乡愁与城市梦

策展人/参展人：孟凡浩

1 展览装置全景/Overall view of exhibition installation（摄影/ Photo: 柳炫竹/LIU Xuanzhu）

第17届威尼斯建筑双年展的总策展人，MIT建筑与规划学院院长哈希姆·萨基斯提出的展览主题——“我们如何共同生活？”意在建立一种新的“空间契约”，在政治分歧与贫富差距日益加深的背景下，呼吁建筑师思考可以让我们从容地共同生活的空间。

作为建筑师，我们一直游走在城市和乡村的不同地理环境中，同时为城市人和乡村人进行着不同尺度、不同类型的建筑实践。期间发现，中国的城乡关系像是一座“围城”——城市人对垂直发展的城市密度感到厌倦，“回归乡村”成为其抚平心绪的一剂良药；乡村人则对城市的生活方式和消费、文化怀有猎奇心理，“进城”是一件时髦的事。两个群体间错位的诉求催生出的空间生产成为城乡作用的重要载体，并在一定程度上将单向流动的城乡联系转为双向融合。

“乡愁与城市梦”是我们在当代中国视野的现实场景与发展图景中的思考，也是在实践过程中对展览主题“共同生活”的真实观察——我们在为城市人治愈“乡愁”，为乡村人圆他们的“城市梦”。展览通过3项实践作品——东梓关乡村复兴实践、飞蔦集·松阳陈家铺、渔乡茶舍，和3个维度——新型社区构建、存量建筑再利用、公共空间营造，诠释“不同群体将如何生活在一起”的命题，以不同的空间形态、建筑功能、建造策略等展现出当代中国的城乡关系，也是由建筑空间生产所引发的对新型城乡混合体的模式探索。

与此同时，突如其来的新冠肺炎疫情，使得我们无法亲临现场，这对模型制作和现场布展都是非常大的挑战。基于这个背景条件，展陈设计尽可能降低现场布展工作难度，以较保险的方案保证长途运输和远程布撤展的可实施性。

1 新型社区构建：杭州富阳东梓关村复兴实践

1.1 真实的展陈组织

展览位于威尼斯军械库，在无遮挡的百余平米展览空间中，通过建筑微缩模型、数字视频、平面图像等多种媒介，在斑驳的欧洲历史建筑中还原生动的当代中国城乡生活图景。

场地中央以东梓关46户民居的1:30微缩模型，再现多样的组团形态和有机的村落肌理，并选取典型的8户家庭和村民活动中心，以剖面形式还原真实生活场景。组团模型的间距尺度是在真实的街巷尺度和观展尺度间寻得的适当比例，观展者可以自由走入街巷，以人视点角度观察和感受村民日常，从而形成一种街道空间、本土生活和观展体验的互动关系。

连续的、不对称坡屋顶是东梓关民居的另一设计要点，是由江南民居的曲线屋顶提取、解析、抽象演绎而来的。在展览模型中，屋面被单独抽离出来悬浮在半空中，以此提供多角度的观察视角和丰富展厅内的竖向空间层次。

1.2 东梓关村民活动中心

村民活动中心是东梓关全体村民的公共活动场所，竖向分解的场景模型展示了活动中心流动的空间体系、本土化的材料语言和自发性的使用场景。与大多数因长期封闭而失去活力的村民活动中心不同，东梓关村民活动中心以连续起伏的钢构屋面与多个小尺度的单元盒子共同构建出“大屋檐下的小世界”。开放的空间体系满足不同时态下的生活场景，回应不同群体的聚居需求，集会、看戏、广场舞、书画展、棋牌放映，以建筑为媒介构筑起“村庄活力源”。

1.3 城乡融合的聚居形态

在过去的3年里，东梓关村借助媒体传播，产生了意想不到的流量效应，从而激发新的商业和产业的生成，促发原住民回归和艺术家、青年创业者等新人群的流入，形成了一种新的乡村社区模式，是一种超越城市和乡村的聚居形态。

微缩模型选取的8户典型家庭——古琴家庭、种菜家庭、土灶家庭、栖迟民宿、校长之家、书法家庭、植物家庭、茶室家庭，分别代表着这个新型社区中不同的生活状态与聚集模式。

The 17th International Architecture Exhibition organised by La Biennale di Venezia, curated by architect and scholar Hashim Sarkis. The theme of the exhibition is to establish a new "space contract", which calls on architects to imagine spaces in which we can generously live together in the context of widening political divides and growing economic inequalities.

