香格里拉先锋书店 / 赵扬建筑工作室

Shangri La Pioneer Bookstore/Zhao Yang Architecture Studio
香格里拉先锋书店 / 赵扬建筑工作室

建筑策略与文化传承：香格里拉先锋书店项目的核心魅力在于其对文化遗产的尊重和活化利用。建筑师并非盲目推倒重建，而是选择改造现有的、具有历史意义的藏式民居，这体现了对当地文化和传统建筑智慧的深刻理解。通过保留原有的木结构和夯土墙，并结合现代设计手法，项目巧妙地将传统与现代融合。这种策略不仅节约了成本，更重要的是，它赋予了建筑独特的灵魂，让书店本身成为一个讲述藏族农牧文明故事的载体，引导读者去感受和理解这片土地。这种设计理念超越了单纯的建筑功能，赋予了项目深厚的文化内涵。

空间利用与光线设计：项目在有限的预算下，创造性地利用了现有空间，同时注重对光线的引入和控制。改造过程中，设计师充分考虑了香格里拉地区严酷的气候条件，特别是漫长的冬季。通过引入阳光房的设计理念，将屋顶改造为可调节透光度的阳光板，营造了温暖、舒适的室内环境。这种设计既体现了对当地气候的适应性，又为书店营造了独特的空间氛围。此外，设计师还通过对不同功能区域的划分，以及对现有结构的改造，创造了富有层次感和空间感的内部结构，为读者提供了丰富的阅读和活动体验。

材料与建造的“Performative”理念：项目的“Performative”设计理念是其另一大亮点。面对预算紧张和施工条件有限的挑战，建筑师采取了务实的态度，最大程度地保留了原有结构，并巧妙地利用当地材料和传统工艺。这种策略体现在屋顶更换为轻钢结构和阳光板，以及利用拆卸下来的木闪片作为混凝土模板等细节上。建筑师不仅注重建筑的功能性，也注重建筑的表达，通过回收利用旧材料，在视觉上形成新旧对比，赋予了建筑历史感和时间感，与当地环境相得益彰。项目最终呈现出一种质朴、自然，且充满人文关怀的独特风格，是对“因地制宜”设计理念的完美诠释。

Shangri La Pioneer Bookstore is located in Wugong Village, Xiaozhongdian Town, and was renovated from three traditional storage houses. These three Tibetan houses belong to the common "flash houses" in Zhongdian area. This type of Tibetan style residence is unique to the high-altitude and snowy Shangri La dam area, and is a typical representative of Tibetan agricultural and pastoral civilization adapting to the climate environment, using local materials, and adapting to local conditions. The way "flash houses" form settlements on the earth is very different from the courtyard style dwellings of the Han ethnic group. Because the land is quite spacious, the rammed earth courtyard walls of these houses separate the courtyard from nature, rather than from the neighboring area. Each house seems to grow independently on the ground, and neighborhood relationships have little impact on the form of these settlements. The "flash houses" in Zhongdian area are generally located north to south along the direction of the dam, loosely scattered in the wilderness, looking like a group of migrating yaks from the sky. The three storage buildings of Pioneer Bookstore are also like this. Although they all face southeast, due to the subtle undulations of the site, which are high in the east and low in the west, each building is arranged at an angle to minimize the amount of earthwork and adapt to the local micro terrain.
香格里拉先锋书店位于小中甸镇的吴公村，是用三栋传统藏房改造而成。这三栋藏房属于中甸地区常见的“闪片房”。这种藏式民居独见于雨雪丰沛的香格里拉高寒坝区，是藏族农牧文明适应气候环境，就地取材，因地制宜的典型代表。“闪片房”在大地上构成聚落的方式和汉族的院落式民居很不一样。因为用地相当阔绰，这些藏房的夯土院墙区隔开家院和大自然，而非区隔邻我。每个房子似乎都是独立地长在大地上，邻里关系对这些聚落的形态影响很小。中甸地区的“闪片房”大致都顺着坝子的方向坐北朝南，松散错落地铺陈于旷野，从天上看，像一群迁徙中的牦牛。先锋书店的这三栋藏房也是如此，虽然都大致朝向东南，但是大概因为场地东高西低的细微起伏，每个房子为了尽可能减少土方量，适应局部的微地形各自摆出一个角度。

