四川平武·梅宿之言/小隐建筑

三十辐共一毂，当其无，有车之用。埏埴以为器，当其无，有器之用。凿户牖以为室，当其无，有室之用。故有之以为利，无之以为用。——《道德经·第十一章》译：三十根辐条汇集到一根毂中的孔洞当中，有了车毂中空的地方，才有车的作用。揉和陶土做成器物，有了器具中空的地方，才有器皿的作用。开凿门窗建造房屋，有了门窗四壁内的空虚部分，才有房屋的作用。所以，“有”为实体，创造出“无”，“无”亦有它的作用。

Thirty spokes converge on a hub, it is because of the spokes and gaps created by the spokes, that the wheel can roll. Clay is fashioned into pottery, it is because of the inside space the clay created that the stuff can be stored. The doors and windows are openings on the walls, it is because of the empty space that a house can be livable. Therefore, “empty” comes with “existence”, “existence” serves for entity, “empty” serves for practical use. According to Laozi (n.d., Tao Te Ching, Chapter. 11).

▼晨光中的梅宿全景，Bird ‘s-eye view of Plum Villa in the morning sunlight©存在建筑

烘炕、砖窑与羌族民居Drying Hearth, Brick Kilns and Qiang Ethnic Dwellings

项目位于四川平武县平通羌族乡印象梅林景区，距离最近的羌族聚居地“走马羌寨”4公里。青梅是当地最具代表性的产业，梅宿之言就坐落在万亩梅林的半坡之上，原址是一座垮塌荒废的旧砖窑。

The project is located in Impression Meilin Scenic Area, Pingtong Qiang Ethnic Township, Pingwu County, Sichuan Province, China, about 4 kilometers away from the nearest Qiang ethnic settlement called “Zouma Qiang Village”. Green plum is the most representative local industry. Plum Villa is situated in a thousands of acres of plum orchard halfway up the hill, where used to be a dilapidated old brick kiln.

▼坐落在半山上的梅宿全景，A panoramic view of building situating on the hillside©存在建筑

为了长时间存储梅子，当地人都使用一种传统的“烘炕”将其烘干。“烘炕”下部为方形的柴火灶，上部为层层叠合的倒梯形木质烘屉，根据梅子由干到湿的程度从下往上依次放置烘屉，倒梯体的形态利于更快地将青梅烘干。这个看似不起眼的“烘炕”以极其朴素和简洁的方形和梯形两种几何形体构成，凝结了当地人多年的劳动智慧。

To extend the storage time, the local people use a traditional “drying hearth” to dry plums. The lower part of the “drying hearth” is a square-shaped firewood stove, and the upper part consists of layered inverted trapezoidal wooden drying trays. The trays are arranged from bottom to top based on the moisture level of the plums, allowing for faster drying. This unassuming “drying hearth” originate from rectangle and trapezoid, the plain and concise geometric forms, representing the wisdom of local laboring people over the hundreds of years.

▼传统的青梅“烘炕”，Traditional plum “drying hearth”©小隐建筑

当地的羌族民居因其独特的构造和石木土的混合材料应用，具有极强的稳定性。碉楼是其中最具特色的建筑形式，是羌族人用来御敌、储存粮食柴草的建筑。碉楼的高度在10至30米之间，多以石片和黄泥土为建筑材料，建筑墙基很厚，石墙内侧空间是方形，外侧墙体由下而上向内稍倾斜，使其外观呈梯形状。日常居住的碉房呈方形，为石片砌成的平顶房，房顶平台是脱粒、晒粮、做针线活及孩子老人游戏休歇的场地。方形与梯形的结合在当地羌族民居建筑中体现得更加睿智。

The local Qiang ethnic dwellings present strong stability because of their unique construction and the use of mixed materials such as stone, wood, and clay. The watchtower, known as “Diaolou”, is the most distinctive architectural form of Qiang people for defense and storing grain and firewood. The “Diaolou” is usually 10-30 meters high, and is built primarily with stone slabs and yellow clay, it has thick foundations, with square interior spaces and the exterior wall is slightly leaning inwards, giving “Diaolou” a trapezoidal outline. The blockhouse for live named “Diaofang” has a square shape and is a flat-roofed building with stone flakes. The rooftop serves as a space for threshing, drying grains, engaging in needlework, and providing a place for children and the elderly to play and enjoy leisure. The combination of square and trapezoid in traditional buildings reflects the wisdom of local Qiang ethnic groups.

