Yunnan Architecture · Academic Trends · 2013, No. 1 · Issue 120
《云南建筑》· 学术动态 · 2013年第1期 · 总第120期
Haobo Wei
魏浩波
Yunnan Architecture: How do you view architectural practice?
《云南建筑》：您是如何看待建筑实践的？
Haobo Wei: There was a book introducing several leading architects, including Cui Kai, Tang Hua and Yung Ho Chang, who had a considerable influence on the development of our generation of architects. Architectural practice is a continuous undertaking. First, you must enjoy it yourself and keep practising; then a group of people continues practising together, and gradually a great deal accumulates. Personally, however, I still believe architectural theory is very important. Without theoretical support, many ideas cannot be sustained; experience alone is not enough. Many architects now stop reading after leaving school and begin relying solely on experience. Experience cannot reveal many of the problems. Architectural theory and practice must support one another in identifying and solving them.
魏浩波：曾经有一本书是介绍崔愷，汤桦，张永和等等几位建筑大师的，他们对于我们这一代建筑师的成长影响很大。建筑实践是一种持续的，首先要自己喜欢，持续的进行实践，然后有一组人持续的一起实践，慢慢地就积累了很多。但是我个人还是觉得建筑理论很重要，如果没有理论的支撑，很多理念是支撑不住的，单单是经验是不行的。现在，很多建筑是从院校出来之后，就不再进行阅读，就开始单凭经验，凭经验很多问题是发现不了的，还要建筑理论与实践相互辅佐发现问题、解决问题。•
Yunnan Architecture: Is your architectural practice in western China supported by an independent theoretical system? Would practice in Yunnan differ from practice in Guizhou?
《云南建筑》：您在西部做建筑实践的过程中有独立的理论体系支撑么？在云南和贵州的实践会有不同么？
Haobo Wei: Although Yunnan and Guizhou are neighbours, as someone from Guizhou I see Yunnan's culture as very brilliant and varied, whereas Guizhou is much more singular. They are different conditions. As I explained in my presentation, we have now developed a system. It takes the section of a vernacular dwelling as its prototype, then adds a three-dimensional system of organisation, the creation of atmosphere and flexible spaces to form a basic, prototype-like framework. Projects require thought. This framework has been worked out through continual accumulation and provides a platform for our work.
魏浩波：云南和贵州虽然相邻，但是作为一个贵州人看到的云南的文化是一种很璀璨的文化，而贵州是很单一的，不同的状态。在报告中已经介绍了，我们现在已经有了一个体系，这个体系是以民居的剖面为原型，然后增加立体组织体系，以及氛围的制造，再加灵活的空间，构成了一个基本的，类原型架构。做项目要思考，是通过不断积累，梳理出的构架，建立的一个平台。
Yunnan Architecture: How do you maintain such a ‘calm heart’ and pursue architectural practice so persistently?
《云南建筑》：您是如何保持如此“冷静的心”，执着的追究建筑实践的？
Haobo Wei: I was once impatient too. I previously worked in other design organisations and also taught at a university. I tended strongly to go with the flow. After returning to Guizhou, things became very quiet. I was much less overwhelmed by all kinds of information, and only then could I settle down and think.
魏浩波：“曾经我也浮躁过，以前在其他设计单位工作过，也在大学教过书，随波逐流很严重，再回到贵州之后很安静，各种信息对我冲击少很多，才可以静下来思考。
Yunnan Architecture: What is your team's direction of research?
《云南建筑》：你的团队研究方向是什么？
Haobo Wei: Our direction of inquiry is generally applicable construction using vernacular materials, and vernacular tectonics using generally available materials. We seek a channel between modern and traditional approaches through which to address the problems of vernacular architectural practice. Suppose, for example, we are constructing a traditional building. Traditional materials may conflict with environmental and ecological protection, and traditional crafts may already have been lost. We then need to use generally available building materials to make a new vernacular building, seeking an intermediate condition.
魏浩波：我们的探究方向是：乡土材料的通用建造以及通用材料的乡土建构，在现代方式和传统方式中寻找一个渠道，来解决乡土建筑实践问题。例如修建一个传统的建筑，传统的建筑材料有悖于环保生态环保，传统工艺可能已经失传了，就要用通用建筑材料来完成一个新的乡土建筑，去寻找一个中介状态。
Yunnan Architecture: How do you view regional architecture and architecture for tourism?
《云南建筑》：你是如何看待地域性建筑和旅游建筑？
Haobo Wei: Much of what is practised as regional architecture is fabricated regional architecture. In fact, it is tourism architecture that perpetuates and commodifies regional traditions. The tourism architecture produced by the Yunnan provincial design institute is very mature. It does not pursue innovation for its own sake; once mature, it settles into a system, and such a system is rare and valuable. The Banyan Tree hotel in Lijiang, for example, is also a result distilled from a particular environment. Its design need not seek novelty, only to get the logic of construction and the relationship with the environment right. Overly innovative ideas, if not properly realised in design and construction, can instead damage the environment.
魏浩波：地域建筑的很多实践是假造的地域建筑，事实上是旅游建筑，让地域传统长久化、商品化。云南省院的旅游建筑是很成熟的，它不追求如何的创新，在成熟以后会稳定成一种系统，这种体系是非常难得的。例如丽江悦榕酒店，也是特定的环境提炼出的成果，设计中不求如何创新，只求把建造的合理性与环境的合理性做到位就好了；过于创新的理念，设计、施工如果不到位，反而破坏了环境。
Yunnan Architecture: What advice would you give architects in western China?
