【展示区-自由-现代】自由丽江——从直觉到场所｜俊发·雪山俊府

丽江，这个古道上曾经的马帮重镇、统治云南丽江地区470余年的纳西族木氏发源地，之于各色人自有不同的意义。

囿于都市的年轻人把它幻化为可以疏离的隐匿之所的代名词，旅行者则把它看作是进入藏地前的最佳歇脚地。

而某种程度讲丽江更像是变换颜色的气泡——曾经是天堂，如今却是假雪山之名的世俗欲望。而打破早已被如此象征化的丽江，不管借由哪一种载体，都应该是个值得看待的问题。

Lijiang has different meanings for all kinds of people. Young urbanites see it as a place of refuge, while travelers see it as the best place to stop before entering it. In some ways, Lijiang is more like a bubble changing color -- once a paradise, now a secular desire in the name of snow-capped mountains. And breaking up Lijiang, which has been so symbolic for a long time, should be a problem worth looking at no matter what kind of carrier is adopted. 

2018年，设计团队对项目场地进行了实地考察——场地不远处就是巍峨峻峭的玉龙雪山，山顶的雪线终年不化，天气好时便能清楚地看到全貌。

场地背后倚靠的则是藏传噶玛噶举派的圣地文峰寺，寺内莲花生大殿将玉龙雪山纳入正殿门视线之内。

In 2018, the design team conducted a field trip to the site -- not far from the towering Yulong Snow Mountain, backed by wenfeng Temple, a sacred site of the Tibetan Kagyu sect. The lotus Hall within the site brings the Yulong Snow Mountain within sight of the main entrance.

场地与四季酒店的选址一路之隔，两者投资方均为俊发集团，项目也是以四季酒店品牌下可售型托管物业为产品目标的。确定接下案子之时，设计雏形基本就已完成，当然这不包括具体的空间和场所状态。在思维模型产生前我们甚至还没有去看现场，几乎完全依赖设计的直觉。

标准的丽江传统建筑范式，在现代工程技术的建造下显得廉价和失控，这几乎是每个旅游城市的共性问题。在传统沿袭的问题上，我们总是会有某种心理负担。但当回到一个线性的时间维度来看，当下的时段切片也毫无疑问地有表达当下的迫切性。批判式地域主义常常指对国际主义浪潮的反思，而对无形的地域枷锁同样适用。在一个稳定的地域文化基质上，理应有个体化的语言呈现。

By the time you decide to take over the case, the design is basically done, but that doesn't include the specific state of the space and the place. We didn't even see the site before the thought model came along, relying almost entirely on design intuition. The standard traditional architectural paradigm in Lijiang is cheap and out of control under the construction of modern engineering technology, which is a common problem in almost every tourist city. Critical regionalism often refers to the reflection on the wave of internationalism, but it is also applicable to the invisible regional shackles. In a stable regional culture matrix, there should be a personalized language presentation.

最初的概念图中，是在漫无边际的屋檐上方置入了一个纯白色的建造物，飞檐作为底图象征着传统，雪山则作为丽江的精神图腾而存在。

图像传递的是直觉，对比最终建成品，我们仍然有表达对地域和文化的尊重。其次，在地球上许多同等光照和气候条件下的区域，白色被广泛地使用，因为它是对光和天空底色的敏感反映，从这个角度来讲实际上就是对所处地域的充分关注。从现象学的角度来讲，白色是在象征远处的玉龙雪山，是在构建更广阔的场所关系。

In the original concept map, a white building is set above the eaves, with the cornice as the base image symbolizing tradition, and Snow Mountain as lijiang's spiritual totem. Images convey intuition, and by contrast, we show respect for place and culture. Secondly, white is widely used in many regions of the earth under the same light and climate conditions, because it is a sensitive reflection of light and the background color of the sky, in this sense, it is actually a full attention to the location. From the phenomenological point of view, white symbolizes the jade Dragon Snow mountain in the distance, which is building a broader site relationship.

