香格里拉前卫图书馆

香格里拉前卫图书馆
Librairie Avant-grade in Shangri-La

亮点一：尊重历史与环境的巧妙结合：本项目最令人赞赏之处在于其对原有藏族民居的尊重与保护。建筑师并未选择推倒重建，而是充分利用现有的木结构，将其作为设计的骨架。这种“修旧如旧”的设计理念，不仅节约了成本，更重要的是保留了建筑的历史记忆和文化价值。同时，设计巧妙地融入了当地的气候特点，采用阳光房的设计理念，为建筑注入了现代功能。通过可调节透光率的聚碳酸酯板，巧妙地解决了采光问题，实现了对传统民居的现代化改造，展现了对环境和历史的深刻理解。

亮点二：功能与空间的创新性整合：在有限的预算下，建筑师展现了卓越的空间设计能力。通过对三座藏族房屋的不同功能定位，巧妙地利用了原有的空间格局。书店的中庭设计，为读者提供了开阔的阅读空间；文化创意产品店被安排在二楼，最大限度地利用空间；而咖啡馆则通过对牲畜围栏的改造，营造出独特的氛围。此外，建筑师还设计了连接各个房屋的走廊和露台，将室内空间与室外景观有机地结合起来，创造出一种连续的、引人入胜的体验。这种对空间利用的创新，赋予了建筑新的生命力，也提升了图书馆的整体品质。

亮点三：对材料与施工的务实态度：面对预算紧张和施工条件有限的挑战，建筑师展现了务实的态度。他们选择最传统的施工方法，并充分考虑到施工过程中可能出现的误差。令人印象深刻的是，他们巧妙地利用了回收的木瓦作为模板，赋予了混凝土独特的质感，使其与建筑的整体风格相协调。这种对当地材料的巧妙运用，不仅降低了成本，也体现了对地方文化和传统工艺的尊重。项目在有限的条件下，创造出令人印象深刻的效果，展现了建筑师的专业素养和创新精神，成为乡村图书馆的典范。

/ Zhaoyang Architects

建筑师提供的文字描述上海图书馆前卫位于小中甸镇武功村，由三座传统的藏族农舍改建而成。这些现存的房屋是中甸地区常见的典型“山片”房屋。这种藏族民居风格是香格里拉高海拔地区独有的，那里经历了丰富的雨雪。它代表了西藏农牧文化对当地气候和环境的典型适应，利用当地可用的材料，并根据该地区的具体情况量身定制。
Text description provided by the architects. The Shanghai-la Librairie Avant-garde is located in Wugong Village, Xiaozhongdian Town, and is renovated from three traditional Tibetan farmhouses. These existing houses are typical "Shanpian" houses commonly found in the Zhongdian area. This style of Tibetan dwelling is unique to the high-altitude regions of Shangri-La, which experience abundant rain and snow. It represents a quintessential adaptation of Tibetan farming and pastoral culture to the local climate and environment, utilizing locally available materials and tailored to the specific conditions of the area.

设计策略
由于项目预算非常有限，我们只能在现有结构的基础上进行翻修。事实上，即使预算更慷慨，我们也没有理由拆除旧建筑来重建。虽然这三座藏族房屋已经老化，但它们的主要木结构没有虫害或腐烂，并且具有相当大的结构冗余。这些房屋保留了电气化时代之前香格里拉地区的农耕和田园生活场景。我们也有责任将它们作为中甸地区的文化遗产进行复兴，将房屋和邻近的田地和牧场视为人类学文本，引导未来的游客和书店读者体验和理解这片土地。
Design strategies
Due to the very limited project budget, we could only make renovations based on the existing structure. In fact, even if the budget were more generous, we see no reason to demolish the old to build anew. Although these three Tibetan houses are aged, their main wooden structures are free from insect damage or rot, and they possess considerable structural redundancy. These houses have preserved the scenes of farming and pastoral life in the Shangri-La region before the era of electrification. We also feel a responsibility to revitalize them as cultural heritage of the Zhongdian area, treating the houses and the adjacent fields and pastures as an anthropological text to guide future visitors and readers of the bookstore to experience and understand this land.