《云南建筑》：您对西部建筑师有哪些建议？
Haobo Wei: I advocate serious study of tectonic rationality. In many buildings, the structural and spatial systems are not unified. This can easily turn the building's inherently rational relationships into a scene or spectacle. Once it becomes a scene, it becomes commercial architecture, and commercial architecture is judged by different standards. Architects in eastern China are particularly good at commercial design, but architects in the west can also produce excellent work if their designs are supported by systematic theory. Regional and local architecture must respect tectonic logic. Every successful architectural work reflects its prototype fully, and every first-rate master architect is someone who deeply understands and invents architectural prototypes. Many architectural forms today have become exercises in formalism; in commercial architecture, they can be deliberately produced purely for spectacle.
魏浩波：我主张认真研究建构理性。很多建筑的结构体系，空间体系是不统一的，这样很容易把建筑本身很理智的关系变为一种场景，形成场景就变成了商业建筑，而商业建筑的评判标准是不同的；而商业建筑设计是东部建筑师很擅长的，但是西部建筑师要是能以系统的理论支撑设计，一样可以做出优秀的设计。对于地域性建筑，地方性建筑，要尊重建构合理性。每一个成功的建筑实践，都是很完整的反映了原型，每一个一流的建筑大师都是建筑原型高度理解者和发明者。现在的很多建筑造型，都变成了形式论，商业建筑中完全可因为奇观而刻意生产的。
Yunnan Architecture · Specials · 2013, No. 1
云南建筑 · 本期特稿 · 2013年第1期
Haobo Wei
Professional Profile:
Technical director, West-Line Architectural Planning and Design Institute; Principal architect for China, W&B International Workshop; professor-level senior architect; recipient of the Young Architect Award of the Architectural Society of China.
魏浩波
专家信息：
西线建筑规划设计研究院技术总监，W&B国际工作站中方主持建筑师，教授级高级建筑师，中国建筑学会青年建筑师奖获奖者。
Practice to Express Local Architectural Characters in West China
“上山下乡”系列
——西线的乡土实践
Abstract: A review of the experimental work undertaken through the ‘Up to the Mountains and Down to the Villages’ series reveals that, under the influence of universalised systems, the core of locally grounded work is subjective control over the production of vernacular space. Discovering the essential structures of the vernacular, establishing mechanisms for spatial control and incorporating standardised controls are three important stages in ensuring basic design quality. On this basis, West-Line establishes its working model for producing vernacular space.
摘要：通过对“上山下乡”系列乡土实践的实验性工作的回顾，折射出普适性投影下的地方性工作的核心是乡土空间生产的主观性控制，乡土本质结构的发现、空间控制机制的建立、标准控制的纳入是保证其基本设计质量的三个重要环节，并基此建立西线乡土空间生产的工作模型。
Keywords: ‘Up to the Mountains and Down to the Villages’; reference framework; universalised society; subjective control
关键词：“上山下乡”、基准、普适社会、主观性控制
We describe our long-term practice in Guizhou, southwestern China (Fig. 1), as ‘Up to the Mountains and Down to the Villages’. The sweeping political movement many years ago naturally brought together ‘going up to the mountains’ and ‘going down to the villages’, two verbs based on different systems of classification. Subconsciously, this conveys a shared understanding: the vernacular lies concealed in complex geographical locations, and the relationship between ‘up’ and ‘down’ constitutes a region. In my eyes, Guizhou is a glittering series of colourful nouns (Fig. 2): not three feet of level ground; varied ethnic villages; red clothing, silver ornaments, blue wax-resist textiles, black tiles, green bamboo and yellow wheat; evergreen trees; young women; high mountains and flowing water; the city of a hundred wells; dense old forests; revolutionary memories; lilting mountain songs; bustling fashions; and ranks of high-rise buildings. Behind these words lie the action and interpenetration of three kinds of attributes: the geographical, the vernacular and those of universalised society.
在西南贵州的长期实践（图1），我们形象地称之为“上山下乡”。N多年前那场轰轰烈烈的政治运动使“上山”与“下乡”两个不同分类标准的动词自然而然地组合成组，其潜意识中传达着人们的心理共识：乡土藏在复杂的地理位置中，“上”与“下”的关联成就了地域。贵州，在我眼里是一系列多彩名词的闪耀（图2）：地无三尺平/多姿的民族村落/红衣白银蓝蜡黑瓦绿竹黄麦/常青树／妹娘妹妞／高山流水/百井城/密密的老林子/红色记忆/溜溜的山歌/熙熙攘攘时尚／鳞次栉比的高楼等等，词的背后是三类属性的作用与渗透一地理的、乡土的、普适社会的；
‘Going up to the mountains’ is a morphological consequence of geographical constraints, while ‘going down to the villages’ is an observation of the traditional vernacular from the position of universalised society. The distinction between ‘up’ and ‘down’ arises from a reference point that is both geographical and, still more, a reference for social conditions. It appears through comparison with universalised society. The collision of ‘going up and down’ thus gives rise to two directions of professional exploration. ‘Going up’ attempts to translate the geographical and seasonal environmental constraints of mountainous terrain into systems of spatial control. Drifting up and down among mountains, dense organisation, atmosphere-making, production in response to the setting and the well are among its most fruitful experiments. ‘Going down’ concerns the awkwardness of experience when entering, as an outsider, a face-to-face vernacular society of familiar acquaintances, and the relationship between maintaining experience and rebelling against it. Building through the body, lying concealed in the past, weaving and subtle transformation are practical expressions of the struggle within this condition… Together, these convey West-Line's working direction: generally applicable construction with vernacular materials (construct) + vernacular tectonics with generally available materials (tectonic).
