青丘白崖 / Wutopia Lab

象征与情感驱动的叙事空间：该项目最核心的亮点在于其设计逻辑完全建立在深层的情感叙事和象征意义之上。建筑师巧妙地将个人对家人病痛的关切、对历史文本（如武则天、马可波罗游记）的考证，以及对生活起伏的感悟，转化为具体的建筑语言——“青丘”的克莱因蓝山丘形态，象征着生机与希望，而“白崖”则通过半透明与坚实结构的双重边界，体现了对下一代的保护与坚韧的期许。这种以“PLOT”（情节）为核心的构建方式，超越了纯粹的功能或美学考量，赋予了建筑极强的精神内核和人文深度。

形式的诗意转化与材料的叙事性应用：设计通过一系列诗意的联想，将抽象的情感和历史概念转化为独特的建筑形态。青丘屋顶连绵起伏的山形，灵感来源于汗八里皇宫的“青山”与帐篷意象，最终演化为海浪般的蓝色金属丘陵，形态的生成过程充满了即兴和浪漫的色彩。材料的选择与处理亦服务于叙事：克莱因蓝的运用（象征青金石与天空）、鳞片状铝板幕墙（象征女性的铠甲和水珠的闪耀），以及室内纯白空间与金色大门、橙色圆窗的对比，共同编织了一个既柔软又坚韧、充满希望与焦虑并存的物质世界。

场域的激活与对都市肌理的介入：项目并非孤立的建筑创作，而是被定位为激活整个EKA天物园区的七个“PLOT”中的关键节点。青丘与白崖的组合被视作与园区焦点“铜堡”构成的“家庭”单元，共同牵引着园区的叙事线索。场地处理上，用大面积红色混凝土奠定整体基底色调，并保留工业遗存的烟囱作为“灯塔”，体现了对现有工业场地的尊重和再语境化。这种将建筑作为叙事锚点，逐步开放并引导园区活力的策略，是建筑师对城市更新和场地策略的深刻实践。

There is a thin waterline between the Copper Castle pool and the large red brick factory building; following it, you can trace the source, hidden in the northernmost part of the EKA Tianwu Park: the revamped covered material yard and the duty room, Qingqiu and Baiya.
在铜堡水池和红砖大厂房之间有一条细细的水线，你沿着它便能追踪到源头，藏在EKA天物园区最北侧的，改建自有顶棚的堆料场以及值班室的青丘和白崖。

I have planned seven points for Tianwu, hoping that their successive opening will activate the PLOT of the park. Behind the Copper Castle, the focal point of the park, there is a slender thread connecting them. The Copper Castle, Qingqiu, and Baiya form a family unit, two of the seven points.
我为天物策划了七个点位，希望通过它们的逐次开放形成激活园区的PLOT。作为园区焦点的铜堡背后有一根细细的线牵绊着。铜堡和青丘白崖就是一组家庭，它们是七个点位中的两个。

