諸蕓

松陽的土地很神奇，會(huì)長出鄉(xiāng)村振興的希望之花。

浙江松陽縣興村的紅糖工坊，就是其中一朵，開得熱鬧。

在2019年WIA年度建筑師獎(jiǎng)和Moira Gemmill新興建筑獎(jiǎng)全球45歲以下女性建筑師頂級(jí)獎(jiǎng)項(xiàng)中，中國女建筑師徐甜甜以浙江松陽的紅糖工坊項(xiàng)目入圍。

紅糖工坊，顧名思義，是以紅糖為題，展開了設(shè)計(jì)的想象。

歷史悠久的松陽縣，位于浙江省西南部麗水市。松陽縣域范圍內(nèi)保留有上百個(gè)古村落，為中國傳統(tǒng)村落保護(hù)發(fā)展示范縣，被譽(yù)為“最后的江南秘境”。

如果時(shí)間退回到2017年之前，位于縣內(nèi)大木山茶園附近的樟溪鄉(xiāng)興村還不是如今這個(gè)樣子。紅糖是興村重要的產(chǎn)業(yè)，村民至今保留著已有上百年歷史的古法工藝制紅糖傳統(tǒng)，每年的深秋季節(jié)，甘蔗收割下來，被熬制成濃稠的紅糖，香噴噴、甜滋滋，興村出產(chǎn)的紅糖在周邊地區(qū)很受歡迎。

也因?yàn)榧t糖，以此為生的當(dāng)?shù)卮迕裼辛私?jīng)濟(jì)來源，很多村民有了積蓄，就開始改善居住條件，新建了許多三四層的樓房，但這對于原本傳統(tǒng)風(fēng)貌完整的興村而言，帶來了一定的破壞。與仍然保留大量夯土墻傳統(tǒng)民居、處于“空心狀態(tài)”的傳統(tǒng)村落不同，興村這樣的水泥樓房和夯土墻民居并存的村莊，可能并不具備評(píng)選傳統(tǒng)村落的風(fēng)貌條件，卻保留著活躍的傳統(tǒng)業(yè)態(tài)，擁有穩(wěn)定人口。這樣一個(gè)新舊并存的村莊，其實(shí)蘊(yùn)含著不少發(fā)展的力量。

轉(zhuǎn)變，也悄悄發(fā)生在這一年。

這一年，著名建筑設(shè)計(jì)師徐甜甜所在的DnA建筑事務(wù)所開始進(jìn)入這片土地。一座傳承村莊內(nèi)核文化傳統(tǒng)元素的紅糖工坊，開始在這批優(yōu)秀的建筑師心中醞釀。

建筑師相信，即使建筑“硬件”不再嶄新，人文“軟件”上的豐富生機(jī)仍可以重新給村莊注入活力。

在這片傳承了幾百年紅糖產(chǎn)業(yè)的土地上，設(shè)計(jì)建造一座全新的紅糖工坊，這個(gè)想法聽著就讓人激動(dòng)。

新的紅糖工坊，將完全摒棄原來村子里隨處可見的紅糖家庭作坊——

這些小作坊基本是由簡陋的輕鋼棚架搭建，管理雜亂無章，而且衛(wèi)生條件不好，也構(gòu)成村里的火災(zāi)隱患。

它有著超乎人們想象的外觀——

紅糖工坊建筑體分為南北兩部分：由紅磚圍合的北側(cè)與甘蔗地相鄰，用來堆放甘蔗和作為后勤服務(wù);南側(cè)的視線朝向村莊與田野，成為開放的紅糖生產(chǎn)展示區(qū)。

三個(gè)挑高的輕鋼體，好像從田野里自然生長出來的三個(gè)現(xiàn)代文明體，讓這座全新的工坊在這片盛產(chǎn)甘蔗的地里顯得并不突兀。

工坊里三個(gè)挑高的輕鋼體分別被作為休閑體驗(yàn)區(qū)、甘蔗堆放區(qū)以及帶有六個(gè)灶臺(tái)三十六口鍋的傳統(tǒng)紅糖加工區(qū)。環(huán)繞這三個(gè)區(qū)塊的線性走廊，成為紅糖生產(chǎn)劇場的環(huán)形看臺(tái)和參觀流線。

興村紅糖工坊成了一個(gè)“田野間的夢想天地”——它既能容納當(dāng)?shù)卮迕駛兞?xí)以為常的生產(chǎn)活動(dòng)和生活現(xiàn)場，同時(shí)它又像一件藝術(shù)品，既具備視線開放的空間設(shè)計(jì)，也能讓生產(chǎn)現(xiàn)場變得如同戲劇表演現(xiàn)場，對外、對內(nèi)均成了對場景、田園和現(xiàn)場的展示。

