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因借“渺滄海之一粟”的意境，于梨樹、梨花、清風(fēng)、光影中成就天地之純粹。小屋散于果園阡陌縱橫中，于梨枝之巔，覽花果之盛，互不相望，各具風(fēng)景。淡季作為果農(nóng)勞作休憩之用，花季則幻作野奢農(nóng)舍，最大程度滿足游人與農(nóng)民的不同需求。單元之間可以互相組合形成游人所需要的聚落，使人們領(lǐng)略“花海一粟”的魅力。該項(xiàng)目獲得2019UIA-CBC國(guó)際高校建造大賽的三等獎(jiǎng)。

建筑的極小，自然的極大。團(tuán)隊(duì)受場(chǎng)地條件的啟發(fā)，探討自然與建筑之間的關(guān)系。郁郁蔥蔥之間，極小的建筑保留最大的自然，實(shí)現(xiàn)鄉(xiāng)村建設(shè)“微介入“，在自然面前保持謙卑的同時(shí)給鄉(xiāng)村帶來(lái)實(shí)在的改變。

By borrowing the artistic conception of "a grain of millet in the vast sea", the purity of heaven and earth is achieved in the pear trees, pear blossoms, gentle breeze and light and shadow. The small houses are scattered among the crisscrossing paths in the orchard. Standing on the top of the pear branches, one can enjoy the flourishing flowers and fruits, each with its own unique scenery. During the off-season, it is used for fruit farmers to rest and work, while in the flowering season, it transforms into a wild luxury farmhouse, meeting the diverse needs of tourists and farmers to the greatest extent. The units can be combined with each other to form the settlements that tourists need, allowing people to appreciate the charm of "a grain of sand in the sea of flowers". This project won the third prize in the 2019UIA-CBC International University Construction Competition.

The architecture is extremely small, while nature is extremely vast. Inspired by the site conditions, the team explored the relationship between nature and architecture. Amidst the lush greenery, the tiniest buildings preserve the greatest nature, achieving a "micro-intervention" in rural construction. While remaining humble in the face of nature, they bring about real changes to the countryside.

一、江蘇 ·花海一粟

RESIDENTIAL DESIGN

因方案坐于鄉(xiāng)村，服務(wù)于鄉(xiāng)村，在設(shè)計(jì)之初，團(tuán)隊(duì)牢牢把握方案的在地性，將對(duì)形態(tài)，建造，使用模式的考慮與鄉(xiāng)村實(shí)際情況相統(tǒng)一。設(shè)計(jì)邏輯可以歸結(jié)為四點(diǎn)：高于樹、散于園、向于景、異于期。

梨園之中，梨樹繁茂，匯成林海。梨樹3米左右的高度讓我們產(chǎn)生了漫步林間，踱步枝頭的想象，促使我們將建筑拔高，提供觀者坐于枝頭的奇妙感受。人們能在房中俯視梨園，摘果賞花。

用自由的體量介入梨園矩陣式規(guī)則的圖底，在打破規(guī)律的同時(shí)以輕質(zhì)姿態(tài)介入場(chǎng)地，最大程度保留了自然風(fēng)貌，實(shí)現(xiàn)“最小的建筑，最大的自然”的理想，這既是對(duì)環(huán)境的主動(dòng)適應(yīng)，也是對(duì)傳統(tǒng)果園生產(chǎn)方式形成的空間形態(tài)的一種落地解決思路與設(shè)計(jì)方法，使方案具有復(fù)制和演變的可能。各單元和景觀之間用蜿蜒的小路連接，功能轉(zhuǎn)換之間行走于樹與花間，提供房客最直接和充分的自然體驗(yàn)。

As the plan is located in the countryside and serves the countryside, at the very beginning of the design, the team firmly grasped the local nature of the plan and unified the considerations of form, construction and usage mode with the actual situation of the countryside. The design logic can be summarized into four points: above the trees, scattered throughout the garden, oriented towards the scenery, and different from the schedule.

In the pear orchard, pear trees are luxuriant, forming a sea of forests. The height of the pear tree, which is about 3 meters, evokes in us the imagination of strolling through the forest and strolling on the branches, prompting us to raise the building to offer viewers the wonderful feeling of sitting on the branches. People can overlook the pear orchard from their houses, pick fruits and enjoy the flowers.

By introducing the free volume into the matrix rules of the pear orchard, it breaks the regularity while entering the site with a lightweight posture, preserving the natural features to the greatest extent and achieving the ideal of "the smallest building, the greatest nature". This is not only an active adaptation to the environment but also a practical solution and design method for the spatial form formed by the traditional orchard production mode. Make the plan possible for replication and evolution. The units and landscapes are connected by winding paths. Between functional transitions, one walks among trees and flowers, providing guests with the most direct and comprehensive natural experience.