Design strategy: Due to the extremely limited project budget, we can only renovate the original structure. In fact, even if the budget is very generous, we do not believe there is any reason to demolish the old and build new. Although these three houses are old, the main wooden structure is not damaged by insects or decay, and there is also considerable redundancy in terms of structural stress. The three Tibetan houses have well preserved the scenes of agricultural and pastoral life in the Shangri La region before the electrification era. We also have a responsibility to revitalize and utilize them as cultural heritage of the Zhongdian region, treating the Tibetan houses and the adjacent fields and pastures as anthropological texts, guiding future visitors and readers to experience and understand this land. Bookstores should be intellectual buildings.
设计策略
因为项目预算非常有限，我们只能在原结构基础上来改造。其实即使预算很阔绰，我们也不认为存在任何理由去拆旧建新。这三栋藏房虽已老旧，但主体木构没有虫蛀腐坏，从结构受力上看也有相当的冗余。三栋藏房完好地保留了电气化时代以前香格里拉地区农牧生活的场景，我们也有责任把它们当作中甸地区的文化遗产来活化利用，把藏房和旁边的田野牧场本身当作一个人类学的文本，引导未来造访书店的游客和读者感受并理解这片大地。书店应该是知性的建筑。

总平面图

From a functional perspective, the main issue with these three storage rooms is the roof. The "wooden glitter" of the "glitter house" is made of fir wood, which is abundant in the Shangri La Forest. Cold cedar wood has loose tissue and straight wood grain; it is manually chopped into pieces 2-3 centimeters thick, about 20 centimeters wide, and about 90-120 centimeters long using wedge splitting method, known as' flash pieces'. After splitting, the 'flash pieces' have natural and slender grooves on the surface of the board, which are conducive to drainage. However, over time, they will still rot. There is even a saying in the local folk that the larger the house built by the ancestors, the greater the burden on the descendants. This is mainly because' wood flash pieces' are actually expensive, and maintenance and replacement are a long-term burden. The three storage buildings of Pioneer Bookstore have been left unused and in disrepair for a long time. The roof of the "flash piece" has already been riddled with holes, making it unable to resist the erosion of rain and snow. As a result, some of the rammed earth walls show signs of cracking and collapsing. Therefore, the sloping roofs of most newly built Tibetan houses in the local area have been replaced by lightweight iron sheet roofs, and the "flashing" has degraded into decorative or "stylish" existence.
从功能性的角度，这三个藏房主要毛病在于屋顶。“闪片房”的“木闪片”是用盛产于香格里拉大森林里的冷杉木制成。冷杉木“组织疏松、木纹顺直；用楔劈法手工劈成一片片厚2—3厘米，宽约20厘米，长约90—120厘米的木片，即 ‘闪片’。劈后的 ‘闪片’ 板面有一条条自然的细长小沟，有利排水。但时间长了还是会腐坏。当地民间甚至有一种说法：祖辈盖的房子越大，子孙的负担越大。主要就是因为“木闪片”其实价格不菲，维修更换是一个长期的负担。先锋书店的三栋藏房就是因为长期闲置失修，“闪片”屋顶早已千疮百孔，无法抵御雨雪的侵蚀，以至于部分夯土墙都有开裂坍塌的迹象。因此，本地大多数新建藏房的坡屋面都已经被轻质的铁皮顶替代，“闪片”已经退化成装饰性或“风貌性”的存在。

