云躲躲·烟花小屋，湖南 / EERI 建筑设计工作室

溪流从连云山主峰蜿蜒而下，在金坑村冲出一个开阔的三角地，转了一个大弯继续向南流去。眼前的稻田里，村民们会在每年春天播撒紫云英的种子，开出的花凋谢后会成为这一季水稻的肥料。烟花小屋就是在这样的时空背景下酝酿成型——我们希望它们既是美好的种子，又是美好本身，还可以成为下一段美好的开始。

▼与村落遥相对望的烟花小屋，Spark Lodges opposite the village ©EERI 建筑设计工作室

▼溪流穿过金坑村，随着连云山脉绵延向南，最终汇入浏阳河 The stream passes through Jinkeng Village, stretches southward along the Lianyun Mountains, and finally joins the Liuyang River  ©EERI 建筑设计工作室

The stream winds down from the main peak of Lianyun Mountains, carves out a wide triangle of land in Jinkeng Village, and continues flowing southwards after a big bend. In the rice fields in front, villagers sow Chinese astragalus seeds every spring. The flowers that bloom will become fertilizer for the rice this season after they wither. The Spark Lodges were conceived and formed under such background – we hope that they are not only the seeds of beauty, but also the beauty itself, and as well the beginning of the next beautiful period.

▼沿山体弧形展开的布局，The layout along the curve of the mountain ©EERI 建筑设计工作室

▼清晨，从活动场地看向四幢小屋 Looking at the four lodges from the activity yard in the early morning ©EERI 建筑设计工作室

金坑并不是一个看上去很传统的湖南村落。由于当地火爆的夏日溯溪活动，一部分留下来没有外出打工的村民在过去几年的时间里逐步自发地形成了一套完整的旅游产业链，眼前小小的自然村也因此得以适应并融入了这个急速变化的时代。村庄的形象则更多地呈现出一种工业化带来的经济性与农耕生活、旅游场景拼凑在一起的琐碎日常：目力所及，除了角落中一个黄墙黑瓦的土坯房还残存着一些旧有的记忆之外，村里其他的建筑物无论是空间形制上的不传统——独栋民房普遍以占满宅基地为原则，三开间，四开间，五开间，六开间，甚至八开间、十开间……院落空间更是极少出现；还是建构方式上的便捷甚至轻率——随处可见的蓝色和红色的彩钢板屋面、塑钢窗、自建凉棚……都在表露着一种拿来即用的经济适用主义态度。而作为一个需要快速建造的项目，如何在不违背这个区域时代意愿的前提下降低建设成本、提高建造效率、塑造差异化空间则成为了本次设计的主要议题。

▼草图，Sketch ©EERI 建筑设计工作室

▼轴测图，Axonometric ©EERI 建筑设计工作室

▼从活动场地看向小屋 ，View towards the lodges from the activity yard  ©EERI 建筑设计工作室

▼从小屋看向西侧的活动场地及远处的云躲躲一期建筑 View towards the from the activity yard from lodges, and the YDD house ©EERI 建筑设计工作室

Jinkeng does not look like a traditional Hunan village. Due to the popularity of river trekking in summer here, indigenous people who didn’t go out to work gradually and spontaneously have formed a complete tourism industry chain in the past few years. This small village has thus been able to adapt and integrate into this rapidly changing era. The image of the village presents more of a trivial daily life collage of the mediocrity brought about by affordable industrialization, farming life and tourism scenes: As far as the eye can see, apart from a yellow-walled, black-tiled adobe house in the corner that still retains some old memories, other buildings in the village are unconventional not only in terms of spatial prototype – single-family houses generally occupy the entire homestead with three, four, five, six, or even eight or ten bays (let alone courtyard spaces);  The construction methods are also too convenient or even rash – the blue or red steel profile roofing sheets, PVC windows, self-built metal pergolas…all showing a kind of ready-to-use economic pragmatism. As a project that requires rapid construction, how to reduce construction costs, improve construction efficiency, and create differentiated spaces without violating the zeitgeist in this small region became the main topic of this design.

▼小屋立面，Facades ©EERI 建筑设计工作室

就像金坑村无意于将自己束缚于传统，这几幢小房子也并未以过分谦逊的姿态“融入”当下的乡村图景：虽然场地布局因循了当地村民选址的习惯性做法——它们和其他房子一样背靠山峦、面向平地。但位于山北的事实令项目本身就不具备民居的日照条件，朝向的选择更多着重于对景观的考量，也因此最终形成了观景体验随标高逐级上升的基本策略以及三层略显“高耸”的建筑体量。

▼建筑特写，Close-up of the building ©EERI 建筑设计工作室

Just as Jinkeng Village had no intention of constraining itself to tradition, neither would these small lodges like to integrate into the current rural landscape in a modest manner: although the site selection followed the custom of the village – the lodges, like other houses, had their backs to the mountains and their faces to the plains – their location in the north of the mountain indicated the lack of sunlight conditions for typical residential buildings, which thus made their orientations focused more on the considerations of landscapes. Therefore, it finally led to a basic strategy of continuously changing viewing experience with the gradually increasing elevation, and the three-story volume which looks slightly “towering”.