白色是对气候的敏感回应

而重要的是

借此先从视觉上摆脱了地域桎梏

表皮并非文化上唯一的依存

因此内核以何种方式去显现

就变得至关重要了

White is a sensitive

response to climateand importantly

to get rid of the geographical

constraints from the vision first

The skin is not only dependent on the cultural

therefore the kernel in what

way to appear becomes crucial

无论如何形式都需要被渲染

因为建筑并非遮蔽所

情绪须置于首要的位置

摆脱红线的遮蔽以建造更自由的场所

是对功能至上的背叛

No matter how to form needs to be rendered

because the building is not a shelter

Emotions must be placed in the first place

out of the cover of the red line

to build a more liberal place

is a betrayal of function is the highest

而白色不过是虚晃一枪，表里关系需要明确的定义，两者的微妙制衡实则是在现代性的表达欲下对地域主义的充分尊重。

丽江红和五花石作为当地最具代表性的材料在场地中被广泛地运用，它的色度和粗粝感与人工化的机切花岗岩形成对峙感，场地内数道尺度可观的具有延展动势的红色墙体，当仁不让地成为场所内的主要空间骨架，引导着主要的通行路径。

这种在丽江极具普遍性的材质，在这里显现了更好的力量感，当它冲破白墙之间的缝隙时尤甚。这种在形式上的冲突，适度地表达了身处当下的世界性语汇里，传统理应时刻处于被景仰的地位。

The relationship between interior and exterior needs to be clearly defined, and the subtle balance between them is actually the full respect for regionalism. Lijiang red and five marble as the most representative of local material is widely used in the field, the chromaticity and coarseness and artificial machine cutting granite formed confrontation, the field collection of scale considerable has extended emf red wall body has become main space framework in place, led outside the main Chambers access path.

文笔山与玉龙雪山遥相呼应各领风骚，基于文笔山的地势，整个场所的起点始于一条拾步而上的林荫堑道，它隐喻曾经的茶马古道，亦打破了惯性的领域形象——那种不假思索的森严的边界。

Wenbi Mountain and Yulong Snow Mountain echo each other at a distance. Based on the topography of Wenbi Mountain, the starting point of the whole place starts from a path of picking up steps and going up into the tree-lined moat. It is a metaphor for the ancient tea-horse road, and it also breaks the habitual image of the field -- the rigid boundary without thinking.

这个并非对内分明的边界，在形态和体量的作用下，呈现了一定的雕塑感和磁力。时常有路人或站在乌桕林下或端坐于水池边，或端详饮马雕塑或看向不远处的白色小建筑产生好奇。也因此很偶然地拍下了附近村落的老人在这里的照片，有特别的感染力，场所感更强了。

This is not a clear internal boundary, but a sculptural feeling and magnetic force under the influence of form and volume. Passersby often become curious by standing under tallow trees or sitting at the edge of the pool, looking at the horse sculptures or looking at the small white buildings not far away. Therefore, I took the photos of the old people in the nearby villages by chance, which had a special appeal and strengthened the sense of place.

起点处悬挂着饮马雕塑的红色盒子，是一个具有文化隐喻含义的装置，若驻足只听得见水声，却窥不得内部的全貌，以一个园林式“奇巧”的内外关系，开启空间的体验序幕。

如果从手法的角度来讲，项目对情绪的编辑和空间的转换并非使用传统的视线开合和路径障碍达成，整个场地内一共有三个小建筑，分别为“光之礼堂”“漂浮的盒子”“消逝的建筑”，景观设计实际上是以三个小建筑切割了不同的空间块面，并催生了独特的体验。

The red box hanging at the starting point of the horse sculpture is an installation with cultural metaphor meaning. If you stay here and only hear the sound of water, but do not know why, you will experience the opening of the space with a gardenized relationship between inside and outside and 'strange and strange trick'. If from the technique point of view, in the project editor and space to the mood is not using the traditional view of opening and closing and barriers of the path, there are three small buildings throughout the site, 'the hall of light', 'floating box', the building of the 'die', landscape design, in fact, with three small building cutting up a face, different space and create a unique experience.

堑道实则构建出一个口袋公园的空间，就着两侧的高墙，由乌桕林营造的阴翳空间就像一个过滤器，有效干预着进入者的情绪。

The moat actually forms a pocket park space with high walls on both sides. The shaded space created by tallow trees ACTS as a filter, effectively interfering with the emotions of visitors.

