Essay:

Jade Valley Village: Experiment in Architecture, Art,

Agriculture and Tourism for an Alternative Urbanism
Shirley Surya
论文：
玉山村：建筑、艺术、农业和旅游业的另一种都市化实验
雪莉·苏里亚

A Product and A Process 产品和过程

An architect, whose words have often been taken as sage advice, once 有一位言论常被人奉为箴言的建筑师曾经谈及这个愈来愈缺乏管
said something about how an increasingly deregulated and unstable
制而不稳定的世界如何需要建筑师将建筑学思考的方方面面延伸到那
world demands the reinterpretation of architecture by extending
the repertoire of architectural thinking into domains the architect 些他们从未涉及的领域，以此对建筑进行再解读。玉山村项目在图面
has never gone before. The Jade Valley Village project, which on 上是由分时享用的度假胜地、葡萄酒酿造厂、画廊和博物馆等要素组
the drawing board includes elements of a time-share resort, winery,
成的一组建筑群，这或许是马达·思班在进入对于建筑师来说还是未
gallery and museum, is perhaps mada s.p.a.m’s experimental yet
effectual attempt in entering the architect’s uncharted territories of 知的农业与观光领域的一次实际而有效的尝试。鉴于在这个项目建成
agriculture and tourism. Considering that only half of the project’s 的区域只有整体规划的一半，这个被正式称为玉川酒庄旅游度假公司
masterplan have been built, the Jade Valley Wine Resort & Company,
的项目与其说是一次对建成环境的建构学研究，不如称它为对“建筑
as it is formally called, is more about the exploration and testing
of critical issues on the role of architecture in the rural and global 师在乡土和全球化经济中所扮演的角色”这样一个批判性话题的探索
economy, than a tectonic study of the built environment. In contrast 与实验更为合适。与浙江大学图书馆、宁波文化中心这些项目不同，
to projects like Zhejiang University Library or Ningbo Cultural Centre,
建筑在这儿更多地不是以主导者的角色出现，而是通过“构筑在农
architecture is less of a lead actor here but rather a tool in recreating
and, literally, growing a new economy through the experimentation 业、红酒生产业、度假观光业和可选择的都市化之上的社会结构，将
of “a social construct that builds upon agriculture, wine production, 景观本身转变为一种既有关联又相对独立的经济体制”的方式进行再
resort tourism and alternative urbanism, turning the landscape itself
创造——确切地说，是培育新型经济的工具。
into an economy that connects and disconnects,” as Ma Qingyun has
succinctly put it. 与其他看似相像的现代与传统在乡土地域中碰撞的项目以及相近
With all its semblance to other contemporary-meets-tradition-in- 的批判性地域主义尝试的区别在于，玉山村项目的建筑师还是项目的
rural-land projects and the likes of the Critical Regionalism approach,
投资人、发展商、经营者和管理者。本文期望整体地看待这个项目—
Jade Valley project’s distinction lies in the architect, who is now its
own investor, developer, operator and manager. This article invites —既作为一项革命性的产品，又是一个进化的过程。
looking at the project in its entirety, both as a revolutionary product
and an evolutionary process.
实验的种子
The Seed for Experimentation 玉山村项目并未建立在什么宏大构思上，只是一个契机使马清运
There was no grand vision that led to the Jade Valley project, but 和他的以都市为背景进行典型创作实践的团队得以接触到这个项目，
a seed of opportunity that Ma Qingyun and his team would not
那就是为马清运的父亲在蓝田乡下建造一所房子。父亲住宅，正如人
otherwise have in an urban setting and a typical practice – to build a
house for Ma’s father in rural Lantian. The Father’s House, as it was 们后来称呼的那样，一方面是尝试与自然元素取得“联系”——从
later called, was on one hand an attempt to “connect” with what was 历史、传统、地理等层面，同时有意地通过建筑所能展现出来的不
naturally there – historically, traditionally and geographically – at
同寻常的表象与场地保持“分离”。蓝田，作为马清运父亲的家乡，
the same time deliberately “disconnected” in how uncanny it turned
out to be”. Lantian, being Ma’s father’s home village, eased him 使得他和他的团队在这个项目运做中显得游刃有余。父亲住宅是对这
and his team into the project. It was also a response to the area’s 个区域自然吸引力的回应——那个位于秦岭脚下，被黄色、绿色与棕
natural allure – a mist-shrouded site of gentle rolling hillscapes, in
色组成的色调笼罩着的场地有着平缓起伏、薄雾缭绕的山景，在与灞
hues of yellow, brown and green at the foot of the Qinling mountain
range that meets the Bahe river before flattening out into a vast. The 河交汇后变得一马平川。这条河塑造了山谷与其中每一块石头永恒的
river forms the valley and stones of infinite size, color and shape. 尺度、颜色与形态。“在数量和当地建造技术层面将石材的运用最大
“To maximize the stone application both in quantity and local
化”是马清运最初设计这所房子时的首要原则。其结果是使用当地农
construction methodology” was thus Ma’s natural and foremost
principle in designing the house. It resulted in using stones collected 民从附近河床收集来的石头作为这所房子的立面材料，以此融入当地
by local peasants from nearby riverbeds to clad the house façade 既存背景，并因此为它在有关现代主义住宅的精品书中赢得了“尊重
that blends in with the existing rural setting, earning it praises for its
历史与自然之美”的美誉。但是这所房子也因其在材质和家庭形式上
“reverence toward its history and natural beauty” from fine books on
modernist homes. But the house can also be said to suffer from too 表现得过于平实而被责难。对于马清运来说，设计过程“伴随着无言
literal a reading if seen only at the level of its physical and domestic 的暴力”，而非一个与环境取得和谐的浪漫规划。事实上“它摒弃了
manifestation. To Ma, the design process was “developed with mute
所有形式与风格上的个人倾向所带来的困扰”，把过程简化到预算、
violence”, not a romantic contemplation of harmony with its context.
It was in fact a “doing away of any personal obsession in form and 财产限制、建造能力、材料可能性和居住状况这些基本问题上。所有
style,” a process reduced to fundamental issues of budget, property 这些实际工作回应了对真正中国建筑展开的争论以及马清运在学生时
154
 08:02
Architecture and Urbanism
建筑与都市
This page and opposite: Jade valley 左页和本页：项目基地。
site. p.156, above 4 clockwise from 156页，上，顺时针依次为：当地传统住宅、
top-left: Traditional houses, local 当地石材、葡萄园、当地老匠人；中：父亲住
stones, vineyard, old craftsman. 宅内院立面；下：父亲住宅室内。
Photo by Shirley Surya; middle: Court 157页，上：基地1、基地2草图；中：博物馆方
elevation of Father’s House; below: 案；下：规划示意。
Interior view of Father’s House. p.157,
above: Sketches of the houses on