▼羌民族民居和羌碉，Qiang ethnic dwellings and Qiang watchtower©小隐建筑

场地上废弃的旧砖窑破败不堪，但内部的“拱廊”却给人意外的惊喜，光线穿过洞口投射在拱廊内，形成极具仪式和序列感的空间氛围。

Despite the dilapidated condition of the abandoned old brick kiln on the site, the interior “arched corridor” offers an unexpected delight. Sunlight passing the openings then fall on the walls and ground, creates an atmosphere with a profound sense of ritual and sequence.

▼场地废弃的旧砖窑，Dilapidated old brick kiln©小隐建筑

青梅烘炕、羌族民居所呈现的共同特征“方形”与“梯形”，以及旧砖窑拱廊的光影以一种强烈而“无意识”的印象印刻在脑海中，成为梅宿之言最重要的三个“象源”，它们都有着极简的几何特征。几何“象源”的获得过程不禁让人想起了阿尔多·罗西的建筑类型学。

The common features of “square” and “trapezoid” in plum drying hearth and Qiang ethnic dwellings, as well as the light and shadow on the corridor in the old brick kiln, all of them leave us a strong and “unconscious” impression, then become the three most significant “imagery source” in our design for the Plum Villa, all of these elements embody highly simplified geometric features. The process of obtaining these geometric “imagery source” is reminiscent of Aldo Rossi’s architectural typology.

▼源于当地人文的几何体象源，Geometric imagery sources originate from daily life©小隐建筑

▼意象构建示意，Process of imagery construction©小隐建筑

阿尔多·罗西建筑类型学Aldo Rossi, Architectural Typology.

新理性主义的代表阿尔多·罗西创建了建筑类型学理论，在功能与形式之间，罗西更乐于把形式摆在第一位，并认为对现代建筑来说，它们的功能在今天有意义，在以后可能就没有意义了。理论中关于“原型”探寻提取的理念和方法与小隐建筑提出的意象建筑理论的“赋象”、“见意”有着共通之处。

Aldo Rossi, the representative of the New Rationalism, developed the theory of architectural typology. In the balance between function and form, Rossi prioritized the primacy of form. He believed that, for modern architecture, the functions of buildings are meaningful today but may lose their significance in the future. The concept and method of extracting “prototypes” in his theory share common ground with the theory of “Endowing Forms” and “Perceiving Ideas” proposed by Archermit.

▼几何建筑生成示意，Geometric forms generation©小隐建筑

类型是自然、社会或艺术大系统中使形态和结构相同的一组样式得以聚合为一个有机整体，同时又使形态和结构相异的那些样式分离出去的概念。罗西的原型概念来自于瑞士心理分析家卡尔·荣格的原型理论。荣格所说的原型是指人类心理经验中反复出现的“原始意象”（primordial image）它具有一种不受个人好恶左右的自主性，是一种神秘的、难以言说的形象或者思想力量，这种原始意象也被称为“集体无意识”（collective unconscious）。罗西的类型学着力点就是这种人类共同经验。

Type is a concept in the large system of nature, society, or art, that a group of styles with similar forms and structures together as an organic whole, at the same time, divide those have different forms and structures. Aldo Rossi, drawing inspiration from Swiss psychoanalyst Carl Jung’s theory of archetypes, developed the concept of prototypes in architecture. Jung’s concept of archetypes refers to the “primordial images” that repeatedly emerge in human psychological experiences. These images possess a sense of autonomy unaffected by personal preferences and represent a mysterious, ineffable imagery or thoughts. They are also known as the “collective unconscious”. The focus of Rossi’s typology lies in these shared human experiences.

