瓦园：威尼斯双年展第10届国际建筑展首届中国国家馆，威尼斯，意大利TILES GARDEN: CHINESE PAVILION OF THE 10TH INTERNATIONAL ARCHITECTURE EXHIBITION OF THE VENICE BIENNALE, VENICE, ITALY, 2006
建筑设计：业余建筑工作室
ARCHITECTS: Amateur Architecture Studio
处女花园，一片草木茂盛之地，地下60cm处隐存着一座古迹的基础，瓦园将以一种小心的建造方式轻放在那里，将用回收的江南旧瓦，支撑起一片巨大瓦面。一半平铺，一半沿对角线起坡。它既是场地，登临其上，又似屋面，它实际上是一种全新意识的园林，瓦园，一处沉思与反省之地。传统中国建筑画多用一种低角度俯瞰，这种视野是特别超越性的。用回收旧瓦建造，重启了中国传统上建材循环利用的可持续建造方式。瓦园一隅，王澍和他带去的工匠会建造一处竹材敞廊，许江以象山校园青瓦屋顶为题材的组画“黑瓦、白瓦”将悬挂在那里，与威尼斯满城瓦顶相对，
构建起一位建筑师和一位艺术家关于超越城市的对话
空间，登临其上的视野，根源于超越、沉思。方案以
一种极具观念性的简练表达，构成一种现代人的心灵
震撼。当观者走上瓦园栈桥戛然而止地回望，或许会
在心灵深处升起城市对文化根源的乡愁，这种乡愁将
掠过大地，超越城市和国界。□
参展建筑师和艺术家/Participating Architect and Artist:
王澍（建筑师），许江（艺术家）/WANG Shu(Architect ),
XU Jiang (Artist )
现场建造建筑师/Construct Architect on Site:王
澍，陆文宇，宋曙华，陈立超，蒋伟华，陈柯/WANG
Shu, LU Wenyu, SONG Shuhua, CHEN Lichao, JIANG
Weihua, CHEN Ke
现场建造工匠/Construct Craftsman on Site:王宝根，
蔡海寿，胡国庆/WANG Baogen, CAI Haishou, HU
Guoqing
面积/Total Area:约800m2
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1 晨曦下的瓦园，如刚醒来的活物/“Tiles Garden”in the first sun
rays in the morning, like a wake up live being
The Virgin Garden, a flourishing land, there
is ancient site below 60 cm underneath. The Tiles
Garden was laid there in a relax manner with
careful construction. It was built with the recycled
old tiles from the southern China. The supporting
structure held a large area of tiles: half of the area
was laid horizontally and half was laid with a sloping
angle. It was like a site, but when one stepped
on it, it was like a roof. In fact, it was a garden
with completely new ideology. The Tiles Garden is
a place for meditation and reflection. Traditional
Chinese architectural drawings employ low angle
bird-eye viewing angle that is transcendental. The
use of recycled clay tiles inherits from a traditional
practice of reusing old material and reopens a new
path of sustainable method. At one corner of the
garden, WANG Shu and the craftsmen, who went
together with him to the site, built an open hall
with bamboo material. XU Jiang's serial painting
"Balck Tiles, White Tiles", which took the theme
of the black tiles roof of the Xiangshan campus,
China Academy of Art were exhibited there, faced
to the tile roofs of the city of Venice. This formed a
dialogue between an architect and an artist about
cities and beyond. The view seen on the tile site
was rooted from surpass and meditation. The design
was expressed in a simple but conception way, and
formulated a spiritual shock to the modern people.
When the viewers stepped on the bridge on the
garden and turned back, maybe deep in their spirit
would rise a homesick to the culture roots. Such
homesick would sweep pass the land and surpass the
city and country boundaries.□
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2 王澍草图，最初的设计还包括剧场和油库的室内/A sketch by
WANG Shu, the original design also included the interior design of
cinema and oil house
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3 6个建筑师，3个工匠在一周内搭起的800m 2
竹龙骨/Six architects and three craftsmen built a 800 square meters bamboo keel within one week.
4 将6万片回收小青瓦搬上竹龙骨，3个意大利建筑学生帮了一天忙/To carry 60 000 recycled small black tiles on the keel, three Italian students did a big favor.
