Prefaces from Curators-Li Baofeng

天下 05-22

民族的就是世界的，湖北省恩施州宣恩縣人民政府將聯手雅倫格文化藝術基金會將「中國土家族泛博物館」5月27日即將呈現在2018年第十六屆威尼斯建築雙年展上，這是中國土家族建築和文化第一次在威尼斯建築雙年展國際平台上的展示，對土家族的文化保育和發展具有重要的現實意義！

我們將分別邀請展覽的三位策展人為大家揭秘這次展覽的面紗。

馬里諾·福林

李保峰

姚京

李保峰

Professor Li Baofeng

中國，華中科技大學建築與城市規劃學院教授

School of Architecture and Urban Planning,Huazhong University of Science and Technology P.R.China

李保峰教授

個人簡介

華南理工大學學士

華中理工大學碩士

清華大學博士

德國慕尼黑工大

高級訪問學者

國家一級註冊建築師

享受中國國務院政府特別津貼專家

目前擔任華中科技大學建築與城市規劃學院教授、博導，武漢華中科大建築規劃設計研究院有限公司董事長，《新建築》雜誌社社長，《建築師》雜誌社編委，中國建築學會理事，中國建築學會資深會員，中國高等學校建築學專業評估委員會委員。

恩施土家族苗族自治州位於湖北省西南部，與神秘的北緯 30度黃金分割線重疊，南北向則穿過富於地理學意義的、區分中國東西兩部分的東經110度線，海拔高度介於400～1700米之間。相傳土家族為上古巴人後裔，戰國時為楚人，秦滅楚，部分楚人因避秦而遁入深山，於是便有了《桃花源記》所載之武陵人和延綿數百平方公里的桃花源。

Enshi, a Tujia people and Miao people』s autonomous prefecture located in southwest Hunan Province, happens to overlap with the golden section line of 30 degrees north latitude. Along the south-north direction the prefecture crosses the 110 degrees east longitude, which serves as a boundary line between the east and the west part of China, a line full of geographic meanings. The altitude of the prefecture ranges from 400 to 1700 meters. Legend says that Tujia people are actually the descendants of the Bazi people in ancient China. During the Warring States period they were first ruled by Chu (a state). After Chu was defeated and conquered by Qin, another state, some of the Chu people fled to the mountains, and hence the famous prose 「An Idyllic Land of Peach-Blossom Spring」 about a Wuling native and his exploration into the Peach-Blossom Spring.

山高水險，交通不便，這客觀上使得恩施山區成為冷凍文化的冰箱，土家聚落及建築保留了大量歷史信息的沉澱，形成為數不多的、至今可見的人類文遺產。

High mountains and swift torrents make access to Enshi quite difficult, rendering it an isolated 『refrigerator』 that freezes the native cultures while at the same time keeps them alive. A large quantity of historical information has been hidden in Tujia people』s settlements and the constructions thereupon, making it a rare heritage of human cultures.

傳統土家聚落分為靠山寨、濱水寨、依山傍水寨三種。土家聚落體現了順應自然的布局方式、與山水相融的節制態度、高效利用資源的建造方式，謙和輕巧的接地方式、適應氣候的空間邏輯以及與生活及生產方式高度統一的空間形態。

There are mainly three different types of Tujia people』s settlements: mountain foot village, waterfront village, and village that stands near the mountain and by the river. From these settlements we could clearly see a layout that is conforming to nature, an abstinence attitude that seeks harmony with the surroundings, a construction concept that aims at high efficient utilization of resources, a moderate and easy way to touch the ground, a spatial logic that is adaptive to the climate, and a spatial form that is highly consistent to the life style and the production methods.

中國歷史上的多次戰亂導致眾多內陸地區無法得到海鹽，幾次著名的川鹽濟楚與土家人的聚落分布密切相關，土家聚落的空間分布具有文化線路研究的價值。

Wars were not seldom in China』s history, and chaos caused by them denied many inland areas access to sea salts. Many times salts produced in Sichuan were provided to Chu state to ease the shortage there. And several famous activities among them were closely related with Tujia people』s settlements. Tujia people』s settlements and their spatial distribution could provide valuable clues for the study of cultural spreading.

