谷里的窗,树上的云,南京四方艺术湖区公共卫生间丨中国南京丨南京大学建筑规划设计研究院有限公司 物物建筑

建筑或架在松林中，或隐匿在谷地里，希望建筑退后，以谦逊的姿态回应场地，构建人与自然环境新的视角。同时通过独特建造方式的选择，无定形的混凝土回应无定形的自然，唤起感官，激发人们对身体、自然、时间的感知。

The buildings are either hidden in the valleys or perches lightly among the pines, adopting a humble stance that responds to the site while framing new perspectives between people and the nature. Through deliberate construction methods, formless concrete responds to formless nature, it engages the senses, heightening awareness of body, nature, and time.

▼建筑架在松林中，The building is perched lightly among the pines©侯博文

▼建筑隐匿在谷地里，The building is hidden in the valley©侯博文

背景

Background

南京四方艺术湖区承载着中国建筑设计的一个重要事件。2003年8月，国内首次以建筑实物作为展品的中国国际建筑艺术实践展(CIPEA)在南京浦口佛手湖畔拉开了帷幕，这一场当代建筑艺术的盛会汇集了活跃在世界建筑舞台上的24位建筑大师，包含当下5位普利茨克奖获得者。面对如此隆重的场地，我们希望公共卫生间尽量消隐，同时与现有建筑保持适当距离，强化所处环境的山林景观。

▼总平面图，Master plan©物物建筑

The Sifang Art District in Nanjing represents a significant event in Chinese architectural design. In August 2003, the China International Practical Exhibition of Architecture (CIPEA) was launched by the Fosho Lake in Pukou, Nanjing, marking the first time in China that physical buildings were showcased as exhibits. This grand event of contemporary architectural art gathered 24 master architects active on the global architectural stage, including five current Pritzker Prize winners. Facing such an eminent setting, we sought to minimize the restroom’s visual presence while maintaining an appropriate distance from the existing buildings to heighten the site’s woodland scenery.

▼园区航拍，Aerial photography of the district©潘幼建

我们的设计从建造方式开始入手，清水混凝土是园区建筑使用最普遍的材料, 在这里我们尝试给予混凝土自然的肌理，强化它与自然环境的关联。

The design process started at the fundamental level of construction techniques. We intentionally endowed the exposed concrete – the park’s most extensively used material – with organic textures to strengthen its dialogue with nature.

▼园区内已有建筑对清水混泥土的尝试，The existing buildings in the district have experimented with fair-faced concrete©潘幼建

我以为我们先是自然的人，然后才是社会的人。我们很容易和原始或者说接近原始状态的文明产生共情。它们是朴拙的、抽象的，也是充满对比的，自然与人工、原始与几何。它们将人的自然属性和社会属性并置在了一起，产生了戏剧性的冲突，激发人们在空间中的感知。

I believe we were natural beings first, and then social beings. We easily empathize with primitive or nearly primitive civilizations. They are rustic, abstract, and full of contrasts: natural versus artificial, primitive versus geometric. They juxtapose humanity’s natural and social attributes, creating dramatic tension and stimulating people’s perception in space.

▼左图：埃塞俄比亚拉里贝拉的圣·乔治教堂，在石头坡地上开凿的石头教堂; 右图：沙特·古城萨利赫迈达古墓，戈壁风化砂岩自然与人工的并置，Left: Lalibela St.George’s Church is a stone church excavated on a rocky slope; Right:Madain Saleh, the juxtaposition of natural and artificial in the Gobi’s weathered sandstone©网络

树上的云

The Cloud on Trees

它位于园区入口停车场一侧的松林里，与停车场有两三米左右的高差，是块逐步下降的坡地。不规则的自然肌理混凝土板像云一样架在松树林之间，柱子直径与松树相仿，以此来回应所在的场地。架起来的公共卫生间直视树梢为人们提供了非日常的观赏树木的视角。

Nestled in the pine grove beside the parking lot, the structure sits on a gently sloping terrain with a 2-3 meter elevation difference from the pavement. Irregular concrete panels with natural textures float like clouds among the pines, supported by columns matching the trees’ diameter to harmonize with the surroundings. The elevated restroom offers visitors an unusual perspective—gazing directly at the treetops.

