【友情提示】世界那么大，為防走散， 請(qǐng)將AYS愛(ài)易設(shè)加星標(biāo)！關(guān)注AYS愛(ài)易設(shè)，關(guān)注AYS規(guī)劃設(shè)計(jì)事務(wù)所， 點(diǎn)擊上方名片-點(diǎn)右上角彈出菜單欄設(shè)為星標(biāo)即可。

一望無(wú)際的草坡之上

星星點(diǎn)點(diǎn)散落著幾座簡(jiǎn)約的白色蒙古包

與葳蕤樹(shù)木相互掩映

五邊形、六邊形、八邊形

各有各的新奇獨(dú)特

草原并非總是碧草連天

以草原環(huán)境的優(yōu)劣為標(biāo)準(zhǔn)

分為杭蓋、草原、山區(qū)、戈壁等

“杭蓋”意為森林邊緣的優(yōu)質(zhì)牧場(chǎng)

在烏蘭毛都廣袤的大草原上，「飛蔦集·草原宿集」重新找回了與自然環(huán)境的直接聯(lián)系。當(dāng)我們駐足于這片場(chǎng)地，環(huán)視四周時(shí)，由于草原的遼闊無(wú)垠，天穹的邊界線(xiàn)在遙遠(yuǎn)的地平線(xiàn)上被連續(xù)不斷地勾勒出來(lái)，遠(yuǎn)山、近處的樹(shù)林，乃至羊群，都隨著這邊界線(xiàn)的延伸而環(huán)繞、鋪展。

在這片蒼穹之下，萬(wàn)物以觀(guān)者為中心，由近及遠(yuǎn)層層遞進(jìn)，直至那無(wú)限寬廣的天際?；叵朊晒虐目臻g布局，其同樣體現(xiàn)了對(duì)場(chǎng)地的直觀(guān)感知。蒙古包內(nèi)部以火撐為核心，家具與物件圍繞其層層分布；大型蒙古包可舉辦盛大宴會(huì)，小型蒙古包則適合2-3人居住。這種空間布局，無(wú)論大小，均呈現(xiàn)出一種向心的形式，或者說(shuō)是一種符合層級(jí)嵌套的空間模型?！敢孕∫?jiàn)大」，正是蒙古包對(duì)這片廣闊場(chǎng)地的獨(dú)特回應(yīng)；它用有限的居住空間，映射出無(wú)限曠遠(yuǎn)的場(chǎng)地空間形態(tài)。

In the vast grassland of Wulan Maudu, "Flying Niaoji · Grassland Suji" has rediscovered its direct connection with the natural environment. When we stop in this field and look around, because of the vast expanse of the grassland, the boundary line of the sky is continuously outlined on the distant horizon, and the distant mountains, the near woods, and even the sheep are surrounded and spread along this boundary line.

Under this sky, everything is centered on the viewer, progressing from near to far, until the infinite expanse of the sky. Recalling the spatial layout of the yurt, it also reflects the intuitive perception of the site. The interior of the yurt is centered on the fire support, around which furniture and objects are distributed layer by layer. Large yurts can hold grand parties, small yurts are suitable for 2-3 people to live. This spatial layout, no matter the size, presents a form of centripetal, or a spatial model that conforms to hierarchical nesting. "Seeing the big with the small" is the yurt's unique response to this vast site; It uses the limited living space to map the infinitely vast space form of the site.

