position of the old house. This understated, implicit projection expresses remembrance of the site's history. The café in the sunken space also continues the civic life of outdoor coffee and tea once found beside that house, while respecting the cathedral. The fifth layer projects the relationships among the new building's internal functional levels. Exposed concrete slabs divide the storeys of the east elevation. These horizontal lines largely express the vertical division of the interior programme. The building principally comprises a tourist information centre above ground and a legislative assembly hall below. In particular, a double-height reception room on the third level is fully expressed in the elevation. Its smooth, two-storey mirror glazing reflects part of the cathedral opposite and becomes the east elevation's visual focus. At the centre of an almost abstract system of projection appears a vivid, figurative reflection of an object. Through this mirror image, the new town hall reveals its essential nature as the outcome of projected historical fragments.

正悄然地沿着广场的西南弧线，一点一点地漂移进新市政厅中⋯⋯第三层次，是18世纪花园住宅关系的投射。东立面第四层阳台与北侧18世纪花园住宅第四层阳台高度基本接近，基座部分第二层靠北端并列的两竖向洞口底部高度也与花园住宅第二层阳台底基本在一水平线，这样的处理基本与红衣主教宫的方式如出一辙。第四层次，是基地原有老建筑关系投射（图5）。新市政厅所在基址上的原有建筑，即已被拆除的圆头住宅的关系投射完全是由建筑下沉空间体现的，下沉空间弧形正是对基地上已经被拆除的老住宅位置的再现，这种低调的含蓄投射表达了对基地历史的怀念，下沉空间内的咖啡厅的设置也是在尊重主教堂的前提下，对旧日圆头老住宅边曾有的露天咖啡、茶等的市民生活的一种延续。第五层次，是新建筑内部功能空间分层关系投射。新市政厅东立面层与层之间以露明的混凝土楼板作为分割，这些立面上横向划分的水平线条在很大程度上表达了建筑内部功能空间的垂直划分。建筑主要由地面层以上旅游信息中心和地面层以下的立法院会堂组成，特别是在三层有一个两层通高的接待室，它的空间形式被完全反映在立面上，接待室两层高光洁的镜面玻璃反射着对面大教堂局部形象，并由此成为东立面的视线聚焦点。一个近抽象投射体系的中心竟呈现为具象而生动的物的反射状态，它以镜像的方式鲜活地揭示了新市政厅本质上是历史片段投射结果。

The sixth layer is an integrating projection of the Baroque square (Fig. 6). Buildings on its four sides were constructed independently, at different times and in independent forms, fragmenting the square's overall spatial pattern. Moneo projects a set of converging rays onto it (Fig. 7). Their centre lies before the cathedral's principal western entrance, on the extension of its ceremonial hall's east–west axis, towards the cardinal's palace to the south. Concentric circles spread from this point, compelling the square's four sides to converge on the centre, while the cathedral's internal axis becomes the square's controlling axis. More effectively still, rays extending from the centre connect the cathedral's three western entrances, principal and secondary; the palace's principal northern entrance; the entrance zone of the garden residences; and the small window at the northern end of the second level of the town hall's east-facing base. Buildings formerly acting independently are thus transformed by centripetal rays into a group turning with the wheel of history. The centre's position establishes the cathedral's dominance. The town hall, meanwhile, places no entrance in its square-facing east elevation, greeting a ray only with a small window: a perfect spectator's posture. The wheel of history projects fragments from different periods onto it, creating both the spectator's disposition and its present built condition. So many histories are projected onto this refined box, Murcia's new town hall.

