Architects: CUC·ZOYO
Area: 20298 m²
Year: 2019
Photographs: ZY Architectural Photography
Architect In Charge:Ye Fang
Design Team:Ren Wang, Bo Li, Ying Li, Tao Xu
Client:Liangzhu Street Management Committee
Interior Design:Xiaodong Duan
Curtain Wall Design:Wei Wu
Landscape Design:Jing Zhu
City:Hangzhou
Country:China
建築師：CUC·ZOYO
面積：20298平方米
年：2019
攝影：ZY建築攝影
負責建築師：葉芳
設計團隊：王仁，李波，李英，徐濤
業主：良zhu街道管理委員會
室內設計：小東段
幕牆設計：魏武
景觀設計：朱靜
城市：杭州
國家：中國
On December 2,2016, the World Industrial Design Conference opened successfully in Liangzhu Industrial Design Town, and the presence of Vice Premier Ma Kai of the State Council reflected a deeper understanding of the value of design to the economy society in China. Thanks to China’s attention and sufficient resources, the Industrial Design Town has been identified as the permanent venue for the international communication conference. At the same time, the operation department needs to provide office and exhibition facilities for the resident agencies of the national industrial design associations. Based on the principle of nearby site selection and collective effect, the base of the project was finally determined in Qiu Jia Wu Village near the industrial design town.
2016年12月2日，世界工業設計大會在良zhu工業設計城成功開幕，國務院副總理馬凱的到來反映了人們對設計對中國經濟社會價值的深刻理解。 由於中國的關注和充足的資源，工業設計鎮已被確定為國際交流會議的永久場所。 同時，運營部門需要為國家工業設計協會的常駐機構提供辦公和展覽設施。 根據附近選址和集體效應的原則，該項目的最終確定地點是在工業設計鎮附近的邱家塢村。
Initial intuition—— the village under the mountains
At the foot of the mountain, Qiu Jiawu is a suburban village with the increasing empty nest of urbanization. Temple is the core of the village, standing in front of the square overlooking the village in front of the pond rice field. Glazed tiles, ceramic tiles, white plastic windows, east-west mixed decoration and cement path stand for the typical 90s construction of eastern Zhejiang village appearance. In that era, rural cooking smoke is the mark of backwardness, and small brick buildings can represent a good life.
最初的直覺-山下的村莊
在山腳下，邱家屋是一個郊區村莊，城市化的空巢越來越多。 寺廟是村莊的核心，站在廣場前，俯瞰池塘稻田前的村莊。 琉璃瓦，瓷磚，白色塑料窗戶，東西方混合裝飾和水泥路代表著浙東鄉村典型的90年代建築外觀。 在那個時代，農村的炊煙是落後的標誌，而小型磚瓦建築可以代表美好的生活。
The site rises gradually from the south side of the water to the north side of the mountain, and the building falls up and down on it. The design should conform to the terrain and deduce this change more clearly and clearly, through the different orientation of the building roof combination, the monomer can identify a spontaneous consciousness, the overall order of harmonyis the impression of the village below the mountain, which is not only the initialintuition we came to the site, but also the final completion of the project state. The so-called “move” and “power” of the design should be tested again and again, discarding the “idea of non-division” and leaving behind the “loyalty to the land”.
該地點從水的南側逐漸上升到山的北側，建築物在其上跌落。 設計應符合地形，並通過建築物屋頂組合的不同方向更清晰，明確地推斷出這種變化，單體可以識別出自發的意識，整體的和諧感就是山下村莊的印象，即 不僅我們來到現場的最初直覺，還包括項目狀態的最終完成。 設計的所謂“移動”和“力量”應該被一次又一次地測試，拋棄“不分割的思想”而拋棄“對土地的忠誠”。
Camp Garden —— an unbounded garden with 27 museums
For the masonry structure of the building, the construction column and ring beamwill not be considered in that era, plus no construction drawings of the retention of the file, the retention of the transformation is no longer realistic. But the original spontaneous layout state has great reference value. On the basis of the original building layout, enough gaps are sorted out, and the original road structure is arranged in groups according to the elevation of the site layer by layer. The original road structure is fully practical according to the height difference of the terrain.Referring to the road skeleton and the original drawing, 27 independent courtyards of the occupancy institutions are sorted out, and groups of buildings enclose their own internal small courtyards, so as to mediate the relationship between void and density, and to construct the relationship between inside and outside, courtyard and roadway, center and homogeneous group in a targeted way in limited space resources.
