消息来源：谷德设计网

项目标签

设计公司:Hello Wood

文章分类:建筑

标签:Project VillageZerocom建筑实验社区

来自Zerocom对gooood的分享。

以重新定义“村社Village”的概念为目标，来自30多个国家的建筑师和学生来到好唻坞（Hello Wood）的夏季工作营，参与一项建筑实验。建筑师打造了一个屋舍群落，各建筑彼此呼应，共同构成理想的村社形态。

村社是其经过长时间发展之后，基于自身的历史、社区政治和环境文脉，形成的衍生物。这样一种发展过程是必然的吗？定居地必定能产生自己的文脉吗？在为期一周的规划与建造同时进行的状态下，通过共同生活，并亲手建造自己的社区，是否能够创造一种新的村社形式？与对村社的非正式和田园式的幻想不一样，Project Village是一个功能完善的定居点，它涵盖一个传统村社的重要组成元素：社区空间、住宅、市场、学校、谷仓等等。所有的一切都被注入了这个临时性创作集体的热情和乐趣。

With a goal of redefining the concept of a village，architects and students arrived from more than 30 countries to Hello Wood’s summer workshop to create an architectural experiment. The architects made constructions that reflect upon each other，creating the ideal village community of Hello Wood. The village is an outgrowth of its own socio-political，historical，and environmental context developed over a long period of time. Can this process be addressed differently? Can settlements generate their own context? Can a new form of village be created with a weeklong exercise in real-time master planning，practicing the craft and politics of building，partying，and constructing our own community? By challenging the informal and rural fantasy of the village，Project Village becomes an instant functional settlement. The major elements include those of a traditional village: community space，dwellings，market，school，barn，and so on. All of it is infused with the pleasure and fun of the temporary collective.

Project Village 2015是对反都市化的宣传与推广。

PROJECT VILLAGE 2015 IS PROPAGANDA FOR REVERSED URBANISATION.

Architects from 30 countries built their ideal village

Project Village is a 3-year-long architectural experiment

A debate on whether or not contemporary architectural discourse should shift its attention to rural settlements，rather than only focusing on the city，has recently been echoed by many architects including Rem Koolhaas. Entering this conversation，Hello Wood，the Architizer A+ Award-winning summer workshop，has invited 150 practicing architects，academics and students to take part in Project Village: an architectural experiment that redefines the concept of the village. Although the village is an outgrowth of its own socio-political，historical and environmental context over a long period of time，Project Village asked the question whether this process can be addressed differently: Can settlements generate their own context over a relatively short period of time?

Participants were searching for new methods in real-time masterplanning; practiced the craft and politics of actual building and constructed a community that established its own，possibly a new type of village. Project Village became an instant settlement of 150 people during the one week in which it was built. Units of a traditional village where approached from a community perspective in a contemporary form: among the 15 installations were a Migrant House，a Rolling Pub，a Village Cinema，and even a residential building depicting the cycle of birth and death. As a result，Project Village in its first year became a catalyst of events and social interaction. It is a manifold community space ready to be occupied by and engage various groups of public.

In the past ten years numerous art projects have focused on the topic of community settlements: from the experimental settlement of AVL Ville built by Joep Van Lieshout in Rotterdam，through Yael Bartana’s propagandistic art work Wall and Tower，to Thomas Hirshhorn’s Gramsci Monument. These works all raise questions on the role of community settlements，their reciprocal relation to their environment，and their urban，cultural，socio-political context. Starting in 2015，Project Village joined this debate. Continuing the tradition of the 6-year-old Hello Wood，participants were invited to build a one–to-one model of their collective vision of a village: after designing the different components，they have built a settlement in one week，and set it on its way to occupy various environments and to be occupied by different communities and multiple activities.

Team leaders of Hello Wood，arriving from various parts of the world and from diverse academic and professional environments，came with entirely different references for what an ideal village should look like or should be. While the traditional village in Hungary is usually built along one street，in Mexico – for instance – it is based on a circular-structure. Since the creators of Project Village worked without the cultural and architectural heritage of any existing village，this creative freedom resulted in a settlement based on the needs and desires of a team of multinational thinkers. The installations do not seek to provide a general solution to the problems of villages around the world. The creators did，however，search for new ways of addressing social architecture and the use of public space. The installations reflect certain problems of contemporary society such as immigration，multifaith communities and the issues of private property. The creators also reimagined the institutions of any well-established village: The Cinema，the Pub and and the Community Places.