第六层次，是巴洛克广场整合投射（图6）。位于巴洛克异形广场四面的建筑彼此建设的时间独立、形态独立，造成广场空间格局的整体分裂，莫内欧在广场上投射了一组聚焦射线（图7），其圆心安置在大教堂西主入口前，教堂内部仪式大厅东西主轴延长线上，南靠红衣主教宫处，由此扩展形成一圈圈的同心圆，迫使广场四面向圆心聚合，同时教堂内部东西主轴发展成为广场控制性主轴线：更有利的是从圆心向四周发射的一组射线分边牵引大教堂西立面主次三个入口、红衣主教宫北立面主入口、花园住宅入口区以及新市政厅东立面基座二层北端那一方小窗，于是广场四面各自为政的建筑，在向心射线驱动下转化为一组随着历史之轮转动的建筑群。圆心的位置关系确定着大教堂的主导地位。而新市政厅在面向广场的东立面不设置入口，只以一方小窗迎放射线，好一副旁观者姿态，历史之轮旋转着将各时期片段投射其上，成就观者的心态与当下的建成状态。穆尔西亚新市政厅，这座洗练方盒子，竟然被投射了众多的历史性。

In the new district below Granada, home to the Alhambra's splendid civilisation, stands Campo Baeza's Museum of the Memory of Andalusia (Fig. 8). Its main volume is a sober, substantial, horizontally extended cast-in-place concrete box, 120 m long, 60 m wide and three storeys high. At the northwestern end rises a shallow office slab approximately eleven storeys tall, like a gateway to the city. The overall form is exceptionally clear and concise (Figs. 9 and 10). Three parallel, narrow atria are inserted into the horizontal volume, at the side nearest the slab and in the middle, establishing an ordered spatial organisation. The atrium beside the slab is a transitional space linking the main entrance opening, facing the principal street at the base of the office slab, to the museum entrance hall one level below. This adds spatial layers and deliberately establishes distance between present and past (Fig. 11). Most strikingly, an ellipse is inserted into the horizontal volume's centre, its long axis parallel to the building's length. The ellipse changes the established parallel sequence into a directional, concentrated, centripetal arrangement with classical associations, becoming the centre of spatial control (Fig. 12). Its form and dimensions are borrowed directly from the Palace of Charles V in the Alhambra (Fig. 13). The ratio of its short to long axes, 1:√2, matches the ratio between the inner and outer diameters of the two concentric circles in the circular courtyard; its height matches the two-storey colonnade (Fig. 14). Designed by Pedro Machuca, who had worked and studied with Michelangelo, the Palace of Charles V is among the finest surviving Renaissance buildings outside Italy. Three circles with diameters in the golden-ratio relationship 0.618:1:√2 generate its classical spatial model, dynamic within and still outside (Fig. 15).

有着阿尔罕布拉宫灿烂文明的格林纳达山下新城区，矗立着坎波·巴埃萨（Campo Baeza）主笔的安达卢西亚历史博物馆（Andalucia’s Museum of Memory）。（图8），主体量为一横向延展、120m（长）x60m（宽）3层高的、沉冷礅实的水平向整浇混凝土立方体，在西北端升起一块约11层高的薄进深、犹如城市之门般的垂直办公板楼，整体形态极为干净利落（图9，图10）。建筑在水平体靠近板楼一侧及中部分别插入3条平行的狭长中庭，由此建立有序的空间组织格局；靠近板楼一侧的中庭是一转承空间，将面朝主街、设于办公板楼底部的主入口门洞与降一层博物馆入口门厅上下连贯起来，既增加了空间的层次，也有意识地拉开了今古距离（图11）。更为最精彩的是，刻意在水平体的中央插入了一轮椭圆体，其长轴与水平体长向平行，椭圆体的插入改变了既定的平行程序，转变为有方向的集中式向心格局，含有古典意味，椭圆体成为空间控制重心（图12）：而椭圆体的形态尺度则直接从阿尔罕布拉宫中查理五世宫借用过来（图13），其短轴及长轴比为1：√2.与圆形骑士中庭内圆与外圆两个同心圆直径比例相同，高度则与两层高骑士柱廊吻合（图14）。由曾与米开朗基罗一起工作学习的建筑师佩德罗，马丘尔（Pedro Machuca）设计的查理五世皇宫是文艺复兴时期在意大利之外尚存的最好建筑之一，是由三个直径呈0.618：1：√2黄金比例的圆控制生成的内动外静的经典空间模式（图15）。