“上山”是受制于地理的形态学结果，“下乡”是基于普适社会对传统乡土的观察，“上”与“下”的区分源于一个基准，既是地理的基准更是社会状态的基准，它以普适社会作为参照系呈现。“上上下下"的碰撞由此爆发出两种方向的专业性探索，“上山”试图将山地的地理与物候限制性要素转化为空间控制系统，山地间上下的飘零、密集组织机制、氛围的制造、应景生产、井等是其间最富成效的实验，“下乡“则以他者的身份闯入到面对面“熟识”乡土社会中所面临的经验的尴尬，以及对经验的维系与反叛关系的关注，基于身体的建造、潜伏在过去、编织、潜移默化正是挣扎在其间的实践投射⋯：由此传达出西线工作方向系：乡土材料通用化建造（construct）+通用材料乡土化建构（tectonic）。
1 · A Reference Framework: Taking Universalised Society as the Point of Reference
1 基准——以普适社会为参照
Universalised society is the mainstream and support of the contemporary human world, a product of established technological institutions and contractual structures. Its principal characteristics relevant to architectural production include standard paradigms, multiple replication, the binding force of codes and process-based organisation. These ensure basic quality in spatial production and effective control of cost and efficiency. It is a model of spatial production with strong controlling powers: a human-made objective standard. Our designs are established on this standard, developed and assessed against it. It is also our point of departure towards nature and the vernacular.
普适社会的存在是当今人类世界的主流与依托，是既成的技术体制与契约结构的产物，标准范式/复数性复制/规范化约束力/流程化组织等是其与建筑空间生产相关的主要特征，它们的存在保证了空间生产的基本质量与成本效率的有效控制，是强控制力的空间生产模式，是人造的客观标准。我们的设计正是建立在这一标准之上，并以此为依据展开与评定设计，这也是我们向自然与乡土出发的基点。
Yet this reference framework rests fundamentally on universality, while nature and the vernacular offer possibilities of escaping universality. They question technological society's forgetting of the existence of multiple possibilities, making this contradiction present through their own presence. Analysing the general process of spatial production reveals two key stages of control. One is subjective control, translating analytical and perceptive capacities into formal and spatial relationships. The other is standardised control, breaking these relationships down into construction controls based on technical codes. Standardised control is central to generally applicable construction, is the direction of industrial policy and serves national interests; individuals can scarcely alter it. Its mature technologies, Euclidean geometries, low costs, numerous skilled workers, high degree of standardisation, comprehensive codes and assurances of safety and quality naturally make it the basic technical support for regional practice. Under China's actual conditions, subjective control must therefore be the key distinguishing regional construction from universally applicable construction. How can its basic quality be ensured? First, clearly recognise, discover and protect the essential structures of different systems. Second, systematise fragmentary analytical and perceptive insights and, together with those essential structures, establish mechanisms for controlling space. Third, while safeguarding the original characteristics of regional spaces, bring them within the standardised controls of generally applicable construction.
然而这一基准是建立在以普遍性为其根本之上的，而自然与乡土则是逃逸出普遍性的可能性，是就技术社会对多种可能性存在遗忘的质疑，此刻它们以在场的方式将这一矛盾呈现。试着对空间生产普遍性流程分析，发现存在着两个关键的控制环节：一是将分析力与感悟力转化为形态与空间关系的主观性控制；一是将形态与空间关系分解为控制施工的以技术规范为依据的标准性控制。标准性控制是通用建造的核心，是产业政策的方向与国家利益的需要，个体的力量难以撼动，同时它所禀赋的成熟技术/欧氏几何关系/低成本/技术工人众多/标准化程度高／控制规范健全/安全质量保证理所当然地成为地域实践的基本技术依托，于是现实的中国条件下主观性控制必然是区分地域建造与普适建造的关键。如何保证主观性控制的基本质量呢？一，清醒与发现不同体系的本质性结构，并保护；二，将零碎的分析力与感悟力系统化，与本质性结构共同建立空间控制性机制；三，在保障地域性空间原始特征的基础上，将之纳入到通用建造的标准性控制中。
2 · ‘Up to the Mountains’: Producing Space with Nature as Prototype
2 “上山”——以自然为原型的空间生产
Analysis of complex geographical forms reveals three patterns of considerable value for spatial control: first, the organisation of a series of physical relationships projected by geographical form onto human bodily behaviour; second, a mechanism of dense organisation through repeated similar configurations; and third, the activation of spatial atmosphere by seasonal environmental factors.
针对复杂的地理形态展开分析，发现其间三条颇具空间控制价值的规律：一是地理形态投射于人的躯体行为之上的一系列形体关系的组织；二是重复同构的密集组织机制；三是物候因子对空间氛围的策动。
Going Up 1: A Spatial Organisation Drifting Up and Down
上山1：上下飘零的空间组织
(Figs. 3 and 4.) 1. Experimental project: Dream Stream hillside housing, Huaxi, Guiyang. Focus: a branching, three-dimensional circulation system. 2. Analysis of essential structure: complex geographical conditions are projected onto the physical body as repeated intersections and combinations of fragmented actions—ascending and descending, stopping and starting, turning left and right, looking ahead and back, and deciding which way to go. 3. Generation of the spatial-control mechanism: deliberately establish a three-dimensional circulation loop; insert courtyards at intervals to adjust the body's condition; and add branching points within the courtyards, transforming the loop into a circulating system of movement with choices in multiple directions. 4. Standardised control: use a reinforced-concrete grid in the manner of a timber-frame system, making point contacts with the mountainside. This readily corresponds to habitual ways of thinking among mountain inhabitants and facilitates the implementation and inspection of current design and construction codes.