▼方形和梯形构建的建筑聚落，The combination of square and trapezoid©存在建筑

罗西在对城市和建筑的原型进行抽取、简化、还原和归类的基础上提出了一整套设计程式：1、引用现存的建筑和片段。2、图像类推。3、换喻。4、产生同源现象。几何形是他用以简化、纯化、点化建筑的手段，通过各种富有隐喻意义的几何形式间的对比和组合，唤起人们对于几何体之外的某些事物的联想和记忆。罗西的几何学作为一种类型学和原型结构，是想通过对人类远古的建筑意象的发掘，探寻人类共同的美与真，以建筑为媒介，实现一种普遍情感的共振。

Based on the extraction, simplification, restoration, andification in prototypes of cities and architecture, Rossi proposed comprehensive design approaches: 1) Reference existing buildings and fragments. 2) Analogical inference of images. 3) Metaphor. 4) Generation of phenomena with common origins. Geometry serves as a method of Rossi to simplify, purify, and punctuate architecture. Through the metaphorical contrast and combination with various geometric forms, architecture evokes associations and memories of things beyond geometric shapes. Rossi’s geometry, as typology and prototypical structure, aims to explore the shared beauty and truth of ancient human architectural imagery, uses architecture as a medium to achieve a universal emotional resonance.

▼简化的羌族民居形体，Simplified form of traditional Qiang dwellings©存在建筑

站在巨人的肩上回看罗西关于建筑类型学的思想，它具有一定的局限性，在远古经典建筑意象之外，我们更应该大胆的去探索自然意象，为建筑生成找到更多的原型，赋予建筑更多的可能性。

Reflecting upon Aldo Rossi’s architectural typology on the shoulders of giants nowadays, the concepts have its own, it has its limitations. Beyond the ancientical architectural imagery, we should boldly explore natural imagery and discover more prototypes for architecture, endow architecture with greater possibilities.

▼晨光中掩映在梅林的梅宿，The Plum Villa stands among the plum orchard under the morning sunlight©存在建筑

器大为屋Bigger artifacts become houses

梅宿之言的设计尝试仅用“方形”和“梯形”这两个最简单的几何原型达成，“方形”和“梯形”组合成为日常生活中最为常见的几何体“象胚”：长方体和四棱柱。它们不同的尺度对应着生活中各种不同的器物，器皿、家具、建筑亦或是城市。

The design of Plum Villa attempts to use only the two simplest geometric prototypes, square and trapezoid, combined as the most common geometric “imagery embryo” in daily life – cuboids and quadrangular prism. These geometric forms and different scales correspond to various daily objects, such as utensils, furniture, buildings even urban.

▼梅宿傍晚全景鸟瞰，Bird ‘s-eye view of Plum Villa in the evening©存在建筑

在3米的立方体参照系之下，长方体和四棱柱这两个象胚以“烘炕”、“羌碉”、“拱廊”的结构逻辑重构，又以羌寨中的院子和巷弄的意象重组，整个空间中有大小串联的院子，有光影丰富的檐廊，最终以极具秩序感的几何形式呈现，构建起了一个小巧的、现代语境下的院落式羌寨。

Within a 3-meter cubic reference system, the two fundamental geometric elements of cuboids and quadrangular prism are restructured with the structural logic on “drying hearth”, “Qiang watchtower”, and “arched corridor”. By combining the imagery of courtyards and alleyways in Qiang settlements, there are connected courtyards with different sizes throughout the building, corridors with beautiful light and shadow, and a strong sense of order and geometric forms in the final presentation of the design. All of these create a small courtyard-style Qiang settlement under a modern context.

▼长方体和四棱柱构建的院落式羌寨，Courtyard-style Qiang settlement constructed with cuboids and quadrangular prism©小隐建筑

建筑材料也是从羌民居常用的石片、黄泥土转化而来，出于严苛的造价控制，石片墙以毛石贴片替代，黄泥土墙则以仿夯土涂料替代。走廊和阳台局部的木架装饰也都取自羌族民居中独特的木头构造。

The building materials come from stone flakes and yellow soil commonly used by local. Due to strict construction cost, the stone flake walls are replaced by rough stone veneer, and the yellow mud walls are replaced by imitation rammed earth paint. Some wooden frame in the corridors and balconies are also inspired by the unique wooden structures in local buildings.

