清华大学南区学生活动中心，北京，中国

建筑设计：清华大学建筑学院素朴建筑工作室

Architects: SUP Atelier， School of Architecture， Tsinghua University

清华大学南区学生活动中心，北京，中国

Southern Student Center at Tsinghua University， Beijing， China， 2015

建筑设计：清华大学建筑学院素朴建筑工作室

Architects: SUP Atelier， School of Architecture， Tsinghua University

1　各向开放的校园活动场所

清华大学南区食堂及就业指导中心项目，是对清华中心校园环境的一次修补更新。项目位于校园南北干道学堂路与东西干道至善路的交叉口，三面临路，一侧面向广场，是校园中心区的一处重要公共空间节点。整体设计利用地形东西两侧场地高差，为公众设置了一条具有中式巷道空间意味的室内立体街道，不仅联通了东西两侧高差2m的场地，实现了建筑各个界面的平层入口，更通过交通组织让建筑底层成为有围墙的开放空间，为来自校园各方向的师生提供公共活动的场所。

2　精心延续的场地环境文脉

场地内的原始地形、西北角标志性的绿化草坡、东南角的悬铃木都在建筑和场地设计中作为文脉的延续被保留和尊重。为保留东南角的悬铃木，建筑在体型上做了退让处理， 在首层设置树下咖啡平台，在二、三层设置观景阳台，让人们更好地享受绿色校园的怡人环境。

3　建筑本体的可持续设计

可持续设计策略，尤其是与建筑空间结合的被动式设计策略，不仅让校园建筑室内空间舒适怡人，更降低了建筑的造价与运营能耗。建筑的地上部分借由公共中庭，被分为独立运营的餐厅区与就业指导中心。中庭内的立体街道衔接了两功能区的各楼层，如同共享的内庭院。顶部7个蛋形天窗，为室内带来充沛的自然光，每个天窗顶部侧壁设通风口，以便三层通高中庭内夏季热压及风压通风。为中庭引入自然光影的同时，避免了夏季过热的问题。

建筑的东西向进深达40m，为改善公共区及南侧办公区的自然采光通风条件，在建筑中庭南端设置了屋顶庭院，不仅庭院周边获得了采光通风面，也利用与屋顶庭院地面齐平的天窗为底部报告厅引入天光。

4　技艺合一的手工砌筑工法

早期清华大学的建筑，均以砖为主要材料，既有灰砖建筑，也有红砖建筑，形成了清华大学特有的建筑文化氛围，而这种氛围，历经百年，随着校园环境的整体认同，越来越多地得到了人们的认同。

在百年清华校园里建造一个砖的房子，既是延续校园百年文脉、向美丽的清华园致敬的机会，也是一个在实践中重新认识、理解这一古老材料的绝佳机会。

今天的砖，更多地具有砌块的属性，而不是传统粘土砖的概念了。因此今天在校园建造一个砖建筑，面临的问题已经大大不同于百年前。

首先，最纯粹表达砖特色的结构和建筑合一的建筑类型，已经难以满足日益完善和严格的抗震规范等要求，实际上在北京这样的高抗震设防地区，即便以砖作为不承担结构作用的可以称之为表皮性的建造，同样面临严苛的技术和规范上的挑战。其次，作为砖这个材料主体，也已经不再是清华百年老建筑中常用的粘土烧结砖，更多的是一种满足环保可持续要求的，几何尺寸为传统粘土砖规格的砌块。

1　西北角外景/Northwest corner of exterior view

2　清华校园总平面/Site plan of Tsinghua University campus

3　东南角夜景/Southeast corner of night view

To improve the living quality of the campus，a new building is built with multi-functions that combines a canteen for students and faculty members， a lecture hall， an exhibition hall， offices and other facilities for the Tsinghua Career Center，and storage for food serving all canteens on campus.

The project paid close attention to the following issues in design:

（1） The former busy and chaotic site should be transformed and made as a convenient and completely public place for the university.

（2） The terrain of the site should be taken advantage of in terms of easy accessibilities in all directions. Trees and vegetation should be preserved to keep the continuity and sustainability of the environment.

（3） As a public building on campus， it should be a building of sustainability， low cost and low energy consumption， meaning that passive strategies， local materials and appropriate construction methods are essential in design.