Project Village 2015 is the first phase of a 3-year-long architectural endeavor. During the first phase the creators have established a Village that’s primarily focusing on engaging with communities，generating social interactions and testing it as a public space. In the next chapter in 2016，the Village will expand，evolve，find its borders，and defend itself if needed. In the final year of the Project Village cycle，parts of the settlement will be conserved，reused，revitalized，deconstructed. Rather than manipulating and scrutinizing the architectural construct of an existing village，Project Village establishes its own settlement and examines the relationship between communities and their built environment through partaking in the politics and process of building，while challenging student-teacher-client-designer synergies at work，in search of innovative methods in participatory design processes.

The Village made its debut as an event space in the Valley of Arts festival，after which it became a travelling circus related to the theme，and nuanced by the context of the Sziget Festival and Budapest Design Week.

About Hello Wood:

Hello Wood is an independent，international educational platform of design and architecture. It teaches to think with our hands，and learn through experience. All projects are developed and built in a collaborative process. Teams of students from various fields，nationalities and institutions are lead by accomplished practicing professionals and academics. Their concepts are shared，developed and realized in an intense team effort. Hello Wood provides a unique experience in the craft of building，inventing，testing and an intimate understanding of the material itself. Hello Wood is a profoundly democratic opportunity to connect different generations，designers and artist with various cultural，academic and professional backgrounds.

屋舍中的幽灵 GHOST IN THE HOUSE

队长：Katsuya Fukushima

队员：Alex Rieveley，Csongor Egyed，Hanna Gelesz，James Foskett，Kou Zongjie，Luca Petrányi，Monika Krčméryová，Ryo Morimoto，Victoria Guinet

type: dwelling – individual

项目类型：住宅-私人住宅

Team Leader: Katsuya Fukushima

Team: Alex Rieveley，Csongor Egyed，Hanna Gelesz，James Foskett，Kou Zongjie，Luca Petrányi，Monika Krčméryová，Ryo Morimoto，Victoria Guinet

type: dwelling – individual

在发达的21世纪的城市中，我们不仅要关注发展还要留意均衡，其关键之处在于思考如何将活力注入进死与复生的循环往复中。“Project Village”是一个机会，通过复活一个村庄——集体生活的原初形态——来思考当代城市的可持续性。屋舍中的幽灵项目涉及到建筑重新拿回已经消失在当代城市中的生命源初的“死生循环”理念，它是一座死与生共存的房屋原型。这座房屋一共有三层，每一层都有自己的功能：地平层是做饭和吃饭的地方，一层是人们做爱和睡觉的地方，二层是回忆的地方和屋顶。每一层都存有“死生循环”的象征。

In the maturing city of the 21st century，we need a perspective of not only growth but also equilibrium. The key would be to think about how to inject dynamism into the repetition of death and rebirth (equilibrium)，which is the origin of life. Project Village is a chance to reflect on the sustainability of contemporary cities through reliving the emergence of a village，which is the primitive form of a collective. This project is about the architecture of reclaiming the “Death and Rebirth” of our lives that has been lost in contemporary cities. This project is about a prototype of a house that lives along with death and rebirth. It consists of three layers，and each of them have their functions: the ground floor is a space where people cook and eat，the first floor is a space where people make love and sleep，the second floor is a space of memory and roof. Each of the floors has a token of death and rebirth.

好唻坞篱笆 The Hedge of Hello Wood

队长：Ákos Juhász / Charley Brentnall

队员：Edward Crooks，Elzbieta Czyzewska，Marxreiter Adrienne，Matteo Aricò，Natasa Kitiri，Neal Hitch，Zsófia Varga

项目类型：娱乐-剧院

Team Leaders: Ákos Juhász / Charley Brentnall

Team: Edward Crooks，Elzbieta Czyzewska，Marxreiter Adrienne，Matteo Aricò，Natasa Kitiri，Neal Hitch，Zsófia Varga

type: entertainment – theatre

舞台和社区空间是村庄的中心要素。篱笆的形状像一把手风琴，营造出正在移动的错觉，可以被当做舞台或者集会的空间来使用。不管站在它前面的是一个人还是一群音乐家或者演员，这样一种（可伸缩的）形式都能将之笼络怀中。篱笆共有两条，后边的一条也可以当做后台来使用。这一装置可以折叠，方便携带；篱笆的安装需要全社区的人齐心协力，不失为一种凝聚人心的方式。

The stage and community space is a central element in every village. The Hedge has the shape of a concertina，and while it creates the illusion of movement，it can be a stage or an agora. Because of its shape，the Hedge embraces those standing in front of it – even if that is not one person but a whole group of musicians or performers. The Hedge has two lines，L，so the one in the back can also be used as a special backstage. The installation can be folded up and is portable. This is also a way to bring the villagers together，because the cooperation of the whole community is necessary to set up the installation.

