四明山麓的杉野茶室設(shè)計(jì)

四明山位于浙江省寧波市余姚市四明山鎮(zhèn)，有龍虎山的氣勢(shì)壯觀，兔耳嶺的怪石靈秀，被譽(yù)為天然“氧吧”。杉野茶室設(shè)計(jì)坐落于山頂，作為基于原有茶山?jīng)鐾さ慕ㄖ脑祉?xiàng)目。

Siming Mountain is located in Siming Mountain Town, Yuyao City, Ningbo, Zhejiang Province. It has the magnificent momentum of Longhu Mountain and the exquisite strange stones of Tuerling. It is known as a natural "oxygen bar". Sanyo Tea House is located on the top of the mountain and is a building renovation project based on the original tea mountain pavilion.

▼鳥(niǎo)瞰圖，Bird's-eye view © 徐英達(dá)

▼總平面圖，Master plan © 徐英達(dá)

場(chǎng)地記憶，Site memory

首次到現(xiàn)場(chǎng)是一個(gè)四月陰雨天，從山下往山上走的路上我想到的是陶淵明在桃花源記中描述的場(chǎng)景“初極狹，才通人。復(fù)行數(shù)十步，豁然開(kāi)朗”

茶室設(shè)計(jì)既有建筑是由一個(gè)木構(gòu)架的廊道和亭子組成的休憩配套建筑，且兩個(gè)構(gòu)筑不是同一時(shí)間建造的。場(chǎng)地面朝四明湖，背靠環(huán)山竹林，東側(cè)和北側(cè)的竹林給人很強(qiáng)的包裹感。在這樣自然資源極為豐富的空間，我們和業(yè)主都認(rèn)為該項(xiàng)目應(yīng)建立與自然長(zhǎng)期的鏈接，重新喚醒使用者對(duì)于自然的感知。基于對(duì)現(xiàn)場(chǎng)的空間感知，我們提出了兩個(gè)重要的設(shè)計(jì)要點(diǎn)作為設(shè)計(jì)的切入點(diǎn)：微介入和觀景。

The first time I arrived at the scene was on a rainy day in April. As I walked up the road from the foot of the mountain, I thought of the scene described by Tao Yuanming in his work 'Peach Blossom Spring': 'At first, the path was narrow and only allowed one person to pass through. After walking a few dozen steps, it suddenly opened up'.

The existing building is a recreational supporting structure consisting of a wooden corridor and pavilion, and the two structures were not built at the same time. The site faces the Siming Lake and is backed by a bamboo forest on the surrounding mountains. The bamboo forests on the east and north sides give a strong sense of enclosure. In such a space with abundant natural resources, both we and the client believe that the project should establish a long-term connection with nature and reawaken users' perception of nature. Based on the spatial perception of the site, we propose two important design points as the starting point of the design: micro-intervention and landscape viewing.

意志載體, Spirit carrier

?是?座廚房，?腳、??、樹(shù)林間都有?材和?具。循環(huán)??林的柴?需要被砍下，點(diǎn)燃，?不是煤?和?斯。柴?搭配慢煮，有著來(lái)??的訊息：?需急躁，需要等待。等待?息，等待果蔬成熟，等待??，等待陽(yáng)光，時(shí)間到了，?會(huì)把它的豐盈呈現(xiàn)給你。

山系這一主題實(shí)際上是一個(gè)非常具有中國(guó)特色的命題。山系代表了中國(guó)傳統(tǒng)人文情感的集中體現(xiàn)——追求避世之境。盡管在西方也存在隱士文化，但所謂的西方歸隱是回歸到原初狀態(tài)，而中國(guó)的避世狀態(tài)是身體雖遠(yuǎn)離塵囂，但內(nèi)心卻追求更高層次的文化追求。這種狀態(tài)很難以物質(zhì)形式呈現(xiàn)，就如同王陽(yáng)明所提到的“格物致知”：人性是無(wú)法改變的，而“意”與“行”之間存在著內(nèi)在的聯(lián)系。中國(guó)傳統(tǒng)人文情感的核心思想或許就是追求這樣的境界。因此，我們的愿景是在滿足茶室基本功能需求的基礎(chǔ)上，盡量簡(jiǎn)化并減少人們對(duì)物理空間的依賴，為使用者留出更多未被界定的、與自然融為一體的空間。這一點(diǎn)至關(guān)重要。因此，對(duì)環(huán)境的尊重與順應(yīng)成為我們方案的主要設(shè)計(jì)導(dǎo)向。山系茶室成為了人們進(jìn)行“格物”的場(chǎng)所，這也正是我們建造它的初衷。

The mountain is a kitchen, with ingredients and tools at the foot of the mountain, in the mountains, and among the trees. The firewood from the self-sustaining forest needs to be chopped down and ignited, instead of using coal gas and electricity. The firewood, combined with slow cooking, carries a message from the mountain: there is no need to be impatient, but to wait. Wait for breathing, wait for fruits and vegetables to ripen, wait for rainwater, wait for sunlight. When the time comes, the mountain will present its abundance to you.

