捞鱼亭丨中国昆明丨大舍建筑设计事务所

2025/12/01 20:31:21

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捞鱼亭是昆明2024滇池风土艺术季“家园与未来”（2024 Dianchi Art Season: “Home and Future”）的受邀参展项目之一，位于滇池捞鱼河湿地公园水上森林艺术区的南侧，建成后首先作为滇池艺术节的入口，艺术节之后，亭子被永久地保留了下来，作为湿地公园的一个进入的提示空间，也是游客的休憩场所。滇池边的这一片长满水杉树的湿地实际是城市水质净化的基础设施，作为净化水厂最后一道自然过滤的程序进入滇池，里面有很多小鱼，城市的人们闲时会来到这里捞鱼，故而称之为捞鱼河湿地，这个亭子作为人们捞鱼间休息的亭子，也就被称之为捞鱼亭。

Laoyuting Pavilion is one of the invited projects of the 2024 Dianchi Art Season: “Home and Future”. It is located on the southern side of the Water-Forest Art Zone in the Laoyu River Wetland Park at Dianchi Lake. After its completion, it first served as the entrance to the Dianchi Art Festival, and after the festival, the pavilion was permanently preserved as a spatial hint for entering the wetland park, as well as a resting place for visitors. This wetland, filled with groves of bald cypress along the edge of Dianchi Lake, is in fact part of the city’s water-purification infrastructure—the final stage of natural filtration before water enters the lake. It is home to many small fish, and city dwellers often come here during leisure time to catch fish, hence the name Laoyu River Wetland. As a pavilion where people rest while fishing, it naturally came to be known as the Laoyuting Pavilion.

▼项目鸟瞰，aerialview of the project © WangCe

▼道路视角下的亭子形象，pavilion seen from the pathway © WangCe

▼亭体掩映在树林中，pavilion partially hidden among the trees © WangCe

捞鱼亭通过纤细的钢柱和细碎化的屋顶，在繁忙的车道与成片的水上森林之间创造了一个人工的“森林”空间，一个现代钢结构的亭子被还原为一种有着介于 “树林中”和“棚屋下”之间的体验的场所，是“自然”和“人工”两种场所意味的临界处，那些直径40mm的细密钢柱支撑起看似无序的屋顶，形成的仍然是可以称之为“亭”的建筑。在亭子内部那些错落的细的立柱中，隐含了两条通往滇池深处的路，人们在此汇聚或者分散。屋顶允许细碎光线的进入，使人仿佛置身于浓荫森林，透过缝隙可以看到天空与近处的树冠。在远处观看这个亭子时，却又呈现出类似中国传统建筑中四坡庑殿顶的形象，但是由于屋顶被细碎化地处理了，屋顶看上去又似被附加了一种茅草顶的感觉，这使得实际采用的钢板的材料被去物质化了，或者说，其原本工业属性的意义被转移了。由此我们也得以重新看待技术与自然的关系，以及重新思考中国传统中“亭”与自然风景间的关系。

▼设计草图，sketch © 大舍建筑设计事务所

The pavilion uses slender steel columns and a fragmented roof to create an artificial “forest” between the busy roadway and the expanse of waterborne woodland. A modern steel-structured pavilion is reinterpreted as a place offering an experience somewhere between “within the woods” and “beneath a primitive hut”—a threshold condition between the atmospheres of “nature” and “manmade.” The dense 40 mm-diameter steel columns support a seemingly irregular roof, yet together they still form what can be called a ting, a pavilion. Within the pavilion, among the staggered thin columns, two paths leading toward the deeper area of Dianchi Lake subtly unfold; people gather or disperse from here. The roof allows fragmented light to enter, creating the sense of standing within deep shade, while glimpses of the sky and nearby treetops appear through the gaps. From afar, however, the pavilion presents an image reminiscent of the four-sloped hipped roofs of traditional Chinese architecture. Yet, because the roof has been fragmented, it also takes on a thatched-roof-like appearance. In this way, the actual material—steel plate—becomes dematerialized, or rather, its original industrial connotations are displaced. This allows us to reconsider the relationship between technology and nature, as well as reexamine the relationship between the traditional Chinese ting and its natural landscape setting.