▼混凝土板像云一样架在松树林之间，Concrete panels with natural textures float like clouds among the pines©侯博文

▼通过窄桥来连接建筑与场地，Linking the building to the site via a narrow bridge©侯博文

▼不规则的自然肌理混凝土板，Irregular concrete panels with natural textures©侯博文

▼架起来的建筑，透过建筑可以看到背后的树林，The elevated building, the woods behind revealed through the architecture©潘幼建

▼建筑入口视角，与松树相仿的柱子，Entrance perspective, pillars resembling pine trees©潘幼建

▼自然随机的混凝土肌理也是对树皮的回应，The naturally random concrete texture also echoes the bark of trees©潘幼建

▼建筑尽端视角，架在松树背后，Terminal vista perspective, framed by pine trees©潘幼建

▼与松树皮一样随机的混凝土肌理，Random concrete texture like pine bark©潘幼建

▼窄桥作为建筑入口，The bridge as architectural gateway©侯博文

▼自然随机肌理的混凝土顶面，Concrete ceiling with naturally random texture©侯博文

▼混凝土顶面与光滑不锈钢墙面形成对比，The concrete ceiling contrasts with the smooth stainless steel wall©潘幼建

平面中间设置了开敞休息空间，为建筑与树林的对话留了口子，面向建筑另一侧深深的密林。保留的一棵松树，从建筑中穿过，讲述着场地的故事，也允许少量雨水的飘落。

An open rest space is designed in the middle of the plan, facing the deep forest, leaving a space for dialogue between the building and the forest. A preserved pine tree passes through the building, narrating the story of the site and allowing a touch of rainwater to drift in.

▼开敞休息空间，Open rest space©侯博文

▼保留的松树从建筑中穿过，A preserved pine tree passes through the building©侯博文

▼仿佛从山洞往外眺望，As if gazing out from a cave©潘幼建

所有厕间面对树林一侧设置了大面积的落地玻璃，直面树林，仿佛在密林中如厕。设置的兼顾隐私需求的电动雾化玻璃，让勇敢者和害羞者都有选择的可能。

All restroom stalls feature floor-to-ceiling windows facing the grove, immersing users in the forest as if answering nature’s call amidst the woods. Equipped with privacy-preserving electric frosted glass, the design offers both the bold and the shy the freedom to choose.

▼所有厕间面对树林一侧设置了大面积的落地玻璃，直面树林，All restroom stalls feature floor-to-ceiling windows facing the grove©潘幼建

▼家庭卫生间，Family restroom©潘幼建

▼设置兼顾隐私需求的电动雾化玻璃，Equipped with privacy-preserving electric frosted glass©潘幼建

▼以开敞的姿态面对树林，An open gesture embracing the forest©侯博文

架起来的建筑，让底部的坡地可以连续，花草昆虫也可以穿行。以一种低介入的姿态来迎向密林，强化其所在的场地特征。

The elevated structure allows the sloping terrain beneath to remain continuous, enabling plants and insects to pass through freely. Approach the dense forest with a low intervention posture to enhance the characteristics of the site.

▼架起来的建筑，The elevated building©侯博文

▼连续的坡地，Continuous sloped terrain©侯博文

▼无定形的混凝土回应无定形的自然，Formless concrete responds to formless nature©侯博文

▼建筑背面隐匿在树林中，The building’s rear elevation dissolves into the forest©潘幼建

▼建筑与自然的对话，Dialogue between Architecture and Nature©潘幼建

▼无定形的混凝土回应无定形的自然，Formless concrete responds to formless nature©潘幼建

▼混凝土局部肌理，Partial concrete texture©潘幼建

谷里的窗

The Window in Valley

它位于园区环形道路一侧的谷地里，与道路落差大概三米多，刚好是一层房子的高度。从道路一侧，它几乎消失。仅有楼梯入口和无障碍电梯矗立在屋面，提示着它的存在。

It is located in a valley along the circular road of the park, with an elevation difference of about three meters from the road, which is exactly the height of a one story building. From the roadside, it nearly disappears. Only the stair entrance and an accessibility elevator stand on the rooftop, hinting at its presence.

