郝堂村一号院改造，信阳，河南，中国

建筑设计：孙君/中国乡村规划设计院孙君工作室

郝堂村一号院改造，信阳，河南，中国

建筑设计：孙君/中国乡村规划设计院孙君工作室

1 草图/Concept sketch

2 改造前外景/Exterior view before reconstruction

项目信息/Credits and Data

客户/Client：郝堂村村委会/Haotang Village Committee

施工团队/Construction Team：本地农民施工队/Local Farmers Construction Team

主持人/Principal Designer：孙君/SUN Jun

建筑材料/Materias：石头，木头，水泥砖，土/Stone, wood, cement brick, earth

设计时间/Design Period：2011.03

工程造价/Cost：73000RMB

摄影/Photos：王佛全，孙晓阳/WANG Foquan, SUN Xiaoyang

乡村建设与城市相比，从设计的难易程度来讲，似乎乡村的构成元素更为单一，功能需求也并不复杂。但从事过相关工作的人都知道，一旦深入到实施层面，总会遇到各种各样的问题——要么房子不舒服了，乡土的味道丢了；要么够乡土了，老百姓不接受，说是“改来改去还让我们住这破房子”。

郝堂村之前没有过建筑改造的活动，村里的房子要么拆了重建，要么废弃不管，农民们都封闭在自己对房子建设的理解中。村里人认为老房子没价值，是一定要被拆掉的，没人肯为老房子花钱。经过村干部的协商，第一户试点选定，户主是党员张厚建，是村里的生产队长，还在城里做装修，房子被命名为一号院。这个房子质量是比较好的，格局比较典型，建造时间大约是1990年代初，算是村里最早一代的新房子。两层平顶的砖房，外墙贴瓷砖，有一部室外楼梯，没有室内卫生间。红砖墙围起的院子里，设有厕所和猪圈。这样的房子，建筑形式是现代的，但布局延续了传统的方式，说明户主有向现代生活方式过渡的需求。

户主原想把房子拆了盖新的，对房子不满意的地方主要是5个方面：第一，儿子儿媳过年回家探亲，不愿意住在家里，因为厕所在院子里，觉得不方便（但房主本人又不喜欢厕所放在屋里，觉得有味道）；第二，现在的楼梯在外面，上下楼很不方便；第三，家里没个晾衣服的地方；第四，屋顶开始渗水了；最后，院子臭味重，因为有个猪圈。

拆掉围墙的“小”家

正房对面的外围有一圈红砖院墙。高高的院墙，是私密性的保证。在很多农民的观念里，没了院墙就不像个家。改造的第一项——拆墙，便成了一个难题。解决问题的方法先是与户主打心理战，摆道理：第一，房子是农村人的脸面，改好了得“炫耀”给别人看看；第二，原来开门见厕所，拆掉以后开门见山，风水大好；第三，围墙里面一个人字是“囚”，寓意不好。而后再讲功能：无墙可通风，猪圈的味道就没有了；而且，没了院墙，原本墙外的空地只要稍加整治，从心理上到视觉上都像极了自家的新院子，面积无形中被放大了一两倍，将来还可以在家做个小生意。墙拆了之后，视野果然开阔了，户主的心里也敞亮了，觉得拆得真好。

房屋大改造

“画”房子最关键的一步——从功能到形象的全方位大改造。功能如果不改，还是不能适应现代化的生活方式；形象不改，又没有乡村的味道。

第一，内部卫生间。请孩子回来住，家里不能没有卫生间；老俩口年纪大了，夜里行动不方便，也得有这个卫生间。我让搞装修的户主想想他在城里宾馆看过的室内厕所，干干净净的，也没什么味道，屋里不适合放卫生间的疑虑消除了。

第二，改楼梯。将原本在室外的楼梯改到屋里面，这样以后就不用担心上下楼时遇到坏的天气。这点主人没有任何异议，也是他原本的希望。

第三，阳台不要窗。一号院原本的垂直交通（楼梯）在外面，需要一个与其相连的水平交通流线来连接2层的两个房间，也就是现状悬挑出的走廊。走廊虽然开了窗，但房间里的采光和通风并不是很好。我把脑筋动在了窗户上——去掉窗子，形成部分开放式阳台，问题是不是就可以解决了？有了想法之后，劝说户主的“谈判”又开始了：中国汉字里 “堂”屋的堂字，拆开最上面是太阳，然后是房子，再下面的口字代表人，最下面是土地。也就是说阳光进来的屋子才是堂，现在的走廊窗子遮住了阳光，这样好不好呢？户主听后觉得很是有理。