一、烏蘭毛都 · 飛蔦集

RESIDENTIAL DESIGN

「飛蔦集·草原宿集」位于內(nèi)蒙古烏蘭毛都草原，是STUDIO QI建筑事務(wù)所繼寧夏中衛(wèi)「飛蔦集·黃河宿集」后的第二個(gè)項(xiàng)目。該項(xiàng)目在廣闊的自然環(huán)境中采用單體分散布局，包括15個(gè)客房、接待區(qū)、餐廳、泳池以及員工宿舍。在客房、公共區(qū)域和餐廳，以及各功能空間的組合中，我們嘗試了不同多邊形單體的形式與平面布局，以探討向心性形式演變的可能性及其彈性。其中五邊形、六邊形和八邊形是從圓形向心形式中剝離出來(lái)的，根據(jù)其不同的內(nèi)部結(jié)構(gòu)。這三種多邊形以客房為主要功能體，作為特定范型來(lái)討論向心空間形式的理型。

Located in Wulan Maudu Grassland, Inner Mongolia, "Flying Niaoshi · Grassland Hostel" is STUDIO QI's second project after "Flying Niaoshi · Huanghe Hostel" in Zhongwei, Ningxia. The project consists of 15 guest rooms, a reception area, a restaurant, a swimming pool and staff quarters in an expansive natural setting. In the combination of guest rooms, public areas and restaurants, as well as various functional Spaces, we experimented with the forms and layouts of different polygonal monomers to explore the possibility of the evolution of centripetal forms and their elasticity. The pentagons, hexagons, and octagons are separated from the circular centripetal form, according to their different internal structures. These three polygons take the guest room as the main function, as a specific paradigm to discuss the physical type of the centripetal space form.

“待四時(shí)之景”與界面的伸縮性“游牧人依水草而居，轉(zhuǎn)徙無(wú)常，故以穹廬為棲止?！贝四艘欢侮P(guān)于游牧生活的描述，其中“穹廬”即指蒙古包。游牧人會(huì)定期遷徙，在天氣晴好的日子里，他們會(huì)在蒙古包前搭建一個(gè)帳幕，隨后便可與友人一同坐在帳幕前欣賞眼前的風(fēng)景；“待四時(shí)之景”則是一種持續(xù)一段時(shí)間的游牧旅居生活狀態(tài)。帳幕前的景色會(huì)隨著四季和地點(diǎn)的變化而改變，但蒙古包的內(nèi)部空間卻始終如一；蒙古包是一個(gè)封閉且包裹的室內(nèi)空間，而帳幕則是其與外部場(chǎng)地和景物相聯(lián)系的一種延伸。

"The scene of waiting for four hours" and the flexibility of the interface "nomads live by water and grass, migration is impermanent, so the roof is perched." This is a description of nomadic life, in which the "dome" refers to the yurt. Nomads migrate regularly. On fine days, they set up a tent in front of a yurt, where they can sit with their friends and enjoy the view. The "four hours of stay" is a nomadic state of life that lasts for a period of time. The view in front of the tent changes with the seasons and the location, but the inner space of the yurt remains the same; The yurt is an enclosed and wrapped interior space, while the tabernacle is an extension of its connection to the external site and scenery.

二、空間美學(xué)

RESIDENTIAL DESIGN

室內(nèi)坐榻前，較淺的 2.5 維窗洞（淺空間）意味著青蔥草原向內(nèi)的滲透，而 2.5 維門(mén)洞構(gòu)成的入戶(hù)玄關(guān)與露臺(tái)則是通往戶(hù)外草原的無(wú)盡延伸?？腿吮灰粋€(gè)淺空間引入室內(nèi)的同時(shí)，視線(xiàn)又被另一個(gè)淺空間引向草原。視線(xiàn)在室內(nèi)空間與充滿(mǎn)生機(jī)的草原間不斷切換。在一幕幕場(chǎng)景的交織中，客人漸漸模糊了自己是在客房沙發(fā)上躺臥，還是置身于微風(fēng)輕拂的草原之上，這種似有若無(wú)的空間遐想將人帶往無(wú)盡的草原邊界。

In front of the bed, the shallow 2.5-dimensional window (shallow space) means the penetration of the green onion grassland, while the entrance porch and terrace formed by the 2.5-dimensional door are endless extensions to the outdoor grassland. While the guest is drawn into the interior by one shallow space, the view is directed to the grassland by another shallow space. The view switches between the interior space and the vibrant grassland. In the interweaving of scenes, guests gradually blur their own sofa in the guest room, or in the breeze on the prairie above, this seemingly empty space reverie takes people to the endless prairie boundaries.