營地花園-一個擁有27個博物館的無邊花園
對於建築物的磚石結構，在那個時代將不考慮施工柱和環形梁，再加上沒有保留文件的施工圖，改造的保留就不再現實。但是原始的自發佈局狀態具有很大的參考價值。在原始建築佈局的基礎上，將足夠的空隙進行整理，並根據場地的海拔高度將原始道路結構成組排列。原始道路結構根據地形的高度差異是完全實用的，參照道路骨架和原始圖面，整理出了27個居住機構的獨立院落，建築物群圍成了自己的內部小院落，從而在有限的空間資源中，有針對性地調解空隙與密度之間的關係，並有針對性地構造室內外，庭院與道路，中心和同質群體之間的關係。
Based on the consideration of safe operation, the owner wants each institution’s courtyard to have its own independent wall and entrance and exit. While this is a concern for the safety of valuable exhibits and staff, the closed wall does not turn each yard into an ancient inner square, bringing a dead atmosphere under the density of the objective needs of the project. So we tried to persuade the owners to abandon this safety-based single-dimensional management concept, and then take a more public way, break the idea of each organization operating independently , think of 27 courtyards as a complete industrial design museum.
基於安全操作的考慮，所有者希望每個機構的院子都有自己獨立的牆和入口和出口。 儘管這是對貴重展品和人員安全的關注，但封閉的牆不會將每個院子變成一個古老的內部廣場，在項目目標需求的密度下帶來了一片死氣沉沉的氣氛。 因此，我們試圖說服業主放棄這種基於安全性的一維管理理念，然後採取一種更加公開的方式，打破每個組織獨立運作的想法，將27個庭院視為一個完整的工業設計博物館。
The shape and significance of the wall have been developed. On the one hand, the wall forms the basic unit logo of the bounded courtyard. On the other hand, it completely breaks the closure of the connecting ground and its own horizontal direction. When the wall is broken and closed, it can be used as a guide, or a mask, or a frame, even though it is still perpendicular to the four sides. It draws people’s feet and eyes through the courtyard, swimming in the boundless garden. Instead of being isolated from each other, each small glass museum merges into an open garden with 27 museums.
牆的形狀和重要性已得到發展。 一方面，牆壁形成了有限制的庭院的基本單元徽標。 另一方面，它完全破壞了連接地面及其自身水平方向的閉合。 當牆壁破裂並關閉時，即使它仍然垂直於四個側面，也可以用作導向，遮罩或框架。 它在無邊的花園裡游泳，吸引人們的腳和眼睛穿過庭院。 每個小型玻璃博物館都沒有彼此隔離，而合併成一個擁有27個博物館的開放式花園。
Spatial archetype – the limit dichotomy between closed and open
Function is organized to define the most important set of binary relationships —— closure and openness. The relationship between the objective density of the site and the village form makes each group of courtyard most suitable for putting into two houses. Thus, the closed and open space can achieve the separation of limits. The open display function is shaped by the core cylindrical high-rise building pattern, and the umbrella structure is cantilever out of the column-free continuous space. The enclosed auxiliary functions separated from each other are shaped by the pattern of residential houses to ensure the privacy of office and temporary residence. Such a dramatic juxtaposition brings spatial tension to the courtyard unit with a limited scale, and the pure columnless glass box and the residential house realize the efficient arrangement of exhibition and non-exhibition functions between opening and closing.