5 铺瓦/Laying the tiles
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6 宁静气息笼罩着现场/Peaceful environment covered the scene
7 收边/The edge
8 站在瓦园前，目光随斜面上升/Standing in front of the“Tiles Garden”, view up as the slope upward
金华建筑艺术公园选址确定在金东新区义乌江北岸城防大坝与清照路之间， 基地为总长2 200m、平均宽度约80m 的带状条形地块。该公园是由金东新区政府实施的义乌江北岸滨江绿化带建设工程之一。公园内建设16座小型公建，由10位来自不同文化背景、不同年龄段的外国建筑师以及6位中国建筑师与艺术家完成方案设计。
“瓷屋”编号为9，是一座100m 2
的小房子、用作咖啡馆，建筑师决定把它做成一件器物，如他喜欢的宋抄手砚。这件器盛风和水。设计从何处开始，常是偶然的。
房子取抄手砚器型，单层，砚首在南，砚尾在北。在室内喝咖啡，就坐在砚池底，东南风吹过，风沿砚坡爬向西北。金华一带多雨，雨沿砚坡自西北下泻到东南。在砚坡顶植几棵大树，坐在室内，视野沿砚坡上移，于一折处失去透视依据，就很深远。东西墙遍
开小孔，房子开户牖以为器，孔小称窍，是为风与光线而开，也强调房子的方向性。
建筑面积中纯室内面积约90m 2，南北檐下面积约40m 2。 西门边有楼梯可上屋顶，坐在屋顶，可观江上景色。屋内外均贴建筑师的陶艺家朋友周武做的瓷片，房子就成为了彩色的。色彩无规律地随意帖，陶瓷质地，细碎色点，就和东边艺术家艾未未、西边丁乙的房子构成一种唱和。□
地点/Location:金华/Jinhua 建筑师/Architects : 王澍/WANG Shu 设计时间/Design Period: 2004
建造时间/Construction Period: 2005－2006总建筑面积/Total Floor Area: 130m 2
陶瓷艺术家/Ceramic Artist: 周武/ZHOU Wu
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1 设计阶段的瓷屋效果图，建筑最重要的气氛是由内部发生的/
Rendering drawing of the Ceramic House in the design phase, the most important atmosphere of the building happens from the interior 2 由陶艺家周武烧制的瓷片，出自对中国传统陶瓷釉料的研究/
Ceramic tiles made by artist ZHOU Wu, a research of the traditional ceramic glaze
3 瓷屋临水南端，建筑收头如剖面，雨天在檐下可闲坐/The south point of the Ceramic House adjacent to the water, the edges of the building is like a section, people could sit and chat under the eaves when it rains
meters long, the site of JinHua Art and Architecture
Park is located in JinHua East New District between
QingZhao Road and the municipal defense dam on
the north bank of YiWu River. The project is being
developed by the district government as part of
the YiWu River North Bank Green Belt. The park
is home to 16 small public buildings, six of which
were designed by Chinese architects and artist, and
the remaining ten by international architects from
diverse cultural backgrounds and age groups.
Ceramic House, a small cafe of 100 square
meters, is labeled Building No.9. The architect
decided to turn it into a ceramic ware, like a Song
Dynasty ink base, but this ceramic ware contains
both wind and water. Design often starts with such
spontaneity and coincidence.
The single floor house borrows the form of an
ink base, with the front of facing south and the rear
facing north. Drinking coffee inside is like sitting at
the bottom of the ink base. The southeast breeze
is diverted by a ramp to the northwest. As the local
climate of JinHua has a high level of precipitation,
the rainwater drains directly along the ramp from
the northwest to the southeast. The top of the
ramp is planted with several big trees. It is quite
a thought provoking experience to sit inside and
look up; at one point along the ramp all evidence of
perspective seems to be lost. The east and the west
facades are designed with many small openings that
are not only functional for daylight and ventilation
purposes, but also indicate the orientation of the
house.
The usable interior space is about 90 square
meters, and the cantilevered space at the north
and the south is about 40 square meters. Next
to the west gate is the roof access that opens to
the magnificent view of the river. All the interior
and exterior walls are covered with ceramic tiles
designed by the ceramist ZHOU Wu. The house then
becomes colorful. The colors appear irregularly on
the walls and the spotted ceramics echo with the
building located on the east designed by AI Weiwei
and the one on the west by DING Yi.□
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4 从侧面看瓷屋表皮的瓷片，有小拐把，原本是为了让瓷片可以立
在窑炉内，釉色可以形成变化的气氛，这里则如一片片小檐，显
形出水的滴落/Seen from the side, the skin of the Ceramic House
has little handles, which were originally used for the tiles to stand
in the oven so that the glaze would form a changing atmosphere.
Here they were like small eaves, exposing the drop of water.
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5 从咖啡馆室内仰望砚池，回收的酒坛片无雨时也似有雨/Looking up
the pond from the interior of the café, the recycled fragments of the
wine containers make an atmosphere of raining even though it doesn’t.
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6 瓷屋模型对角俯瞰/Bird-eye view of the model of the Ceramic House from a diagonal perspective
7 瓷屋模型正观/A direct view of the model of the Ceramic House 8 瓷屋模型北向俯瞰/Bird-eye view of the model of the Ceramic House from north
9 瓷屋模型西向俯瞰/Bird-eye view of the model of the Ceramic House from west
10 瓷屋纵向剖面/Longitudinal section of the Ceramic House 11 瓷屋总平面/Site plan of the Ceramic House 12 瓷屋平面/Plan of the Ceramic House
13 瓷屋彩色东立平面/Colorful east part plan of the Ceramic House
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14 砚池俯瞰/Bird-eye view of the ink-stone pond
15 瓷屋室内，尚未使用的状态/Interior of the Ceramic House, unused
at that time
16 瓷屋临水南端，水池无水时也可闲坐/The south point adjacent
to the water, when there is no water in the pond, people could
sit there for relax
17 瓷屋临水南端的檐下空间/The south point adjacent to the water,
the space under the eaves