村社影院 VILLAGE CINEMA

队长：Rufus van den Ban / Suzana Milinović

读书笔记: 书名:童年 作者:高尔基 好词 瑗际 歪斜凌乱 灰雾茫茫 轻声慢语 胆怯 不知所措 软塌塌 澄澈 耸向 独树一帜 难以置信 琐事 矗立 与人为善 不折不扣 不动声色 窥伺 掩面而笑 绵绵不断 不为所动 好句 1.我看着他好。

队员：Florian Beukeboom，Fruzsina Karig，Joanna Stolarek，Matthew Mitchell，Rafael Silveira，Tamás Dema，Yichen Song，Zsolt Sarkadi

项目类型：娱乐-影院

Team Leaders: Rufus van den Ban / Suzana Milinović

Team: Florian Beukeboom，Fruzsina Karig，Joanna Stolarek，Matthew Mitchell，Rafael Silveira，Tamás Dema，Yichen Song，Zsolt Sarkadi

type: entertainment – cinema

村社影院可以作为一个观测点，村民能通过它一瞥他人的生活；也能以一种全新的视角窥探现实的真相。装置利用潜望镜的原理，成为映照外部世界的一面镜子。装置可以移动，观众因此可以选择感兴趣的题材：比如他们想看一部大自然的纪录片，可以将影院移动到田野或者森林附近。装置的设计者认为日常生活的点点滴滴跟通常电影里的轰轰烈烈一样精彩有趣，而且村社影院能帮助村民更了解自身和其他伙伴。在这里上映的电影跟其他影片一样，也有配乐：事实上它有一条真正意义上的音轨——一个金属球在一条木质轨道上来回滑动，为画面打造永不重复的原声。

The Village Cinema works as an observatory，from which the villagers can peep into each other’s lives，and a cinema house，where they can get a glimpse of reality from a completely new perspective. Based on the structure of the periscope，the Village Cinema works as a mirror of the outside world. The installation rolls on wheels，so that the viewers can choose the genre they want to watch: for instance，if they feel like watching a documentary on nature，it is possible to roll the cinema close to a field or a nearby forest. The creators think that happenings of everyday life are just as interesting as the thrills that we see in cinemas，and the Village Cinema helps the villagers to learn more about themselves and each other. And as in every cinema，the movies shown in Hello Wood’s film theatre have soundtracks: it is in fact a real soundtrack，consisting of a wooden track in which a metal ball rolls around to create ever-changing music for the pictures.

游民之屋 MIGRATION HOUSE

队长：Marcin Kurdziel / Danny Wills from URBAN THINK-TANK

队员：Amalia-Alexandra Skamagkouli，Charlotte Balmer，Eleőd Huba，Jesus Sanchez，Sárdi Krisztina，Lorenzo Marconi，Martin Spalek，Kőműves Márton，Bálint Viola

项目类型：旅社-难民庇护所-朝圣者之屋

游民，指的是一群因为各种各样的原因无处安身的人。带着逃离腐败、失业、贫穷、冲突、战争或者生存环境恶劣等等状态的渴望，他们离开原先的社区和土地，谋求更好、更安定的生活。他们以各种不同的形式存在：移民（合法或者非法）、寻求庇护者、难民、工人、朝圣者、流浪者。不管我们怎样称呼这些人，有一点是共通的，即无家可归，也意味着没有庇护、工作、生活和社区。通过调查如何定义社区的核心，以及如何通过空间重建安全感（身心的和经济上的）、归属感甚至灵魂，游民之屋向解决“无处安身”的现象发起挑战。跟社区中其他一些将潜在的相悖的功能杂糅在一起的提案一样，这一项目不仅仅是一座游民之屋，同时也是欧洲中世纪一名朝圣者的房屋。