二层的两扇窗子，一侧增加了中式的木质窗框，减弱了原本铝合金窗户的冰冷生硬感；另一侧拆掉了窗子，又拆掉部分墙体，增加了通透的范围，改造后的阳台，方便了农村人晾衣服、晒猪肉、晒鱼等等，功能上又成了一个晒台。

第四，屋顶防水。现在的房子是平屋顶，既没有坡度又没排水管道，天长日久，雨天屋顶很容易积水、渗水。做法是将原有平顶改为坡屋顶，既解决了排水问题，又提升了保温效果，同时与乡土建筑的风格相契合，可谓是一举三得。

第五，重修家门。中国人的传统理念，大门要像家里的男人一样，得是顶梁柱，要撑起门面。“就好像中国繁体字中老板的闆字—— 一个门、三个口，大门要罩得住三口之家，家才会旺，家里才能出大老板，财源广进！”重修的大门更像是北方比较有特色的门头，朴实又大气。

第六，立面做“丑”。一号院房子的外墙面原本贴满了白瓷砖，如果将来要对外，要做生意，立面风格上也得有特色、有价值，这里乡土气息就很重要。立面选材的过程又是一次有趣的谈判。我想用当地的石头，户主不同意，觉得石头是常见材料里最丑的；用当地的免烧砖，户主也不愿意，觉得是砖头中最丑的。我又跟他讲道理：“这个漂亮啊！这样的砖看着像青砖一样的，又比青砖古朴大气；下面配上石头，房子看着多结实。房子就是要有结实感，你现在的房子看起来跟个纸片似的，这才是不漂亮。”之后画了不同角度的立面给户主看，看着看着，他也觉得真是漂亮了。

一号院原本是一个完整的瓷砖房，所以设计中也尽量保持了原有瓷砖房的主体概念，没有把它改得面目全非。二层除去因开窗拆掉的部分墙体之外，余下部分墙面的白瓷砖被全部保留。我希望人们能够既看到一种时代的象征，也看到它与乡土的对话。对于一层立面的处理，实际上是将原有二层走廊下的灰空间加建出一个新的廊道。新廊道与重修的大门相结合，采用砖石做结构，最“丑”的砖和最“丑”的石头终于上了一号院的墙。同时用青瓦拼接的花格做立面装饰，又结合中式木格窗，最终完成了立面的改造。改造后的立面表现了不同材质的对话，形成了层次更为丰富的构图。

花园一样的院子

拆掉院墙后，一号院原有的院子和院前的空地在视觉上合二为一，仿佛都成了户主家的乡野花园，只要稍加整治便又是一番别样的风景。

第一，院落的景观格局。一号院原始院墙包围的内部地面高程略高于墙外，这样的小高差刚好在心理上成为内外院的分界线。界线以内尽量保证院子平整开阔，便于日后室外经营活动的开展；分界线上已经形成的陡坎由石块加固，其上再布置约30cm高的砖砌矮篱。矮篱装饰有青瓦拼接的花格，这样的处理既强化了原本的小高差，增加心理上对内院范围的限定感，又随着矮篱走向的变化，自然界定出更改后的道路边缘；分界线以外采用石材铺设道路，三合土铺设外院的地面，结合布置竹、芭蕉等植物和废旧农具巧妙利用后的乡村小景，整个院子的格局就此确定。

原来院子里的猪圈，按一号院的未来发展设想，暂时不再需要了。不过，这其实是一个遗憾。在我的理念中，有猪的农家才更像一个农家。

第二，污水处理池。按照预期，房子改造完成以后必定会有很多人前来参观，做农家乐就是自然而然的事了。但开办农家乐用水量会增大，污染也会增多，不能因为一家挣钱破坏了村庄的环境。那么，建立一个家庭污水处理池就十分必要。户主也赞同这样的观点，于是一个小型家庭湿地生态水池出现了。

水池由乡村景观设计师鲍国志完成，乡村工程师李如道监理，位于外院的一角，呈不规则状近圆形，驳岸采用了当地开采的山石堆砌成仿自然式，石间偶然点缀一个陶罐，罐口1/4处与水面相平，视觉上又像是一个由罐口出水的水口一般。水池与正房之间保留了原有的几棵小树，软化建筑外轮廓的同时，与建筑一同形成了水池身后层次分明的画面背景。水池中搭配种植的水生植物可以有效地完成污水中有害成份的净化过程。