依照文化起源的「滿天星斗」理論，吊腳樓具有人類居住文化原型的意義。作為上古時代三種重要的居住原型（巢居、穴居及湖居）之一，吊腳樓完美地呈現了土家人對自然的敬畏，清晰地詮釋了「構木為巢」的技術邏輯，而土家居住建築的院壩、檐下空間、堂屋、火坑的空間序列則體現了土家族生產、生活方式的空間邏輯。作為文化的物質載體，它清晰地體現了土家人的智慧。

There is a theory about the origins of the Chinese civilization – the so-called 『starry sky theory』. According to this theory, Tujia people』s stilt house could be regarded as one of the prototypes of human being』s residential cultures. There were mainly three different types of residence in ancient times, namely to live on the trees, to live in the caves, and to live on the lakes. The stilt house represents, in a perfect manner, the reverence of Tujia people for the nature, and shows clearly the technical logic of 「constructing nest with woods」. And the courtyard, the space under the eaves, the central room and the heated brick bed in Tujia people』s residential constructions, together with their spatial order, display the spatial logic of Tujia people』s production and life. As a tangible carrier of the culture, they are all the representation of Tujia people』s wisdom.

鄂西山區，溪澗眾多，降水豐富，古時村民常在村落出入口建造涼亭橋，避風雨，利通行，保村落之風水氣脈。涼亭橋多為古道必經之處，來往人流眾多，涼橋逐漸發展為村口的交流場所，若地處繁榮場鎮，則必形成橋市。土家涼亭橋也是土家木構的精彩典範，其造型簡樸自然，建造因地制宜，伸臂梁式結構獨有特色。

Western Hubei is a mountainous area, with many rivers and streams, and it rains a lot. In old times people used to build pavilion bridges at the entrance to the village, in order to provide shelter and passage. Another function was to prevent the village from losing its fengshui and luck. Many pavilion bridges were also parts of the important paths, therefore the traffic was high. Gradually the pavilion bridges became meeting points for the people to socialize. For those built in prosperous places, a market could eventually emerge. Pavilion bridges built by Tujia people are also a very good example of the smart wood structure originated from Tujia people. The bridges usually looked quite simple and natural, and the construction materials were from the local, but the beam structure with extension arms were unique.

2000年前古羅馬建築理論家維特魯威在其《建築十書》（Vitrovius: Ten Books on Architecture）中總結古希臘和古羅馬的建築經驗，提出「實用、堅固、美觀」之標準，我們驚奇地發現，土家建築就是這些標準的完美詮釋。

About 2000 years ago Vitruvius, a Roman theorist on architecture, once asserted in his famous book 「Ten Books on Architecture」that an Architecture must exhibit the three qualities of「firmitas, utilitas, venustas」. Surprisingly, Tujia people』s buildings are found to be a perfect interpretation of those standards.

19世紀德國建築理論家森佩爾（Gottfried Semper）考察人類早期建築，曾提出建築4要素，即：火爐（hearth）、基座（mound）、屋面（roof）及圍合（enclosure），並稱其為建築的基本組成要素。土家族傳統建築原型與森佩爾的住宅原型並不完全一致，其單體建築之場壩、正門處的檐下空間、寬敞而開放的堂屋、神秘的火坑屋體現了土家人針對當時生產力水平以及對其生活及生產方式的整合。以此理論審視土家吊腳樓，我們發現，具有土家族農業生活原型意義的院壩及檐下空間，以及出於適應地貌原因而形成的「吊腳」類型是對森佩爾理論的補充。正是這種補充導致了土家建築的鮮明特色。

In the 19th century, when German architecture theorist Gottfried Semper surveyed early constructions of human beings, he proposed the four fundamental elements of architecture, namely the hearth, the mound, the roof and the enclosure. The prototype of Tujia people』s traditional house does not fully conform with Semper』s prototype, because those houses and their structure, such as the courtyard in front of the house, the space under the eave at the front gate, the large and open central room, and the mysterious heated brick bed, were actually the results of the level of productivity at that time, as well as an integration of their life and production methods. Looking at Tujia people』s stilt house from this theory』s point of view, we could see that the courtyard and the space under the eave representing the prototype of Tujia people』s agriculture life, together with the method of stilting adaptive to the local landform, are actually supplementary to Semper』s theory. It is this supplement that makes Tujia people』s constructions standing out from others.

當代建築理論家、美國哥倫比亞大學教授弗蘭普頓（Frampton）提出的建構理論，關注材料的建造邏輯與建築外觀的真實表達之關係，這理論可由土家族傳統建築予以清晰地詮釋：無論自由洒脫的吊腳系統、邏輯清晰的穿斗結構還是極富表情的「刀背梁」構件，無一例外，都透露著傳統土家工匠們對自然的敬畏、建造的智慧和表達的真誠。

Kenneth Frampton, modern architecture theorist and professor of Columbia University, pays attention to the relationship between the construction logic of materials and the true expression of construction when he put forward the Tectonic theory. To our understanding, this theory could be clearly explained via Tujia people』s traditional house. Every element in this construction, be it the easy-going stilting system, or the column and tie structure with clear logic, or the expressive thin-rim components, are displaying Tujia craftsmen』s reverence for nature, their wisdom in construction, and their sincerity in expression.