As architects, we have been walking in different geographical environments of cities and villages, and at the same time carry out construction practice of different scales and types for urban and rural people. During such practice, we find that the urban-rural relationship in China is like a "fortress besieged" - urban people are tired of the density and vertical development of urban areas, and "returning to the countryside" has become a medicine to soothe their minds; while rural people are curious about the lifestyle, consumption and culture of the city, and "going to the city" has become a trend. The spatial production drawn forth by demands dislocation of the two groups has become an important carrier of functions of urban and rural areas, and can to a certain extent transform the one-way flow into a two-way integration of urban and rural areas.

"Rural Nostalgia and Urban Dream" is our reflection on the realistic scene and development picture of contemporary China's vision, as well as the observation of the exhibition theme "live together" during practice - we are healing the "rural nostalgia" for urban people and fulfilling the "urban dream" for rural people. In the exhibition, three works of Dongziguan Rural Revival Project, Stray Bird Art Hotel · Songyang Chenjiapu, and Teahouse in Jiuxing Village with three dimensions of construction of new-type community, reuse of existing buildings, and creation of public space, respond to the proposition of "how will different groups live together". It shows the urbanrural relationship in contemporary China with different spatial forms, architectural functions and construction strategies, and is also the exploration of new urban-rural mixture models caused by architectural space production.

Meanwhile, the unexpected COVID-19 pandemic makes it impossible for us to visit the exhibition site, which poses a great challenge to both model making and on-site exhibition arrangement. For this reason, the design aims to make the exhibition arrangement as simple as possible, and a guaranteed scheme is put forward to ensure the enforceability of long-distance transportation and long-distance exhibition arrangement and removal.

1 Construction of a New-type Community: Dongziguan Rural Revival Project in Fuyang, Hangzhou

1.1 Organise the exhibition in a real way

The exhibition is held in Arsenale in Venice. In the unobstructed exhibition space covering more than 100 square metres, architectural miniatures, digital videos and graphic images are used to vividly reproduce the contemporary urban and rural life image in China in the mottled European historical building.

In the heart of the site, the 1:30 miniature model of Dongziguan Village shows the diverse housing form and organic village texture. The sections of selected typical eight families and villager's activity centre has restored real life scenes. The spacing of the individual model is an appropriate scale ratio between streets of the real village and aisles in the exhibition. Visitors can freely walk into the aisle, which is also the street in the village, obverse and experience the daily life of villagers, thus forming an interactive relationship between street space, local life and the experience of the exhibition.

4 东梓关村民活动中心模型/Model of Dongziguan Villager's Activity Centre （摄影/Photo: 杨啸/YANG Xiao）