鄉(xiāng)村自然原始的生態(tài)環(huán)境提供游客逃離凡俗的機(jī)會(huì)，視覺離心的布置的是人孤獨(dú)的體驗(yàn)，彼此不相向的景框讓每一個(gè)單元浸染在自然里。團(tuán)隊(duì)希望借更加內(nèi)向的設(shè)計(jì)探討本體的真實(shí)需求。作為在村莊里實(shí)際應(yīng)用的共享農(nóng)舍，項(xiàng)目充分考慮了單元功能的切換以最大程度地滿足游人與農(nóng)民的不同需求，實(shí)現(xiàn)建筑全生命周期高效利用。平日里，團(tuán)隊(duì)考慮農(nóng)戶需求，小屋可以作為農(nóng)戶臨時(shí)使用的農(nóng)家小屋，形成一處存放農(nóng)具、勞作休憩及登高看護(hù)的場(chǎng)所；而在游人較多的花季和成熟季，建筑則轉(zhuǎn)換為旅游產(chǎn)品，小屋則可以作為游客居住停留的野奢酒店，是游人使用和暫住之處，讓游人可以在此感受最真實(shí)的果園生活。

The natural and primitive ecological environment of the countryside offers tourists an opportunity to escape the mundane. The visually separated arrangement conveys a sense of loneliness, and the frames that do not face each other allow each unit to be immersed in nature. The team hopes to explore the true needs of the entity through a more introverted design.

As a shared farmhouse actually applied in the village, the project fully considers the switching of unit functions to meet the different needs of tourists and farmers to the greatest extent and achieve efficient utilization throughout the building's life cycle. On ordinary days, the team takes into account the needs of farmers. The small house can be used as a temporary farmhouse for farmers, forming a place for storing farm tools, resting during work, and guarding from a height. During the flowering and ripening seasons when there are more tourists, the buildings are transformed into tourism products, and the small houses can be used as wild luxury hotels for tourists to stay. They are places for tourists to use and temporarily stay, allowing them to experience the most authentic orchard life here.

二、空間美學(xué)

RESIDENTIAL DESIGN

短短十五天要建造六個(gè)林間小屋，除了運(yùn)用自然材料，借鑒當(dāng)?shù)毓しǎ覀冞€希望研究木框架，梨枝預(yù)制化和鋼結(jié)構(gòu)樓梯裝配式建造的可行性。在細(xì)部和場(chǎng)地設(shè)計(jì)上，團(tuán)隊(duì)在基于美學(xué)的考慮之上充分借鑒鄉(xiāng)村傳統(tǒng)工藝，運(yùn)用簡(jiǎn)單質(zhì)樸的手法實(shí)現(xiàn)理想的效果。團(tuán)隊(duì)運(yùn)用拆取自當(dāng)?shù)貜U舊房屋的用溫潤(rùn)去火的青磚砌筑景觀水池，向當(dāng)?shù)貍鹘y(tǒng)洋鐵皮工匠定制雨水口，運(yùn)用愛園村百年梨園中最具特色的建筑材料——梨樹的枝條快速建造建筑立面。

點(diǎn)狀的空間輕巧而自由，果農(nóng)與游人的參與延長(zhǎng)并完整了「花海一粟」的生命周期，可以說(shuō)它們是為果樹和人設(shè)計(jì)的家。從遠(yuǎn)方望向「花海一粟」，會(huì)看到梨樹之巔那星星點(diǎn)點(diǎn)的小屋，矗立在這廣大的百年梨園上，感受著日月星辰與綠樹繁花。

In just fifteen days, we aim to build six forest cabins. Besides using natural materials and drawing on local construction methods, we also hope to study the feasibility of building wooden frames, prefabricated pear branches and assembled steel structure stairs. In terms of detailed and site design, the team fully drew on traditional rural craftsmanship based on aesthetic considerations and achieved the desired effect through simple and unadorned techniques. The team used the warm and fire-resistant blue bricks taken from the local dilapidated houses to build the landscape water pool, custom-made the rainwater inlets from the local traditional tinplate artisans, and quickly constructed the building facade with the most distinctive building material from the century-old pear orchards in Aiyuan Village - the branches of pear trees.

The dotted Spaces are light and free. The participation of fruit farmers and tourists extends and completes the life cycle of "a Grain of sand in the Flower sea". It can be said that they are homes designed for fruit trees and people. Looking at "A Drop in the Sea of Flowers" from afar, one can see the scattered little houses on the top of the pear trees, standing on this vast century-old pear orchard, feeling the sun, moon, stars and the green trees and blooming flowers.

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