Master plan

从功能角度来看，这三座藏族房屋的主要问题在于屋顶。“山片屋”的“木瓦”是由香格里拉广袤森林中丰富的冷杉木制成的。冷杉木以其松散的质地和笔直的纹理为特征，采用楔形劈裂法手工劈成木瓦。每块瓦片约2-3厘米厚，约20厘米宽，90-120厘米长，被称为“山片”。分裂的瓦片表面有天然的小凹槽，有助于排水。然而，随着时间的推移，它们仍然会腐烂。甚至有一句当地谚语：祖先建造的房子越大，后代的负担就越重。这主要是因为“木瓦”实际上相当昂贵，其维护和更换带来了长期的经济负担。先锋书店的三栋藏式房屋长期闲置未维护，屋顶布满了洞，无法承受雨雪的侵蚀，导致一些夯土墙出现裂缝甚至部分倒塌。因此，该地区大多数新建的藏族房屋都用轻质铁皮代替了倾斜的屋顶，“山片”已经沦为一种装饰或“保留传统”的元素。
From a functional perspective, the main issue with these three Tibetan houses lies in their roofs. The "wooden shingles" of the "Shanpian houses" are made from fir wood, which is abundant in the vast forests of Shangri-La. Fir wood, characterized by its loose texture and straight grain, is manually split into shingles using a wedge-splitting method. Each shingle is about 2-3 cm thick, approximately 20 cm wide, and 90-120 cm long, known as "Shanpian." The split shingles have natural small grooves on their surfaces, which aid in water drainage. However, over time, they still decay. There is even a local saying: the larger the house built by ancestors, the greater the burden on descendants. This is mainly because the "wooden shingles" are actually quite expensive, and their maintenance and replacement represent a long-term financial burden. The three Tibetan houses of the Pioneer Bookstore, having been left unused and unmaintained for a long time, have roofs full of holes, unable to withstand the erosion of rain and snow, leading to cracks and even partial collapse of some rammed earth walls. Consequently, most newly built Tibetan houses in the area have replaced their sloping roofs with lightweight iron sheets, and the "Shanpian" has been reduced to a decorative or "tradition-preserving" element.

香格里拉的气候相当恶劣。每年11月，寒冷的冬天都会到来，一直持续到次年4月，此时土地开始慢慢恢复。当高原再次披上绿色的外衣时，已经是五月了。六月、七月和八月是雨季，降雨量充沛。天空经常被厚厚的云层覆盖，直到傍晚才放晴。即使在夏天，人们偶尔也会感到湿冷。高原经历了强烈的阳光，冬天经常晴朗晴朗。现代藏族住宅已经发展出一种阳光房系统。一种常见的做法是用玻璃将整个朝南的庭院围起来，形成一个大型温室，为房屋内部供暖。近年来，这种方法越来越受欢迎和完善，以至于在地级首府香格里拉市，阳光房已成为所有新住宅建筑的标准特征。这种当代乡土建筑启发了我们翻修这三座藏族房屋的主要策略。
The climate in Shangri-La is quite harsh. The cold winter sets in every November and lasts until April of the following year when the land slowly begins to recover. By the time the plateau is cloaked in green again, it is already May. The months of June, July, and August constitute the rainy season, with abundant rainfall. Often, the sky is covered with thick clouds, and it only clears up by evening. Even in summer, one can occasionally feel a damp chill. The plateau experiences intense sunlight, and winters are frequently clear and sunny. Modern Tibetan residential houses have developed a sunroom system. A common practice is to enclose the entire south-facing courtyard with glass, creating a large greenhouse that heats the interior of the house. This approach has become increasingly popular and refined in recent years, to the extent that in Shangri-La City, the prefectural capital, sunrooms have become a standard feature in all new residential constructions. This contemporary vernacular architecture has inspired the primary strategy for our renovation of these three Tibetan houses.