随地势逐步向上延伸的林荫堑道亦是进入“光之礼堂”的路径，路的左右两侧是乌桕林，阳光穿透乌桕林投下的细密斑驳的阴影，构造出一个可与马帮历史沟通的空间媒介，使其更具体验性。

With the gradual upward extension of the topography, the tree-lined moat is also the way to enter the 'Hall of Light'. The left and right sides of the road are tallow forests. The sunlight penetrates the delicate and moatered shadows cast by tallow forests, constructing a spatial medium that can communicate with the history of Horse band and make it more experiential.

遮蔽空间，往往比自然更富有感召力，是因为光通过暗部空间时被驯化产生更多的意义。“太阳从不知道自己有多伟大，直到它照到建筑物上。”【2】景观运用了更建筑化的语汇重新诠释了门户的概念，设计利用圆形的天窗使得原本无序的光在不同的时段投射不同的位置和形状。

这是第二重的情绪干预，当人通过这个遮蔽空间时，身心会被进一步感染，由此进入真正的内庭。而红色这一在地文化的象征色，出现在内部空间是现代语境下适度的回应。光的投射产生的戏剧感，亦使这个空间成为具有充分表演性的媒介。

Shaded space is often more inspirational than nature sometimes, because light is domesticated when passing through dark space, produce more meaning. 'The sun never knows how great it is until it shines on buildings.' The landscape USES a more architectural vocabulary and the design USES circular skylights to project light in different positions and shapes at different times of the day.This is the second emotional intervention. When people pass through this sheltered space, their body and mind will be further infected, thus entering the real inner court. The appearance of red, the symbol of local culture, in the inner space is a moderate response in the modern context. The sense of drama generated by the projection of light makes space a performing medium.

通过对光线的重新编辑，它的美被变化为可塑性的形式中，由此我们变得可以更乐意去谈论这个空间的趣味性和真实性，使它变成了一种我们可以通过身心体验的表达。

在光明和黑暗发生关系的过程中，光的价值和情感力量都获得了提升，而红色材质对光线的重新编辑，额外带给人强烈的感官感受。

By reediting the light, its beauty is transformed into a malleable form, so that we become more willing to talk about the interestingness and authenticity of the space, making it an expression that we can experience through our body and mind. During the relationship between light and darkness, the value and emotional power of light are enhanced, while the reediting of light by the red material gives an extra intense sense of sensation.

以内向的红传达形式语言与文化隐喻的表里关系，其手法取自西扎在塞图巴尔教师学校与波尔图建筑学院的入口衍生空间中对费尔南多达沃拉(Fenrnando Tavora)【3】的致敬，同样的颜色最早出现在达沃拉设计的康赛匈公园（1960年）。

The internal red conveys the external relationship between formal language and cultural metaphor, which is derived from Siza's homage to Fenrnando Tavora in the derivative space of the entrance of Setubal Teachers' School and Porto Architecture School. The same color first appeared in The Quinta da Conceicao designed by Davola (1960).

内庭的黑色火山岩立面与红色一样，是新表里关系的一体两面，粗粝的材质暗示我们：建筑是需要被触摸后才能被充分感知。整个院落全部作为叠瀑的空间，场地的原始高差于是被完全呈现出来，而高墙之外的远山轮廓明确地显示了场地的丰富空间关系由它而来。

The black volcanic rock facade of the inner courtyard is the same as the red one, which is the same two sides of the relationship between the new and the new. The harsh materials suggest that the building needs to be touched before it can be fully felt. The whole courtyard is a space of cascading waterfalls, and the original height difference of the site is completely presented, while the distant mountain beyond the high wall clearly shows the rich spatial relationship of the site from it.

黑色控制了这块空间的整体色彩关系，抽象的木质“悬鱼”构件则向我们娓娓道来它的两种存在方式和生命阶段；先生为树，再生为木，而后成为匠人手下的艺术品。它与轻盈的浮桥一道，同火山岩的坚硬质地和永久性产生某种对比关系。

Black controls the overall color relation of the space, while the abstract wooden 'suspended fish' component tells us about its two existence modes and life stages. A master is a tree, a reborn wood and a work of art under the hands of a craftsman. Along with the light pontoon bridge, it contrasts somewhat with the hard texture and permanence of volcanic rock.