▼梅宿主入口的毛石墙，Rough stone veneer wall at the main entrance©存在建筑

▼毛石和仿夯土的材料组合，The combination of Rough stone veneer and rammed earth paint©存在建筑

▼朴素的仿夯土几何体建筑，Plain and concise geometric forms with rammed earth paint©存在建筑

▼点缀在建筑阳台的木构，Timber structure decoration at the balcony©小隐建筑

川西的风景是大山大水的壮丽，是天高云淡的辽阔，是风土人情的原生。为了将美景引入室内，传统羌族民居的小窗户被替换为全落地玻璃门窗。

The landscape of western Sichuan is known for its magnificent mountains and rivers, vast sky local culture and customs. To bring more scenery into the building, the traditional small windows on Qiang residences are replaced with floor-to-ceiling glass doors and Windows, we expect to give more space back to nature rather than artificial decoration.

▼接待厅窗外的景色，The view from the window of the reception hall©小隐建筑

▼带天窗和落地窗的客房，Skylights and floor-to-ceiling Windows in the room©存在建筑

我们将更多的空间交给了自然，用不同主题形式的院子和连廊将各个功能区域连接。公区的接待、餐厅、茶室、酒吧通过水院和光院串联起来，两个院子强化了空间层次，同时也营造了更多趣味和闲散的氛围；

Various functional areas are connected by courtyards and corridors in different thematic forms. Reception areas, dining spaces, tea rooms, and bars are interconnected through water courtyards and light-filled courtyards, creating a dynamic spatial hierarchy and an atmosphere for fun and leisure.

▼寓意“青梅煮酒”的水院， Water courtyard originates from the traditional allusion “Warming The Plum Wine”©小隐建筑

▼光院日景， The sunlight courtyard in daylight©小隐建筑

▼光院夜景，The sunlight courtyard at night©存在建筑

▼夜幕下的水院，The water courtyard at night©小隐建筑

“烘炕”模块单元的客房被三组半户外的楼梯分隔再通过“拱廊”串联起来，强化几何秩序感的同时，楼梯和“拱廊”亦成为独特的观景通廊。

The guest rooms, organized in “drying hearth” modular units, are separated by sets of semi-outdoor stairs and connected through “arched corridors”. These reinforce the sense of geometric order also provide unique corridor views.

▼以“烘炕”形式组合排列的客房区， Rooms are arranged in the form of “drying hearth” reinforcing the sense of geometric order©存在建筑

▼来自旧砖窑的光影形式，Design inspiration from the light and shadow on the corridor in the old brick kiln©存在建筑

▼光影丰富的客房走廊，Light and shadow along the corridor©存在建筑

▼串联“烘炕”的楼梯，Stairs connects“drying hearth” units©存在建筑

平屋顶延续了羌族人在房顶游戏休歇的传统习惯，成为公共的观景休憩平台，群山环绕的壮美之间，一盏茶、一杯咖啡或是一壶浊酒伴着鸟语清风，还有漫天的星河，十分惬意。

The flat roof extends the traditional Qiang habitude of using rooftops for leisure, offering a public platform for surrounded magnificent scenery. With a cup of tea or coffee, or have a drink with friends accompanied by birdsong, gentle breezes, and a starry sky, what a truly delightful experience.

梅宿之言以取自羌族民居“方形”和“梯形”两个最简单的几何原型，搭配羌族民居惯用的石、土、木三种建筑材料，重新塑造了一个融于自然又具有当代性的新式羌族民居聚落，将古老的羌族民居的意象以更加简练的几何语言表现出来。

The Plum Villa takes the two simplest geometric prototypes, square and trapezoid, from traditional Qiang dwellings, along with the three commonly used building materials of stone, clay, and wood, reshapes and redefines a building origins from Qiang ethnic dwelling under contemporary context that harmonizes with nature. Through a concise geometric language, it expresses the imagery of ancient Qiang dwellings.