By recombining the respective diameters of two concentric paradigmatic circular spaces as an ellipse's long and short axes, Baeza ingeniously translates them into a pure, abstract new geometric paradigm that condenses classical proportion and emphasises rhythmic beauty. This continues the Andalusian appreciation of rhythm and classical scale: in Roman times, the ancient Greek scholar Strabo described Andalusians as the Iberians most cultivated in poetry and rhythm. At the same time, a white spiral ramp with theatrical qualities is inserted into the ellipse. Its spiralling relationship produces a particular sense of time. Could this allude to historical materialism's conception of history developing in a spiral (Fig. 16)? The entire elliptical courtyard is immersed in immaculate white diffuse light, conveying sacredness. Its insertion into the horizontal volume, permeated by classical proportions, also recalls the Palace of Charles V's combination of a square exterior and circular interior. The principal exhibition spaces surround the elliptical court (Fig. 17), which seems like history's core (Fig. 18). By reorganising the proportional relationships of a historical spatial prototype, Baeza allows a pure modern box to retain historical substance while remaining powerfully contemporary (Fig. 19).

巴埃萨的椭圆体通过将两个同心范式圆形空间体各自的直径重组为椭圆体的长短轴，巧妙地转译出浓缩着古典比例内涵并强调韵律美的纯洁、抽象的新几何范式，这一范式与安达卢西亚人对韵律感与经典尺度推崇习惯一脉相承（在罗马时代，古希腊学者斯特雷波就曾将安达卢西亚人描述为“在诗歌与韵律方面最有教养的伊比利亚人”）；与此同时，一条具有舞台特质的白色螺旋坡道被置入椭圆体中，螺旋关系的出现，生长出某种特殊的时间意味，难道是历史唯物论中历史螺旋发展观的影射（图16）？整个椭圆庭院沉浸在洁白无瑕的漫反射氛围中，透着神圣感：这种渗透经典比例系统的椭圆庭院插入水平体的状态也多少流露看查理五世宫外方内圆似的空间组合痕迹。主要展览空间环绕椭圆体庭院布局（图17），这椭圆体仿佛历史核心（图18），巴埃萨利用重组历史原型空间比例尺度关系的方式使纯净现代方盒子保有历史的内涵，但却依然当代性强烈（图19）。

The coastal city of Alicante lies at the foot of an ancient mountain facing a deep blue sea (Fig. 20). Where the old town's roughly 10%-gradient slope comes to an end, before the cliffs of its historic centre and at the end of an urban journey, a small enclosed square is filled with history. On its northwestern side, a solid volume quietly disappears into the shadow of the old Church of Santa María to the east (Fig. 21). This is SMAO's Alicante Museum of Contemporary Art.

海滨城市阿利坎特（Alicante）位于直面湛蓝大海古山麓脚下（图20），老城区约10%斜率坡地收束尽头，城市历史中心悬崖峭壁前，城市行程终点，一方封闭的充满着历史气息的小广场西北面，一个敦实的体量干净地隐没在广场东部古老圣母玛利亚教堂阴影中，安静着（图21），这即是SMAO设计的阿利坎特当代艺术博物馆了。

The Alicante Museum of Contemporary Art comprises two groups of spaces, old and new. One is the surviving seventeenth-century Asegurada building; the other is a new museum volume filling the site. They join through addition and are stitched together by a brightly lit vertical circulation system running from north to south (Fig. 22). Internally, this establishes a strategy of separate treatment. The south elevation (Fig. 23) and aerial view clearly express the intention, while only the rear elevation blurs the distinction. Warm-grey, medium-hard, matte stone alternates with cool-grey, hard stone across the building in a staggered-joint cladding pattern (Fig. 24), establishing a material affinity with the stone square. Its masonry treatment incorporates the planar handling of stone on the Church of Santa María's elevation to the east (Fig. 25). In scale, it establishes a related correspondence by enlarging the original stone dimensions approximately threefold. The warm-grey stone matches the old church and Asegurada building in colour and conveys solidity. As the stone surface wraps towards the rear, however, the material system of the back elevation—nearly two storeys higher than the south elevation—is transformed into smooth, double-layered, mirror-like flat glass with cloud patterns at the same scale (Fig. 26). The relationship to the surroundings shifts from classical correspondence through material and proportion to a more contemporary reflection of the environment. Close observation reveals that this adjustment is fundamentally the surface expression of the interior's control by diagonally cutting light.

