关麓书院实施方案设计，黄山，安徽

1 现状鸟瞰Aerial view of the current situation

设计主持：常青

方案设计：常青，刘伟，张鹏

合作设计：马松瑞，刘瀛泽，赵英亓

结构设计：何忻伟

设备设计：徐钟骏，张萍

结构形式：钢结构，砖木结构

场地面积：1680m²

建筑面积：1792m²

建筑高度：12m

设计时间：2021

Principal Architect: CHANG Qing

Schematic Design: CHANG Qing,

LIU Wei, ZHANG Peng

Cooperative Architects: MA Songrui,

LIU Yingze, ZHAO Yingqi

Structural Engineer: HE Xinwei

Mechanical Engineers: XU Zhongjun,

ZHANG Ping

Structure: Steel structure, brick and

timber structure

Site Area: 1680 m²

Floor Area: 1792 m²

Building Height: 12 m

Design Time: 2021

（1）村落时空脉络

黄山黟县碧阳镇西武乡的关麓村，是古徽州一个亦儒亦商的风土聚落，因村西南西屏山和武亭山相交处的西武关而得名。一条南连祁门北接池州，由西武关向东北延伸的官路（驿道），穿村而过。源自武亭山的“下溪”（武溪）紧贴村东边缘，并沿“月塘”北行。后唐起汪姓在黟繁衍，明成化年间汪姓在关麓村兴起，至清乾隆时乡绅汪昭敩房支兴旺，称“关麓八大家”，其宗祠——承德堂在官路南侧，抵近月塘。1994 年清华大学陈志华教授率队首次考察关麓村，后出版《关麓村》一书。

（2）基地由来与现状

承德堂毁于1960 年代，后所在地块建起了砖木结构的关麓小学和茶厂，构成了一个简陋的现代大场院，占地面积约1680m2，西端与汪氏 “问渠书屋”及周边徽居建筑群毗连，北面有一约1540m2的楔形广场。小学和茶厂今已废弃，拟改建为一座乡村博物馆性质的“关麓书院”，建筑面积约1820m2。

（3）翻建与再生设计

关麓书院立意以汪氏崇尚耕读、广设学堂

(1) History and Topography of Guanlu Village

Guanlu Village, located in Xiwu Township,Biyang Town, Yixian County, Huangshan City, is a vernacular settlement under both the Confucian and commercial culture in the ancient Huizhou region. It was named after the Xiwu Pass, where Xiping Mountain and Wuting Mountain meet in the southwest of the village. The village is traversed by an old post road connecting to Qimen County in the south to Chizhou City in the north and extending north-easterly from the Xiwu Pass.The Xiaxi Creek (also known as Wuxi Creek), which originates from Wuting Mountain, flows close to the eastern edge of the village and meanders north along the Moon Pond.

From the Later Tang Dynasty (923-937 CE), a WANG family began to settle down in及书屋的历史轶事为本底，采用在原建筑及场院投影范围内翻建的策略，将其转化再造为徽韵浓郁的新风土书院建筑和方庭。场院北侧原关麓小学主校舍改为门厅和综合服务空间；南侧拆除校舍，复建“问渠书屋”，以三角厅与方庭相连；东侧茶厂改为会堂；西侧保护“承德堂”遗址，新添展览研讨空间。此外，在书院门前楔形广场设计了类比徽式墙厦的戏台。

翻建后的书院形体摒弃徽式仿古，追求徽韵新风，以宣示可识别今昔的普世保护原则，表达对村落历史真实性的尊重。这样做既可保留原场院似曾相识的空间格局，又能类比周边徽居建筑的典型特征，如清水混凝土的围护体，简拙的马头墙、徽式的入口门楼，变幻有致的窗洞，等等。室内以钢架结构为主形成的简约空间，包括了接待、文创、报告、研讨、书吧、品茶等多重功能。总之，关麓书院作为一组旧场院建筑的翻建工程设计，将成为一种空间触媒和文化驱动力，使关麓古村因保护与再生而富有活力，成为徽州乡村文化复兴和旅游目的地的新亮点和打卡地。□Yixian County. During the Chenghua reign(1465-1487) of the Ming Dynasty, they flourished here; and by the time of Emperor Qianlong's reign (1735-1796) in the Qing Dynasty, a local gentry member WANG Zhaoxiao headed a large family with eight sons, known as the "Eight Great Families of Guanlu". Their ancestral hall, known as the Chengde Hall (Hall of Inherited Virtue), was located near the Moon Pond, south of the Guan Road. In 1994, a team led by Professor CHEN Zhihua of Tsinghua University visited the village for the first time, and subsequently published the monograph Guanlu Village.

(2) Past and Present of the Site

After Chengde Hall was destroyed in the 1960s, the brick-and-wood structured Guanlu Primary School and a tea plant were built onthe site to make a modest yard, covering an area of approximate 1680 m2. Its western end abuts the Wang family's Wenqu Shuwu (Studio of Limpid Pond) and the neighbouring Huistyle residences, while to its north lies a wedgeshaped square of about 1540 m2. The currently abandoned school and tea factory will be turned into a "Guanlu Academy" rural museum, with a construction area of around 1820 m2.

