Eleven Conversations — Bamboo Stream Houses of Dream Stream Houses in Guiyang

the awkwardness of meeting on public paths: people pass one another while enjoying mountains and water. Third, their landscapes and gardens/courtyards also differ clearly. Rokko mainly looks outward, whereas Bamboo Stream focuses on inward scenery. Rokko combines outward views and stepped forms with open roof gardens; neighbouring gardens complement one another visually and their activities allow neighbourly interaction. Bamboo Stream’s inward landscape instead produces private lightwells and inner courts. These differences reveal the architects’ cultural positions, which might be described as humanistic social concern versus a literati sensibility. Rokko deliberately creates varied, somewhat compulsory encounters in public spaces, conveying a clear concern for social life. At Bamboo Stream, the relationship between people and landscape partly replaces social relationships, expressing more of a literati temperament.

人们在公共路径上相遇时的困窘，他们在观山赏水间擦身而过。再次，在对景观和园／院的设计上二者也有明显区别，六甲主要是向外观景的，而竹溪居是以内向景观为主。六甲配合着外向景观和叠落的形体设计了一系列的开放的屋顶花园，这些花园在视觉上与邻居的花园互相映衬，而花园中的活动也带有邻里交往的可能。而竹溪居的内向景观则生成了一个个私密的天井内院。从上面这几点可以清晰地看出建筑师在文化观念上的差异，我想可以简化为人文关怀和文人情趣的区别。六甲清晰地在建筑的公共空间中制造多样化的、略带强迫性的相遇空间，传递出明确的人文关怀。而竹溪居中人与山水的关系一定程度上替代了人与人的社会关系，更多地表现为一种文人气质。

Haoyan Wei: Rokko has become an architectural prototype and a collective formal memory, demonstrating the power of form. One may see its shadow here, but that is only a formal resemblance. The internal relationships are substantially different. Calling it a copy is an overly rapid, formalist judgement.

魏皓严：六甲集合住宅太原型了，已经成为一种集体记忆，尤其是形式上的集体记忆，可见（原型）形式的力量多么强大。要说竹溪居有六甲的影子也无不可，但这只是形式问题，二者的内在关系差别很大，根本不是一码事。所以说“竹溪居是六甲的翻版”是一个反应过于快速的基于形式主义论调的粗糙判断。

Yi Liu: Both address mountain terrain, relatively high density and reinforced concrete. But Rokko is collective housing while Bamboo Stream consists of attached villas, producing fundamentally different spatial structures. Construction also differs. The photographs of Rokko show exposed-concrete wall construction, despite the frame-like impression of its early axonometric drawings. Bamboo Stream uses a frame with infill walls and a wider range of materials, including stone, steel and timber.

刘艺：这两个项目有相似的地方，比如面对山地地形、较高的密度、采用钢筋混凝土结构等等。但六甲山是集合住宅，竹溪居是拼联别墅，这决定了二者空间结构的根本不同。建造方式也大相径庭，六甲山住宅从建成照片上看是清水混凝土墙体体系（其方案手绘轴测线条图上给人以框架的错觉）。而竹溪居则是框架填充墙体系，材料也更多样些（石、钢、木等等）。

Ye Zhu: If design explores the possible responses to a site, the built result is one particular application. Many forces act between an empty site, the exploration of possibilities and the final building. Judging similarity from shape alone is meaningless.

朱晔：如果把设计看作是对基地条件的现实可能性的穷举，那么其实现就是应用的特例。从一块空的基地到设计中可能性的探究到最终应用特例的实现，中间有多重的动力共同作用，单从形态上判断设计的相似是没有意义的。

Ye Zhu: It depends on how “region” is defined. Is it a matter of form? Internationalisation and regional identity can relate through derivation, dependence, symbiosis or coexistence. Discussing only appearance is inadequate. If the question is purely formal, “damage” is logically inappropriate: forms do not directly exert such forces on one another.

