UED Special Issue of 2012 HYP Competition

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[ UED TOPIC ] 主题／霍普杯2012国际大学生建筑设计竞赛 HOOP CUP 2012 INTERNATIONAL STUDENT COMPETITION IN ARCHITE[ UED ] 城市·环境·设计 068 | 12 | 2012

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霍普杯2012国际大学生建筑设计竞赛

文化综合

TOPIC: ARCHITECTURE IN TRANSFORMAT

主题：演变中的建CULTURAL COMP

2012年，由国际建筑师协会（UIA）支持，天津大学建筑学院、《城市·环境·设计》(UED) 杂志社联合主办，上海霍普建筑设计事务所有

名的“霍普杯·2012 国际大学生建筑设计竞赛”，是一次立足中国、放眼世界的国际竞赛，是第一次真正意义上由中国学术机构主办的国际大

计竞赛。在中国建设量巨大的今天，中国建筑和建筑师得到了世界建筑界前所未有的关注；中国建筑师正在走向世界，期待与国际建筑界进行

对话。国际学生竞赛无疑是对搭建中国与世界的未来建筑师——建筑院校学生之间的桥梁起到了积极的作用，同时有利于提高中国学生的公平

计创意思路。

建筑进化的过程在于对现状问题的反思以及对所处时代的回应。建筑与城市、建筑与自然环境的关系问题一直是建筑师面临的课题。在支离破

序的乡村里寻找与构建具有场所感的人性化空间；在信息时代，体现与生态环境相协调的可持续发展的建筑理念；在建筑学教育体系中，将设

的建筑学功底有效地结合，是本次竞赛的主旨。竞赛要求参与者不断追问与探索建筑发展之路，探讨当代人对建筑与环境的复杂性需求，关注

中的事件，构建具有生命力的城市与建筑空间，并寻求适宜技术使方案具有可实施性。

HOOP CUP 2012 INTERNATIONAL STUDENT COMPETITION IN ARCHITECTURAL DESIGN IS AN INTERNATIONAL COM

WITH A FOOTHOLD IN CHINA AND ALSO IN THE WORLD, WHICH IS SUPPORTED BY THE INTERNATIONAL UNION OF AR

(UIA),CO-HOSTED BY THE SCHOOL OF ARCHITECTURE OF TIANJIN UNIVERSITY AND THE URBAN ENVIRONMENT DES

MAGAZINE PRESS AND SOLELY SPONSORED BY SHANGHAI HUOPU ARCHITECTURAL DESIGN CONSULTANT INC.. ME

IT IS THE FIRST REAL SENSE INTERNATIONAL COMPETITION THAT IS HOSTED BY THE CHINESE ACADEMIC INSTIT

CURRENT CHINA WITH A HUGE CONSTRUCTION QUANTITY, BOTH CHINESE ARCHITECTURE AND ARCHITECTS HAVE

THE UNPRECEDENTED ATTENTION FROM THE INTERNATIONAL ARCHITECTURAL WORLD.CHINESE ARCHITECTS ARE

TOWARDS THE WORLD, LOOKING FORWARD TO AN EQUAL COMMUNICATION AND DIALOGUE WITH THE INTERN

ARCHITECTS.INTERNATIONAL STUDENT COMPETITION IN ARCHITECTURAL DESIGN UNDOUBTEDLY PLAYS A POSITIV

BUILD A BRIDGE BETWEEN CHINESE AND INTERNATIONAL ARCHITECTS IN THE FUTURE AS WELL AS BETWEEN STUDE

ARCHITECTURAL SCHOOLS AND INSTITUTES. AND ALSO, IT HELPS TO INCREASE THE SENSE OF FAIR COMPETITION AND

DESIGN OF CHINESE STUDENTS.

ARCHITECTURE IN TRANSFORMATION SHOULD MAKE RESPONSES TO CURRENT S ITUATIONS AND TIMES. WHAT CON

IS THE RELATIONSHIP BETWEEN ARCHITECTURE AND CITY, AND THE RELATIONSHIP BETWEEN ARCHITECTURE AND

ENVIRONMENT. THE COMPETITION AIMS AT: SEARCH AND CONSTRUCTING A HUMAN SPACE WITH A SENSE OF

INCREASINGLY-FRAGMENTED CITIES OR UNORDERED V ILLAGES; EXPLORING ENVIRONMENT-FRIENDLY AND SUSTAINAB

THE INFORMATION AGE; INTEGRATING CREATIVE DESIGN CONCEPTS WITH SOLID BASIC SKILLS EFFECTIVELY IN ARCH

EDUCATION. THE MAIN REQUIREMENTS INCLUDE: MAKING DETAILED EXAMINATIONS AND REFLECTIONS ON ARCHI

HISTORY;EXPLORING COMPLICATED REQUIREMENTS TO ARCHITECTURE AND ENVIRONMENT BY CURRENT USER

ATTENTION TO EVENTS IN SPECIFIC SITES; CONFIGURING VIABLE URBAN AND ARCHITECTURAL SPACES.




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ORGANIZATION

INTERNATIONAL SUPPORTER: Union OF International Architects (UIA)

ORGANIZERS: School of Architecture, Tianjin University(TJU); Urban Environment Design (UED) Magazine Press

DIRECTORS: China National Higher Education Architectural Department Professional Supervision Committee; China

National Higher Education Architectural Department Professional Education Assessment Committee

TITLE SPONSOR: Shanghai Huopu Architectural Design Consultant INC.

CO-ORGANIZERS: School of Architecture, Tsinghua University; School of Architecture and Urban Planning, Tongji University; School of

Architecture, China Southeastern University; School of Architecture, China Southern University of Technology; School of Architecture, Chongq

University; School of Architecture, Xi’an University of Technology; Technology School of Architecture, Harbin Institute of Technology

COLLABORATORS

The University of Hong Kong, The Chinese University of Hong Kong, National Cheng Kung University, Tunghai University, Chung Yuan Christian UTamKang University, Zhejiang University, China Central University of Sience, Dalian University of Technology, Hunan University, Nanjing Universit

Peking University, Beijing University of Civil Engineering and Architecture , Hefei Industrial University, Shenyang University of Architecture, China

Art Academy, ShenZhen University, Xiamen University, ShangHai JiaoTong University, Inner Mongolia University of Technology, Shandong Instit

Architecture and Civil Engineering, Heibei University of Technology, Southwestern Jiaotong University, North China University of Technology, Be

University of Technology, Tianjin Institute of Urban Construction, Beijing JiaoTong University ,Fuzhou University, Qingdao University of Technolog

JURY COMMITTEE:

JURY CHAIRMAN

JURY MEMBERS

REQUIREMENTS OF COMPETITION:

1.Language: English

2.Participants can choose design programs by themselves. The architectural type is designated as cultural complex. It should pay

great attention to the features of contemporary cultural architecture and specic spatial requirements of various user groups.

3.Participants can choose sites by themselves. It should be of challenges and urban memories, such as urban fringes, urban centers, rural c

4.Total oor area is around 6,000m2 (±10%).

5.Participants should make deep considerations to the organic relationships between architecture and city, and between

architecture and village. Besides, outside space and urban edges should be included into the design program.

6.Participants should make 1:200/1:400 hand-made models. The model photos (≥5inch×7inch) should be included in submission drawing

组织机构

国际主办——国际建筑师协会（UIA）

主办机构——天津大学建筑学院、《城市·环境·设计》（UED）杂志社

指导机构——全国高等学校建筑学学科专业指导委员会、全国高等学校建筑学专业教育评估委员会

独家冠名——上海霍普建筑设计事务所有限公司

协办机构——清华大学建筑学院、同济大学建筑与城市规划学院、东南大学建筑学院、华南理工大学建筑学院、重庆大学建筑城规学院、西安建筑科技大学

建筑学院、哈尔滨工业大学建筑学院

支持机构

香港大学、香港中文大学、台湾成功大学、台湾东海大学、台湾中原大学、台湾淡江大学、浙江大学、华中科技大学、大连理工大学、湖南大学、南京大学、

北京大学、北京建筑工程学院、合肥工业大学、沈阳建筑大学、中央美术学院、深圳大学、厦门大学、上海交通大学、内蒙古工业大学、山东建筑大学、河

北工业大学、西南交通大学、北方工业大学、北京工业大学、天津城市建设学院、北京交通大学、福州大学、青岛理工大学

评委会：

评委会主席

评委

竞赛要求

1、语言：英文

2、设计任务书自拟，类型为文化建筑，任务书拟定要求充分考虑当代文化建筑的特征并关注不同参与群体的空间需求。

3、基地自选，建议在城乡结合部、城市中心、乡镇中心那些能承载城市印记的场所进行选址，基地选择要求具有挑战性。

4、建筑面积为6000 平方米( 面积在不超过10％的范围内浮动)。

5、建筑设计应充分考虑建筑与城市、建筑与乡村的有机关联性，要求对建筑外部空间、城市界面进行必要的规划与设计。

6、要求手工制作1: 200/1: 400 设计模型，并以照片的方式组合于图面之中，照片尺寸≥5×7 寸。

迈克尔·霍普金斯大英帝国勋章获得者、英国皇家院士、英国Architectural Association（AA）建筑学院前任院长、霍普金斯建

筑师事务所创始人

崔愷国际建筑师协会（UIA）代表，中国工程院院士，中国建筑设计研究院副院长、总建筑师，全国建筑设计大师

阿兰·佩里英国伦敦大学巴特雷建筑学院院长、教授，建筑环境研究中心负责人

朱文一清华大学建筑学院教授、院长，全国高等学校建筑学专业教育评估委员会主任委员

蒂姆·海斯英国诺丁汉大学建筑与城市设计学院院长

胡越全国建筑设计大师，北京市建筑设计研究院有限公司总建筑师

张颀天津大学建筑学院院长、教授、博士生导师

仲德崑东南大学建筑学院教授、博士生导师；全国高等学校建筑学学科指导委员会主任

黄一如同济大学建筑与城市规划学院副院长

博格丹·莱辛贝格斯洛文尼亚莱辛贝格建筑师事务所创始人

彭礼孝《城市·环境·设计》(UED)杂志社主编、天津大学建筑学院特聘教授

龚俊上海霍普建筑设计事务所有限公司执行董事、总经理、设计总监

SIR. MICHAEL HOPKINS: Sir. Michael Hopkins has been awarded a CBE and Knighted for Services

to Architecture. He is also a Royal Academician, a past President of the Architectural Association.

CUI KAI: Cui Kai is the Representative of Union of International Architects(UIA), Academician

of the Chinese Academy of Engineering Vice President and Chief Architect of China Architecture

Design and Research Group (CAG), Chinese Master of Architecture Design.

ALAN PENN: Alan Penn is the Professor and Dean of the Bartlett, Faculty

of the Built Environment, University College London (UCL).

ZHU WENYI: Zhu Wenyi is the Dean, Professor of the School of Architecture, Tsinghua University.

TIM HEATH: Tim Heath is the Chair of Architecture & Urban Design at the University of Nottingham.

HU YUE: Hu Yue is the Chinese Master of Architecture Design, Chief Architect

of Beijing Architectural Design & Research Institute Co., Ltd. ZHANG QI: Zhang Qi is the Dean of School of Architecture, Tianjin University, Professor and PhD supervisor.

ZHONG DEKUN: Zhong Dekun is the Professor of Architecture School of Southeast University, PhD supervisor;

Director of China National Higher Education Architectural Department Professional Supervision Committee.

HUANG YIRU: Huang Yiru is the Vice-Dean of the College of Architecture and Urban Planning, Tongji Universi

BOGDAN REICHENBERG: Bogdan Reichenberg is a Slovenia architect

and the founder of Studio Reichenberg arhitektura.

PENG LIXIAO: Peng Lixiao is the Chief Editor of Urban Environment Design(UED) Magazine

Press, Specially-Appointed Professor of School of Architecture, Tianjin University

GONG JUN: Gong Jun is the Executive Director/General Manager/Design

Director of Shanghai Huopu Architectural Design Consultant INC.




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“演变中的建筑——霍普杯2012 国际大学生竞赛”的目标是：

第一，在愈加分离的城市和无序的村庄中探寻和构建具有场地感的人类空间；

第二，在信息化时代探索环保和可持续理念；

第三，将有创意的设计理念和实际的基础技能有效融合在建筑教育中。

——博格丹·莱辛贝格




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本次竞赛在组织上很全

面、很严谨，也颇具国际水准。

从评委阵容到文件审定，均由国

际建筑师协会（UIA)等相关权威

机构全权进行。从本次竞赛的作

品中来看，中国学生的设计水准

与国际学生越来越接近。从本次

竞赛的题目看，给评委会带来最

大的问题在于难于比较。但在我

看来设计质量以及语言的操控能

力与概念设计也是同等重要的。

作为职业建筑师，我们也很钦佩

学生能展现出从平面设计到建筑

设计本身都很优秀的作品。希望

通过宣传和推广，能让本次竞赛

在学生群体中更为广泛地展开。

——崔愷

竞赛选拔范围广，学生主体积极性

高，整体水平与国内目前一般的竞赛相比颇

显出色。再则，本次大赛的评委阵容很强大，

有国际知名的建筑教育家迈克尔·霍普金斯

爵士，UCL、诺丁汉以及斯诺文尼亚的教授，

国内则有中国工程院院士崔愷以及知名高校

的各位院长、知名教授等，他们的参与可以

保证学生竞赛作品的选拔是具有高水平的。

——仲德崑

参赛作品的整体水准很高，来自世界各地

的参赛者提供了广泛、多样的项目地点和类型。更

胜一筹的项目选择了关注社会上的热点现象，提出

的解决方案体现出在创造更好的未来的过程中，建

筑可以发挥关键作用，特别是带给在都市中生活和

工作的人们无限希望。整体而言，参赛者直面挑战，

强调并展现了强烈的概念观点，巧妙处理了设计方

案。大赛评审团任务艰巨，但很显然略胜一筹的作

品具备以下特点：第一，明确传达并强调了关键挑

战和困难；第二，体现了强烈的概念观点；第三，

提出了很好的设计解决方案；第四，利用多样化的

技术手段实现高品质的呈现。

——蒂姆·海斯

本次竞赛整体水平居高，选题较为宽松，

这种不被限制条件使得参赛者发挥余地更大。

但同时也是一种缺点，因为会影响人的惯常判

断。根据目前的评判标准，我自己认为基本功

更为扎实的学生作品会更受青睐。这次竞赛更

倾向于自己给自己出题并解决，在此基础上匹

配一定的想象力以及出众观点的方案就显得更

为重要和优秀。另外，从本次竞赛中，图面出

色的多半是境外的学生，也许国外的学生在这

方面训练还是多过我们中国的学生。

——胡越

从半年前到今天

一路筹备和组织竞赛，并

收录了300多份方案是

很不错的。从如今的评委

会以及参赛作品的水平可

以看出，这届竞赛绝对是

具有一定高度、水准以及

权威性的。

——朱文一

本次大赛的水准非常之

高，其特点在于主题宽泛，设计

的方式、所选的基地以及对于建

筑演变的看法都很丰富。另外，

竞赛的选题如果过于宽泛，评价

会很困难，可一旦具体，又很难

吸引学生参与，所以的确很难均

衡。再者，国内外的竞赛很多，

好竞赛却依然很少。因此，我们希

望打造资源更为集中、更有分量

的权威、专业竞赛平台，就好比

本次有UIA和专职委的介入，与

课程设计相结合，才会有如今高

水平的霍普大学生竞赛的平台。

——黄一如

高水平的参赛作品使得

从320个作品中挑选出12项

获奖作品成为一项艰巨的任务。

通过三轮淘汰赛和详细周密的圆

桌会议讨论，最终收获了令人满

意的结果。希望所有的设计方案

都能成为真正的建筑实践！

——迈克尔·霍普金斯

首先这是一场重量级

竞赛，从主办、协办、支持

以及评委们的级别就可以说

点；其次也是一场公平公正

赛，评审期间，每一个获奖

都经过了热烈的讨论。尤其

一、二等奖之间的角逐，当

出现6:6时，评委会主席霍

斯爵士一锤定音地选定了优

第三，从参赛作品来看，也

场高水准的国际竞赛。所有作品都很好地演绎了“演变

建筑”这一主题：一等奖胜

原因在于很好地处理了建筑

史文脉的关系；二等奖“天空之

胜出的理由也是源于运用很

境的手法解决了建筑与环境

共生的问题。最后，也希望

同学积极参与2013年霍普

家大学生竞赛，这将是展示

的绝佳国际性舞台。

——龚俊




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由天津大学发起的霍普杯国际大学生建筑设计竞赛，在高校与媒体的共