（图3，图4）1）试验对象：贵阳花溪梦溪笔谈山地居住群（关注焦点：分岔的立体循环路径体系）2）本质性结构分析：地理环境复杂状态投射在人的物理性身体上，呈现为上上下下/走走停停/忽左忽右/瞻前顾后/前途判断等片断式形态的反复交叉与组合。3）空间控制机制的生成：刻意预设一个立体的路径环；并间歇插入调节身体状态的院，同时在院内增加分岔口，将环结构调整为具有多向选择性的循环的游走系统。4）标准控制：采用钢筋混凝土网格以类木构体系的方式与山地发生“点”接触，易形成山地人思维中的惯性，也便于现行的设计、施工规范的实施、验收。
Going Up 2: Dense Organisation
上山2：密集组织机制
(Figs. 5, 6, 7 and 8.) 1. Experimental project: the entrance landscape buildings at Bamboo Forest National Park. Focus: mechanisms of activation. 2. Analysis of essential structure: the bamboo forest nurtures an extreme form of dense organisation through repeated similar configurations. Supported by this density, seasonal environmental factors such as sunlight, wind, rain and mist are amplified into powerful forces acting on spatial volumes. 3. Generation of the spatial-control mechanism: (1) Concealment is the environmental strategy, integrating a dense spatial condition of repeated, self-similar configurations into the bamboo forest. (2) Awakening is the core of the work. Winding routes deliberately stimulate bodily sensitivity; the water surface acts as a mirror of phenomena to regulate environmental factors; roofs combined with coloured glass produce five colours of light drawn from the bamboo forest. The amplification of light, wind, rain and mist through dense organisation acts as a catalyst. Together these awaken the vitality of bamboo and revive bodily perception. In short, concealment constructs the basic condition of the space's existence; awakening activates its spatial body. 4. Standardised control: use cavity-form concrete as the supporting system, suspend bamboo to assemble the dense spatial arrangement, and steam-treat the bamboo to improve weather resistance.
（图5，图6，图7，图8）1）试验对象：竹海国家森林公园入口景观建筑系列（关注焦点：诱发机制）；2）本质性结构分析：竹海空间孕育着一种极端的重复同构的密集组织机制；阳光\风雨\雾等物候因子在密集性的支撑下，放大成某类强大的力量对空间体产生影响。3） 空间控制机制的生成：（1）藏作为环境策略，以自相似重复同构的密集空间状态融入竹海中。（2）醒是工作的核心，以绕的路经蓄意激发身体的敏感；以水面现象镜对物候因子进行调控；以屋盖同彩色玻璃的配置生产源自竹海的五色光，以密集组织对光/风雨/雾的放大机制为催化，共同作用，唤醒竹的活性与身体感知力复苏。简言之，藏的策略建构空间的基本存在状态，醒的策略激活空间体。4）标准控制：以腔型混凝土为支撑体系，以吊的手段完成竹材料的密集空间组装，以蒸的方式提升竹材料的耐候性。
Going Up 3: Making Atmosphere
上山3：氛围制造
(Figs. 9, 10, 11 and 12.) 1. Experimental project: the memorial at the Huangpidong Red Army battle site. Focus: producing atmosphere through materials. 2. Analysis of essential structure: atmosphere is composed of a perceptible state, an indeterminate enveloping medium and solid enclosing elements. It is a field of interaction between the body's perceptual system and the materials of the objective world, hovering between the measurable and the immeasurable.
（图9，图10，图11，图12）1）试验对象：黄陂洞红军战斗遗址纪念场（关注焦点：材料生产氛围）；2）本质性结构分析：氛围基本组成为可感知的状态体+不定形的笼罩物+固态的围合物；是身体知觉系统与客观世界的物质材料集相互作用的场，徘徊在可度量与不可度量间。
3. Generation of the spatial-control mechanism: (1) Establish three enclosures with different material characters. a. An elongated, trench-like space with a U-shaped section. Its walls are rough, site-mixed exposed concrete covered in pores. The pores reveal material depth, producing countless shadows in sunlight and filling with droplets in rain. The ground is finished in smooth red cement: dusty when dry, flowing blood-red in rain. b. A semi-enclosed, sunken cylindrical space with a circular plan. Its floor is entirely red, an overwhelming expanse. c. The square-spiral monument rises firmly from the site's geometric centre, a battle flag and cry held still in material form. Inside its cast-concrete chamber, polished cement produces numerous bright reflected points of light… (2) These three enclosures are organised into an open, quiet body of contemplation according to a particular centripetal order…
3）空间控制机制的生成：（1）建立三种不同材料的围合物：a.类战壕的剖面为U型的长条空间体；墙体材料系满生气孔的自拌的粗糙的清水混凝土，孔体现了物质的进深，在阳光下产生无数的影，在雨中则饱含水珠；地面系红色水泥清光，晴天起尘，雨天则血色流淌。b.圆形的半封闭的下沉的圆柱空间体，底面一片红，铺天盖地般。C.方螺旋纪念碑主体从场地形心挺拔向上，它是军旗呐喊的凝固，混凝土浇注成型的腔体内水泥抹光，现出很多高亮度反光斑点⋯⋯。（2）三种围合物们按特定的向心秩序组织成一组空旷而沉静的冥想体⋯⋯
4. Standardised control: the walls and geometric forms are all cast-in-place concrete, using rough timber formwork measuring 2.4 × 1.2 m. Because of cost and the workers' unfamiliarity with the technique, the joints between panels were not deliberately emphasised. Removing the formwork damaged the dividing joints and left concrete scars and pull marks. These imperfections, produced to varying degrees by chance, were deliberately permitted accidental results. The memorial ground is paved with specially made concrete blocks combining local Chishui sand and aggregate with iron-oxide red pigment. Each unit measures 240 × 120 × 60 mm, keeping costs low and simplifying transport and construction in the mountains.
