背景 Background

项目位于云南滇中抚仙湖畔的澄江禄充风景区，抚仙湖湖水清澈，明代旅行家徐霞客《徐霞客游记》中记载：“滇山惟多土，故多壅流而成海，而流多浑浊，惟抚仙湖最清”。

为促进对抚仙湖水质的保护，当地政府逐步迁移湖边居住区，希望减少人为因素对湖水的污染。迁移导致老宅子的拆除，也为本案砖瓦材料回收提供前提条件。

The project locates in Luchong Area at Cheng River beside the Fuxian Lake in Yunnan Province. As the Fuxianlake is so clean that a famous traveler Xiake Xu in Ming Dynasty wrote compliments in Xiake Xu’s travel notes. In order to protect the water quality of Fuxian Lake, the local government gradually relocated the lakeside residential areas, hoping to reduce the pollution of the lake water caused by human factors. The relocation led to the demolition of the old houses, which also provided the opportunities for recycling of brick and tile materials in this project.

▼西南侧远景透视，distanced view of the project from the southwest

项目原始建筑为一栋三层半框架建筑和 4 栋双层砖混结构别墅，以及少量一层附属建筑物。建筑面积 2457㎡，场地面积 7790㎡，原有业态为价位低廉的普通农家民宿区。下文重点表达三层框架建筑砖楼的改造策略，以及新建浮居、土屏、幽篁里和雨亭、瓦亭、坡亭，微改造建筑原墙，呈现八种样式的改造策略输出，乡建八式强调了对乡土改造策略的思辨。

The original buildings of the project is a three-story, half-frame building and four double-story brick-concrete villas and a few one-story ancillary buildings, with a construction area of 2457㎡ and site area of 7790㎡. The area was operated as a low-priced ordinary farmhouse B&B. The following article focuses on the renovation strategies of three-story frame brick buildings and newly-built the Floating House, the Clay Screen, the Bamboo Pavilion, the Rain Pavilion, the Tile Pavilions, the Slope Pavilion and the original walls with slight renovation. All of these present the output of renovation strategies, The eight rural construction styles emphasize thinking and analysis on renovation strategies of rural architecture.

▼沿街主立面透视，

view of the building from the Main Street

砖楼：诗意栖居

The Brick House, to Live in Poetry

建筑现状和改造功能 |Building status and renovation functions

砖楼为三层半框架建筑。原建筑开大玻璃窗，填充少量红砖，外立面贴白色小瓷片。

由于改造后民宿功能的调整，全部敲掉填充材料保留原始框架梁柱结构是最直接的方式。这也引发需要重新考虑合适的墙体材料和构造搭接。

The brick building is a three-story and half-frame building. There were large glass windows in the original building, filled with a small amount of red bricks and small white porcelain in the façade. Due to the adjustment of the function after renovation, it was the most direct way to knock out all the filling materials and retain the original frame beam and column structure, which leads to reconsider appropriate wall materials and construction connection.

▼西北面透视，

view of the Brick House from northwest

场地对话 |Site Dialogue

砖楼位于本案项目入口位置，也是街面形象，砖楼是整个项目离湖最近的建筑，最适合直观的感受到水文化。在场地语言上，我们创造了一系列入口驳岸的路径，并把水引入建筑周边，让建筑更“靠近”水岸。

本地“车水捕鱼”文化的竹篓形态给了我们建造表皮的灵感，篓的透光可以创造自然的渗透，其编织的做法也可以形成构造特征，对应到建筑本身，建筑以旧青砖和透明玻璃砖的编织机理成型。

整个建筑西立面屏蔽西侧视线可及的山体坟墓群视角，不设一窗，无窗因此也呼应了朝内一二层建筑的尺度感。

The brick building is located at the entrance of the project, and it is also the image of the street. The brick building is the closest building to the lake in the whole project, which is most suitable for intuitively connecting with water. In terms of site language, we created a series of paths to the entrance revetment and design water surround the building to make the building ‘closer’ to the waterfront. The bamboo basket form of the local ‘waterwheel fishing’ culture gave us the inspiration of the building façade. Inspired by the light transmission of the basket and its weaving structure, the building is formed by the weaving mechanism of old blue bricks and transparent glass bricks.

The entire west façade of the building blocks the view of the mountain tombs that can be seen on the west side and the west side without a single window responses the scale of the first and second floor inside the building.

▼西立面透视，west facade