019
site 1 and 2; middle: Scheme of the
museum; below: Plan indication.

Institutes Motive Platform

Qingyun Ma & MADA s.p.a.m.
Feature:
Shirley Surya
Jade Valley Village
Essay:

155
restriction, construction capability, materials availability and living
conditions. It was done out of a personal, as was practical, need to
reconcile arguments on true Chinese architecture and the collision of
tradition and the contemporary that Ma had since school.
So the Father’s House, being an exercise of his personal manifesto
of these arguments, resulted in one that may emanate traditional
courtyard typology, the rustic and handcrafted feel with its stony
walls and woven bamboo. But with its stark rectangular front façade
divided by thick dark lines of concrete columns and beams, floor-
to-ceiling glass, steel doors and windows juxtaposed with the stones
and bamboo sheeting, with no recognizable Chinese features,
the modernist bent was clear and subtly dominant. Though its
stony exterior anchored it to its mystical rural surroundings, local
peasants also would not have known that this 385 square meter
house was actually a vacation home with a surprise sauna and a
narrow lap pool. Just as Sunny Chen (mada’s other founding partner)
had commented on the project: “tradition has been broken and
reconnected by utilizing the traditional way of working with local
residents, while engendering a life that is equally alien to the local
scene.” Father’s House began a process of inquiry of challenging
tradition by engaging tradition which Ma Qingyun had admitted
being “addicted” to in the succeeding Jade Valley projects.

