劉滌宇

戴方睿

譚鐳 譯

李穎春 譯校

從飛機(jī)上我看到了可以稱之為宇宙的景象，它提醒我們什么才是這個(gè)地球上最根本的東西。

……

在500—1 000 m 的高空，以每小時(shí)180—200 km 的速度俯瞰大地，看見的景色不是一晃而過的，它是緩慢、連續(xù)，又相當(dāng)精確的，一個(gè)人甚至能分辨牛背上紅色和黑色的斑點(diǎn)。除了飛機(jī)以外，只有海上的輪船和行人的雙足能夠提供所謂的人性化視閾。當(dāng)一個(gè)人能看見的時(shí)候，他的眼睛可以平緩地向大腦傳輸這些信號(hào)。

——勒 · 柯布西耶③引自勒 · 柯布西耶《精確性》陳潔譯本，中國建筑工業(yè)出版社2009 年版，pp. 4-7。

航拍無人機(jī)的普及，給了我們一種成本低廉的空中讀村方式。盡管我們只能從傳輸過來的圖像信息中體驗(yàn)這種來自上空的俯瞰視角，無法獲得柯布西耶所描述的那樣直接的高空身體體驗(yàn)，高度和速度也不太一樣。

起飛前，鏡頭傳輸?shù)木跋笈c眼前所見無異：面向街道的房屋、灰瓦的坡頂、檐下的裝飾。隨著螺旋槳開始轉(zhuǎn)動(dòng)，熟悉的景象開始一點(diǎn)點(diǎn)推遠(yuǎn)，院落結(jié)構(gòu)以及鄰里關(guān)系逐漸浮現(xiàn)出來，然后又隨著航拍無人機(jī)的進(jìn)一步升空而凝縮直到不可見。

無論在哪種視閾層次中，水都是傳統(tǒng)村落中不可缺少的元素。伴隨著村落鄰里尺度的是流過村落的小溪、日常生活的水塘，乃至賦予水體一種宗教儀式感的水口亭和水口廟。隨著視閾繼續(xù)擴(kuò)展，山間的陂塘、密布河網(wǎng)的圩田、河上的橋梁和圍堰……在村落逐漸凝縮為大地景觀中一個(gè)微不足道卻足夠醒目的點(diǎn)時(shí)，這些村落賴以生存的基礎(chǔ)設(shè)施開始呈現(xiàn)出來，湖州和孚鎮(zhèn)荻港村的圩田、蘇州震澤師儉堂的河街，都是被稱為“江南水鄉(xiāng)”的太湖流域地區(qū)由水塑造出的農(nóng)業(yè)、商業(yè)景觀。在西南地區(qū)，如果沿河的聚落同時(shí)也與起伏動(dòng)人的山勢相伴，聚落與自然地形之間的豐富性便會(huì)進(jìn)一步被激發(fā)。重慶塘河鎮(zhèn)那從山脊延續(xù)而下并深入水中的形態(tài)，在航拍無人機(jī)的視閾里盡顯其飄逸和靈動(dòng)。

水也可以與其他防御設(shè)施結(jié)合，形成設(shè)防聚落。由于各地地理?xiàng)l件和建造方式的差異，以及防御系統(tǒng)的區(qū)別，呈現(xiàn)出風(fēng)土聚落可貴的多樣性。北方聚落多為集村，山西沁水湘峪村選擇修筑城墻、建造高樓來自衛(wèi)；而西南聚落多散村，平原聚落建造配有碉樓的莊園，而山地聚落則憑借天險(xiǎn)建造堡寨。水塘是村落中重要的日常生活空間。義烏雅治街翰林第旁的那片水塘，親切而較少儀式性，但義烏喬亭的另一處水塘卻因?yàn)榕赃呌辛宋幕瘎≡?，而呈現(xiàn)出若有若無的儀式感。東陽紫微山民居將方形水塘設(shè)置于聚落軸線的核心位置，其作為儀式空間的意義也因此強(qiáng)烈凸顯。