Team Leaders: Marcin Kurdziel / Danny Wills from URBAN THINK-TANK

Team: Amalia-Alexandra Skamagkouli，Charlotte Balmer，Eleőd Huba，Jesus Sanchez，Sárdi Krisztina，Lorenzo Marconi，Martin Spalek，Kőműves Márton，Bálint Viola

type: inn-refugee shelter-pilgrim house

The migrant is a person physically displaced from their home due to a variety of reasons. Escaping corruption，unemployment，poverty，conflict，war，or environmental destruction，these travellers leave behind their established communities in hope for a better，more secure life. They take many forms – expatriates，immigrants (illegal or legal)，asylum seekers，refugees，workers，pilgrims，nomads. Whatever we choose to call them，one thing is common for all – the loss of home and all the things that come with it，a shelter，a job，a livelihood，a community. The Migrant House proposes to challenge this phenomena of displacement through an inquiry into what defines a community centre，and how，through this space，one can rebuild shelter，safety，integration，economic security，and spirit. Combining the purposes of a PUB，CHURCH，and BORDELLO for their contrasting and potentially perverse takes on the establishment of community，the project merges a medieval European pilgrim house (Alms house / Ale house) with Urban-Think Tank’s ambition for dignified housing.

滚动的酒馆 ROLLING PUB

队长：Bart Jan Polman / Johanna Muszbek / Maurizio Bianchi Mattioli

队员：Ábel Kiss，Agnieszka Turczynska，Anna Smyczyńska，Áron Szabó，Ben Summers，Danique van Hulst，Dóra Komlóssy，Guiseppe Ferrigno，Laura Nica

type: pub

项目类型：酒馆

Team Leaders: Bart Jan Polman / Johanna Muszbek / Maurizio Bianchi Mattioli

Team: Ábel Kiss，Agnieszka Turczynska，Anna Smyczyńska，Áron Szabó，Ben Summers，Danique van Hulst，Dóra Komlóssy，Guiseppe Ferrigno，Laura Nica

type: pub

滚动的酒馆是一个社会压缩器，凝聚着人间百态，将村中的各色人等聚集在一起。它滚动着，为大众提供适合各类人群的各种可能的布局。村中有三种类型的常客：孤独的饮者、来酒馆社交的人、喝给别人看的人。在这一提供永不枯竭乐趣的转轮中，每一类人都有自己的位置。而轮子本身，可以从两边进入，从轮子中间伸出一条长板来，可以当做传统的吧台来使用。

This rolling pub is a social condenser of sorts. It smoothly brings together the different crowds of the village，in a way that only the best pubs can do. It rolls and offers a multitude of possible configurations for the multitude. It has an audience. Distilling from the creators’ own experience and society at large，three defined types of pub-users represent the village as a whole: the Lonely Drinker，the Social Drinker，and the Exhibitionist. Each of these three types of “drinkers” has their own place in this rotating wheel of everlasting pleasure. Its features and users are clear.

The wheel itself，however，can also be approached from both sides，where the large round circles offer a place to hang serving planks that will work as conventional bars.

题目：《三国演义》作者：罗贯中 主要内容：三国演义写的是东汉末年群雄纷争，三国鼎立的故事，三国演义里有很多纷繁错杂的人物，他们的性格各有特点。好词：一臂之力、一亲芳泽、七步成诗、三顾茅庐、下笔成章、不出所料。

塔 The Towers

队长：Jan Vondrák / Jan Mach / Lukáš Holub from MJÖLK ARCHITECTS

队员：Anna Ladurner，Dóra Karner，Kamilla Trauer，Kim-Fabian Dallarmi，Louis Bruno Bindernagel，Melissa Jin，Paulina Frankowska

项目类型：基础设施-地标

所谓基础设施即建筑中不可见的根本：只有我们在连水和电都无处可寻的时候，它才能很好地发挥作用。对于一个现代村庄来说，功能良好兼具有创意的基础设施是必需的。设计者将重心放在迎合当代特定的需求上。第一座塔是好唻坞的水之塔，有四个淋浴位，在顶部还有一个浴盆。第二座塔是通讯塔，大喇叭将讯息尽快地传达给每一个村民。

Word，Team Leaders: Jan Vondrák / Jan Mach / Lukáš Holub from MJÖLK ARCHITECTS

Team: Anna Ladurner，Dóra Karner，Kamilla Trauer，Kim-Fabian Dallarmi，Louis Bruno Bindernagel，Melissa Jin，Paulina Frankowska

type: Infrastructure – icons，orientation

Infrastructure is the invisible basis of architecture: it only works well if we do not even know where our water or our electricity comes from. Functional and creatively designed infrastructure is a necessity for every modern village. The creators put the emphasis on the current urban needs. The first tower is the one responsible for the water supplies of the Hello Wood Project Village，having four showers and even a bathtub at the top. The second tower is the communication centre of the village，where loudspeakers ensure that information spreads around the village as fast as possible.