Art of East Meets West

What began with an architect going out on a limb to build a home at
rural Lantian did develop into creating other “moments” where “the
uncanny meets the ordinary” through the multiple programming
of an art gallery, a summer design studio, a winery, and a resort to
wrap them all up. Ma once said, “Wine and art are elements I am
addicted to and I believe everyone else would.” So while these ideas
are naturally triggered, it was also a deliberate introduction of foreign
forms of programming into a rural community. “The sense of ‘wrong
place’ is exciting for exhibitors and speakers,” explained Ma on the
two exhibits and forum he had held in an old warehouse at Lantian,
of which one was entitled “Yu Cuan Dong Xi” (“Jade Valley thing”, or
literally “Jade Valley East West”) to showcase art from the East (dong)
and the West (xi). But art was neither the end nor the means of this
program. To Ma it was primarily “a gathering place, whether for art
or not for art”, where ideas were presented and exchanged to achieve
“an uncanny situation for productivity and economy by bringing
what seems to be highly urban by nature into a rural setting, to
either transform the latter or modify the former.” Such constructive
collision between seemingly opposing ideas had extended to ideas of
setting up an international exchange summer studio where culture,
landscape, modernity and hands-on construction meet, as well as
the extremely foreign idea of Yu Chuan Jiu Zhuang (Jade Valley Wine
Resort).
Apart from a personal addiction to wine, the possibility of the
winery was borne out of a discovery of the locals’ successful attempt
in growing grapes while building the Father’s House. By utilizing
the land’s natural conditions and cultivating a new type of crop for
an alien enterprise, in a place without a wine-making tradition, it
marked not only the creation of a new agricultural economy that
“connect” and “disconnect”, but a breakthrough in revitalizing
the rural economy for Lantian. It also marked the firm’s first
“economical experiment” by applying the architectural essence of
space, experience and time, beyond the built environment, into an
economical and social device.

Extending the Architectural and Economical Experiment

Building upon the notion of “reflection upon an arrested moment in
time” where different ideas meet, the Well Hall was once described
by Ma as “a house, hotel, meeting place, or none of them.” It was
thus experimental, at the same time a necessary probe piece for the
156
代便经历着的在传统与现代的碰撞寻求和解的个人需求。
因此，父亲住宅作为他回应这些争论的一次个人宣言式的尝试，
其结果是该住宅处处都散发着传统庭院类型的味道，其石墙和竹篱充
满了乡村气息和手工艺的感觉。然而，被一道道厚重而裸露在外的混
凝土梁柱分隔的矩形正立面、从天花板到楼板的落地玻璃、与石材和
竹篱并置的不锈钢门窗，在这些元素中全然看不出其中国特色，现代
主义的倾向巧妙而清晰地被展现出来。尽管建筑的石材外立面将其紧
紧锚固在神秘的乡土环境中，当地的农户也未必知道这间385m2的房
子是一处度假的处所，里面还有着令人惊奇的桑拿房和一个窄道游泳
池。正如陈展辉（马达·思班的另一位创建合伙人）评论这个项目时
说的那样：传统在这儿被打破，之后再利用与当地居民合作的传统方
式将其接合，同时造就了一种在当地风俗看来是外来的生活方式。父
亲住宅是马清运以传统挑战传统的研究方法的开端，他在后续的玉山
村项目中承认自己深深沉醉于其中。