紫微山民居建筑群前面的水塘、后面的小山和風(fēng)水林、嚴(yán)整的軸線所產(chǎn)生的秩序感，與浙中地區(qū)村落相對嚴(yán)密的宗族組織密切相關(guān)。但即使共享同樣的建造方式和相似的宗族組織形態(tài)，村落的具體面貌也千差萬別。東陽的盧宅，一個(gè)超大規(guī)模的肅雍堂便限定了村落的基本走向和形態(tài)，浦江潘周家村則呈現(xiàn)出由若干較大的院落各自控制其周邊區(qū)域的形態(tài)，而義烏田心村有一大片區(qū)域，小型院落圍繞曲折的溪水均布。在浙南山區(qū)的石倉源，可以看到在河谷有限的耕地之間散布著聚族而居的大屋，村落與田野如十指相扣般交錯(cuò)共生，但與石倉源相鄰的山頭村畬族聚落卻選擇沿等高線跌落布置的形態(tài)。

完整的幾何形狀往往使聚族而居的大宅更具有標(biāo)識(shí)性，尤其是當(dāng)航拍無人機(jī)升到高空的時(shí)候。福建華安大地村的幾座圓形土樓不僅僅在高空，在低空甚至地面上也能體察其向心性的巨大控制力。而三明地區(qū)的土堡就不一樣，高空中鳥瞰可以感知到強(qiáng)烈的向心控制力，在地面上體驗(yàn)以與日常生活相關(guān)的一個(gè)個(gè)院落為主。

相應(yīng)地，無人機(jī)降落的過程也是從柯布西耶所謂“宇宙的景象”回歸日常的過程?？罩锌瓷先ツ欠N強(qiáng)烈的秩序感逐漸消隱，每家每戶各自的細(xì)節(jié)也開始逐漸呈現(xiàn)。這些日常背后有空中所見的秩序感在背后起作用，然而，作用的機(jī)制卻潛藏在地面視角所感觸到的細(xì)微區(qū)別中。

親自走在鄉(xiāng)間道路上的感受與乘飛機(jī)從上面飛過時(shí)的感受是不同的……飛機(jī)上的乘客僅僅看到道路如何在地面的景象中延伸，如何隨著周圍地形的伸展而展開，而只有雙腳走在這條路上的人才能感覺到道路所擁有的力量，才能感覺到它是如何從對于飛行員來說只是一馬平川的景觀中憑借每一次轉(zhuǎn)彎呼喚出了遠(yuǎn)近、視點(diǎn)、光線和全景圖，就像指揮官在前線調(diào)兵遣將似的。

——本雅明①引自本雅明《單行道》王才勇譯本，江蘇人民出版社2006 年版，pp. 12-13。

From the plane I saw sights that one may call cosmic. What an invitation to meditation, what a reminder of the fundamental truths of our earth!

……

At 500 to 1,000 meters altitude, and at 180 to 200 kilometers an hour, the view from a plane is not rushed but slow, unbroken, the most precise one can wish: one can recognise the red or black spots on a cowskin. Everything takes on the precision of a tracing; the spectacle is not rushed but very slow, unbroken; along with the plane, it is only the steamer on sea or the feet of the pedestrian on a road that can give what may be called sight at human scale: one sees, the eye transmits calmly.②Le Corbusierās Precisions on the Pr esent State of Architecture and City Planning (trans. Tim Benton), Park Books, 2015, pp. 4-7.

Le Corbusier

The popularisation of drones has provided a low-cost means to read villages from the air, though we can only experience this bird’s-eye view from above through imageries. It is not the same as the in-person experience described by Le Corbusier. The height and speed are also different.

Before taking off, the scenery from the drone’s camera is not different from what we can see in front of our eyes: houses, streets, sloped roofs and the decorations under the eaves. As the point of sight goes up, this familiar scenery is gradually pushed away. The courtyards and the neighbourhood’s spatial fabric begin to emerge and then zoom out of sight as the drone lifts further off.