朱晔：这首先要看如何界定“地域”这一概念，是从形态进行界定吗？建筑的国际化与地域性之间存在着多元的生态关系，可以是衍生、寄生、共生、并存……等等，单就形态进行二者关系的讨论是单薄的。而且如果仅仅是形态的，使用“伤害”这样的动词来考察二者的关系在逻辑上是不成立的，因为“形态”之间无法发生直接的作用力。

Guochuan Feng: I consider Bamboo Stream regional architecture; its modern architectural form does not compromise that identity. This is a globalised world, and any meaningful regionalism discussed in this context must respond to world culture. Regional

冯果川：我觉得竹溪居是地域性建筑，它的现代建筑形态并不影响其地域性建筑的身份。这是一个全球化的世界，我们在这个背景中要讨论一种有意义的地域性的话，那么必须对世界文化做出回应。地域性的

design is not developed in isolation. As Paul Ricœur said, regional culture today is a local refraction of “world culture.” Even when the questions and methods transcend a region, a design is regional if it conveys regional cultural values. Nor should we blindly admire regionalism. We stress it because it can help us escape the rigidity of universal culture and offers an important critical force in an increasingly homogeneous world. In many respects Bamboo Stream demonstrates independent thought about the mountain-building traditions of southwest China, which is very valuable.

设计不是闭门造车，正如保罗·里柯所言，现在的地域文化其实是“世界文化”的地方性折射。所以，即使关注的问题以及解决问题的手段都是超地域性的，但只要里面传递出地域性的文化价值，这个设计也是地域性的。另外，我们不能盲目地推崇地域性。我们强调地域性，是因为它可以帮助我们摆脱普世文化的僵化，是因为它对趋同的世界来说是一股重要的批判力量。竹溪居在很多方面都反映出其对西南地区山地建筑传统的独立思考，这是很难能可贵的。

Haoyan Wei: Regional architecture admits several interpretations. International style and global capitalism have penetrated deeply. Reducing regionalism to appearance underestimates both global capitalism and regional culture. I see this project as a transformation of the architect’s childhood spatial memories—he grew up locally—which is itself regional.

魏皓严：地域建筑这个概念是可以多维解释的，国际风（以及它后面强大的全球资本主义文化）已经渗透到那么深刻的程度，如果只是把地域建筑问题归结为形态问题就是小瞧了全球资本主义文化的力量，也小瞧了地域文化的力量。我觉得竹溪居是建筑师自己（建筑师是在当地长大的）的童年空间记忆的一种转化，这本身就有地域性。

Haobo Wei: Its prototype comes from observing movement through mountains: walking and pausing. While walking, the body repeatedly rises and falls; while pausing, it relaxes and thought wanders. This three-dimensional movement creates the dynamic character of mountain dwelling. Regional dwelling emerges between human intention and the environment. Must regionalism mean continuing local materials and details? It is living bodies and life itself.

魏浩波：竹溪居原型源于对山地人行走状态的观察，“走走停停”是山地行走的特征：走时，身体在忽上忽下的运动；停时，身体放松、思想流淌。这种立体的行走方式自然带来了山地居住的动态特征。地域性居住是人的主体意识与客观环境的共同产物，地域一定只能是当地材料与构造的延续吗？地域是活生生的身体与生活。

Yi Liu: All buildings are constrained by regional resources and conditions, often unconsciously. Regional practice begins when an architect consciously and creatively reorganises these resources in a recognisable, exemplary way. Housing relates directly to climate and habits, but I do not see a particular emphasis on those questions here. The form is healthy and ordinary, skilfully adapting to terrain and density, with details suited to local contractors. It does not deliberately move towards either an international or regional label, so there is no basis for calling it damage by internationalisation.

刘艺：建筑的生产都会受到地域条件与资源的限制，通常这种限制是被无意识地接受与表现的。只有当建筑师拥有了一种自觉性，能够有选择地创造性地重组这些资源，并具有标识性与示范性时，才能称为地域建筑实践。尽管相比公建而言，住宅与地方气候、居住习惯有更为直接的关联，但从竹溪居设计本身并没有看出偏向这方面的努力。它的形态挺正常、挺健康，是一种对地形和密度要求的技巧性适应，细节上也照顾了当地施工队的能力。设计并不主动地滑向国际化和地域化标签的任何一端，也谈不上国际化对地域的伤害。

Haoyan Wei: They wind around and around, complicating simple problems and putting a question mark against what is normally taken for granted.