阿利坎特当代艺术博物馆由旧与新两组空间组成，一部分系17世纪Asegurada 老屋的遗存，另一部分则是充满整个用地的新建博物馆空间。旧楼与新楼以加法的方式连成一体，二者之间由一贯通南北前后的明亮光环境作用下的垂直交通系统缝合（图22），在内部实现分而治之空间处理策略，南立面（图23）与鸟瞰都明确地透着这种意图，只是在背立面模糊了这种区分。整个建筑以一种暖灰的中硬度亚光石材与冷灰的高硬度石材交错形成上下错缝的覆面形式（图24），与石头广场在材质上形成默契。石材的砌筑方式上融入了东面圣母玛利亚教堂立面呈面感的石头处理手段（图25），尺度上也应用了一种在原有石材尺寸放大约3倍的关联性配合，暖灰石材的色调与老教堂及Asegurada老屋相同，并呈现出一种坚实感。然而在石材面向后延展包裹时，与南立面垂直高差近两层的背立面材料系统被转化为同尺度的光滑的双层镜面平板云纹玻璃系统（图26），与周边环境的关系从古典同材质与比例尺度照应的方式调整为较时尚镜面映射环境的方式，经过仔细观察会发现这种特殊的调整根本上是源于光对内部空间斜切控制结果的表面反映。

The building has one basement level, three above-ground storeys and a partial fourth storey. It is divided from west to east into two major parallel parts. The western part is the old building, whose spatial relationships remain largely unchanged and which appears solid in aerial view (Fig. 27). The eastern part is new and is further divided into higher and lower exhibition spaces to the east and west, separated in parallel along a north–south direction. SMAO's presentation drawings emphasise the interspaced, parallel organisation of these two groups of three rows of spatial units with folded sections. This produces a series of intersections between vertically and horizontally divided spaces, in which solid and void generate one another (Fig. 28). The folded-section units are essentially the result of topological spatial deformation governed by diagonal light (Figs. 29 and 30). This particular form has three characteristics. First, careful control of the orientation and proportions of rooftop courtyards—for example, a sectional height-to-width ratio of about 1:2—admits light only from the northeast and northwest within certain vertical and horizontal angles, filtering it. Second, deliberate adjustments of form use light to define clear illumination zones. Bright, diffusely lit, dim and dark areas interweave to produce different exhibition environments and atmospheres (Fig. 31). Third, controlling the interweaving of open and solid planes generates diagonally penetrating channels of light and oblique spaces of circulation (Fig. 32). The museum's spatial-control mechanism can thus be traced as follows: oblique light → spatial units with sawtooth folded sections → organisation of those sectional units through vertical and horizontal parallel divisions → exhibition spaces with multiple atmospheres generated by interwoven lighting zones (Fig. 33).

