中國唯一入圍！2025AR新銳建筑獎，村落公共空間的一種介入方法

近日，中國美術學院建筑藝術學院建筑藝術系教師龔晨曦，攜其主持設計的垟山頭公共空間項目，作為2025英國《建筑評論》新銳建筑獎（AR Emerging Architecture Awards）中國唯一入圍作品，刊登于《建筑評論》（The Architectural Review）2025年11月期刊。

《建筑評論》是一份國際建筑月度專業刊物，于1896年在英國倫敦創立，是全球歷史最悠久的建筑文化出版機構。在其近130年的歷史中，留下了豐富的建筑文化遺產，是歐洲建筑行業最重要的專業刊物之一。該刊物的歷史幾乎是現代建筑歷史的寫照，見證了建筑專業在全世界范圍內的一次又一次轉變，特別是推動了現代主義建筑在全世界范圍內的發展。

《建筑評論》雜志新銳建筑獎設立于1999年，是為響應國際重量級獎項和終身成就獎而設立的，面向建筑、城市及景觀設計領域的新興事務所征集作品，旨在表彰有前途的設計團隊，并在青年人才的職業生涯早期推動他們走上國際舞臺。坂茂（Shigeru Ban，2014年普利茲克獎獲得者）、里克.喬（Rick Joy）、安娜.赫琳格（Anna Heringer）、藤本壯介（Sou Fujimoto）、托馬斯.赫斯維克（Thomas Heatherwick，2008年世博會英國館設計師）、如恩設計工作室（Neri &Hu）、弗里達.埃斯科巴多（Frida Escobedo），以及安妮·霍爾特羅普（Anne Holtrop）等著名國際設計大師都在其職業生涯早期階段入圍或獲得該獎項。《建筑評論》通過全球性平臺對獲獎者進行宣傳，激勵他們取得更杰出的成就。

2025 AR新銳建筑師獎全球僅有15家設計事務所入圍，入圍名單涵蓋了來自世界各地工作的建筑師，包括中國、丹麥、法國、加納、日本、韓國、墨西哥、秘魯、瑞士、英國、美國和越南。龔晨曦主持的地我建筑工作室（Atelier Wo-Land）是唯一入圍的中國建筑事務所。值得一提的是，我校建筑藝術學院建筑藝術系教師黃立主持的否則建筑也在2019年入圍該獎。

以下是《建筑評論》對地我建筑工作室（龔晨曦團隊）的報道。

中國東海岸的一個村莊里，低成本的介入設計為鄉村生活開辟了意想不到的空間。

Economical interventions in a village on the eastern coast of China carve out unexpected spaces for rural life.

位于楠溪江流域的垟山頭村，近幾十年來逐漸被居民主導的自發建設定義。龔晨曦的地我建筑工作室團隊，近期的介入設計與這種自發形成的肌理相輔相成，創造出新的公共空間，以容納和支持社區的公共活動。

The village of Yangshantou in the Nanxi River Basin has developed over recent decades with piecemeal additions constructed predominantly by residents. Recent interventions by Atelier Wo-Land complement this ad hoc fabric to create new public spaces to accommodate and support communal activities.

1公共廣場public square 2祠堂舊墟ancestral hall 3舊徑新生restored paths 4捕樹冠箱pavilion 5山頭溪shantou creek

廣場成為了秋收曬谷的理想之地，祠堂舊墟的活動中心則可以是便捷的倉庫。

The public square has served as an ideal location for drying rice after the harvest, and the activity center a convenient storehouse.