魏皓严：竹溪居的空间结构是“绕来绕去”，将简单问题复杂化，也将“理所当然”问号化了。

Guochuan Feng: Two features stand out. The usual tightly packed rooms are separated by lightwells, courtyards, corridors and bridges, making the spaces between rooms the centre of interest. These in-between spaces stage surprising spatial events. Many layouts also replace the linear organisation of economical housing with loops, increasing possible routes and experiences.

冯果川：竹溪居的户内空间结构很多样，概括起来说有两个特点。一个是拆散了一般住宅紧密的房间排布，在其中加入了天井、庭院、廊、桥等空间元素，使房间之间的空间成为建筑空间趣味的核心。这些多样的“之间”设计充满了戏剧性的空间表演，让人惊讶不已。另一个是，一般经济性的住宅基本采用线性的空间结构，而竹溪居不少户型采用了环形的空间结构，这显然增加了空间中活动路线的可能性与趣味性。

Haobo Wei: Branching routes carry the body through fragments of memory in lightwells and into different spaces. This creates a sensitive, almost neural interior structure: a branching movement system with a directive character, a fragmented courtyard system with an incidental character, and a flexible system of rooms within the frame, superimposed upon one another.

魏浩波：竹溪居的户内空间结构是以分岔的路径体系带动身体穿越天井中的记忆断片，浸着对记忆的回味，渗透到不同的空间体中，于是产生出一种不停刺激分岔路径系统的多片段的、敏感的神经般的户内结构，是分岔的运动体系（强制特征）＋片段的天井体系（偶发特征）＋框架中的房间体系（弹性特征）的叠合系统。

Yi Liu: It is a mountain version of attached courtyard houses: tight outside, loose within. Density creates close external relationships, while varied courtyards provide light, ventilation and inward scenery. The attractive surroundings and transparent outer boundaries also open views outward. The design tries to break the uniformity of its standard structural grid.

Yet the infill walls are thinner than the frame, so beams and columns project throughout the interior, continually revealing the uniform skeleton behind the apparently labyrinthine spaces and weakening their effect. Walls generally sit on the frame’s centreline, exposing it on both sides, apart from upstand roof beams. Is this intentional or expedient? Wall-thickness columns and thick slabs concealing beams might offer another approach.

刘艺：竹溪居的空间结构可以看作是拼联式院宅的山地版本。用“外紧内松”来形容：“外紧”是指总图中高密度的拼联关系，“内松”是指在相互贴身的布局中，通过多样化的天井院落解决采光通风、营造内向性景观。另一方面，周边景色优美，建筑外界面也很通透，建筑同时向内向外打开，可以获得更多样的视线关系。尽管采用了标准化柱网，空间上却力图破除这种均质性。但问题也由此产生：由于填充墙厚度小于框架的断面尺寸，所以室内随处可以见到外凸于墙面与顶面的梁和柱，时刻提醒在迷路空间背后隐藏的均质化骨架，削弱了空间的力度。如何处理填充与框架的位置关系是重要的问题，竹溪居的墙体基本上是逢中放置，将框架同时暴露在墙体两侧的空间中（屋面上翻梁除外）。是出于简化问题的需要还是蓄意为之？试想如果采用异形柱（与墙同厚）与厚板（暗梁），将柱与梁消隐在白色空间界面之内，是不是另一种方式？

Details determine spatial quality. Conventional workmanship produces conventional details and bodily sensations, somewhat restraining the excitement of the complex spaces. The eye opens wide, then cannot quite find a focus: there is a slight disappointment.

