2.5維的建筑觀與實踐：徑山·山徑，浙江，中國

建筑設(shè)計： STUDIO QI 建筑事務(wù)所

1 場地

對工作室來說，“徑山·山徑”項目的意義在于2.5維研究的延續(xù)。2.5維是一種介于二維與三維之間，介于圖紙與模型之間，介于清晰與模糊之間的微弱界面，希望從微妙的體驗和視差中，感知一種自覺的經(jīng)驗。“徑山”與已建成的“安之若宿·山”有著某種自覺的相關(guān)性，不同的是，安之若宿處在狹窄的縱向場地，強烈的拓?fù)洌▓鲇颍┳饔昧ψ匀欢穑欢鴱缴降膸讞澖ㄖM跨于緩緩的茶山間，順著叢叢茶樹平行展開。沒有了絕對的場地條件限制，反而增加了設(shè)計難度。

1.1 山

江南茶園，都在個頭不大的山丘上，像是被綠色地毯包裹著，浪漫、生趣，還帶有一絲樸拙。“徑山”所在的茶山，山頂有一小片竹林，可以藏一個納涼的小亭。

1.2 樹

前方的茶山上有一棵桃樹，是重要的景觀視點，每年春天都在等著桃花盛開。

1.3 水

“徑山”前，是一條窄窄的小溪。我們把建筑的位置降低了兩次，使其越來越接近水域。在這里，水很重要，它不是“景”，不是設(shè)一個有倒影的泳池，或是擺一個寫意水鏡，這樣的水就太刻意了。水就該來得自然，如在山間流淌。

西湖的水是多變、百態(tài)的，它時而翻騰起浪，時而與山色空蒙，分不出界線。靈隱寺前也有一脈溪水，對岸的山巖上雕鑿著諸多佛像，隔水相望，使人分外喜悅。佛龕之下，巖壁和溪水之間，是另一條路徑。此岸、彼岸、龕洞、山徑，都與溪水發(fā)生著自然的觀法關(guān)系，水也給予了距離的把持。

在“徑山”，我們設(shè)想靠近入口的一側(cè)有高高的蘆葦蕩。步入斜橋，兩側(cè)仿佛是莫奈筆下的睡蓮。

2 雙世界結(jié)構(gòu)——“徑山”與“山徑”

“徑山”有20間客房，戶型不一，一個迎客的前廳，一家可以舉辦私宴的餐廳，一間供旅人消遣的書吧，一處撫琴作畫的茶室，以及為管家準(zhǔn)備的值守居所和后勤設(shè)施。這一切都是對功能的體現(xiàn)。

阿爾多·羅西說過，“建筑的歷史和功能已經(jīng)結(jié)束時，正是記憶的開始”。我們真正要創(chuàng)造的建筑，不是單一的、內(nèi)向性的，建筑不是為功能而生，而是要驅(qū)動生活。當(dāng)形式與功能相分離時，建筑變得自由。形式應(yīng)當(dāng)充滿活力，可以不斷觸發(fā)體驗，體驗成為新的記憶，由此，記憶才能延續(xù)。建筑創(chuàng)造記憶，這是自然建造的本意。

所以如何構(gòu)建記憶？

3 構(gòu)建與2.5維

如果說“徑山”是建筑的條件，那么“山徑”就是把逐個條件串聯(lián)在一起，再把這些條件自然而然化的方法。

3.1 斜梯

4座建筑之間有3座斜梯，各不相同。一座懸空飛揚，一座半置入山間，一座浮嵌于下沉屋面之上。其實，這些原型在西湖周邊的山林和石階上隨處可見，帶來的是一種自然而然卻永遠(yuǎn)讓人充滿幻景的上山體驗。斜梯實際上是引導(dǎo)著身體在X、Y、Z三個軸線上同時移動。這非比尋常，因為人體所適應(yīng)的普通樓梯只在相對于身體行為方向的兩個軸線上同時變化；而在石臺階上，身體除了向前和向上移動外，還需要向側(cè)方平移，身體會頓時感覺別扭，但恰好是這種別扭和不規(guī)律空間轉(zhuǎn)變關(guān)系的出現(xiàn)，人的速度才會下意識放慢，注意力才會集中到看似奇怪的動作上，必須用腳步去感知。此時，視線與身體開始錯位，體驗變得鮮活有趣。

3.2 飛廊

西湖邊的寶石山上有兩塊巨石，它們挨得非常近，且都向一側(cè)傾斜，中間只留出一道窄窄的臺階，山體的擠壓感十分強烈，側(cè)身才能過去，而到了山頂，豁然開朗，整個西湖就像畫卷展現(xiàn)在眼前。

在“徑山”也有3條這樣的“一線天”，一條與水面斜橋第二次轉(zhuǎn)折后的視點對應(yīng)，直見竹林；一條連接途中坐憩的大洞；另一條反向折轉(zhuǎn)，可以看見那棵桃樹。

