如恩：《无尽之行》展览以时间连续性与历史记忆为题，系统梳理了如恩在建筑实践中的重要时刻。展览分为六个章节——分别是：“反思型怀旧”、“步移景异”、“栖居”、“空间诗学”、“在地重铸”、“未来遗迹”；由此呈现如恩多年来对于建筑思考的不断演变。展览于4月23日在同济大学建筑与城市规划学院开幕，将持续至5月15日。
©️如恩设计
笔者作为同济建筑系大四在读学生，有幸亲临现场参观展览，展览的内容非常丰富，如恩的建筑实践非常的多，非常值得有条件的同学一定要来现场看展。笔者延续展览章节脉络进行树立整理，选取每个章节印象最深刻的两个建筑和大家分享，共同感受如恩：《无尽之行》的魅力。
一、反思型怀旧 reflective nostalgia
1、the recycled lane house----camper china showroom in shanghai
拍摄：周诗杰
Neri&Hu extended the characters of the longtang alley in Camper’s first home in Shanghai. A traditional two-story lane house was inserted into the warehouse-like structure, a section was literally cut from it to create the sense of the brand opening itself up to the lanes of the city. An oversized mirror faces the section cut and further extends the lane into the building. Everything from the existing building is neutrally hued: from the white paint on the walls to the gray epoxy floors. The newly added house structure, on the other hand, consists of richly textured materials including reclaimed bricks and wood planks from nearby lane houses being demolished. The visitors can walk beneath a dense network of metal structure spanning the alleys for hanging laundry, reinterpreted dangle from steel hooks at various heights, to be viewed from different angles.
拍摄：周诗杰
这是一个结合了上海弄堂文化所做的设计。设计者在传统的仓库式建筑中插入了一个两层楼的里弄式建筑，从中间剖开的剖面展示了建筑向弄堂打开的姿态。一面巨大的镜子面向剖面，并将长长的巷弄引入到了建筑中间。建筑的一切色调都是中性的：从白色的墙壁到灰色的地板。与此同时，新建部分的结构运用了丰富的材料，包括周围废弃建筑的砖块与木板。参观者可以从一个挂着衣服的密集金属网下走过，从不同的高度和角度反复审视阅读充满生活气息的里弄空间。
2、the magistrates court----bow street boutique hotel
拍摄：周诗杰
In this project, Neri&Hu conceive the hotel as a museum, where the building itself is an artifact on display. Understanding the rich history of the site, we insert a courtyard in the interstitial space of the two distinct buildings on site - the Bow Street Magistrates’ Court and Police Station – to switch them back together. Local red brick masonry is adopted in a lightweight screen structure to envelope the added part of the building. Building on and reconfiguring historic conditions, former prison cells are recombined to form a unique hotel restaurant, while retaining the original gallery configuration and seating arrangement. The modern-day visitor’s journey traces that of the building’s many previous occupants; temporarily encapsulating guests in another time and place. The hotel acts as a living museum and inhabitable installation.
拍摄：周诗杰
这个项目中，设计师将酒店视作为一座博物馆，而建筑本身也成为了一件展览的艺术品。在了解了场地的悠久历史之后，设计者在场地两座原有的独特建筑空隙之间插入了一个院子，使得它们重新组合在了一起。轻质结构中运用了当地的红砖砌体来覆盖新建的建筑部分。根据历史条件重构新建之后，原先的牢房被组合形成了一个独特的酒店餐厅，同时保持了原先的画廊布局和座位安排。作品通过将建筑融入历史元素使得人们在观赏建筑的过程中得以体会在不同的时空地点中的场景感。
二、步移景异 nomadic voyeurism
3、house for an introvert, house for an extrovert----jiaxing guesthouse
拍摄：周诗杰
What began as a research project into the ways that architecture informs narrative and vice versa, the design for this house was inspired directly by an excerpt from a Chinese novel, Wang Anyi’s Song of Everlasting Sorrow. The passage describes two ladies that meet once a week, one would always speak openly about her life, the people in it, and the problems she faced; the other always sat and listened, absorbing the life of the other whilst keeping her own emotions locked away. Neri&Hu extracted from this story a sectional drawing of the psycho-analytical spaces occupied by these two distinct characters; we titled it "House for an Introvert, House for an extrovert." The guest house designed from this catered towards both personalities, one who was boisterous and loved to entertain, the other preferring solitude and contemplative spaces. Each inhabitant had their own dedicated rooms and passages, but also shared common space, where they could still meet and come together when they chose. The project was a theoretical exercise, but also a testament to the power of story-telling as a raison d'etre, shaping an entire building from narrative alone was a critical moment in Neri&Hu's practice.