表演性是这个改造项目的根本立场。由于主要的木结构完好无损，我们努力保护它；由于夯土墙可以防风防雨，并具有优异的热性能，我们修复了损坏或倒塌的部分并保留了它们。由于屋顶已经毁坏，传统的“木瓦”屋顶系统已被时代淘汰，因此不需要多愁善感——我们用新的系统取而代之。
Being performative is the fundamental stance of this renovation project. Since the main wooden structure is intact, we strive to preserve it; since the rammed earth walls can shield against wind and rain and offer excellent thermal performance, we repair the damaged or collapsed sections and retain them. Since the roof is already ruined and the traditional "wooden shingle" roofing system has been phased out by the times, there's no need for sentimentality—we replace it with a new system.

这座建筑从藏式住宅变成了书店，其功能从家庭转变为公共空间。首要任务是通过让更多的阳光进入建筑来改善过于昏暗的内部。当地经验证明，阳光房适合香格里拉漫长的冬天，所以我们决定在藏式房屋的原始木结构上直接放置一个轻钢屋顶。我们用聚碳酸酯板代替了“木瓦”，可以调节透光率，并在其下方安装了电动窗帘，根据天气情况调节进入室内的光量。屋顶的坡度遵循了“山片屋”的原始形式，坡屋顶的深悬挑得以保留，以继续保护夯土墙免受雨水的破坏。从外观上看，矗立在土地上的藏族房屋的外观基本保持不变，只有屋顶材料变得稍微轻一些、更薄一些。曾经隐藏的家突然沐浴在阳光下，传统藏族房屋内的生活场景像博物馆展品一样被照亮，同时转变为一种新的公共日常生活形式。我相信这可以成为乡村书店的恰当表达。
Transformed from a Tibetan house to a bookstore, the building's function shifts from a home to a public space. The first priority is to improve the overly dim interior by allowing more sunlight into the building. Local experience has proven that sunrooms are suitable for Shangri-La's long winters, so we decided to place a lightweight steel roof directly on the original wooden structure of the Tibetan house. We replaced the "wooden shingles" with polycarbonate panels that allow adjustable light transmission and installed electric curtains beneath them to regulate the amount of light entering the interior based on weather conditions. The slope of the roof follows the original form of the "Shanpian house," and the deep overhang of the pitched roof is retained to continue protecting the rammed earth walls from rain damage. From the exterior, the appearance of the Tibetan house standing on the land remains largely unchanged, with only the roofing material becoming slightly lighter and thinner. The once hidden home is suddenly bathed in sunlight, and the living scenes within the traditional Tibetan house are illuminated like museum exhibits, while simultaneously transforming into a new form of public daily life. I believe this can become an appropriate expression of a countryside bookstore.

适应性再利用
这三座藏屋从东到西分别被指定为书店、文化创意产品店和咖啡馆。因此，我们对藏族房屋的原始空间进行了改造，以满足这三种不同的功能需求。这家书店需要一个明确的、大的空间，体现出“文字之殿”的氛围（正如云南诗人于坚所描述的那样），以满足游客的期望。虽然武功村距离高铁站和高速公路出口只有半个小时的车程，但该地区尚未成为一个成熟的目的地，大多数游客都是专门来体验的。因此，我们在第一栋藏族房屋的中心雕刻了一个两层楼的中庭，墙上有书架，周围的木结构在二楼形成了一个画廊。所有书籍都放在触手可及的地方，方便浏览和阅读。
Adaptive reuse
The three Tibetan houses are designated from east to west as the bookstore, a cultural and creative products shop, and a café, respectively. Accordingly, we adapted the original spaces of the Tibetan houses to meet these three distinct functional needs. The bookstore required a definitive, large space, embodying the atmosphere of a "temple of words" (as described by Yunnan based poet Yu Jian) to meet the expectations of visitors. Although Wugong Village is only half an hour's drive from the high-speed rail station and the highway exit, the region has not yet become a mature destination, and most visitors come specifically for the experience. Therefore, we carved out a two-story atrium in the center of the first Tibetan house, with bookshelves lining the walls and a surrounding wooden structure forming a gallery on the second floor. All books are placed within easy reach, facilitating browsing and reading.