（4） Architecture represents the spirits of campus and will be passed down in future. The brickwork could be designed as artwork， just like painting or sculpture， which mixes art and wall together.

The site used to have a blind corner at the center of the campus， with dead-ended roads，chaotic traffic， mixed logistic and service route，unattended courtyard. All of these were mismatched with its location. The core idea of the design is to repair the urban texture in the campus context， to improve the environment of the site and to make it more accessible from all directions.

The sectional design takes the full advantage of the terrain of the site， creates a three-dimensional indoor street for the public， through ground floor on east and B1 floor on west. The north and south are also available as entrance. The entrance floor of the building on the one hand is functional and solid and on the other hand is a kind of cluster of open public space， which makes students possible to access and go across the building in all directions. Moreover，the entrance floor serves as a shortcut and meeting places for students on campus.

Old trees and the landscape relating to the terrain on the site are preserved as much as possible. The project is built on the site of former canteen and former chaotic backyard， without occupation of the former open green space and vegetation in north and west of the site. To keep the sycamores on southeast corner alive and create more nature friendly outdoor space， the outline of the building was designed to keep a distance of 5 meters at least away from the trunks， and provide double-deck balcony， bay window and wooden cafe terrace for people.

Sustainable strategies， especially those of passive design are adopted in the project to make the space more comfortable and reduce the cost and energy consumption in practice.

The building aboveground is divided into two main functions: the canteen and a career center，which are operated independently from each other. They are connected with a public atrium， which connects public spaces on different stories， like a traditional inner Chinese courtyard. On the top of the atrium there are seven egg-shaped skylight windows which bring natural daylight to the atrium. Each of the skylights has a small window on the side frame wall above the roof， which could be opened as outlet vent for natural ventilation. The three-storyhigh atrium works like a stack and with all inlets and outlets open， there is a stack effect to accelerate the natural ventilation and prevent the whole space from being overheated and make the atrium more comfortable in summer. Obviously， it significantly reduces the maintain cost and energy consumption for artificial lighting and air-conditioning in operation phase.

The depth of the building is more than 40 meters， to improve the daylight and natural ventilation for the public space and offices， a roof garden with side windows is inserted to the 3rd floor. The glass curtain wall with grating， facing south， draw more sunlight to the atrium courtyard.The flat roof windows on the timber floor of the roof garden will bring natural light down to the lecture hall. Among which two raised boxes with side windows are used for low cost chimney to accelerate the natural ventilation for the hall. The roof garden can be used as open cafe or party for the campus.

The exterior brick wall is also designed based on

4　室内设计结合场地高程/The site's elelvation being taken into consideration in the interior design

5　剖面/Section

从建构角度来看，唯一相同的是砌块之间砌筑的连接方式，仍然没有什么变化，尽管增加了穿筋和垫钢片这样的结构安全应对措施。

虽然有着这些变化，实际上从外观看来，仍可以最大程度地延续百年清华砖建筑的历史和文化脉络，在构造和细部设计中传承手工砌筑工艺的多种模式，例如清水砖的构造做法至少有5种方式：常规砌筑、花砖格栅砌筑（立面遮阳及通风口）、凹砖花墙砌筑、凸砖花墙砌筑、齿状花墙砌筑等。这些做法为外墙面带来生动的肌理，同时也适应了不同的功能需求。

例如，花砖格栅砌筑主要应用在需要通风和采光的地方，花砖构成了通风孔，同时也是很好的固定遮阳构件，成为低建造和运营成本的可持续设计策略的重要组成部分。为丰富花砖格栅的艺术效果，设计了砖缝间距的疏密变化，工匠按图放线，在拉结钢片上定位焊筋，砌好最底层一匹花砖，往上砌筑就便捷熟练了。

凹砖花墙砌筑，主要作为特殊空间的标识，比如用于西北角户外楼梯处，实际上暗示着校园生活的一个场景：作为合影的背景墙，可与学生密切互动。240mm厚的凹砖墙，排砖砌筑全用丁砖，凹洞处采用160mm切割砖。让传统工艺回归现代设计。