4）标准控制：墙体与几何物均为现浇混凝土，模板为2.4米x1.2米糙面木模，模与模的交接缝考虑到成本与施工技艺的陌生，未刻意强调，启模时导致对模体分割缝的破坏，出现许些混凝土结疤与拔痕，这些因偶然性造就的不同程度的瑕疵，是有意的偶然结果；场的地面则是特制的以赤水当地的砂石渗铁红粉配成的混凝土砌块铺地，单元参数240mmx120mmx60mm，造价低廉，又方便在山地运输与施工。
Going Up 4: Producing Space in Response to the Setting
上山4：应景生产
(Figs. 13, 14 and 15.) 1. Experimental project: the entrance space at Foguangyan, Chishui, in the Danxia World Heritage site. Focus: responding to different directions and integrating them. 2. Analysis of essential structure: (1) The site's spatial prototype is funnel-shaped, broad at the top and narrow at the bottom. The passage of the visitor route disrupts its centripetal character, making it a linear, dynamic space unfolding through time. (2) It contains three orders: a. the principal visitor order, focused diagonally east–west on the cave entrance; b. the viewing order from the ground upwards; and c. the outlook from below towards the stream. The ‘ground’ is the key to the entire entrance-space design, unifying its responses in different directions.
（图13，图14，图15）1） 试验对象：丹霞世界遗产地赤水佛光岩入口空间（关注焦点：各向应景与整合）。2）本质性结构分析：1）基地空间原型系漏斗型，顶阔底狭，因游览动线的穿越，向心性被破坏，为有时间性的线性动态空间；2）隐含三种秩序：a.东西斜向聚焦洞口游览主秩序；b.自底向上的观景秩序；C.由底下朝溪流的眺望秩序；“底”系整个入口空间设计的关键，它统一各向应景。
3. Generation of the spatial-control mechanism: the meeting of the ‘ground’ with the surrounding interfaces produces three situations of different character. (1) Situation One—Flow: the viewing corridor on the ground's northern side is influenced by the movement of the stream and treated as a flowing form. The roof's liquid quality, the directionality of the walls and the shifting point contacts between columns and ground all reinforce this flow. (2) Situation Two—Undulation / Well Openings / Falling Rain: to ease the tense relationship with the cliff south of the ground, a transitional spatial volume is deliberately inserted. Influenced by the steep cliff, it is treated as a group of stone houses. a. The roof is an undulating surface-space: here, the ground is extended into a folded, undulating, tensioned surface supported by rising groups of stone piers. b. A dense organisational mechanism coordinates functional systems with light openings, and lightwell systems with three-dimensional rainwater systems. c. Situation Three—Focus / Convergence: as sightlines from both sides contract sharply, the cave entrance is elevated into the visual focal point, controlling the ground's principal landscape order.
3）空间控制机制的生成：“底”与周遭各界面的交接生产出三类不同属性的情景：（1）情景一.流动：“底”北侧的观景廊，受溪流动势的染指，被处理成流动态，屋面的液态感、墙面的方向性及柱与“底”不定的点触关系都加强着流动的态势；（2）情景二.起伏／井口／落雨系统：为缓解与底南部绝壁的紧张关系，有意在此锲入一过渡空间体，该空间体受陡崖属性的影响，被蓄意处理成一组石头房：a.屋盖一起伏的面空间：“底”在此被一组向上隆起的石礅群撑展成的一张折叠起伏张拉面。b.组织一功能系统匹配光孔系统+天井系统匹配立体雨水系统密集组织机制。C.情景三：聚焦／收束：洞口在两侧视线的急剧收缩中，抬升为视觉的聚焦点，操控底的主景观秩序。
4. Standardised control: (1) The ‘ground’ is a vast red folded surface of layered parallel bands, paved with Danxia stone blocks measuring 300 × 600 × 150 mm. It conveys a quiet, sacred sense of openness. (2) The undulating surface is cast in concrete using Danxia stone sand as aggregate and iron-oxide red pigment. Formwork consists of fir boards of varying age, measuring 300 × 600 × 20 mm. Because of the roof's waterproofing build-up, its upper surface is clad in 300 × 600 × 12 mm Danxia stone slabs. Their dimensions and laying pattern maintain continuity with the ground. The roof soffit, sides and drainage channels retain the mottled exposed-concrete appearance left after formwork removal: rough, with the force of stone. (3) The principal spaces are enclosed by groups of stone piers spaced either regularly or irregularly, with sections of 370 × 370 mm, 370 × 870 mm, or L-shaped sections with dimensions of 555/990 mm. The seven stone boxes are all enclosed by groups of piers built from Danxia stone units measuring 240 × 120 × 60 mm. This method derives from the conception of the whole as stone houses. It also seeks to reflect the structural prototype of brick-and-concrete construction and to express the fact that Danxia sandstone can be cut into thin pieces.
4）标准控制：（1）"底”以300mmx600mmx150mm的丹霞条石为基材铺砌的一张巨大的层叠平行红色折面，呈显出静谧而神性的“空旷”感；（2）起伏的面系由混凝土浇筑而成，骨料为丹霞石沙粒，内掺铁红粉，模板为300mmx600mmx20mm的不同新旧程度的杉木板：而屋顶面由于防水构造层次的要求，故其面层处理成以300mm×600mmx12mm的丹霞薄片覆面，尺度与铺贴方式上均延续了与“底”的一致性；屋面底板、侧面及屋顶排水渠仍保持着拆模后的斑斑驳驳的混凝土清水效果，很拙，石头般的力度。（3）主体空间由截面尺寸分别为370mmx370mm矩形，370mm x870mm矩形，以555mm/990mm的L型的石礅群等距或不等距间离围合而成，七个石盒体均由240mmx120mmx60mm的丹霞石块砌筑的石礅组围合而成，如此作法源自整体系石头房，并希望映射砖混的结构原型，以及呈现丹霞石系砂岩可切割成片的属性。
Going Up 5: The Well
上山5：井
(Figs. 16, 17 and 18.) 1. Experimental project: the Exhibition Center for the China Danxia Chishui World Heritage Site. Focus: an ordered system of wells. 2. Analysis of essential structure: the ‘well’ is a spatial prototype encompassing caves, pit traps, mine shafts, water wells and lightwells. Composed of an opening and a chamber, it is characterised by strong enclosure, echoes, muffled resonance, light that gradually fades with depth, and the experience of looking at the sky from the bottom of a well. Because wells are focal points of geography and survival, they gradually develop into a loose network extending outwards from individual points. The image of ‘wells in good order’ projects this systemic structure.