▼绿化屋面让建筑融入场地，The green roof integrates the building into the site©侯博文

▼矗立的无障碍电梯、球形采光窗、楼梯入口，The towering accessible elevator, spherical skylights, and staircase entrance©侯博文

▼屋面野蛮生长的野草让建筑与坡地相融，The grass growing wildly on the roof blends the building with the slope©侯博文

狭长楼梯，它是从自然到建筑、宽阔到限定的甬道，更是自然再次呈现的前序铺垫和空间转换，欲扬先抑。当自然再次打开，它被不规则的长窗限定和强调，它好像细长的眼眸，提供了凝视谷底的机会，给予场所意义。

The narrow staircase is a passage from nature to architecture, from openness to confinement, and also serves as a prelude and spatial transformation for the reappearance of nature. When nature unfolds once more, it is framed and emphasized by irregular long windows, like slender eyes, providing an opportunity to gaze at the valley and giving meaning to the site.

▼作为前序铺垫的入口楼梯，The entrance staircase as a prelude©侯博文

▼通过楼梯，自然再次打开，Through the staircase, nature reveals itself anew©侯博文

▼凝视谷底的长窗，Staring at the valley©侯博文

▼长窗与混凝土肌理，Long windows and concrete texture©侯博文

天花和墙面呈现出自然随机的肌理，似一个地下洞穴，从中窥视谷地。自然的混凝土肌理与平滑的墙面和地面产生强烈的对比和反差，人工与自然、平整与褶皱，尝试去挖掘人的感官和不一样的身体经验。

The ceiling and walls exhibit a naturally random texture, resembling an underground cave that peers into the valley. The raw, organic concrete surfaces create a striking contrast with the smooth walls and floors, while artificial and natural, flat and wrinkled, an attempt to evoke the senses and deliver a distinct bodily experience.

▼似一个地下洞穴，Like an underground cave©侯博文

▼自然随机的混凝土肌理与平滑混凝土的对比，Comparison between natural random concrete texture and smooth concrete©侯博文

▼混凝土的不同质感并置，The juxtaposition of contrasting concrete textures©潘幼建

圆形天窗给如厕带来意外的仪式感，在保证隐私性的同时解决了地下卫生间的采光，也可以窥见一方天空。

The circular skylight adds an unexpected sense of ritual to using the restroom. While ensuring privacy, it also brings natural light into the underground restroom, offering a glimpse of the sky above.

▼无性别卫生间，No-gender restroom©侯博文

建筑镶嵌在两侧坡地当中，坡地延伸到建筑内部，呈现出与大地咬合的姿态。公共卫生间从道路一侧形象是模糊的，只有绕到另一侧，才有一个清晰的形象展开。建筑的窗像一道裂开的口子，窥探着绿意盎然的谷地。

The building is embedded between the two sloping sides of the land, with the slopes extending into the interior, creating an interlocking gesture with the earth. From the roadside, the public restroom appears ambiguous in form, only when one circles to the other side does a clear image unfold. The window of the building is like a crack, peering into the lush green valley.

▼建筑镶嵌在两侧坡地中，The building is embedded between the two sloping sides of the land©侯博文

▼建筑坡地咬合，The building interlocking with Sloped Terrain©侯博文

▼建筑的窗像一道裂开的口子，The window of the building is like a crack©侯博文

▼建筑隐匿在树林后，The building is hidden behind trees©侯博文

建造 Construction

一旦原始的自然因素被纳入到空间之中时， 其原先自然的属性在与人的相遇中发生了转变，而这时候原来自然的东西呈现出它在建筑学上的意义。

Once the original natural factors are integrated into a space, their original natural attributes transform in their encounter with humans, revealing their architectural significance in this new context.