1 場地景觀示意圖/Diagram of the site landscape

2 杭州靈隱寺千佛龕的2.5維/2.5 dimensions in Thousands of niches at Lingyin Temple, Hangzhou

3.3 窗洞

“洞”可能是建筑語境中最具有變通性的詞匯，也是最富有彈性的體量。洞小，可以轉(zhuǎn)接切換兩個不同的空間屬性，比如英文的“threshold”，指的是臨界點，其中，浮于墻面為窗洞，落地成門洞；而洞大可容得下生活場景，洞淺可以避雨，洞深則可住人。左起第一棟建筑里，就有一處可供休息的大洞，洞口有一條長椅，如同游山時發(fā)現(xiàn)的巖洞石凳。建筑中橫向分布各類大洞，縱向切入各種門洞，布滿各式洞型的景觀立面，串聯(lián)成的是一面巨幅的二維畫面，大洞像是扣在墻面里的一雙雙眼睛，進(jìn)行的是洞內(nèi)與洞外的對視，也形成了類似于靈隱寺千佛龕前此岸與彼岸的界面觀照關(guān)系。而佛龕之間的自然斜梯和游走路徑，也都在同一時刻呈現(xiàn)于此，猶如原型。

3.4 淺空間

一面白墻，不一定扁平，它變幻莫測。斜梯和飛廊的作用不只是連接，而是一種指引。這種指引也是一種勢力，墻被順勢推開。墻被微微撕開，這并不是一種在二維界面下產(chǎn)生立體效果的追求，相反，立面的最前沿界面，是平的，沒有退讓，無論材料上的區(qū)分。

4 并置

在山間建筑中，橋、徑、梯、洞、臺承載山中萬物。“徑山”是關(guān)于類型學(xué)的研究，其中有兩層意義，一是在羅蘭·巴特符號學(xué)框架基礎(chǔ)上，形成涵指化的轉(zhuǎn)譯過程。橋是一個符號，洞也是一個符號，而涵指系統(tǒng)恰恰有能力把這些來自于江南園林和自然山水中的具體體驗，通過涵指化的方法，轉(zhuǎn)化為可以為概念所用的純粹的、甚至是空洞的、不被文化所綁架的建筑形式，并且?guī)в幸环N關(guān)照“理型”的抽象意義。這種使文化自然化的不斷編織的深層機制，可以讓建筑形態(tài)包容著豐富的文化意義，卻不背文化包袱；貫穿著知覺意識，卻同時具有討論的普遍性；交織著多層次的體驗和記憶，卻可以用一種絕對的理型表達(dá)。所以，即便出現(xiàn)再多不同類型的橋或洞，或是成為作為對象的群體語言，都變得自然而然。

局部的體驗來源于碎片化的經(jīng)驗，而碎片化的意義又如何成為一種結(jié)構(gòu)性問題，是我們需要討論的第二層意義。在“徑山”，橋、洞、墻之間形成種種類似于“組合拳”的序列性關(guān)系，編織的不僅是迥然不同的畫面，更是具有潛在的引導(dǎo)秩序的能力。這種能力觸發(fā)了生動的生活寫照，而場景與場景之間具有緊密的組織關(guān)系，包括特殊的場景聯(lián)動力和內(nèi)在的辨識度，而這種組織能力也可以說是一種歸屬于類型學(xué)的結(jié)構(gòu)性邏輯，或是一種關(guān)于自然敘事的結(jié)構(gòu)本身。

橋、徑、梯、洞、臺，成對出現(xiàn)，形成相互牽引或抗衡的并置關(guān)系。橋有水間浮橋、空中廊橋；徑為延山弱道、水岸曲徑；梯可茶園斜階、山間線道；洞分大洞、門洞，大洞是空間，一個供人停歇的場所，門洞是過墻，是一次穿越；臺有亭臺、水臺。

“徑山·山徑”希望創(chuàng)造的是循環(huán)往復(fù)的生活記憶。這種記憶的真實感，是絕對的。（撰文：戚山山/浙江大學(xué)）

3 總平面/First fioor plan

4 場地策略/Second fioor plan

5 首層平面/Ground fioor plan

6 二層平面/First fioor plan

1 Site

As for STUDIO QI, the significance of Jill Hill project is the continuation of practice and research on the concept of 2.5-dimensional architecture. 2.5D can be considered as a vulnerable Interface; in which,it is between two and three dimensions, between drawings and models, and subsists between clarity and fuzziness. It is also about perceiving conscious experience from subtle experience and from parallax.This differs from one of our previous projects, Annso Hill, located in an extreme steep and narrow site, in that the cluster of Jill buildings are alined horizontally on a tea-laden hill. Nonetheless, without absolute site conditions speci fied, design is rather difficult.

"Mountain" - The tea gardens of Southeast China are on the small hills. The landscape is as little protuberances wrapped with green carpets, simple but romantic. There is a small bamboo grove located on the top of our tea hill.