细部决定空间质量。从建成照片上看，常规的工艺带来常规的细部，带来常规的身体感觉和细节体验，多少抑制了复杂空间给人的兴奋感，让人的眼睛在光圈骤然放大后却无从对焦，有些许失落。

Guochuan Feng: Branching effectively increases route complexity. Movement has a central role. Space is experienced dynamically through time rather than as a static composition. Multiple routes create multiple experiences and possibilities for life. They make me wonder what stories might unfold at these crossings.

冯果川：分岔是增加路径复杂性的有效方法，我觉得设计者把住宅中的运动放在了很重要的位置来考虑。在这里对空间的体验显然是一个按时间展开的动态过程，摆脱了常见的静态的空间体验模式。分岔的路径系统带来了复数的空间经历，也带来更多的生活可能。这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呢？

Yi Liu: It recalls Borges’s The Garden of Forking Paths, one of my favourite stories. Its brilliance leaves me little to add about branching. One word: exhilarating.

刘艺：这个问题让我想起最喜欢的博尔赫斯的小说《小径分岔的花园》。小说绝对精彩，已让我对分岔一词再无可写的余地，只能说一个字：爽。

Haobo Wei: The branching route is a fuse. It ignites choices, delays time and makes small spaces feel large. It sparks memory and blurs recollection with everyday reality. In the film Memento, the protagonist’s memory is reset every five minutes; here, a different memory arises after another stretch of movement. The route materialises memory as an action. It is a logical basic system, while incidental fragments of memory deliberately interrupt its rigour. Those small disruptions give it life.

魏浩波：分岔的路径体系是导火线，它迸发出多样性的选择，使时间滞后，空间小中见大；它燃起记忆的火花，将记忆与真实的生活模糊，美国电影《失忆》中，主人公的大脑每五分钟被格式化一次，而竹溪居则每隔一段距离衍生出另一种记忆。分岔的路径在竹溪居的设计中是记忆动词形态的物化。分岔的路径系统是竹溪居的基本系统，具有逻辑的品质；而记忆片段则以偶发性对路径系统的严密性蓄意造成某种局部的创伤，这种创伤使路径产生活力。

Guochuan Feng: Loops are central. Homes often contain two or more stairs, so circulation loops in section as well as plan. Their interweaving creates an interesting three-dimensional network for dwelling.

冯果川：环路是竹溪居的一个重要空间结构特征。户型中常常有两部或更多的楼梯，使得流线在剖面上也构成了环路，平面和剖面的环路交织使户内空间成为立体交错的环路体系，这是一种很有意思的居住空间体系。

Haoyan Wei: Conceptually, the stair is not an isolated device for moving vertically. It is an inclined segment of the route system, making a flat path three-dimensional and bringing the external mountain path indoors.

魏皓严：竹溪居的楼梯从设计概念上看不是作为单独解决上下问题出现的垂直交通体，而是作为路径系统的倾斜段落产生的，它将二维的平地式路径三维化，也将传统山地的外部路径室内化了。

Haobo Wei: The stair is part of the branching system and follows its tree-like growth. It is a horizontal route tilted upwards: a materialised stream or winding cloud. These stairs have something of a landscape’s flowing quality.

魏浩波：楼梯只是分岔路径系统的局部，从属于树状的生长规律，是水平路径倾斜后的结果，是物化的涓涓溪流，又好比绕来绕去的行云。竹溪居的楼梯是行云流水，它多少带着一点风景的特征。

Haobo Wei: A courtyard within a courtyard means life plus memory. The inner court holds memory; the outer faces life. Their spatial prototype is a second subdivision of shared space.

魏浩波：天井套天井＝生活＋记忆。内天井包含记忆，外天井面向生活。竹溪居的天井空间原型上就是公共空间的二次划分。

Yi Liu: The varied courts create a porous system capable of accommodating finer-grained life, an appropriate idea. But details need examination: how do the courts relate to the raised building? Are large glazed courtyard roofs thermally comfortable? Were domestic air-conditioning pipes integrated at design stage, especially in complex atriums? These are unavoidable practical questions.