Water is a ubiquitous element in traditional villages, whichever perspective we take. On the scale of villages, water can be seen as creeks winding through villages, meres that provide for everyday use, pavilions and temples at embouchures which endow religious and ritual meanings to water. As we zoom out, the meres among mountains, polders in the lowlands, bridges and dykes on the rivers start to emerge. These infrastructures on which the livelihoods of villages rely only come into perspective when villages shrink into noticeable yet negligible dots in a vast landscape. The polders around Digang Village, Hefu Town in Huzhou and the riverside streets around the Shijian Hall of Zhenze Town in Suzhou are part of the agricultural and commercial landscapes carved out by water in the Taihu Lake Basin, commonly known as Jiangnanshuixiang(water town). In Southwest China, the diversity of relationships between settlements and terrains is enhanced when settlements along the rivers are accompanied by the mountains. In Tanghe Town in Chongqing, the way the townscape extends from the mountain ridge into the midst of water appears elegant and nimble in drone images.

Water can also protect the settlements. The variety of topographical conditions, construction methods and defensive systems demonstrate the precious diversity of vernacular settlements. Settlements in North China tend to cluster. Like Xiangyu Village of Qinshui County in Shanxi Province, they opt for constructing walls and towers for self-defence. In Southwest China, on the other hand, settlements are dispersed. Those on the plains built manors withdiaolou(watchtowers), while those in the mountains created fortresses on the cliff. Ponds are significant everyday space in villages. The pond next to the Hanlin Residence on Yiwu’s Yazhijie Village feels informal and intimate. In comparison, another pond at Qiaoting Village in Yiwu gains a faint sense of formality due to the cultural theatre next to it. The Ziweishan Village in Dongyang, on the other hand, significantly highlights the pond by positioning it along the axis of the settlement.

At Ziweishan Village, the sense of order created by the pond in front of the vernacular courtyards, the small mound andfengshuiforest at the backdrop, as the highly visible axis, is closely related to the lineage corporation in villages of central Zhejiang. Although with the same construction methods and similar lineage structures, the form of each village varies significantly. At the Lu Family Mansion in Dongyang, the enormous Suyong Hall alone determines the alignment and pattern of the entire village. Panzhoujia Village in Pujiang demonstrates a pattern where each of several large courtyards controls its peripheral territory. In contrast, Tianxin Village of Yiwu occupies a large area where small courtyards are distributed evenly along the winding creek. At Shicangyuan region in the mountainous area of south Zhejiang, large courtyards occupy agricultural fields in the valley’s limited space. In the neighbouring Shantou Village, however, the settlement of the She people was built along the contour lines.

Complete geometric layouts highlight the large mansions, especially when seen from drones flying high above. The round Tulou in Dadi Village of Hua’an, Fujian Province demonstrates an enormous centripetal control with their layouts from all angles. Whereas thetubao(earth fortress) in Sanming area presents a different dynamic, its intense centripetal control can only be sensed from a bird’s-eye view. At the same time, the experience on the ground is dominated by everyday life in each courtyard.

Respectively, the descending of a drone resembles Le Corbusier’s description of returning to the everyday from the ‘cosmic’. The intense sense of order seen from the sky gradually fades away, while the details of each household slowly emerge. Behind the everyday is the manifestation of the sense of order seen from the air. The generative mechanisms are hidden behind the subtle varieties experienced on the ground.

The power of a country road is different when one is walking along it from when one is flying over it by airplane……The airplane passenger sees only how the road pushes through the landscape, how it unfolds according to the same laws as the terrain surrounding it. Only he who walks the road on foot learns of the power it commands, and of how, from the very scenery that for the flier is only the unfurled plain, it calls forth distances, belvederes, clearings, prospects at each of its turns like a commander deploying soldiers at a front.③Walter Benjaminās One-Way Street and Other Writings, NLB, 1979, p50.