东西方艺术交汇
从建筑师在蓝田乡下建造第一个住宅开始，逐步发展并创造
了“平凡与离奇”在那里相遇的其他“时刻”，通过对艺廊、夏季
设计工作室、葡萄酒酿造厂和度假胜地的一系列策划，将它们串联
起来。马清运曾说过，“酒和艺术是我最热爱的东西，相信所有人都
会如此”。所以，当这些想法被自然而然地触发时，它也有意地引入
了乡村社区规划中的外来形式。“对于展出者和演讲者来说，‘错误
的场所’是令人激动的”，马清运曾在蓝田乡下一个旧仓库里举行的
由他主持的两个展览和论坛上这样解释。其中一个展览名为“玉川东
西”，展示了东、西方的艺术。但是在这个项目中，艺术既非目的亦
非手段。对于马清运来说，这里首先是一个聚会场所，无论以艺术为
名与否。人们在那儿交流想法，试图“将看起来是高度都市化的固有
事物引入乡村环境中，来营造一个对生产力和经济而言充满神奇力量
的境地，无论乡村与都市如何相互作用。这些看似完全相反的意见相
互碰撞之后衍生出建立一个国际交流夏季工作室的想法，文化、景
观、现代性及手工艺建造，各个方面可以交流沟通，极端异质的玉川
酒庄的产生也是出于同样的想法。
除开个人对红酒的爱好之外，在建造父亲住宅时，发现当地在种
植葡萄方面有过成功的尝试，这点也为葡萄酒酿造厂的建造提供了可能
性。利用土地的自然条件，在一个没有红酒制造传统的地方，为全然陌
生的行业培育新品种农作物，这不仅标志着“独立”而“关联”的新型
农业经济的创造，对振兴蓝田农村经济来说也是一大突破。这次尝试同
样标志着工作室的首次“经济实验”，将空间、体验和时间这些超越建
成环境范畴的基本建筑要素应用到经济和社会的计划中。

建筑与经济实验的延伸 Site 5

在马清运的描述中，以“及时反映不同想法碰撞的那些动人时
刻”为概念建造起来的井宇是“一所住宅、旅馆、聚会场所，或是除 Site 6
Jade Villas Site 1
Jade Village
此以外的其他场所”。它是实验性的，同时也是对预期容纳150间高
Site 2
级旅店的酒庄总体规划必要的探路石。井宇是一幢2层高的高级旅店建 Site 4 Jade Courtyard Houses
Museum
筑，占地319.68m2，位于山坡上，4间卧室可以俯瞰空旷的山谷。石 Site 3
Jade Well Halls
材砌筑的墙体和木构屋顶构成其主体结构，外表面使用了红砖、灰砖 Jade Valley Winery