圣所 Sanctuary

队长：Jennifer Argo / Lee Ivett

队员：Flavia Notarianni，Bianka Hajdú，Joe Ridealgh，Johannes Fandl，Kate McAleer，Pablo Martínez，Sarolta Rab，Raya Boyukova，Tomasz Budnicki，Zsófia Kőműves

项目类型：教堂

Team Leaders: Jennifer Argo / Lee Ivett

Team: Flavia Notarianni，Bianka Hajdú，Joe Ridealgh，Johannes Fandl，Kate McAleer，Pablo Martínez，Sarolta Rab，Raya Boyukova，Tomasz Budnicki，Zsófia Kőműves

type: Church

现代社会，人们远离传统的有组织的宗教形式，而在追求自身的精神性时，也少有宗教纪念、仪式等相关的经验。这一项目的概念即为参与者提供一个机会，去探索一个非宗教的精神性主题，这一主题通过具体的形式被表达出来。所有人，不管有没有宗教信仰，都需要宣泄情绪的出口，反省、沉思、思辨、祈祷、平定内心。圣所试图探讨这类空间形式的可能性，以某种方式为个人和集体提供慰藉。圣所由互成角度的厚度不同的木条以自然的形式搭建而成，因此尽管有一些几何元素，装置依然给人柔软和自然的感觉。

Within contemporary society，people depart from traditional forms of organised religion，and they also limit the opportunity to engage in experiences of memory，ceremony，and sanctuary in pursuit of their own spirituality. The concept provided the opportunity for participants to explore a theme of non-religious spirituality manifested through physical form. All people，regardless of faith，require an outlet for peace，reflection，thought，discussion，and prayer. The Sanctuary seeks to explore the physical possibilities of such a space in a manner that provides for both the individual and the wider collective. The Sanctuary space features a framework constructed out of angled wooden beams – bevelled to create variation in thickness at the joints as in natural formations – so while the form has some geometric elements，this creates a softer，more organic effect.

聚合的栅栏 COHESIVE FENCE

队长：Pablo Kobayashi / Dániel Eke

队员：Agnieszka Wir-Konas，Billy Morgan，Dalma Kató，Dániel Nagy，Denise Feldbacher，Heini Wandersstud，Máté Jambrik，Joanna Woś

项目类型：栅栏、座具

Team Leaders: Pablo Kobayashi / Dániel Eke

Team: Agnieszka Wir-Konas，Billy Morgan，Dalma Kató，Dániel Nagy，Denise Feldbacher，Heini Wandersstud，Máté Jambrik，Joanna Woś

type: Infrastructure – fence，seats

我们真的把村庄看做一个完全开放的空间吗？不存在任何围合和边界？我们需要围合和边界吗？铁丝网的发明在美国殖民的历史上发挥了重要作用，也是水牛灭绝和土著文化衰败的主因之一。一座栅栏能定义公共和私人空间。对社会驱动下的定居形式而言，这种界限的概念是必须要，甚至是自然而然的。界限能够表达某种态度：是进攻还是固守。它不应该是暴力的、分裂的，而应该是聚合的。作为一个低调的项目，它将其他项目网织在一起。同时它也是坐具，让村民可以在此聊天，增进情谊。设计者设想它会是一个有着多种目的的综合性设施：分隔、聚合、融合、定位等等。

Do we visualise our village as a completely open space，where boundaries and borders no longer exist? Are borders and divisions necessary? The invention of barbed wire was key to American colonisation. It was also one of the main causes of buffalo extinction and Native American cultural decline. A fence symbolises and expresses the attitude towards the definition of public and private. This definition，this delimitation is necessary，even natural，in any socially driven settlement. However，its expression is what defines how aggressive or how radical this boundary is. It should not be violent. It should be an element of integration，rather than division. As a mostly understated programme，it has the potential to weave through the rest of them all. It is a system that not only serves a single purpose detached from the user，but also promotes the inhabitants’ relations. The creators conceive it as an integrating device with different purposes: separating-integrating-mingling-orientating-negotiating.