刘艺：各类天井营造了一个疏松多孔的空间体系，以容纳更为细腻的生活内容，构思恰当。感觉细节上还可以推敲：比如天井与房屋整体架空的关系，又比如面积较大的天井（院落）盖满玻璃顶棚，热工舒适性上有没有把握？更细致到家用小型空调的管道在设计阶段有没有整合考虑？（特别是在空间复杂的中庭天井处），这些都是实际工程中无法回避的问题。

Ye Zhu: The courts give the homes a distinctly inward character. Although modern in form, they carry a traditional literati sensibility. Organising space around them also suggests introspection. Through them I recognise the design’s cultural temperament.

朱晔：这些天井使竹溪居的居住空间带有明显的内向性格。这些天井虽然样式上是现代的，却带有传统文人趣味，围绕天井组织的内向空间也带有返观诸己的自省性格，所以通过这些天井，我看到这个设计在文化上的文人气质。

Ye Zhu: This is a question of values. If the aim is static experience and large rooms, the corridors are excessive. If the aim is an experience of wandering, they are defensible, provided the homes are large enough and room-area demands are modest. Rich movement achieved through more economical routes might strike a better balance.

朱晔：这里存在一个价值观的作用。如果设计追求静态空间体验以及尽量大的房间面积，竹溪居的户内走道面积显然大了；如果设计追求游走的路径式空间体验，那么走道面积偏大是无可厚非的，当然这需要一个前提，即户型面积比较宽松，房间面积要求不高。进一步说，如果能以比较简练的路径建立丰富的游泳体验，可能会在建构动态空间与获取较大房间面积的矛盾中把持一种较好的平衡。

Haobo Wei: Circulation means both passage and communication. Everyday design emphasises passage and neglects communication. Here, routes connect people with the sky, nature and their own memories, making bodies sensitive and thoughts mobile. Dwelling involves subjective will; freedom of thought is fundamental. Most routes wind within courts without taking space from rooms.

魏浩波：交通，顾名思义，有两层含义：一是交流，二是通行。日常生活中我们过于关心通行而忽略交流，竹溪居的交通，使你与天空、与自然、与你过去的记忆产生交流，使身体敏感，使思想飞来飞去；居住是主观的意志，思想的自由是居住的根本；大多数路径在院中绕，无损房间面积。

Guochuan Feng: Circulation is the space between rooms, and the in-between is central here. Emphasising it does not inevitably make it too large, but encourages that possibility. Even so, this need not be a defect. These are not ordinary homes meeting basic needs, but retreats for wealthy buyers. Their consumption is governed more by interest and display than economy. Large, apparently useless yet delightful in-between spaces may suit that market.

冯果川：交通空间是住宅中房间的“之间”空间。我已经说了“之间”是竹溪居户型设计的中心，当然并不是重视“之间”就一定会将其设计过大，但是这样去想问题，很容易把“之间”设计得过大。但在竹溪居中“之间”设计得过大并不一定是缺陷，因为显然竹溪居在产品定位上不是满足基本居住需求的普通住宅，而是专供富人消遣的别馆。这里空间消费的主导逻辑不是经济性的，而是趣味性的和炫耀性的。大而无用却饶有情趣的“之间”很适合富人的消费心理。

Yi Liu: Circulation ratios matter greatly in property sales. Compact layouts are reasonable in small and medium homes where basic needs come first. These houses are 250–400 m², so that urgency disappears. The issue becomes whether all the movement is enjoyable or burdensome, which tests the architect’s ability.

刘艺：交通面积的大小已经成为房地产销售的重要指标。对中国的居住现状而言，中小户型的紧凑布局合情合理，那里首先是最基本的生活问题。而竹溪居均是250—400m²的大宅，这个指标的迫切性消失了，问题已经转换为上下穿行究竟是有趣还是累赘？那就要考验建筑师的能耐了。

Haoyan Wei: The interiors are multidimensionally dynamic, involving frequent movement up and down, crossing sightlines, overlapping scenes and penetrating sound. In ordinary architectural terms, their bodily relationship is positive.