1980年代，中國出現人口遷徙的可能，深山中的農民開始離鄉進城打工，農村青壯年以常年離家為代價賺取了比原來務農更高的收入，但卻導致家鄉出現一系列問題：首先，村莊淪為「空心村」，村莊的常駐人口只剩老人、孩子和婦女，嚴重影響了村莊的社會生態和家庭的其樂融融；其次，進城務工農民掙的錢在鄉村轉化為某種特殊形態的不動產，它們既非傳統工匠依老法營建，又非職業建築師精心設計，與山清水秀的自然格局並不相配；第三，由於年輕人進城打工，導致農村缺乏勞動力，故農業產業逐漸荒蕪，對於人多地少的中國，這種農村發展的模式是不可持續的。本次彭家寨泛博物館規劃設計，就是力求將旅遊與有機觀光農業相整合，吸引外出務工的村民回村參與新農村建設，在發展旅遊的同時，挽救衰落的農業，重建良性的農村社會生態，為農村家庭注入活力，增添農民幸福感。

In 1980s, moving around was possible for Chinese people, and farmers started to leave their homes in remote mountains and went to cities to take jobs there. Young adults chose to leave their happy families and got jobs and higher salary in cities far away from home. But this has some side effects: many villages become 「hollow」 because only old people, children and women are left behind, affecting badly the social ecology and happy family life in the countryside. In addition, when migrant workers get their money, they quickly change that cash into some certain type of fixed assets. Unfortunately, those buildings are neither built by traditional craftsmen according to old construction methods, nor designed by professional architects. In one word, they are incompatible to the picturesque scenery in the surroundings. Thirdly, since all the young people have left home to the cities, labor force in the countryside is not enough to finish all the agricultural businesses, leaving the land unattended. For a country with a big population, this development mode is unsustainable. One of the purposes of Pengjiazhai museum design is to combine tourism with organic sightseeing agriculture, in order to attract the outgoing villagers to come home and take part in the construction of new countryside. It is our hope that by developing tourism in the countryside and revitalize the declining agriculture, a healthy social ecology in the countryside will be restored, and family life there will become more dynamic and happier.

作為建築師，我們願意用專業知識，為農村建設作出自己的貢獻。我們希望以當代木結構建造向傳統土家木匠致意，傳承和發展土家族敬畏自然的價值觀和因地制宜的建造智慧。

We architects should use our knowledge to do something, and make contributions to the development of countryside. We want to salute the traditional Tujia carpenters with the architecture of modern wooden structures, to inherit and to further develop Tujia people』s values which revere nature, and learn from their construction wisdom that is adaptive to the surroundings.

華中科技大學建築與城市規劃學院多位教授對土家族聚落及建築有深入的研究，本次展覽有他們的重要貢獻。感謝李曉峰、萬敏、趙逵、劉小虎及萬謙教授為本次展覽提供的學術支持。

Many professors in school of Architecture and Urban Planning, Huazhong University of Science and Technology have had thorough study on Tujia people』s settlements and architecture. They contributed a lot to this exhibition. We also want to express our thanks to Professors Li Xiaofeng, Wan Min, Zhao Kui, Liu Xiaohu, and Wanqian for the academic support they provided to this exhibition.

共享

Fondazione EMGdotART（雅倫格文化藝術基金會）於2013年在義大利威尼斯成立，是威尼斯首個由中國和義大利民間機構共同發起的非盈利文化藝術基金會。基金會由Marion Folin教授擔任主席，旨在通過威尼斯的國際文化藝術平台，推動當代建築設計和文化藝術的國際交流與合作。每年威尼斯藝術雙年展和建築雙年展期間，基金會以展覽、論壇、工作坊、出版等活動內容連接全球前沿文化、藝術、設計資源，並通過頒發獎項、設立獎學金等激勵形式，積極推動並大力支持中國當代建築設計和文化藝術的國際交流與創新發展。

成立至今，基金會先後與全球30多個國家、50多所高校、150多名藝術家、200多名建築師進行合作，舉辦了200餘場有關當代藝術、建築、設計的專業展覽，以及50多場頂尖學術研討會和大師論壇，並與100多家國內外相關領域的專業媒體建立了長久的合作關係。

再生