表演广场 PERFORMANCE AGORA

队长：Lux Nieve / Pep Tornabell

队员：Anastasia Bordian，Antony Plumb，Sean Brunswick，Carla Llaudó，Ewa Cempel，Isabel Halpern，Tamás László，Maria Nunez，Yara Valente

项目类型：广场、基础设施-公共坐具

广场是聚会、分享的室外空间。设计者意识到在剧院或者议会等设施中，座位的排布通常是反民主的：那些不能出现在中间位置的人，只能听后者高谈阔论，而不能参与辩论。因此设计者将广场和剧院的概念合二为一，改变了惯常的座位排布方式，使每一个置身其中的人都能得到一定的关注。广场由一系列连续的六角的单元连接而成，能很好地贴合起伏的地势，将大家聚集在此。每一个单元在装配时可以有不同的摆放形式。它的多变性使它非常适合各种表演，能以更分散的方式重新布置表演区和观演的座位。就像Theo Jansen的风动力雕塑一样，广场的形式完全交由置身其中的人来塑造。另外，这个装置有一独特之处，即建筑师用附近出产的紫甘蓝为其上色。

Team Leaders: Lux Nieve / Pep Tornabell

Team: Anastasia Bordian，Antony Plumb，Sean Brunswick，Carla Llaudó，Ewa Cempel，Isabel Halpern，Tamás László，Maria Nunez，Yara Valente

type: Main square / Infrastructure – public seating / agora

The agora is an outdoor space for gathering and sharing. The creators of the Agora realized that most parliaments and theatres have a very anti-democratic organisation of seats: there is always somebody or a group in the middle，and the others can only listen to them，but cannot participate in the discussion. Therefore the architects are merging the concept of agora and theatre，while changing the usual placement of the seats，making it a space where every participant has a certain amount of attention. This Agora is configured by a continuum of hexagonal modules，attached to one another. This conforms to a curved topography，softly rising and sinking down，that gathers us all. The modules could have a different layout every time they are assembled. Its adaptability makes it suited for various programmes，enabling the repositioning of sitting areas and performance spaces in a more distributed way. Like how the wind forms the sculptures of Theo Jansen，the Agora is completely formed by the people it welcomes. A special feature of the installation is that the architects used purple cabbage grown in the region to paint their installation.

茶柜 TEA TOTEM

队长：Pastuszka Lukasz from MOOMOO Architects and Zsófia Illés from COLLECTIVE PLANT

队员：Aitana Miriam Villanova，Anais Outurquin，Anna Kopácsi，Barnabás Cseszlai，Attila Daniel Jung，Facer Lucas，Jun Ming Kong，Bernardo Zacka

作者自称“1924年以前不太懂俄语,而双目夫明前也只上过一年函授共产主义大学:因作品塑造了保尔·柯察金这个有着钢铁般意志的共产主义战土的形象和作家自身经历的传奇品质,《钢铁是怎样炼成的》成为世界革命青年成才的“教科书”和“圣经”。

项目类型：市场

Real，Team Leaders: Pastuszka Lukasz from MOOMOO Architects and Zsófia Illés from COLLECTIVE PLANT

Team: Aitana Miriam Villanova，Anais Outurquin，Anna Kopácsi，Barnabás Cseszlai，Attila Daniel Jung，Facer Lucas，Jun Ming Kong，Bernardo Zacka

type: Market

在一位建筑师和一位城市植物学家的带领下，团队建造了这一间茶室兼药草干燥装置。供访客进入的门有两个，但只有两人同时出现在其中时，才能看见彼此。药草从这座六米高的装置上吊挂下来，卖家和买家在非常局促的空间内查看商品。村民在此可以使用年轻陶艺家Kezemura制作的餐具喝一杯茶水，享用一点美食。

The herb-drier and teahouse is the work of a group led by an architect and an urban botanist. The visitors can enter the place through two doors，but we are able to see the other person only once we are inside. The seller and the buyer can test the products in a very intimate space that is full of herbs hanging from the six-meter installation. The villagers can consume the special teas and gastronomic adventures from the bowls of the young ceramic artist Kezemura.

