花海一粟 · 百年梨園里一組散布在樹叢中的木制小屋 | century-old pear garden wooden house

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因借“渺滄海之一粟”的意境，于梨樹、梨花、清風、光影中成就天地之純粹。小屋散于果園阡陌縱橫中，于梨枝之巔，覽花果之盛，互不相望，各具風景。淡季作為果農勞作休憩之用，花季則幻作野奢農舍，最大程度滿足游人與農民的不同需求。單元之間可以互相組合形成游人所需要的聚落，使人們領略“花海一粟”的魅力。該項目獲得2019UIA-CBC國際高校建造大賽的三等獎。

建筑的極小，自然的極大。團隊受場地條件的啟發，探討自然與建筑之間的關系。郁郁蔥蔥之間，極小的建筑保留最大的自然，實現鄉村建設“微介入“，在自然面前保持謙卑的同時給鄉村帶來實在的改變。

By borrowing the artistic conception of "a grain of millet in the vast sea", the purity of heaven and earth is achieved in the pear trees, pear blossoms, gentle breeze and light and shadow. The small houses are scattered among the crisscrossing paths in the orchard. Standing on the top of the pear branches, one can enjoy the flourishing flowers and fruits, each with its own unique scenery. During the off-season, it is used for fruit farmers to rest and work, while in the flowering season, it transforms into a wild luxury farmhouse, meeting the diverse needs of tourists and farmers to the greatest extent. The units can be combined with each other to form the settlements that tourists need, allowing people to appreciate the charm of "a grain of sand in the sea of flowers". This project won the third prize in the 2019UIA-CBC International University Construction Competition.

The architecture is extremely small, while nature is extremely vast. Inspired by the site conditions, the team explored the relationship between nature and architecture. Amidst the lush greenery, the tiniest buildings preserve the greatest nature, achieving a "micro-intervention" in rural construction. While remaining humble in the face of nature, they bring about real changes to the countryside.

一、江蘇 ·花海一粟

RESIDENTIAL DESIGN

因方案坐于鄉村，服務于鄉村，在設計之初，團隊牢牢把握方案的在地性，將對形態，建造，使用模式的考慮與鄉村實際情況相統一。設計邏輯可以歸結為四點：高于樹、散于園、向于景、異于期。

梨園之中，梨樹繁茂，匯成林海。梨樹3米左右的高度讓我們產生了漫步林間，踱步枝頭的想象，促使我們將建筑拔高，提供觀者坐于枝頭的奇妙感受。人們能在房中俯視梨園，摘果賞花。

用自由的體量介入梨園矩陣式規則的圖底，在打破規律的同時以輕質姿態介入場地，最大程度保留了自然風貌，實現“最小的建筑，最大的自然”的理想，這既是對環境的主動適應，也是對傳統果園生產方式形成的空間形態的一種落地解決思路與設計方法，使方案具有復制和演變的可能。各單元和景觀之間用蜿蜒的小路連接，功能轉換之間行走于樹與花間，提供房客最直接和充分的自然體驗。

As the plan is located in the countryside and serves the countryside, at the very beginning of the design, the team firmly grasped the local nature of the plan and unified the considerations of form, construction and usage mode with the actual situation of the countryside. The design logic can be summarized into four points: above the trees, scattered throughout the garden, oriented towards the scenery, and different from the schedule.

In the pear orchard, pear trees are luxuriant, forming a sea of forests. The height of the pear tree, which is about 3 meters, evokes in us the imagination of strolling through the forest and strolling on the branches, prompting us to raise the building to offer viewers the wonderful feeling of sitting on the branches. People can overlook the pear orchard from their houses, pick fruits and enjoy the flowers.