I construct the design's PLOT using symbols, metaphors, mythology, spells, history, and improvisational ideas. The principles of construction, materials, structure, site analysis, and historical typology I have studied serve as the secondary framework between the PLOT and the design. I see Qingqiu as my wife and CEO Chen’s wife, both suffering from illness. I want my wife to live well; Qing, Eastern Green, signifies genesis and vitality. Therefore, I must use green. My research into the book "The Golden Peaches of Samarkand" confirmed my judgment: Empress Wu Zetian used lapis lazuli to represent the sky, and the blue of lapis lazuli is Klein Blue. Thus, I decided to transform the material yard into a green-colored house. This further reminded me of the green mountains in the Khanbaliq palace mentioned in Marco Polo's travelogue. He described the mountains, palace, and trees as being integrated. After refining this historical typology, I designed the building's roof as continuous, undulating hills. This hill shape also resembles a tent landing on the site. The tent typology was inspired by reading a section on "The Tartar Tents" while reconfirming the Khanbaliq green mountains. So, I initially named this building the "Green Chamber," the Klein Blue Tent.
我是用象征，比喻，神话，符咒，历史以及即兴的想法来构筑设计的PLOT的。我学过的构造，材料，结构，场地分析，历史类型选用是作为PLOT到设计之间的次级架构。我把青丘看成都在遭受病痛折磨的我和陈总各自的夫人。我希望夫人好好地活着，青，东方青，主生发，代表生机。所以我要用青色。对《撒马尔罕的金桃》一书的考证也验证了我的判断，武则天是用青金石来代表天，青金石的青就是克莱因蓝。所以我决定把堆料场改建成青色的房子。由此我进一步联想到马可波罗在游记中提到的汗八里皇宫里的青山。他描述到山、宫殿和树木浑然一体。就这个历史类型提炼后，我便把建筑屋顶设计成连绵起伏的山形。这个山形又像一个帐篷落在基地。帐篷的类型是在重新确认汗八里青山的时候，受顺便读到的《鞑靼人的木帐篷》一节的启发而来。所以最初我把这个建筑称之为“青庐”，克莱因蓝帐篷。

The design is simple, but life is not easy. Our moods fluctuate with the results of our wives' medical examinations—suspenseful, anxious, then a brief sigh of relief before waiting for the next cycle of anxiety. Life is always swaying. In contrast, my wife remains calm and composed. I told the project architect, Mu Zhilin, to use metal, giving this soft building a shining armor. The facade consultant, the Frenchman FLO, suggested using a fish scale arrangement for the aluminum panels to conform to the undulating shape. At that moment, a memory from my youth suddenly came to mind—"She stood up from the pool, covered in crystal droplets, bathed in the afternoon sun, looking like she was wearing shining scale armor. He wanted to catch her, but she slipped away." Then I said to FLO, "That's it."
设计很简单，但生活不容易。我们的心情都是随着夫人体检报告的结果而起伏不定。提心吊胆，焦虑到轻舒一口气然后等待提心吊胆的下一个周期。人生始终在摇摇摆摆中。相比，夫人则表现得淡定和从容。我对项目建筑师穆芝霖说，还是用金属，让这柔软的建筑有着闪闪发光的铠甲。幕墙顾问法国人FLO建议用鱼鳞组合方式排布铝板，这样能够贴合起伏的造型。这时，我突然想起年轻时的某个时刻——“她从泳池里站了起来，全身披着晶莹剔透的水珠，沐浴在午后的阳光下，仿佛穿着闪闪发光的鳞甲，他想抓住她，但她却滑走了。”然后我对FLO说，就这样吧。

Since life is full of unpredictability, I painted the entire interior white. At the same time, I needed beautiful words to encourage myself; the golden door represents those beautiful memories, and the orange round windows are blessings. When the curator, He Genxiang, posted photos on his moments, someone commented, "Waves." I replied, "Hills like waves." So it was named Qingqiu. This is the direct birth of Qingqiu, arising from life experiences. Beneath the blue metal hills undulating like waves is our "swaying human world."
既然生活充满不可预见，我就把室内全部涂成白色，同时我更需要美好的言辞来鼓励自己，金色的大门就是那些美好的回忆，而橙色的圆窗则是祝福。当策展人何根祥把照片放在朋友圈时，有人评论，海浪。我说，海浪一样的山丘。那就叫青丘。这就是青丘的诞生，很直接，就是源自生活的有感而发。仿佛海浪一般起伏的蓝色金属山丘下是我们“摇摇摆摆的人间”。

