在快速城市化的進程中，中國的鄉(xiāng)村走向衰落，農(nóng)村經(jīng)濟體衰敗，環(huán)境遭到破壞，很多農(nóng)村空巢，建筑坍塌。農(nóng)村需要改變，經(jīng)濟需要復(fù)蘇，需要重新吸引人們回歸。在這期間，環(huán)境的改變是重要的因素，如何營造一個新的環(huán)境？使衰敗的鄉(xiāng)村重新獲得魅力？
In the course of thriving urbanization, the rural areas in China have been fading and the system of rural economy has been fallen into decay. The environment has been suffered of wreck. Many rural areas are few inhabitants round the place, with houses collapsed. Something needs to be changed; economy wants to come back to life for the sake of people’s attraction and return. In the meantime, the overriding element is the environmental change, but how? A new environment is being constructed? The decaying village captures its receding charm once again?
▼改造后的景觀，the lanscape after renovation
在山東沂蒙山區(qū)的深處，有一個村子。這是一個遺落在大山懷抱中的古村落，曾經(jīng)的桃花源，但隨著城市化的進程，逐漸衰落，原先三百多人的村子還有一百多人，大部分老房子已經(jīng)空置，有些坍塌成為廢墟。這個村子在2016年經(jīng)歷了一個變化，一些青年人來到這里，發(fā)起了一場共建共享的實踐，回鄉(xiāng)青年、村民和當?shù)卣献?，建設(shè)鄉(xiāng)村。觀筑設(shè)計團隊住進了這個村子，開始了一場實踐。
One village is located in deep Yimeng mountain area in Shandong China. The lost ancient village, the Peach Garden at one time or another and in the embrace of huge mountains, is on the wane in thriving urbanization, with 100 hundred people left rather than 300 hundred people in original village, a majority of the houses of long standing that are in vacancy or even collapsed to ruins. A change or turn appeared in the village in 2016, some coming young people were here to launch a movement,to share and share alike. The young people returned to the village, villagers and local governments make concerted efforts to build their home. The concept design team stopped and lived in this village for a practice.
▼新建成的廣場空間，the new plaza
如何使這個日趨衰落的村子從空間上得以新生？又如何能保留鄉(xiāng)土記憶，又能符合現(xiàn)代的功能需求？觀筑設(shè)計提出了新鄉(xiāng)土理念。保留歷史記憶，運用現(xiàn)代鄉(xiāng)土的理念，置入新的功能。首期更新的區(qū)域位于村子的核心，由社區(qū)服務(wù)中心、美術(shù)館、鄉(xiāng)村生活美學館、餐廳、咖啡廳、以及民宿區(qū)構(gòu)成。其中，中心街、鄉(xiāng)村生活美學館及三個民宿院落已經(jīng)完成。
How to make this village, declined day by day, brought back to its life? Not only can hold the original features, but also the functional requirements can be followed up? The concept design put forward a concept of fresh native land, which continues to maintain the history and additional idea considered by the thinking of modern native land put to use.?The first updating area, composed of community service center, art galley, rustication aesthetic museum, restaurant, coffee shop and hostel area, is in the heart of the village. In this area, the central street, rustication aesthetic museum and three hostel courtyards have been finished.
▼改造后的平面，the regional plan
在村子正中心，建成了一座新的建筑，叫做鄉(xiāng)村生活美學館，也是全國第一座以鄉(xiāng)村美學為主題的美學館，場地原為村子的活動場地，是一個硬化的場地，鋪滿了紅色的廣場磚，與村子的風貌很不協(xié)調(diào)。
In the right center of the village, a new building called rustication aesthetic museum, the first aesthetic museum in China and rural aesthetics as its theme stands there where originally is the activity yard in the village, a hardened ground with red bricks paved here and there and with inconformity of the style and features.
▼村子中心的生活美學館，the new rustication aesthetic museum
在場地中建造美學館，并保留廣場，建筑就采用村子里蓋房子用的石灰?guī)r，形體就用一個長方盒子，嵌入到兩側(cè)老房子圍合的空間中。建筑外墻厚50厘米，外立面加了很多長方洞，方洞和條窗一個尺度，進深50厘米，朱家林有很多鳥，希望未來這些洞成為鳥窩，所以從外面講，也叫鳥窩建筑。
The aesthetic museum is built on the ground and the square is saved. The limestone for the house building in the village is adopted as the building material. The box with a rectangular shape is embedded in the space enclosed by old houses on both sides.?The thickness of exterior wall in the building is 50 cm being a lot of rectangular holes, square holes and a measured window of 50 cm left on external facade that are expected to be the nests for the plenty of birds living in ZhuJialin. From the viewpoint outside the building, it is a nest building.
▼墻上的窗洞為鳥提供居所，the openings on the wall provide local birds a place to build nest
建筑砌墻的工人用的都是村子里的老師匠，石頭進行適當?shù)那描?，保持立面的自然，也追求石頭的咬合，特別是凹凸的建筑邊線，追求細致和一致，建筑做工體現(xiàn)了很好的沂蒙石匠的技藝。
The experienced craftsmen in the village as the construction workers carried out this engineering. The stone is simply knocked and chiseled for the reason of natural facade and combination, especially the concave-convexsidelines of building seeking great carefulness and detailed uniformity. The done work gives expression to the amazing skill of stone men in Yimeng.