空間原型-封閉與開放之間的極限二分法
組織功能以定義最重要的二元關係集：閉合和開放。 場地的目標密度與村莊形式之間的關係使得每組庭院最適合放入兩棟房屋。 因此，封閉空間和開放空間可以實現界限的分離。 開放顯示功能由核心圓柱形高層建築圖案塑造而成，繖形結構懸於無柱連續空間之外。 封閉的輔助功能彼此分離，其形狀取決於住宅的樣式，以確保辦公室和臨時住所的私密性。 這種戲劇性的並置以有限的比例給庭院單元帶來了空間張力，純淨的無柱玻璃箱和住宅實現了在打開和關閉之間有效地佈置展覽和非展覽功能。
The core tube unit of umbrella installation can be combined horizontally and vertically, and the buildings in the form of residential buildings realize two standard area types through the combination of slope roofing. This modular approach is easy to flexibly adjust the size and number of floors of the single layer of display function, so as to adapt to the use requirements of different scale institutions.
雨傘安裝的核心管單元可以水平和垂直組合，住宅建築形式的建築物通過坡屋頂的組合實現兩種標準面積類型。 這種模塊化的方法很容易靈活地調整顯示功能單層的大小和層數，從而適應不同規模機構的使用要求。
Construction and Translation — The Meaning of Form and contemporary Construction
These symbols make it easy to create the precise temperament of the design.When it comes to the architectural language bearing the meaning of Jiangnan, countryside and village, slope roof, gable, eave and courtyard wall will be blurted out.But a direct transcription of the quote would contradict the way it is now built.The “original” vernacular is even more expensive today, with results that are incompatible with the themes of industrial design.To this end, the design has made clear an important principle: to convey the meaning of the historical prototype, and to create the system at that time and now.
建構與翻譯-形式的意義與當代建構。
這些符號使創建設計的精確氣質變得容易。在談到具有江南含義的建築語言時，鄉村和村莊，坡屋頂，山牆，屋簷和庭院牆將被模糊掉，但是 報價將與現在的建造方式相抵觸。如今，“原始”白話語更加昂貴，其結果與工業設計的主題不符。為此，設計明確了一個重要原則：傳達 歷史原型的意義，並在當時和現在創建系統。
Slope roof: through the combination of slope roofing to set up the size of the two areas of the “old house”.Metal profiles raised on the roof, can play a good shading effect, with the heat insulation layer effectively reduce the heat load of the roof.Instead of the texture of the tiles, the full-length metal sections give a delicate sense of brushwork. The sections are cantilever outward, making the roof lighter and more fluttering.
斜屋面：通過組合斜屋面來設置“老房子”兩個區域的大小。在屋面上凸起的金屬型材，可以起到很好的遮陽效果，帶有隔熱層可以有效地減少房屋的熱負荷 全長的金屬部分代替了瓷磚的紋理，給人一種精緻的筆觸感。 這些部分向外懸臂懸垂，使屋頂更輕且更輕巧。
Gables:The half-suspended gable simplifies the variation of the top of the wind volcano wall, using a 2.1m plate width polycarbonate Mosaic with gaps in the middle.The light and hazy reflection of the surrounding buildings and vegetation mediates the compact exterior space, bringing the rhythm of white and shadow.The texture of imitation brick is from sparse to dense hollowing at the end with the intention of masonry.
山牆：半懸式山牆使用2.1m板寬的聚碳酸酯馬賽克，中間有縫隙，簡化了風火山牆頂部的變化。周圍建築物和植被的光線和朦朧的反射調節著緊湊的外部空間， 仿磚的質地從稀疏到密集的空心，最後都是磚石結構。
Overhanging eaves: In contrast to the traditional architectural overhanging eaves, which were thick and opaque, the redesigned overhanging eaves adopted u-shaped vertical locking polycarbonate version as the bottom surface.The aluminum tube tiles are arranged downwards from tile to lift, adjusting the Angle through the pads on the metal purlins.The sun shines through the gaps between the metal tiles and purlins, and through the transparent corneas, it casts a subtle mottling on the walls, further allowing the atmosphere of the outdoor space to permeate.The relatively small “old house” does not have a stretched facade, and the multi-storey overhanging eaves are thus reduced to a combination of several flapping eaves, which are integrated with the balcony facade.When looking up, it seems to be the buildings stacked at random, when looking far, it seems to be the wooden windows propped up by bamboo poles, and the texture of weatherproof steel plate makes the cornice more primitive.