"I Please the World with My Pain"
In 2020, due to epidemic controls, I stayed confined with my wife in the hospital for about 40 days. Tangtang was initially at a friend's house, later accompanied by her pregnant young aunt. Afterward, Tangtang cut her long hair she had been reluctant to cut into short hair. A gentle girl transformed into a sprinting tomboy. In early 2023, I was scheduled to give a speech, but I was too weak from illness, so I decided to use crutches. She told me the crutches were ugly and asked me to lean on her instead; she was my crutch. Over these years, how much panic, bullying, and worry has she experienced? Therefore, I designed the duty room as two layers. The outer layer has a translucent PVC fabric curtain wall forming the outline of Baiya (White Cliff). The inner building is a solid geometric form. We look down on children, assuming they need protection and are easily hurt, but our children might be like that, or they might be very strong. Every setback is a baptism for their future wonderful lives. This constitutes the dual boundary of Baiya.
《我以疼痛取悦这个人世》
2020年，因为疫情管控，我陪伴夫人封闭在医院呆了40天左右。堂堂一开始在朋友家，后来则是怀孕的小阿姨陪着。后来，堂堂把一直舍不得剪的长发变成了短发。一个温婉的女孩蜕变成了一个飞奔的假小子。2023年初我要去演讲，但因为生病虚弱不堪，我决定用拐杖。她对我说拐杖很丑，要我扶着她，她是我的拐杖。这几年，她经历的恐慌，霸凌，担忧何曾少过。所以我把值班室设计成两层。外面一层半透明PVC织物幕墙构成白崖的轮廓。里面的建筑则是坚实的几何形体。我们看孩子是居高临下的，假设他们要被保护也是容易被伤害的，但我们的孩子可能如此，也可能非常坚强。任何波折都是他们未来精彩人生的洗礼。这构成了白崖的两层边界。

"For example, right now, I recall those dusty verses."
I have always felt that complex floor tiling designs in landscape architecture are superfluous and a waste of money. I covered the entire site with red concrete to provide a complete background color to set off the building complex. I retained the chimney, designing it as a lighthouse and signpost. Vice General Manager Zhan asked me what I intended to convert the inside into. I said, "A cigar room." Yes, I envisioned myself curled up on the sofa inside the chimney, smoking a cigar with Mr. Zhan, watching the smoke slowly drift toward the sky, which is like a well opening—perhaps this is the emptiest moment for us middle-aged people who are noisy, busy, and rushing around.
“比如此刻，我想起那些满是尘埃的诗句“
我一直觉得景观设计中复杂的地坪拼花设计是多余而浪费资金的废话。我用红色混凝土覆盖了整片场地。这样我的建筑群就有个完整的底色衬托。我保留了烟囱，把它设计成一个灯塔和指示牌。甲方副总詹总问我里面想改成什么。我说雪茄吧。是的，我这么设想过，我蜷缩在烟囱里的沙发上，和詹总各自点一支雪茄，看着烟缓缓飘向那个井口般的天空，大概这个时候，是我们这些嘈杂繁忙奔波的中年人最空的片刻吧。

"This is good enough."
On site, I asked Mu Zhilin to choose between a brushed finish and a matte finish for the surface treatment of the scales. Only when raindrops stayed on the misty facade, creating an unreal illusion, did the site understand why I didn't choose the brushed finish.
《这样就很好》
现场委托穆芝霖让我在拉丝面和磨砂面中选择一个作为鳞片的面层处理。当雨滴滞留在起雾般的幕墙表面形成一种不真实幻觉的时候，现场才明白我不选拉丝面的原因。

Qingqiu was initially supposed to be a restaurant, and Baiya a bar. As completion approached, we decided to leave them vacant temporarily, as we could wait for better tenants. I requested that the floor be covered with leopard print when photographing the empty space of Baiya because, during that difficult time, Tangtang fell in love with leopards and encouraged herself with them. In the end, the site ended up with a tiger pattern. Tangtang educated me not to be patronizing. I thought, this is fine too; it's life, don't be so tense.
青丘原本假设是餐厅，白崖是酒吧。在接近落成的时候决定暂时空置，因为可以等待更好的物业。我要求拍摄白崖室内空场的时候把地面铺上豹纹，因为在那个艰难的时候，堂堂爱上了豹子，并以豹子鼓励自己。最后现场变成了虎纹。堂堂教育我不要爹味。我想，这样也可以，生活嘛，不要那么紧张。