▼石墻的咬合體現(xiàn)了傳統(tǒng)的建筑技藝，concave-convexsidelines of building seeking great carefulness and detailed uniformity
鄉(xiāng)村生活美學館前面的空地繼續(xù)作為材質(zhì)村民活動廣場。建筑和前面的道路有1.2米的高差，利用高差，做了幾組有雕塑感的臺階，臺階被放大，可以作為坐凳。臺階用預(yù)制混凝土板，約400塊臺階，采用了15種規(guī)格。臺階具有很強的秩序感，也是這個村子里最有秩序感的一組元素，試圖在有機的村落中，增加一種儀式性。建筑前部留了6米的臺地，作為未來的舞臺，廣場也自然成為觀眾席。
The clearing space in front of the rustication aesthetic museum acting as the villagers’ activity square is still being there. The elevation of 1.2 meters between building and road in front in which several sculptural steps are made and enlarged for rest as such difference in height used can be designed. About 400 precast concrete slabs with 15 specifications are employed in this idea.?The steps with strong sense of order, also a group of elements with the most sense of order in this village, try to argue a ritualistic feel to the organic village. A 6-meter bench terrace saved in front of the building is contemplated as a stage, naturally, the square turns into the auditoria.
▼建筑前部的活動廣場，the plaza in front of the museum could host public activities
▼廣場上的臺階細部，staircase of the plaza
▼夜間的廣場，the nightscape
▼建筑內(nèi)部，Interior of the building
▼空間內(nèi)部的光影，the light and shadow in the building
▼混凝土細節(jié)，the detail of the plaza
▼村落中的空間，the rural space
廣場東側(cè)的一個巷子，原路面被做成水泥路面，在去掉水泥，恢復(fù)生態(tài)路面的過程中，挖出了大量的石灰?guī)r原石，與太湖石一致，于是，在這個基礎(chǔ)上做了一個藝術(shù)裝置，用廢舊鋼板焊接了一個跌水池，嵌入到原始石頭的間隙中，謂之”青泉石上流。又在石頭的一側(cè)栽植了蒲葦，蒲葦與石頭又應(yīng)了《孔雀東南飛》里的一句詩”蒲葦韌如絲，磐石無轉(zhuǎn)移?！?/p>
There is a lane on the east of the square. The original pavement is made of cement and a great quantity of limestone that are identical in character with Taihu stone is excavated in the process of removal of cement and recovery of ecological pavement. So, a plunge pool welded by scrap steel plates is made on this foundation as an art installation and embedded in the spacing of original stones, which is named “water spring flows on the stone”. Also, the stone combined with pampasgrass that is being side of the stone corresponds the sentence “pampasgrass is strong as silk, the massive rock can not be shifted” in the poem “The Peacock Flies to Southeast”.
▼廣場東側(cè)的巷子恢復(fù)了生態(tài)的功能，the lane is reconstructed with is eco-function
但在新農(nóng)村建設(shè)的過程中，村子里的道路全部都給硬化了，村子的詩意蕩然無存了?，F(xiàn)在重新破除水泥路，改為步行路，恢復(fù)滲水功能，道路采用老石板鋪裝，結(jié)合石子，不僅可以滲水，又滿足了下雨沒有泥巴的需求。破碎掉的混凝土，重新用作鋪地材料，中間留有縫隙，生長小草。
But in the process of building a fresh countryside, all roads in the village have been hardened so that the flavor of village is nothing left. Now, the walking roads instead of cement road that the old slab coupled with stones are adopted can both let the water off and meet the needs of no mud in the rainy day. The broken concrete can be recycled for paving materials that the spacing in which the grass grows.
▼結(jié)合泉水與高差的藝術(shù)裝置，installation inspired by the height disparity
野草，遍布鄉(xiāng)村的田間，但不被歡迎，因為和莊稼爭肥，往往被鋤掉，但在地頭的茅草和狼尾草卻也是別樣的美，一到秋天白色的草穗在陽光下散發(fā)著光芒。讓野草回家，栽到村子里，在廣場周邊，老院墻外部和道路兩側(cè)，栽植了野草，分別栽了蒲葦、芒草和狼尾草，都是多年生的宿根草本。
Weeds that fight the crops for fertilizer prevailing the fields in the village are not to be welcomed and often removed, but thatches and pennisetum growing on the edge of the field with distinguished taste and their heads send out the flame in the sun when the autumn comes. Let the grass back to home, to the village, around the square, outside the old courtyard wall and both sides of the road. Besides grass, pampasgrass, thatches and pennisetum, all herbaceous perennial, are planted.
▼回歸田園的景觀空間，the idyllic landscape
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朱家林鄉(xiāng)村實踐，把設(shè)計變?yōu)闋I造，設(shè)計師住到村子里，在現(xiàn)場進行設(shè)計，全面參與到了施工過程中，在施工中與村子里的工匠一同協(xié)作，同時，設(shè)計也與生活融為一體，在自然和田園中從事設(shè)計，也是一種設(shè)計方式的探索。
The practice in Zhujialin Village translates the design into creation. The designer lived in the village, designed on site, fully participated in the working process and cooperated with the craftsmen in village. At the same time, the design together with life as a whole that is carried out in nature and countryside is an exploration for a way of design.
▼平面，plan
▼剖面，section
首席設(shè)計師：孔祥偉
設(shè)計團隊：李國棟、劉玉龍、林麗聰、王梓亦、龐亮亮、徐景安、王桂斌、王穩(wěn)、滕欣、崔繼曉、楊曼
Chief designer: Kong Xiangwei
Design team: Li Guodong, Liu Yulong,LinLicong, Wang Ziyi, Pang Liangliang, Xu Jing’an, Wang Guibin, Wang Wen,Teng Xin, CuiJixiao, Yang Man