凸砖花墙砌筑，主要在东南立面转角和东立面廊下，同样体现了设计的一个重要出发点：建筑与艺术品是一体的，建筑的部品是可以做成设计过的艺术品的。尤其是严谨的工匠手工砌筑砖的过程，本身就具有艺术创作的属性。凸砖的点位，实际上是经过10多轮方案比较才最终确定，其目的在于同非常波普的超大的砖砌与贴膜共同构成“TSINGHUA”字样，相匹配，是由清水砖砌块点阵构成的艺术品。其中5块砖砌块，特意包上了专门设计的紫铜砖套，可供人触摸，成为砖墙与人互动的媒介。

齿状花墙砌筑主要用在东侧广场中的两个出入口，通过这种看似随机，实际上技法要求最高的在曲面墙体上的砌筑，构成两个吸引视线的景观小品，控制住东侧广场和东侧门廊下的空间。

借助砖墙丰富的语汇，让建筑各界面有了更生动细腻的表情，周边公共空间的氛围，校园生活的场景，也借此展开，随时间而延续。

the idea of sustainability. In this project， the brick masonry walls are built not only as enclosure wall，they are also as sun-shading system and ventilation openings. The width of the gaps between bricks could gradually change from 30 mm to 100mm， to satisfy the required aperture ratio.

Bricks are constructed in more than 5 ways: conventional， zigzag， indented， overhanging， and that of a sun-shading system. They bring various textures for the exterior walls and meet different functional demands.

The brick for the sun-shading facade uses a special kind of customized bricks that have two rectangular holes and should be integrated with reinforced bar through the holes in vertical.Every 8 layers bricks will be integrated with stainless flat steel in horizontal. All the bars will be welded on the flat steel， and they will be integrated with the main structure to keep the brick sun-shading facade safe and stable. The rectangular holes are set to suit the gap between bricks， which could be changed according to the design， to meet the needs of sunshading or ventilation， and to keep the wholeness of the brick facade.

The masonry wall， as handmade constructed wall， could be more than a mere functional element. Some brick walls are designed as pieces of artwork，to emphasize the specificity of the space. Taking the walls under the east steel porch， next to the east entrance as an example， the overhanging bricks are settled as a painting， the brick wall is embodied with the capitalized characters of "TSINGHUA"， the name of the university.

The advantage of handicraft is adopted in the project. Since the brick walls are designed like artwork， the traditional craftsmanship prevails.

6 首层平面/Floor0 plan 1-卫生间/WC2-入口/Entrance3-设备间/Equipment4-内院/Courtyard5-碗碟洗涤室/Scullery6-售卖窗口/Sale7-厨房/Kitchen8-冷餐厨房/Salad kitchen9-仓库/Depot10-通风设备/Ventilator11-餐厅/Dining room12-走廊/Gallery13-电梯间/Elevatior room14-茶歇室/Tea break15-多功能厅/Multi-function hall16-门厅/Entrance hall17-门廊/Portico18-门房/Duty19-南入口/South entrance20-东入口/East entrance21-人防出入口/Entrance and exit of the civil air defense structure

7　东墙花砖/Brick pattern of east facade

8　东南角局部/Detail of the southeast corner

项目信息/Credits and Data

地点/Location: 清华大学校内/On the campus of Tsinghua University

项目建筑师/Project Architects: 宋晔皓，王丽娜，孙菁芬，解丹，陈晓娟，张小龙/SONG Yehao， WANG Lina， SUN Jingfen，XIE Dan， CHEN Xiaojuan， ZHANG Xiaolong场地面积/Site Area: 6380m2

建筑面积/Floor Area: 21，000m2

摄影/Photos: 夏至/XIA Zhi

WA： 在您近期的实践中，对砖尤为感兴趣。为什么？宋晔皓：其实我对砖、木头这些材料的兴趣由来已久。在从无到有想出一个东西（概念的生成）和让这个东西如何落地（概念的落地）这两者之间，我对后者的兴趣更大。而如何让概念落地，这个过程本身非常纠结，离不开设计者对材料属性的了解和对构造的把握。