拍摄：周诗杰
此设计的出发点来源于王安忆的小说《长恨歌》。设计者从故事中提取了两个截然不同的角色，依照其不同的心理出发设计了两种不同的平面图，将其命名为“性格内向的人”与“性格外向的人”。以此设计的旅馆迎合了两种不同个性的旅客，一种是热闹、热爱娱乐的，另一种则倾向于独处和沉思的空间。尽管使用者有各自独用的房间，他们也同时享有公共空间，这意味着只要他们愿意也可以聚在一起交流。这个项目也探索了从故事出发塑造一项设计的可行性。
4、inverted pavilion----taikang sanya hotel
拍摄：周诗杰
Neri&Hu's design of Le Meridien envisions a new landmark for Zhengzhou to showcase its history as a conceptual archive of the region's cultural arts for an experience of the city to both residents and travelers alike. Externally, the archives are expressed as cantilevered stacked boxes, carefully composed on the facade with subtle slab depth variations to break down the bulky proportions of the original building structure. A 5-storey podium of public functions feature architectural expressions of excavation and carving, inspired by the nearby Longmen Caves. Throughout the project, wooden boxes are a recurring architectural feature, from the dark timber boxes folding down onto the walls from the top of the atrium, to the Pre-function where the ceilings and walls are dominated by boxes arranged irregularly. The entire guestroom tower features a series of three-story atriums reserved for art installations, taking advantage of the verticality to give each guestroom floor a unique fragment of the story.
拍摄：周诗杰
设计师为郑州构筑了一个新的地标，作为该区域的文化艺术概念性档案馆。建筑外部表现为向外悬挑出去的盒子，并在立面上设有细微的高差变化，以此消解建筑的庞大体量感。整个建筑以木箱作为重复出现的建筑特征，从中庭顶部向下延伸直到前厅，各个体块中都包含三层通高的部分供艺术作品展示，并在垂直向度上为客房空间营造了独特性。
三、栖居 dwelling
5、the sculpted courtyard----hu retreat
拍摄：周诗杰
For a private villa adjacent to the waterscape in the Yanming Lake Ecological Scenic Area in Zhongmu, Zhengzhou City, Neri&Hu inserts a concise and powerful architectural volume into the site to create a dialogue with the mellow and natural surroundings. The project consists of a central main building and surrounding courtyard walls formed by a sculpted volume. Auxiliary functions such as guest rooms, workers' rooms, corridors for rest, and sports facilities are organically integrated into the etched wall volumes. In the center of the courtyard, the volume of the main building is lifted off of the ground to form a permeable space below, allowing the interior space to blend with the landscape of the courtyard. Wood-grained concrete and glass form a sharp contrast between reality and fiction. Glass allows for the integration of the interior space with the landscape; it also corresponds to the openness of the interior functions, while the solid concrete manifests privacy.