5 古琴之家模型/Model of Guqin Family

6 种菜家庭模型/Model of Vegetable Planting Family

7 土灶之家模型/Model of Mud Stove Family

8 栖迟民宿模型/Model of Qichi B&B

A03古琴家庭：陕西传统手工艺人在政府扶持下租赁民居，在此制作古琴、传播传统文化。

A06种菜家庭：两位老人在自家园子里种植蔬菜自给，过着朴素的农村生活。

A22土灶家庭：典型的小农经济家庭，在院子里做农活，用传统土灶做饭，延续以前的生活习惯。

A20栖迟民宿：民宿是村子里的新业态，也是当地人自我经营创收的新形式。

A32校长之家：退休老校长的一家七口共居，室内装修和布局都延续了传统的中式风格。

A26书法家庭：艺术家的复合功能空间，一层用于书画展览，二三层用于经营民宿。

A53 植物家庭：一家三口共居，院子里栽满了植物，室内装修是精致的城市样板房风格。

A57茶室家庭：文艺青年情侣在搬离城市后来到东梓关，将民居改为茶室，为游客提供一处品茶歇脚的地方。

2 存量建筑再利用：飞蔦集·松阳陈家铺

9 书法之家模型/Model of Calligraphy Family

10 校长之家模型/Model of House of Principal

The continuous and asymmetrical sloped roof is another key point of Dongziguan dwellings, which is extracted, analysed, and abstracted from the curved roof of dwellings in Jiangnan region (regions south of the Yangtze River). In the exhibition model, roofs are extracted separately and suspend it in mid-air to provide multi-angle observation perspectives, which also greatly enriches the vertical spatial hierarchy in the exhibition hall.

1.2 Dongziguan Villager's Activity Centre

The villager's activity centre is a public activity place for all villagers. The vertically decomposed scene model truly shows the fluid space system, localised material language and spontaneous usage scenes of the activity centre. Unlike most villager's activity centres that have lost their vitality due to long-term closure, Dongziguan Villager's Activity Centre aimed to construct "a small world under the big roof" by using a continuous undulating steel roof and multiple small-scale unit boxes. The open space system meets the needs of different groups in different life scenes, such as gatherings, watching plays, square dances, painting and calligraphy exhibitions, chess and card games, which builds the "village vitality source" with architecture as a medium.

11 植物之家模型/Model of Plant Family

12 茶室之家模型/Model of Teahouse Family （5-12摄影/Photos：陈曦/CHEN Xi）

1.3 Cluster form of urban-rural integration

In the past three years, Dongziguan Village has unexpectedly attracted a flow of people through media communication, thereby stimulating the generation of new businesses and industries, and promoting the return of indigenous people and the influx of new groups including artists and young entrepreneurs. A new rural community is formed there, which is a kind of cluster that transcends cities and villages.

The selected 8 typical families - Guqin (Chinese zither) Family, Vegetable Planting Family, Mud Stove Family, Qichi B&B, House of Principal, Calligraphy Family, Plant Family, and Teahouse Family, which represent different living conditions and cluster modes in this new type of community.

A03 Guqin Family: A traditional craftsman from Shanxi, supported by the local government, rents a house in the village and makes Guqin here to spread traditional culture.

A06 Vegetable Planting Family: The old couple plant vegetables in their garden and live a simple rural life.

A22 Mud Stove Family: The typical peasant family do farm work in the yard and cook with a traditional mud stove, maintaining the previous living habits.

A20 Qichi B&B: B&B is a new form of business in the village and a new form of self-management for local people to generate income.

A32 House of Principal: The 60-year-old retired principal and his six family members live together. The interior decoration and layout follow the traditional Chinese style.

A26 Calligraphy Family: The artist's complex function space, the first floor is used for calligraphy and painting exhibitions, and the second and third floors are used for operating guest houses.

A53 Plant Family: A family of three live together. The yard is full of plants, and the interior decoration follow the style of an exquisite urban model house.

A57 Teahouse Family: The hipster couple move out of the city and live in Dongziguan, where they change their residence into a teahouse to provide tourists with a place to enjoy a tea break.

2 Reuse of Existing Buildings: Stray Bird Art Hotel · Songyang Chenjiapu

Stray Bird Art Hotel · Songyang Chenjiapu is a resort B&B converted from two traditional houses. The traditional rammed earth walls represent the juxtaposed new and old structures and alternate urban and rural lifestyles. For this reason, choose a model that dismantles the building structure vertically to display the usage scenes horizontally was chosen in the exhibition.

Based on the in-depth study of the local construction system of Songyang residential settlement, the project repaired rammed earth walls with traditional manual techniques, updated door and window systems, and provided better building physical properties. The interior of the building is a light skeleton built by light steel structures. In order to adapt to the special construction environment in rural areas, structural members and indoor partition walls were prefabricated in the factory and assembled on site.