這座工坊，強(qiáng)調(diào)著傳統(tǒng)文化的價(jià)值，可謂是活態(tài)展示的博物館。工坊的表演性、展示性賦予了它“舞臺(tái)”的性質(zhì)，既是村莊生產(chǎn)活動(dòng)的舞臺(tái)，也是鄉(xiāng)村生活、田園詩意疊加的舞臺(tái)。

從某種程度上來說，新的紅糖工坊傳承了村莊內(nèi)核的傳統(tǒng)文化元素，體現(xiàn)了其內(nèi)在的文化價(jià)值，也展示了興村不同于其他古村落的獨(dú)特特征。兼具紅糖生產(chǎn)廠房、村民活動(dòng)和文化展示等功能的興村紅糖工坊，成為一處銜接村莊和田園的重要場所——當(dāng)?shù)氐拇迕裉镩g勞作之余可以在此休憩，外來的游客也可在此體驗(yàn)田園詩意。

你可以感受到這座現(xiàn)代工坊，蘊(yùn)含著強(qiáng)大的文化內(nèi)核。

紅磚、竹子……是當(dāng)?shù)爻Ｒ姷慕ㄖ牧?，都被納入了設(shè)計(jì)之中。纖細(xì)的竹條整齊地排列成格柵，不僅提供遮陽，也強(qiáng)調(diào)了“灰空間”的半室外特質(zhì)。紅色的磚則給人一種紅糖般的溫暖感受。

興村紅糖工坊投入使用后，極大地改善了原本傳統(tǒng)小作坊式的生產(chǎn)條件，促進(jìn)傳統(tǒng)紅糖加工走向產(chǎn)業(yè)化加工，帶動(dòng)相關(guān)產(chǎn)業(yè)，實(shí)現(xiàn)“吃——品紅糖，住——紅糖特色民宿，游——甘蔗田風(fēng)景，購——傳統(tǒng)紅糖產(chǎn)品，娛——體驗(yàn)紅糖加工”的紅糖旅游系統(tǒng)。這些提高了村民收入，增加了村民的文化自信。

如今，紅糖工坊作為興村的公共文化場所，已經(jīng)舉辦多場木偶戲演出及體驗(yàn)傳承活動(dòng)，契合了建筑師希望拓展工坊功能作為劇場空間的設(shè)計(jì)意圖。

就這樣，這座蘊(yùn)含著濃濃糖香味道的工坊，好像夢中小時(shí)候的家鄉(xiāng)，也攜帶著濃濃的鄉(xiāng)愁滋味，走進(jìn)了人們的視線。

（本文圖片除署名外由王子凌攝）

Brown Sugar? Factory in Songyang

By Zhu Yun

The year 2017 marked the beginning of great architectural changes in rural Songyang when Xu Tiantian， an architect based in Beijing， arrived at the county of mountains in the south of Zhejiang. Since then she has populated the rural areas with a series of projects that have put a new face to the rural villages in Songyang and put Songyang on the world map of new architecture. For what she has done in Songyang， Xu Tiantian is the winner of the Moira Gemmill Prize for Emerging Architecture in the 2019 Women in Architecture awards. Of the impactful projects she did in Songyang is a brown sugar factory located in Xincun Village.

Brown sugar is a key pillar of the villages economy. In autumn， villagers harvest sugarcanes and make brown sugar. With income from sugar sales， villagers have built new houses of three or four stories. With a history of hundreds of years， the village presented an anachronism of new houses and numerous brown sugar mills， which were small and showed an architectural ugliness in the eye of Xu Tiantian and her colleagues. The architects wanted to build a big village brown sugar factory so that all the small mills could be removed from the village. They believed it was the first step to keep the village clean and free of fire risks and pollution.

The new brown sugar factory looks so beautiful that villagers just wowed at the imagination and inspiration of these architects from Beijing and felt proud of the new site when first taking a tour inside the factory， surrounded by the village on two sides and farmlands from the other two sides. The consideration behind the location is， villagers can store and process the harvested sugarcane crop more easily. Inside the red-brick wall on the northern part of the factory compound is a storage area and a space for backstage services.

The structures look light and allow natural light to come through the roofs and glass walls. The light-weight steel structures function respectively as a visitors center， a storage space， and an extremely spacious workshop that houses a system of 36 woks heated by six ovens， a traditional technology that has been used in the village for hundreds of years. The three sections are like a theater where visitors can take a tour and see how brown sugar is made.

The factory presents the villages new identities in a delightful way. It is a production compound， an architectural masterpiece， a theater with a backdrop of the outside farmlands， village houses and distant mountains， a museum where the tradition is very much alive， a tourist attraction， a space for village events， a topic that has been discussed at home and abroad.

Since the launching of the factory， sugar-centered tourism has boomed in the village. Visitors flock to the village to see how brown sugar is made， tour the village and sugarcane fields， have a hands-on experience of the production， and stay in household hostels. Tourism is now a strong source of income for villagers. The factory has hosted a series of puppet shows and hands-on experience events. Thats exactly what Xu Tiantian and her colleagues had in mind when they put their ideas to the blueprints of the factory.