中国前所未有的建设量，正在催生着建筑从量到质的转变。而建筑的质感和耐久度需要建筑材料和构造的保障。

WA： 在清华园里盖房子，红砖更多是一种不是选择的选择。在清华大学南区学生活动中心（又称“清芬园”或“七食堂”）的设计建造过程中，和砖有关的心得有哪些？

宋晔皓：首先，砖作为一种传统的砌筑材料，由于环保和抗震的原因，如今已越来越普遍地从结构用砖变为一种表面的装饰材料。清芬园中所使用的页岩砖，承担的是一种介于承重结构和外墙装饰之间的砌块功能，拥有一定的物理热工性能，也可以满足北京地区抗震设防烈度的要求。我觉得，建筑作为技术与艺术的结合体，不能仅有艺术的表现力，还必须具备技术的支撑。

其次，砖不仅是我喜欢的材料，所有的建筑师都喜欢砖。我们现在处于一个大工业时代或者后工业时代，如何在可持续发展的背景下实现建筑的装配化是一个课题。砖最大的特点在于小和有模数，我们的祖先早就借助砖，以一种很原始的方式，实现了今天炙手可热的数字化设计，这种思路实际上可以启发今天的建筑工法研究。

最后一点，砖建筑的艺术性体现在砌筑的工艺性上，或者说，砖建筑是一种以砖为媒介的手工艺，而手工操作最大的特点，其实是有微小的误差。而这种误差，是一种区别于机械、精确性的人工美。总建筑面积多达20，000m2的清芬园在长达4年半的设计周期和施工周期中，在设计人员的严苛控制下，砌砖这道工序有时要历经多次返工。无论是否返工，实际上砌筑是工匠们时间、精力的投入，是经验和智慧的结果。此外，我们希望在这个项目中实现建筑师与艺术家的协同工作，比如我们请清华大学建筑学院美术组的王青春老师设计了东立面的砖套，再比如东立面外廊下的花砖纹样设计和东侧广场上的两个人防出口的设计，等等。我们希望通过这些小品的设计，体现砖建筑本身的建筑与艺术的一体化。

WA： 清芬园所在位置是清华校园南北向与东西向交通要道的交叉口，是一个比较中心的位置，而且周边大师的建筑作品比较集中。南面是马里奥·博塔（Mario Botta）设计的清华大学人文社科图书馆，西面是不久前落成的关肇邺先生设计的清华大学图书馆李文正馆，东面是王丽方老师设计的5～8号学生宿舍楼，北面则是斯特恩（Robert Stern）设计的苏世民书院。面对这样一种建成环境，您是如何将压力化解为动力的？

宋晔皓：在清华，砖建筑的历史非常悠久。从建校初期美国建筑师墨菲（Henry K. Murphy）设计的美式校园建筑，到杨廷宝先生、周维权先生、汪国瑜先生（1～4号学生宿舍楼），以及后来的关肇邺先生和王丽方老师。我们在动手设计之前，对此做了一番仔细的了解。我希望我们的建筑可以尽量兼顾功能性与艺术性，在细节的设计上能够与前辈们的设计保持一致的水准，在这个前提下，我们会有一些新的想法，比如恢复一些传统的做法，用砖做窗台下的披水板等等。更多的则是体现在整体把控和细部设计上，例如刚才提到的建筑、艺术一体化的设计，为学生们提供了攀爬和合影的空间，还有那些实际上是非常功能化的遮阳通风兼备的花砖墙。

当然，化解压力最直接的方法就是在施工期间尽可能多去工地。我通常是每天去3次工地，最多的时候是一天去4次。遇到问题或者有什么想法，及时解决、及时沟通。

WA： 清芬园东立面和王丽方老师设计的5～8号学生宿舍楼（也是砖立面），共同围合成了室外庭院。这两类砖建筑在面对同一庭院时，具有怎样的表情，又是如何进行对话的？

宋晔皓：清芬园和它东面的学生宿舍楼在一般人看不见的地方，比如地下服务用房、人防和能源中心，都是共用的。在设计上，王丽方老师的宿舍楼更加细腻，关注人的尺度；清芬园东面新建后的广场利用地形做了一个朝东的缓坡，消化了建筑东入口本应该有的3步台阶，兼具人流集散功能和排水功能。相比宿舍楼之间更加生活化的广场，清芬园东面的广场则更加公共化和功能化，希望为学生提供更多活动空间。（感谢范路对此次访谈提出的宝贵建议）