Walter Benjamin

作者簡介：劉滌宇，同濟(jì)大學(xué)建筑與城市規(guī)劃學(xué)院（上海 200092）副教授

戴方睿，同濟(jì)大學(xué)建筑與城市規(guī)劃學(xué)院（上海200092）博士研究生

收稿日期：2019-11-17

Biography: Liu Diyu, Associate Professor at the College of Architecture and Urban Planning, Tongji University (Shanghai 200092)

Dai Fangrui, PhD Candidate at the College of Architecture and Urban Planning, Tongji University (Shanghai 200092)

Received date: 17 November, 2019

江蘇省蘇州市震澤鎮(zhèn)師儉堂：全國重點(diǎn)文物保護(hù)單位 Shijian Hall in Zhenze Town, Suzhou, Jiangsu Province, listed as National Protected Cultural Heritage Site（戴方睿攝影）

隨著明清江南手工業(yè)的發(fā)展和商品經(jīng)濟(jì)的繁榮，沿著運(yùn)河，諸多市鎮(zhèn)應(yīng)“運(yùn)”而生。整個(gè)長江流域的物資集散于此，富可敵國的江南望族聚居于此。震澤的師儉堂所代表的就是江南儒商居住文化的典范。埠頭、商鋪沿河展開，祠堂、書塾，還有園林垂直于河街生長，方寸之中騰挪，曠奧之間變換，無名的香山幫匠人以其精妙的布局和典雅的審美，造就了江南特有的大隱隱于市。

Due to the development of manufactural industries and prosperity of the town economy in the lower reaches of Yangtze River during Ming and Qing dynasties, many towns emerged along the canals. Many cargo logistic services and prominent families gathered around here. The Shijian Hall of Zhenze Town is an example representing the culture of Confucianism and commerce in this area. Docks and shops unfold along the canals, while ancestral halls, private school and classical gardens are arranged perpendicular to the riverside streets. The local craftsmen with elegant aesthetics were good at building delicate architecture in limited space.

重慶市江津區(qū)塘河鎮(zhèn)：中國歷史文化名鎮(zhèn) Tanghe Town in Jiangjin District, Chongqing, listed as China’s Historical and Cultural Town（戴方睿攝影）

同樣是沿河而興的市鎮(zhèn)，丘陵地帶古鎮(zhèn)的形態(tài)特征便與平原完全不同。溯長江而上，在由于山丘阻隔而變得蜿蜒曲折的支流中，山城重慶的塘河古鎮(zhèn)因其地處江彎凸岸而形成了獨(dú)特的垂直于河道的街市空間。古鎮(zhèn)的肌理與山脊延伸而下的動(dòng)勢高度吻合，大山的輪廓抽象成層層疊疊、飄逸連綿的坡屋頂，覆蓋在了山腳江岸之上。高低錯(cuò)落的懸山屋頂和編織感強(qiáng)烈的穿斗墻體，仿佛在展現(xiàn)川渝碼頭特有的不羈性格。

Ancient towns in the mountainous region have different formal characters from those on the plains, although they both heavily rely on waterway transportation. Upstream of the Yangtze River, the winding river branches were shaped by the hills. In Tanghe Town of Chongqing, the U-turn of the river gave birth to its unique street pattern that is perpendicular to the river. The landscape character consists of mountain ridge, the town fabric, the layered slope roofs and the vernacular wall structures, just like the forthright character of the local people in Sichuan and Chongqing regions.

山西省晉城市沁水縣湘峪村：全國重點(diǎn)文物保護(hù)單位 Xiangyu Village of Qinshui County, Jincheng, Shanxi Province, listed as National Protected Cultural Heritage Site（戴方睿攝影）

四川省瀘州市瀘縣屈氏莊園：全國重點(diǎn)文物保護(hù)單位 Qu Family Manor of Lu County, Luzhou, Sichuan Province, listed as National PCHS（戴方睿攝影）

在晉東南沁河流域，權(quán)臣貴胄回鄉(xiāng)修建的家族堡寨并不少見。湘峪村背山面水，三面修筑城墻，內(nèi)院再起高樓。遠(yuǎn)在西南瀘縣的屈氏莊園雖然也三面環(huán)水，但是高聳的碉樓建在四角，對外表現(xiàn)出一種威嚴(yán)。另外，成都平原的聚落分布形態(tài)與山西家族聚居不同，屈氏家族有多處莊園，每個(gè)莊園建造時(shí)間各異，分散在屈氏家族的領(lǐng)地之內(nèi)。