（图16，图17，图18）1） 试验对象：中国丹霞赤水世界遗产地展示中心（关注焦点：井井有条）。2）本质性结构分析：“井“是洞穴、陷井、矿井、水井、天井等空间原型，由井口与腔体构成，强封闭性、回声、闷响、光的渐行渐暗、坐井观天系其特征；由于“井”系地理与生存的重点，逐步发展为从局部向外延生长的疏松网状结构，井井有条，系其形象的系统结构投射。
3. Generation of the spatial-control mechanism: (1) The well serves as the prototype for exhibition spaces, producing an introspective quality. (2) It is treated as a dense enclosure of wall segments. (3) Repetition and addition of well units generate an orderly overall framework for spatial control. (4) The positioning of wells establishes a route for wandering through the exhibition, while undulations in the roof and ground systems regulate bodily experience along the way. 4. Standardised control: densely organise reinforced-concrete L-shaped load-bearing columns and infill wall segments.
3）空间控制机制生成：（1）“井”为展览空间的原型，生产内省的品质。（2）“井“被处理成墙段群的密集围合。（3）“井“的单元复加生成井井有条的整体空间控制结构。（4）透过“井”位置经营，预设游走的参观系统，并以屋盖系统与底系统的起伏，控制其间的身体状态。4）标准控制：钢筋混凝土L型受力柱与填充墙段的密集组织。
3 · ‘Down to the Villages’: A Vernacular Way of Working That Follows Local Customs
3 “下乡”——“入乡随俗”的乡土工作思维
‘When entering a place, follow its customs’ is a folk truth revealing the necessity of changing one's position and identity. This shift means relinquishing habitual subjective thinking and experiencing life at a particular place and time as local people do. It helps prevent thinking shaped by universalised homogenisation from excessively eroding vernacular communities, and avoids inadvertently damaging the core structures of local ways of living and existing. Following local customs is not merely an attitude towards work. It is also a capacity for discovering ‘a priori’ forms, a lived experience of the distance between universalised society and the vernacular.
“入乡随俗”是民间真理，揭示着身份置换的必要，身份置换的目的是放弃主观思维的惯性，以当地人的方式体验当时当地的生活，以避免普适化同质现象影响下的思维对乡土群过度侵蚀与磨损，防止不经意地破坏当地生活与存在方式的核心结构。“入乡随俗”不仅仅是一种工作态度，更是一种发现“先验“形式的思维能力，是对普适社会与乡土距离的活生生的体验。
Going Down 1: Building Through the Body
下乡1：基于身体的建造
1. Experimental project: Bailong Miao Village Folk Culture Complex, Huaxi, Guiyang (Figs. 19, 20 and 21). 2. Analysis of essential structure: bodies, the Fourth Month's Eighth Day festival, wandering souls, the Hmong or ‘Flower Miao’, the legend of Jiulong, the smell of mould, red, yellow and blue flowers, the Five Sisters, kinship and old trees—these phenomena of life, thought and perception, whether tangible or imagined, are understood as relationships among things in a broad and equal sense. All exist as ‘bodies’, in sunlight or in the imagination. From this arise techniques for controlling bodies and generative configurations governed by legend and kinship, with hierarchical relationships organised through a ‘differential mode of association’.
1）试验对象：贵阳花溪摆陇苗寨民俗综合体（图19，图20，图21）2） 本质性结构分析：身体/四月八/飘魂/花苗/九陇的传说/霉息/红、黄、蓝花/五姊妹／血缘/老树等各种或实或虚的生命现象/思维现象/知觉现象都被理解为广义而平等的物的关系，皆以“身体”的形式在阳光下或想象中存在，由此演生一系列控制“身体”的技巧以及传说与血缘控制的生成格局，以“差序格局”组织等级关系。
3. Generation of the spatial-control mechanism: establish a dual order of control. One is the order of layout: stone body → group of stone bodies → cluster of stone bodies, a self-similarly expanding structure of hierarchical nesting. The other is the perceiver's order of experience, based on building through the body (figure). This explores a combination of generally applicable construction technologies with the essence of vernacular building, in which immeasurable atmosphere coexists harmoniously with them (figure), and attempts to construct spatial-control techniques that activate bodily perception. 4. Standardised control: use frame and brick-and-concrete structures—typical, efficient forms of generally applicable construction. Walls follow the standard build-up of substrate and facing. The substrate uses locally produced cement-sand bricks; the facing consists of thin slabs of inexpensive, abundant local sedimentary bluestone, whose surfaces express markedly different characters in different weather. The cement bricks primarily provide load-bearing capacity and thermal insulation, but their high porosity makes them permeable. The bluestone strips on the surface provide resistance to damp and water penetration while also creating atmosphere: they have an emotional texture.
3）空间控制机制的生成：建立双重控制秩序，一重是布局的秩序一石体→石体组→石体群的自相似扩展层级嵌套结构；一重是体验者感知的秩序，是基于身体的建造（图）；由此，探索通用建造技术体系与不可测氛围和睦相处的乡土建造精髓结合（图）；尝试建构开启身体知觉系统的空间控制技巧。4）标准控制：结构采用框架与砖混，典型的通用建造，效率高；墙按通用构造做法：基层+面层，基层采用当地产的水泥砂砖，面层则用薄薄的价格低廉且盛产的层积岩青石板敷面，这种材料在不同的天气，表面会呈现明显不同的表情；基层的水泥砖主要为承重与保温，空隙率高易渗透，而表层的青石板条则处理防潮防渗，同时构建氛围，它有情绪的质感。
Going Down 2: Lying Concealed in the Past
下乡2：潜伏在过去
(Figs. 22, 23, 24, 25 and 26.) 1. Experimental project: Bing’an Memorial on the Chishui River. 2. Analysis of essential structure: ‘red tourism’ can be understood as tourism centred on the memory of major events. Its operating mechanism is to ‘awaken’ revolutionary memories and ‘write’ contemporary responses. In other words, producing meaning activates space, thereby supporting the local economy and tourism.