和瓦，墙面和地面上还运用了木材、织物、玻璃和蓝田翠玉等材料，

157
envisioned 150-guest-room wine resort masterplan. Covering an 室内还有用天然石材雕琢而成的水盆。井宇在建筑实验方面超越了父
area of 319.68m2, the Well Hall is a two-storey guesthouse with 4 亲住宅，尽管两者都具有类似的度假区性质的功能。
bedrooms on a hillside with an open valley below. A brick masonry
2005年4月到8月间，15名蓝田老工匠在没有任何施工图纸、不
wall and wood lumber roof formed its main structure, with the use
of red and grey bricks and roof tiles in the exterior, and wood, fabric, 识公制尺寸、仅参考马清运草图的条件下建造了这栋建筑。这样的建
glass, Lantian green jade on the wall and floor, and natural stones 造过程使得他们无法预知建筑的完整形态，马清运和他的团队认为在
chiseled into water basins in the interior. Though it had a similar
建造过程中没有设计施工图纸（传统的建造必要手段）是将对建筑的
resort-like program as the Father’s House, the Well Hall exceeded the
Father’s House as an architectural experiment. 全新阐释和这一职业联系起来的一个机会。通过巧妙地改变特定建造
Between April to August of 2005, 15 Lantian old craftsmen built it 过程，比如制砖、改变砌砖工艺、重新调整开窗方式等途径，工匠们
without any construction drawing, just Ma’s sketches, and without
的创造出乎他们的意料——建筑出自当地工匠之手，却颠覆了当地的
recognizing any metric dimension. This process prevented them from
having a total vision of a building, which Ma and his team considered 手工艺传统。最后的成果是一个被重塑了的居住社区——其室内空间
such absence of a scheme the essence of traditional architecture, as 构成改变了，传统类型中的高度几乎以一种Photoshop软件编辑的方
it gave the opportunity of connecting with new interpretation and
式被拉长了。马清运通过在貌似传统的建筑中掺入一些与当地场景无
occupation. By subtly subverting certain construction processes,
such as fabricating the bricks, changing the brick course work, 关的元素，不断地在本土和外来的场景中转换。同时，这个过程还检
and readjusting the fenestration schemes, the craftsmen created 验了马清运对于真正中国文化的信念——“人们互相影响的方式而非
something other than what they had intended – the house violated
建筑外观才是中国人处世和接受事物的方式”——这正是马清运与当
the builders’ tradition, but it was also their own hands that did the
violating. The end result was a remodelled residential and social 地工匠的合作方式。通过和他们互动，传统建筑的真谛能够被提取、
quarter with an altered interior spatial formation and the height 转换、甚至是颠覆——传统劳动力和材料的建造最终导致对传统的完
of its traditional typology stretched in almost a Photoshop way. By
全颠覆。尽管未来的高级旅馆将在现有的井宇的基础上建造，马清运
embedding something unrelated to the local scene into a house that
appeared traditional, Ma continuously shifted the scenes between 说，他们会依照设计过程中的需要和工作室兴趣的变化而转变，而当
what was local and alien. The process also tested Ma’s belief on true 地的技术和材料仍将作为他们选择的基本元素。
Chineseness – “not about the look of building, but in the way people
通过颠覆传统的形式和规划，经由传统的方式来借用外来的、国
interact, do business and absorb things with Chinese people” – just as
how he worked with the local craftsmen. By interacting with them, 际化的元素，似乎使父亲住宅和井宇都与批判地域主义的尝试有了某
traditional architecture could be distilled, transformed and even 种逻辑上的联系，以颠覆传统从而找回传统的方式填满本土文化与现
violated – what was built with traditional labor and materials resulted
代文化之间的鸿沟。但是对马清运来说，整个玉山村项目是对“双
in a complete subversion of tradition. Though future guesthouses of
the resort will build upon the existing Well Hall, Ma said they would 重批判”的独特尝试——以地域性身份批判现代主义，以对地域性的
continue to transform depending on the need and the firm’s 疑问批判自我隔离。他还发现脱离生产全球化进程的批判地域主义
changing interest in design construction, though local technology
与通过红酒制造业和生态观光业而加入了新的经济全球化进程的玉
and materials remain the basis.
Appropriating alien and universal elements through subversion of 山“农业城市”构想之间的本质区别。换言之，用马清运自己的话来
traditional forms and programming, via traditional methods, seemed 说，“批判地域主义是关于建筑传统与建造文化的，伴有延时的特征
to give both the Father’s House and Well Hall a logical relation to the
和以语义学的方式所定义的空间，而‘农业城市’是关于全球化经济
approach of Critical Regionalism, in which the gap between the local
and modern culture is closed by recalling tradition by subverting it. 条件的，它走在时间前面，空间在这儿因经验而失效。这儿没有地域
But to Ma, the entire Jade Valley project was a distinct approach for 主义，只有全球化，通过成长、迁徙和展示而运作”。
being “doubly critical” – critical to modernization by being regional,
and critical to isolation, which is what is regional. He also saw a
fundamental difference between Critical Regionalism that disengages 走向另一种都市化——当生态观光业遇到农业
global process of production and Jade Valley’s “Agri-City” vision that “农业城市”的概念是自从父亲住宅建成后发展至今的一个观念
engage the new global process of economy through wine-making
上的顶峰。它超越了对建筑或实验上获得突破的个人需要，通过选择
and eco-tourism. In other words, and Ma’s words, “while Critical
Regionalism is about tradition of architecture and construction 都市化形式来探索和挖掘当地潜质——在乡村农业中通过新品种农作
culture, with specificities of time delayed and space semantically 物的培育、劳动力实践和生态观光业的建立在社会和经济层面产生了
defined, “Agri-City” is about the conditions of a global economy that
新的可持续的地域性文化形式，以此获得发展。尽管蓝田是一块富饶
rides on time ahead and space invalidated by experiences. There is
no regionalism, only globalism, by growing, migrating and showing.” 的土地，当地农民的生活仍然很贫困。通过与当地政府商议建立生态
观光区，引进新的农业发展方式，玉山项目转变了土地的潜在价值，
Toward an Alternative Urbanism – Eco-tourism Meets
从只种植大麦转变为开始种植葡萄，在葡萄园中为农户提供新的就业