第三，公厕与沼气池。在我的建议下，院子里又建了一个男女分开的小型公厕，也是考虑到开办农家乐的使用需求。当地政府鼓励开发沼气作能源，沼气技术和资金由政府负担，这样将来两个厕所的排泄物一起进入沼气池，沼气能源所需的原料就基本满足了，节能又环保。

结语

作为郝堂村的第一户试点，7～8万元左右的改造费用，完成了建筑结构、功能改造和室内装修，还完成了庭院景观和生态系统的重建。一号院还没有完成的时候，已经有6～7户人家找到我要求改造。中国农民的模仿能力强，创新能力弱。像一号院这样的房子在中国农村，有极好的示范价值，一个试点成功了，后续的建设活动会很容易开展。从一户试点入手，而不是整体规划后全面实施，这可能是村庄建设与城市建设一个非常重要的区别。这次改造多了一层探索意义和推广价值。

规划与设计，在我看来，它是一种文化与理念传播的载体，是一个设计师文化与品质的体现，更体现一个设计师的社会责任感。未来的中国，在我看来，一定是乡村文化在影响着城市文明，同时也是城市科技在助推乡村的发展。两种文化在城乡交融，在这个时代合并，我们如何面对，这需要我们用爱与责任来鉴别。

Rural construction, compared with that of the city, from the complexity of design, seems more monotonous in architectural elements and simpler in functional requirements. Concerning implementation, however, there will be all kinds of problems: The house is uncomfortable to live in, or it has lost its local flavor, or it has become too pastoral for the villagers as they have complained, "how come you still let us live in such a broken house after making so many changes on it?"

Haotangcun Village has never been renovated before. Old houses were either removed and rebuilt, or abandoned. The villagers were trapped in their own understanding of house-building. They thought old houses were of no value and should be removed. No one was willing to spend money on them. After discussion by the leaders of the village, the house of Zhang Houjian, a CCP member, was selected as the first house to be renovated. He was the leader of production team in the village and was also doing decoration works in the downtown. His house, named No. 1 Yard, was built approximately in the early 1990s, which was of high quality and in the typical layout of village house. It was one of the 1st-generation houses in the village and was a brick house with two-layered flat ceiling and tiles on the exterior walls. There was an outdoor staircase, no indoor bathroom. The yard, surrounded by redbrick walls, had a toilet and a pigsty. Its modern architectural style and traditional layout showed that the householder tended to adapt to the modern way of life.

3 改造后外景/Exterior views after reconstruction

4 改造后外景/Exterior views after reconstruction

5 村民参与施工/Local villager participate in construction

The householder intended to demolish the house and to build a new one. He was not satisfied with the house mainly for the following five reasons: First, his son and daughter-in-law did not want to live in it when they came back for a visit because the toilet was in the yard, which was inconvenient. On the other hand, the householder did not like to have the toilet inside the house because of its smell. Second, the outside stairs were very inconvenient.Third, there was no place for drying clothes. Fourth, the roof was leaking. Finally, the yard was smelly due to the pigsty.

Demolishing the walls

There was a ring of redbrick walls in the exterior around the house. High walls guaranteed privacy. In the minds of many farmers, home must have walls. To renovate, the first thing was to tear down the walls, which became a problem. The first step was to reason with the householder heart to heart: Firstly, in rural culture, the house was the villagers' "face" and renovation was to serve as a showoff. Secondly, after the demolition of the walls, the geomantic omen would become better compared with the original arrangement of the main door facing the toilet. Thirdly, the original layout was reminiscent of the Chinese character Qiu ("prisoner" in Chinese), which was a Ren ("man" in Chinese) in an enclosure. The next step was to talk about the function: There would be better ventilation and no more pigsty smell after the teardown of the walls. In addition, without the walls, the original space could still look like a new yard from the psychological or visual perspective as long as it was handled properly. The area could also seem to be enlarged by one or two times, big enough for doing small business. As a result, after the demolition of the walls, the vision was widened and the householder felt more delighted.

Big renovation

The key to "Paint" the house was a complete renovation covering both the function and the image. If the function did not change, it would not be able adapt to the modern life style; if the image did not change, there would be no country flavor.

The first step was to build an indoor toilet. The householder could not ask the child to come back home if there was no indoor toilet. Moreover, as the old couple grew older, it would be inconvenient for them to use the outdoor toilet at night. I ask the householder, who did decoration works as mentioned above, to think about the indoor toilets of hotels in the city. They were clean and with no smell. The doubt about the feasibility of an indoor toilet was thus eliminated.