剖面AA

村莊北緣的一塊閑置地塊被改造為公共廣場，為村民提供了社交和休憩的空間，同時也兼作秋收曬谷場。在宗祠原址上，一個“大構架”（big frame）橫跨兩層空間，容納著豐富多樣的活動。宗祠僅存的裝飾性門頭被保留了下來

A vacant site on the northern edge of the village was transformed into a public square, offering a space to socialize and rest, as well as dry the rice harvest. On the site of the ancestral hall, a "big frame" allows for various activities across two storeys. Only the hall's decorative portal remains

自2022年創立地我建筑工作室以來，龔晨曦一直試圖將其建筑實踐定位在事務所名稱中的連字符上（Atelier Wo-Land），即充當主體與環境之間的中介。“你首先必須了解真實情況，”她說，“然后才能開展設計。” 在龔晨曦的工作中，這一信念引導她對田野調查的重視；通過研究特定語境的復雜性，她以此識別出介入的空間。

Since founding Atelier Wo-Land in 2022, Gong Chenxi has sought to situate her practice in the hyphen of its name, acting as an intermediary between a subject and its context. "First you have to understand things as they are, "she says, "and then you can develop a project." In Gong's work, this conviction guides an emphasis on field research; by studying the complexities of a given context, she identifies space to intervene.

2023年，地我建筑工作室受地方委托參與垟山頭村的公共空間更新工作。該村位于中國東海岸的楠溪江流域，曾是一個整體的宗族村落，其近期的發展則基于自下而上的、村民主導的建設。與那些試圖在美學上統一風貌的舉措截然不同，龔晨曦在村莊的異質性中發現了美：“這意味著建成環境是通過一個具有包容性的過程產生的，這是非常珍貴的。” 她的直覺是去尋找隱藏在雜亂表象之下的秩序，并在與村干部及村民的討論中，包容協調那些涌現出的多重——有時甚至是相互沖突的——想法。

In 2023, Atelier Wo-Land was approached by the local administration to lead the regeneration of Yangshantou, a formerly clan-based village in the Nanxi River Basin on the eastern coast of China, whose recent development was the result of bottom-up, resident-led construction. In contrast to similar initiatives which have attempted to aesthetically unify, Gong finds beauty in the village's heterogeneity: "It means that the built environment was produced through an inclusive process, and that's a precious thing." Her intuition was to listen for the harmony beneath the dissonance, contending with the multiple – sometimes discordant – ideas that emerged from her discussions with village officials and residents.

龔晨曦的策略是在垟山頭村各處未被充分利用的場地進行一系列介入，在這些地方，不同功能的無序交匯產生了她所謂的“不精確的節點”（imprecise joints）。這些介入設計旨在強化這些交接處，將場地與其周邊環境縫合在一起，從而賦予整體以連貫感。用卵石修復垟山頭村東西陡峭地形上的兩條破敗小徑，將各個場地串聯起來，使其成為“網絡中的節點”。在村莊的西側邊界，一座帶有階梯狀開口的崖頂涼亭柔化了村莊與山頭溪交匯處的生硬邊界，為途經此地的一條區域性步道上的徒步者提供了休憩之所，也提供了觀賞灘林的視野。

Gong's strategy comprises a series of interventions at underused sites around Yangshantou, where the uncoordinated meeting of different programmes has produced what she calls "imprecise joints". The interventions serve to reinforce these junctions, stitching the sites into their immediate context to confer a sense of cohesion to the whole. The restoration of two dilapidated paths on the steep terrain to the east and west of Yangshantou helps connect the sites, enabling them to function as "nodes in a network". On the village's western boundary, a sloped pavilion with terraced openings softens the hard edge where the village meets the Shannan Creek, offering views of the riparian landscape and a resting place for hikers passing on a regional trail.

這些介入設計留有詮釋的余地，它們作為支持公共生活的基礎設施而存在，而非具有給定用途的靜態形式。在一處廢棄宗祠的遺址上——那里唯一完整的結構是一座老門頭——龔晨曦設計了一個她稱之為“大構架”的活動中心。它預留了未來改造或擴建的可能性，使建筑能夠適應不斷變化的活動需求。在村莊北端，一塊面朝阡陌稻田的閑置地塊被改造成了公共廣場。在這里，龔晨曦采用了極簡的介入手法——片段化的鋪裝、家具和一個舞臺——通過賦予場地一種設計感來引導人們的駐留與使用。

The interventions are left open to interpretation, standing as infrastructures for public life rather than static forms with prescribed uses. For the site of a ruined ancestral hall, where the only intact structure was a carved stone portal, Gong designed an activity centre that she calls the "big frame". Proportioned to accommodate future modification or extension, the building will adapt to changing activities. On the northern tip of the village, a vacant site facing a quilt of paddy fields has been turned into a public square, where Gong's minimalist additions – selective paving, furniture, a platform – invite inhabitation by affording the appearance of intention.