2 鸟瞰效果Rendering of Aerial view

(3) Renovation and Regeneration Design

Inspired by WANG's historical anecdotes advocating agriculture and education and establishing a wide range of schools and studies,the design adopts the strategy of re-creating the area within the projected shadow range of the original buildings and the yard, transforming it into a novel vernacular academy, with buildings and a quadrangle infused with a rich Huizhou flavour. The main buildings of the former school to the north of the yard are converted into a foyer and a multi-functional service area. The school buildings on the south are demolished to make way for the renewed Studio of Limpid Pond,which will be connected to the quadrangle via a triangle hall and subsequently to the surrounding buildings. The tea plant on the eastern side is converted into an assembly hall, while the Chengde Hall ruins on the west are preserved and a new exhibition and seminar space is added.In addition, a Hui-style theatre in the form of a portico is planned for the wedge-shaped square in front of the Guanlu Academy.

The renovated Guanlu Academy, rather than imitating the classical Huizhou form, pursues the new style of the ancient Huizhou charm in order to proclaim the universal conservation principles that distinguish the present from the past and to demonstrate respect for the historical authenticity.This approach not only preserves the spatial layout of the former yard, which evokes a sense of déjà vu, but also invites comparison with the distinctive characteristics of the Hui-style residence in the neighbourhood, such as building envelopes made of fair-faced concrete, simple horse-head firewalls,Hui-style gate towers, and elegant windows and openings of various shapes, among others. The predominantly steel-framed, simple interior space serves multiple functions, including reception,production of cultural items, presentations,seminars, book clubs and tea appreciation. In conclusion, as a restoration project of a set of an old yard and abandoned buildings, the Guanlu Academy will serve as a spatial catalyst and a cultural driving force to provide the ancient Guanlu Village with robust conservation and revitalisation opportunities, and to make it a new attraction of the revived Huizhou rural culture and a must-see tourist destination.□ (Translated by ZHU Yayun)

3 承德堂原址示意Diagram of the original site of Chengde Hall

4 现状航拍Aerial photograph of the current situation

5 总平面Site plan

6 首层平面Ground floor plan

项目评论

关麓书院的“新风土叙事”实验述评

对建筑师而言，设计无非某种“环境叙事”。作为诸多被发明出来的“环境叙事”中的一种，西方现代建筑学长期被局限于高度相似的叙事套路：“绝对时空观”所宰制的“纯粹性”和“自洽叙事”执念，以及“物中心论”所诱导的“本体性”及“自主性”妄念，都严重压抑了建筑设计原本应更加辽阔的叙事能力。

如何在一个复杂而失序的历史环境中，采用严重受限的“形式方言”进行叙事，仍能从容铺陈一个生动迷人的当代故事？这对建筑师驾驭复杂叙事的能力不啻是一次大考。对此，“关麓书院”递交了一篇颇具示范意义的答卷。

无论是注重物质形式还原的“整旧如旧”，抑或强调在地文脉延续的“整旧如故”，都难以使日渐衰败的中国乡村复苏重振。事实上，从全国各地多年乡建实践效果上看，常青院士的“适应性再生”理念，才是为历史聚落注入新活力的根本解决之道。

在笔者的理解中，所谓“适应性再生”，难点在于如何同时适应盘根错节的“历史复杂性”，以及嘈切多变的“当代复杂性”。因此，“适应性再生”，意味着无法简单沿袭传统和当下任何一种成熟的建筑叙事套路，而必须构建一个与“在地复杂性”和“在时复杂性”双重适配的空间叙事的新复杂系统。

“关麓书院”的设计，可以被视为一次构建“与古为新”的当代微观风土系统的实验。“风土”概念中的“风”，是指充盈于场域中、非物质但却可以被感知的隐性文化结构；而“土”，则可以被理解为与“风”相适配的显性物质空间结构。由于“风”和“土”双线叙事的交织，西方现代建筑学的“纯粹性”与“本体性”简化叙事套路显然失效。而对“风” “土”叙事的双辔并驭，则为“关麓书院”的“复方设计”提供了激发生动性和造就丰富性的因缘契机。

像传统中药配伍讲求“君臣佐使”一样，“关麓书院”的文化叙事主线是儒家的，这与关麓村整体的风土气质一脉相承：在拆除原有小学和茶厂的基址上，书院主体重新“结穴”，构造统领全局的新秩序，是为“君”；周边体量较小的传统民居错综辐辏，是为“臣”；将小学门前原有的楔形空地打造成多义性广场，是为“佐”；而戏台前出抵至用地边缘，兼具招引和控场之用，是为“使”。君臣佐使，儒风俨然。