The second step was to relocate the stairs. The original outdoor stairs were relocated inside the house so that the family did not have to worry about bad weather. The householder did not object to this point as it was also his original expectation.

The third step was to remove the windows of the balcony. The original outdoor vertical stairs required a horizontal connection between the two rooms on the second floor, so there was a cantilever corridor. Although the corridor had windows, the rooms were not well lit or well ventilated. The problem might be solved by removing the windows to make the balcony partly open. With this idea, I negotiated with the householder: The Chinese character Tang ("hall" in Chinese) was made up of four parts, meaning sun, house, people and earth. In other words, only houses with sunshine inside could be called Tang and those without sunshine were small rooms. As the corridor windows blot out the sun, the whole family seemed to be living in a small room. It made sense to the householder.

Wooden frames were added to one of the two windows on the 2nd floor, to weaken the coldness and stiffness of aluminum alloy. The other window, together with part of wall, was pulled down to allow more light in. After the transformation, the balcony became a good place for the family to dry clothes, to dray pork or fish, or even to have sun-bath.

The fourth step was to build a waterproof roof. The house had a flat roof, with neither slope nor drainage pipe. Rainwater could be accumulated there and seepage problem could easily occur. The roof was changed to have slopes, which did not only solve the drainage problem, but also improved the thermal insulation effect. The new roof became harmonious with the local architectural style. Therefore it had threefold advantage.

The fifth step was to rebuild the gate. In traditional Chinese concept, the gate, like the man of a family, is as important as the pillar to maintain the facade. Just like the Chinese traditional character "Ban" of the word "Lao Ban" ("boss" in Chinese), there is a door with three mouths inside. It means that only when the gate is big enough to cover a family of three, the house will be able to produce a big boss who makes big fortunes. The rebuilt gate is more of the unique Chinese Northern style, simple and splendid.

The sixth step was to make the facade "ugly". The outside walls of No. 1 Yard were originally covered with white tiles. If the house is to be open to the outside world for business, it is important to have a facade with unique local flavor. The process ofchoosing materials for the facade was an interesting negotiation. I wanted to use the local stones but the householder did not agree with me, insisting that stone was the ugliest material. I suggested burningfree bricks, but the householder still disagreed with me, thinking that they were the ugliest bricks. I reasoned with him again: "They are beautiful! They look like grey bricks, but they have more primitive simplicity. If they are juxtaposed with stones, the house will look more solid than now. Currently, your house looks like a piece of paper." After I showed the householder the drawings of the facade at different angles, he agreed that the new one was much better.

No.1 Yard was originally a ceramic tile room and the design tried to keep the same concept by not making too much change to its original image. On the second floor, except the part that was removed for windows outside, all the white tiles on the remaining part of the wall were reserved. I wanted people to find a symbol of times and its dialogue with the rural land. As for the treatment of the facade of the first floor, the gray space below the original corridor of the second floor was transformed into a new corridor. The new corridor and the rebuilt gate were combined by brick structure. The "ugliest" brick and the "ugliest" stone finally appeared together on the wall. At the same time, with the tilespliced lattice as facade decoration and the Chinese style wood-framed window, the renovation of the façade was finally completed. After transformation, the façade had a richer composition, displaying the dialogue between different materials.

A garden-like yard

After the teardown of the walls, No. 1 Yard seemed like the householder's country garden as its original yard and the open space in front visually combine into one. The scenery was created through a small renovation:

Firstly, the landscape pattern of the courtyard. The internal ground elevation inside the original walls was slightly higher than that of the outside. Psychologically, the discrepancy in elevation was like a dividing line in between. Within the boundary, arrangement was made to ensure the courtyard was as smooth and open as possible, and to facilitate future outdoor activities. The scarp on the dividing line was reinforced by stones and a low brick fence of thirty centimeters high was built on it. The fence was decorated with grey tile lattice, which strengthened the discrepancy and increased the psychological sense of boundary of the inner courtyard. With the changing of the direction of the fence, the edge of the path was naturally defined. Outside the boundary, the path was paved with stones and the ground of the external yard with cement. The delightful rural scenery was cleverly laid out with bamboos, banana trees, and used farm tools.

According to the plan for No.1 Yard, The pigsty was not to be kept. It was a shame to me. In my mind, a farmhouse with pigs was more like a farmhouse.

Secondly, the sewage treatment pond. We expected a lot of people to come to visit the yard after the renovation. It would lead to agritainment business and would increase water consumption and pollution. It would become a moral issue if environment was sacrificed for earning money. So it was necessary to build a sewage treatment pond, which was also agreed by the householder.Therefore, a small wetland ecological pond came into being.