The rammed-earth buildings juxtaposed with the new and old structures not only heal the "rural nostalgia" of urban people, but also provide the material basis for the development of "urban dream" for rural people. More importantly, through the scientific reuse of existing buildings, the traditional villages in which such buildings are located are protected as well as are developing.

3 Creation of Public Space: Teahouse in Jiuxing Village

As its name implies, Teahouse in Jiuxing Village aims to create a pleasant place for tea tasting in a watery fishing village with mountains, waters, and misty rain. Maximising the landscape interface and integrating the building volume into the environment are the two basic ideas of architectural design. Therefore, in the exhibition design, split the project model longitudinally to clearly show the dissolution relationship between the building and the environment, and the organisation of the building itself. The complete bird's-eye view model is embedded in the lower left corner of the building, showing the

13.14 飞蔦集·松阳陈家铺模型/Model of Stray Bird Art Hotel · Songyang Chenjiapu

飞蔦集·松阳陈家铺是由两栋传统民居改建而成的度假民宿，传统夯土墙包裹着的是并置的新旧结构和交替的城乡生活方式，为此，展陈选择一种竖向拆解建筑结构和横向展示使用场景的模型体系。

在深入研究松阳民居聚落的乡土建构体系的基础上，建筑外部通过运用传统手工技艺修复夯土墙体，更新门窗系统，提供较好的建筑物理性能；建筑内部是由轻钢结构体系搭建的轻盈骨架，为适应乡村地域特殊的施工环境，结构杆件、室内隔墙等均由工厂预制，现场装配建造。

新旧结构并置的夯土建筑在治愈城市人“乡愁”的同时，也为乡村人提供实现“城市梦”的物质基础。更重要的是，通过对存量建筑的科学再利用，实现了与其所处的传统村落发展并行的保护。

3 公共空间营造：渔乡茶舍

“渔乡茶舍”顾名思义，便是在有山有水、烟雨朦胧的水乡渔村中营造一处品茶的好地方。风景界面最大化和体量融于环境是建筑设计的两个基本出发点，展陈使用纵向剖开的建筑模型清晰地展现出建筑与环境的消解关系、建筑自身的组织路径。完整的鸟瞰模型嵌在实体左下角，从另一个维度表现出建筑形体与山体间的咬合关系。模型的混凝土粗糙质感也还原了项目建造中运用的特殊的木模板混凝土材质。

相较常见的乡村建筑的传统坡屋顶、分散布局、乡野材料、木构工艺等形式手法，渔乡茶舍通过对地形的借用、对体量的消解、对材料的再思考，呈现出在江南典型的乡村山水环境中，公共空间营造的另一种可能性。

4 “乡愁”与“城市梦”间的思考

从人口流动和空间集聚的角度来看，在城乡互动和融合发展的过程中，城市化离不开乡村人的融入，乡村建设也离不开城市人对乡村的向往。“乡愁”与“城市梦”不只是空间诉求和符号愿景，更是城乡关系联动的群体表象，也是重构城乡关系的内核驱动。在人群需求和建筑设计的相互作用下，随之形成的是多功能混合的、多群体聚居的场所，而如何融合处理混居群体对共享空间、文化空间产生的新诉求，成为我们在空间生产中对城乡人群聚居新模式的持续性思考。

另一方面，相比城市，乡村是一个更复杂的生态体，普遍存在组织结构不完善等问题。而此时，建筑师的身份不再是一个被动的、单一的、单向的问题解决者，而是主动的、复合的、多向的组织引导者，完成以设计为驱动展开的空间赋能——跳出建筑设计范畴，与特定的社会语境相结合，整合上下游资源，架构一整套从规划策划到建设运营传播的项目运作流程，以设计推动开发范式的创新。这也是回应本次双年展“我们将如何共同生活”的主题，我们所做的思考以及付诸的行动。