同筹划下，受到全国高等学校建筑学专业指导委员会与专业教育评估委

员会的认可，并成功地获得国际建筑师协会（UIA）的国际支持，这使得

竞赛的策划起点建立在一个非常权威的平台上，同时上海霍普建筑设计

事务所有限公司连续三年的独家赞助为竞赛的实施提供了资金保障。历

时近两年的竞赛组织与策划终于落下帷幕，回顾整个过程，笔者认为这

是一次非常有意义的“接力游戏”。

从整体上看，这是一次组织成功的竞赛，标志着中国大学生建筑设计竞

赛组织实现了由国内走向国际的跃迁，同时建筑学院与建筑媒体的精诚

合作与高效互动，使竞赛从原初的愿经逐步升华并有效实施。事实证明，

良好的愿景与社会资源互动是事件走向成功的必要条件。

策划缘起

凡是二十世纪八十年代初期毕业的大学生们提起竞赛都不会忘记当时由

《建筑师》杂志发起与主办的几届大学生竞赛在全国掀起的冲击波，应该

说在我们这一代人中留下了深刻的印记。当时的竞赛获奖得主崔愷、孟

建民、王伯伟、吴长福等人均成为当代中国建筑实践界、建筑教育界的

领军人物，或许竞赛并非他们成功的主要动因，但不可否认的是青年时

期的大学生竞赛获奖是他们建筑生涯中的重要里程碑。正是基于这样的

一个朴素的事实以及天津大学建筑学院历年来十分重视竞赛的现状，两

年前建筑学院与《城市·环境·设计》（UED）杂志社、《建筑师》杂志

社决定在时隔三十年后重新举办这类全国大学生竞赛，当时加盟的还有

东南大学建筑学院，一个初步的竞赛组织框架由此形成。

自二十世纪九十年代起，全国高等学校建筑学专业指导委员会一直以全

国建筑学高校为主体进行一年一度的大学生竞赛，即全国大学生建筑设

计作业观摩与评选，引起各高校建筑学院系的广泛重视，充分调动各校

师生的积极性，专指委的权威性以及各校的广泛参与，使高校建筑学专

业教育水准普遍提高，学生竞赛热情高涨。但在两年前专指委在竞赛思

路上进行了方向性的转变，将竞赛性质由优秀作业评选改为优秀教案评

选，该转变的关键将由各院系学生主体的竞赛变为课程体系与教案的评

选，本身有其深化设计课教学的内涵是无可非议的，然而持续近二十年

的学生竞赛个体的激情似乎嘎然而止。全国很多优秀学生更希望将这种

竞赛精神得以继续，可以说，天津大学建筑学院对这个竞赛的举办是继

承了专指委每年竞赛与优秀作业评选的某种传统，并预测将会在全国高

校中产生某种共鸣。

在分析中国建筑教育界、当下建筑教育状况以及相关竞赛的信息之后，

我们发现建筑教育界存在两种倾向，一种是部分院校非常注重学生设计

概念性设计思维的开发而对学生基本功的培养则不够重视，另一种倾向

是学校非常强调基本功的训练而对创造性思维的开发无动于衷。这次竞

赛的原初则是希望鼓励学生具备两者兼而有之的能力，即参赛者不仅具

有创新的理念，同时在反映深厚的建筑学功底方面亦有所表达，同时希

望通过竞赛促进建筑教育界对建筑学教育本体的深度反思。

变迁过程

任何事件的发展是一个不确定的过程，具有良好愿景是一回事，事件能

否落地生根确是一个漫长的过程。首先，《建筑师》杂志在长期的等待中

决定退出竞赛组织框架，他们与东南大学组办另外一项“天作杯”全国大

学生建筑设计大奖赛。鉴于此，天津大学建筑学院与《城市·环境·设计》

杂志社决定将中国大学生升格为国际大学生竞赛，并邀请全国高等学校

“RELAY RACE”RECORD OF THE ORGANIZATIONALPROCESS OF HOOP CUP 2012INTERNATIONAL STUDENTCOMPETITION IN ARCHITECTURALDESIGN

“接力游戏”记霍普杯国际大学生建筑设计竞赛组织过程

文 / 孔宇航天津大学建筑学院副院长、教授、博士生导师

建筑学专业指导委员会与建筑学专业教育评估委员会作为竞赛指导单位，

得到了两位主任仲德崑先生与朱文一先生的支持，在中国建筑设计院总

建筑师天津大学校友崔愷先生与国际建协的商议下，亦成功地获取了国

际建协UIA 的国际支持，UED主编彭礼孝先生最终促成上海霍普建筑设

计事务所有限公司连续三年资助该竞赛。从构架的改组到专指委与评估

委的支持、从UIA 支持到上海霍普公司赞助、从国内竞赛到国际竞赛，

整个过程在不断的裂变与跃迁。回想起来，甚是感慨。策划这种学生参

与类的竞赛应该是一件易事，要组织一次高水平的国际竞赛却是一个漫

长的过程，正是在不断变迁的过程中，竞赛的性质有了质的飞跃。

评奖时刻

2012年 10月 26 日世界各地全国各高校的作业如期而至，来自英国的

迈克尔·霍普金斯爵士、国际建协的评委以及国内知名学者与建筑师汇

聚天津，进行了为期一天的评审。在近三百多份作业中遴选出33 份获奖

作品。在众多的作品中挑选出获奖者，或许国内评委认为一天就可以完成，

而霍普金斯先生至少一开始认为是比较困难的。当天上午33 份获奖作品

很快被挑选出来，从33 份选出12 份一、二、三等奖亦算顺利，然而在

三进二，二进一时，各种不同的观点便开始出现，充分的民主辩论便成为

下午第二时段的主题，评委们透过作品各自阐述自己的建筑哲学，笔者

认为这是一次高水平的学术博弈。在最终一等奖候选者“织墙衔城”与“天

空之境”之间，评委们进行了激烈的讨论，最终评委会主席霍普金斯先

生根据国际惯例仲裁“织墙衔城”获胜。

评审过程非常公正，结果令人满意，这样一个交流评选过程一方面选出

优胜者，另一方面亦为国内外建筑师与学者的交流提供了一个很好的平

台。《城市·环境·设计》杂志社第一时间在网上发布竞赛结果，让很多

参赛的学生知道自己投送的作品所处的位置，作为主办方之

学建筑学院，学院的学生也取得了相对优异的成绩。

赛后反思

从策划到落实，整个过程经历了一个漫长的时期，尽管整体效

然而在各个环节还是出现了让人意想不到的事件，而由国

国际竞赛主办，由于是第一次还存在经验不足的问题。首先

终上报作品的反差，报名数达两千多份而最终参赛作品三百

是作为国际大学生竞赛，国外与港台学生的作品相对较少；

赛题的图纸比例与竞赛图纸数目亦存在一定的矛盾。相信在

的竞赛举办过程中，随着经验的积累，与国际、国内知名度

所有问题均会迎刃而解。

展望

竞赛的意义在于培养学生潜在的竞争意识，以便帮助学生

不断变化的复杂社会环境，同时亦可挖掘建筑新人。学生

的过程中如何充分发挥其想象力以及敏锐的洞察力是赢得竞

另外，如果是一组学生参加竞赛，彼此的协作能力培养与

包容精神等亦不可忽视。面对中国现有城市与建筑现状，

批建筑英才，在某种意义上，形形色色的各种建筑竞赛是

英的推手，竞赛获奖的学生将会在业界、学术界获得更多

从众多的建筑学生群体中脱颖而出。作为主办方之一，我们

国际大学生竞赛充满信心，并期望持续不断的举办此类竞

生建筑创作激情，发掘学生内心潜在活力。竞赛作为常规

补充机制亦能使教育的主体对建筑教育进行深刻的反思，

筑教育向更高层级跃迁。




116

保存完好的城墙

部分破损的城墙

严重受损的城墙

场地

PATCHING THE CITY-WALL From boundary tocombination织墙衔城纪古城墙修复

该设计着眼于讨论现在与过去的关系，力求在当

代的建筑语言下寻求与历史文化的关系。既然是

“演变中的建筑”，就要求我们用历史发展的眼光

看待这个问题。我们既不应该过分沉溺于过去，做一些“修旧如旧”的建筑，也不应该完全不顾

历史与文化，忽略文化记忆的传承。因此，设计

者选择用一种不卑不亢的态度来进行城墙修补的

工作，即遵循历史发展的过程，同时根据当下需

求做适当的改变，注入当代人的智慧。

设计者的灵感来源于小时候对家乡古城墙的记

忆。虽然家乡古城墙于清朝建造，但由于历史

原因遭受毁坏，目前只剩几百米，但是就这仅

仅几百米的残垣断壁，也能使得周围环境与众

不同。每每路过城墙脚下，就能感觉到历史的气息，或是从古砖中散发出的味道，或是城墙

阴影下的那丝丝清凉，亦或是触碰充满空洞的

老砖石的些许震撼。这是我和我的家人，还

有所有生活在这个地方的人们永远忘不掉的记

忆。什么是文化？什么是历史？看不见，摸不

着，却又真真切切地存在于我们每一个人的记

忆之中。

一等奖

场地状况老路（与环境不相关）新路（与环境相呼应）

受

新

绿

织道

旧

天津大学建筑学院｜孟杰、张志哲｜中国广东｜修复｜指导教师：王志刚、张昕楠｜

古城墙在古代为城市的边界，分割内外，建筑为

实体，承担防御功能。而如今随着社会的发展，

城市的扩大，城墙失去了原有的防御功能，并且

由作为“城外墙”的边界，转变为“城中墙”的

城市肌理以及历史印记。从古至今，人们根据不

同的功能需求对城墙进行修补和加建，在城墙上

留下了自己的汗水与智慧。城墙犹如可以阅读的

历史，记录着城市的古往今来，承载着当地人民

世世代代的记忆。

小的时候，总想爬上城墙看一看，但是由于文物

保护的原因，不能如愿。其实，全国各地的城墙

都面临着这个问题，随着现代城市的发展，生活

水平的提高，作为文物的城墙如今已经不能满足

人们现在的需求，但是人们愿意近距离接触这承

载着他们无限回忆与生活习惯的地方，但同时这

种愿望有时又会对城墙造成破坏。怎样解决这个

矛盾？设计者以此为契机，希望通过修补城墙建

造文化综合体，作为旅游性文物的节点，既能提

供更加丰富的活动空间，满足人们多种需求，又

能让人们在最自然的状况下感受历史的气息，同

时作为这个时代的标志，又能在未来人们的记忆

中留下现代的印记。

基于这个想法，本设计的基地选在广东省肇庆市，该城现存的老城墙整体完整但有局部被破

坏，城内为特色鲜明的广府民居，城外为现代

化发展的新兴城市。本设计着眼于恢复城墙肌

理，加强新老城市居民之间的文化交流。因此，

以织补城墙断口的形式结合当地民居的肌理以

及人们在城墙周围的行为方式，建设文化综合

体，以达到设计目的。

City walls, as the boundary of cities, in ancient

times were mainly constructed to defend

invaders and protect citizens from warfare.

From generation to generation, people have

been spending a considerable amount of

effort in building, reinforcing and mending

the ramparts for various purposes; these walls

have witnessed evolution of people, culture

as well as many other aspects of the society.

They are indeed a documentary of human

civilization. Because of rapid expansion of

city in past few decades, city walls today no

longer function as fences of cities; instead,

they are well preserved as historical sites.

Our design focuses on relating past with

present and essentially identifying ties between

history and modern architecture. In this

sense, “Transformation Architecture” needs to

allow audience to explore the development

of architecture from a unique historical

perspective, which requires the designer to

neither simply reproduce classical works nor

to scheme out the project without taking

into consideration the inuence of historical

progress and culture on architecture. Therefore,

objective and comprehensive analysis

becomes necessary in order to preserve

old-time city walls to a proper extent.

Our inspiration originated from the memory of

our hometown city wall when we were young.

It was built in Qing dynasty, which is not an

extremely distant dynasty. However, merely

several hundred meters of the original city wall

remains because of damage happened due to

historical reasons. These several hundred meters,

nevertheless, is enough to bring him a unique

sight. Every time we pass by the city wall, we

could sense history when snifng at the bricks,

when breathing in fresh air under its shadow

and when touching and feeling the stone with

holes. We are not the only people who havesuch deep rooted memory. Whoever is living or

have lived here could never forget the city wall.

What is culture? What is history? They seem to

be not tangible, but exist in everyone’s memory.

In our childhood, we were always eager to

climb up the wall and see the place we were

living in. However, this wish never came true

for the reason of “heritage preservation”.

With the development of modern cities and

improvement of people’s life quality, city walls

as could never again be useful for citizens of

modern society. However, some people still

desire to visit these relics that are ev

of the bygone days, as expected t

for most cases brings damage to th

wall. How to solve this problem? We

to build a culture complex to x the

and develop it as a tourism node. I

provides interesting activities and m

possible for people to sense history

most natural circumstance, but als

symbol of this period, leave some im

of current society to the future gene

For all the reasons stated above, w

our project at Zhaoqing, Guangdo

city wall there is relatively well preseexcept for a small dented portion.

Guangdong style houses stay inside

whereas skyscrapers and other con

buildings lie outside. In addition, ou

emphasizes restoring the texture of

ramparts and also enhancing the in

among residents from both sides o

After detailed and targeted study o

and culture there, we will ultimately

to create this culture complex by p

up the dents on the existing city-wa




118

总平面图

首层平面图

二层平面图

三层平面图

剖面图




120

二等奖

场地背景：项目坐落于中越边境线，广西省东兴

市的东兴河上。作为中越的自由贸易口岸，东兴

河也成为中越两国商品贸易和文化交流的枢纽所

在。两国的商贩用船满载货物穿梭于东兴河两岸，

在船上或岸边进行交易。整个边境线因为边贸而

生机勃勃，而隐藏在商品交换之后的文化交流也

在此被激活。

中国

中国

越南

越南越南

岛

中国

中国

市场

商品交换

文化中心

越南

岛码头

码头市场文化中心

市场文化中心

中越边境上一座小岛，平常有人在这里活动。

渐渐地，人们开始在岛上做交易，人群聚集成了码头。

我们做一个架子，让中国人和越南人做交易之时，将商品放入其上，这样交易的时候，同时展示各国文化。

当有更多的人聚集到这里交易时，架子被商品填满，形成一个充满记忆、文化的空间供中越文化中心使用。

1.依据船的尺度确定网格宽度。

2.生成9m网格，岸宽1.5m。

2.生成3m网格，街道宽5m，货架0.5m。

3.形成市场空间。两边展卖。

1.依据展品的尺度确定网格宽度。

2.生成1m网格，中间预留出文化中心空腔。

3.当架子被商品、展品填满，形成文化中心。

3.形成码头空间，货物直接上架。

1.依据人的尺度确定网格宽度。

架子既是建筑的结构，也是商品的

货架，人们可以自由地在架子上搭

建木板，放入商品，站在架子前进

行商品交易。

添加货架

生成楼板

生成梁架

结构拆解图

功能分析

中国游览流线越南游览流线

中国商品流线越南商品流线

码头自由集市文化中心管理办公垂直交通

流线分析

最开始出现码头的货架逐渐出更多的货架和二层楼板，形成市场最终货架被商品填满，中间空腔出现文化中心

设计理念：设计根植于中越边贸活动，通过引入

可自建的建筑元素“货架”来引导人们自发构建

建筑空间。“货架 ”在此既是结构也是空间。“货架 ”

随交易的扩大和需求的改变而变化生长，激发了

边贸交流的发展，也满足了边境各个时期的空间

需求：码头。“货架”最初为驳船提供储货场所，

促发边贸码头的生长。市场边贸发展致使“货架”

增多并围合出商业空间，形成展销市场文化中心。

展销市场伴随着两国文化的展示和交流，促进商

业活力的同时激活了文化的对话。盛满货品的“架

子”围合出文化空间，为文化展示提供场所。

建筑植根边境线上的沙洲，形体上如同水中的

芦苇自由生长，成为联系两国的纽带。在功能

上则拥有商业建筑和文化建筑的双重属性。边

贸激发了两国文化的交流，而文化的展示和传

播也进一步推动着贸易的发展。边境交易，交

换的不止是商品。

BORDER EXCHANGESino-Vietnamese border centre forcommerce and cultural exchange边贸式外交中越边境贸易文化中心天津大学建筑学院｜沈一婷、王南珏｜中国内蒙古｜改造｜指导教师：赵建波、邹颖｜




122

首层平面图

二层平面图

剖面图

立面图

Site Background: The site was set near

the Sino-Vietnam border alongside the Dong

Xing River of Dong Xing City in Guang Xi

Province. As the free commercial center of the

region, the river became both a commercial

and cultural bond between the people of

the two countries. Well-loaded boat travel

along the river and people do business on

their boat. Thus the border was made livelyand vivid, even the cultural communication

hidden behind the trading was activated.

Concept: The design was rooted in

the trading activities in the border of

China and Vietnam. People are led to

build architectural space spontaneously

through the introduction of ‘shelf’, an

architectural element that can be self-built.

The shelf could be used as the structure

of the building and also the frame of the

space. It expands itself as a sequence

of the increase of trading as well as the

changes in demand, which stimulates

the development of border exchanges

and satisfies the space requirements in various stages: Firstly, the dock. Initially the

shelf provides storage space for barges and

pushes the growth of border docks. Secondly,

the market. The development of border trading

leads to the increase of shelves which encloses

commercial spaces and become fair market.

