中國建築師「上山下鄉」:回農村,蓋房子

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中國建築師「上山下鄉」:回農村,蓋房子

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中國建築師「上山下鄉」:回農村,蓋房子
AMY QIN 2016年6月20日

近年來,隨著中國大城市中的工程資金流逐漸乾涸,已經有一批建築師將他們的目光投向了偏遠的內陸農村。他們在那裡建造社區項目,並探尋著如何使這些項目適用於更廣大的區域。

中國臨安——太陽公社位於林木蔥蘢的小山之間,山上竹林青翠,腳下綠草輕柔。它是一個興旺的生態農場,距離中國東部城市杭州約60英里。公社的中心是一個豬圈。

這個大約30頭黑豬的家不是普通的圈舍。開放式竹結構的建築有著金字塔形狀的茅草屋頂,還有一個游泳池。前不久的一個下午,這些豬在柔和爵士樂讓人放鬆的樂聲中打著盹。它們的定製住所被稱為中國最美豬圈。

這個豬圈是杭州的中國美術學院建築學院教授、建築師陳浩如設計的。近些年,由於大城市建設項目的資金逐漸枯竭,很多建築師把目光轉向中國的又一片新天地:偏遠農村。陳浩如就是其中一位。

「十年前,沒有這麼多機會在農村做項目,」陳浩如帶著訪客參觀太陽公社時說,「人們的注意力都在城市。對農村沒有興趣。」

很多因素共同為這些項目創造了沃土。政府放鬆了對農村土地轉讓的限制。城市居民厭倦了持續不斷的食品安全恐慌和環境危機,對農村生活方式和有機農業越來越感興趣。中產階級的增長也拉動了國內旅遊業的繁榮。

甚至連習近平主席也支持這一重心的轉變。他在2013年的一次講話中呼籲建設美麗鄉村,稱「不要把錢花在不必要的事情上」,比如沒有品位的外部粉飾。

這些項目的本質各不相同。有的側重旅遊,有的側重農業或社區發展。除了陳浩如的豬圈,其他一些著名的例子包括:李曉東在北京附近設計的一個鄉村圖書館;何崴在河南省設計的一個村民活動中心兼博物館;以及前不久在杭州附近落成的一個農村再生項目——這個項目的設計師是2012年獲得普利茲克獎(Pritzker Prize,相當於建築界的諾貝爾獎)的王澍。

不過,它們都有一個共同的目標:復興農村,提升它對年輕人、農民、遊客和受過教育的就業者的吸引力。

「最重要的事情是讓農村變得又有吸引力,」王澍說。他也在中國美術學院任教。

「農民對自己的生活方式失去了信心,」他還說。「他們覺得農村落後,城裡好。」

「這些項目不光是要蓋漂亮的房子,」在北京的中央美術學院擔任教授的建築師何崴說。「還要具有功能性,能激發經濟活動。」

大規模城鎮化一直在讓中國鄉村空心化。即便如此,農村地區的建築機會也在不斷擴展。中國快速的城鎮化進程讓大批村莊被推倒,給高層建築讓路。

天津大學的研究顯示,從2000年到2010年,中國的村莊數量從370萬個銳減至260萬,平均每天約有300座村子消失。

在太陽公社所在的浙江省,有成千上萬的村莊不復存在。根據王澍進行的研究,省內僅剩下了大約3萬個村子。他說,其中大多數也面臨著在今後10年消失的危險。

「每個人,包括當地政府,都對怎麼樣重振中國鄉村的話題感興趣,」他說。

建築師們看到了自己在其中起到特殊作用的機會。比如,他們的設計可以提升鄉村開發項目的名氣,刺激旅遊業或農業的發展。

正是出於這樣的原因,上海商人陳衛找到了建築師朋友陳浩如來打造一個豬圈,放到自己開發的有機農場上。此事發生在2013年,差不多就在那段時間,由於上游農戶的丟棄行為,不遠處的黃浦江上飄浮了1.6萬頭死豬。

「在中國,城裡人從來都不跟農村人互動,所以不存在什麼社會信任,」身為太陽公社社長的陳衛說。「這間豬舍有很大的吸引力,構成了我們品牌的一部分。它吸引城裡人來到我們農場,可以實實在在地瞭解到給他們提供糧食的人。」