Climatic adaptation

这家文化创意产品店不需要很大的面积，所以我们把它放在了第二栋藏屋的二楼。整个地面，包括庭院空间，都被设计为书店员工的生活区。为了确保员工宿舍有足够的通风和自然光，靠近西后墙的一部分地板被拆除，以创建一个室内中庭。
The cultural and creative products shop does not require a large area, so we placed it on the second floor of the second Tibetan house. The entire ground level, including the courtyard space, was designed as the living quarters for the bookstore staff. To ensure adequate ventilation and natural light in the staff dormitory, a section of the floor adjacent to the western back wall was removed to create an indoor atrium.

咖啡馆需要强调其运营功能，因为二楼虽然明亮舒适，但空间不足；一楼的牲畜围栏太低，营造出一种封闭而压抑的氛围。因此，我们将牲畜围栏的地面挖掘了45厘米，扩大了夯土墙的底部以形成座位，而用作柱脚的原始石基座则由新浇注的混凝土块支撑，出乎意料地实现了牲畜围栏的抬升和展示效果。这家咖啡馆不需要一个大的开放空间，老藏屋现有的房间划分自然为咖啡馆提供了空间分区和设置，尤其是炉边的生活空间——有神龛、壁画、木窗框和水亭——这本身就很有趣。
The café needed to emphasize its operational functionality, as the second floor, while bright and comfortable, was insufficient in space; the ground floor's livestock pen was too low, creating a confined and oppressive atmosphere. Therefore, we excavated the ground of the livestock pen by 45 centimeters, expanding the base of the rammed earth wall to form seating, and the original stone pedestals used as column bases were supported by newly cast concrete blocks, unexpectedly achieving a raised and displayed effect for the livestock pen. The café did not require a large, open space, and the existing room divisions of the old Tibetan house naturally provided spatial zoning and settings for the café, especially the living space around the hearth—featuring shrines, murals, wooden window frames, and water pavilions—which was inherently intriguing.

流通和景观
在“山扁楼”的南立面上，一个木屋式的木箱嵌入了夯土墙中，最初用作粮仓（由于夯土墙不透气，木壳确保了粮仓的通风）。粮仓拆除后，夯土墙上留下了一个三米多宽的开口。然后，我想到了在这个地方建造一条混凝土走廊的想法，它将引导游客从书店的二楼走出，从高处逐渐接近地面。这种简单的仪式感确实改变了旧藏屋与土地之间的关系，但我认为这是恰当的，因为体验土地与体验藏屋同样重要。即使从纯粹的功能角度来看，房子之间的距离也太大了（书店和文化创意产品店之间有56米，文化创意产品商店和咖啡馆之间有38米）。如何将三栋房子连接在一起，创造一种持续的体验，也是这次装修的关键考虑因素。
Circulation and landscaping
On the southern façade of the "Shanpian house," a log cabin-style wooden box was embedded in the rammed earth wall, originally used as a granary (since rammed earth walls are not breathable, the wooden shell ensured ventilation for the granary). After the granary was removed, a more than three-meter-wide opening was left in the rammed earth wall. I then conceived the idea of constructing a concrete corridor at this location, which would guide visitors to walk out from the second floor of the bookstore and gradually approach the ground from a height. This simple sense of ceremony indeed alters the relationship between the old Tibetan house and the land, but I believe it is appropriate, as experiencing the land is just as important as experiencing the Tibetan house. Even from a purely functional perspective, the distance between the houses is too great (56 meters between the bookstore and the cultural and creative products shop, and 38 meters between the cultural and creative products shop and the café). How to link the three houses together to create a continuous experience is also a key consideration in this renovation.