針對(duì)內(nèi)蒙古烏蘭毛都大草原的場(chǎng)地特征和地方傳統(tǒng)進(jìn)行了挖掘與探索，重新審視遼闊草原與蒙古包之間的時(shí)空關(guān)系，并對(duì)多邊形形態(tài)的演變進(jìn)行了持續(xù)實(shí)驗(yàn)。新生的建筑形式既體現(xiàn)了對(duì)歷史在地性的回歸，又展現(xiàn)了當(dāng)代草原居住生活的新面貌，使鄉(xiāng)村在延續(xù)的敘事中得以煥發(fā)生機(jī)。當(dāng)玄關(guān)和坐榻區(qū)作為邊體與起居室相連時(shí)，起居室的視野邊界能夠借助邊體上的窗戶(hù)延伸到草原。當(dāng)露臺(tái)的門(mén)開(kāi)啟時(shí)，草坡上的微風(fēng)隨之飄入室內(nèi)，淡淡的草籽香又將端坐在沙發(fā)上的客人引向戶(hù)外。兩個(gè)臥室作為邊體與起居室分隔開(kāi)來(lái)，形成相對(duì)獨(dú)立的兩個(gè)房間，使客人仿佛置身于一個(gè)尺度更小的包裹空間之中，無(wú)垠的草原仿佛被推至遠(yuǎn)方。由八邊形單體形式構(gòu)成的是一個(gè)正四邊形天井，其四個(gè)長(zhǎng)面平行于八邊形。

According to the site characteristics and local traditions of Wulan Maudu Grassland in Inner Mongolia, the paper explores and reexamines the spatio-temporal relationship between the vast grassland and the yurt, and conducts continuous experiments on the evolution of polygon morphology. The new architectural form not only reflects the return of history to the place, but also shows the new look of contemporary grassland living life, so that the countryside can be revitalized in the continuation of the narrative. When the porch and seating area are connected to the living room as a side body, the view boundary of the living room can be extended to the grassland through the Windows on the side body. When the patio door is opened, the breeze from the grassy slope wafts into the room, and the faint scent of grass seeds draws the guests sitting on the sofa to the outdoors. The two bedrooms are separated from the living room as sides, forming two relatively independent rooms that allow guests to feel like they are in a smaller package space, and the vast grassland seems to be pushed into the distance. The octagonal monomer form is a regular quadrilateral patio with four long faces parallel to the octagon.

AYS愛(ài)易設(shè)來(lái)稿須知

感謝您的關(guān)注與支持！我們非常歡迎各類(lèi)投稿

幾點(diǎn)簡(jiǎn)單的來(lái)稿須知，望您耐心讀完

來(lái)稿要求如下：

1、高清項(xiàng)目實(shí)景照片/效果圖/模型照片/手繪草圖

2、高清技術(shù)圖紙，如：分析圖/主要平立剖/總平面/關(guān)鍵節(jié)點(diǎn)詳圖

（圖片要求：無(wú)水印，格式為JPG，圖片分辨率72，寬度大于1200像素）

3、詳實(shí)的設(shè)計(jì)說(shuō)明800字左右（word格式）

4、真實(shí)準(zhǔn)確的基本項(xiàng)目信息

5、貴司的LOGO、官網(wǎng)相關(guān)信息

我們的編輯將在收到稿件后的3個(gè)工作日內(nèi)審稿并與您取得聯(lián)系，如果沒(méi)有刊載也會(huì)在3個(gè)工作日內(nèi)您答復(fù)

如有其他疑問(wèn)請(qǐng)加微信：13717943868

本篇文章僅供學(xué)習(xí)和分享，如若圖文資源侵犯您權(quán)益，請(qǐng)及時(shí)與我們聯(lián)系，將第一時(shí)間做出處理，商務(wù)合作可添加微信，歡迎進(jìn)群交流。

易老師微信號(hào)：13717943868