Thirdly, the cultural center. With the exhibition

and exchange of Sino-Vietnam cul

fair market promotes the commerc

Meanwhile the cultural dialogue is a

Full-loaded shelves enclose cultura

providing places for cultural exhibit

Our site was on a small island on th

building grows vigorously in the river

and becomes a bond that connec

nations which has dual qualities: co

building and cultural building. Borde

stimulates cultural communication

nations; whereas the presentation a

culture pushes the development of

trades further. What is exchanged in

Border Exchange is not merely com




124

二等奖

盐湖美丽风光制盐业曾扮演重要角色

美景在天空之镜中重现废弃的火车站破坏景致

1. 镜面屋顶

2. 液压升降机

3. 工字承重钢梁

4. 9m承重网柱

5. 外围护网

6. 入口流线

7. 内部空间划分

建造体系设计背景 : 茶卡盐湖位于中国青海省

内部，是一片广阔的天然结晶盐湖，

亿平方千米。自3 000年前以来，

产青盐而久负盛名。如今，茶卡湖采

不再是中心产业，通向湖中的一条废

轨极大地破坏了盐湖的自然风光。为

美丽风景重现，也为了给慕名而来的

闲场所，我们选择在这片湖区建造一

体——茶卡盐湖游客体验中心。

茶卡盐湖是固液并存的卤水湖，水

盐层厚度可达15 m。由于雪白的盐

次反射，加强了水面的倒影效果，形

色的绝妙美景。盐湖水域宽广，银光

白云和远处的雪山倒映其间，如诗如画

犹如步入天堂之境。

设计概念 : 老子《道德经》有云：“大

象无形。”意指至美的乐音，至美的形

和自然融为一体的境界，反倒给人以

的感觉。茶卡盐湖的风光便是至美的

者的文化综合体就消隐其中。建筑主

湖中，屋顶是一面与水面齐平的镜子

象清晰地映在其中。站在建筑之上，

湖水面中央、天地之间，日览四季变

转星移，体悟时空季节的演变，感受

融合。

演变中的建筑: 设计者试图使茶卡盐

疯狂开发与攫取的采盐场，演变到

怡的风景区。究其本质，是希望人

度发生良性理智的转变：从试图征

然，到欣赏自然、呵护自然、与自

建筑的主要形体下沉于湖面之下，

面对盐湖有最小化的影响。建筑与

触的唯一界面——屋顶——也不

突出自我的态度面对周围的环境，

镜面成像的方式最大程度地维护原

整与优美。

建筑的演变即为所处环境的季节时间

雨水在湖面荡起的涟漪，秋季霜雾酝

围，冬季积雪堆积的白色天地，昼夜

月变换，这一切在建筑上映现，甚至

变幻。最终自然的演变在建筑的不变

地发生。

MIRROR OF THE HEAVEN Experience center fortourists in Caka salt lake天空之镜茶卡盐湖游客体验中心天津大学建筑学院｜邓婧蓉、杨璐｜中国青海｜改造｜指导教师：赵建波、邹颖｜




126

首层平面图

A-A剖面图

屋面对湖面高度的适应性调节

晴天：水平与屋顶镜面在同一水平高度

水：一次性反射部分环境光

雨天：屋顶镜面会通过液压升降机升高，以免被水面淹没

盐湖：水与盐结晶对环境光进行了两次部分反射

任何天气下：水面与屋顶镜面均可保持同一水平高度

谈建筑的屋顶镜面：对环境光进行100%的反射

不同介质反射阳光的区别

1.门厅

2.展厅

3.长廊

4.多功能厅

5.准备室

6.储藏间

7.图书馆

8.书库

9.讨论区

10.手工教室

11.办公室

12.会议室

13.卫生间

14.更衣间

15.服务间

16.咖啡馆

17.备餐间

Background: Located within Qaidam Basin

in Qianghai Province of China, Caka Salt

Lake is a natural crystal salt lake with a total

area of 105 square kilometers. Since 3 000

years ago, Caka Salt Lake has had a long

standing reputation for the production of

halite. Nowadays, the salt production of salt

pit no longer plays the signicant role in the

local economy, resulting in an abandoned

salt railroad to the lake which greatly spoils the

natural beauty of Caka Salt Lake. In order to

reproduce the beautiful scenery and to supply

the tourists attracted here with a leisure place,

we decide to construct a complex landscape

in this area—Tourist Center in Caka Salt Lake.

Caka Salt Lake is a solid-liquid brine lake with an

average depth of 1.5m and salt layer thickness

up to 15m. With the secondary bounces of

white salt crystals, the reection of water surface

gets strengthened, resulting in the amazing

view in which the sky and the water seem to

merge. The water area of salt lake is spacious

with silvery light far and near. With blue sky,

white cloud and snow mountain reecting in

the salt lake, we will nd ourselves as if in the

realm of heaven when strolling on the lake.

Concept: Laotzu once told in the TAO TE

CHING : “Great sound is hard to hear, great form

has no shape”, which means that the perfect

music and perfect image have reached the

realm inosculating with the nature as a whole,

leading to our feeling without sound and image

on the contrary. The scenery of Caka Salt Lake is

perfectly beautiful in which our cultural complex

landscape is hidden. The body building is

buried in the salt lake which has a mirror roof

ush with the water surface, reecting all the

scenery around clearly. Standing on the top of

the building as if we were in the center of the

salt lake and between heaven and earth where

we can enjoy the change of four seasons in

the daytime, observe the passing of starts at

night, understand the evolution of the space-

time and feel the fusion of man and nature.

Building in Evolution: The designers intend

to transform the Caka Salt Lake from the onceinsanely exploited salt pit into a pleasant and

relaxing scenic spot. In essence, this design

is to impel the sensible changes of attitude

toward nature for human beings: appreciate

nature, protect nature and live in harmony

with nature instead of trying to control nature.

The body building is buried under the surface

of the lake, aimed at minimizing the impact

in the material aspect to the salt lake. The

only interface between the building and the

surrounding environment—roof—is designed

in the way of mirror image to maintain the

integrity and beauty of the original environment

instead of the antagonistic and self-standing

attitude toward the surrounding environment.

Evolution of the building is the season evolution

of the surrounding environment: the ripples

on the surface in the lake from spring and

summer rain, dense atmosphere in the

autumn frost and fog, white snow world in

winter, the change between the sun and

the moon while day and night alternating,

all of these are reected in the building

which even produces stunning changes.

The evolution of nature occurs round and

round while the building never changes.




128

LIFE OF THE SHIPDockyard area updatebased on cruisetransformation strategy船的一生基于游轮改造策略的船坞片区更新

区内部，这些城市功能在给社区带来活力的同时

也侵占了社区的公共活动空间，使社区的居住生

活环境逐渐恶化。造船厂社区正面临着改造，由

于造船厂社区建筑年代久远，具有一定的历史保

护意义，不建议整体重建，而是采取修补策略，

在保护此区域历史文脉的基础上改进社区的建筑

与配套设施，使社区获得新生。

于是，改造的方式成为设计的重要关注点。设计

的目标是在混合社区的理念下整合社区内部空

间，将原有杂乱的外部公共服务功能集中到新的

社区中心之中，还原绿地和活动空间

补更新作为方法，设想对废弃的游

使之在建筑化的基础上贴近社区文脉

利用的目标。

游轮在城市尺度经一系列连续景观切

组合，原有的游轮平面逐渐消解，城

融入其中。在城市不同的区域所产生

有所不同，反映着此区域独特的城市

在设计基地的长洲镇，船体将形成融

理的平面形态。

设计将老社区的范围划定在商业住区出现之

前，也就是20世纪 90年代以前。设计所研究

的广州老造船厂社区就始建于20世纪60年

代，后经不断扩建最终形成现占地200 余亩( 约

133 333m2) 的大社区组团。

广州造船厂是拥有 140多年历史的老船厂，前

身是1865年 6月 3 日清朝创办的华南机器制

造总局。20世纪 60 年代，建造了我国自行设

计的第一艘万吨级远洋货轮；20世纪 80年代

以后开始建造军用、民用各种船舶。广州造船

厂现有职工约8 000 人，其职工社区位于珠江

畔长洲镇，社区规模200亩 (约 133 333m2)

左右，共容纳职工约1 000户。社区建造时间

较早，多数建筑层高2〜 4 层，砖混结构。社

区在设计之初未充分考虑相应的配套服务设施，

加之周边环境变化巨大，使社区环境难以符合

社区居民的要求。

现状基地复杂且充满矛盾，社区不同于新式的封

闭小区，周边城中村与集市等城市空间混杂于社

二等奖

船体剖切

手绘草图

西安建筑科技大学建筑学院｜王青、吴扬｜中国广州｜改造｜指导教师：吴越｜




130

总平面图透视图

一层平面

二层平面

三层平面

四层平面

太阳能板

采光隔板

采光竖井

折射板

光电转化装置

The status of this base is complex a

contradict. This community was diff

those new closed cell, it was mixed villages and other spaces, which b

vitality to this site, however invaded

the public space of it. Basing on tha

worse situation, this community nee

changed, however, it was an histor

with something to conserved, reme

strategy could be better than rebui

on that, we suggested to develop

and facilities according to historica

In that way, the method came up t

vital thing to consider. Our target is

back those green-space and publi

to people with an concept to integ

those separated community space

move those original clutter external

service fo new community center.

The cruise-ship, in the scale of the

digested gradually and integrated

urban context after a continuous cutting, deformation and combin

cruise ship was cutting by differen

according to different context on

scale, reecting the unique lands

of the region. And nally, the cruis

would formed a gesture wi th integ

in reginal texture in Changzhouzh

which is the site of our design.

The site of this design is basing on a period before the commercial and residential

came up, that is early 90s of 20 century. Our focus, the community of Guangzhou

old shipyard, was originally built in 60s of last century and then grew up to

considerable community groups, which occupied lager than 133,333m2.

The Guangzhou shipyard had more than 140 years history,which was called Huanan machine

manufactory administration. During the 60s of last century, this shipyard designed and built the

rst ocean-going freighters in tons of China, and started to build other kinds of ships after 80s.

Now, around 8,000 artisans worked in there, and the community for those people covered

an area around 133,333m2. This site was built long time ago, and most of them were of 2-4

layers and with brick and concrete structure. As it was not considering of the urban facilities

and infrastructure, together with the tremendous changes of surrounding environment, the

community environment is difcult to comply with the requirements of those residents.




132

废弃绿皮车厢

拆解，添加保湿隔热等构造

母港基本单元

TRAINSFORMATIONCulture link between cityand minority villages旧火车的新起点 “城市-少数民族村落”文化串联

设计选取废弃的长沙老火车站作为主体，将已经

淘汰但承载着人们美好回忆的绿皮火车进行重新

改造，更新利用起来，并且串联起周边的6 个少

数民族村落。周边的村落主要有土家族和苗族，

这两个民族都有着丰富的民俗文化活动，如茶灯

戏、蜡染、赶年场等，服饰和饮食也很具特色。

设计的不同火车类型作为各种文化载体穿梭于村

落之间。车厢分为图书车厢、手工艺车厢、蜡染

布车厢、展览车厢和活动车厢。车厢从城市开往

村落，为少数民族带去城市的现代文明；车厢从

村落开往城市，为城市带来不同的民族传统文化，

并与车站搭接成为新的文化建筑。

设计对建筑的面积灵活考虑，根据旧有的车厢尺

寸面积分配建筑面积，将 6 000m2 的面积划分

为 110 节车厢，同时考虑车厢的可移动性，分为

83节固定的车厢搭接成为主要建筑母港，27节

则是移动车厢，在城市和村落之间自由往来。

建筑形体由铁轨的分割尺寸确定。细分之后进行

扭曲错动，之后借由钢结构框架进行结构支撑。

在底层，建筑四通八达，体量细碎，十分开放。

而在上层，错动的体量汇聚到一起，形成了大面

积的空间，以满足不同人群的不同需求。

三等奖

形体生成：建筑形体位于铁轨之上，体量由铁轨的分割尺寸确定，细分之后进行扭曲错动，之后借由钢结构框架作为结构支持。

空间生成：扭曲错动的体量在底层为可以动的车厢创造出停留与接驳空间，在上层为游人创造出活动空间。

图书阅览

艺术展览

文化互动体验

二层平面图

四层平面图

民俗文化展览

完型

完型

细分扭曲错动

均质空间扩张收缩间隙空间

结构支撑

休息区展示区

展示区

室外平台

阅览区

架空

架空

架空

音乐厅

天津大学建筑学院｜李斯奇、尹衍龙｜中国湖南｜改造｜指导教师：邹颖｜

Design selects the abandoned Changsha old train north station as the base point, will reconstruct, update and reuse the alread

eliminated while carrying people’s good memories green train, which are supposed to connect the surrounding six minority

village. There a re main ly tuji a minor ity and miao mi nority around. The two minorit ies bear rich f olk cul tural ac tivitie s such a s

tea light play, batik, drive years field, etc, clothing and food is also very unique. T he designed different types of trains shuttlebetween the villages.The carriages consist of book carriage, craft carriage, batik carriage, exhibit carriage and activity carriage

The carriage drives from city to village, bringing modern urban civilization to ethnic minorities; the carriage drives from village

to city, bringing different traditional culture to the city, which is linked to the station and becomes new cultural building.

Considering the flexibility of building area, we divide the whole area into 110 carriages, according to the size and area of green

Mwanwhile ,there are 83 stable carriages forming main building and 27 mobile carriages, free movement between city and villa

form of the building is defined by the division dimension of the track. Subdivision is followed by twisted dislocation and the struct

supported by structural steel frame. On the lower level, the finely volume is widely available and open to every direction; on the

level, dislocated volumes gather together, creating a large-scale space to satisfy the different requirements of specific groups.




134

碰撞间隙

INHERIT OF THE CLANThe modern ancestral halldesign家族·传承现代宗祠设计

文化的核心是传承。现代社会中，看得见的旧建

筑被破坏，看不见的是血浓于水的社会关系的消

逝。随着经济迅速发展，经济层级的崛起逐步蚕

食着繁荣过千年的家族关系，家庭规模不断缩小，

依托于家族传承的家族文化濒临消失。设计者希

望依托于曾经承载家族凝聚力的宗祠，给人们提

供一个家族活动的平台，一个驻足反思自身价值

的场所。建筑演变的核心也正是传承。过去的事

物在不同人的眼中会有不一样的一面，所以不去

推翻它，让它自然留存，而现在设计者觉得有趣

的东西则放到他们喜欢的位置上去，这就构成了

一次更新。当现在成为过去的时候，又将经历这

样的过程，自然会选择谁的去留，一切都将有机

地增长。

设计者选择的流坑董氏家族拥有千年的历史，然

而在现代经济背景下其宗族关系也受到冲击。他

们曾经的荣耀董氏大宗祠毁弃于一场捍卫家族的

战争，以它的遗址为原点，设计者开始了现代宗

祠的设计。流坑村的肌理是七横一纵，七个房系

的族人分别住在七横上，一纵则是村里的商业

街——朝朝街。为保留宗祠遗迹，又让现代宗祠

成为一个人们频繁活动的场所，朝朝街的尽端与

宗祠遗址隔道相望之处便是设计者理想的现代宗

祠选址。基地内旧房与宗祠毁弃于同场战争。轴

线转折连接处采用家族的荣誉象征旗杆石为原型

设计了雕塑。而在场地中，新墙不断地与原有七

个老房子残留下来的旧墙产生关系，现代宗祠这

座新房子便由新墙的形成发展而来。

祭祖之日，人们从各家巷子走出加入祭祖的队伍，

游行到宗祠进行庄严的祭祖活动。而晚上将举行

特色的游神活动，人们举着火把在街上欢闹，在

现代宗祠的周围唱歌跳舞，平时的展厅此时也成

为了人们祈祷祝福的地方。

三等奖

总平面图

东立面图

南立面图

西立面图

天津大学建筑学院｜贾彦琪、董文乐｜中国江西｜更新｜指导教师：贡小雷｜

交错

things get different images in dif

eyes, so we leave them as they

and add interesting things onto i

The Tung family of Liukeng vil la

history of one thousand years,

clan relations is also seriously

We cho ose the rui ns of D ong’ s

hall which was destroyed in a

aimed to defend the clan as t

origin . The organization struct

Liukeng vil lage was dist inctive

vil lage get s e ight lane s, sev en

serve as redidential place and

eighth intersects with the othe

designed tobe a “commercia

To retain the ruins of Dong’s An

Hall, we locate our building al

the Chaochao Street which is

street of Liukeng Village. A scu

is located on the crossing poin

axis of the old and modern an

halls. The old buildings in the s

destroyed in the same war wit

Anc estr al Hal l. Wall s o f t he new

grow out from the retained on

During the daytime of ancesto

wor shi p, p eop le get out of the

and join the parade of ancest

wor shi p. G od Page ant is held

People hold lanterns and dance

street. At other times, the exhibiti

serves as praying and serving pla

In the modern society, damage happens

to the social relationship as with to the old

buildings. With the rapid development of

economy , the hierarchy of economy has

replaced the clan organizations whichhave a s plendid history of a thousand

years. family si ze continues to shrink, The

clan culture is in danger of disappearing.

Relying on the ancestral hall , We propose

the design scheme of a modern ancestral

hall, which will serve as an a platform of

clan activities. We hope people could re-

consider the signicance of the family

culture in modern society. The core of

cultur evolution is inheritance too. The old

[ UEDTOPIC ] 主题／霍普杯2012国际大学生建筑设计竞赛HOOPCUP 2012INTERNATIONALSTUDENTCOMPETITIONINARCHITE[ UED ] 城市环境设计 068 | 12 | 2012




136

TEA ROAD Tea cultureexperience center inMount Wuyi茶路武夷山茶文化体验中心

三等奖

天津大学建筑学院｜辛善超、石翔｜中国武夷山｜建造｜指导教师：孔宇航、胡一可｜

For our designation, architecture is not

the most important form any more. Track

of t ime under different condit ions could

be reflected: f irst, we bring people’s

tea activ ity into an integral farming

culture; then, we should not only keep

the history and strengthen people’s

awareness of tea road, but also add

a convenient way to combine the tea

mountain and the building, that is to

say: to combine the activity of tea-

picking and the complex building space.

I t provides a place for tea-picking,

tea-making, Cha Doo and enjoyingof the tea for the local people and a

chance of visit ing and experiencing

the tea culture for the tourists.

The city's cultural complex should

reflect the history of the site, the city's

culture, as well as important historical

events. The texture of tea garden

before represents in the site, being

superimposed on ambient momentum

at the same time, and mixes landscape

and building together. Based on respect

the ancient tea-picking path, we design

a new path, which together form the

core space similar to the Xiamei vil lage.

I t not only provides convenient Tea-

picking path, while mixes the fuction of

tea-picking, tea making and tea-tasting

together,. By stressing the intermediate

core space and opening horizons of

the building through the upper and

lower dislocation, the building finallydeeply rooted in the environment.