懸簷：與傳統的建築懸簷厚而又不透明相比，重新設計的懸簷採用u型垂直鎖定聚碳酸酯版本作為底面，鋁管瓷磚從瓷磚向下延伸到升降位置，調整角度 透過金屬pur條上的墊子，陽光透過金屬磚和pur條之間的縫隙發光，並穿過透明的角膜，在牆壁上投射出細微的斑點，進一步使室外空間的空氣滲透進來。 “老房子”的外牆沒有拉伸，因此多層懸垂的屋簷被減少為幾個飄動的屋簷的組合，這些屋簷與陽台的外牆成為一體。向上看時，似乎是隨意堆疊的建築物 從遠處看，似乎是木製窗戶由竹竿支撐著，而防風雨的鋼板質地使簷口更加原始。
Courtyard wall: The courtyard wall is detached from the ground, with a wide white aluminum plate woven texture, the back is coated with plastic metal mesh for future plant climbing. Crevice texture similar to brick wall masonry, although pure white, but also a little more manual temperature.
庭院牆：庭院牆與地面分離，寬闊的白色鋁板編織紋理，背面覆蓋有塑料金屬網，可用於將來的植物攀爬。 縫隙質地類似於磚牆砌體，雖然是純白色的，但也要多一些人工溫度。
Time and space clues of material writing
Qiu Jiawu Village is only 7 kilometers away from the core area of the 5000-year-old Liangzhu site, and these hidden messages related to ancient history needs to be expressed. The functional core of the project is display, while industrial design embodies the production mode under modern social conditions.The original creation mechanism and the modern creation mechanism, these two spatio-temporal clues need to be presented in the form of materials in the architecture. The private functional extension of residential houses are painted with rammed earth coating surface layer, and the display window is supported by a variable section umbrella mounted structure built with fair-faced concrete. Ancient ruins, rural houses and modern buildings all make a dialogue through time and space through the contrast between rammed earth and exposed concrete. The intention metaphor of Liangzhu civilization jade is polycarbonate plate gable and white aluminum plate woven courtyard wall, transparent eaves plate, metal purlin and aluminum tube tile take shape to replace the material, which presents the aesthetic feeling of inheritance under the current technological conditions.The forms are created by the history, and the materials of their flesh and blood are used to write the historical changes of the site and create the spatio-temporal clues of the system evolution under the modern material construction system.The relationship between structure and space is also unified in materials, which are finally attached to the shear wall represented by rammed earth and the core cylinder represented by clear concrete.Qiu Jiawu is still a village below the mountain, loyal to the land, allowing the staff of foreign design agencies to experience the contemporary Oriental language.
素材寫作的時空線索
邱家塢村距離具有5000年曆史的良zhu遺址的核心區只有7公里，這些與古代歷史有關的隱性信息需要表達。該項目的功能核心是展示，而工業設計則體現了現代社會條件下的生產方式。原始的創造機制和現代的創造機制，這兩個時空線索需要在建築中以材料的形式呈現出來。住宅的私人功能擴展部分塗有夯土塗層表面層，展示窗由可變截面繖形結構支撐，該結構由光潔的混凝土建造。通過夯土和裸露的混凝土之間的對比，古老的廢墟，鄉村房屋和現代建築都通過時空對話。良zhu文明玉的意向隱喻是聚碳酸酯板山牆和白色鋁板編織的院牆，透明的屋簷板，金屬pur條和鋁管瓦成型的材料代替，在目前的技術條件下呈現出繼承的審美感。形式是由歷史創造的，它們的鮮肉和血液的材料被用來書寫場地的歷史變化，並在現代材料構造體系下創造出系統演化的時空線索。結構與空間之間的關係是物料也統一在一起，最終附著在以夯土為代表的剪力牆和以透明混凝土為代表的核心筒上。邱家屋仍然是山下的一個村莊，忠於土地，讓外國設計機構的工作人員可以體驗當代東方語言。
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