大羽營造｜深圳蛇口海上世界-萬物生長-設計風向

LOFT中國感謝來自 深圳大羽營造空間設計機構 的餐飲項目案例分享：

這是一次關於中國鄉土手藝的空間營造體驗，一種源於中國土地的“編作”行動，產生的一個有機的類似萬物生長的視覺形態。重新回望中國鄉土社會過去最底層的手藝狀態，是否能和一個高級的現代空間產生一種自然的對話和交融。從而在中國的現代空間裏，讓人性的本能手藝在這個時代重返中國大地。在中國過去的鄉土生活裏，存在著大量的“編作”手藝，應用於家家戶戶的生活。尤其是源於鄉土底層社會生存狀態裏，他們的“編作”手藝並非是專業匠人所為。亦並不是如富貴人家所請的匠人“編作”手藝那樣精美，而是完全出於一種生存的基本需要，亦或叫做“本能”。

This is an experience on creating the space for Chinese folk arts and crafts, a “weaving” activity originated from Chinese soil, and an organic visual form similar to growing of things. Look back again to grass-roots handicrafts in Chinese folk society in a bygone age, and wonder if we can seek for natural dialogue and blending with advanced modern space to re-embrace those handicrafts that sparkle humanistic instinct on the ground of modern space in China. In the past folk life of China, “weaving” was a common household handicraft offering a large number of assortments, neither made by skilled craftsmen, particularly in the light of its origin in the rural underclass, nor seen so exquisite as the “weaving” objects by craftsmen for the wealth, but absolutely out of the basic need for survival, or “instinct”.

在充滿自然物料的土地裏，尋找到自己需要的材料，為了生活，更嚴重的講是為了“活著”，靠一雙並不專業的手，來滿足自己生活上的點點滴滴，這種過程自然拙劣，甚至在一個專業的匠人眼中更是微不足道，但別無選擇，因為“生”和“貧”讓他們隻能這樣，這是源自自身生活本能功能的“編作”，一切均源於本能。但恰恰就是這種“本能”，卻讓這些物件雖不精美但很真誠，很感人。甚至會讓觀者動容！手藝很低級，但他在滿足使用功能的同時“情感”真誠的高級。如果從藝術創作角度來講，這些看似不美的物件執行過程，因為匠人的不專業和不熟練產生了既可控製又不可控製的“誠意”，這恰恰是藝術創作最彌足珍貴的“因素”。現在這個空間所探尋的便是這樣一種體驗。

In the soil full of natural materials, they found what they needed for living, or “livelihood” even seriously.All they wanted were attained by their unskillful hands. It is unwise, and rather of little importance in the eyes of skilled craftsmen, but the only choice for the people haunted by impoverished life. The “weaving” was instinctive creature and all was like that. Their handicrafts are not delicate due to the very “instinct” but appealing for their sincerity and even strikingly moving, poor enough though, but with highly emotional intensity and practical functions. If, from the perspective of art, controllable but uncontrolled “sincerity”, arising from the making process of these seemingly unattractive objects for lack of skills and proficiency, is the most precious “element” in making artistic work. This space is where we can explore such an experience.

盡量回避任何的完美計劃。創作在開工現場此時此地瞬間生成感覺體驗，發動一群非專業的工人，憑著自己對他們生活的鄉土關於“編作”手藝的回憶，用最笨的方法，不懈的毅力，“編作”出了這樣一個空間形態，細部形態也是這些人的自由發揮，大膽的讓工人，把各自留在記憶裏的鄉土“編作”給編出來，鼓勵他們大膽的衝上去。如導演一樣說戲，說得這些臨時匠人們找到各自自己的感覺，不懈鼓勵這些工人“你可以”“你能做到”僅此而已。

Try to avoid the interference by a perfect plan. At workshop thence creation instantaneously brings a perceptual experience. A group of unskilled workers are mobilized to “weave” such a spatial form with most native approach and unremitting efforts, all from their memory of “weaving” handicraft as they did on their native soil. The exquisite form is also freely figured out by these people, who should be actively encouraged to become bold in making the “weaving” objects that stay in their memory of their past, in spite of misgivings. Like a director’s instruction on playing the role, these temporary workers are propelled to find their own inspiration, with a continual drive only by words such as “you can” and “you can get it done”.

現在終於呈現在大家麵前。我也不知道怎麼精準的把他表達合適，純粹是大家集體麵對空間的創作。我為這個空間所做的，便是組織了這樣一批非專業的人，積極的投入到整個的空間，積極的發揮他們各自的作用而已！讓他們類似於土地萬物自然的生長，如一個個被喚醒的魂靈，在此狂舞。什麼效果其實誰也控製不了，因為開始在現場瞬間生成的一個輪廓，一個高高大大空間、複雜的建築本體結構，根據功能需求我們便“編作”些像細菌，黴菌樣的附著在這個本體表麵。既能見到其原來，又能看到現在。如萬物生長，附著式生長，所以空間就這樣了。各位看觀你見山便是山吧！你看他像個什麼，他便就是個什麼！如果問我，我隻能告訴你他是關於中國鄉土本來的凝視，更關乎真誠情感狀態的回望，關乎生活，關乎自然，更關乎當下這個時代裏，當下這個行業的思索和審視。東坡說過“靜固了群動，空故納萬境”。

Finally, the space now is exhibited before us. I have no idea how to make an accurate expression to all that is completely created by every craftsman in the face of the space-making. What I merely did for the space was to gather the workers without special ability, devote myself to the work and put their roles into good use, giving them natural power to be aroused souls dancing wildly as everything on earth grows. Nobody has the ability to control what it could be whilst a profile, a high and huge space and a complex main architectural structure were instantly produced on spot at the beginning. In the light of functional demands, they were “weaved” like bacteria and mould sticking on the surface of such a structure from which both the origin and present condition are visible. As things growing relying on the soil, so is the space. If you look for a mountain, there it is. It looks like anything you are looking for. If I am asked, one thing I can tell is that it’s gazing at the native soil of China, and looking back to things much about the state of true feeling, life, nature, and largely concerning the era we live in, as well as our reflection on and inspection of this industry today. Just as Su Dongpo said, “Many movements rise from static, myriad visions rise from the void”.

∇ 平麵圖 plan

∇ 手稿 sketches

完整項目信息
項目名稱：萬物生長 Growing of things
主創設計師：馮羽 YuFeng
設計公司：大羽營造 Deve Build
官網：www.devebuild.com
聯係郵箱：devebuild@126.com
完成年份：2018
建築麵積：400平方米
項目位置：深圳蛇口海上世界文化藝術中心
攝影師：馬琪
客戶：紫苑文化
工法營造團隊：王文祥、徐誌宏、王文光、周建軍、吳四軍、項磊、舒仲青、郝鴻傑、胡家勝、鍾如海、楊代軍、鍾誌明
主要材料：碳化竹條、水泥自流平