A c ult ure is ref lec ted by tur ning the

original tea on the mountains into tea for

drinking. The “Cultural Road” is embodied

as the spce of “Tea Road”. The tea

farmers followed the pattern of the

formed “Tea Road”, which is a process

and a kind of cultural that tou

tea road can experience. “Tea

combined with the building an

a space to meet with the tea

and consumption-related acti

Tea, embodies the philosophy

mood and a natural symbiosis

materials are used as raw mat

form the innocent architectura

The main building exterior wal

built with the rubble abound in

Mountain, by taking the appro

local technologies, also with wmake building more original, b

the next Umemura a continua

formation of the regional arch

sett ing off the delicate steel a

a special part of the building,

contrast contemporary, which

the delicate nature of the buil

在这个设计中，建筑不再是首要的形式。它反映

了不同状态下时间的轨迹：首先将茶事活动纳入

了一个完整的农耕文化中来体现；古老茶路作为

一种历史体验得到保留与强化，同时增加一个更

为便捷的路径，将茶山引入到建筑之中，使得采

茶的活动与综合体的功能空间交织在一起。这些

既可以为当地人提供采茶、制茶、喝茶、斗茶的

场所，同时又可以满足现代综合体功能的要求，

也为外来人员参观使用提供生动的体验。

城市的文化综合体应该反映所在基地的历史、城

市的文化以及重要的历史事件。设计将之前茶园

的肌理重现于场地之中，同时与基地周围环境动

势进行叠加，使景观与建筑融合在一起；在尊

重古老采茶路径的基础上增加一条新的路径与古

老路径交织在一起，它们之间形成了类似于下梅

村的核心空间，不仅提供了便捷的采茶路径，同

时将与茶相关的生活状态和综合体功能融合在一

起。建筑通过围合强调中间核心空间，通过上下

错位打开建筑的视野，最终建筑与大地融为一体，

使其深深根植于环境之中。

由原始状态的山上之茶演变成供人饮用的茶品，

这体现出一种文化。而这“文化之路”在空间上

体现为“茶之路 ”。茶农沿袭着以往的模式进行“制

茶之路”，游客则在这个茶路上体验一种过程、一

种文化。茶路与综合体密切结合在一起，其内外

所创造出的场所空间满足了与茶相关的生产以及

消费等活动。

茶，体现着一种意境，一种与自然共生的哲学理念。

建筑在材料上尽量使用原始的材料，形成相对朴

拙的建筑风格。建筑主体外墙主要取材于武夷山

盛产的毛石，采取当地适宜的技术，配合木材使

得建筑更加具有原始韵味，同时也是对下梅村的

一种延续，形成具有地域性的建筑。通过在特殊

部位衬托精致的钢与玻璃所产生的材料对比，赋

予建筑以时代感，凸显着建筑的精致性。

总平面图首层平面图二层平面图三层平面图剖面图

立面图

[ UEDTOPIC ] 主题／霍普杯2012国际大学生建筑设计竞赛HOOPCUP 2012INTERNATIONALSTUDENTCOMPETITIONINARCHITE[ UED ] 城市·环境·设计 068 | 12 | 2012




138

三等奖

基地位于广州城市边缘风景优美的白云湖自然风景区内，正面临城市化的侵袭。设计以艺·墟为主题。M.

ART 与 ART 的关系在建筑内不断演变，为艺术家提供工作交流场所的同时也为公众提供了认识艺术、欣赏艺

术的机会。设计意在体现城市化演变过程中人文与自然演变的中间状态，在城乡结合处创造具有场所感的艺术

空间，探讨一种人造环境( 城市) 和自然环境( 绿化景观) 相碰撞的状态，有冲突，有和谐，有封闭，有渗透。

在这里，艺术工作室、文化墟、绿化庭园三种类型的空间交织在一起，呈现人与自然、艺术与自然、人与艺术

和谐共存、相互交融的状态。

首层平面图

二层平面图

立面图

模数化的单体可以自由创造出不同的空间效果以满足不同艺术家的工作和展示需要。以下6种studio类型创造出了风格迥异的空间效果。为艺术提供了自由发挥的可能。

建筑与环境的关系是人们一直在深究的话题。我

们让建筑与环境直接碰撞，捕捉瞬间的动感。

人工化建筑与自然环境的相向渐变。建筑作为城市化演变的一个缩影，形象展示了城市化演变过程的中间态。

建筑与山体构成了基地内两要素。山体被原样保留，以自然形态渗透建筑内部。

building

Crash

Landscape

artificialization

naturalization

商业区

提取并简化城市街廓结构图，演变出建筑的平面结构。旨在城市与自然的中间区位创造出人工与自然相

互渗透融合的建筑形态。是为城市化演变的一个缩影。

商业区

商业区

住宅区

自然环境

自然环境

transformation

transformation

8m×8m方形网格

一层功能空间排布

两层平面交叠

依据山势做出退让

加入功能块

调整空间疏密分布

形成建筑的基本形态

平面生成过程

形成交错的空间形态

二层功能空间排布

风车形轴网

展示空间

用展墙呈现流动空间。适合作为绘画、书法、摄影、多媒体等工作室。

studio1

studio2

studio3

studio4

studio5

studio6

工作区A

阁楼

工作与展示区

工作区

室外工作区

室外工作区

阶梯状的站台，抬高的中心工作区。适合雕塑、手办、家居工作室。

强调空间纵深感，门墙之间作展示。适合画室、多媒体工作室。

一半室内一半室外，通风采光、亲近自然。适合园艺、雕塑工作室。

阶梯下沉工作展示区

阶梯下沉和阁楼空间，区分不同工作区。适合陶瓷、手工工作室。

休息区

休息区

流动

聚焦

纵深

开放

层次

交流

工作间

工作区B

通高展示厅

两个工作室共用一个通高展示空间，满足需要交流或互补的工作室

碰撞

演变

平面意向图

城市街廓简化图

暴露在日光风雨之下的广场，不利于人们的观景休闲活动。

旨在创造一个如树荫之下的舒适观景空间。

有场所感的立体广场，创造出柔光细雨的宜人艺术空间。

infiltrate

3D square

渗透

立体广场

Located in the natural scenic area BAIYUNHU PARK,which is in

of urban,the site is facing the invasion of urbanization.We nam

design M.ART because it has the function of ART STUDIO and C

MART.The transformation of ART and MART would surely make

for the artists and craftsmen to exchange ideas as well as for

public to get to know and appreciate art.We want to represe

CRASH between ARTIFICIALIZATION(urban) and NATURE(loands

and the TRANSFORMATION of them.Conicts,harmony ,seal a

there may be so many possibilities of space for us to explore

M· ART Interweaving ofart workshop, cultural fairand green courtyard艺·墟艺术工作室、文化墟、绿化庭园交织华南理工大学建筑学院｜杨森博、林丹薇｜中国广州｜改造｜指导教师：凌晓红｜

[ UEDTOPIC ] 主题／霍普杯2012国际大学生建筑设计竞赛HOOPCUP 2012INTERNATIONALSTUDENTCOMPETITIONINARCHITE[ UED ] 城市·环境·设计 068 | 12 | 2012



[ UED TOPIC ] 主题／霍普杯2012国际大学生建筑设计竞赛 HOOP CUP 2012 INTERNATIONAL STUDENT COMPETITION IN ARCHITE[ UED ] 城市环境设计 068 | 12 | 2012

140

CURING THE SCARS OFNATURE Museum designof the development ofhuman and nature愈合自然之殇人与自然关系演变中的文化馆设计

三等奖

人与自然的关系的发展是一个循环演变的过程。

如今工业化的中国面临着诸多由于过度利用自然

所导致的后果，人与自然的关系由人试图驾驭自

然转变为如今人试图与自然和谐共存。设计者选

取了工业化中自然环境问题突出的山西洪洞县作

为设计的选址，试图以建筑景观结合的方法愈合

人类带给自然的伤痕——矿坑塌陷问题，并以此

铭记人与自然的演变发展过程。

演变中的建筑不仅仅体现在矿坑这一基地在不断

变化，设计的建筑适应了这一情况；同时试图去

解决这一问题是人与自然关系演变的一个重要环

节；更重要的是，参观者在建筑中由上而下地参观，

对于人与自然的认识也在逐渐演变。

地面一层为广场，主要起到交通疏散和游憩的功

能。顺着景观墙的引导，参观者可以巡回参观广场

全貌以及塌陷矿坑的外围情况，以此使游览者体

会到关于自然之殇的深刻印象。地下一二层为主

体建筑，主要起到展览休憩交流集会的功能。环

形的游览路线与参观休憩和相结合的形式可以让

参观者在地下对于人与自然的关系有深刻的反思。

地下三层为生态恢复公园，主要起到游憩休闲的

功能。参观者在公园中漫步可以观察塌陷矿坑的

新样貌，自我探索出人与自然和谐共存的方式。

通过对塌陷区土层结构进行研究，我们发现尽管

塌陷区范围随着时间而扩大，但设计者只有纵向

是不断变深，而横向相对稳定，且稳定区土壤坚

硬、结实。所以设计者将基础打在稳定区域，选

择悬挂结构，房屋通过桁架悬挂于中央或者两侧

的核心受力柱上，并不直接接触地面。通过这种

方式以避免地基下沉带来的基础变形、房屋损坏

等问题。

地质情况分析图

地上一层平面图地底平面图地下一层平面图

概念生成分析图

原有农房

现状的大坑

现状的大坑

填埋

新途径

复件

倒置

过度开采，出现大坑，坑导致的房屋坍塌

坑的变形导致房屋不稳定

坑的变形导致房屋不稳定

天津大学建筑学院｜顾欣骏、栾天浩｜中国山西洪洞县｜文化馆设计｜指导教师：胡一可、曹磊｜

The development of the relationship between

human beings and the nature is a circular

process. Nowadays, the industrialized China

is faced with various consequences resulting

from excessive exploition of nature. The

relationship has shifted from men-over-nature

to a harmonious coexistence. Here in this

design, we site Hongdong in Shanxi Province, a

county full of severe environment problems, in

order to heal the wound which human beings

brought to the nature—to solve the problem

of the collapsing mines by a combination of

architecture and landscape to enshrine the

developing procedure of men and the nature.

The evolvement of the building is not merely

reected by the changes in the base—the

mine itself. Adapted to this concept, the

designed building also proves that the problem

is an important step in the development.

Moreover, the visitor’s recognition towards

men and the nature keeps changing as they

go through the building from the top down.

The ground level is a square, which functions

as circulation and recreation space. With

the guidance of the landscape wall, visitors

can walk around to have an overall view of

the square and the exterior condition of the

collapsed mine. In this way, visitors can get

a deep impression of the scars of nature.

The rst and second oor underground is the

main architecture, the function of which is to

communicate, display and recreate. The round

routine provides the visitors an opportunity to

rethink the relationship between humans andnature. The third oor underground is the natural

park to provide recreation and relaxation.

Visitors can wander in the park to see the new

appearance of the mine, so they can discover

the new way to get harmony with the nature.

After researching into the construction of the

layer of soil in the subsidence area, we nally

found that although the scale of the subsidence

平面生成分析图

area kept on extending over time, only longitudinally while maintained

stable transversely, where the soil is

sturdy. As a result, we laid the found

stable zone and chose to use the s

structure. The building was suspend

from the core stress columns at the

on both sides instead of touching t

directly. In this way, the distortion of

and the destruction of the building

the sinkage of the foundation were




| |

14 2

本设计基地位于达拉维 , 是印度孟买市内的一个贫

民窟。达拉维是世界上最大的贫民窟之一。近来 ,

达拉维地区的非正规工业活动十分蓬勃 , 吸引了大

批孟买人来到达拉维寻找工作 ; 加上达拉维地区的

租金比起地价昂贵的孟买市中心便宜得多 , 引来了

大批孟买人在达拉维定居。达拉维地区的人口急速

膨胀令市政府十分担忧 , 故此成立了贫民窟重建小

组。重建小组用传统的城市规划方法 , 把达拉维分

成不同的区域。然而，该计划并不受当地居民欢迎，

他们认为贫民窟的不规则布局破坏了居民拥有动态

的生活和商业活动。由于市政府的规划从来没有成

功过，因此，随着人口的不停增长, 贫民窟内的问

题越来越大。

设计元素采用一个另类的新陈代谢建筑概念, 与

传统的自上而下的设计规划有所不同，加入了自

下而上的概念。这在自上而下的正式规划和自下

而上的非正式规划两者之间取得平衡。该设计元

素的概念是现代城市规划的一个对立论题, 不是

利用强烈指引来控制，以防止民居过度聚集和混

乱，而是由一些非正式的元素来促进城市发展和

演化。通过寻找小区的主要元素、需求并加以利

用来控制小区的发展，从而保持小区的独特活力。

达拉维地区面临的最大问题是水源不足。达拉维贫民窟的水主要来自孟买市政府建设的公共供水

基础设施，亦是唯一的水源。此外，居民还自行

建造了一些非法水管以便获得食水。由于公共供

水基础设施每天只供水2 小时，而达拉维的降雨

又只集中在雨季，因此居民们需要自行存储大量

食水，并且需要尽心地保护食水免受污染。水是

这个设计元素其中的一个主要出发点。

对雨量及用水使用量，通过简单的计算，可以估

计出一个“储水库”体积的大小，这储水库是本

设计元素中的一个衡量单位，通过最少的数量计

算贫民窟内需要提供服务的最大有效区域。每个

储水库本身将会有连接的水管作为一个水利基础

设施供水给居民。居民将会围绕每一个储水库及

水管线路来建立新的住房及公共设施。城市不再

是通过传统区域划分来设计和发展，而是通过储

水库在不同区域的影响而慢慢生成。这个城市发

展模式是较难预测的，因为公共空间和新的住房

以及贫民窟里的居民是不断在变化的；整个城市

会跟随居民对于用水需求的不同而产生变化。本

设计元素的考虑为城市规划提供了新的视野，整

个城市形态主要通过一个基本民生的元素——水

管来驱动。

IN-/FORMAL Metabolismin search for a new form ofmetabolism in a site of hyperdensity slum, MumbaI非正规建筑孟买贫民窟的新陈代谢建筑

三等奖

总平面图

模板中可循环利用的材料

水箱

由于更加便于现场制作，因

此选用现场浇筑混凝土，以

减少达拉维内部狭窄的街道

上庞大的运输量。

管道将连接至每个单个水

管，其中包括四种管道，目前已足以满足任何需求。

在水管

生设施居民获

水站。

水箱尺

蓄水量

计算得

连接性卫生设施1.净水

2.废水

3.雨水和排水系统

4.电线

香港大学建筑学院｜冼嘉聪｜印度孟买达拉维｜更新｜指导教师：Michael Kokora ｜

The site is situated in Dharavi, Mumbai, which

is a high density and chaotic slum area,

which is said to be one of the largest slum in

the world. And its informal industrial activities

continuously draw people out from the city

center of Mumbai to the countryside Dharavi

to get their job with cheaper rent for living. So

this continuous action grow the population

density up to a situation that the Slum Re-

development Authority tries to re-congure the

existing situation. However, it is not welcomed

by the local dweller which they think it ruins their

dynamic life and commercial activities inside.

Because the planning is never a success, theproblem inside the slum is still growing larger

and larger with the population growth.

This project starts as establishing another

form of Metabolism that is balance between

the two opposite direction: both top-down

(the formal Metabolism) and bottom-up (the

informal Metabolism) approach. The project

is the antithesis of the modern urban planning

strategy. Rather than using high degree of

guideline which aims to prevent over-crowd and

chaotic , some informal elements are used.

The biggest problem in Dharavi is water. The

water is coming from the main infrastructure

piping which is only passing through the slum

area. Ofcial and illegal water piping is built

to get water. But the water tap only supply

for 2 hours per day. And the rainfall is only

concentrate in the monsoon season. So they

need to store the water and protect themgreatly from pollution. In which this is the starting

point of the methodology of the project.

From the rainfall data, also from the water

consumption data, a simple calculation is

done to measure the size of the water tank,

which is the main source to store rainwater

in the design. From the calculation, the

effective zoning is also produced which

is the red dot in the masterplan and the model. They are measured with minimum point to

serve the most area in the slum. Then they are connected by the new piping connection to

act as a continuous water infrastructure to supply water to the people. Masterform of the whole

new development is not predictable as the open space and new housing are autonomously

growing together with the decision of the people inside the slum. This design is also a response

towards a new vision of urban planing, in which the main driving force of the whole urban form

is a basic element, the water piping, which people are gathering or moving around for.




14 4

杭州曾经是一个水系分布密集

的城市。而随着城市的发展，

许多河流都被填埋。浣纱河就

是被填埋的河流之一。而曾经

在浣纱河边居住过的杭州人都

有那一段生活的美好回忆，被

填埋后的浣纱河改名为浣纱

路，过去的场景不复存在。

过度的发展使得人性化的场

所变得稀少，高层建筑的林

立使得人与建筑失去了亲近

感。本设计意在营造出人们

对浣纱河的过往的体验，让

历史的景象再次出现在现在

的城市中，以唤起深藏人们

在脑海中的历史画面。

三等奖

历史倒影

区位图

总平面图

中层平面图首层平面图低层

A-A剖面图

B-B剖面图

In the old days, Hangzhou used to be a water city where many rivers coursed

through the city. However,with the modern development of the city, many rivers

were fi lied an d buried . Huan S ha River was one of those rivers. For peo ple who

used to live along the Huan Sha River, they all had beautiful memories about

their life on the shore of the river. Nowadays after the river was fiiled, the area

was rena med as Huan Sha Road. T he secen ery has no long er exis ted.

With the over de velopmen t and ind ustrial ization , place s that ar e humani stic ha v

very ra re in t he city , and the forests of skys crapers made peo ple fee l more distan

from this architecture. This design intends to re-build the past experience of the H

Sha River. When we make the historical scenes re-appear in our modern city,hop

this will encourage people to recall the images long buried deep in their mind.