项目信息/Credits and Data

地点/Location: 意大利威尼斯军械库/Arsenale, Venice, Italy

委托方/Commissioner: La Biennale di Venezia, Hashim Sarkis

策展人/参展人/Curator/Exhibitor: 孟凡浩/MENG Fanhao 设计负责/Design Principal: 何雅量，胥昊/HE Yaliang, XU Hao

设计团队/Design Team: 祝骏，邓皓，葛震亮，王雨斌，邢舒，王昕宇，涂单，李胤赜/ZHU Jun, DENG Hao, GE Zhenliang, WANG Yubin, XING Shu, WANG Xinyu, TU Dan, LI Yinze

项目执行/Project Executive: 方怡，何雅量/FANG Yi, HE Yaliang

纪录片拍摄/Documentary: 左靖工作室，飞蔦集，陈曦/ZuoJing Studio, Stray Bird Art Hotel, CHEN Xi

视频剪辑/Video: 刘欣慧，陈钰凡，石凡成，方思韬/LIU Xinhui, CHEN Yufan, SHI Fancheng, FANG Sitao

微缩模型制作/Miniature Model Making: 石凡成，楼诗媛，方思韬，孙阳，薛羽卉，孙殊荻，陈钰凡，陶思序，陶思言，刘怡敏/SHI Fancheng, LOU Shiyuan, FANG Sitao, SUN Yang, XUE Yuhui, SUN Shudi, CHEN Yufan, TAO Sixu, TAO Siyan, LIU Yimin

建筑模型制作/Building Model Making: 杭州天涵建筑造型设计有限公司/Hangzhou Tianhan Architectural Modeling Design Co., Ltd.

现场执行/On-site Executive: 杨啸/YANG Xiao

项目面积/Project Area: 106 m2

设计时间/Design Time: 2019.09-2021.04

竣工时间/Completion Time: 2021.05

16-19 展览装置/Exhibition installations （13-19摄影：柳炫竹/Photos: LIU Xuanzhu）

摄影/Photos: 柳炫竹，陈曦，全球知识雷锋，杨啸/LIU Xuanzhu, CHEN Xi, Global Knowledge Lei Feng, YANG Xiao occlusal relationship between the architectural form and the mountain from another dimension. The rough concrete texture of the model also reproduces the special material of wooden formwork concrete used in the construction of this project.

Compared with the traditional sloped roofs, scattered layouts, rural materials, wooden craftsmanship and other techniques used in common rural buildings, Teahouse in Jiuxing Village presents another possibility of public space construction in the typical rural landscape environment in Jiangnan region through the adjustment to terrain, the disintegration of building volume and the rethinking of materials.

4 Thoughts on "Rural Nostalgia" and "Urban Dream"

From the perspective of population flow and spatial agglomeration, in the process of urbanrural interaction and integrated development, urbanisation cannot be separated from the inflow of rural people, and rural construction cannot be separated from urban people's yearning for the countryside. "Rural nostalgia" and "Urban Dream" are not only spatial appeals and symbolic visions, but also group representations of the linkage of urban-rural relations, and are also the core drive for the reconstruction of urban-rural relations. Under the interaction between the needs of the crowd and the architectural design, a multi-functional and multi-group gathering place is formed. How to deal with the new demands of the mixed group for shared space and cultural space has become our continuous concerns about the new mode of crowd cluster in urban and rural areas in space production.

On the other hand, compared with city, rural area is a more complex ecological system, with common problems such as imperfect organisational structure. At this time, the identity of the architect is no longer a passive, single, one-way problem solver, but an active, composite and multi-directional organisation leader, thus completing the design-driven space authorisation-not only the architectural design, but combined with specific social context and policies, integrate multiple resources, build a set of project operation procedures from planning and design to construction and operation, so as to innovate a paradigm that promotes development by architecture design. This is also our thinking and action in response to the theme of "how will we live together".□