The climate in Shangri La is quite harsh. The cold winter begins in November every year, and the earth slowly recovers only in April of the following year. By the time the plateau is covered in green again, it will already be May. 6. The months of July and August are the rainy season, with abundant rainfall. Many times, the sky is covered by thick clouds, and it can only clear up in the evening. Even in summer, one may occasionally feel damp and cold. The sunshine in Gaoyuan is strong, and the winter sky is often clear for thousands of miles. Modern Tibetan houses have developed mature sunroom systems. The common practice is to cover the entire south facing courtyard with glass, forming a large greenhouse to heat the interior of the house. This practice has become increasingly popular and mature in recent years, to the extent that in Shangri La, as the capital city, sunrooms have become a standard feature for all newly built residential buildings. This approach, which we can call contemporary vernacular architecture, inspired our main strategy for renovating these three houses.
香格里拉气候比较严酷。每年的11月就进入寒冷的冬季，直到来年4月大地才缓慢复苏。等到高原重新披上绿色，就已经是5月了。6、7、8 三个月是雨季，雨水充沛，很多时候天空都被厚实的云层覆盖，直到傍晚才能放晴，即使是在夏天，也会偶尔感觉到湿冷。高原阳光强烈，冬季经常晴空万里，新式的藏房民居都已经发展出成熟的阳光房体系。常见的做法是用玻璃把整个朝南的院子罩起来，形成一个大温室来给房子内部加温。这种做法近几年越发普及和成熟，以至于在作为州府的香格里拉市，阳光房已经成为所有新建民居的标配。这种我们可以称之为当代乡土建筑的做法启发了我们改造这三个藏房的主要策略。

“Performative”， The basic stance of this renovation project is to use it effectively. If the main wooden structure is intact, try to preserve it as much as possible; Rammed earth walls can shield against wind and rain, and their thermal performance is superior. Therefore, repairing damaged and collapsed areas can also preserve them; The roof has been damaged, and the traditional "wooden glitter" roof system has been abandoned by the times. There is no need to be sentimental and replace it with a new system.
“Performative”，即“管用”，是这个改造项目的基本立场。主体木结构完好，那就尽量保留；夯土墙能遮蔽风雨，其热工性能优越，那就把破损坍塌的地方修补一下也保留下来；屋顶已经损毁，传统的“木闪片”屋顶体系也已经被时代抛弃，那也不必多愁善感，用一个新的体系来替代它。

From traditional Tibetan houses to bookstores, the usage scenarios of buildings have shifted from herders' homes to public spaces. Firstly, it is necessary to improve the excessively dim indoor environment and allow more sunlight to enter the interior of the building. The folk experience has proven that sunrooms are suitable for the long winter season in Shangri La. Therefore, we decided to directly place a light steel roof on the original wooden structure of the Tibetan house, replace the "wooden glitter" with sun panels that can choose transparency, and then set up electric curtains under the sun panels to adjust the light entering the room according to weather conditions. The slope of the roof follows the original form of the "flash house", and the deep overhang of the sloping roof must also be preserved in order to continue protecting the rammed earth wall from rainwater damage. From the appearance, the posture of the hidden room on the ground has not changed significantly, only the roof material is thinner and lighter. The once hidden house suddenly bathed in sunlight, and the living scene in the traditional storage room was illuminated like a collection in a museum, while also transforming into another kind of public daily life. I think this can be the most appropriate expression for a rural bookstore.
从藏房到书店，建筑的使用场景从牧民的家屋变成了公共空间。首先要改善室内过于幽暗的状态，让更多的阳光进入建筑内部。民间的经验已经证明，阳光房适合香格里拉漫长的冬季，于是我们决定在藏房原来的木结构上直接放置一个轻钢结构的屋顶，用可以选择透光度的阳光板替代“木闪片”，然后在阳光板下设置电动窗帘，根据天气条件来调节进入室内的光线。屋面的坡度遵照“闪片房”的原始形态，坡屋顶深远的出挑也要保留，才能继续保护夯土墙不受雨水侵害。这样从外观上看，藏房长在大地上的姿态没有明显的改变，只是屋面的材料更轻薄一点。曾经隐藏在暗处的家屋突然沐浴在阳光里，传统藏房里的生活现场像博物馆里的藏品被打亮，同时又转化为另一种公共性的日常。我想这可以成为一个乡村书店最恰如其分的表达。

The bookstore team has defined three storage rooms from east to west as bookstores, cultural and creative stores, and cafes. We then modified the original space of the storage room based on these three different usage needs. The bookstore needs a large space with a decisive tone to respond to visitors' expectations with a spatial expression of a "temple of words" (Yu Jianyu). Although Wugong Village is only a half-hour drive from the high-speed railway station and highway intersection, Xiaozhongdian has not yet become a densely populated destination, and most guests come specifically to visit. We then carved out a two-story high courtyard in the center of the first storage room, with bookshelves standing against the wall and wooden structures forming a two-story arcade. All the books were at a near human scale for easy access.
适应性改造
书店团队把三个藏房从东到西分别定义为书店、文创品店和咖啡馆。我们于是根据这三种不同的使用需求来修改藏房原有的空间。书店需要一个一锤定音的大空间，以一个“文字庙宇”（于坚语）的空间表情来回应到访者的期待。虽然吴公村距离高铁站和高速路口都只有半小时的车程，但小中甸还没有成为一个流量密集的目的地，大多数客人都是专程探访。我们于是在第一个藏房的中心切出一个两层挑高的中庭，书架贴墙而立，周圈的木结构形成二层的跑马廊，所有的书籍都在近人尺度，方便取阅。