Along the basin of Qin River in Southeast Shanxi, the fortress settlements are very common. Xiangyu Village is surrounded by walls on three sides, with water in front of it and the mountain as a backdrop. There are also tall buildings in the courtyards inside. Similarly, the Qu Family Manor in the distant Lu County in Southwest China is surrounded by water with talldiaolou(watchtowers) dominating the four corners, exhibiting a sense of dignity to the outer world. The distribution of settlements on the Chengdu plains is different from the clustered ones in Shanxi. The Qu Family owned several manors built in different times, dispersing around the territory of the family.

貴州省遵義市道真仡佬族苗族自治縣三橋鎮(zhèn) Sanqiao Town in Daozhen Gelao and Miao Autonomous County, Zunyi, Guizhou Province（戴方睿攝影）

貴州省遵義市道真仡佬族苗族自治縣三橋鎮(zhèn) Sanqiao Town in Daozhen Gelao and Miao Autonomous County, Zunyi, Guizhou Province（戴方睿攝影）

西南地區(qū)村落散居的傳統(tǒng)至少可以追溯到漢唐時(shí)期①參見魯西奇《散村與集村——傳統(tǒng)中國的鄉(xiāng)村聚落形態(tài)及其演變，《華中師范大學(xué)學(xué)報(bào)（人文社會(huì)科學(xué)版）》2013 年第4 期。，武隆山區(qū)西南緣道真縣三橋鎮(zhèn)的散村似乎都無法稱之為聚落，一個(gè)個(gè)長屋和三合院散落在山間梯田之間，周圍環(huán)繞以樹木，是天工與人工的杰作。當(dāng)?shù)氐陌傩諢o法像晉東南的大家族那樣把聚落建成城寨，但是借助喀斯特地貌形成的陡峭天險(xiǎn)，矗立于崖壁的“土匪寨”成為抵御入侵的最后堡壘。

The tradition of dispersed village pattern in the Southwest region can be dated back to Han and Tang dynasties (Lu, 2013). In Sanqiao Town on the southwestern edge of Wulong Mountain famous for its Karst topography, the dispersed dwellings can hardly be considered settlements. Single buildings and courtyards are distributed among the terraces, surrounded by trees. It is a masterpiece created by both humans and nature. The local people here were not able to build their settlements into fortresses like the prominent families in Southeast Shanxi. Yet, by making use of the Karst topography, they built buildings on the cliffs to defend against invasions.

浙江省金華市義烏市雅治街村翰林第與水塘 The Hanlin Residence and its water pond in Yazhijie Village in Yiwu, Jinhua, Zhejiang Province（戴方睿攝影）

浙江省金華市義烏市喬亭村 Qiaoting Village in Yiwu, Jinhua, Zhejiang Province（戴方睿攝影）

中國東南地區(qū)的宗族村落里，絕大多數(shù)水塘是既非儀式性也非防御性的社會(huì)空間。在金衢盆地的風(fēng)土聚落中，水塘與合院相伴而生，形成一種特殊的文化現(xiàn)象。即使在航拍照片中，從義烏雅治街村翰林第邊水塘里各種深入水中的平臺(tái)，也可以想見街坊鄰居在這里一邊洗衣服一邊聊天的情境。而像翰林第那樣以立柱架于水上的“水閣”，在明代民間營造類書籍《魯班經(jīng)》中就有記載。與雅治街相隔不遠(yuǎn)的喬亭村，不規(guī)則的橢圓形水塘中也有水閣，其另一側(cè)因?yàn)楹髞斫ㄔ斓奈幕瘎≡?，而給它帶來了一點(diǎn)點(diǎn)儀式性色彩。