THE INVERTED IMAGE OF

HISTORY Design of HuanSha River historical museum历史的倒影浣纱河历史博物馆设计浙江大学建筑工程学院｜鲁哲｜中国安吉｜博物馆设计｜指导教师：王卡、陈翔｜




14 6

MELT Village museumdesign of Zhangwu, Anji融安吉障吴村村落博物馆设计浙江大学建筑工程学院｜倪书雯、陶伊奇｜中国浙江｜建造｜指导教师：王竹、贺勇｜

基地位于浙江省湖州市安吉县鄣吴村。鄣吴村是西泠印社第一代社长、书画篆刻艺术家吴昌硕老先生

的故乡。村内溪水环绕，柳树参天，街巷交错，风景十分美丽，向来有“半日村”的美誉。鄣吴村拥

有悠久的历史，至今仍保持着明清时期形成的“鲤鱼形”村落格局，古迹随处可见，是一个成熟发展

的社区，居民有较强的凝聚力。

本次鄣吴村村落博物馆设计依据基地的实况，侧重于讨论新建筑如何更好地融入这个密度极高的成熟

社区中。设计灵感来自于“冰的消融”：在同等质量的前提下，小体块的冰较大体块的冰能更好地融入

另一介质。因此，设计中采取小博物馆群落的方式，实现单一功能的分散布局。在尊重村落原有格局

的前提下，通过村民对博物馆群流线的更多参与，形成一个相互温暖、相互拉结的姿态，让新建筑更

快地融入老社区，同时也实现了老社区的有机更新。

分立面图 A 分立面图 B 分立面图 C 分立面图 D

起居室

起居室

首层平面图二层平面图

储藏室

办公室

储藏室

卧室

平台

平台

办公室

办公室

展厅

吧台

办公室办公室

卧室

平台

这个成熟的老社区里渴望兴建一个博物馆

放入一个巨大的功能块无疑会有较大的破坏性

于是，我们尝试将这个单一功能块切割

拉长小块之间的路径并保持彼此之间适当的联系

当它们散布在社区之中，便与社区出现一种相互温暖、拉结的关系

The base is located in Anji County, Huzhou City, Zhejiang Province, Zhang Wu Village. Zhang Wu Village is the hometown of a

famous local calligraphy and carving artist called Changshuo who is also the Xilingyinshe’s rst president. There are a stream

and many willow trees around the village, streets and alleys staggered. The village has always had the reputation of “half-day

village” for its beautiful scenery. Zhang Wu Village has a long history, and has kept the “carp-shaped” village pattern formed the

Ming and Qing Dynasties. It is a full-edged development of the community and the residents have strong cohesion.

Considering the reality of the village, the museum design focuses on how to make the new building integrate into the high density of maturcommunities better. The design was inspired by the “ice ablation”. Therefor the dispersion of a single function is taken in designing and nal

layout as a small-museum-community. Under the premise of respecting the original pattern of the village, the villagers more involved in the

of the museum group to form a mutual warmth and drawknot gesture, allowing faster integration into the old community and organic upda

三等奖




14 8

BALCONY Xixi wetlandcultural center 平台西溪湿地文化中心

优秀奖

西溪湿地文化中心位于浙江省杭州市西溪湿地国

家湿地公园，项目地块位于西溪湿地旅游开发区

块，毗邻西溪湿地公园。四周现已建成西溪湿地

旅游接待中心、喜来登酒店、悦榕庄等高档酒店

以及配套商业。湿地南边现已建成西溪湿地博物

馆。地块占地面积约 20 000m2，建筑用地面积

14 986m2。现拟建西溪湿地文化中心，为游客

以及当地居民提供文化交流空间。

本方案设计旨在结合西溪湿地景观，为参观者提

供多样的游览空间。在游览过程中充分感受西溪

湿地的文化和环境，增加对湿地的认识与感受。

建筑形体灵感来源于中国山水画中山与房屋的融

合，建筑总体大致分为三个体块，以由地面延伸

至屋顶的走道相连，建筑形体多变，步移景异。

内部空间丰富、通透，不仅局部打破了室内外空

间的界限，更把水流、草地等自然元素引入建筑中，

使建筑与景观相互融合。

区位图

分析图

浙江

西溪湿地

杭州

西湖

不同人群使用需求

形体生成概念

为使人们更加了解西溪湿地的生活，理解西溪湿地的文化，建筑形

态从一个大平台出发，为人们欣赏西溪湿地提供了剧场般的场所

结合西溪湿地的自然特征以及建筑内部空间的需求，我们对建筑

的屋顶做了调整，以符合人们在建筑内以及屋顶上方的活动需求


剖面图

浙江大学建工学院建筑学系｜周姚熠、杨瑾婷｜中国浙江｜建造｜

Xixi Wetland Cultural Center is located in Xixi National Wetland Park of Hangzhou, Zhejiang Province. It is beside the Xixi WetlandTourist Reception Center, Sheraton Hotel, Banyan Tree Zhuang upscale hotel and so on. There is already a Xixi Wetland Museum

built at the south part of Xixi wetland. The block covers an area of about 20,000 square meters, and building land area of 14,986

square meters. The Xixi Wetland cultural center is designed for cultural exchange space for tourists and local residents.

The program is designed to combine the Xixi wetland landscape and the building. It offers a variety of touring space for visitors. During the t

tourists can fully experience the culture and the environment of Xixi wetland, and increase their awareness of wetlands.The shape is inspired

image of the merge of hills and houses created in the ancient Chinese painting. The building is generally divided into three blocks. The foot

extending from the ground to the roof merges them into one piece architecture. The view is varied when walking around. The interior space

only breaks the boundary of indoor and outdoor space, but also introduce water, grass and other natural elements into the construction.




150

NEW LAYER ON HISTORY

The old town renewal in Beijing历史上的当代层北京旧城更新

优秀奖

保留功能，前面改造建筑保存历史遗迹有保护价值的遗留区

基于建筑价值的策略示意图

当前场地的东立面示意图

当前场地的南立面示意图

待拆毁建筑

禁止进入区域

公共区域

居住区

特殊遗留区

1949年后建筑群

1911年后建筑群

1800—1911年间建筑群

当前基地的构成演变分析

A-A剖面图

B-B剖面图

C-C剖面图

D-D剖面图

E-E剖面图

新的边界线与邻区的划分尺

新旧屋顶设计协调一致新旧院落的形状与规模相仿，实质内容迥异

清华大学建筑学院｜李鲲｜中国北京｜更新｜指导教师：王贵祥刘畅｜

这个作品探讨的核心命题是北京旧城更新策略。设计者认为，对于历史街区和历史建筑应该采取一种动态保留的方式。所谓“动态保留”，即不仅要保存物

质的实体，同样还要保留空间的特性和品质，并无缝地融入到当代生活之中。设计者反对“贩卖图像”的建筑，同时亦反对对逝去时代的无限美化和无限乡

愁。设计者尝试走入风格背后，回归空间的组织和性质，写下当代这一层的历史。因此挑战有两点：1.用作者知道的语汇延续空间品质；2. 融入当代生活。

北京四合院的尺度让人感到非常舒服，比例、院子与实体的关系、房子与自

然的关系都非常具有建筑学参考价值。在新的设计中，作者主要从院子的形

状和尺度、屋顶的折线感、立面转折的尺度这三个建筑学可以实际操作的方

法出发，创造新的建筑，并与旧有建筑融合在一起。设计者并不刻意强调其

形式的特异，只是顺其自然让其发生。

The core proposition of the design is to discuss the old t

in Beijing. When considering historical blocks and archite

I prefer to use dynamic preservation as strategy, which m

that it’s not only important to preserve the material obje

also crucial to preserve the character and quality of spa

connect them with modern contemporary life. I’m oppo

“image-selling” architecture. At the same time, I’m also

the nostalgia idea, which suggests the past time is the b

What I want to do is to step back from any certain style

fundamental level, namely the organization and chara

space, to write a layer of contemporary life. There’re two

challenges: 1. how to extend the extraordinary quality o

space; 2. how to merge it to modern contemporary life

The scale of courtyards in Beijing is very comfortable. Ma

characters have architectural value, including proportio

relationship between solid and void, and the relationshi

house and nature. In the new design, I start from some f

features, such as shapes and scales, the wavy feeling o

the scale of façade, to create the new building, and m

the old one. The form is not my focus. I just want it happ




152

EMBEDDING ANDGATHERING Chongqing Yongchuan art gallery嵌·聚重庆市永川美术馆

优秀奖

本项目是重庆市永川美术馆文化综合体项目。基

地处在永川新城的边缘，以展示中国传统书画为

主。设计以中国画境的思想来研究建筑与环境、

展品与展场之间的辩证关系，提出了中国画境下

的场所营造的原则和具体方式——“嵌”与“聚”。

通过“嵌”与“聚”，实现了城市以及自然的融合

与场所的重构。

“嵌”是一种有机的、可持续的、融合的都市策略

和建筑手法，分为三个层次：界面、尺度的嵌入——

在城市与自然的交接处，新嵌入的建筑在尺度上

形成了一个柔和的过渡；建筑与城市相嵌套——

本案希望改变美术馆的封闭特征，实现实体美

术馆与虚空的城市开放空间是相互嵌套的两个

环；人工与自然相嵌合——建筑借鉴了中国园

林中人工与自然的关系，人工建筑与自然景物

相互嵌合成一个整体。

“聚”是海德格尔提出的场所理论的核心，是营造

场所感的重要策略。“聚”分为三个层次：地域自

然、人文景观聚集到近人尺度。

“聚集”是场所形成的关键。快速城市化割裂了场

地原有的山水格局。因此本案试图把北侧的箕山、

南侧的兴龙湖和当地的摩崖石窟原型都聚集到建筑

的近人尺度上，让人能具体感知到更大存在尺度的

空间，并将不同阶层的人群相聚于此，促进彼此的

融合。

公共文化建筑必须促进形成一个公平、有机、丰

富的社会关系。本案不再是一个冰冷的艺术圣殿，

而是各个阶层群体都能在此进行活动的大客厅。

外来游客和附近居民、专业观众和书画爱好者都

能在此自得其乐，融洽相处。

首层平面图二层平面图三层平面图

剖面图

立面图

清华大学建筑学院｜陈瞰｜中国重庆｜建造｜指导教师：庄惟敏｜

changing traditional way of designing enclosed

art museum, this project is such designed that

the real museum and void urban open space

become two rings embedding into each

other. Third, the embedding of articial work

and nature: drawing lesson from the relations

between the nature and articial works in

Chinese gardens, the building is developed into

an all-in-one entity in which articial architecture

and natural landscape embrace each other.

“Gathering” is the core of theory of place

represented by Norberg-Schulz and important

strategy for creating sense of place. It is divided

into three levels: gathering natural landscape

and human landscape surrounding the

space into the human scale; artistic display

of rainwater drainage, collection and recycle;

and different groups of people gathering

here to promote integration of each other.

“Gathering” is a key to form a place. Rapid

urbanization has divided the original water and

mountain landscape site into several parts.

Considering these, we attempt to gather Qi

Shan Mountain in the north, Xinglong Lake

in the south and local cliff stone prototype

into the human scale of this project so that

larger scale of space can be perceived.

Different groups of people gathering here

promotes the integration of each other.

Public cultural architecture must promote

formation of a fair, vigorous and rich social

relation. Not being a pure art museum, this

project will be a large living room in which

people from all classes can appear, enjoy

or just walk. Visitors, surrounding residents,

professional spectators and painting and

calligraphy enthusiasts are content with their lots.

界面、尺度嵌入

地狱自然、人文景观聚集天地雨水汇聚不同人群相聚

建筑、城市和嵌套人工、自然和嵌合

This project is a culture complex project of

Yonghchun Art Museum in Chongqing, China.

The site is located in Yongchun Metro edge,

with a display of traditional Chinese painting

and calligraphy mainly. Design with the idea

of Chinese painting to study the dialectical

relationship of architecture and environment,

exhibit and exhibition, and put forward the

principle and concrete way “gathering” and

“embedding”. Through the “embedding” and

“gathering”, the integration of city and nature

and reconstruction of place are realized.

“Embedding” is an integrated sustainable

and inclusive urban strategy and architecture

technique, and it is a basic operation in this

project. It is divided into three levels. First, the

embedding of building interface and scales:

being located at the interface between the

city and the nature, this new building is a gentle

transition between the nature and the city;

second, the embedding between building

space and urban space: with the intention of




154

优秀奖

在城墙的演化过程中体现出了可持续发展的生命力，它本身的形式（厚度）给未来的建筑形式提供了可能性。整个灌县城墙只有西街这一段由于是民居才得

以保存，这揭示了一个本质——城市中只有具有功用才会经久。由于西街的建筑密度过高，公共空间缺失，于是对城墙残段经过修复加固，功能转换，从而

提供一个宜人的公共系统，使得原住民、游客的生活在此交织。由此，城墙引发的对于边界的思考成为本案的切入点。设计者从城墙残段围起了一道新的墙，

来作为文化综合体的边界。对比完全封闭的老城墙和模糊掉内外的通透的墙，新墻介乎于两者之间，此为围城新记。而墙内的逻辑是，重构西街无序但灵趣

的空间秩序。

城墙利用类型

院

有序

选址的图底的关系

无序但有趣新围墙的介入重建秩序使墙通透

材质分析

类型提取与还原

狭窄的沿河步道使得新建筑做出让步，转角处留出观水小广场

植被覆盖区

中国选址四川省成都都江堰市

山

田

水

城

路

首层平面图

入口层平面

城墙段平面

C-C剖

D-D剖

作为茶马古道的一段，历史上盛极一时的都江堰

西街街区，由于不再承担茶马交易的历史使命，

俨然已经迷失在历史的洪流之中。本案尝试从城

市建筑学角度对西街的城市设计进行复兴，不是

做一个功能单一的文化建筑。在调研过程中，设

计者发现了西街的两个特质：1. 与民居杂交共生

的古城墙残段；2. 街巷院的小尺度与迷宫趣味性。

As part of the ancient tea-trading route, the once prosperous West Street block in Du Jiangyan Dam no

longer functions to facilitate tea trading as it was in history. Instead it has lost itself in the ood of history. The

scheme intends to revive the urban design of West Street from an urban architectural perspective rather

than creating a cultural building with mono-function. During the investigation we found that West Street is

characterized by two distinct features. First, the mix and co-existence of ancient city wall segments with

residences; second, the mini scale of the streets, alleys and courtyards as well as the enjoyment of mazes.

The wall reects the viability of sustainable development in its evolution, and the thickness of the wall offers

possibilities for future buildings to take shape. Only this section of walls can be preserved because of its

combination with local residential, which implies that things that last long must have the value of use. The

segments of ancient city wall in West Street is restored and reinforced as a result of high architectural density

and a lack of public spaces, thus, the function of which is transformed and provides a pleasant open

place for both local residents and visitors. Therefore, this design started from the reection on boundary

triggered by the city wall. So we created a new wall around the segments of the ancient city wall to serve

as the boundary of the cultural complex. Compared with the entirely closed ancient wall and the open wall

that blurs the boundary of interior and exterior, the new wall is neither too close nor too open. That is Wall

as Architecture. The logic within the wall is the creation of unordered yet exible and interesting spaces.

WALL AS ARCHITECTURE

Revitalization design of thewest street in Dujiangyan围城新记都江堰西街复兴设计西南交通大学建筑学院｜黄熠、史学源｜中国四川｜改造｜指导教师：张蓉魏丹｜




156

CITY APERTUREVertical contemporary artmuseum城市窗口垂直的当代美术馆

优秀奖

西立面图

南立面图

北立面图

美术馆兼有室内和室外画廊空间。所有的室内画廊都位于建筑的顶层，使城

市与艺术和自然环境分隔开来，反映了艺术从城市生活中的逃离，保证了自

然光线的照耀。长钉从位于美术馆最顶层的最大的展览空间延伸出来，穿过

楼面板；其中两根长钉形成户外画廊；两根充当电梯；一些用作观景台；一

些充当结构柱。较低的户外画廊视野上与Browery 大街连通，朝向P rince

大街；中层的户外画廊提供了观赏曼哈顿高层的视野；顶层画廊框视出观赏

曼哈顿低处风光的视野。身处户外画廊，游客既可以欣赏城市风景（横向视野）

和顶层画廊空间（纵向视野），同时又成为行人和顶层展示空间使用者的风景。

艺术与城市垂直分离，而展览空间却与城市水平相连。

除画廊空间之外，还有一些其他的补充性空间，如剧院、储藏室、机械房、办公室、

礼品店、学习中心和咖啡馆。剧院位于地下，隔绝了街道上的噪音。学习和媒

体中心位于室内画廊的正下方，为游客提供了艺术知识。办公室位于美术馆后方，

远离街道，保证了隐秘性。阶梯式的咖啡屋位于其中一个画廊内。

外壳

表层由3 个大“窗户”制作而成，

面向纽约城的各个方向。每一层

的楼面板周围都设有“条纹”，为

室内空间提供了阳光。开口位于

楼面板的顶部和底部，视野范围

之外，因此可以将更多的注意力

放在3个框架上。

天窗

天窗由延伸至大画廊天

花板的电子管制成，提

供了欣赏天空美景和阳

光的视野。

材料

外壳由浇注混凝土制作而成。现场浇注混凝土的表面可以被改变，形成精美宜人的色彩和纹理，

或仿效瓷砖、石头或砖块。这种有特殊饰面的混凝土被视为“装饰混凝土”，通常被永久性地暴

露在视野中。装饰混凝土成型是创造装饰混凝土的主要手段，并被固定到结构内部，为混凝土

提供了预想的设计形态和纹理。装饰混凝土成型可以用于结构或非结构建筑组件中。使用这种

过程时，应对混合体的一致性、色彩或聚合物等添加物以及布置和饰面等给予特别关注。

大画廊

整个 35.36m×30.48m×10.67m的

楼层形成了悬垂在相邻建筑的效果，同

时令室外画廊得以成形，并与户外画廊

相连通。

曼哈顿北区

农舍

SOHO南

南加州建筑学院｜ Jie Yang、Nila Liem ｜美国曼哈顿｜美术馆｜指导教师：Russell Thomson ｜

设计者选择在曼哈顿的Prince和 Browery大街上设计一个垂直的当代美

术馆。这一地区作为关键的地理和文化交汇点，孕育了数代艺术家。他们在

此生活和工作，为民族文化对话的不断推进贡献自己的力量。项目旨在建立

不同主体之间在空间或视觉上的对话，如游客和艺术之间、游客和游客之间、

游客和行人之间以及游客和城市之间的对话。看风景和成为风景一部分的概

念通过展览空间的组织方式得以体现，游客和城市之间形成横向视野，不同

楼层的游客间形成纵向视野。

We choose to design a vertical contemporary art museum at Prince Street

and Bowery in Manhattan, a pivotal geographic and cultural intersection

where generations of artists have lived, worked, and contributed to the

ongoing cultural dialogue of the nation. The intention of the project is to

create variety of spatial/visual dialogues between visitors and the art, visitors

and visitors, visitors and pedestrians, visitors and the city. The concept of

seeing and being seen manifests itself in the way of how exhibition spaces

are organized the vision is comprised of the horizontal(the vision between

the visitor and the city) and the vertical (the vision between the visitors

from different oors). The museum holds both interior and exterior gallery

spaces. All interior galleries are located on the very top of the building

to separate the city from the art and the natural environment,reecting

the art as an escape from the urban life and allowing for the enjoyment

of natural sunlight.Coming out from the biggest exhibition space on the

very top of the museum, the spikes penetrate through the oor plates; two

spikes become exterior galleries; two serve as elevators; some are used as

vision channels; some serve as structural columns. The lower exterior gallery visually connects to Bowery, facing the Prince St; the mid-level exterior

gallery projects a view to upper Manhattan; the top gallery framesa view

to lower Manhattan. Standing in an exterior gallery, the visitor can both

view the city (horizontal vision) and the space of the top gallery (vertical

vision), and at the same time, the visitor can be viewed by the pedestrian

and the user in the top exhibition space. The art is vertically separated from

the city, yet the exhibition space is horizontally connected to the city.

