建筑师彭乐乐，在包头设计了一座一千平米的建筑，坐落在显然是被挖掘得残破的荒山，与干涸了的河滩林场上，这个建筑的甲方是当地农民，也是承包这块林场的主人，这个农民叫张建，建筑用于民宿，以及被张建命名为“慢生活”吃喝玩乐等功用的场地。

说起这个农民选择彭乐乐来设计这个建筑，可以写成一篇有关建筑和审美观念变化的奇异新闻。因为，彭乐乐以给艺术家设计房子而闻名于建筑界，意思即：无论对于甲方还是乙方，农民与建筑师，都与此前甲乙双方的身份，毫无瓜葛。但这件事情就是成了，这个建筑就是按照彭乐乐各种设计理念的坚持下完成了，而且，这个建筑一经完成，就在所有喜欢寻找居住有创意民宿去住一住的“有心人”们找到，并在这些“有心人”的圈子里形成了口碑。并且在当地，这个建筑已然成为当地年轻人召开各种会议和派对的热门选择场所。

The architect Lele Peng designed an one-thousand-square-meters building in Baotou, it locates in a barren hill which has apparently been mined badly, and a dry riverside forest farm. Jian Zhang, the owner of the building is a local farmer, and he is also the owner of the forest farm. The building is used for B&B, field of beer and skittles has been named as “slow life” by Zhang. The farmer chooses Lele to design the building, can be written as a fantastic story about architecture and the change of aesthetic. Lele is famous for designing houses for artists, which means no matter the owner or the designer, the farmer or the architect, they all have nothing to do with the previous identities of Party A and Party B. The thing is done anyway. The building is finished according to Lele’s persistence of her design concepts, and once the building is completed, it was detected by people who are passion in searching and living in creative B&B, and it became a word of mouth in their circles. The building has become a popular choice for local young people to have meetings and parties.

▼群山下的红石山房，Redstone House in the mountain landscape ©夏至

于是，这些“有心人”中的好事者，开始在网上搜索这个建筑的甲方张建的“真实身份”，即怀疑张建不是一个真实的农民，而是一个有留学背景的“海归”，当然，张建就是一个地地道道的当地农民。我说这段话的意思，是这座私人定制的小型建筑，从甲方数次恳请这个设计过 N 个美术馆和艺术家工作室的建筑师，以及这个建筑落成，和造成的影响，事实上成为一个社会的审美事件：即人们在何种意义上欣赏并接受了一种接地气并且有创造性的当代建筑。或者说，一座建筑，无论大小，它的创造性，常常与能否形成一种社会的审美事件关联着。

Some of them started to search the owner Zhang’s “true identity” online, which they suspect that Zhang is not a real farmer, but a person who has ever studied oversea. Of course, Zhang is a genuine local farmer. The reason I am talking about this is because, this customizing small building, since the owner has asked the architect who has designed so many galleries and artist’s studios, to the completion of this building, and the effect it has made, has become a social aesthetic event: people have appreciated and accepted a “down-to-earth” and creative contemporary building in a sense. This is to say, the creativity of a building is often associated with whether it can form a kind of social aesthetic event or not, no matter the size of it.

▼整体鸟瞰，aerial view©夏至

创造性与“接地气”有关，中国古话叫做“天时地利人和”，对于这座被彭乐乐自己叫做“红石山房”的低成本小型建筑，它的创造性得益于此时（天时）此地（地利）此心（人和）。所谓此时，就是中国所有的现、当代文化和建筑，是经历了一百多年向西方现、当代文化学习的过程，在这个过程中，经历了中国传统文化与西方文化的碰撞、矛盾，以及借西方文化重新认识，和转换中国传统文化和建筑因素这个历史的交结点上，即它意味着近三十多年来，在大规模的城市化过程中，所积累的建筑上的弊病，诸如随处可见的水泥森林模式，耀眼的玻璃和金属光芒，以及对欧美现、当代建筑模式的抄袭和拼接所形成的审美“疲劳”，人们希望看到“接地气”并有创造性的当代建筑。

Creativity is associated with “down to earth”, there is an ancient Chinese saying “in the right time, right place, with right people”, for this low-cost small building which has been called as “Redstone House” by Lele, its inventiveness is benefit from the moment (right time), the place (right place), and the heart (right people). The so called this moment, is all modern/contemporary culture and architecture of China has learnt from western modern/contemporary culture for more than one hundred years, during this process, it has experience the collision and contradiction between Chinese traditional culture and western culture, also it is in the node of history of re-understand and transform the Chinese traditional culture and architecture factors through western culture, which means in nearly thirty years, there are architecture ills has been accumulated, such as ubiquitous concrete jungle mode and the dazzling light of glass and metal, along with the aesthetic fatigue of plagiarism and splicing of western modern/contemporary building model during the process of large-scale urbanization, people would like to see the “down-to-earth” and creative contemporary buildings.

的关系，the dialogue between architecture and the landscape©夏至

事实上，近若干年诸如日本建筑师西泽立卫、隈研吾等人转换东方传统建筑的有创造性的试验。去年获得普利策奖的印度建筑师巴克里希纳。多西，他把早期西方学习的背景和本土文化相结合，发展出与其自身历史、文化以及本土传统相关的现代建筑语汇。乃至中国年轻的建筑师在理论和实践上也都取得一些“接地气”的经验和成就，如张永和较早试尝试做夯墙建筑的试验成果，王澍对中国传统建筑的研究和实践，当然还可以举出很多这样的例子，或者说在现代、当代建筑的全球化过程中，接受欧美现代当代建筑文化的营养的同时，注意研究并在建筑实践中转换自己传统文化和建筑因素，强调因地制宜，在中国乃至整个欧美之外的地区，已经蔚然成风。

整简洁，质感粗粝的土红色“盒子”，a series of function“boxes”with square and succinct overlook but also with a rough texture and dusty red color©夏至