（图22，图23，图24，图25，图26）1）试验对象：赤水河畔丙安纪念馆2） 本质性结构分析：“红色旅游“可归结为某种大事件记忆型旅游方式，其运作机制的要旨是通过“唤醒”红色记忆与“书写”当代的感言，即通过对意义的生产激发空间的活力，从而对地方经济与旅游产生助推作用。
3. Generation of the spatial-control mechanism: (1) Concealment: the memorial is squeezed into a cluster of old houses, like an old dwelling embedded among ordinary people's homes in the past. (2) A space of dense strips: the parallel arrangement of strips and the extensive permeability of their gaps make the confined exhibition spaces feel expansive. They also give the building's interior an overall effect of complex purity. The dense timber strips symbolise the reality of the revolution at that time: thorns everywhere, yet unable to obscure the distant horizon of hope. Through the careful making of space, the exhibition environment thus fulfils its inherent function of educating and moving the heart.
3）空间控制机制生成：（1）潜伏：纪念馆就挤在一堆老屋中，如同当年窝在民间的老宅。（2）密条空间；密条的平行布局，以及条缝的大量通透性，使狭小的陈列空间小中见大，也使得整体的建筑内部最终达到一种复杂的纯净效果。室内的密集木条景象也象征着当时革命的现实：荆棘密布，但是遮不住希望的远方；由此巧妙通过空间的营造，完成陈列性空间的先天教化心灵的职能。
(3) Configuring evocative illusions of light: frosted white glass at the principal lateral light sources abstracts the scenery outside and diffuses the light inside, creating successive gradations of light and volume. Light from the roof pours down directly and clearly. The overall lighting draws attention ‘upwards’, towards distant brightness and hope. Two coloured skylights, one red and one yellow, use the interaction of light and colour to tint parts of the interior strongly, making its atmosphere bright and impassioned. 4. Standardised control: the building is entirely timber-framed. Its tectonics continue local mortise-and-tenon methods while articulating geometric connections. Sandwich panels, transparent fire-retardant varnish and waterproofing layers enable compliance with standardised requirements for insulation and energy efficiency, fire protection and waterproofing under generally applicable technical controls.
（3）光的幻象意境配置：主要侧光源的磨砂白玻使得窗外的景色抽象、窗内的光线涣散，成就一系列光与体的退晕效果；来自屋顶光则直接明了地倾泻而下，整体光照方式将人的注意力吸引“向上”，高远的光明与希望，两处带色（一处红、一处黄）的天窗在局部利用光与色的互动给内部空间染上了强烈的色彩，使得室内环境变得鲜亮激昂。4）标准控制：通体采用木结构，建构在沿袭当地的榫卯方式中夹带几何型交接关系的交代，配合夹心板/透明防火清漆/防水层处理，遵守通用技术标准控制下的保温节能/防火/防水等的规范化要求。
Going Down 3: Weaving
下乡3：编织
1. Experimental project: Wuzhufeng Visitor Reception Center, Chishui, Guizhou (Figs. 27, 28 and 29). 2. Analysis of essential structure: vernacular dwellings in northern Guizhou have a strongly woven character. Horizontal tie-beams link rows of columns, forming successive roof frames that project a network of interweaving relationships. This woven network also influences the elevation patterns of doors and windows. Eventually, it develops into a sensory network that weaves together historical stories and the natural world in response to the setting. Weaving grows into a principal means of producing a sense of place for everyday life.
1）试验对象：贵州赤水五柱峰游客接待中心（图27，图28，图29）2）本质性结构分析：贵州黔北民居透着强烈的编织意味，一条条横向穿枋把一列列柱子串联起来，形成一榀榀编织关系投射的网状屋架；这网状的编织关系更影响着门扇与窗扇的立面构成；最终竟发展成编织历史故事与自然世界的应景的感官体验网络，编织生长为生产生活场所感的主要手段。
3. Generation of the spatial-control mechanism: establish three interwoven orders moving from outside to inside. The first is the outward-facing weave of nature, projecting sensory experiences such as those of the woods. The second is the traditional weave of the building's elevations, alluding to traditional instructive stories. The third is the spatial weave of the roof, creating a sensitive, embodied space with a rhythm of rises, falls, pauses and accents. 4. Standardised control: use frame and brick-and-concrete structures. Roof and external wall finishes consist of inexpensive local Danxia stone slabs. No damp-proof treatment is applied to the stone facing; moss is allowed to grow in wet weather, and over time the surface changes from red to dark green-black.
3）空间控制机制的生成：建立三重由外向内的编织秩序，一重是外向的自然编织→对树林等感官体验的投射；一重是屋立面的传统编织，是对传统教化故事的隐约；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。4）标准控制：结构采用框架与砖混；屋面与外墙面层为当地低价格丹霞石薄片，面层石材不做防潮处理，任由其在湿润天气下生长青苔，日积月累，由红转青黑。
Going Down 4: Subtle Transformation
下乡4：潜移默化
1. Experimental project: the Exhibition Hall at the Red Army Martyrs' Cemetery in Chishui, Guizhou (Figs. 30, 31, 32, 33, 34, 35 and 36). 2. Analysis of essential structure: the instructive mechanism of traditional courtyards. Courtyard scenes are anticipated to evoke feeling through their setting. Exemplary objects, emotional modulation and the visual language of the enclosing elevations are precisely coordinated to generate a hierarchical, centripetal, exemplary space that invites reverent contemplation. Meaning is produced without words, subtly shaping people's thoughts.