9　东入口及连廊局部/East entrance and vestibule

10　花砖构造/Masonry construction

11　东立面北侧局部/Northern part of east facade

12　花砖构造/Masonry construction

评论

韩孟臻：假如把清华大学校园建筑采用红砖作为一项先决条件，那么摆脱了承重作用、作为饰面材料和结构荷载的红砖，其形式又应基于何种设计逻辑呢？该项目提供了两种颇具说服力的回答：作为可持续建筑技术中的外层表皮（技术逻辑）；作为具有手工艺价值的类艺术品（艺术逻辑）。建筑立面处理的主要特征，如大尺度的虚实对比、强调横向的构成、随机性的镂空砌筑等，都确切地表现出红砖表皮与框架结构的分离，继而阐明了上述两种形式逻辑。与建筑在整体尺度上对周边环境的严谨呼应相比，基于艺术逻辑的、引人注目的数字图案和字母形柱显得有点过于轻松了。而基于技术逻辑的细部处理，因其与建筑整体在逻辑严谨性上的统一，表现出恰当而兼具艺术性的形式。

郭海鞍：这座建筑重新梳理了纷繁的校园环境，充分考虑了地形的变化和周边的建筑风格，解决了复杂的场地问题。并且利用多孔渣土砖诠释了对砖构建筑的建构逻辑思考。设计师通过不同的建构逻辑表达砖的多面性：利用较深的窗口、洞口表达了砖建筑的厚重与沉稳；利用变化细腻的花砖墙表达砖建筑的空灵与通透。两种语言交织在建筑中，相得益彰。整栋建筑体现了校园建筑的特质，沉稳而不失活泼，庄重而不失细腻，巧妙地以最少的代价完成了最佳的效果。

13 东广场人防出入口花砖墙/Brick pattern on the entrance and exit of the civil air defense structure at east plaza

WA: In your recent practice， you seem more interested in brick. Why？

SONG Yehao: That's true. I have been keen to the materials of brick and wood for a long time. I have much more interest in how to materialize an idea than just conceptualize it. How to make the concept materialized is a tangled matter， which depends on the designer's knowledge about the material's properties and the structure.

China's unprecedented quantity of buildings fuels architectural industry to change from quantity to quality. In fact， the texture and durability of architecture require guarantee of construction material and structure.

WA: In order to build a house on the campus of Tsinghua University， the material of red bricks is not merely a choice. What are the related experience to bricks in the process of building design of the Southern Student Center at Tsinghua University，also known as Fragrance Garden or The Seventh Dining Hall？

SONG Yehao: First of all， as a traditional masonry material， brick now has been increasingly used as surface decoration in a wide range， and less for structural purpose due to environmental conservation and unsatisfactory performance in earthquake resistance. The shale bricks used in Fragrance Garden take the function of masonry unit between load-bearing structure and exterior wall decoration， with certain physical and thermal properties that can meet the requirements of anti-seismic fortification intensity in the larger Beijing area. In my opinion， as the combination of technology and art， architecture shall not only have expressive strength in art， but obtain the support of technology as well.

Secondly， Bricks are not just my favorite material. However， all the architects are fond of bricks. We are now in a mega-industrial era or a post-industrial era. How to achieve the assembly of buildings in the context of sustainable development is a huge subject. As brick is remarkably featured with small size and specified modulus， our ancestors have long since managed to achieve the digital design of architecture mostly popular today by resorting to bricks in a primitive way. Such an idea can actually inspire today's research on architectural engineering methods.

Last but not least， the art of brick building is embodied in the skill of masonry. In other words，brick building is a kind of handicraft with the brick as the medium， while the biggest characteristic of the manual operation is with tiny errors， which is a kind of artificial beauty different from accurate machine production. With a total construction area of up to 20，000m2， Fragrance Garden was built with a four-and-a-half-year cycle of design and construction. Under the stringent control of designers， bricklaying sometimes underwent rework for several times. Whether there was rework or not，the masonry， which in fact required the time and energy of craftsmen， was the outcome of experience and wisdom. In addition， we expected to achieve collaborative work of architects and artists in this project. For instance， we invited WANG Qingchun，a faculty member from the Fine Arts Group of the School of Architecture at Tsinghua University，to design the brick case of the east facade of the building. For another example， we invited other artists to take in charge of the tilting pattern design under the veranda of the east facade as well as the two civil air defense outlets on the square easternside and so on. We do hope that through these design products， the integration of architecture and art in brick building can be represented.