器小为用Smaller artifacts become utensils

长方体和四棱柱构建的建筑空间激发了另外一个有趣的想法，我们将组成建筑的几何体在0.3米的立方体参照系之下进行了再设计，以另外一个尺度赋予这些“象胚”更多“见意”的可能性，这些几何体以1：10的“建筑模型”的形式，转换为各种各样的家具、器皿、装饰摆件。在这个小的尺度之下，这些几何体散发出另外一种迷人的魅力，遗憾的是这些器物最后没有能够成为现实。

The architectural space constructed with cuboids and quadrangular prism has sparked another intriguing idea. We have undertaken a redesign of the geometric forms which applied in the design of the building, using a 0.3-meter cubic reference system, to explore new possibilities and imbue these “imagery embryos” with more “perceiving ideas” under a different scale. These geometric forms, transformed into various furniture, utensils, and decorative objects, take the form of 1:10 “architectural models”. With this smaller scale, these geometric forms create another captivating charm. Unfortunately, these objects were not realized in the end.

后记·赋象见意Postscript-endowing forms, perceiving ideas

小隐建筑提出的意象建筑理论的核心思想是“以意赋象，以象见意”。意象作为人与自然相通的媒介，是一种“场景化”的存在，包含了现实与想象；自然是意象的源泉,是我们寻找智慧的地方；建筑是二者融合的产物。思想源于人对世界万物的认知与解读，亦即意象。不同的思想决定了人与自然相处的态度，从而决定了建筑与自然的关系。中国“天人合一”和“道法自然”的东方哲学思想充分体现了人与自然和谐相处的无限向往。

“以意赋象，以象见意”强调以特殊的建筑元素构建建筑场景，表达出自然和人文意象，以表现空间优美的精神内涵。意象不仅限于自然、人文的象征示喻，更是一种概念衍生，以特定的结构形式、材质、光影、色彩等来表达空间和美学，让空间更富有叙事性和主题感。

“赋象”是指通过挖掘探寻与目标建筑相关联的一切自然和人文意象，为建筑创作找到合适的象源，将它转化为设计原型象胚，再由象胚派生为形象，最终转化为建筑形式或者空间形式，赋予建筑直接可读性和可识别性。“见意”是指对既得的象胚和形象经过特定的场景化处理，构建不同形式的场景，丰富空间的文化属性，从而形成叙事性的建筑空间，表达出特定的审美观点和文化认同感，引发情感共鸣，实现艺术性。

意象建筑关于实用主义和美学平衡的新模式，可以帮助建筑师和建筑体验者更加深入地了解客观世界，认识到建筑设计不仅是一门艺术形式，更是文化的象征与传承。通过意象将建筑设计从狭义的形式美学中抽离，实现更为实用的审美，从根本上重新审视建筑设计，重新塑造建筑设计与审美之间的平衡。我们希望意象建筑的实践和推广能将实用主义和美学平衡这一概念变得容易理解和掌握，用直截了当的意象描述，让建筑能同文字一样，被大众更容易地解读，并迅速理解把握建筑师所传达的“建筑意义”，把抽象的理论概念变为具体新颖的设计表述，带来了新的思路和可能性。

好的建筑在于予人启示。美学中最重要的一个概念是想象力的概念。建筑感受是由思想或概念来表达并赋予活力的。建筑师通过建筑将自己的思想和概念传达给受众，而受众通过实际感觉和想象感觉的方式来感受建筑。而在建筑感受中正是想象力感受占了优势。黑格尔在他的《美学》中指出:“最杰出的艺术本身就是想象。”美学感受是人类理解自己和感知世界的一个基本要素。我们认为建筑是一种语言或者一种类语言的美学形式。美感能让建筑师从盲目追求功能转变到符合时代的生活需求上来。真正对自我的认知促使我们不仅要坚定的把美学价值放在首位，而且要兼顾美学表达的合理性和含蓄性。我们可以用美学的观点建立一种原则或者计划，通过美学的理解树立清晰的目标，通过审美趣味的培养，形成内在的审美感受，形成广泛的审美认知。

当下如何在人与自然之间建立平衡成为了建筑界的新话题，建筑师在实践中，生态思维和共生思维逐渐催生出一种新的美学形式——生态美学。至此，建筑不再单纯把功能和形式、空间和视觉的美作为建筑的终极考量标准，未来建筑应该向着体现生态智慧的人与自然的可持续发展的方向迈进。中国“天人合一”和“道法自然”的传统哲学思想正好契合了未来建筑可持续发展的方向，“意象建筑”也将延续并发展这种哲学思想，并付诸于建筑实践之中。