The pond was completed by Bao Guozhi, a rural landscape designer, and supervised by Li Rudao, a rural Engineer. It is located in a corner of the outer yard in irregularly suborbicular shape. The revetment was built with local mining rocks, which was piled up to imitate nature. A pottery was set "accidently" among the rocks. The surface of the pond came to the height of one-fourth of the top of the pottery so that the water in the pond seemed to be poured out from the pottery. The original small trees between the pool and the house are retained. They softened the building's outline. And together with the building, they formed a layered background for the pond. The assorted aquatic plants in the pond effectively got rid of the harmful elements of polluted water.

Thirdly, a public toilet and a methanegenerating tank. Following my proposals and taking into consideration the requirement of agritainment business, small toilets with separated men's and women's rooms were built in the yard. The excrement from both the men's and women's rooms was disposed directly into the methanegenerating tank, becoming the raw materials for biogas energy generation, which was energy-saving and environmentally friendly. The local government encouraged the use of biogas as energy by bearing all the cost of the technology needed.

Conclusion

The renovation of the first pilot house for Haotangcun Village cost between seventy thousand to eighty thousand yuan, including structural and functional transformation, interior decoration, as well as the reconstruction of garden landscape and ecological system. Before No.1 Yard was completed, six or seven families had come to see me, asking for renovation of their houses.

Chinese farmers are capable of imitation but weak in innovation. No.1 Yard is a very common house in China's countryside, which means it has high demonstration value. Once a pilot project is successful, subsequent construction will be easy to carry out. To start from one pilot project rather than an overall planning followed by full implementation may be a big difference between the construction of the village and the city. Therefore, this project has great exploratory significance and is worthy of promotion.

Planning and designing, in my opinion, is a dissemination carrier of culture and ideas. It is an embodiment of the designer's perception and taste of culture, and even his sense of social responsibility. I think, in China, it is the rural culture that will exert impacts on urban civilization in the future, but at the same time the science and technology of the city will push forward the development of the rural areas. Both the urban and suburban cultures will mix with each other in this era. How do we face it? Love and responsibility will be needed in our judegment.

评论

柳亦春：这是一个村宅改造项目，如果不了解这个项目进行的过程，究其改造结果，我们可以称赞其处理基本空间的务实态度以及引入庭院水池的生态与景观的双重作用，却很难从建筑学的角度予以进一步的评价。但是从另一个角度，画家孙君所做的工作，却无疑是直面中国农村现实的先锋工作，他以个体的学识和经验，为建筑学这个早有脱离大众之嫌的“高雅”专业如何进入中国农村的在地实践，提供了一次有益的沟通经验。

张晓春：城里人眼中的乡土景观与乡村人眼中的乡土景观，或者说，城里人创造“乡土景观”的需求和乡村人生活在“乡土景观”中的感受并不一致；专业人士与非专业人士对“新”与“旧”、“美”与“丑”的认识也存有偏差；现代的生活方式和乡村传统的生产、生活方式之间的矛盾，不是非此即彼。要在其中寻找一个共识和重合区域，或许是乡村民居建筑改造的起点。

6-7 草图/Concept sketches

Comments

LIU Yichun: This is a rural housing renovation project. Judging based on the renovation result without knowing its process, one can praise the designer's practical attitude in basic space arrangement and in introducing the courtyard pond with both ecological and landscape effects, but further architectural comment would be difficult. However, from another perspective, the work by SUN Jun as an artist is undoubtedly pioneering in facing the reality in rural China. With personal knowledge and experience, he provides a beneficial communication experience in how to bring architecture, an "elegant" discipline that has long been broken away from ordinary people's life, into the down-to-earth practice in the countryside.

ZHANG Xiaochun: The rural landscape in the eyes of urban people is not the same as in the eyes of the rural people, or in another word, the demand of creating "rural landscape" by the urban people is different from the feeling of the rural people who actually live in the "rural landscape". Alike, professionals and lay persons hold different understanding of "new" vs. "old", and "beautiful" vs. "ugly". When discussing the contradiction between the modern life style and the traditional production and life style in the countryside, we shall keep in mind that the answer may not be one or the other. Instead, we should find the common and overlapped ground between them and use it as a starting point for rural housing renovation.

Renovation of No.1 Yard of Haotang Village, Xinyang, Henan, China, 2011

Architects: SUN Jun/Sun Jun Studio, China Rural Planning and Design Institute