Besides gallery spaces, there are some other supplementary

programs, including a theater, a storage, a mechanical room, ofces,

a gift shop, a learning center, and a cafe. The theater is located

underground, eliminating the noise from the street. The learning center

and media center is right underneath the interior gallery, preparing

the knowledge of the art that will be view for the visitor. The ofces are

located on the back of the museum, away from the street, providing

privacy. A stepped cafe is placed in one of the interior galleries.




158

优秀奖

基地位于山西省太原市。这个城市具有悠久的历史，可是随着城市化的发展，

城市中曾经可见的历史印记如今已经难觅踪影。基地上的旧建筑是民国时期

的山西银行旧址，周边是太原市商业的中心区。由于经济发展的原因，山西

银行旧址已经变得岌岌可危。方案属于概念性设计，力图通过改造，将古典

的建筑与现代的元素相结合，以相对主动的态度去迎合现代化的步伐，而不

是通过被动的遗迹保护的形式苟延残喘。太原是北方现代音乐重镇，是许多

音乐人成长的摇篮。毋庸置疑，将这个处于城市中心商业区的改造建筑的功

能定为音乐厅最为恰当。建筑主体的南边规划为一片占地 2 900m2 的小型音

乐广场，以带动周边的音乐氛围，成为这片稠密商业区中重要的开阔空间。

具有华丽装饰的古典主义建筑是当时艺术的极致表现，而现代音乐中的摇滚

乐、流行音乐以及一些轻音乐，是当今文化的极致表现。当两种不同时代的

极致相遇和碰撞，注定会产生激烈的火花。加建的半室外音乐厅的主体结构

与膜结构轻盈而富有张力，与厚重的旧银行建筑形成强烈的对比。通过与半

室外音乐厅的呼应，将旧建筑封闭的空间进行切分，使其变成对内相对开放

的空间，与加建部分融为一体。旧建筑中的爱奥尼克柱式也是改造中的重要

元素。改造中将原本支撑屋顶的6 根爱奥尼克柱拆离，用钢构架替换来支撑

屋顶。而这6 根爱奥尼克柱被移到音乐厅的北侧，作为膜结构的部分牵拉受

力点。更重要的是将柱式的美感赤裸裸地展示在了音乐厅的空间里。

过程说明分析示意图

顶视图

东视图

西视图

北视图

南视图

原始形状以自然条件（如风、光）为

基础

改动旨在打开顶部和西南的朝向使其与舞台相协调支撑此薄膜的结构既有石柱又有钢结构网络

平面图

东立面图

西立面图

The base is located in Taiyuan. This city has a long history. But with

the urbanization being, it is becoming hard to nd the trace of

the old city memory. The old building which built upon the base is

Shanxi Bank In the republic of China era. And the base is located

in the central business district of Taiyuan. Due to the economic

development, the old building will be abandoned. This project is

a conceptual design which is trying to combine the elements of

classical and modern and face to the shock of modernization

rather than the preservation of cultural relics passively. Taiyuan

is an important city of the modern music in north China. Many

musicians started their music career in this city. Needless to say,

music hall is the right option of the new function of the old building.

In order to create the surrounding music atmosphere, there will be

a small music square (2900m2) in the south of the building. And it

will be an important open space in the dense commercial area.

Gaily decorated classicism architecture is a kind of extremely

beauty at that time. And some of the modern music such as rock

music, pop music and part of light music is the representative of

the extremely modern culture. There must be an amazing scene

when the two different kinds of beauty meet and collision. The new

iron construction and membrane structure, which is light and full

of tension, contrast with the

old bank, which is heavy and

huge. In order to make it in

harmony with the new space,

the old building was exploded

to an open space. The

Ionic column is an essential

element in this project. After

the rebuild, the old building

is support by new steel

construction. And the six Ionic

columns were moved to the

north of the music hall. Then

the beauty of classical was

shown on the open space.

TALK TO CLASSICALSite renovation of Bank ofShanxi对话·古典山西银行旧址改造中央美术学院建筑学院｜刘亮｜中国山西｜改造｜指导教师：李浩｜




160

LIVE IN THELIVE BAMBOO GROVEDesign of the bamboocultural center, Chishui

云栖竹径赤水竹文化馆设计

优秀奖

天津大学建筑学院｜陈杰、陈一薇｜中国贵州｜文化馆设计｜指导教师：孔宇航、胡一可｜

1 门厅

2 信息中心

3 竹书画展厅

4 交流创作区

5 竹乐堂

6 竹艺品展厅

7 休息平台

8 竹艺工坊

贵州赤水，气候温暖湿润，是中国的楠竹之乡，

曾经的手工业甚为发达，民居以吊脚楼为特

色。随着机械化生产的发展，昔日繁华的手

工业日渐萧条，因此绿化带中曾被保留的竹

街在城市化进程中也不得不面对即将被拆除

的命运。竹街如何演变，才能让手工业作为

一种文化来传承，并且保留城市的记忆？

设计者注意到，楠竹有着可与钢材相抗衡的抗拉强度，而且生长周期非常短。于是，设

计者希望应用活竹作为有生命的结构，在弥

补河边残缺绿化带的同时，创造出一种诗意

的建筑空间。为了适应竹子的自由生长，设

计者以混沌的方法应对，设计了漂浮的基面、

悬浮的墙体、透明的屋顶，以期实现建筑结

构的更新。

Chishui, Guizhou province, is home to phyllostachys pub

to its warm and humid climate, where the handcraft in

thrived and residence featured suspended buildings. As m

production developing, the once ourishing handicraft fad

and Bamboo Street which has been retained in the gre

to face the oncoming demolishment.How can the Bam

transform itself to make the handicraft to be a inherited

preserve the memory for the city?

We ha ve r ealize d tha t the bamboo has the s trength o

comparable to steel with a short growth cycle. This reminds

living bamboo as building structure, which repairs the gree

the river while, creates a poetic architectural space.We hav

a oating base, suspended walls, transparent roof in chaos,

free environment for bamboo and update the architectural

绿荫

活动空间

树屋

诗意的栖居生态竹街弥补了残缺的绿化带

连绵的屋顶

起伏的基面

竹子——柱子

A-A 剖面图

B-B 剖面图

平面图




162

CULTURE·SPACE·ORDERDesign of the old citycultural complex文化·空间·序列古城文化综合体设计

优秀奖

昆明理工大学｜蒋涛、穆童｜中国大理｜古城文化综合体｜指导教师：翟辉｜

大理悠久的历史造就了古城特有的建筑尺度与城市结构。当地旅游业发达、

民族文化丰富，各类型文化建筑较多，古城自身已形成文化综合体，但随着

社会变迁，传统建筑早已不能满足当下文化建筑需求，因而需要演变。

本设计选址在古城西南片区，设计者以传统街巷为游览路线，在路两旁选取

合适的文化区域植入新建筑，以“新 - 老”建筑群组合的方式，形成新的“古

城文化综合体”。

The long history of Dali shaped the distinct architectural scale and urban

structure of this ancient city. With its well-developed tourism industry, rich

national culture and various cultural buildings, this ancient city itself has

become a cultural complex. However, as the society changes, traditional

architecture cannot satisfy the requirements of current cultural buildings

any longer, therefore, transformation is quite necessary.

The site of this design is located in the southwestern area of this ancient

city. With traditional alleys serving as touring routes, we integrate new

buildings into appropriate areas alongside both sides of the street. A new

“Cultural Complex of the Ancient City” is developed through combining

both the new and the old architecture together.

形成整体

功能分区

街区肌理

植入文化点

现有文化点

街面场所

文化

商业

会所

民居

文化综合体

地块选择

选取基地

综合分析街区，找出合理地块进行镶嵌，植入文化活力点，与原

有文化活力点与街面，共同构成文化载体，形成文化综合体，支

撑文化发生，展示。

公共厕所旅游咨询便利店

平面图


二层平面图二层平面图首层平面图首层平面图

文化传习馆

茶室书吧

平面图

平面图

A-A 剖面图

B-B 剖面图

C-C 剖面图

s-a s-b s-c

m-a m-b m-c

l-a l-b l-c

xl-a xl-b

8m×8m

12m×8m

16m×12m

24m×18m

大型建筑

四合五天井

三坊一照壁

两坊拐角




164

THE COMMUNE OFCRAFTMEN The folk andhandicraft art exhibitioncentre design of Kashi

匠人公社喀什民俗手工艺展览馆设计

优秀奖

下沉连接

主体围合

地域融入

院落嵌入

首层平面图

H剖面图

四层平面图

重庆大学建筑城规学院｜翁文婷、伍利君｜中国新疆｜设计｜指导教师：田琦、陈俊｜

喀什是我国南疆的一个少数民族聚居城市，素有

“西部明珠”的美称，同时喀什独特的民俗手工艺

匠人与当地高台民居的老城建筑一起成为了喀什

独具风情的城市名片。

基地选址临近当地著名的吾斯塘博依手工艺街，

是喀什匠人们聚集的场所。本设计通过对基地周边的建筑肌理及功能分布进行分析与梳理，试图

将当地的手工艺延续。通过对基地的调研分析，

结合地势，确定以半覆土退台式广场的手法为基

础，为参观者及市民提供了开放的地景交流空间，

同时对该区域的环境进行进一步整合。在建筑内

部空间中，采用喀什传统院落天井的处理手法，

使参观者在游览过程中，体验原汁原味的喀什老

城的魅力。为尊重当地建筑的风格风貌，设计对

地域文化符号进行归纳，将拱廊、过街楼、花窗

以及起台等传统元素进行新的演绎并运用到现代

建筑之中，使其“融而不同”。对于建筑材料的选择，

运用当地普遍的生土和彩玻，低技建造，在建筑

的建造和使用中，达到生态的使用效果。业态方面，

设计自始至终立足手工艺展示，形成集手工艺展

销、体验和创作等于一体的特色民俗手工艺综合体验馆。

简而言之，设计者的目标是在老城新建设的背景

下满足当地居民对现代功能与空间品质的要求，

同时使喀什的地域建筑风貌和文脉得到更好的保

护与传承。

Kashi is an city in the southern border of China where

some ethnic minorities populated, known as “Pearl

in West Road”, and the unique folk craft-makers

togetherwith the old local high profile constructions

have became a city card presenting the Kashi style.

The site of design is located close to the most well-

known handicraft street named Mustang bowie,

where lots of craftmen gather here in Kashe.

This design inherit the local traditional handcraft

culture. Considering the landform, a form of back

sets square with half soil-covered is selected after

investigating and analyzing the condition of the

site, which provides an openning communication

space for residents and visitors, at the sam time

integrates the surrounding environment. In the inner

space, wu use some patios, which are usually uesd

in Kashgar’s tranditional countyard, to make the

vivtors experience the original style and features of

Old Kashgar during visiting. In order to respect the

local building style, one of the main works is pick up

the regional culture signs duing the processof design.

Traditonal elements such as arcade, Overhead

Building Spanning a Street Kashgar, ower window

and platform are reformed and put into use in

modern building to reach the effect of ‘minxing but

differet‘. As to materials, we take adventages of local

immature soil and colored-glass and use low-tech

to make it an ecological buiding. Considering the

type of business, our design bases on the exhibitionof handcraft from beginning to end to create a folk

handcraft experience hall which combined with

handcraft exhibition, experience and creation.

The main idea of the design is to satisfy the individual’s

requirements for modern fuction and spatial quality

as well as to lead the Kashi regional architectural style

and context to get a better protection.




166

ARCHITECTURE INTRANSFORMATION Anart museum in a fshing village演变中的建筑渔村大艺术馆设计

优秀奖

基地现状：本基地位于远离烟台市区的某渔村，

环境杂乱，未来将被改造成工业港口，渔村周围

是工业区，内有许多工人。

设计问题：如何在建筑层面改善渔民的生活环境，

保留渔村生活，解决工人、渔民和环境之间的矛盾。

问题分析：基地中主要居住着当地的渔民，他

们以养殖水产品为生，在他们的生活中保留着

许多传统元素，比较重要的有海草房屋、渔业

技艺、渔民手工艺以及渔民间融洽的关系。基

地附近居住着大量的码头工人，他们每天的工

作强度不大，业余生活相当匮乏，有大量的时

间和劳动能力可以挖掘。如果能将工人、渔民、

渔村有机地组织在一起，进行一种新的产业活

动，则可以利用新的经济增长点来支撑渔村的

传统生活模式，同时激活整个地区的活力。考

虑到工人和渔民的文化素质，比较明显的新产

业是渔家乐等旅游活动，但是这样的活动有三

个缺点：一是与其他地区相比竞争力不强；二

是本地居民的素质不会因此得到明显提升；三

是对于当地环境有比较大的破坏作用。

解决方案：兴建分散型的文化艺术中心促进当地

发展。整个建设活动分为3 个阶段。

阶段 1 ：创作空间点的建立。对渔村中部分无

人居住的房屋进行改造。手法包括采用传统做

法，以钢骨架和当地生产的石头作为支撑和维

护结构，建造海草屋顶房屋，吸引周边地区的

艺术家到本地定居，使他们在创作的同时对周

围的工人、渔民进行艺术方面的教育，以培养

本地的艺术氛围。

阶段 2 ：展览空间线的建立：在凭借地区特色吸引

投资的基础上，新建线状展览空间，将点状创作空

间连接起来，其空间特质必须保证开放，与景观空

间、创作空间融合，创造一种在自然中观览的体验。

阶段3 ：地区环境全面整体提升。阶段2 完成后，

凭借新的展览空间和艺术品售卖所创造的名气吸

引更多的投资，进行更大规模的景观设计。在场

地中设计更多功能空间，如体育活动空间、渔民

风情体验空间等。至此，整个文化艺术中心建立

完成。

系统分析图

方案阶段分析图

主要道路

阶段1 ：点状创作空间建立阶段 2：现状展览空间连接阶段 3：片状景观空间营造

水系统

绿地系统

人行及广场

临时展

放映室

艺术教

工厂改建综合建筑平面

点状创作空间平面

湖南大学建筑学院｜杨烨、王凤莹｜中国山东｜改造｜指导教师：柳爱群、张蔚｜

Base Status: the base is located in a shing village away from Yantai city with cluttered environment, In the future

it will be transformed into industrial port and Now th e shing village is surrounded by industrial area, with many workers.

Design Problem: how in the construction level, to improve the living

environment of the shermen and reserved shing village life?

Problem Analysis: live mainly in the base of Fishermen farmed sh for a living, and retains many

traditional elements in their lives, such as seagrass housing, the harmonious relationship between

the shing craft, shermen crafts and shing skill . there is a lot of time and labor that can be

tapped if able workers, shermen, shing villages organic organizations together to carry out a kind

of new industrial activities, you can use the new economic growth point to support the traditional

lifestyle of shing village at the same time the vitality of the entire region will be activated.

Taking into account the cultural quality of workers and shermen, the more obvious new industry is tourism activities

such as shing holiday, but there are some drawback of this activity: First, not competitive compared to other regions,

the second, the quality of the local residents will not be signicantly improved for local environmental destruction.

Solution: the construction of a cultural arts center to promote local development. The Entire building activities are divided into three stage

Phase 1: the establishment of creative space: There are some uninhabited houses in the shing village can be transformed. (Tactics incl

traditional practice, the steel skeleton and local production of stone as the support and maintenance of the structure, the construction

of sea grass roof houses, to ensure its economic and environmental protection). Attract the artists surrounding areas to the local settlers,

so that they can be creative here while giving arts education around the workers, shermen and nurture local artistic atmosphere.

Phase 2: the establishment of the exhibition space:With the shermen and workers have a certain artistic foundation,

and regional specialties to attract investment, the new exhibition space, its spatial qualities must guarantee

open, fusion with the landscape space, creative space, creating a natural Ferris experience.

