晨光中的梅宿全景 ©存在建筑设计单位 小隐建筑事务所
项目地点 四川绵阳
建成时间 2023年3月
建筑面积 1360平方米
撰文 潘友才、葛祥鑫、杨叶
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。[1]
——《道德经·第十一章》
烘炕、砖窑与羌族民居
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，其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 ©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 ©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 ©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，形成极具仪式感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 ©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”的印象印刻在我们的脑海中，成为“梅宿之言”最重要的三个“象源”[2]，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” ©小隐建筑
意象构建示意 ©小隐建筑
阿尔多·罗西的建筑类型学
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，它们的功能也许在今天有意义，在以后就没有意义了。理论中关于“原型”探寻及提取的理念和方法与我们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 ©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）。罗西的类型学的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 ©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，他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, and classification 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.
林中的梅宿 ©存在建筑当我们站在巨人的肩上回看罗西关于建筑类型学的思想，发现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