▼小屋入口，Lodge entry ©EERI 建筑设计工作室

屋顶半透明的聚碳酸酯板成为了外观最醒目的特征，这种并不昂贵的材料会在不同的角度和光照条件下呈现出不同的视觉质感。日光充足的时候这些小帽子更多显现出白色的磨砂肌理，同时在边缘模糊地反射出旁边的树木和天空。但转过一个角度再看，立面又会变得透明起来，与空腔后面的木板形成一定的纵深。天色渐晚，他们又如同四盏有着白色罩子的灯笼点亮周围的树林和田地，暗示着并不跟随夜色渐浓而安分下来的内心活动。

▼入夜鸟瞰， Arial view at night©EERI 建筑设计工作室

The translucent polycarbonate panels on the roof became the most eye-catching feature of the exterior. This inexpensive material displays different visual textures at different angles and lighting conditions. Providing sufficient sunlight, these small caps show more of a white frosted texture, while the edges vaguely reflect the trees and skies nearby. But when you look at it from a different angle, the facade becomes transparent again, forming a certain depth with the wooden boards behind the cavity. As the sky darkens, they light up the surrounding woods and fields like four lanterns with white lampshades, implying the restless inner activities that do not wind down as the night deepens.

▼傍晚从活动场地看向小屋 ，Overview of the building at dusk©EERI 建筑设计工作室

底层的三面落地窗在水平方向上将视线充分延伸，如同在横幅的手卷上观画，远近高低的景色徐徐展开，此时人与周遭环境也最为贴近。由于起居空间与楼上相对隔离，设计之初就刻意取消了底层所有的纱窗，更通透的灰空间让乡野的空气在室内恣意蔓延，又不必担心虫子跑进卧室的问题。二层空间并不直接向稻田开敞，而是通过角窗和侧窗，间接而含蓄地将视线引向两侧，小尺度的框景更像两张近距离的斗方小品——这种开窗方式也更好地保证了空间的私密性。阁楼则充分利用挑高，在床脚呈现出一个超大尺度的竖幅立轴画卷，人与环境的联系也在此延展至最远处的连云山脉。自然不再是一个抽象的概念，它具体地渗透进整个空间，融入每个角落。

▼底层横向展开的视野和完全开启的门扇 ，Horizontal view of the ground floor and fully opened doors ©Nantu南图摄影

▼底层作为厨房和客厅 ，Ground floor as living room and kitchen ©EERI 建筑设计工作室

▼空间特写，Close-up of the living space ©EERI 建筑设计工作室

The three-sided floor-to-ceiling windows on the ground floor fully extend the sight horizontally, like viewing a Chinese painting on a horizontal scroll – the scenery from far and near, high and low, slowly unfolds，so that people get very close to the surroundings at this level. Since the living space is relatively isolated from other rooms upstairs, all mosquito-proof screens on the ground floor were deliberately removed at the beginning of the design. The wide-open gray space allows the country air to spread freely indoors without having to worry about insects running into the bedroom. The space on the second-floor does not open to the rice fields straightforwardly, but implicitly directs the sight to the corner window and side window which both evoke a sense of close-up square-shaped paintings framing scenes at a smaller scale – these openings on the façade simultaneously ensure better privacy. The loft makes full use of the height, presenting an oversized long vertical scroll at the foot of the bed where the connection between people and the environment finally extends to the farthest Lianyun Mountains. Nature is no longer an abstract concept; it concretely penetrates the entire space and blends into every corner.

▼二层角窗空间 ，Corner window space on second floor ©EERI 建筑设计工作室

▼角窗空间特写，Close-up of the corner window space ©EERI 建筑设计工作室

这几幢小屋并不是守望禾田鸡舍的稻草人，也不是城里人用来窥探乡村的潜望镜。它们是楔子，嵌在山林与平地的交界，嵌在未来与过去之间。它们是盛装烟花的爆竹筒，内心在里面寻得一个点燃的瞬间，在云与野的交融中绽放，照见天地，也照见自己。

▼三层阁楼，Loft space ©EERI 建筑设计工作室

▼二层主卧与间接的侧面开窗，Master bedroom on second floor with indirect side windows ©Nantu南图摄影

▼天窗特写，Close-up of the skylight ©Nantu南图摄影

▼三层竖向高窗，Vertical window ©EERI 建筑设计工作室

These lodges are not scarecrows watching over chicken coops or the rice fields, nor are they periscopes for city dwellers to pry into the country life. They are containers filled with fireworks, inside of which your heart finds a moment of ignition, blooming in the blending of clouds and fields, illuminating heaven and earth, reflecting yourself.

▼总平面图，Site plan ©EERI 建筑设计工作室

▼一层平面图，Ground floor plan ©EERI 建筑设计工作室

▼二层及阁楼平面图，Second floor plan and third floor plan ©EERI 建筑设计工作室

▼剖面图，Section ©EERI 建筑设计工作室

▼北立面图，North elevation ©EERI 建筑设计工作室

▼西立面图，West elevation ©EERI 建筑设计工作室