其他一些建築師承接鄉村項目的時候則抱著樹立農村可持續發展模式的目標。王澍與夫人陸文宇便是如此。

在2012年,夫婦二人開始進行文村項目。這裡距離太陽公社大概有一小時車程。通過與當地政府官員及村民的反覆溝通和協商,王澍和陸文宇承擔起規模龐大的再生項目,不僅新建了二十多座住房,還改造了文村的部分老房和公共空間。

這些新房子於今年完工,將文村地區傳統房屋的部分元素——比如其內庭,以及祭拜祖先的房間——與現代化設施融合起來,像是修了車道,專辟一片看電視的地方。王澍的標誌性設計貫穿其中:狹長的玻璃窗,粗糙的混凝土外牆,以及拼接的磚石構造。

幾週前的時候,還只有少數房屋住了人。不過,從其中一棟房子探出頭來的村民說:「現在住得還不錯。變乾淨了,牆也白一些。」

雖然文村項目還處於開始應用的階段,王澍已經在嘗試想出辦法,將這種基於設計的開發方式複製到更大的尺度上。

「有了文村,我們就創造了一種可以複製的研究和工作方法,但擴展性還是一個挑戰,」他說。「談到執行,每個村子都有不同的傳統和地方建築。不存在統一的模板。」

然而,在鄉村進行建造活動的最大挑戰或許是未來的不可預測。農村土地使用權尤其麻煩:農村的土地為集體所有,理論上來說,城市居民擁有農村土地是不合法的。就算外來者和村民達成了購買或租賃土地的協議,也基本不會享有法律保障。

藝術家歐寧在安徽省的碧山就遭遇了這個問題。他和家人近期被迫離開了那裡的房子。倫敦《泰晤士報》的一篇文章稱,儘管村民認為歐寧幫助復興了當地社區,還吸引了遊客,但有些人懷疑,碧山項目的社會涵義——以藝術和鄉村重建為重點,但也涉及到無政府主義和烏托邦等觀念——或許讓當地的共產黨官員有些緊張。

《泰晤士報》稱,今年2月,歐寧與家人一起慶祝了在其碧山翻修的房屋裡度過的第三個春節,但此後剛過了一週時間,當地政府就在沒有事先通知的情況下將房子斷水斷電。在電話中,歐寧不願多說,理由是這件事情很敏感。

「在農村,政府想終止一個項目的話,要比城市裡容易很多,」中央美術學院的何崴說。「一夜之間,所有的東西都可能夷為平地。你還沒有任何辦法。」

翻譯:王相宜、黃錚
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Architects See Potential in China’s Countryside

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Architects See Potential in China’s Countryside
By AMY QINJUNE 17, 2016

LING’AN, China — Nestled in verdant hills amid bamboo forests and feathery grass meadows, the Sun Commune is a thriving eco-farm about 60 miles from the eastern Chinese city of Hangzhou. Its centerpiece is a pig barn.

The home for 30 or so black hogs is no ordinary outbuilding. An open-air, bamboo-lined structure, it has pyramid-shaped thatched roofs and a swimming pool. On a recent afternoon, the swine snoozed to the soothing sounds of soft jazz in their custom-built residence, which has been called China’s most beautiful sty.

The sty was designed by Chen Haoru, an architect and professor at the architecture school of the China Academy of Art in Hangzhou. He is part of a wave of architects who in recent years, as funding for projects in big cities has dried up, have turned their attention to China’s other frontier: the rural outback.

“Ten years ago, there weren’t that many opportunities to do projects in the countryside,” Mr. Chen said as he led a tour through the Sun Commune grounds. “All of the focus was on the cities. There was no interest in the rural areas.”

A number of factors have combined to create fertile ground for such projects. Restrictions on the transfer of rural land have been relaxed. Urban residents, tired of constant food safety scares and environmental crises, have become increasingly interested in rural lifestyles and organic farming. Domestic tourism, bolstered by the growth of the middle class, is booming.

Even President Xi Jinping has endorsed the shift in emphasis. During a speech in 2013, he called for the construction of a meili xiangcun, or “beautiful countryside,” one in which “money is not squandered on unnecessary things” like tasteless exterior enhancements.

The nature of the projects varies. Some focus on tourism, others on farming or community development. In addition to Mr. Chen’s pig barn, notable examples have included a village library near Beijing by Li Xiaodong, a rural community center and museum in Henan Province by He Wei, and a rural regeneration project near Hangzhou recently completed by Wang Shu, who was awarded the Pritzker Prize, architecture’s equivalent of the Nobel, in 2012.
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But they all have a common goal: to revitalize the countryside and enhance its appeal to young people, farmers, visitors and educated workers.