In the lineage villages of Southeast China, most of the ponds are social space which is neither ritual nor defensive. In the vernacular settlements of the Jinqu Basin, ponds and courtyards accompany each other, forming a unique cultural phenomenon. Even from the drone image, one could imagine neighbours chatting with each other while doing laundry on the platforms that extend into the pond next to the Hanlin Residence in Yazhijie Village. The ‘water pavilion’ at the Hanlin Residence, supported by columns over the pond, was recorded in theLuban Jing①Also known as the Canon of Luban, it is a local historical book about vernacular buildings, furniture, handicraft industry and technology of tool making from Ming Dynasty (second half of the fifteenth century).. In Qiaoting Village, not far from Yazhijie Village, there is also a water pavilion next to the pond. On the other side of the pond a cultural theatre built in the mid-20th century brings a slight sense of formality to the pond.

浙江省金華市東陽市紫微山民居：全國重點(diǎn)文物保護(hù)單位 Vernacular dwellings in Ziwei Mountain, Dongyang, Jinhua, Zhejiang Province, listed as National PCHS（戴方睿攝影）

當(dāng)水塘與紀(jì)念性的軸線結(jié)合的時(shí)候，原本非儀式性的社會(huì)空間也會(huì)具有強(qiáng)烈的儀式感。浙江東陽紫微山許宅的風(fēng)水格局將水塘的這種儀式感發(fā)揮到了極致。號(hào)稱“三世尚書”的昭仁許氏規(guī)劃建造紫微山民居群，門前水塘的土方運(yùn)到宅后堆出小山，山上植木為林，造就了巧奪天工的風(fēng)水格局。航拍無人機(jī)技術(shù)為現(xiàn)代人提供了“上帝視角”，使得我們能夠?qū)?dāng)年那位兵部尚書對自己家園的想象盡收眼底。

When a pond is combined with the monumental axis, this initially informal social space can also embody a strong sense of formality. The layout of the Xu Family Mansion in Ziweishan Village, Dongyang is an extraordinary example. The Xu family planned and designed this vernacular village. The mud from digging out the pond was used to create a mound at the back of the mansion. Trees were planted on it to enhance the axis. Drone technology has provided the ‘cosmic’ for modern people, which enables us to appreciate the entirety of this ancient family’s imagination for their own home.

浙江省金華市東陽市盧宅古建筑群：全國重點(diǎn)文物保護(hù)單位 The historic architectural ensemble of the Lu Family Mansion, Dongyang, Jinhua, Zhejiang Province, listed as National PCHS（戴方睿攝影）

提到軸線與格局，不得不提到東陽盧宅。如此恢宏的規(guī)模和嚴(yán)整的軸線往往使得人們忘記了盧宅曾經(jīng)也是古村落的身份。肅雍堂以其超出普通民居的紀(jì)念性形式和縱深軸線對整個(gè)村落布局和朝向起到主導(dǎo)作用，使得村落的形態(tài)整體籠罩在其規(guī)則的強(qiáng)力控制之下。村落外圍原有的環(huán)濠，不僅為這莊嚴(yán)宏大的聚落增添了一筆自由靈動(dòng)的曲線，而且即使在今天，突降暴雨之時(shí)，這條水系依然可以起到排洪的作用。

When it comes to the axis and layout, the Lu Family Mansion in Dongyang must be mentioned. The magnificent scale and multiple axes often lead one to forget that the complex was once also an ancient village. Yongsu Hall, with its monumental axis beyond the status of an ordinary dwelling, is determining the layout and orientation of the entire village. The formal organisation of the village is under Yongsu Hall’s regulating order. The moat outlining the boundary of the village not only adds flexibility to the solemn settlement but also functions as a flood relieve mechanism till today.