1）试验对象：贵州赤水红军烈士陵园展陈馆（图30，图31，图32，图33，图34，图35，图36）。2）本质性结构分析：传统天井的教化机制：以触境生情天井场景预设，模范物、情绪变响与环绕天井的立面形象语言的精密配合，一个有等级的、向心的、被瞻仰的模范空间由此生成；以无言说的状态生产意义，于不经意中教化人的思想。
3. Generation of the spatial-control mechanism: (1) Define the expression of commemorative space through ‘lowering’ and ‘lofty aspiration’. (2) Produce material space with a low profile. (3) Generate an instructive mechanism of subtle transformation: deliberately introduce a porous system of exemplary courtyards with educational meaning into the exhibition hall, in order to fulfil the instructive function of commemorative space. Three kinds of courtyard—ritual, poetic and sublime—are intentionally created. Together they form a sequenced network for regulating atmosphere, producing spiritual pleasure through which instruction takes effect imperceptibly.
3）空间控制机制的生成：（1）纪念空间书写定位一“压低”与“高远”；（2）物质性空间生产一低姿态的空间生产，（3）“潜移默化”教化机制的生成刻意组织一套具备教化意义的多孔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，由此成就一种精神之悦，从而潜移默化地实现教化。
4. Standardised control: paint all walls white and pave the ground entirely with bright red Danxia stone, reducing material expression as far as possible. Space is transformed into an almost abstract condition of extreme colour. Use brick-and-concrete construction, with the most readily available materials and least expensive labour, to keep costs down. Simplify construction details wherever possible, reducing their material expressiveness.
4）标准控制：建筑物墙体通体刷白，地面满铺鲜红的丹霞石，尽量将物质化的表现程度压到最低，空间被转化为一种近抽象的极端色彩状态；采用最便利取材与最便宜人工的砖混结构，压低造价；尽量简略节点构造，压低节点处的物质表现力。
4 · ‘Up to the Mountains and Down to the Villages’: West-Line's Working Model for Producing Vernacular Space
4 “上山下乡”——西线乡土空间生产工作模型
Based on the classic sectional prototype of Guizhou's vernacular dwellings—the combination of a raised, folded roof and ground that undulates with the terrain—the ‘Up to the Mountains and Down to the Villages’ series has gradually developed into a working model for producing vernacular space. Its core comprises: 1. a roof system, with mechanisms of differentiated treatment according to type and topology; 2. a ground system, with mechanisms responding to terrain and setting; 3. a spatial organisation system, based on dense organisation; 4. an atmosphere-making system, configuring evocative illusions of light; 5. a courtyard-based system of instruction through subtle transformation; and 6. a construction system grounded in bodily building and the principles of tectonic rationality. This model has already become the technical support for West-Line's vernacular practice.
“上山下乡“实践系列，在基于贵州乡土民居经典原型剖面（举折的屋盖与因地起伏的底的组合）的基础上，逐步生长为包含：1.屋面系统：随类赋彩与拓扑机制；2.底系统：应地应景机制；3.空间组织系统：密集组织机制；4.氛围制造系统：光的幻象意境配置机制；5．天井教化系统：潜移默化机制；6.建造系统：基于身体的建造与建构理性原则等内容为核心的乡土空间生产的工作模型，它业已成为西线乡土实践的技术支撑。
The working condition of moving up and down reflects a partial withdrawal from universalised society. It means retreating 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 the two forces of the vernacular and generally applicable technology. The guiding direction of West-Line's work is therefore: generally applicable construction with vernacular materials (construct) + vernacular tectonics with generally available materials (tectonic).
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的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：乡土材料的通用化建造（construct）+通用材料的乡土化建构（tectonic）。
References
参考文献
[1] Bing’an Ancient Town is designated a Classic Red Tourism Destination of China, a Historic and Cultural Town of Guizhou Province, and a Historic and Cultural Village of China. It is a typical old market town at the junction of southern Sichuan and northern Guizhou, situated on the ancient Sichuan–Guizhou route, 12 km from central Chishui. The Chishui River surrounds it on three sides. Numerous stilt houses along the river are supported on reddish-brown rock by hundreds of round timber posts, creating a spectacular sight. The town has only one narrow stone-paved street, which has always been an important trading place for several surrounding villages. In January 1935, during the Red Army’s Four Crossings of the Chishui River, the Second Division of the First Red Army Corps, its divisional and regimental headquarters, and Corps Commander Lin Biao camped in Bing’an. They successfully completed the first crossing and achieved a strategic victory.
[1] 丙安古镇系“中国红色旅游经典地”、“贵州省历史文化名镇”、“中国历史文化名村”，是典型的川南黔北交界的古老场镇，处于川黔古道上，距赤水市区12公里，三面濒临赤水河，河边建有许多由数百根圆木支撑在赭色岩石上的吊脚楼，蔚为壮观。古镇只有一条狭窄的石板街，从古至今一直是周围几个村寨商品交易的重要场所。1935年1月红军四渡赤水时，红一军团第二师和师团部及军团长林彪曾在丙安扎营，并顺利一渡赤水，取得了战略性的胜利。
[2] A project within China’s red tourism construction programme, built on the original site of the First Red Army Corps headquarters in Bing’an. The floor area is approximately 300 m². It is constructed entirely of timber by a local team of carpenters. Design lead: Haobo Wei. Project leaders: Haobo Wei and Ling Zhou. Review: Ke Zhou. Design control: Liu Hong. Completion: April 2009.
[2] 中国红色旅游建设项目，在红一军团指挥部丙安原址地修建，建筑面积约三百平米，通体木构，当地木匠班施工。设计主持：魏浩波，项目负责：魏浩波、周令，审核：周可，设计控制：洪流，竣工时间：2009年4月。
Manuscript received: 24 February 2013
收稿日期：2013-02-24