回归竹林现场的折景亭
Pavilion of Folding Sceneries
 

 ——中国美术学院民艺博物馆

             “东方竹”亚洲竹生活艺术展

展览地址：中国美术学院民艺博物馆
展览时间：2018年04月07日——2018年07月06日

           ▲ 折景亭完成照片

【竹营造——一种自然的建造宣言】
 

    二十一世纪的竹材是国际设计界的新热点，意大利的竹建筑师Mauricio Laverde称之为“有机钢铁 ”。作为一种纤维强度可媲美碳纤维的天然材质，它的快速生长特点让它成为一种新兴的绿色建造材料。在环保思想流行的今日成为设计界的热门研究材料。

    The new century is witnessing bamboo asthe new material -“organic Steel”, as named by Milan bamboo architect MauricioLaverde.  Fast growth and strong fibermakes bamboo a unique green material fit for the contemporary designapproach. 

    竹子在东方文化中的特别地位，大多来自于其悠久的文化历史。陈寅恪与李约瑟将东亚文化称为竹文化。竹在中国人的手中，一直是超越日常使用的材料。文人对竹的特殊情怀始于各种文化器具，记载历史的书简，音律的笛箫，毛笔，画纸，纸镇等文房四宝，及衣冠都来自竹，正如苏轼所说，文人不可一日无竹之器物。

    Bamboo holds a unique position in thehistory of the literati.  Chen Yan Queand Joseph Needham calls the east Asian culture a “bamboo culture”, perhapsbamboo is the primary material for most of the literati items: scroll to recordhistory and poetry, brush and pen, paper, flute, or literati hat.  Su Dong Po put in his poem: never a day goneby without his presence.
 

           ▲ 何陋轩

    中国竹建筑的记录有山区的竹桥，竹楼，和园林中的竹亭，因其易逝性留存较少。在松江宋代的方塔园内重建的竹茶室何陋轩中，首先出现中国现代建筑师（冯纪忠）对文人建筑的重新思考：一种竹建筑的诗意建造将打破我们对建筑学的理解：

    Bridges and houses can be found in themountains of china, and pavilions can be found in gardens, yet historicalbamboo architecture perish without much of trace.  During his effort to rebuild the Song dynasty“square pagoda garden” in the 1980s, Modern architect Feng Ji Zhong designed ahut in protest to the ongoing political campaigns.  The hut was in bamboo, painted white, with aroof by Grass.  It serves to provoke thedisciplines of modern architecture:

1、由森佩尔所提出的，作为“建造的诗学”的建构，在竹的柔性可编织的材料特点中得以贯彻：可编织性统一了结构与装饰间的分裂。结构，构造，材料和建造过程，成为一种“连接内在愿望与客观世界之间的桥梁”。

1、Poetic tectonic andweaving resolves the separation of structure and surface, in the words ofSemper, it is a bridge, connecting the inner desire of its creators, to thephysical world.

2、竹造模糊了建筑与自然之间的空间界面，自然可渗透到建筑中。竹材及其所构成的建筑物，有模糊性，可渗透，轻质，易逝，和具有生命力的自然特性。与自然之间的界面进一步消融，建筑得以再次成为自然的一部分。

2、Bamboo served theblurry of borders, between artificial creatures and nature.  Life and plants access the interior, mixingwith the material itself.  Architecturecan return to nature, in the way of rearranging nature itself.

3、建造具有的社会性在竹造中体现尤为清晰，特别在乡村营造中，竹材和村民充沛的自建造能力还乡村以建造自主性。相较于工业化的现代建筑，竹营造更为频繁的更替性和季节性的聚集性，使之成为更具有在地性和社会性的营造材料。

3、Bamboo building is across boundary of social activity, in its rejection of industrializedsystemized professional construction. Rather it becomes an unified festival of community on site . It empowersthe people of the places.

           ▲ 折景亭特写

    新时代的竹营造将使建筑更轻松地融入到其环境中，竹本身所具有的环保性，以及竹本身特殊构造，吸引设计师创造新的造型语言，产生新的竹材衍生品。在新竹造中出现了许多前所未有的设计表达，编织的形体，张拉力结构，捆扎和弹性的节点，以及自然材料与人造材料的进一步融合。营造本身带有的工艺性得到恢复。当代的竹营造，正趋向一种具有新鲜度的营造法式。

    Bamboo building in the new times readilyadapt into the environment of nature.  Itis symbolic of the environmental movement. As a renewed material, its possibilities are being tested: Tencegritystructures, weaving tectonics, flexible joints, synergy of organic andartificial. Traditional crafts revival couples with a wave of research.  It is bringing forth a fresh manifestation tothe buildings of nature.

【综述篇】
 

      作品位于起伏蜿蜒的象山民艺馆的西侧，一处俯瞰南坡草坪及美院山南校区的平台。作品落地七米见方，高达五米，主材为毛竹和茅草。作品展示了“回归竹林现场”的设计概念，以场景转移手法，在象山的场地上重现一处竹林空间，释义营造活动的在地性。

    On the west side of the zigzagged newmuseum, there is the south slope of the Elephant Hill overlooking the southcampus.  The structure of 7 meters indiameter and 5 meters in heights is proposed here, to recreate a space withinthe bamboo forest, in which the scene of the literati construction can be revived.