"Tree" - A lonely cheery tree is on the top of the hill, out in front. This is one of our most important and picturesque site views. We will be waiting for cherry blossoms to appear every spring.

"Water" - We lowered the site of this project twice, getting closer and closer to the water in front of the architecture. Rather than setting up a re fiecting pool or a deliberate landscape design, water should come naturally like a stream, but to give the image and suggestion of distance. In this project, one can imagine a high reed marsh on the side near the entrance, and with a pool of water-lilies, like a Monet on both sides of a "zigzagging" bridge.

2 Dual System - Programme and Event

Jill Hill has 20 guest rooms of different types,an entrance hall, a high-end restaurant for private banquets, a library, a lounge, a teahouse, as well as accommodations for housekeepers and facilities rooms.These are the programmes that the project requires.

As Aldo Rossi wrote, "when the history and the function of architecture end, the memory begins." What we want to create, is not a singular or introverted architecture, but a sequence of space that drives living experience. It is when form and function are separated, architecture becomes free.Form should be full of vitality and constantly trigger different events and generate new memories, hence a continuation of memory. This is the original intention of what we called the "natural build", as well as the essence for this project.

3 2.5-Dimensional Architecture

"Inclined Ladder" - There are three sets of steps between the four buildings, each is different. One is fiying in the air, one is half merged into the ground,and the other is floating on the sunken roof. In fact, these prototypes can be frequently found in the hills around the West Lake in Hangzhou. Unlike any ordinary stairways, these inclined lad-ders move the body in the X, Y and Z axes simultaneously.Intriguingly, we become conscious of our movements as the third axis is added; and at this time, the vision and body begin to dislocate, and the experience becomes livelier and more interesting.

"Flying Path" - There are also three narrow paths with exhilarating conditions. One corresponds to a view posi-tioned after the second turning point of the bridge, looking straight to the bamboo forest;another vista connects the large void space allotted for rest; the third one is in the reverse direction to appreciate the cherry tree.

"Window & Gate" - A "void" is one of the most flexible word in the context of architecture. A void can be a space, but also can be a threshold, such as window or door that cuts into a wall. Thus, a large void is placed as a pavilion on the elevation of the building from far left. There is a bench in the pavilionlike space, referencing the stone bench, such as those found in natural caves, in the mountains.

7 軸測圖/Axonometric

8 五類十手法圖/Diagram of the five prototypes

"Shallow Space" - A wall, is not necessarily fiat,but can be unpredictable. It can be pouched away or slightly tilted open. The existences of the inclined ladder and the fiying bridge are not only to connect,but also to lead and push through a wall. The wall comes to be deforming.

9 模型/Models

10 模型/Models

11 模型/Models

12 立面/Second fioor plan

13 剖面/Ground fioor plan

14 外景效果圖/Exterior views

15 外景效果圖/Exterior views

4 Fragmentation and Juxtaposition

This project applies a sequential and constructive method towards analysis and discusses behaviour,memory, con-sciousness, parallax, emotion and other aspects of the architectural experience. It also discusses the existence of architecture, by analysing three fundamental attributes of the space-time dimension: blur of boundary, fragmentation and simultaneity. It juxtaposes various architectural prototypes, such as: wall, threshold (window, door,gate), stairway, path, bridge and platform, with each putting forward two sub-types in pairs, for comparison and with an emphasis on the natural narrative. It is not Naturalism to be stated here,but a structural nature argued, as the natural consciousness affirmed under a strict logical order.The two-dimensional abstraction presented in the project coexists with a minor reference to the phenomenal transparency of Colin Rowe, as well as to the extraordi-nary capacity presented by Chinese landscape paintings, that in fact act upon senses and effect two-and-a-half dimensions. As when form can be separated from function or mass, history can be naturally transformed into the world of memory, and thus architecture can exist. Jin Hill is hoping to put forward new possibilities for constructing a world of better and richer experiences, and anticipates such possibilities can play a continuous role in the building of natural forms for the current Build expectations in China. (Text by QI Shanshan/Zhejiang University)

項目信息/Credits and Data

主持建筑師/Principal Architect: 戚山山/QI Shanshan

設(shè)計團(tuán)隊/Design Team: 羅潔瀅，葉維宸，吳凱，黃夢雨，張純，吳尚明，陳潤佳/LUO Jieying, YE Weichen,WU Kai, HUANG Mengyu, ZHANG Chun, WU Shangming,CHEN Runjia

結(jié)構(gòu)師/Structural Engineer: 馮李慧/FENG Lihui

工程師/Engineer: 俞利勇/YU Liyong

建筑面積/Gross Floor Area: 2000 m2

建筑材料/Materials: 混凝土，鋼，木，瓦，青磚，杭白石，巖板，玻璃/Concrete, steel, wood, tile, brick, Hangbai stone, rock slab, glass

設(shè)計時間/Design Period: 2019-2020

擬竣工時間/Proposed Completion Time: 2022.10