WA: Fragrance Garden is located at the intersection between the south-north axial avenue and the eastwest-direction one nearby the campus of Tsinghua University. As it is of central location， architectural works of many masters is relatively concentrated here. To the south is the Humanities and Social Sciences Library designed by Mario Botta， to the west is the University Library designed by Professor GUAN Zhaoye yet to complete， to the east are the No.5 to 8 student dormitories designed by Professor WANG Lifang， and to the south is Schwarzman Scholars designed by Robert Stern. Facing such a building environment， how do you resolve the pressure into a driving force？

SONG Yehao: It has a long tradition for the use of bricks in architecture in Tsinghua University. We can find the American style buildings on campus designed by an American architect， Henry K. Murphy， during the formative years of Tsinghua，as well as other design works by YANG Tingbao，ZHOU Weiquan， WANG Guoyu （No.5 to 8 student dormitories） and GUAN Zhaoye and WANG Lifang. Before we start up the design， we have made a careful understanding about it. I hope that our architecture can try to take into account both the function and art elements， with the details of design in accordance with the level of our predecessors'. Under this premise， we will have some new ideas，such as restoring some traditional practice of applying bricks to be the apron flashing under the window and so on. Furthermore， in terms of overall control and detail design， such as the abovementioned integration design of architecture and art， we provided students with room to climb up and take group photos， as well as the functional tiled wall both for sun shading and ventilation.

Of course， the most direct way to eliminate the pressure is to go to the construction site as frequently as possible during construction period. I usually went to the site three times a day， with maximum four times a day. In the case of any problems or ideas， I would seek immediate solution and communication.

WA: The east facade of Fragrance Garden and the No.5 to 8 student dormitories designed by WANG Lifang， which also have brick facades， are jointly enveloped into an outdoor courtyard. When the two types of brick buildings face the same courtyard，what will be the expression of them， and how do they conduct a dialogue？

SONG Yehao: Some areas in Fragrance Garden and the student dormitories to the east are rarely seen by common people， such as underground service rooms， civil air defense facilities and the energy center， all designed for public use. The dormitories designed by WANG Lifang are more delicate with much attention to requirements of human beings. The newly built square to the east of Fragrance Garden used the terrain to make an eastward slope instead of setting three stairs of steps in the eastern entrance of the building，integrating the functions of distribution of people stream and drainage. Compared to the lively square between the dormitories， the square of the east of Fragrance Garden is more functional and more open to the public. We hope to provide the students with more space for activities.（Thanks for the precious suggestions offered by FAN Lu for this interview.）

14　南立面窗洞口局部/Window detail on the south facade

15　花砖墙给室内带来的光影效果/Bricks bring shade into the interior

Comments

HAN Mengzhen: With no obvious load-bearing purpose， the red bricks that have been utilized for this building at Tsinghua University could either be merely decorative or structural. What kind of design logic is the use of red brick based on？This project offers two convincing solutions to this question: red brick be regarded as an external facade which presents a sustainable architectural technique， a "technical logic"， or deemed as artwork with the value of handicrafts， an "artistic logic"？ The key features of this facade design， including the large scale virtual/real comparison technique， lateral structure and randomly hollowed-out masonry wall， certainly present the separation of the red brick 'skin' and frame structure， which corresponds with the two solutions above. Compared to the strict relationship between the fullscale building and its surroundings， the connection between the noticeable， artisticlogic-based digital pattern， the letter-shaped column， and its surrounding seems a bit weak. The technical logic-based detail of the design illustrates an appropriate yet artistic form.

GUO Hai'an: The design of Student Center of Tsinghua University focused on the complexity of the old campus， including the cluttered environment， the terrain of the site， and the existing， red brick buildings that surround the site. By the usage of porous slag bricks which expresses the brick's variety， a deep thought of the logic of bricks was adopted. The architect designed the deep windows and doorways to exhibit the heaviness of brick buildings； on the other hand， they used the openings in the brick wall to express a certain transparency evident in the construction. These two methods were simultaneously utilized in same building and suit each other. This project is a representative case of campus building， which is solemn but still lively，grand but still meticulous， and achieved its ends at a minimum cost.