魏皓严：竹溪居户内空间的一个典型特征是多维动态，涉及到比较频繁的上下游走、视线穿越、景象重叠与声音渗透等，在通常的建筑层面上与身体的关系比较积极。

Guochuan Feng: The design explores many bodily relationships through expansion, contraction, opening, enclosure, turns, rises and falls. They unfold in time through a living, moving body. Their strength is diversity more than invention.

冯果川：我觉得竹溪居中身体和建筑的关系是比较积极的。因为，竹溪居在空间的收放、开合、转折、起落之间挖掘了身体与建筑空间的多种可能关系。而且这些关系是在时间维度中展开的，也就是说这里的身体是不断运动中的身体，是鲜活的身体。不过在竹溪居中身体与建筑的关系特点更多的是关系的多样性而不是创造性。

Ye Zhu: A designed relationship between house and body is itself abstract, top-down and disciplinary, however “positive.” The system of objects remains dominant. Inhabitants can adapt the physical space spontaneously through use.

朱晔：由设计所导致的住宅与身体的关系本身就是抽象的、自上而下的、规训的，哪怕它再“积极”也好，因为物体系始终是主导的，而居住者则可以通过实际使用对物理空间进行自发的、适用的改造。

Haobo Wei: The system’s dynamic qualities and the fragments’ sensory qualities seek to make our five senses—eyes, ears, nose, tongue and mouth—sensitive to familiar everyday things. Through wandering, the body becomes the most powerful presence; traditional hierarchies quietly dissolve as the body moves. Bodies given by the Creator are forever equal.

魏浩波：系统的动态性特征、片段的感观性特征都试图引发人的五官——眼、耳、鼻、舌、口对司空见惯的日常产生敏感，通过游走，使身体成为最具权力的内容，传统的等级在身体的游走中悄然化解，来自造物主的身体永远平等。

Ye Zhu: Housing models influence behaviour. Streets, courts, clubs and virtual communities can all become shared spaces if needed. The distinction is whether residents consciously choose interaction or isolated enclosure. Such active choice is not yet widespread in China. If the American dream is a powerful symbol, the likelihood of questioning it is uncertain.

朱晔：居住模式将对居住者的行为方式进行规定和影响。只要有需要，街道、庭院、会所、虚拟社区都可以是居住者的公共空间，区别在于居住者是有意识地选择交往式居住模式还是孤岛式的封闭。就目前国内来看，这种主动选择似乎还未成气候，如果美国梦是一种强势符号的话，主动审视它的几率让人怀疑。

Guochuan Feng: Floor area does not determine housing type: collective homes of 250–400 m² are not uncommon. Whether suburban housing is designed as detached villas or collective housing is also an economic calculation of profit in a particular situation, with no fixed answer. Wealthy buyers may abandon the American dream of a detached villa. However attractive it is, familiarity can produce aesthetic fatigue; as a universal dream it also risks cultural depreciation. Wealthy people need to buy cultural capital with economic capital to secure their standing. Bamboo Stream’s cultural

冯果川：建筑面积的大小并不是确定住宅类型的标尺，250—400m²的集合住宅并不少见，郊外的住宅是设计为独立别墅还是集合住宅，也是一个针对具体情况进行利润计算的经济账，没有固定答案。有钱人放弃独立别墅的美国梦是可能的，因为美国梦虽好但也会让人审美疲劳，再说既然已经是通用的梦想，也就面临在文化价值上贬值的危险。有钱人要获得稳固的地位也需要用经济资本去购买文化资本，竹溪居文化上的

quality and innovative design give it potential for cultural appreciation. Buying here is therefore both an economic investment and an exchange between economic and cultural capital. In that respect it is attractive to wealthy buyers, although this depends on its recognition within the social and cultural field. Moreover, although it adopts a collective housing form, as discussed earlier it differs from Rokko by avoiding social encounters and emphasising privacy. To some extent it supports solitary rather than collective dwelling.