▼亭身隐于水杉林间，pavilion emerging within the cedar forest © WangCe

▼亭内空间透视，interior perspective of the pavilion © WangCe

根据滇池湿地公园的环境保护要求，亭子的基础不得破坏现有的场地地面，所以建筑的基础必须是在地面以上，为此，设计采用一片钢板直接搁置在原始地面上作为亭子的基础。每根柱脚通过一个十厘米见方的实心钢块上翻固定，这些微型“基石”在局部补强后，支撑着细柱的悬臂受力，同时上翻的基础也暗示了对原始地面的保护意图。为了进一步减少施工对场地的影响，亭子的结构采用了预制装配的做法，柱、屋面板、节点与螺栓等所有构件都在工厂提前制作，再运至现场以装配的方式完成。这种轻量化的组装方式，使整个建造过程的确就是在搭建一件大型的户外装置，而非传统意义上的建筑施工。

▼轴测图，axon diagram © 大舍建筑设计事务所

According to the environmental protection requirements of the Dianchi Wetland Park, the pavilion’s foundation could not disturb the existing ground surface. Thus, the structural base had to remain above ground. To achieve this, a steel plate was placed directly on the original surface as the pavilion’s foundation. Each column base is fixed atop a solid steel block of ten centimeters square, which acts as a localized “micro-foundation.” After minor reinforcement, these small blocks support the cantilevered load of the slender columns, and their upward offset also suggests an intention to protect the original terrain. To further minimize on-site disturbance, the pavilion’s structure adopts a prefabricated and assembled system. All components—including columns, roof panels, joints, and bolts—were fabricated in the factory and then transported to the site for assembly. This lightweight construction method made the entire building process akin to building a large outdoor installation rather than conducting conventional architectural construction.

▼层叠钢板屋顶结构，layered steel-plate roof structure © WangCe

▼错落的屋面板层与支撑体系，stacked roof panels and supporting system © WangCe

捞鱼亭以一组“六根立柱＋平／斜钢板”的板柱结构作为基本的支撑模块，再由多个单元模块交叠拼合而成。叠加和拼合后，有些立柱被删减，由上部的更细的短柱和更高处的板相连来完成受力，亭的空间中就出现了不同密度的柱，呈现随机分布的状态，但又暗含着空间的意图。落地钢柱为40毫米实心圆柱，共93根，均以悬臂方式受力，平板与斜板之间通过合页连接。叠加在上部的平、斜板之间则由直径 20 毫米的圆钢短柱支撑，共 125 根，使屋面呈现一种介于柔性与刚性之间的结构特征。

▼搭建过程模型，construction process model © WangCe

The Fishing Pavilion is formed by a basic structural module composed of “six columns + flat/sloped steel plates,” with multiple modules overlapped and combined. After superimposition, some columns are removed, and loads are transferred through thinner short columns connected to plates at higher levels, creating areas of differing column densities within the space—apparently random yet subtly intentional. There are 93 ground-touching steel columns in total, each a 40 mm solid round bar working in cantilever. The flat plates and sloped plates are connected by hinges. Above them, 125 short round steel columns of 20 mm diameter support additional flat and sloped plates, giving the roof a structural character somewhere between flexibility and rigidity.

▼屋面细部，roof details © WangCe

▼通往亭子的水路，water path to pavillion © WangCe

捞鱼亭体现了一种独特的结构态度。它通过对四坡顶形式的解体与重装，获得了一种轻盈的气质，这既来自对湿地生态的尊重，也源于对“亭—树—人”关系的重新理解。亭子的建构重新回应了“树”作为结构原型的意义——人类最初以树枝搭建庇护之所——从而回到关于“树”的隐喻之中。建筑以这样的方式形成了一个可以呼吸、可穿行、可停留的空间。它既属于自然，也属于人类的技术世界，并在两者之间建立起一种新的对话关系。

The Fishing Pavilion embodies a distinctive structural attitude. By deconstructing and reassembling the form of a four-slope roof, it acquires a sense of lightness—arising both from respect for the wetland ecology and from a renewed understanding of the relationship among pavilion, trees, and people. Its construction revisits the significance of the “tree” as a structural archetype—evoking the earliest shelters built by humans with tree branches—and thus returns to the metaphor of the “tree.” In this way, the architecture forms a space that breathes, that can be traversed, and that invites pause. It belongs both to nature and to the technological world of human construction, establishing a new dialogue between the two.

▼总平面图，site plan © 大舍建筑设计事务所