分析图

The cultural and creative store does not require a large area, so we set it on the second floor of the second storage room, and the entire ground floor including the courtyard space is designed as a living area for bookstore employees. In order to ensure the ventilation and lighting effect of the employee dormitory, a span of floor slab adjacent to the west back wall has also been removed to form a narrow and long indoor courtyard.
文创品店不需要很大的面积，于是我们把它设置在第二个藏房的二楼，整个地面层包括庭院的空间都设计为书店员工的生活区。为了保证员工宿舍的通风和采光效果，紧贴西侧背墙的一跨楼板也被拆除形成一个窄长的室内天井。

The coffee shop needs to strengthen its business attributes, as the second floor space is bright and comfortable but not sufficient; The ground level barn is too short, secluded and oppressive. So we dug 45 centimeters down from the ground of the barn, enlarged the foundation at the bottom of the rammed earth wall to become a stool, and supported the stone pillars that were originally used as column foundations with newly poured concrete square pillars. As a result, the barn unexpectedly achieved a lifted display effect. Coffee shops do not require a complete large space, and the room division of the old storage room provides space zoning and spatial scenes for the coffee shop, especially the living space around the fire pit - shrines, murals, wooden window frames, and water pavilions - which are already intriguing.
咖啡馆需要强化其经营属性，二层空间明亮舒适但不够用；地面层的牲口棚太矮，幽闭而压抑。于是我们把牲口棚的地面挖下去四十五公分，夯土墙底部基础放大一圈儿成为坐凳，原来用作柱础的石墩被新浇筑的混凝土方墩承托起来，牲口棚因此意外地收获了一个被托举陈列的效果。咖啡馆不需要完整的大空间，老藏房的房间划分正好为咖啡馆提供了空间分区和空间场景，尤其是火塘周围的起居空间——神龛、壁画、木制窗套和水亭——本身就耐人寻味。

Streamline and Landscape
The rammed earth wall on the south facade of the "Flash Room" is embedded with a well type wooden box, which is used as a barn (the rammed earth wall is not breathable, so a wooden carved corrugated shell is used to ensure the ventilation effect of the barn). After the barn was demolished, a hole over three meters wide was left on the rammed earth wall. So I thought of creating a concrete corridor at this location to guide customers out of the second floor of the bookstore and slowly approach the earth from a high place. This simple sense of ceremony did indeed alter the relationship between the old house and the earth, but I think it is appropriate. Feeling the earth and experiencing the house are equally important. Even from a usage perspective, the distance between the storage rooms is too far (56 meters between bookstores and cultural and creative stores, 38 meters between cultural and creative stores and cafes). How to string the three houses together into a continuous experience is also the focus of this renovation.
流线与景观
“闪片房”南立面的夯土墙上镶嵌了一个井干式的木盒子，作为谷仓使用（夯土墙不透气，所以用木刻楞式的外壳来确保谷仓的通风效果）。谷仓拆除后，夯土墙上就留下一个三米多宽的洞口，我于是想到在这个位置做一个混凝土廊道，可以引导客人从书店二层走出来，从高处缓缓接近大地，这简单的仪式感的确篡改了老藏房和大地的关系，但我认为是恰当的，感受大地和体验藏房同样重要。即使仅从使用的角度来看，藏房彼此距离太远（书店和文创品店间距56米，文创品店和咖啡馆间距38米），如何把三个房子串在一起成为一个连续的体验，也是这个改造要思考的重点。