高品位和设计上的创新使其在文化上有增值的潜力，所以购买竹溪居不仅是经济投资而且也是经济资本与文化资本的交易行为。从这一点上看，竹溪居对富人是有吸引力的。当然这还要依赖竹溪居在社会文化圈中的认同程度。另外，竹溪居虽然采用了集合住宅的形式，但如前所述，与六甲不同，竹溪居是一个回避社会交往、突出私密性的设计。在一定程度上竹溪居是独居而不是集群而居。

Haoyan Wei: I think it is difficult. The American dream has become a strong mental framework, or social ideal of individual achievement. This project may demand too much independent awareness from its residents.

魏皓严：我觉得很难，美国梦已经成为了一种强有力的头脑控制机器，或者称为个人奋斗的社会理想。从这点看，竹溪居对居住者的个人意识要求过高了。

Haobo Wei: The American dream of a detached villa originates in the Western castle tradition: a solitary castle or villa set within a vast territory with open views. This is feasible in America, with its small population, abundant land and sound overall security system. In China, however, a large population, scarce land and great disparities of wealth would create intense pressure on land and class antagonism. In this context, Bamboo Stream’s clearest exploration is developing high-density, high-end housing on land otherwise unsuitable for building. Similar forms of dwelling have existed in China since ancient times. Large family houses in Pingyao and Huizhou show the prototype: an enclosing wall brings sky and nature into the home; neighbouring homes are separated by only one wall, combining the pleasure of solitude with collective security.

魏浩波：独立别墅的美国梦源于西方的城堡传统，一大片视野开阔的领地，孤零零的插一幢城堡或别墅，这在美国人口少、土地面积大、整体安全系统良好的情况下可行。但在中国人口众多、土地资源紧张、贫富差距大的环境下将造成极大的土地压力和阶级对立，故在这样的现实下，利用不可建用地开发高密度高端居住群是竹溪居最明确的探索，类似的居住状态在中国古已有之，在平遥、徽州民居的大户人家都可以看见其原型：一圈围合的墙，把天空与自然包进家，家与家仅一墙之隔，既有独处的情趣，又有集群的安全。

Yi Liu: Few buyers may abandon the individual statement of a detached villa. Housing is an expensive measure of self-positioning, and design cannot simply change that scale. Terrain and density make individual houses hard to distinguish from outside, perhaps unsettling buyers who cannot immediately identify their own. Separation from cars also poses difficulties. Block A hangs on the slope, with garages at its ends and a climb home. This challenges conventional villa consumption. Whether the people of Guiyang, where “not three feet of ground are level,” mind this remains to be seen.

刘艺：我估计放弃独立别墅的个体姿态转向集群的住户会很有限。住宅作为昂贵商品，是满足自我定位的一种标尺，设计不能改变标尺的刻度。在竹溪居住宅中，特殊的地形和密度造就了集群的形态，从外部观看难以将户与户的范围区分开来；或许“第一眼看不清自己的房子在那儿”会对购房者产生些许心理障碍。另一方面，汽车与住宅的相对分离也会带来不大不小的麻烦。比如竹溪居A幢“挂”在山上，汽车上不去，只有在两端单建车库然后爬坡回家。这种违背别墅消费定势的做法的确有风险，不知“地无三尺平”的贵阳人是否介意？

Guochuan Feng: Yes, but it needs to communicate its cultural value. Wealthy buyers use some economic capital to acquire cultural capital. The project’s cultural meaning and spatial quality can increase its value. Its simple modern form contains a Chinese literati poetry that may suit the contemporary interest in modern Chinese-style housing.

冯果川：竹溪居当然可能大卖。竹溪居要成功必然要打文化牌。前面说了富人要巩固自己的地位必须用一部分经济资本去交换文化资本。对于竹溪居这样文化意味十足、空间品位也不错的项目，文化资本是使其增值的重要元素。竹溪居简约的现代风格中流露出中国文人的诗情画意，很符合现在国内住宅现代中式风格走俏的趋势，我想竹溪居如果借势上市的话，效果应该不差。

Haoyan Wei: Social groups’ criteria for buying products are not genuinely individual choices; they are largely written by systems of social control. If this project’s planning and financial operations can work effectively with those systems, it could sell very well. It needs accurate identification of buyers, a persuasive written account of the lifestyle suggested by the architecture, high-profile media publicity and strong social guidance, among other measures. The prerequisites are the developer’s social standing and financial resources.