Phase 3: The overall regional environment to enhance: Phase 2 is complete, with the sale of new exhibition

space and art creation fame can attract more investment, more large-scale landscape design. More functional

space will be designed, such as sports, shermen style experience space in the venue.




168

SINGLE BUILDING SETTLEMENT An opencampus activities center 单体建筑聚落开放性校园活动中心

优秀奖

本方案设计为一座可对外开放的校园文化活动中

心的建筑综合体。

常规意义上，学校被认为是一个文化单位，其文

化性主要体现在其特定的社会职能属性。然而，

一方面，学校的文化属性与社会大众之间往往处

于隔离存在的状态，是一种与大众最间接的文化体。另一方面，在校园内，对于校园主要使用者

而言，学校往往是一种以生活、休息和学习为职

业的简易社会体的状态，其文化性和多元性在此

时对学生主体而言却也属于边缘性的存在。针对

这一问题，方案为一座对社会开放的校园文化活

动中心综合体，以满足除基本学习功能之外更为

广泛丰富的功能需要。

设计位于北京市朝阳区中央美术学院南北校区之

间的大片空地上。设计之初对文化综合的构成形

式进行了多样化的思考，并最终以单体建筑聚落

的概念为文化综合体的构成形式做出探索。方案

将体育活动、社团交流、图书阅读、餐饮、学习、

影院和艺术展览等功能独立并置于相互连接的组

织与场地当中，使之形成互不干扰，同时又相互依存的关系，并且形成丰富的类似街道和院落的

聚落空间形式，以试图激活建筑的外围空间形成

场域效应，进而促进校园活动氛围。同时，建筑

所展示的开放态度鼓励周边社区居民参与其中，

以活跃周边区域文化氛围，形成校园与社会的对

话窗口。

功能气泡图

首层平面图

A-A剖面图

B-B剖面图

东立面图

西立面图

二层平面图

三层平面图

标准图注字体

中央美术学院建筑学院｜郭建东｜中国内蒙古巴彦淖尔市磴口县｜营地设计｜指导教师：李浩｜

This program focuses on a Campus Activities Center opening to students as well as citiz

Normally, school is considered as a cultural institution, whose cultural nature is shown thro

functions. However, schools are often isolated from the public, citizens are not directly c

to the precious cultural resource. On the other hand, for students on campus, the scho

a simple synthesis of learning and living, not a place of cultural pluralism.This program t

Campus Activities Center that satises students’ diverse needs besides learning and live

Located on the vast open space between the North Campus and the South Campus o

Central Academy of Fine Arts, the program is started with considering the form of cultur

synthesis, and ended in a single building settlement. Space such as sports ground, libra

canteen, theatre and exhibition space are juxtaposed independently on an interconne

site, forming a special relationship with connection but without interference. Meanwhile

settlement is created,having its own streets and courtyards. This settlement activates the

space, thus promotes the activity of the campus. The open attitude implicit in the build

encourages the citizens to come around, forming a channel between campus and soc




170

CIRCUMSTANCES CHANGE

WITH VIRESCENCE

Transformation of the greencamp on the desert border

“绿”过境迁志愿者营地文化演变

优秀奖

本设计选址中国荒漠化最严重的地区之一—内蒙古巴彦淖尔市磴口县，每年都会

有来自世界各地的志愿来到这里植树。该建筑就搭建在志愿者所到之处。

在第一阶段，建筑单体作为志愿者的居住和活动空间，经过设计组织，形成志愿者

营地；在第二阶段，随着志愿者的增加，建筑单体经过组合拼接，逐渐扩大和生长，

衍生出展览、图书室、放映厅等文化功能，从而促进志愿者和当地村民的互动交流，

建筑演变为村民的文化活动中心；在第三阶段，当志愿者离开之后，建筑进一步发

展扩张，加入了乡村小学等功能，进而演变成文化综合体，进一步激发了当地村民

的文化活动。

这种演变模式随着志愿者的踪迹沿沙漠边界进行着。在抵御沙漠化、改善居住环境

的同时，也给村民带来了现代文明的绿洲。

形体生成

四面体切割综合组织细胞单元

第一阶段：志愿者基地第二阶段：绿色营地变迁第三阶段：继续变迁

植树植树植树村庄生长带来文明

结构的复制与衍生

单元结构衍生结构

继续衍生继续衍生

单元结构

办公

卧室卧室

办公

衍生结构

展览住宿

庭院

休闲图书室

多媒体放映室

继续衍生

剖立面图

为志愿者搭建的小屋，这是一个细

胞单元，由木结构和外围的毛毡组

成，可以满足个人的生活需要

细胞可以继续复制，拆除一些组装

的框架，功能转变为卧室、工作室、

会客厅，增加一些交流空间

木结构可以自我组装，由单个细

胞衍生为两个，功能也由原来全

部笼罩在一个空间下，分为卧室

与办公室

单个细胞最终可以群聚，功能由

最初满足志愿者个人生活演变为

供村民使用的文化交流空间

Our site is on the south of DengKou

county, inner mongolia province, to

desertication pose serious threat.Ev

year,many volunteerscome here to

trees,the architecture is built here.

At the rst stage, our buliding supply

living place for the volunteers, thus

a green camp for daily activities; At

second stage, as more and more v

come, the architecture combine w

other, turning into exhibition hall, libr

and multimedia rooms, thus transfo

into a small activity center for the lo

and volunteers At the third stage, wh

volunteers leave, the architecture wexpand, some will become classroo

primary school, and at the same tim

locals, people will come here to p

in cultrual activities, the architecture

transform into a cultural complex fo

This growing mode will take place a

volunteers covering the border of th

relieving the threat of desertication

simultaneously bring modern civiliza

天津大学建筑学院｜冯晴、许铎｜中国内蒙古｜演变｜指导教师：赵建波、邹颖｜




172

SPLENDID HERITAGE Jimingyi inn ruinstransformation灿烂的遗产鸡鸣驿驿站遗址改造

优秀奖

鸡鸣驿驿站遗址位于河北省怀来县，是中国现存最大、最完整的游驿类建筑

群遗址，曾两次被列入世界濒危遗产名单，极具历史文化价值。然而那里狭

窄的街道、老旧的房屋、落后的基础设施……无一不影响着居民的生活质量。

因为它们只能在拆毁、改建和加建中寻求更好的采光、更大的开间和更适宜

的尺度。

文物古迹的保护一直是一个很难的课题，尤其是像鸡鸣驿这类大型的建筑群，

原住居民被要求不能私自改动建筑，低下的生活质量，尤其是缺少公共活动

空间使得很多年轻人放弃这里，于是人力的缺失使鸡鸣驿更没有了活力，形

成了一个负循环。设计者针对这里的矛盾——政府对文物古迹保护的要求与

居民居住需求之间的矛盾——提出了解决方法：建设一个满足居民基本生活

和休闲条件的“新房子”，通过转移居民对“老房子”的改造需求来达到保护“老

房子”的目的。

“新房子”作为一个文化综合体为居民提供了活动的空间，其中包括教室、

图书室、儿童游戏室等。考虑到当地居民的生活习惯，设计了比较大面积的

庭院和露天电影院。保留“老房子”的位置和材料，加入玻璃幕墙来改善采

光。重新布置结构，使轻巧的框架与原有厚重的墙体相结合。局部做了高起

的处理，借鉴的是城墙和坡屋顶的形状元素。外表覆盖了一层金属表皮。当

夕阳西下，整座城池都笼罩在一层淡淡的雾气中，阳光洒在建筑上反射灿灿

的金光，不禁让人觉得温暖。这就是设计者的理念，让这座城发光，点亮遗

产保护的路。

首层平面图

立面图

天津大学建筑学院｜邹德华、单丹丹｜中国河北省怀来县｜遗址改造｜指导教师：孔宇航、胡一可｜

Sites Jimingyi in Huailai County is China’s largest and most complete

existing ruins of the inn buildings,which has great historical and cultural value.

It has twice been included in the List of dWorld Heritage in Danger. However,

the narrow streets, old houses, and poor infrastructure there have all effected

the quality of life of residents.They can only seek better lighting, more of the

bay and a more appropriate scale by demolition, alteration and addition.

Heritage protection has always been a difcult subject, especially

these large buildings like Jimingyi.The original inhabitants were not

allowed to damage the buildings there. So many young people leave

becouse of the low quality of life especially the lack of public space, cousing

the lack of manpower.As a result, Jimingy lost its vitality. We proposed

a solution for the contradiction between the cultural relics protection

requirements of government and the living needs of residents that to build

a “new house” to meet basic living and leisure demands. Through the

transfer of the needs of alter the old house to protect the “old house”.

The “new house” provides activityspace for residents as a cultural

building, including classrooms, library,

children’s playroom, etc.taking the

living habits of local residents into

consider, we design a large area of

the courtyard and an outdoor cinema.

Retain the position and materials

of the “old house” ,added the glass

curtain wall to improve the lighting.Re-

arranged the structure, combining the

lightweight frame and the original thick

walls.Our design has learned the shape

of the walls and the sloping roof,

covering the outer of metal epidermal.

At dusk, the whole city is enveloped in

mist, the sun shines on the architecture

reects shiny gold, can not help to

make people feel warm.This is our

design philosophy, let the city glow,

lit the road of heritage conservation.




174

ART STATION BeijingDeshengmen transport hub艺术车站北京德胜门交通枢纽

优秀奖

后海

地铁场地公交站

德胜门

高架桥

北京街道有序的空间序列

地上平面图

B-B剖面图

西立面图地下平面图

天津大学建筑学院｜李航、于鸿飞｜中国北京｜改造｜指导教师：王迪、张昕楠、郑颖｜

本设计旨在解决“流浪艺人”—“排队”、“交通时间浪费”两个问题。设计者经过一系列统计和空间

句法研究，在北京德胜门交通枢纽设立该建筑，旨在为流浪艺人建造具有归属感的舞台的同时，营造

具有艺术氛围的车站环境，缓解等待带来的焦虑感。与此同时，利用交通枢纽的“聚、散”作用，汇

聚流浪艺人，并通过四通八达的交通网络，辐射全城，为地铁、公交车上的旅客带来艺术氛围与享受。

The design aims to solve two problems: “street artists ”and“que

wasting time “. After a series of statistics and space syntax ana

select the Deshengmen trafc junction in Beijing . The design a

creat a sense of belonging for street artists. At the same time, t

creates an artistic atmosphere in station to ease the anxiety of

And transportation junction brought the street artists together . the transportation network, radiation to the whole city the desig

artistic atmosphere and enjoyment for the subway, bus passen




176

CHANGES OF CITY Heart bazaar with spirit inurban village市之变迁城中村的心灵集市

优秀奖

天津大学建筑学院｜杨辛、南宇川｜中国深圳｜城市公共空间设计｜指导教师：孔宇航、邹颖、胡一可｜

在大规模城市化演进的历史之轮前，即便是鄂尔多

斯这样容易令人浮想起“天高地远”的草原之城也

在2004 年之后逐渐被碾压成了一幅高度城市化的

轴卷。在密集狭长的住宅区的一片空地上，应如何

为当地的住民营造一座为他们在高密度城市空间中

带来短暂的放松心情的场所？

在住宅区规划没有明确地开始改变城市面貌之前，

城市住宅区的住民们在某些空间属性并不非常明确

的公共区域自发性地聚集、活动，例如上海的里弄

和北京的胡同。这些环境没有刻意营造出类似“请

进，这里就是住民会所！”的提示，但人们其乐融

融地坐在这里自娱自乐或者你来我往，并且相互影

响、相互干扰，彷如无数幅热闹非凡的“市井之画”。

而如今高密度住宅区中，“住民会所”的出现是无

奈而实际的现实，即：“玩乐”和“交流 ”——这

些原本不需要指定在固定场所中的自发行为因为丧

失了原本边界模糊而尺度舒适的外部空间，被界定

到一个个封闭狭小的室内区域里——本案的起点就

基于这样一个背景。

Faced with the historical wheel of the evolution of large-scale urbanism, even Erdos, a city in the grassland that will remind one of the scen

and distant land”, is imprinted with a highly urbanized mark after 2004. How to build a place where occupants can relax themselves for a s

high-density urban space on an empty land of densely, narrow and long residential area?

Before the urban appearance was clearly changed by residential area planning, the citizens gather and carry out daily activities freely in c

areas without a clear spatial identity, such as the Lilongs (lanes) in Shanghai and Hutongs in Beijing. These neighborhoods do not create an

of “welcome, this is the Residents Club” deliberately, but people gather, live and entertain themselves here harmoniously. They visit

quite often and inuence and disturb each other mutually, which seem to be countless pictures of the “Bustling Street Life”. However, no

emergence of “Residents Clubs” in the high-density residential communities is the result of the helpless reality of current society. It means th

of the lost of exterior spaces with blurred boundaries but comfortable in size, activities such as “playing” and “communication”, which sh

been limited into xed places, are dened into small, narrow and closed interior areas——The starting point of this scheme is based on this

剖面图透视图

总平面图


立面图




178

SUSPENDING COURTYARD

Cultural complex design悬浮的院落文化综合体设计

优秀奖

本文化综合体选址于极具人文底蕴的大理古城，

场地中的原有古建筑需要与所设计的综合体有很

好的对接。考虑到大理民居久远的演变过程，本

设计从中国传统院落空间中提取单体，加以变形，

应用模数，重新组合，在传统院落空间基础上衍

变出更加丰富，利用率更高，更符合现代人生活、

工作和交流的模式以及更人性化的立体合院空

间。并通过探索传统院落空间继续发展下去的垂

直演变方向，采用某些模块化的单元，遵从一定

规律又变化极其丰富的空间建构，将传统的院落

搬到空中，实现“ 空中院落”，即“悬浮着的院子 ”。

本设计应用了大理当地建筑特有的细节和感受回

应建筑的地域性，以新的模数重组，但又不变初衷，

仍然延续了大理民居院落空间的精髓。

本文化综合体集储藏、展览、学术交流、科技研

发、图书馆、小型剧院、培训、餐饮、住宿、休

闲、购物等功能于一体，可满足不同人群的心理

和空间功能需求，这些功能区域，避免了单一功

能可能会带来的某些问题。其中一层为开放式城

市花园空间，当地人和游客皆可在这里休闲娱乐；

二层以上为各个功能区域，空间丰富。主流线使

人在不知不觉的游走过程中感受到变化丰富的院

落空间的同时参观展览。

院落形式研究

垂直交通

建筑主流线中贯穿的古建筑

首层平面图

南立面图

西立面图

垂直院落剖面空间分析

昆明理工大学建筑工程学院｜孙可安、贾竞｜中国云南｜建造｜指导教师：翟辉｜

The cultural complex is located inside the ancient

city of Dali which has a deep cultural deposit. The

old buildings in the site needs a good connection

with the cultural complex. Given to the process of

the evolution of Dali folk house, this design extract

elements and deformation it. We combine them

again with modulus. In the result, we develop

the traditional courtyard to a new more

humanizing tridimensional courtyard space

with high-usage, which is more t for modern

people to live, work and communicate with

each other. Throughing studying the vertical

direction of traditional courtyard evolving, we

move the traditional courtyard into the air,

result in the mode of “ the air courtyard”, that is

“ the suspending courtyard”. We apply some

characteristic details and feel of local folk house

into the design as reply for the architectural

regionalism. We recombine the elements

with new modulus, but the essence of Dali

traditional folk courtyard has been kept by us.

This cultural complex set storing, exhibition,

academic exchange, science studying,

library, minitype theatre, training, food services,

accommodation, relaxation, shopping as

one. Different need of mentality an

of different groups of people can b

These function spaces would avoid

brought about by solo function. The

set as open city garden space for l

and tourists. All of the different kinds

spaces are arranged above the se

The main circulation among the ab

spaces makes tourists experience t

courtyard spaces unconsciously, m

the exhibition is showed to them gra




180

To solve the above problem, we propose

to retain the prison walls and part of the

construction, the transformation of the old

prison for Area cultural center. The entire

site for nearly 40 meters north-south aspect,

toward the Yangtze River, Chongqing Nanan

landscape surface processing platform

morphology the combined know courtyard

to transform it into an open Civic Plaza. The

middle of the square to reserved early prison

construction, transformation into a Square a

cultural memory. The same time retain the

original walls, new walls, and have space

activities space around inside the walls of the

external form continuous open trails (mountain

city of Chongqing trails memory). The walls

and the old prison combined to form the face

of the old culture of meditation space. Inside

the west side of the walls of old Chongqing

cultural exhibitions, east of culture and leisure

area, the central square to form a highly

dynamic cultural center of the entire Area

combination of cultural education and leisure.