为了避免侵占农田，书店的走廊向外延伸，然后向后弯曲，停在庭院门口。然后，它沿着山脊向南延伸到一个室外平台。这里原本有一堵矮墙，作为一种边界标记。这个位置与所有三座藏族房屋分开，提供了一个观看整个场景的有利位置。从那里，人们可以走近西边的文化创意产品店，爬上半段台阶到达一个露台，从那里可以俯瞰绵延不绝的松林，一直延伸到遥远的哈巴雪山。穿过文化创意产品店的内部，一条30米长的坡道从麦田上方升起，直接通往咖啡馆庭院的后门。咖啡馆的走廊一直延伸到水库，在走下台阶接近更深的自然环境之前，可以看到远处广阔的森林。
To avoid encroaching on farmland, the bookstore's corridor extends out and then bends back, landing at the courtyard gate. It then follows the ridges of the fields southward to an outdoor platform. Here, there was originally a low wall, serving as a kind of boundary marker. This location is set apart from all three Tibetan houses, offering a vantage point to view the entire scene. From there, one can approach the cultural and creative products shop to the west, climb half a flight of steps to reach a terrace, from which one can overlook the continuous pine forest stretching all the way to the distant Haba Snow Mountain. Passing through the interior of the cultural and creative products shop, a 30-meter-long ramp is elevated above the barley fields, leading directly to the back door of the café courtyard. The café's corridor extends straight out towards the reservoir, allowing for a view of the vast forest in the distance before descending the steps to approach the deeper natural surroundings.

材料和施工
这个项目的预算非常紧张。施工队也是通过政府的招标过程确定的，是一支农村施工队。根据我们多年的农村实践经验，在这种情况下，我们只能选择最传统的施工方法，我们对结果的期望必须在施工过程中留出足够的误差空间。使情况更加复杂的是，最初的西藏房屋是在没有任何基本几何精度概念的情况下建造的。没有完全垂直的柱子，没有完全平行的梁，也没有一个真正水平的地板。在整个装修过程中，我们不断处理各种不平衡和不规则的情况。
Material and construction
The budget for this project was extremely tight. The construction team was also determined through the government's bidding process and was a rural construction team. Based on our years of experience in rural practice, under such conditions, we could only opt for the most conventional construction methods, and our expectations for the outcome had to allow ample room for error during the construction process. Compounding the situation was the fact that the original Tibetan houses were built without any concept of basic geometric precision. There were no perfectly vertical columns, no completely parallel beams, and not a single truly level floor. Throughout the renovation process, we constantly had to deal with various uneven and irregular situations.

在这个传统工艺迅速消失的时代，即使在云南，天然材料和手工方法也变得稀缺和昂贵，甚至可能与日益普遍的环境法规相冲突。也许农村越偏远，就越应该利用工业化的建筑系统。轻钢结构和聚碳酸酯板屋顶是整个施工过程中最无忧的方面（除了木结构梁的不可预见的找平过程）。书店的主入口天棚和向土地延伸的三条走廊都是用混凝土浇筑的。考虑到农村施工队的模板技术和精度有限，我们简单地使用了从旧藏族房屋屋顶上拆除的木瓦作为模板。木瓦的深纹理导致浇注的混凝土表面非常斑驳，这与整体粗糙的施工风格相匹配。回收的木瓦的另一个用途是作为斜屋顶山墙端的覆层，以及作为悬垂部分的天花板。这些风化的木瓦涂上了清漆，呈现出深棕色，在用稻草纤维粉刷过的墙壁和闪亮的波纹板之间增添了一种沉稳的色调。
In this era of rapidly vanishing traditional craftsmanship, even in Yunnan, natural materials and handcrafted methods are becoming scarce and expensive, and may even conflict with increasingly pervasive environmental regulations. Perhaps the more remote the countryside, the more it should utilize industrialized construction systems. The lightweight steel structure and polycarbonate panel roof were the most worry-free aspects of the entire construction process (except for the unforeseen leveling process of the wooden structural beams). The main entrance canopy of the bookstore and the three corridors extending towards the land were cast in concrete. Considering the limited formwork technology and precision of the rural construction team, we simply used the wooden shingles removed from the old Tibetan house roofs as formwork. The deep grain of the wooden shingles resulted in a very mottled surface on the cast concrete, which, as it turned out, matched the overall rough construction style. Another use for the recycled wooden shingles was as cladding for the gable ends of the pitched roofs and as ceiling panels for the overhanging sections. These weathered wooden shingles, coated with varnish, took on a dark brown hue, adding a composed tone between the whitewashed walls with straw fibers and the shiny corrugated panels.