In order to avoid farmland, the bookstore's corridor extends and bends back, landing at the courtyard gate. Then walk south along the field to an outdoor platform. There used to be a low wall here, like some kind of boundary defining existence. This location has been separated from the three storage rooms, providing a perspective to look back at the whole picture. Then head west towards the cultural and creative goods store, climb half a level of stairs to reach the terrace, from where you can overlook the continuous pine forest that stretches all the way to the distant Haba Snow Mountain. Passing through the interior of the cultural and creative store, a 30 meter long ramp rises above the barley field, and walking straight down is the back door of the caf é courtyard. The corridor of the caf é extends straight towards the direction of the reservoir, and after completing the observation of the vast forest in the distance, it climbs down to approach the deeper nature.
为了避开农田，书店的廊道探出去又折弯回来，在庭院大门处着陆。然后沿着田畦向南走到一个户外平台。这里原来就有一道矮墙，像是某种界定边界的存在。这个位置和三个藏房都拉开了距离，提供了一个回望全局的角度。然后再向西接近文创品店，爬半层台阶可上露台，从这里可俯观连绵的松林一直蔓延到远处的哈巴雪山。穿过文创店的室内，一条30米长的坡道架空在青稞田上，径直走下去就是咖啡馆庭院的后门。咖啡馆的廊道面对水库方向平直地探出，在完成对远处浩瀚林场的瞭望后，再拾级而下，去接近更深处的自然。

The budget for materials and construction is very tight for this project. The construction team is also a rural construction team determined through the government's bidding process. Based on our years of practical experience in rural areas, we can only choose the most conventional engineering methods under these conditions, and the expectation of results must leave sufficient room for error in the construction process. To make the situation worse, the construction of the original storage room had no basic concept of geometric accuracy. There are no absolutely vertical columns, no two completely parallel beams, and no truly horizontal floor. During the process of renovation construction, it is necessary to constantly face various uneven situations.
材料与建造
这个项目的预算非常紧张。施工队也是通过政府的招标流程确定下来的农村施工队。以我们多年来在乡村实践的经验，这种条件下只能选择最为常规的工程做法，而且对效果的期待必须为施工过程留出充分的容错空间。让整个情况雪上加霜的是，原始藏房的建造完全没有基本的几何精度的概念。没有绝对垂直的柱子，也没有两根完全平行的梁，更不存在一个真正水平的楼面。改造施工的过程中必须不断地面对各种参差不齐的局面。

In this era where traditional crafts are rapidly disappearing, even in Yunnan, natural materials and handmade methods are becoming scarce and expensive, and may even conflict with increasingly ubiquitous environmental regulations. Perhaps the more remote the countryside, the more it should utilize the industrialized construction system. The roof with light steel structure and solar panels is the most worry free part of the entire construction process (except for the unexpected leveling process of the wooden beam top). The entrance of the bookstore and three corridors extending to the ground are poured with concrete. Considering the limited formwork technology and precision of the rural construction team, we decided to use wooden glitter pieces removed from the roof of the old Tibetan houses as templates. The wood glitter has deep patterns, and the surface of the poured concrete is very mottled, which actually matches the overall rough construction. The recycled wood glitter also has a place to go, which is to be used as the decorative surface of the sloping roof gable and the suspended ceiling of the overhanging part. These weathered wooden glitter pieces, after being coated with clear paint, appear black brown, adding a calm tone between the walls painted with grass tendon white and the shiny corrugated boards.
在这个传统手艺快速消亡的时代，即使是在云南，天然的材料、手工的做法也开始变得稀缺和昂贵，甚至会跟越来越无所不在的环保法规发生抵牾。也许越是遥远的乡村，越应该利用工业化的建造体系。轻钢结构和阳光板的屋顶是整个施工过程中最让我们省心的环节（除了始料未及的木结构梁顶找平工序）。书店主入口的门头和三个伸向大地的廊道用混凝土浇筑，考虑到农村施工队有限的支模技术和精度，我们索性就用从老藏房屋顶拆下来的木闪片来作模板。木闪片纹路深，浇筑成型的混凝土表面非常斑驳，反倒是和整体上粗放的施工显得匹配。回收的木闪片还有一个去处，就是用作坡屋顶山墙部分的饰面和悬挑部分的吊顶。这些久经风霜的木闪片刷上清漆后呈现出黑褐色，在用草筋白涂刷的墙面和闪亮的波纹板之间，加入了一个沉着的色调。