WALLS VARIATIONSPrison to activity高墙变奏曲从看守所到市民活动中心

优秀奖

整个设计，设计者选择的是城市中的老城片区，

从整个场地与城市关系角度考察，发现问题，并

提出相应的定位与改造策略。旨在提供更积极、

和谐的城市空间。

基地（石板坡地区）位于重庆旧城门金汤门外，

从 19 世纪二三十年代开始有居民居住于此，并

在19 世纪50 年代随着南区干道的修通成为居

民聚集地。经过半个多世纪的发展，快速干道的

建设和城市现代生活的发展使基地渐渐成为城市

的边缘地区，是典型的重庆旧城区。由于占据着

主要的城市景观面，在新制定的城市规划中，将

此地块定义为城市阳台、绿色通道等，减少居住

密度，搬迁第二监狱，建设山城步道和城市阳台，

地块内存在着独特的文化特质，例如老监狱、水

厂以及具典型特色的重庆建筑和街巷等。而本设

计所选择保留改造的监狱的高墙内外呈现着截然

相反的生活状态，在整个片区也具有重要的文化

地位。通过多次的实地调研，设计者发现石板坡

地区存在人口构成复杂、周边的建筑环境密度高、

缺少开放空间、周边文化要素丰富、缺少文化活

动空间等问题。

针对以上问题，设计者提出保留监狱外墙和部分

建筑，将老监狱改造为该片区的文化中心。利用

整个场地将近 40m的南北坡向，朝向长江及重

庆南岸景观面，以台地形态处理并结合院落将其

改造为开放的市民活动广场。广场中间保留早期

的监狱建筑，改造后变为广场中的一种文化记忆。

在保留原有高墙的同时，新建高墙，使之成为具

有空间意义的活动空间，围绕高墙外部形成连续

开放的步道（重庆山城步道的记忆）。高墙与老监

狱相结合，形成了面对老文化的冥想空间。西侧

的高墙内部为老重庆的文化展览，东侧为文化休

闲区，中心广场结合文化教育与休闲功能形成整

个片区极具活力的文化中心。

左墙A生成过程

三层片墙，两边墙面通透，左

右不同空间

中间分段的片墙作为主要的交通

联系体

左右两边错半层插入功能体量，

生成部分屋顶平台

台地功能部分生长院落，改善台

地环境插入错动的功

富的功能

一半的台地兼功能房间，大梯步

连接高差沿着老墙面爬

错动，呼应山

划分台地消耗高差保留监狱的

的外墙面，

右墙B生成过程台地生成过程

整体概况

拆除

保留

改造围墙

南立面图

休息区

门厅

W.WC

M.WC咨询处

更衣室

绘画室

绘画室

花园

绘画展览

贵宾接待

屋顶活动

大型展览厅（监狱文化）

监狱文化体验

监狱教堂咖啡厅

格子铺

休息平台

首层平面图

剖透视解析图

保留监狱高墙

监狱教堂监狱圣坛

展示馆

体验区办公室

教堂院落教堂坐台

新建高层住宅

石板坡老社区

自来水塔（法）

老城墙

石板坡老社区

重庆大学建筑城规学院｜董菁、张恂恂｜中国重庆市｜老城改造｜指导教师：田琦、陈俊｜

The entire design we have chosen is the

city’s Old Town Area.Visits from the entire site

and city relations angle, identify problems

and propose appropriate positioning and

transformation strategy.Aims to provide a more

positive, harmonious urban space.The the

base (Shibanpo area) is located in Chongqing

outside Old City Gate impregnable, residentsliving here in the twenties and thirties of the

19th century, to become residents a gathering

place in the fties with the Southern District

roads repair pass.After more than half a century

of development, expressway construction

and the development of modern urban life,

gradually become the marginal areas of the

city, is typical of the old city of Chongqing.

Occupy the main face of urban landscape,

in newly developed urban planning, this land

dened as urban balcony, green channel,

reducing living density, the relocation of the

second prison and building a mountain town

trails and city balcony, Lot memoryunique

cultural characteristics of the old prison,

waterworks, and with typical characteristics

Color Chongqing buildings and streets.

Choose to keep the design transformation both

inside and outside of prison walls showed the

opposite state of life, also has important culturalposition in the entire Area.By the number of

eld research, we found that the region of

Shibanpo demographic composition of the

complex; surrounding the high density of the

built environment, the lack of open space;

The same time, the surrounding rich cultural

elements, the lack of cultural activities space.




182

364+1 STAGEA stage for villagers, adream for all364+1舞台民之舞台，众之梦想

优秀奖

该建筑选址浙江省丽水市庆元县月山村，月山村是一个很

特别的村落，这里有延续了30 年的春晚表演习俗。随着

改革开放大潮的到来，村里的青年外出务工，每年春节回

到家乡为村中的人们带来新鲜的思想。从1981 年开始，

月山村每年都会举办春节联欢晚会，这比央视的春晚举办

时间还要早，因此月山村的春晚也一次次地引发了媒体的

关注。由于青壮年外出务工，村中的老人、孩子和妇女较多，而一开始举办月山村春晚的初衷是为了吸引外出人员回乡

团聚，可随着时间的推移，为春晚排练以及观看排练已经成为了村民每天必不可少的娱乐活动，老人和小孩一

起排练表演，乡村四处洋溢着和谐气氛。

村民因为没有固定的排练场所导致这项活动的发生场地较为散乱，而且村民没有很好的排练环境，因此设计者

致力于发展村民的娱乐活动，同时将这项活动同村民的生活更紧密地联系起来。为此设计者选择了一条村中排

练与交通使用率最高的道路，将建筑作为连接两条主要道路的捷径。月山村有着富有历史文化特征的廊桥，因

此廊桥也为设计者带来了设计灵感：将文化综合体与月山村特有的廊桥串联在路径的两侧，使得建筑中的排演

活动与村民的日常生活互相融合；将路径设计为高低起伏的坡道，并依据春晚表演的节目，将大型开放性节目

排练空间布置于坡道两侧，使建筑成为文化生活的中心。364+1 舞台意味着村民们364 天的春晚排练与1 天

的春晚演出，这座建筑在为村民带来人性化排练空间的同时，也为每天观看排练的村民提供了安逸的场所，加

强了与月山村的廊桥之间的联系，也为月山村建造了村镇中心般的文化综合体。

剖透视图

首层平面图

乐队

器乐

合奏

功能组合分析图

剖面图

天津大学建筑学院｜熊然、郑翔飞｜中国浙江｜设计｜指导教师：邹颖、郑颖｜

Our design is chosen on Yueshan Village which is located in Qingyuan County, Lishui City, Zhejiang Province. It is an ordinary and peaceful

yet unique village with lasted 30 years Spring Festival Evening performances customs.Most adults of the village leave their home and work

in other big cities. The left-behind children and seniors, however, enjoy their peaceful life. After investigation, we learned that, the Yueshan

Village, since 1981, organizes the uninterrupted New Year party in the village every year. Every household will get involved either by preparin

performance or organizing the event. The New Year Party bridges not only the children and seniors but also enriches their lives with joy. More

importantly, it accounts for a reason for the migrant working adults to come back home and celebrate the event with their families.

Therefore, we design this cultural complex as a rehearsal space as well as a community center for villagers. Two rehearsal spaces

are intended to be placed by the sides of a ramp which connected to two main roads. It can provide area for square dance, large

drama and so forth. Conveniently, people who pass by the shortcut ramp will be able to watch and enjoy the performance on the

square not only on the New Year but also rest of 364 days. It brings the audiences and performers closer by such design. Also, such area

creates more communication between villagers. By providing the villagers such multi-purpose cultural complex, we are hoping villagers

have better experience in their rehearsal and performance, which might be crucial to attract the migrant workers to come home.

Thus, we named our design “364 + 1 Stage”. Wishfully, it would be a fantastic stage for bridging villagers and their families.


university, hoping that it will b



184

优秀奖

该设计题为“从有到无（From Yes to No）”，

是对建筑和城市关系的思考。这是一个本来被规

划为景观带的区域，之后因为种种原因有了建筑

的存在。但这种“有”是否为城市带来了加分？

从城市的现状来看并非如此，这里的人气越来越

低迷。于是设计者从反方向进行思考，做减法或

许能给城市带来更丰富的东西。现在我们生活的

城市中遍地都是建筑，然而这些建筑往往使我们

感觉如临大敌：一个个庞然大物耸立在我们身旁，

每一个建筑都需要仰望。它们抢走了绿地，抢走

了阳光，抢走了天空……设计者希望这个设计能

带给人们与建筑平等对话的关系，甚至能俯视建

筑，像看景观一样看建筑。

设计者本来想以“从建筑走向景观（From

Architecture to Landscape）”为题，但这个题目

不能完全表达所有的内涵。因为这不仅仅是从建筑

走向景观，还有从实体走向虚体，从建筑内部走向

建筑外部，从看得见的东西走向看不见的东西……

于是统称为“从有到无”。设计者表达的是从传统

的建筑城市关系中走出来，反向思考所有的“成规”。

文化综合体对于城市来说是城市的另一个灵魂。

一般来说城市中心是指城市的商业中心，但现在

看来，城市的文化中心也在逐渐发展。人们去到

北京，总想到“798”艺术园区看看，南锣鼓巷

和后海的人气也很高。这说明中国新一代成长起

来的年轻人有了更多文化上的需求。可惜在中国

的城市中，很少有城市像北京这样拥有这么多的

文化区域。比如哈尔滨，现在的城市中心是一个

混乱不堪的购物区，鱼龙混杂，毫无吸引力。设

计者在大学旁边构建一个文化综合体，是希望通

过学生和老师的群体来影响社会中的其他群体，

形成学校和社会的一个互动桥梁。

设计师总是认为甲方不理解自己的设计，然而中

国大学这种闭门造车的现况也是其根源之一。社

会看不到学生的成果，学生的思考得不到社会的

评价，学生的努力更得不到社会的鼓励，因此当

学生走上社会也就与社会格格不入。于是设计者

希望能在文化综合体中提供这样的展示平台，将

学生的作品放置在居民区中，让学生能够与社会

交流，社会能够认识到学生的想法，建立起良性

的沟通循环。

就像设计中的那座桥，设计者寄希望于文化综合

体能够发挥桥梁的作用，将社会各阶层的人们联

系起来，让城市多一些人文关怀。

总平面图平面图

剖面图

立面图

Our design “From Yes To No” is a thinking of

the relationship between architecture and

the city. This is an original planning as a part

of the region, and later, because of a variety

of reasons, buildings have built up here. But is

that really bring bonus to the city? The answer

is no judging from current situation. Less and

less people enjoy the atmosphere here. So we

want to deal this problem from the opposite

direction, which lead us to think that maybe

subtraction would make the city better. Now we

live in the city lled with buildings, what always

make us nervous and afraid. Every of them is

a colossus stand on our side and need to be

looked up at. They stole away from us the green

space, the sunlight, the sky... Our design hopes

to equal the relationship between people and

building, thus one can head-up or even look

down the buildings, like watching a landscape.

We once want to title our design “From

Architecture To Landscape”, but then feel

it can not fully express our thinking. What

we really mind is not only from building to

landscape, but also from physical to virtual

body, from internal to external, from things

we can see to those we cannot ... So the

conclusion “from yes to no” express that we

need a reverse thinking of our current “city

planning rules” outside from the traditional

relationship between architecture and city.

What culture synthesis to our city is just like

another soul. Generally speaking, the city center

refers to the city business center, but now it

seems that the city cultural center is gradually

walking into people’s life. People who go to

Beijing, always have an appetite for “798” artpark, South Luogu Alley and houhai, which shows

China’s new generation of young people do

have more cultural needs. But cities in China

unlike Beijing, rarely have so many cultural area.

Such as Harbin, now the city center is a chaos

place including shopping area, good and evil

people mixed up, which has no appeal. We

want to build our culture synthesis next to the

y p g

bridge between school and t

So we hope that we can prov

a cultural complex display pl

where students can put their

in the midst of the residential

thus encourage the commun

between society and the stud

As a design of bridge, we ho

our design could act as a bri

between all classes. And let t

owns more humanistic care.

FROM YES TO NO Designof the cultural complex in Jiashu Road, Harbin从有到无哈尔滨荚树路文化综合体设计哈尔滨工业大学｜韩江月、向钧达｜中国哈尔滨｜文化综合体设计｜指导教师：卜冲｜




186

ADVERSED REALITY Tianjin ancient culturemuseum design悬街天津市古文化展馆设计

优秀奖

方案生成

顺应线性关系，作为古街的延续体量等分，实现古街的对外散开

结构与形式意向

便于沿河穿行，部分体量抬升

顺应古街变化，融入古建立面将对岸的绿色植入并抬升

平衡受力，融入码头与桥的拉索

剖面图

基地毗邻古文化街和天后宫，

古文化街是仿中国清代民间

小式店铺，以元代古迹天后

宫为中心，位于海河西岸，

集古玩字画、文房四宝、彩

塑、小吃等民间风俗于一街。

方案的构思源于对古文化街

进行延续，通过流线、意象、

空间和符号的联系，使新的

文化与古文化街进行紧密对

话与呼应，形成一条新的文

化街。

民间有“天津市大运河载来的城

市”的说法，道出了天津城市的

形成和发展与大运河息息相关。

天津城市的形成就始于隋唐大运

河的开通。“天津”地名的由来也

与大运河有着密切关系。天津经

历600余年，特别是近代百年，

造就了天津中西合璧兼容的独特

城市风貌。

海河是天津的母亲河，它

给天津带来了深厚的文化

底蕴。天津本是“港口”

的意思，沿着海河遍布了

很多各种用途的码头，所

选基地便是一处有着历史

意义的旧码头。海河上众

多的桥也使得天津成为了

一个桥的“博物馆”，这

些特征为我们的设计提供

了独特的条件。

硬山为中国传统屋顶形式之一，古街建筑多为硬山，文化馆

借鉴了这种形式，实现了古街的呼应和延续。

穿斗式是中国常见的屋架结构之一，以穿枋将柱子连在一起，

有很好的整体性。我们借鉴这种形式并进行使用，水平架构

将悬挂结构穿在一起，并实现梁的用处。

天津有很多码头，“吊起的集装箱”是码头最好的象征，所

以将本应在地面的建筑悬挂，以实现空间的丰富。

在起吊方式上，选择使用类似装卸机以及拉索桥的张拉结构，

将建筑吊起，重复的悬索形成很好的韵律感。

哈尔滨工业大学建筑学院｜张占欧、周硕｜中国天津｜设计｜指导教师：罗鹏｜

在城市漫长的发展历程中，建筑见证了它多样的

演变过程。无论在空间上，还是时间上，城市应

当是连续的。在这个设计中，基地模拟具有丰富

文化背景的天津市古文化街与海河之间, 设计者

尝试在展馆设计中通过新的方式与环境发生对话。

结合以上诸多背景，文化展馆的设计构思主要源

于以下几个方面：1. 文化展馆构成古文化街的一

部分，沿岸边展开，在空间上形成对古街的延续；

2. 主体建筑悬吊，呼应海河上的桥梁，保持河岸

的通透，同时在上中下形成桥、展馆、亲水空间

等多个活动层次；3. 在立面上，提取中国古建“硬

山”的意象，颠倒悬挂，与古街形成呼应与对比；

在构造上，采用穿斗式做法，颠倒悬挂，梁演变

成地板的支撑，形成活动平台。

During the long historical period of urban development, architecture witness its variety of evolution processes. City needs to be successive

in time and space. In this design, the site we choosed is between the ancient culture street and Haihe river in Tianjin, where comple and div

conditions exist. The ideas of the museum design mainly came from several aspects: 1. The new building would be a part of the Ancient cu

street, it stretch along the shore, becoming an extend of the chulture street; 2. The main building is hanged, like the bridge on the river nea

can also keep the shore appeared. Meanwhile, that makes different levels for activities from top to bottom; 3. In the aspect of elevation,we

the Chinese traditional roof form called”Yingshan”.Hanged reversedly, the elevation make strong comparision to the street.In the aspect of s

we imitate the Chinese traditional structure called “Chuandou”.In that way, the beam becomes the support of the oor ,on which activities

模型图




188

足球：在巴西里约热内卢众多高密度的贫民窟中，

都存在一个位于中心地带的精神空间——足球运

动场。日常生活中，热爱足球的孩子们从家门口

带球穿过一条条街巷，到达中心场地踢球。

整合：整合街道及街道与建筑的过渡区域，将房

子的外部空间转化为文化活动场所，并为不同人

群提供不同的服务设施，让贫民窟逐渐向城市社

区转变。

场地：将中心场地设计成集足球、狂欢、舞蹈、跑酷、

聚会、露天剧场等为一体的场所，丰富贫民窟的

文化生活。

挪用：将街道的一部分转化成孩子带球的训练路径，

通过先辈球星们留下的一个个经典路线，最终抵达

中心的活动场。街道功能发生了变化，它既是一个

活动场地，也是一个活的纪念展示馆，同时还是满

足人们日常生活的服务场所。盛产球星的贫民窟，

也将以这种挪用的方式，让人民在纪念中活动，并

激励着孩子们去实现自己的足球梦想，并将建筑以

这种纪念的方式不断演变和延续下去。

优秀奖

公共空间区域分析每1000名居民中运动员数量

巴西总人口数：169 590 693足球运动员数：13 197 733

>7550-7525-5010-256-10<5

街道小巷

稀疏密集

中央球场

布涂鸦

总平面图

教堂

咖

小

看

美

书店展览馆

跑酷区域

1 休息台

C-C剖面图

B-B剖面图

A-A剖面图

2 面向街区的墙

3 屋顶覆盖区

4 住宅转化为书店

5 街头足球场地

6 运球练习区

首层平面图

FOOTBALL: Football eld serves as the

spiritual space in the center of every favela in

the slum-dense city Rio de Janeiro. Children

fond of football will rush across streets after

streets with a ball starting from their home,

to the center eld to play football.

INTEGRATION: Integrating the transition

area where streets blend with buildings

renders the exterior space outside buildingsthe cultural scenes which provide various

service facilities to satisfy different demands.

That improvement fuels the transformation

from slums to urban communities.

FIELD: The center eld, which aims at

enriching the slum’s culture life, is designed

to combine foo

carnival, dancirendezvous an

theatre into one

APPROPRIAT

Transform part o

into the dribblin

tracks leading t

center eld, wh

the classic drib

route (where th

football players

to play). Therefo

appropriation (w

indicates that th

of ordinary stree

into the “activity

the “living mem

pavilion” as we

service delivery

which meet pe

daily demands

realized. By tha

appropriation, s

the home to nu

football stars, c

their next gene

go for the footb

and remind the

of the football g

their daily activ

JOURNEY TO MASTER Slum FIFA大师之路贫民窟中的足球文化综合体天津大学建筑学院｜曾良、陈永辉｜巴西里约热内卢众｜整合｜指导教师：盛强、赵建波｜

Documents

UED Special Issue of 2012 HYP Competition