The theme of mountain range is actually a proposition with very Chinese characteristics. Mountain range represents the concentrated embodiment of traditional Chinese humanistic emotions - the pursuit of a secluded environment. Although there is also a hermit culture in the West, the so-called Western retreat is a return to the original state, while the Chinese state of seclusion is physically far from the hustle and bustle, but internally pursuing higher-level cultural pursuits. This state is difficult to present in material form, just like Wang Yangming mentioned in 'Investigating Things and Extending Knowledge': human nature cannot be changed, and there is an inherent connection between 'intention' and 'action'. The core idea of traditional Chinese humanistic emotions may be to pursue such a realm. Therefore, our vision is to simplify and reduce people's dependence on physical space as much as possible on the basis of meeting the basic functional needs of the tea room, leaving more undefined space integrated with nature for users. This is crucial. Therefore, respect for and compliance with the environment become the main design orientation of our plan. The mountain range tea room has become a place for people to 'investigate things', which is also the original intention of building it.

▼爆炸圖，Explodedview © 平介設(shè)計(jì)

▼山頂遠(yuǎn)看，View fromthe top of mountain© 徐英達(dá)

建筑轉(zhuǎn)譯, Architecture translation

茶室中最引人注目的特點(diǎn)之一，便是朝向四明湖的一整片長(zhǎng)條形折疊窗，占據(jù)了整整一面墻壁，猶如一個(gè)獨(dú)特的取景框。茶室設(shè)計(jì)在宜人的天氣里，這橫向折疊窗可以完全敞開(kāi)，讓客人盡情欣賞美不勝收的景色，隨時(shí)享受微風(fēng)拂面的宜人感覺(jué)。

One of the most striking features of the tea room is a long strip of folding windows facing Siming Lake, occupying an entire wall like a unique frame. In pleasant weather, these horizontally folding windows can be fully opened, allowing guests to enjoy the breathtaking scenery and the pleasant feeling of the breeze on their faces at any time.

▼朝內(nèi)山看，Look at the mountain © 徐英達(dá)

▼朝外湖看，Look at thelake© 徐英達(dá)

▼金屬置物架，Metal Shelf © 徐英達(dá)

建筑的感受源于多個(gè)方面，包括空間、光影、材質(zhì)、以及體驗(yàn)等，這些元素共同構(gòu)成了建筑的整體表現(xiàn)。茶室設(shè)計(jì)在材質(zhì)之間的相互交融中，不僅包括顏色和光影的相互影響，還包括觸感上的材質(zhì)質(zhì)感。在建筑過(guò)程中，當(dāng)水泥地面初次澆筑完成時(shí)，我曾覺(jué)得有一些違和，因?yàn)檫@種材質(zhì)的厚重和粗糙感在整個(gè)空間中顯得有些突兀。然而，我決定繼續(xù)施工并觀察發(fā)展，當(dāng)墻面采用微水泥和不銹鋼吧臺(tái)完成時(shí)，我再次看向那塊仿古涂料的水泥地面，此時(shí)，它的粗糙紋理卻似乎融入得很自然，材料的層次感反而顯現(xiàn)出來(lái)。

The perception of architecture comes from various aspects, including space, light and shadow, materials, and experience, which together constitute the overall expression of the building. The interplay between materials not only involves the mutual influence of color and light and shadow, but also the tactile texture of materials. During the construction process, when the cement floor was first poured, I felt a sense of disharmony because the heaviness and roughness of this material seemed somewhat abrupt in the entire space. However, I decided to continue the construction and observe the development. When the walls were finished with micro-cement and stainless steel countertops, I looked back at that piece of antique-coated cement floor. At this point, its rough texture seemed to blend in naturally, and the layering of materials became apparent.

▼入口處景色，Viewfrom the entrance © 徐英達(dá)

基于生態(tài)保護(hù)和修復(fù)的自然理念，室內(nèi)外的家具、門(mén)和置物架均采用了當(dāng)?shù)氐闹衲静牧线M(jìn)行現(xiàn)場(chǎng)制作。當(dāng)陽(yáng)光投射在這些風(fēng)化后的老木材上時(shí)，展現(xiàn)出了特別自然的紋理和生動(dòng)的顏色。在細(xì)膩和粗獷之間需要取得一種平衡，過(guò)于密集的細(xì)節(jié)可能讓人感到不適，而過(guò)于粗糙的表面則可能顯得簡(jiǎn)陋。因此，精確把握這種度和關(guān)系非常重要，同時(shí)，建筑師的個(gè)人感受也是關(guān)鍵因素，因?yàn)樗麄兊拿總€(gè)決策都將影響建筑完成后的整體氛圍。

Based on the concept of ecological protection and restoration, furniture, doors, and shelves indoors and outdoors are all made on-site using local bamboo and wood materials. When sunlight shines on these weathered old woods, they exhibit a particularly natural texture and vivid colors. A balance needs to be struck between delicacy and roughness, as overly dense details may make people uncomfortable, while overly rough surfaces may appear crude. Therefore, it is crucial to accurately grasp this degree and relationship. At the same time, the architect's personal perception is also a key factor, as each of their decisions will affect the overall atmosphere of the building after completion.