The core idea of Archermit’s theory of Imagist Architecture is “Endowing Forms with Ideas, Perceiving Ideas through Forms”. Imagery, as a medium of communication between humans and nature, is a “scene-like” entity that encompasses both reality and imagination; nature is the source of imagery, and it is the place where we seek wisdom, architecture is the product of their integration. Thoughts originate from people’s cognition and interpretation of everything in the world, that is imagery. Different thoughts determine the attitude of humans to get along with nature, thus determining the relationship between architecture and nature. The Oriental philosophical thoughts of “harmony between man and nature” and “embrace the way of nature” represented by Chinese philosopher fully embodies the aspiration for the harmonious coexistence between man and nature.

“Endowing Forms with Ideas, Perceiving Ideas through Forms” emphasizes the construction of architectural scenes with special architectural elements, expressing natural and humanistic images, and expressing the spiritual connotation of space and aesthetics. Imagery is not limited to the symbolic metaphor of nature and humanities, but also a concept derivative, expressing space and aesthetics with specific structural forms, materials, light and shadow, colors, etc., making the space more narrative and thematic.

“Endowing Forms” refers to finding a suitable imagery source for architectural creation by digging and exploring all natural and humanistic imageries associated with the target building. The imagery source is transformed into a design prototype imagery embryo, then derived into image from imagery embryo, and finally transformed into architectural form or spatial form, which gives buildings straightforward readability and recognizability. “Perceiving Ideas” refers to constructing different forms of scenes and enriching the cultural attributes of the space by specific scenario-based processes of the acquired imagery embryos and images, thus a narrative architectural space could be formed, which expresses a specific aesthetic viewpoint and cultural identity, and then emotional resonance could be elicited, and artistry could be realized.

The new mode of Imagery Architecture about the balance of pragmatism and aesthetic can help architects and architectural experiencers deeply understand the objective world, and realize that the design of architecture is not only an art form, but also a cultural symbol and inheritance. Through imagery, architectural design is separated from formal aesthetics in a narrow sense, to achieve a more practical aesthetic. The design can be review fundamentally a balance between architectural design and aesthetics will be reshaped. We hope that the practice and promotion of Imagist Architecture will make the concept of balance between pragmatism and aesthetics easier to understand and grasp. With straightforward imagery description, the architecture can be as easily understood by public as the text, and public can quickly grasped the “architectural significance” conveyed by architects. Abstract theoretical concepts are transformed into specific and innovative design expressions, and new ideas and possibilities follow.

Good architecture is to provide inspiration. One of the key concepts in aesthetics is imagination. Architectural experience is expressed and energized by thoughts or concepts. Architects convey their ideas and concepts through architecture design, furthermore, the public feel the architecture through experience and imaginative sensation. and it is the imagination that dominates the architectural experience. Hegel highlighted in his “Aesthetics” that the most exceptional art is imagination. Aesthetic perception is a fundamental ability for human to understand themselves and perceive the world. We believe that architecture is a form of language or a language-like aesthetic expression, aesthetic sense affects architects to transcend from pursuing function to align with the needs of contemporary life. Genuine self-recognition urges us to not only prioritize aesthetic values but also consider the rationality and implicitness of aesthetic expression. We can establish principles or plans from the point of view of aesthetics, through aesthetic understanding to establish a clear goal, through the cultivation of aesthetic taste to form the inner aesthetic feeling, and then form a wide range of aesthetic cognition.

At present, how to establish a balance between humans and nature has become a new topic in the field of architecture. In practice, ecological thinking and symbiotic thinking are gradually given birth to a new aesthetic form – ecological aesthetics. At this point, architectures are no longer simply focused on functions, forms, space and visualization as the ultimate standards. In the future, architecture should move towards sustainable development of human and nature that embodies ecological wisdom. The Chinese traditional philosophical thoughts of “harmony between man and nature” and “embrace the way of nature” are in line with the direction of sustainable development of future architecture. “Imagery Architecture” will also continue and develop this philosophy and put it into practice.

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富甲北京