拍摄：周诗杰
这个项目是郑州市中牟雁鸣湖生态风景区附近的一处私人别墅，设计师将建筑简洁有力地注入场地，营造适应场地客观景观的状态。庭院的位置建筑的主体部分被抬起，在下方形成了一个可以渗透的空间，使内部空间与庭院景观形成一体。木纹混凝土与玻璃之间的对比宛如现实与虚构之间的碰撞。同时两者之间的虚实也对应着外向性与内向性的相互关系。
6、the landscape theater house----coimbra residence
拍摄：周诗杰
Coimbra residence is located in the neighborhood of Itanhanga in Rio de Janeiro, designed for a film director. A grand staircase, envisioned to be the heart of the project, follows the steepness of the terrain, forming a cascading landscaped theater that melds the dwelling with the topography. The sloped landscape also serves as the backdrop for the main entrance of the house. All living functions are located within a U-shaped floating volume wrapping around the grand staircase. A solid facade towards the exterior protects the private space from the neighbors. In contrast to the exterior, the fully glazed interior-facing facade allows a constant play of glances between the intimate domestic realm and the central communal space. Here, the grand staircase becomes stage for people to see and be seen. Above, a large roof terrace with a swimming pool allows a privileged vantage point to enjoy the surrounding views.
拍摄：周诗杰
Coimbra住宅位于里约热内卢，是一个为导演设计的住宅。住宅中宏伟的楼梯被设定为了项目的核心，随地形的陡峭变化形成了一个层叠的景观剧院，使得住宅与地形融为了一体。所有的功能均位于环绕着大楼梯的U型空间内。外部采用坚固的立面，而面向内部庭院则使用的是通透的全玻璃面，在内部使用时可以一览无余地看到中央公共空间。屋顶露台上配有游泳池，可以在优越的位置观赏周围的景色。
四、空间诗学 inhabitable strata
7、sculpted light----new shanghai theatre
拍摄：周诗杰
From the street, the renovated theater reads as a heavy stone volume hovering just above ground level. The two upper floors relinquish any outwardly visible openings upon the facade; instead, light and vistas are introduced via the vertically carved skylights. Drawing inspiration from the theatrical acts taking place within, the carved spaces of the interior and exterior atriums are conceptualized as a series of dramatic scenes: scenes of varying spatial and lighting configurations are intensified as one explores deeper into the building. Several apertures take advantage of fluctuating light conditions throughout the day to create an ever-changing, dynamic environment, while supplemental evening lighting mimics these conditions for added drama. The entry and ticketing areas are recessed from the pedestrian walkway, creating a covered plaza accessible from the street. As such, the public at large and any casual passer-by are permitted a glimpse into the building's theatricality, with or without a ticket.
拍摄：周诗杰
从街道上看，剧院如同一块沉重的磐石稳坐在地面之上。上方的两层空间并未使用立面上的开口，而是选择了顶部的天窗引入光线。顶部的多个洞口结合全天变化的光照条件创造了一个不断变化的室内光照环境，同时内部补充的夜间照明使得空间更具有戏剧性。入口和售票处从人行道的区域凹进，形成了一个可从街道进入到广场。这样可以使路过的行人得以瞥见建筑物内部发生的行为活动。
8、the salon----sweet bird north boutique hotel Miami
拍摄：周诗杰
Neri&Hu was invited to design a boutique hotel at the heart of the Miami Design District, a nucleus for the international crowds that gather annually for the city's modern and contemporary art fairs. As a programmatic break along the streets lined with similarly scaled galleries and luxury retail, the design team envisioned the hotel as a public salon where visitors could both engage with the energy of the neighborhood, as well as withdraw to a domestic respite on its upper levels. The exterior lays bare the interior program. The public levels, with dynamic light installations in the lobby and a verdant restaurant, are exposed with undulating full-height windows between a steady sequence of vertical, bush-hammered concrete planes. The guestrooms are formed into individual ‘homes’ with a pitched roof silhouette which stretches out to the exterior balconies, becoming a series of punched openings in the archetypal figure.