Agriculture
The concept of “Agri-City” is a culmination of ideas since the Father’s 机会，并通过未来众多井宇的建造保存了将要消失的当地手工艺传
House was built. It goes beyond the personal need for architectural or 统。这些生态观光业最大限度地创造了经济机会，并为不同乡村地区
experimental breakthroughs, but about exploring the potential of the
的当地资源提供更大强度的物价稳定措施。
local through an alternative form of urbanism – a development in
the agricultural countryside achieved through new crop cultivation, 除了增进社会经济所做的努力，展示村民生活的博物馆也是规划
labor practices, and eco-tourism to generate new sustainable forms of 的一部分，用来整合当地文化，展现村民自尊而建的。“西安不缺少
regional culture on the social and economic level. Despite the natural
博物馆，但是这些博物馆不是宫殿、庙宇，就是坟墓，惟独没有展示
riches of the land, Lantian farmers have remained in poverty. By
158
negotiating with the government in setting up an eco-tourism zone 当下活生生的农村生活的，这些有着1,000多年历史的农业智慧也能
and introducing a new agricultural development, the Jade Valley 启发新的未来模式”，这是马清运所确信的，尽管他承认自己并非完
project has transformed the land’s potential from merely growing
全相信需要博物馆的意图。无论如何，在似是而非的情境下创造一个
barley to grapes, while providing new employment for farmers to
work in the vineyard, and preserving an otherwise disappearing local 建筑也是马清运的批判过程，“这种不确定性可能是真实的构想，也
craftsmanship through the building of future Well Halls. These are 是我所渴望达到的”，马清运如是说。正是这种以进化可能性为形式
eco-tourism at its best with the creation of economic opportunities,
的“不确定性”标志着玉山村农业都市化的构想——一种小尺度、低
greater valorization of local resources for rural area differentiation.
Apart from the socio-economic enhancement, a museum dedicated 增长率、可负担得起且经济的成长过程，这也是马达·思班在这个项
to showcasing peasant living is also in the planning to inject cultural 目中以钱生钱的自我放贷模式的写照，投入的每一分钱都花在恰当的
integrity and self-dignity (zun yan) to the local people. “Xi’An is not
时间，得到了最大化的利用。虽然艺廊、酒庄和博物馆看起来和蓝田
lacking of museums, but they are either about palaces, temples
or tombs, not about the vibrance of ongoing lives in the rural 当地的生活方式格格不入，马清运仍相信这些规划是“为达成一个更
area whose 1000-year old agricultural intelligence can inspire new 合理的传统而颠覆传统”的途径——挑战本土文化并使其参与到全球
paradigms for the future,” was Ma’s conviction though he admits
化的趋势中，依据当前形势的需要改变传统并赋予传统新生。
that he is not completely convinced of the intent of having museum.
However, creating an architecture for paradoxical situation is
also Ma’s process of critique, “this uncertainty may have been 土地与机遇
the real vision and what I aspire to achieve,” says Ma. It is such
从某种程度而言，玉山村项目可被视为一个无趣的、自我放纵
“uncertainty” in the form of evolutionary possibilities that marks
Jade Valley’s vision of agri-urbanism – a growing process marked 的、隐隐透着哲学意味的工作。它一点也不耀眼，也并非那些立刻能
by small scale, slow growth, affordability and lack of waste – which 被辨认出来的都市巨构体。但是这个项目对于中国新一代建筑师所充
also characterizes mada s.p.a.m’s dollar-by-dollar self-funding model
当的角色提供了多种可能性——“创造一种对于主流西方思想发展的
of the project, in which every dollar is maximized at the right time.
Though the art gallery, wine resort and museum may seem unrelated 可选择的文化策略”，这也是马清运一直以来努力追求的。建筑超越
to Lantian’s way of life, Ma believes that these programs are ways of 建造工作成为社会和经济计划基本要素的信心证实了玉山村项目中的
“subverting tradition for the sake of a more reasonable tradition” –
一系列实验，从而在这个不稳定的世界中最大限度地支配建筑智慧。
revitalizing and changing traditions according to what is appropriate
to the present times, by engaging and challenging local culture for a 但是，马清运认为汉语中“天缘（形而上学的机遇）地源（土地资
global implication. 源）”四个字是对“农业城市”宣言本质的最好阐释，提倡以一种更
为先进而变通的方式去转变都市化进程——并非完全控制而是节制干
Earth and Chance
The Jade Valley Village project may seem like a dull, self- 涉，并且对外部条件保持足够敏感。但是，正如建筑实验开始之后出
indulgent and hazy philosophical enterprise to some. It is not 人意料地扩大到农业、艺术和观光业，任何可能性都不足为奇，正如
glitzy or immediate like that of an urban megastructure. But it is
马清运对可选择的都市化进程的构想不断接受着时间和建造工作背后
rife with potentials of what Ma has endeavored for in regard to
the role of China’s new generation of architects – “creating an 启示的检验。
alternative cultural strategy to the mainstream Western thinking 　　　　　　　　　　　　　　　　　　　　　　（胡宇之译）
of development”. The various experiments in the Jade Valley
project may have been borne out of the conviction of architecture
transcending the built work to become the essence of social and
economic device, in order to exert control of architectural intelligence
in an unstable world. But the nature of “Agri-City”, whose manifesto
Ma believes lies in the four Chinese letters of tian yuan (metaphysical
chance) di yuan (earth source), also calls for a more evolutionary
and flexible approach to alternative urbanism as the way to go
– not so much controlling but abstaining and being sensitive to
external conditions. But just as what started as an architectural
experiment had unexpectedly grown into the realms of agriculture,
art, and tourism, nothing is far from conclusive, as Ma’s vision of
alternative urbanism continues to be tested with time and through
its implications beyond the built work.

