艺术介入：既可以是建筑也可以是装置

Artistic intervention: both architecture and installation 

在这里，设计师还试图“混淆”建筑与艺术装置的边界。室外看台，伞状构筑物被红色覆盖，形成了强烈的，不同于常规建筑学的视觉语言。它更趋近于艺术性的表达，单纯、强烈，甚至略显极端；同时，红色给予了空间一种新的气场：更开放的公共性，戏剧性、叙事性和张力都比建筑语言更简单，更具力量。

Here, the designer also tries to "confuse" the boundary between architecture and art installation. On the outdoor stands, umbrella-like structures are covered with red color, forming a strong visual language different from conventional architecture. It tends to be more artistic expression, simple, strong, even slightly extreme. At the same time, red gives the space a new aura: more open publicity, dramaticism, narrativity and tension are simpler and more powerful than architectural language.

为了进一步强化这种艺术化语言，设计师在部分圆顶上安装了反射镜面。人站立在伞状构筑物下方，可以从反射镜面中看到自己的影像。自己与自己的对话，使场地更有趣味，更轻松，也更容易引起共鸣。

In order to further strengthen this artistic language, the designer installed reflection mirrors on some domes. Standing under the umbrella-like structure, people can see their own image from the reflection mirrors. The dialogue between one and oneself makes the venue more interesting, relaxed and resonant.

伞状构筑物的支柱除了让人与空间之间的身体接触更为丰富外，也进一步加强了戏剧的不确定性。这也是设计师的有意而为：支柱的存在让戏剧无法以常规的形式出现，但同时也促使表演和空间之间发生关系。当然，倒座位置的空地还是能保证正常表演的进行。无形中，场地变得更为不确定，不同的使用者，使用情况，可以对场地进行重新定义。这也许正是后工业时代所需要的空间模式。

In addition to enriching the physical contact between human and space, the pillars of umbrella-like structures further strengthen the uncertainty of drama, which is also the designer's intention: the existence of pillars makes the drama unable to appear in the conventional form, but also promotes the relationship between performance and space. Certainly, the open space in the inverted seat position can ensure the normal performance. Virtually, the site has become more uncertain, which can be redefined by different users and use conditions. This might be the space model needed in the post-industrial era.

灯光加强了红色装置的表现力Lighting enhancing performance of the red installation

从入口部分看红色伞状装置 Red umbrella-shaped installation seen from entrance

伞帽细部 Details of umbrella caps

讲好红色故事：色彩、材质、明暗对比中的娓娓道来

Tell good red stories: storytelling in the contrasts of colors, materials, light and darkness

设计师认为建筑及环境既是过去故事承载体，也可以成为当代故事的叙述者。红色记忆的展示可以不仅仅是墙面上刻板的展板，更可以是空间体验，甚至是通过戏剧、活动的方式被人们理解和传颂。

The designer believes that architecture and environment are not only the carriers of past stories, but also the narrators of contemporary stories. The display of red memory can not only be a rigid display board on the wall, but also a space experience, and even be understood and praised by people through drama and activities.

空间中采用了大量红色元素以产生特定主题的心理暗示，同时又加入了跳跃的材质（如伞状构筑物下的镜面材质）让整体氛围不至于过分严肃。室内外两个剧场空间产生明暗上的区别，分别对应了观看历史影像和当下表演的不同氛围需求；村史馆窑洞内的低矮空间及土墙材质被完整保留，定制的五星壁灯装置，定义了空间的主题，内部展陈收集了村内的老物件及老照片，使得参观者可以更真切感受到场地所承载的厚重历史。

A large number of red elements are used in the space to produce psychological hints of specific themes, while bouncing materials (such as the mirrors under the umbrella-like structures) are added to make the overall atmosphere less serious. There are differences in light and shade between the indoor and outdoor theatre spaces, which respectively correspond to different atmosphere requirements for viewing historical images and performing at present. The low space and earth wall materials in the kiln cave of the village history museum are completely preserved. The customized five-star wall lamp device defines the theme of the space. The internal exhibition collects the old objects and photos in the village, so that visitors can feel more vividly the heavy history borne by the site.

设计师希望通过建筑及环境的多种空间语言，间接地将场地承载的故事娓娓道来，从而让使用者在使用空间的过程中，产生对红色主题的共鸣。

The designer hopes to indirectly narrate the story carried by the site through a variety of space languages of the building and environment, so that the users can resonate with the red themes in the process of using the space.

村史馆记录了太岳军区一段革命的历史 Revolution history of Taiyue Military Area Command recorded in Village History Museum

村史馆展厅 Exhibition hall of Village History Museum

下沉剧场序厅，透过窗户可以看到村庄 Village seen through the window of lobby of sunken theater

红色装置与红色的看台 Red installation and red audience stand

小结：

Conclusion:

本项目设计团队在仔细阅读场地文脉context的基础上，通过加入新的功能，重塑场地的场所精神，使之更符合韩洪沟老村的新产业诉求，以及新乡民的审美和精神需要。在设计手法上，运用当代性的建筑和艺术语言形成新与旧的对话。这种对话并不是对抗性的，也不是混淆时代的信息，而是一种“忘年交”式的共生关系。

On the basis of carefully reading the context of the venue, the design team of the project reshapes the genius loci the venue by adding new functions, so as to make it more in line with the new industrial demands of the old Hanhonggou Village, as well as the aesthetic and spiritual needs of new villagers. In terms of design techniques, the use of contemporary architectural and artistic language forms a dialogue between the new and the old. This kind of dialogue is not antagonistic, nor confusing the information of the times, but a symbiotic relationship of "forgetting the ages".

项目信息：

名称：大槐树下的场院

地点：山西省沁源县沁河镇韩洪沟村

业主：沁源县人民政府

建筑、室内、景观设计：三文建筑（www.3andwichdesign.com）

主持建筑师：何崴、陈龙

项目建筑师：梁筑寓

设计团队：桑婉晨、曹诗晴、赵馨泽、李俊琪

项目顾问：周榕、廉毅锐

设计时间：2019年4月-7月

建成时间：2019年11月

场地面积：800平方米

建筑面积：250平方米

摄影：金伟琦，何崴

Project information:

Name: Threshing Ground under the Big Locust Tree    

Location: Hanhonggou Village, Qinyuan County, Shanxi Province, China

Owner: People’s Government of Qinyuan CountyArchitecture, interior and landscape design: 3andwich Deisgn / Hewei Studio （www.3andwichdesign.com）

Principle architects: He Wei, Chen Long

Project architect: Liang ZhuyuDesign team: Sang Wanchen, Cao Shiqing, Zhao Xinze, Li Junqi

Project consulting: Zhou Rong, Lian Yirui

Design period: April – July 2019

Completion time: Nov. 2019

Site area: 800sqm

Building area: 250sqm

Photographer: Jin Weiqi, He Wei

夜景 Night scene

错落的伞状装置改变了场地的气质 Scattered umbrella-shaped installation changed the temperament of site

当地村民在场院中唱戏 Local villagers performing in courtyard（摄影：何崴）

施工过程 Construction process（三文建筑提供）

施工过程-2 Construction process-2（三文建筑提供）

总平面图 General site layout

首层平面图 First floor plan

轴测图 Axonometric drawing

剖面图 Section

墙体细部 Detailsl