拍摄：周诗杰
这个项目位于迈阿密的设计区中心，是一个国际精品酒店，每年会在此开展当代艺术博览会。沿着街边规划的休息场所，琳琅满目的画廊与奢侈品商店被设计为公共沙龙的区域，使得游客得以在这里享受公共交流的空间。公共场所空间设置的动态照明与全透明玻璃窗使得公共空间通透无余。
五、在地重铸 recasting vernacular
9、the ancestral hall----aranya museum of family history
拍摄：周诗杰
Neri&Hu's design for a contemporary ancestral hall in the rural mountains outside of Beijing presents a befitting opportunity to address the attrition of Chinese rural villages as result of urban migration, and the subsequent crisis of losing the roots of Chinese culture. This modern ancestral hall aims to reestablish a sense of unity and solidarity, and to counteract the experience of displacement and rootless-ness. While remaining true to the floor plan of the vernacular typology, our reinterpretation brings innovation in section as well as in materiality and construction. A concrete post-and-beam structure forms the overall framework, while the wall infills consist of locally harvested rock built with traditional masonry techniques. The robustness of modern concrete construction allows for spatial breakthroughs-the dramatic and clear spans, in addition to the sculpting effects of the concrete material. After passing through a humble threshold, visitors embark on an introspective journey punctuated by varying light wells, courtyards and colonnade corridors.
拍摄：周诗杰
这是一个位于北京郊区的祠堂，旨在引起人们对于城市移民导致的乡村逐渐消失，文化根源流失的问题的重视。在保持对于平面的重视同时，设计者重新诠释了截面并在材料和结构方面带来了创新。在使用混凝土结构完成整体框架后，建筑师选择了当地的传统砌筑技术与当地岩石组成。参观者在内部穿梭的过程中可以体验到一种强烈的仪式感。
10、layering of two towns----xinchang old town tourist center competition
拍摄：周诗杰
Like archaeologists, Neri&Hu identifies the remains of the former site and digs down to expose the forgotten treasures. All of these historic traces, now revealed, replicate the layout of a traditional linear water town with main streets running north to south. A new, orthogonal town of buildings consisting of a grid of narrow streets and public open squares is layered atop the old one. The original irregular public spaces are reimagined to become nature gardens. Standing at an elevated vantage point, one sees lush vegetation intricately weaved in between human constructions, which is immediately reminiscent of the views within a classical Chinese garden. With a comprehensive set of amenities including retails, cultural exhibitions, contemporary galleries, restaurants and receptions, the visitor experiences a world in which the old and new town come together in a complex network of buildings, terraces, steps, as well as interior and exterior spaces.
拍摄：周诗杰
如同考古学家一样，设计师研究了旧址的遗迹，复制了传统的线性水镇布局。在旧有建筑的顶部，正交的建筑城镇、狭窄的街道网格与公共的开放广场共同组成了一个崭新的小镇。原始的不规则公共空间被构想为自然花园，从高处向下看可以看到郁郁葱葱的植被交织在建筑之间，使人联想到古县园林中的景色。零售、展览、美术馆、餐厅等设施汇集，旧城区与新城区通过露台台阶等融合在了一起。
六、未来遗迹 future artifact
11、the vertical city----zhengzhou yuhua civic centre
拍摄：周诗杰
拍摄：周诗杰
Taking cues from the region's vernacular heritage of cave dwellings or yaodong, the Civic Center is an urban artifact that recalls the primitive, primordial and even instinctive act of constructing for an iconic monument, based on the notion of objecthood combined with the act of excavation as the main design language. The Civic Centre floats as a cube above an open plaza, referencing Louis Kahn who regarded the square as a simple yet assertive element with both modern and timeless characteristics. The overall massing conforms to the cube, whose facades adopt a faceted, chiseled profile. Different setback depths along the facades introduce complex textures to reflect the complexity of the cityscape. The centre of the boulder-like cube is excavated to form three interlinking atriums, open towards the sky. The culminating 'monument' celebrates the struggle between the pressures of the interior and the exterior, a form that invites plural readings.