盡管由于預算緊張，介入設計的選材較為樸素，但這同時也體現了對村莊肌理的尊重與呼應。活動中心由混凝土框架和鋼筋欄桿構成，沿用了垟山頭村普遍采用的建造工藝。鋼筋元素再次出現在修復后的小徑與公共廣場的欄桿上，成為貫穿村莊景觀的一條線索。

While the material palette of the interventions is modest in part due to a constrained budget, it also celebrates the fabric of the village. The activity centre, comprising a concrete frame with rebar balustrades, repeats the construction technology that predominates in Yangshantou. The rebar appears again in the railings of the restored paths and the public square, a thread that runs through the village landscape.

自該項目于今年完工以來，龔晨曦表示這些場地已承載了各種各樣的用途，其中一些用途出乎意料：活動中心里既有老婦人在聚集著縫補或做紐扣，也有當地銀行為了招攬潛在客戶而向村民發放雞蛋。與此同時，村民們也有自己的主意：公共廣場成為了秋收后晾曬稻谷的理想場所，而活動中心則變成了便捷的倉庫。“這就是鄉村生活，”龔晨曦說道，“這與我們在城市里的體驗不同，城市里的每個空間都有著既定的功能。”

Since the project was completed this year, Gong says the sites have accommodated a variety of uses, some less anticipated than others: the activity centre has seen elderly women mending their clothes and local banks distributing eggs to villagers, attempting to lure potential customers. The farmers, meanwhile, have had other ideas: the public square has served as an ideal location for drying their rice after the harvest, and the activity centre a convenient storehouse. "That's village life," Gong says. "It's different from what we have in the city, where each space has a defined programme."

路易·康曾將街道描述為一種建立在共識之上的公共客廳，但龔晨曦解釋說，在垟山頭村，這種共識是一份“松散的契約”。“它允許多種使用方式。它允許偶然性的發生。” 在更北面的舟山，龔受委托在另外兩個村莊參與類似的環境整治項目。她已著手調研：她將在那里尋找可塑性的空間。（作者：拉可斯米.安德魯斯）

While Louis Kahn described a street as a communal room constructed through agreement, Gong explains that, in Yangshantou, this agreement is "a loose contract". "It allows multiple types of use. It allows for chance." Further north, in Zhoushan, Gong has been commissioned to lead similar environmental remediation projects in two other villages. The officials know what they want, and Gong has started her survey: here will find space for malleability. Laxmi Andrews

村里的小徑和臺階已重獲新生，新的鋪裝使用了村里傳統的卵石以及紅磚。欄桿由螺紋鋼筋制成，呼應了垟山頭村廣泛使用的建筑材料。

Paths and staircases around the village have been rejuvenated, with new paving made of pebbles, traditionally used in the village, as well as red brick. Balustrades are made of steel rebar, reflecting the materials used widely across Yangshantou

坐落在村莊西緣的一座涼亭為行走在附近步道上的徒步者及當地居民提供了休憩之處。與村內其他的介入設計一樣，涼亭也是由低成本材料建造的，如磚塊和聚碳酸酯波浪板。

A pavilion perched on the western edge of the village offers respite to hikers walking nearby trails as well as local residents. Like the other village interventions, the pavilion is made of inexpensive materials, such as brick and corrugated plastic sheets

龔晨曦老師近年來結合教學和實踐，專注于城鄉空間模式演變的研究與設計介入，強調田野調查和建筑設計的緊密關聯，從對現實的解讀中生發出環境與自反參照的設計方法。她認為建筑師=建筑師+人類學家。建筑本身是主體“我”與“土地”之間持續回響的對話。這個“我”也是“我們”，這個“土地”也包含了人。

攝 影｜郭璐煒 張瀚文 管 鈞 李 瑞

編 輯｜黃筱柔

責 編｜王怡航

審 核｜方 舟 張敏敏

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