在《水与梦：论物质的想象》一书中，巴什拉指出，水象征着时间，生命和死亡那样的抽象性类别，而这一观点的指出区别出水比起土更具梦幻色彩，它总是在流淌，总是在跌落，总是消失于地平线。【4】

Gacheton Bachelard  points out that water represents abstract categories like time, life and death, and this distinction makes water more dreamlike than earth. It is always flowing, always falling, always ending in the vanishing of the horizon.

白色的盒子悬浮在水杉林中，是一个具有一定冲突感介入自然的艺术装置，它的白色同样象征丽江的精神底色，并反射高海拔地区的光线。沿着厚重的墙体，顺着地势穿过盒子，穿过水杉林，空间被切换。 

The white box suspended in the metashorete forest is an art installation that involves nature with a certain sense of conflict. Its white color also symbolizes the spiritual background of Lijiang and reflects the light of the high altitude area. Along the thick wall, along the terrain through the box, through the metasequoia forest, the space is switched.

水杉林的阴翳感

使得白色所反射的朦胧日光更为显要

在不远的高处引导人的穿越

从而进入下一个空间

A sense of shadow in the metasequoia grove

The hazy reflection of the white sun is highlighted

Guide the man's crossing at a short height

And so we go to the next space

当光线和阴影重叠

当不同的质感相错

空间所能感知的部分变得更为丰富

变得可以不依赖显性繁复的装饰

When light and shadow overlap

When different textures are wrong

The perceived part of the space becomes richer

Become able to do without explicit

and complex decoration

消逝的建筑作为叙事的结尾，体现出场所融于自然的愿望。它通体采用玻璃材质且只保留必要的金属框架结构来表达与环境相融的质感。

选址本可远眺附近的村落和雪山全貌，因现场管控问题，这里只留出一道狭小的望向雪山的视角，被屏蔽了周遭环境的雪山变得抽象，但场所与它的关系的构建却通过这样的连接始终被强调和凸显。

最终，以一个消隐的状态完成空间序列的终点。

The vanishing architecture serves as the end of the narrative, reflecting the desire of the place to blend in with nature. It connect body USES glass material and only keep the metal frame structure necessary to express the simple sense of harmony with the environment, site selection could overlook nearby villages and snow mountain, because the scene control problem, only to set aside a small look at the snow mountain view, blocked the snow mountain becomes abstraction from the surrounding environment, but through places and its relationship to build such a connection has always been emphasized and highlighted. Finally, the end point of the spatial sequence is completed in an implicit state.

人类渺小而自然永恒

设计以尽可能

接近“消逝”的质感去表达了这一概念

Man is small and nature is eternal

Design to maximize

This concept is expressed in a texture close to 'vanishing'

作家莫言在他的文章《超越故乡》里大概这样写道：“有的人仅仅是记录了他的真实故乡，有的人则利用全世界的材料，在真实故乡的基础上创造了一个更丰富、更博大的文学故乡。”【5】 而设计作为一种表达的载体大抵也是如此，世界语言与地域性的并置或重叠，让两者都趋向不偏不倚的适度的平衡，这便是时间切片上的一体两面。自由丽江，是不受束缚却始终不可能跳脱的文化依存。

我们身处在一个巨大的急切追逐功利的社会里，而空间的功能至上和标准模块，近乎是工业时代里的全球性病毒，我们需要积极地应对这个问题。我们有幸创造了一个平衡了商业需求，兼具地域人文和构造力量的场所。它在丽江明亮的光线和土地的滋养下四溢出某种白日梦的气息，感谢运气的眷顾与合作伙伴的宽容，让我们得以建造这个白日梦。

The writer Mo Yan wrote something like this in his article Beyond Hometown: 'Some people just record their real hometown, while others use materials from all over the world to create a richer and broader literary hometown based on the real hometown.' As a carrier of expression, the same is generally true of design. The juxtaposing or overlapping of world languages and regions leads to a moderate balance between them, which is an integral part of the time slice. Free Lijiang is not bound but it is impossible to jump off the cultural dependency. Under the bright light of Lijiang, the project overflows some kind of daydream breath. Its sense of power and romanticism is a rare sight and comfort for the team on a difficult journey. Thanks for lijiang's sky, mountains and land, the blessing of luck and the tolerance of partners, so that we can build this daydream.