整座建筑由地下1层、地上3层及局部4层组成，由西向东被平行切分为两大部分。西部为老建筑，空间关系基本固守原状，鸟瞰中呈现为实体（图27），东部为新建，并细分为一高一低东、西两组呈南北向平行切分的展览空间。SMAO在其方案的展示图中，重点揭示了这两组三列折线形剖面单元空间的间隔平行的空间组织关系，并由此导致了一系列垂直切分与水平切分空间相交的虚实相生的存在状态（图28）。折线形剖面单元空间实质上是受制于对角斜切光的空间拓扑变形的结果（图29.图30），这个特殊形由此具备3个特点，其一，通过对顶部庭院方位与尺度关系的特别处理（如庭院剖面高宽比约1：2等），只允许来自东北与西北的一定垂直角度与水平角度范围的光线进入，有光线过滤作用：其二，通过对形的刻意调整，用光线清楚地划分光区范围，高光区、漫射光区、弱光区与暗区互相交织，生产出不同展示环境与氛围（图31）：其三，通过控制虚面与实面的交错关系，生成对角斜切穿透的光线通道与斜向流通空间（图32）。据此，可以清理出阿利坎特当代艺术博物馆的空间控制机制：斜切光→锯齿形折线剖面空间单元→垂直平行切分与水平平行切分组织剖面空间单元→多元光区交织的多氛围展览空间（图33）。

‘Across the broad urban plane, the contemporary art museum in León describes this artistic scene with the same optimism with which Roman land surveyors drew cities onto the landscape. Unlike museums that focus only on exhibiting “frozen” historical objects, MUSAC is a living space opening its doors to a broad range of contemporary artistic expression.’ — Luis Moreno Mansilla and Emilio Tuñón. The contemporary art museum in León, winner of the 2007 Mies van der Rohe Award, stands just before us. Its plan resembles a pool of flowing water (Fig. 34), and in the evening sunlight it actually shimmers (Fig. 35)… Mansilla and Tuñón's museum is a paradigm of an additive-unit system. The entire building consists of repeatedly linked, enclosed polygonal spatial units with zigzag plans. Together they spread into a flattened configuration, like individual drops forming a broad lake. Its spatial control can be summarised as zigzag polygonal volumes as basic units, plan-based linkage as the organisational method, and glass crystals as the collective space.

“在宽阔的城市平面上，莱昂当代艺术博物馆用和罗马土地测量员在景观上描绘城市时一样乐观的态度描绘了这一艺术场景。和其他类型空间相比，那些博物馆里，只聚焦“冻结”的历史展品的展览，而MUSAC却是一个向广泛当代艺术表现形态敞开大门的鲜活空间。“-曼尼西亚和图尼翁（Luis Moreno Mansilla and Emilio Tunon）2007年密斯•凡•德罗奖获奖作品—莱昂当代艺术博物馆，近在咫尺。这件总平面如一滩流水般的建筑（图34），在夕阳的光辉下，竟波光粼粼（图35）⋯⋯曼尼西亚与图尼翁设计的莱昂当代艺术博物馆系单元复加体系的范式，整个建筑由平面呈锯齿形的封闭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，如一滴一滴水汇成广阔的湖泊般。其空间控制可概括为：作为基本单元体锯齿形多边形空间体，作为组织方式平面链接、作为集合空间的玻璃晶体。

Basic units (Fig. 36): the museum has three kinds of basic spatial units—zigzag octagonal, hexagonal and quadrilateral volumes. Their formal origin appears to be the folding and deformation of two opposing long sides of a parallelogram under a set of directional forces acting at several points. This changes the parallelogram's original balance and straightforwardness. The linear space turns slightly several times along its length, and these slight turns produce its distinctive spatial characteristics: (1) continuous spatial dynamism; (2) continual changes of spatial condition, creating an alternating sequence of passages for movement and moments of pause; (3) diverse and complex ways of joining units; and (4) the ability to adapt units according to position into enclosed exhibition spaces of different sizes (Fig. 37), scattered courtyards (Fig. 38) and rooflights (Fig. 39). Organisation (Fig. 40): the three basic units form an open, growing cluster through staggered lateral linkage in plan and serial longitudinal linkage. In the north–south direction, they spread laterally in parallel like ripples; in the east–west direction, they extend as linear flows. Together, these two directions of expansion construct a—