塔之门 TOWER GATE

队长：Márta Fischer / Oliver Sales

队员：Daphne Zografou，Davor Dušanić，Dominique Tang，Jonathan Schweizer，Máté Kudar，Sergio Sanz Vela，Sofie Berg，Tatiana Muñoz

项目类型：基础设施-门、地标、塔楼

Team Leaders: Márta Fischer / Oliver Sales

Team: Daphne Zografou，Davor Dušanić，Dominique Tang，Jonathan Schweizer，Máté Kudar，Sergio Sanz Vela，Sofie Berg，The，Tatiana Muñoz，

type: Infrastructure – gate，icon，tower

很多时候，建筑表现很“自我”，不与使用者发生关系。设计该装置的建筑师希望“到达”此处的人能触摸它，检视它。“到达”在旅程中是非常重要的一个节点，但在现代城市生活中却丧失了意义。创作小组的成员希望装置是三角形而非方形的，因为前者在大自然中更为常见，更能表达欢迎的意味。建筑师用一种好玩和互动的方式来设计这一装置：在他们看来，玩弄形体和思维是快乐之所在。

Many times in architecture，works occur to be “selfish” – they do not interact with the people that use them. The architects wanted to create an installation which welcomes the arriving people to touch it，examine it. Arriving has a very important role in every journey，but this can lose its significance in modern urban life. The group of creators thinks that it is better to use triangular forms instead of cubes，because they have a more welcoming effect on the human soul due to their frequent presence in nature. The architects of the Gate created their installation in a playful and interactive way: their opinion is that playing with thoughts and shapes is a necessity of happiness.

睡具 SLEEPINGTORIES

从1927年到1936年,创作了历史小说集《故事新编》中的大部分作品和大量的杂文,收辑在《而已集》、《三闲集》、《二心集》、《南腔北调集》、《伪自由书》、《准风月谈》、《花边文学》、《且介亭杂文》、《且介亭杂文二编》。

队长：Jocelyn Froimovich / Bence Komlósi

队员：Fábián Villányi，Ingvild Stokke，Juli Kéri，Koen Fraijman，Marta Ząbik，Tian Jiayi，Valentin Desmarais，Zita Técsi

项目类型：公共住宅

Team Leaders: Jocelyn Froimovich / Bence Komlósi

Team: Fábián Villányi，Ingvild Stokke，Juli Kéri，Koen Fraijman，Marta Ząbik，Tian Jiayi，Valentin Desmarais，Zita Técsi

type: Public dwelling

根据三种人们在公共场所休息和入睡的形体姿态，建筑师设计了三种形态的休憩装置。一直以来，睡觉总是跟卧室、床联系在一起，而不被认为是一种公共行为，也没有专为其设计的公共设施。经常能发现有人在公共场合睡着了——长椅上、公车上、火车上、草坪上甚至是路边——但也常被认为是贫穷才至如此，事实上，却未必与社会阶层、年龄、收入有关。睡具的目的是向公众展示这一问题，同时提供另一种惯性思维外的方式。将睡眠从床和卧室中解放出来，创作小队的最终目的是设计处可供人们在公共场合睡觉的设施：一个木头做的便携式睡袋，一个摇动的木床，一个专门睡觉的公共场所。

Of the three primordial bodily functions that promote direct architectural manifestations，resting and sleeping has been the least integrated into the public realm. Its civic display is never prompted by a place designed for it. Sleeping is charged by social undertones that have historically tied this necessity to a bed within a dwelling. One can find people sleeping in a public situation – on a bench，in buses and trains，or lying on the sidewalk，if not a lawn – but it is always an outcome of deprivation. There is no public place designed for sleeping. Regardless of social class，income，or age，we are all tired and we could all use some rest. Sleepingtories exhibits these questions to the civic audience while proposing alternative ways of inhabiting our territories. Freed from the bed and the dwelling，the ultimate goal of the group was to design artefacts where people can publicly sleep: a portable sleeping bag of wood，a rolling wooden bed，and a community space for public sleeping.

社区工坊“进行中” COMMUNITY WORK ‘IN PROGRESS’

队长：Ifigeneia Dilaveraki / Rikkert Paauw

队员：Árpád Tóth，Ayelen Peressini，Bartosz Zabiega，Eva Liisa Kubinyi，Jyothi Pillay，Lena Margarete Antonie Breitenborn，Roman Ledesma，Thiago Flores

项目类型：市政厅-社区中心

Team Leaders: Ifigeneia Dilaveraki / Rikkert Paauw

Team: Árpád Tóth，Ayelen Peressini，Bartosz Zabiega，Eva Liisa Kubinyi，Jyothi Pillay，Lena Margarete Antonie Breitenborn，Roman Ledesma，Thiago Flores

type: City hall – community centre

在近几十年，世界各地有一种“下乡”的新趋势。但如何进行根本性的转变而非简单的会到过去？如何维持都市生活的社会经济和文化环境的富足和多变，而不忽视更小规模的社区的宁静与稳定？“进行中”项目采用文化和建造的模块化和共同协作，以增强乡村社会的接受能力。为强化社区自给自足且不断进步的能力，项目欢迎更多人参与和更多事件的发生。这一项目提供一个工坊式的空间，作为信息交流的中心，让初来此地定居者能在这里获得一些工作和生活的经验，因此它必须具备一些长期存在的设施和条件来迎来送往一批批的过客。很重要的一点，建筑师建造这一项目所使用的材料都是从附近的树林里捡来的废木材。

