三峡文化站/MUFU建筑表演工作室

三峡文化站/MUFU建筑表演工作室
Shanxia Cultural Station / MUFU Architectural Performance Studio

文化与空间的融合：三峡文化站的设计巧妙地将传统文化与现代空间需求相结合。建筑不仅在形式上呼应了村庄的自然与文化环境，通过红赤陶砖、鹅卵石和玻璃砖的运用，增强了与周边环境的联系，还在功能上满足了龙灯表演等文化活动的需求。其空间布局灵活，一楼和二楼的公共活动空间与三楼至五楼的住宿区可根据活动需求灵活转换，体现了建筑对文化活动的深度支持。

建筑与自然的对话：该项目在设计中充分考虑了场地条件和自然环境。通过斜切分段策略和体积退缩设计，建筑与后雁塔山的视觉关系得到优化，同时将狭窄通道改造为庭院，创造了与自然更积极的互动空间。这种设计不仅减少了建筑对自然的压迫感，还提升了空间体验，展现了建筑与自然和谐共生的设计理念。

社区与发展的新动力：三峡文化站作为村庄的新地标，不仅为龙灯表演提供了场地支持，更成为公共文化活动的孵化器。它通过举办展览、戏剧工作坊和学术研讨会等活动，重新唤醒了村庄的文化活力，吸引了更多关注。建筑的成功不仅在于其功能性，更在于它对村庄文化价值的重新审视和对发展潜力的挖掘，为农村社区注入了新的可能性。

建筑师提供的文字描述山下村位于中国浙江省永康市茅前山脚下，长期以来以其风景如画、文化底蕴深厚而闻名。然而，随着现代化的到来，这个村庄的传统魅力逐渐消退。尽管如此，卧龙灯的民俗仍然存在，每年农历正月十七日的这一仪式表演仍然是一个重要的时刻，它将社区聚集在一起，加强了村庄。项目现场是一块住宅区，其北面是龙灯表演场和被称为后岩塔的岩石山。与其复制同质的现代风格住宅，不如设想一个植根于农村的公共文化站，旨在增强龙灯观赏体验，并作为各种文化活动的中心。
Text description provided by the architects. Located at the foot of Maoqian Mountain in Yongkang, Zhejiang, China, Shanxia (Mountain-Foot) Village has long been celebrated for its picturesque landscapes and rich culture. However, with the advent of modernization, the village's traditional charm has gradually faded. Despite this, the folk custom of the Bench Dragon Lantern has endured, and this annual ritual performance on the seventeenth day of the first lunar month remains a significant moment that brings the community together and strengthens the village. The project site is a residential plot, just north of which lies the field for the dragon lantern performance and the rocky hill known as Houyanta (Rear Rock Pagoda). Instead of replicating the homogeneous modern-style residences, a public-oriented cultural station was envisioned, rooted in the rural land, with the aim of enhancing the dragon lantern viewing experience and serving as a hub for various cultural activities.

村庄规划、传统习俗和场地条件对设计提出了挑战，设计过程中的战略谈判也在建筑形式上引入了矛盾。根据当地习俗，建筑不得短于南面的住宅。结合村庄规划的平面布局要求，这导致了一座高度和体积相当大的建筑，从南面看，它与其他新建的现代风格住宅非常相似。在建筑北侧，采用斜切分段策略，缓解后雁塔山建筑的视觉压力；同时，一种体积退缩的设计将建筑边界线和陡峭岩壁之间的狭窄通道变成了一个庭院。虽然这些策略减少了建筑面积，但它们促进了建筑与自然之间更积极的关系，并增强了空间体验。红赤陶砖、鹅卵石和玻璃砖的相互作用不仅加强了建筑与村庄自然和文化环境之间的联系，也有助于为建筑建立内在的形式和功能逻辑。
The village planning, traditional customs, and site conditions presented challenges for the design, and the strategic negotiations within the design process also introduced contradiction in the architectural form. According to local customs, the building must not be shorter than the residences to its south. Combined with the planar layout requirements of the village planning, this resulted in a building with considerable height and volume, which, from its southern view, closely resembled other newly built modern-style residences. On the northern side of the building, a sectional strategy of slanted cut was adopted to alleviate the visual pressure of the building on Houyanta Hill; meanwhile, a volumetric setback design transformed the narrow passage between the building boundary line and the sheer rock face into a courtyard. While the strategies reduced the building area, they fostered a more positive relationship between architecture and nature, as well as an enhanced spatial experience. The interplay of red terracotta bricks, pebble-dash, and glass bricks not only strengthened the connection between the building and the natural and cultural environment of the village but also helped establish an intrinsic formal and functional logic for the building.

该建筑有两个入口，一个在南面，一个位于北面。南入口与传统的住宅布局保持一致，而北入口则与自然山坡相连。一楼和二楼是公共活动空间，包括餐厅、厨房、庭院和多功能厅。三楼至五楼被指定为住宿区，为常驻艺术家和学者提供客房。在龙灯表演期间，三楼至五楼可以灵活改造成公共观景平台和休息区，而一楼和二楼则提供配套服务。随着龙灯节期间人群的聚集，建筑和现有景观共同建立的新空间秩序变得越来越突出。这座建筑不仅在促进表演方面发挥功能作用，而且具有更大的意义：自建成以来，它已成为各种公共文化活动的孵化器和场所，包括展览、戏剧工作坊和学术研讨会，证明了其作为文化中心的可行性。作为该村的新地标，该建筑促使人们重新审视该村的文化价值和发展潜力，同时也形成了更优化的规划布局。受卧龙灯的启发，位于猫前山和后雁塔山脚下的山下文化站正在培养集体智慧，为农村社区注入更深层次的活力和新的可能性。
The building features two entrances, one to the south and one to the north. The southern entrance aligns with the traditional residential layout, while the northern entrance connects to the natural hillside. The first and second floors serve as public activity spaces, including a dining hall, a kitchen, a courtyard, and a multifunctional hall. The third to fifth floors are designated as an accommodation area, offering guest rooms to host resident artists and scholars. During the dragon lantern performances, the third to fifth floors can flexibly transform into public viewing platforms and rest areas, while the first and second floors provide supporting services. As crowds gather during the dragon lantern festivities, the new spatial order jointly established by the building and the existing landscape becomes increasingly prominent. Rather than merely serving a functional role in facilitating performances, this building holds greater significance: since its completion, it has become an incubator and venue for various public cultural activities, including exhibitions, theater workshops, and academic seminars, demonstrating its feasibility as a cultural hub. As a new landmark in the village, the building is prompting people to reexamine the village's cultural value and development potential, while also shaping a more optimized planned layout. Inspired by the Bench Dragon Lantern, the Shanxia Cultural Station, situated at the foot of Maoqian Mountain and Houyanta Hill, is fostering collective wisdom, injecting deeper vitality and new possibilities into the rural community.