基本单元体（图36）—莱昂当代艺术博物馆的基本单元空间体为锯齿形八边形空间体、六边形空间体与四边形空间体等3种：从形源上分析似乎是平行四边形体垂直相对的两长边在同一组方向力的多点作用下举折变形的结果，这一结果导致了平行四边体原本均衡与直白的特征被改变，直线型空间在中途多次略微拐弯，正是这一略微的拐弯状态成就了其特殊的空间特点：①连续动态性空间：②持续空间状态转变，出现了行进空间片段与暂停空间片段相互交替的序列：3单元拼接方式多样性与复杂性：④基本单元体可依位置调整为大小各异封闭展览空间（图37）或星星点点的庭院（图38）与天窗（图39）。组织方式（图40）—3种基本单元体通过横向交错式平面链接与纵向串联式线性链接，形成生长与开放型的簇群集合，南北方向如涟漪般横向平行蔓延，东西方向则线状流动伸展，两个方向扩展共同构建成一个

—more complex geometrical system. This organisation appears to derive from the woven, net-like geometry created by the local Roman tradition of mosaic laying. It permits different geometric outlines to overlap and a particular site structure to emerge through adjacent elements and their relationships. The staggering of units between rows creates branching spatial nodes at their intersections, generating a labyrinthine network of routes with multiple choices. Every basic unit relates to those around it, and these links produce striking, unexpected diagonal spaces within. In short, different combinations of the three basic units allow additive organisation to retain overall coherence while containing diversity and choice (Fig. 41). This is a direct expression of Mansilla and Tuñón's design thinking on the coexistence of repetition and difference. At the same time, this additive organisational system starts from a particular point, joins basic units to grow from point to surface, and ultimately attains an unfinished condition of continuous growth. Through the absence of a precisely defined edge, it penetrates the urban environment.

更复杂的几何系统，这种组织方式似乎源自于当地罗马时期传统的马赛克镶贴方式所造就的如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，这种链接方式导致内部空间出现惊人的、意外的对角空间；总之，3种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（图41），这正是曼尼西亚与图尼翁重复性与差异性共存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。

Collective space: León's contemporary art museum resembles a thousand coloured-glass boxes crossing and overlapping, condensing into a glittering crystal (Fig. 42). It responds to the poetic imagery of the 1,800 m² of grouped stained-glass windows in the seventeenth-century eclectic León Cathedral—glassworks that were among the world's rare examples from the thirteenth to fifteenth centuries. The museum is an art centre built through an additive-unit control system, a medium that makes the relationships between people and exhibits visible. A chain of connected yet relatively independent white rooms accommodates exhibitions of different sizes and types. Each zigzag room creates areas that are continuous yet spatially distinct, opening towards other rooms and courtyards and providing longitudinal, transverse and diagonal views. Five hundred precast beams organise a series of distinctive repetitive systems and orderly forms of expression. Successive generations of Spanish architects, maintaining a modernist position within a contemporary context, use particular methodological systems in particular places and cultural circles to develop boxes imbued with specific contextual meanings with precision. Concealed within them are mechanisms of spatial control reflecting different states of thought.

集合空间——莱昂当代艺术博物馆如一千个彩色玻璃盒子交叉着、重叠着，凝结成闪烁结晶体（图42），回应着17世纪折中主义风格的莱昂大教堂中那成群成组的1 800 m2的彩色玻璃窗的诗学意象，那曾是13~15世纪世界罕见的彩色玻璃作品。莱昂当代艺术博物馆是一座构建了单元复加控制体系的艺术中心，是将人和展品之间的关系可视化的媒介：一串如锁链般链接着但又相对独立白房间群，容纳着不同大小和类型的展览：每一个锯齿形房间都构造了连续又有空间差异的区域，向其他房间和庭院打开，提供了纵向的、横截断的、斜对角的视图：500颗预先铸造的梁组织了一系列有特点重复系统与井井有条的表现形式。西班牙几代建筑师在恪守现代主义立场与当代性语境的前提下，在特殊的地点，特殊的文化圈，以特定的方法体系，精准地发展着蕴涵特定文脉意义的盒子，其中潜藏着不同思维状态影射下的空间控制机制。