During the recent decades，the world has evidenced new trends towards decentralisation and a longing for the benefits of provincial life. But how can we turn to our roots without returning to the past? How can we maintain the rich socioeconomic and cultural environments of urban life that is always in flux，without neglecting the calmness and stability of smaller communities? Community Work ‘In Progress’ embraces contextual and constructional modularity and co-creation processes to strengthen the receptiveness of rural societies. It is open to the flow of people and activities，in order to reinforce the self-sufficiency and progress of communities. Community work is a neighbourhood workshop space acting as a centre for exchanging knowledge and experimenting with new types of community living-working settlements. It is a space that possesses the necessary conditions to host the long-term by being open to the temporary. A crucial part of the design is that the architects used wooden waste found in the nearby forests.

MAZZOCCHIO

队长：Martial Marquet / Nicolas Polaert

队员：Andrea Ballesteros Beato，Carina Zabini，Gábor Tajnafői，Juan Ezcurra，Sára Weichinger，Sonya Falkovskaia，Vojtech Nemec

项目类型：基础设施/主广场-公共照明/圆形大厅

Team Leaders: Martial Marquet / Nicolas Polaert

Team: Andrea Ballesteros Beato，Carina Zabini，Gábor Tajnafői，Juan Ezcurra，Sára Weichinger，Sonya Falkovskaia，Vojtech Nemec

type: Infrastructure/main square – public lighting/rotunda

Mazzochio是一座为社交提供场所，兼具照明的装置。受保罗·乌切洛绘画的启发，Mazzochio由一座大型环形木质桁架构成，位于营地的中心。在灯光的照射下，装置周围有一圈光晕，更突出了结构的形式，也为进入该装置划定了象征性的入口。入夜后，这里变成一块社交场所，谁都可以来到这里与别人聊天交流。

The Mazzochio is a large installation combining space and light to create social interactions. Made of a large wooden trussed ring，it is inspired by Paolo Uccello’s geometrical drawings. It is a gathering point in the centre of the festival area. The light it provides draws a circular perimeter that emphasizes the structure’s shape while also creating a line made of lights as a symbolic entrance to the installation. It is a social zone，appearing in the darkness of the night，where one can come and enter into an exchange with others.

BIWAK

队长：Ákos Eleőd / Zoltán Kalászi / Tamás Máté / Áron Vass-¬Eysen

队员：Barbora Tothova，Maria Roy Deulofeu，Marina Mylonadis，Márta Schmidt，Mathilde Garcia-Drimmer，Riccardo Onnis

Team Leaders: Ákos Eleőd / Zoltán Kalászi / Tamás Máté / Áron Vass–Eysen

Team: Barbora Tothova，Maria Roy Deulofeu，Marina Mylonadis，Márta Schmidt，Mathilde Garcia-Drimmer，Riccardo Onnis

type: Dwelling – public，guesthouse

项目类型：住宅-公共客房

匈牙利画家佩 ‧宣尼尔—墨斯的名作《玫洁莉丝》展现了一种人与自然的关系，即使村民并非画面的主体。人们带着象征文明的种种装备，例如毯子、篮子、餐巾来到此处野餐。就建筑师看来，BIWAK也是一个装备：对于渴望贴近自然的人们来说，它是一个迷你的、低成本的、舒适的装备，是一幢小木屋、一个遮风挡雨的庇护所、甚至是情人们幽会的秘处。

One of the most remarkable Hungarian paintings，Pál Szinyei-Merse’s “Majális”，represents the relationship of citizens with nature. It refers to the connection of humans and nature，even though the village people on the picture are not its main characters. Citizens are bringing their civilized equipment such as a blanket，a basket，a napkin，etc. to a picnic party. In the architect’s opinion，BIWAK is also a piece of equipment. The concept of BIWAK is a minimal，low-cost，and simultaneously comfortable answer to the desire of the citizen to move into nature. The BIWAK can be a shelter，a hut，or even a secret meeting point of lovers from the village.

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