魏皓严：社会群体对商品的购买标准并不是真正的个人化选择，更多的是被社会控制系统写入的，只要对这个项目的策划以及资金运作能够很好地与社会控制系统融合，竹溪居就能大卖。这个楼盘需要对购买人群的准确捕捉、对建筑所暗示的生活方式的文本渲染、高调的媒体宣传与强势的社会引导等等手段，其前提是开发机构的社会地位和经济实力。

Ye Zhu: I do not know whether it will sell well. Given the linearity of time, saying yes or no about something that has not yet happened may be arbitrary. To sell well, it would have to emphasise its “waste” in consumption, its individualised “experience” and its counter-market “displacement.” Whether that can be achieved depends on promotion, sales strategy and the market encountered.

朱晔：不知道它能否大卖，因为时间的线性，对未实现的事物做出是与否的判断都可能是武断的。如果要大卖的话，那么必须强调它在消费上的“浪费”、在个性化上的“体验”与反市场的“错位”，能否做到要看宣传销售策略和面对的市场了。

Yi Liu: Property development cannot afford long delays. The extended timescale, small completed portion and unfinished work may disrupt sales. Stricter national controls on villa land could provide an opportunity: scarcity may draw hesitant and new buyers. The project is unusual and difficult to reproduce, so possibilities remain.

刘艺：房地产项目的规律是千万不能拖，目前这个工程的时间跨度相对长，建成规模偏小，在建的又迟迟未完工，可能会影响销售的连续性。项目的转机在于国家对别墅用地严格控制的新政策，土地资源的稀缺性有足够的诱惑力吸引观望的买家回头、新来的买家加入。何况项目特殊、难以复制，所以仍然有机会。

Haobo Wei: A group of playful homes for “walking and pausing.”

魏浩波：一组“走走停停”的“玩”家。

Yi Liu: After several years in a large design institute, suddenly seeing this project was astonishing. To work through more than ten thousand square metres on an inclined site, room by room and stair by stair, demonstrates first-class ability, first-class stamina and extraordinary spirit. I salute all the designers and strongly recommend this project for the “Touching China 2006” awards. I believe everyone who has worked on a building project would send text messages to cast all fifteen votes.

刘艺：在大型设计院呆了几年，猛地看到这个项目很是吃惊。敢于在斜面上一个房间一个楼梯地折腾上万平方，可见水平一流、体力一流、精神超一流。在此向全体设计师致敬，并强烈建议本项目参加“2006感动中国”的评奖活动。我想，所有搞过工程的人都会发短信投满十五票的。

Guochuan Feng: It gives hope and surprise to young Chinese architects struggling in the market economy. Yet it is also a literati architecture absorbed in landscape and forgetful of society, a position I do not entirely share.

冯果川：竹溪居是一个给挣扎在市场经济中的中国青年建筑师以希望与惊喜的项目。但也是一个我不甚苟同的忘乎社会、寄情山水的文人建筑。

Ye Zhu: A design of expenditure and excess—and excess is precisely a characteristic of the age of consumption.

朱晔：竹溪居，一个浪费的设计，而浪费恰恰是消费时代的特征。

Haoyan Wei: The design clearly pursues spatial quality, yet many see wasted area. A shrewd buyer could insert additional floors and recover considerable space. Its ultimate spatial economy might be a super-dense, three-dimensional, inward-growing house: see “Spontaneous China,” Urban China, no. 9.

魏皓严：竹溪居的设计明显在追求空间品质，却被很多人认为浪费面积，然而特别精明的人买了这里的户型并进行内部加建的话，他可以从里面抠出很多面积，这是非常划算的。竹溪居的空间经济学终极理想是超级三维内爆宅，参见《城市中国》第9期“自发中国”。