Shirley Surya 雪莉·苏里亚

Shirley Surya’s brief, yet intensive, encounter at the School of Design and 在新加坡国立大学设计与环境学院短暂而精深的学习促使雪莉·苏里亚开始对建成环境产
Environment, National University of Singapore, marked the beginning of her 生热情。在加利福尼亚大学伯克利分校大众传媒本科专业学习期间，出于对建筑学一贯的
passion for the built environment. During her undergraduate studies in Mass 兴趣，她参加了环境设计学院的一个课程和一个研究项目。之后，她一直在新加坡设计理
Communications at the University of California, Berkeley, her sustained interest 事会的《居住》杂志编辑部从事与媒体、设计和建筑的交叉学科有关的工作。目前，雪
in architecture led her to a class and a research project under the College of 莉·苏里亚在一个立足于新加坡的艺术与设计杂志书籍出版社担任文字编辑。
Environmental Design. She has since pursued the intersection between media,
design and architecture by being part of Dwell, DesignSingapore Council, and is
currently a writer-editor with a Singapore-based art and design magazine and
book publisher.

159
 Credits and Data
Project title: Well Hall
Location: Xi’an, Shanxi, China
Client: Anonymous
Project dates: 2005
Project team: Qingyun Ma, Dahai Sun, Shan Wang
Collaborator: 15 Lantian old local craftsmen led by
Qingcai Zhang and Jingtan Zhou
Total area: 192.8 m2

160
Opposite, above: General view of
Well Hall. Photo by Sunny Chen;
below: Courtyard of Well Hall with a
swimming-pool. Photo by Sunny Chen.
This page, above: Sketches of Well Hall
on site 3; middle-left: Narrow patio
of Well Hall. Photo by Sunny Chen;
below-left: Dining room of Well Hall.
Photo by Sunny Chen; below-right: A
corner of Well Hall interior. Photo by
Sunny Chen All images on pp.154-161
except noted by courtesy of MADA
s.p.a.m.
左页，上：井宇全景；下：井宇带泳池的庭院。
本页，上：基地3中井宇草图；左中：井宇狭窄
的天井；左下：井宇餐厅；右下：井宇室内一角。
161