浙江省金華市浦江縣潘周家村：中國傳統(tǒng)村落 Panzhoujia Village of Pujiang County, Jinhua, Zhejiang Province, listed as China’s Traditional Village（戴方睿攝影）

浙江省金華市義烏市田心村，浙江省歷史文化名村 Tianxin Village of Yiwu, Jinhua, Zhejiang Province, listed as Zhejiang Province Historical and Cultural Village（戴方睿攝影）

即使同在一個(gè)地理單元，村落的宗族組織形態(tài)和民居建造方式都大體一致，每一個(gè)村落的微觀肌理也有不同的選擇。比如構(gòu)成村落細(xì)胞的院落，金衢盆地北緣的潘周家村（上）以十三間頭、十八間頭及其衍生的多重多進(jìn)組合院落為骨干，兩大家族大型合院的朝向彼此垂直又各自統(tǒng)一。但與之相距不遠(yuǎn)的田心村，多數(shù)房屋則為小型的七間頭天井院，使村落肌理呈現(xiàn)出完全不同的尺度感。田心村的環(huán)溪王氏同根同族，但是建筑朝向各異，在大地上繪制了一副構(gòu)成主義作品。

Even within the same geographical unit, with similar lineage organisation and vernacular construction pedigree, each village presents various choices for its microscopic texture. Panzhoujia Village on the northern edge of Jinqu Basin is formed with large courtyards. The two largest courtyard complexes of the two lineages are perpendicular to each other yet forming their spatial orders. However, the nearby Tianxin Villages consists mostly of dwellings with small sky-well yards, which creates a spatial texture with a different dimension. Families in Tianxin Village are all branches of the same lineage, yet their courtyards take on various orientations, forming a constructivism artwork on earth.

浙江省麗水市松陽縣石倉古民居，中國傳統(tǒng)村落 Shicang ancient dwellings, Songyang County, Lishui, Zhejiang Province, listed as China’s Traditional Village（劉滌宇攝影）

翻過仙霞嶺，來到甌江上游的麗水市松陽縣，石倉源位于深山中的河谷地段，包括茶排、后宅、蔡宅等若干村落?，F(xiàn)在居住的大部分居民為清康熙年間從福建汀州府陸續(xù)遷徙過來的客家人，300 余年過去了，他們?nèi)匀徽f著自己的方言，并保留著客家習(xí)俗。從1790年開始，僅僅50 多年時(shí)間，洗砂煉鐵發(fā)家的闕氏宗族在土地最肥沃的河谷地帶留下了數(shù)十座大屋，透露出當(dāng)年強(qiáng)大的財(cái)力和對環(huán)境的控制力。

Over Xianxia Mountain is Songyang County of Lishui, upstream of Oujiang River. Shicangyuan region is in the valley of the mountains, including Chapai, Houzhai, Caizhai, and other villages. Most of the current residents there are descendants of Hakka migrants who gradually moved from Tingzhou of Fujian Province during the reign of Kangxi Emperor of Qing Dynasty (1661–1722). Almost 300 years later, they are still speaking their dialect and retaining Hakka customs. From 1790, within over five decades, the Que Family, who operated metallurgy industry, built up a few dozen mansions in the most fertile river basin, testifying to the formidable wealth and human control over the environment of the old times.

浙江省麗水市松陽縣山頭村 Shantou Village of Songyang County, Lishui, Zhejiang Province (Photo credit: Dai Fangrui)（戴方睿攝影）

就在距離石倉源闕氏聚落不遠(yuǎn)處的山坡上，更早聚居于此的畬族聚落表現(xiàn)出更加自然且合理的形態(tài)。體量小巧的天井院沿著等高線嵌入山體，層疊的梯田和夯土墻融為一體。相比之下，闕氏大屋就像天外來客。的確，大屋的木構(gòu)明顯受到浙中地區(qū)的影響，但各院落多圍繞最核心的院落布局，所呈現(xiàn)出的明顯向心性既不同于浙中的“十三間頭”又與當(dāng)?shù)氐耐林勐溴漠悺?/p>

On the slope not far from the Que Family settlement, the earlier settlement of the She people presents more natural and reasonable formal features. Sky-well courtyards of a small scale are embedded into the mountain along the contour lines, with terraces and rammed-earth walls merging into each other. In comparison, the Que Family mansions look like aliens. Indeed, the timber structure of the mansions is influenced by the craft in central Zhejiang. Although the apparent centripetal tendency of the layout where several courtyards surrounding the core courtyard is different from both the ‘thirteen-room courtyard’ feature from central Zhejiang and that of the indigenous vernacular settlements.