另一条叙事线索上，“关麓书院”的空间处理手段却是当代的：建筑主体采用非对称布局；正门与戏台并不合轴；南侧原有民居以突兀的角度直接“撞”进新建筑，拉满空间的戏剧张力；而建筑造型亦古亦新，颇具某种飘浮的暧昧感，仿佛这个不确定时代的缩微写照。

在“关麓书院”设计中，常青院士实验性探索了中国式“新风土叙事”的可能性。“风”与“土”双线叙事的耦合与参差，打破了西方现代建筑学绝对时空叙事和纯粹物质叙事的僵化桎梏，在重塑当代乡村人文内核的同时，也为如何活化中国本土建筑设计的叙事空间提供了启示性的思路。

周榕

清华大学建筑学院副教授

建筑评论家

7 鸟瞰效果Rendering of Aerial view

8 北立面效果Rendering of the north façade

9 透视效果Perspective rendering

Comments

Guanlu Academy's "New Vernacular Narrative" Experiment

In the words of architects, design is nothing more than an "environmental narrative". The Western tradition of modern architecture has long been plagued by highly recurrent narrative tropes: both the insistence on "purity" and"self-consistency" dominated by the "absolute time and space" perspective and the delusion of "ontology" and "autonomy" induced by"material centrism" have severely suppressed the supposedly more expansive narrative capacity of the architectural design.

How can one, in the midst of a chaotic and complex historical context, conveys a compelling modern story with ease, using only the severely limited "dialect of architectural form" as their narrative tool? This is a significant evaluation of the architects' story-telling skills. Guanlu Academy has provided a response that is a model of what can be achieved.

Neither "restoring the old as it previously appeared" (zhengjiu rujiu), which emphasises the reappearance of the original material forms,nor "restoring the old as it was" (zhengjiu rugu),which highlights the continuity of culture in situ, can revive the ever-declining Chinese villages. In fact, Academician CHANG Qing's concept of "adaptive regeneration", as evidenced by the practical results of many years of rural revitalisation across the country, is the key to infusing historic settlements with new vitality.

In my opinion, the challenge of the socalled "adaptive regeneration" is in adapting to the intertwined "historical complexity" and capricious "current complexity". Therefore,"adaptive regeneration" necessitates the construction of a new complex system of spatial narratives that are consistent with both"complexity of the place" and "complexity of the time" rather than merely adhering to tradition or any of the already established architectural narratives.

10 主入口效果Rendering of the main entrance

The design of the Guanlu Academy can be regarded as an experiment in creating a contemporary miniature "fengtu" (vernacular)system that "collaging the new with the old"(yugu weixin). The "feng” in the concept of fengtu refers to the immaterial but perceivable implicit cultural structure of a place, whereas "tu"can be interpreted as the explicit material spatial structure that is compatible with feng. The interweaving of the dual narratives of feng and tu thwarts the narrative cliché of "purity" and"ontology" in the Western tradition of modern architecture. Mastering the dual narratives of feng and tu affords the Guanlu Academy's"compound design" the capacity to arouse vividness and invent richness.

Guanlu Academy's cultural narrative theme is Confucian in nature, bearing the same root as the overall vernacular atmosphere of Guanlu Village. It assimilates the traditional Chinese herbal formulae which are based on the principle of combining major (king or jun),complementary (ministers or chen), neutralising(assistants or zuo) and delivery/retaining (envoys or shi) components together. On the original site of the demolished primary school and tea factory, the academy's main building occupies the "energy-gathering site" (jiexue) to establish a new order governing the entire land, thus being the "king"; the surrounding smaller traditional houses are intertwined and clustered, acting as the "ministers"; the original wedge-shaped open space in front of the primary school is transformed into a multi-functional square,which is the "assistants"; the space between the front of the theatre stage and the site's edge is designed to welcome and manage the visitors,which is the "envoys". The king, ministers,assistants, and envoys constitute a solemn atmosphere of Confucianism.

11 戏台侧视Side view of the theatre

12 戏台与广场The theatre and the square

13 二层创客空间室内效果Rendering of interior view of makerspace on the first floor

14 门厅室内效果Rendering of interior view of foyer

15 室内楼梯效果Rendering of the stairs

In another narrative thread, Guanlu Academy's spatial design is contemporary. The layout of the main building is asymmetrical,with the main entrance and the theatre stage not aligned along the same axis. Existing houses on the southern side "crash" into the new building at a sharp angle, creating dramatic tension in the place. The architectural form is simultaneously ancient and new, tinged with ambiguity, as if it were a miniature portrait of this uncertain age.

In the design of Guanlu Academy,Academician CHANG Qing experimented with the possibility of a Chinse style "new vernacular narrative". The coupling and separation of the dual narratives of feng and tu cast off the shackles of the absolute temporal-spatial narrative and pure materiality of the Western tradition of modern architecture, and provide ideas for revitalising the narrative space in Chinese vernacular architectural design while refashioning the humanistic core of contemporary villages. (Translated by ZHU Yayun)