“The most important thing is to make the villages attractive to people again,” said Mr. Wang, who also teaches at the China Academy of Art.

“The farmers have lost confidence in their own way of life,” he added. “They think villages are backward and that cities are good.”

“These projects are not just about making beautiful buildings,” said He Wei, an architect and professor at the Central Academy of Fine Arts in Beijing. “They’re about function and stimulating economic activity.”

Opportunities to build in the countryside have expanded even as mass urbanization continues to hollow out China’s villages. The country’s rapid urbanization push has led to groups of villages being razed to make way for high-rises.

From 2000 to 2010, the number of villages in China dropped to 2.6 million from 3.7 million, a loss of about 300 villages a day, according to research by Tianjin University.

In Zhejiang Province, the site of the Sun Commune, thousands of villages have been destroyed. According to research by Mr. Wang, only about 30,000 are left in the province. And most, he said, are in danger of disappearing in the next decade.

“Everyone, including the local government, is interested in this topic of how to revive China’s villages,” he said.

Architects see an opportunity to play a special role in this revitalization. For one, their designs can enhance the reputation of a rural development project and stimulate tourism or agriculture.

That is what the Shanghai businessman Chen Wei had in mind when he turned to his friend Mr. Chen, the architect, to help him build a barn for pigs as part of his organic farm. It was 2013, at about the same time that 16,000 dead pigs were found floating in the nearby Huangpu River after having been dumped by farmers upstream.

“In China, the city people never really interact with rural people, so there’s very little social trust,” said Mr. Chen, the businessman and now the director of the Sun Commune. “The barn is a major draw, it’s part of our brand. It attracts people from the cities to come to the farm so they can actually get to know the people who are growing their food.”

Others, like Mr. Wang and his wife, Lu Wenyu, have taken on rural projects with the aim of creating a model for sustainable development in the countryside.

In 2012, Mr. Wang and Ms. Lu began working on Wencun, a village about an hour’s drive from the Sun Commune. Through constant negotiation and consultation with local government officials and villagers, Mr. Wang and Ms. Lu oversaw an expansive regeneration project, which included the construction of two dozen new houses and the refurbishment of some of Wencun’s existing homes and public spaces.

The new homes, which were completed this year, combine elements of traditional houses in the Wencun area — like an inner courtyard and a room where families would pay respects to their ancestors — with modern amenities, like an access road for cars and a space designated for watching television. Mr. Wang’s signature design elements are woven throughout: narrow rectangular windows, unfinished concrete exteriors and patchwork masonry.

As of a few weeks ago, only a few of the houses had been occupied. But a villager who poked her head out of one said: “So far, it’s been nice living here. It’s cleaner, and the walls are whiter.”

While the Wencun project is still getting off the ground, Mr. Wang is already trying to work out how this type of design-based development might be replicated on a larger scale.

“With Wencun, we’ve created a research and work method that can be copied, but the challenge is still scalability,” he said. “In terms of implementation, every village has different traditions and vernacular architecture. There’s no one template.”

Perhaps the biggest challenge when it comes to building in the countryside, though, is unpredictability. Rural land-use rights are especially tricky, since land in the countryside is collectively owned and, technically, it is illegal for urban residents to own rural land. Even when an outsider reaches an agreement with a villager to buy or rent land, there are very few legal protections.

It was a problem that the artist Ou Ning encountered when he and his family were recently forced to leave their home in Bishan, a village in rural Anhui Province. Though villagers credit Mr. Ou with helping rejuvenate the community and attract tourists, some suspect that the social aspect of his project — which focused on art and rural reconstruction but also touched on ideas like anarchism and utopia — may have rattled local Communist Party officials, according to a report by The Times of London.

In February, just over a week after Mr. Ou and his family had celebrated their third Lunar New Year at their restored home in Bishan, the paper reported that the local government had shut off the electricity and water at the house without warning. Contacted by telephone, Mr. Ou declined to comment, citing the sensitivity of the situation.

“In the countryside, the government can cut off a project much more easily than in the cities,” Mr. He of the Central Academy of Art said. “In one night, all of your work can be torn down. And there’s nothing you can do about it.”
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