浙江省麗水市松陽縣石倉古民居：中國傳統(tǒng)村落 Shicang ancient dwellings of Songyang County, Lishui, Zhejiang Province, listed as China’s Traditional Village（劉滌宇攝影）

浙江省麗水市松陽縣石倉古民居：中國傳統(tǒng)村落 Shicang ancient dwellings of Songyang County, Lishui, Zhejiang Province, listed as China’s Traditional Village（戴方睿攝影）

在石倉源茶排村河流的自由曲線和山上茶園梯田的跌落形態(tài)中，繼善堂的體量和突出的幾何形明確而醒目。村里保存了大量契約文書，反映了幾百年來土地、房屋和日常生活變遷的情況，DnA 建筑事務(wù)所設(shè)計(jì)的石倉契約博物館為這些文書提供了展示的場所。博物館選址在繼善堂旁邊，但并沒有試圖與當(dāng)?shù)氐拇笪莓a(chǎn)生形態(tài)上的關(guān)聯(lián)，而是從整體景觀出發(fā)，將自身定位為跌落梯田的最底層一級，并以干砌石墻回應(yīng)當(dāng)?shù)氐膿跬翂坝^要素，使之呈現(xiàn)為地景的延伸。

In Chapai Village of Shicangyuan, among the terraced landscape, the formal volume and geometry of Jishan Hall stand out clearly. Historic indentures from the last hundreds of years are still preserved in the village, testifying to the exchanges of land and houses, and the evolution of everyday life over the centuries. The Shicang Hakka Indenture Museum, designed by DnA architecture studio, provides an exhibition space for these historic documents. The museum is next to Jishan Hall, yet it has not tried to associate with the local houses in the formal aspects. It sets itself in the local landscape and morphs into the lowest step of the terrace. The coarsely hewn stones layered in a wild lattice creates a conversation with the local element of the retaining walls and a continuation of the terraced landscape.

福建省漳州市華安縣大地村：世界文化遺產(chǎn)地 Dadi Village of Hua’an County, Zhangzhou, Fujian Province, inscribed as a World Heritage site（戴方睿攝影）

福建省大田縣萬宅村紹恢堡：全國重點(diǎn)文物保護(hù)單位 Shaohui Fortress in Wanzhai Village, Datian County, Fujian Province, listed as National PCHS（戴方睿攝影）

建筑體量與形態(tài)反差最大的當(dāng)屬福建土樓，鮮明的幾何形與超常的體量感在高空航拍時(shí)尤其強(qiáng)烈。福建華安大地村的二宜樓與遠(yuǎn)處的南洋樓，佇立在戴云山區(qū)典型大厝民居的拱衛(wèi)之中。

大田縣萬宅村紹恢堡的幾何形更多來自其采用的防御系統(tǒng)，尤其是土堡后部環(huán)形的跑馬道。而其核心部分卻是以廳堂和護(hù)厝構(gòu)成的院落式布局?；氐降孛嫔希挥羞M(jìn)入土堡的后部才能感知到環(huán)形跑馬道的的整體性，中部的合院空間感受與當(dāng)?shù)仄渌愋偷拇筘然疽恢??？罩凶x村的整體性與置身場地所感知到的復(fù)雜性之間若有微妙互動(dòng)，便是進(jìn)一步深入認(rèn)知的開始。

Fujian’stulouhouses illustrate the most considerable contrast between its architectural volume and form. The definite geometric shape and extraordinary volume can be sensed intensely from aerial photography. The Eryi House and the Nanyang House in Dadi Village are surrounded by the vernacular dwellings typical in Daiyun Mountain area.

A different geometric form and spatial organisation of the Shaohui Fortress in Wanzhai Village is mainly due to the defensive system they use, specifically the circular horse runway at the back of the compound. However, the core of the fortress is the combination of halls and side wings. The experience in it is similar to typical dwellings around in the area. The subtle interactions between recognising the overall entirety from the air and the complexity experienced on-site are the beginning of a deeper comprehension of vernacular architecture in China.