拍摄：周诗杰
这个项目的线索来源于当地的窑洞乡土文化，逐渐得出一种偏向于原始性的纪念建筑。市政中心如同立方体一般漂浮在开放广场上方，正如路易斯康所说“广场是具有现代和永恒特色的，简单又富有自信的元素”。立方体的立面轮廓分明，不同程度的缩进形成的复杂纹理反映出城市景观的复杂性。立方体中心相互连接的中庭向天空敞开，形成了强烈的纪念性意义。
12、the future ruin----concept design for Pudong art museum
拍摄：周诗杰
Neri&Hu's proposal for the Pudong Art Museum is informed by the Chinese notion of ‘ruin’ as both temporal continuity as well as loss and absence, embodied as enduring relics: Earth, Heaven and Gateway, represented by arch, square and circle, three archetypal geometries. Conceived as stand-alone spatial totems and cores, they each contain a unique vertical circulation connected to various functions clustered around its periphery. The Earth zone houses artist studios and spaces for art production, while the Heaven zone is a library contained within a circular core surrounded by classrooms and educational facilities. The Gateway atrium is a naturally lit void, tied together by suspended bridges between different levels and surrounded by a series of white-box gallery spaces. The exterior features a plinth with various geometric sunken courtyards for sculpture viewing and gathering, implying an imagined archeological ground serving as the foundation for the three spatial totems.
拍摄：周诗杰
浦东美术馆的设计方案基于中国的“废墟”概念，即时间连续性上的缺失，并体现为三种几何原型——弓形、方形和圆形为代表的地球、天堂与门户。被赋予“地球”含义的空间设有艺术家工作室和用于艺术创作的空间，而“天堂”的区域则是一个图书馆，位于教室和教育设施换套的圆形空间内。中庭空间用于自然采光，并被一系列白色画廊空间所包围。外部的建筑底座上有不同的集合凹陷的庭院，与内部的三种“空间图腾”相呼应。
如恩：无尽之旅——写在最后
写完这12个方案简介，笔者又一次回顾了展览的标题《Neri&Hu Works in Evolution》。“无尽之行”这四个字如此真实地诠释了胡如珊老师这些年在建筑领域不断地上下求索。
在挑选出的这些建筑案例中，其建筑理念不断地反映在尝试着刻画人与物的关系中。无论是面对自然景观的山水、原野，抑或是充满人文气息的狭窄巷弄，如恩都在努力寻找一个使建筑融合在现有景观中的“平衡点”。
在Camper展示厅的方案中，如恩尝试通过青砖的材质与入口处的大玻璃引入里弄空间的环境来营造属于里弄特有的场所感；而在面对历史建筑的改建项目“水舍精品酒店”中，如恩保留了原有混凝土材质的同时也引入了耐候钢的新型材料，通过其对比来营造出如同上海新旧交融的城市状态。
在开幕式的演讲中，胡老师介绍了一个位于峨眉山的威士忌酒厂项目。在项目交付的过程中，法国的客户对于建筑物所缺失的“纪念性”，或者可以理解为缺少一种“地标性”而感到不满，他们希望更改设计使得建筑物在造型上更加契合一个“酿酒厂”的常见形态，但经过反思和商议之后如恩还是坚持保留了原先的方案，因为他们更希望使用者可以在体验建筑的过程中感受到一种依然沉浸在山林中的效果，在缓慢行进于建筑中不断地能够体会到周边的青山场景，而不是创造一种强有力的、带有冲突性地纪念性地标建筑。尽管冒着可能会丢掉项目的风险，但如恩对于这种场地、景观与周围环境客观性的尊重使我们读到了一种更深层面的设计理念和价值，这也是一种东方式的“纪念性”。在与场地的对话中保留旧有的元素并使它们有价值地活下去，使得使用者们能够不断体会到场地原有的文化和气息，就是如恩在“无尽之行”中不断追求、不断探索的一部分。
“西方设计界所谓的中国元素有种思维定式。而我们中国设计者，追求的是一种脱离符号、形象的中国精神。在实物中融入概念性的东西，比如一些幽默，一段历史，是我们的强项，也是需要琢磨的。”
—end—
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图文：周诗杰
翻译：周诗杰
编辑：W 审稿：W 校对：小E
*本文图文为Dunier周诗杰同学原创整理，模型图片由周诗杰现场拍摄和后期处理，图片版权归周诗杰所有。编排由Duni迪优尼设计学院编辑部完成，欢迎转发，如需转载，请联系后台，禁止以任何形式的私自转载。