▼树上的云概念模型，Concept model of the cloud on trees©物物建筑

混凝土是很诚实的材料，它总是忠诚的反映出模板的形态。我们的建造从模型的制作开始，以雪弗板为底，以陶土付形，以塑料膜为面，以此来构建混凝土表面的凹凸曲折。真实建造采用相同的建造逻辑，不同的是受混凝土自重大及钢筋随机弯折难度较大的影响，正式建造的褶皱起伏不如模型来得强烈。

Concrete is an honest material, faithfully mirroring the form of its molds. Our construction process began with model-making: using PVC foam boards as the base, clay for shaping, and plastic film as the surface to sculpt the undulating texture of the concrete. The actual build followed the same logic, though the weight of concrete and the constraints of rebar bending tempered the folds’ intensity compared to the model.

▼模型制作：木板、泥塑、覆膜、钢丝绑扎，Model Making: Formwork, Clay Sculpting, Film Coating, Steel Wire Binding©物物建筑

▼现场施工：基础模板、泥土塑形、铺膜、钢筋绑扎、浇筑，On site construction: Formwork, Soil Sculpting, Film Coating, Reinforcement binding, Pouring©潘幼建

我们尝试给予清水混凝土相对自由的形态和肌理，其最终呈现的结果并不是可以精确设定的，只能因势就形。无定形的混凝土回应无定形的自然，允许不确定性的存在也是一种丰富性和积极性的表达。

We attempt to give exposed concrete a relatively free form and texture, but the final result cannot be precisely set and can only be shaped according to the situation. Formless concrete responds to formless nature, allowing uncertainty is also a rich and positive expression.

▼无定形的混凝土回应无定形的自然，Formless concrete responds to formless nature©潘幼建

▼随机的混凝土肌理与松树皮的关系，Random concrete texture like pine bark©潘幼建

▼树上的云平面图，Plan of The Cloud on Trees©物物建筑

▼树上的云立面图，Elevationof The Cloud on Trees©物物建筑

▼树上的云剖面图，Sectionof The Cloud on Trees©物物建筑

▼谷里的窗屋顶平面图，Roof plan of The Window in Valley©物物建筑

▼谷里的窗地下平面图，Underground planof The Window in Valley©物物建筑

▼谷里的窗立面图，Elevationof The Window in Valley©物物建筑

▼谷里的窗剖面图，Sectionof The Window in Valley©物物建筑

项目名称: 谷里的窗、树上的云，南京四方艺术湖区公共卫生间

项目类型: 基础设施

建设方：南京佛手湖建筑艺术发展有限公司

设计方: 南京大学建筑规划设计研究院有限公司 物物建筑

主持建筑师: 潘幼建、万军杰

设计团队: 建筑：潘幼建、张昱妍、乔能欢、李崇昊、朱屠昊（实习）、洪睿晟（实习）；结构：汤荣广、谢洪恩、杨昊、陆冬燕、颜欣妍；给排水：吴凤环、张芽；电：王立明；暖通：王倩；智能化：马勇。

项目设计：2021年3月-2023年3月

完成年份: 2024年12月

建筑面积: 谷里的窗120㎡，树上的云126㎡

施工：南京行远建设工程有限公司

摄影: 侯博文、潘幼建

Project name:The Window in Valley, The Cloud on Trees, Public Restroom of Nanjing Sifang Art Lake District

Project type:Infrastructure

Client:Nanjing Foshou Lake Architectural Art Development Co., Ltd.

Design firm:WUWU Atelier, Institute of Architecture Design and Planning Co., Ltd, Nanjing University

Lead architects:Pan Youjian, Wan Junjie

Design team: Architecture:Pan Youjian, Zhang Yuyan, Qiao Menghuan, Li Chonghao, Zhu Tuhao (Intern), Hong Ruisheng (Intern); Structure:Tang Rongguang, Xie Hong’en, Yang Hao, Lu Dongyan, Yan Xinyan; Plumbing & Drainage:Wu Fenghuan, Zhang Ya; Electrical:Wang Liming; HVAC:Wang Qian; Smart Systems:Ma Yong

Design period:March 2021 – March 2023

Completion year:August 2024

Floor area: The Window in Valley: 120 ㎡, The Cloud on Trees: 126 ㎡.

Construction:Nanjing Xingyuan Construction Engineering Co., Ltd.

Photography:Hou Bowen, Pan Youjian