By introducing the free volume into the matrix rules of the pear orchard, it breaks the regularity while entering the site with a lightweight posture, preserving the natural features to the greatest extent and achieving the ideal of "the smallest building, the greatest nature". This is not only an active adaptation to the environment but also a practical solution and design method for the spatial form formed by the traditional orchard production mode. Make the plan possible for replication and evolution. The units and landscapes are connected by winding paths. Between functional transitions, one walks among trees and flowers, providing guests with the most direct and comprehensive natural experience.

鄉村自然原始的生態環境提供游客逃離凡俗的機會，視覺離心的布置的是人孤獨的體驗，彼此不相向的景框讓每一個單元浸染在自然里。團隊希望借更加內向的設計探討本體的真實需求。作為在村莊里實際應用的共享農舍，項目充分考慮了單元功能的切換以最大程度地滿足游人與農民的不同需求，實現建筑全生命周期高效利用。平日里，團隊考慮農戶需求，小屋可以作為農戶臨時使用的農家小屋，形成一處存放農具、勞作休憩及登高看護的場所；而在游人較多的花季和成熟季，建筑則轉換為旅游產品，小屋則可以作為游客居住停留的野奢酒店，是游人使用和暫住之處，讓游人可以在此感受最真實的果園生活。

The natural and primitive ecological environment of the countryside offers tourists an opportunity to escape the mundane. The visually separated arrangement conveys a sense of loneliness, and the frames that do not face each other allow each unit to be immersed in nature. The team hopes to explore the true needs of the entity through a more introverted design.

As a shared farmhouse actually applied in the village, the project fully considers the switching of unit functions to meet the different needs of tourists and farmers to the greatest extent and achieve efficient utilization throughout the building's life cycle. On ordinary days, the team takes into account the needs of farmers. The small house can be used as a temporary farmhouse for farmers, forming a place for storing farm tools, resting during work, and guarding from a height. During the flowering and ripening seasons when there are more tourists, the buildings are transformed into tourism products, and the small houses can be used as wild luxury hotels for tourists to stay. They are places for tourists to use and temporarily stay, allowing them to experience the most authentic orchard life here.

二、空間美學

RESIDENTIAL DESIGN

短短十五天要建造六個林間小屋，除了運用自然材料，借鑒當地工法，我們還希望研究木框架，梨枝預制化和鋼結構樓梯裝配式建造的可行性。在細部和場地設計上，團隊在基于美學的考慮之上充分借鑒鄉村傳統工藝，運用簡單質樸的手法實現理想的效果。團隊運用拆取自當地廢舊房屋的用溫潤去火的青磚砌筑景觀水池，向當地傳統洋鐵皮工匠定制雨水口，運用愛園村百年梨園中最具特色的建筑材料——梨樹的枝條快速建造建筑立面。

點狀的空間輕巧而自由，果農與游人的參與延長并完整了「花海一粟」的生命周期，可以說它們是為果樹和人設計的家。從遠方望向「花海一粟」，會看到梨樹之巔那星星點點的小屋，矗立在這廣大的百年梨園上，感受著日月星辰與綠樹繁花。

In just fifteen days, we aim to build six forest cabins. Besides using natural materials and drawing on local construction methods, we also hope to study the feasibility of building wooden frames, prefabricated pear branches and assembled steel structure stairs. In terms of detailed and site design, the team fully drew on traditional rural craftsmanship based on aesthetic considerations and achieved the desired effect through simple and unadorned techniques. The team used the warm and fire-resistant blue bricks taken from the local dilapidated houses to build the landscape water pool, custom-made the rainwater inlets from the local traditional tinplate artisans, and quickly constructed the building facade with the most distinctive building material from the century-old pear orchards in Aiyuan Village - the branches of pear trees.

The dotted Spaces are light and free. The participation of fruit farmers and tourists extends and completes the life cycle of "a Grain of sand in the Flower sea". It can be said that they are homes designed for fruit trees and people. Looking at "A Drop in the Sea of Flowers" from afar, one can see the scattered little houses on the top of the pear trees, standing on this vast century-old pear orchard, feeling the sun, moon, stars and the green trees and blooming flowers.

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