设计：王善祥        摄影：王善祥（图中标明2张为孙翔宇） 设计时间：2003年3月---2003年9月              地点： 密云县                 占地面积：约2500平米                          建筑面积：约670平米

这是一个包括建筑改造和加建、景观、室内以及家具等综合设计内容的小项目。  基地整体是一个约有2000亩的山谷，从航拍看很像一片菩提树的叶子，业主请南怀瑾先生起名菩提谷。业主是一位老年女士，从儿童至青年时代在上海度过了十八年，喜欢江南园林建筑的灵秀，因此希望这个位于北方的会馆也能有一些南方的韵味。  

项目位于北京密云县的一片山谷里，风景秀丽。所在地为一私家农庄，房子原为职工宿舍、食堂，九十年代建造的砖混结构平房，有着全国普遍盲从的”欧式”特点。房子呈“U”字形，坐落在一段北高南低、台阶形基地的平面上。“U”形开口对着北面，与3米多高的山坡石墙围合成一个内院，入口在北面。除此之外房子和山再也没有什么关系，房子原有的红瓦白墙在山里显得特别突兀。

业主要把宿舍改为一个能提供到山里来游玩的客人食宿的小型会馆。保留原有的餐厅、厨房位置，宿舍改为7间带卫生间的标准客房、2间餐厅包间和2间棋牌室。由于房子当初建造时偷工减料及年久失修，需要很多看不见的修补，预算所剩无几。只能采用附近农村最基本的砌（墙）、刷（漆）、贴（面）等技术和材料。另外设计师为国画家，为扬长避短，便将重点放在“诗情画意”的营造上。

设计时主要从三方面着手：

一，与山的融合。先是加建了两组“L“形围墙，分别伸向“U”字形南部和北部，如同两只手臂把山“搂”进怀中，不但“搂”出一个南院，且使北院更有围合感。南面开了一个大门，一个木制挑台沿走廊向南伸出去，冲出下面的石坝墙1.8米，似乎把人送进山的“怀抱”。同时与连在一起带遮阳架的露台共同形成一个灰空间，渲染了“看山”的情趣。北院加了一个水池和一个凉亭，一条石槽从西北角山坡上引水进入凉亭内然后再流出去，有了动感和声音。这样，使建筑和山穿插在一起，产生了对话，并且改变了房子的朝向感；

二，地方传统文脉的延续。原房子为一种没有风格定位的建筑。为使建筑能与周围环境协调，与传统建筑呼应，加建的墙均采用了青砖砌筑，原有的瓦面被刷成了黑色，其它墙面则保留了白色。这样，黑白灰基调形成，新做挑台及门窗采用原木制做。调整后的平面布局有了院落的划分和穿插。整体气氛使人联想起传统民居。这些，为建筑“找”回了文脉。

三，现代生活的介入。由于客人多是带着向往现代生活与热爱自然的双重愿望来到山里，照搬一个老四合院并无多大意义，造价也不允许。而“现代”的生活方式已经成了人们无法逃避的选择。因此，在建筑风格上赋于了其浓郁的时代气息，室内设计也采用了完全现代的风格和现代产品。尤其是北院凉亭极具构成感的造型，与山坡形成了人工与自然的强列对比。体现了现代人对自然既想破坏又要尊重的矛盾欲望。

家具也全由设计师设计。

最后，用最少的投资实现了三者的融合，以当代建筑手段塑造了传统山水画中的“山居”意境。

摘要：国画家以当代建筑手段塑造传统山水画中的“山居”意境。

关键词: 砌、刷、贴、融合、文化延续、介入、诗情画意

Reconstruction of Beijing Puti Mountain Club

Design Date: Mar, 2003---Sep, 2003.             
Location: Miyun county, Beijing.               
Occupied Area: 2500 m2 
Construction Area: about 670 m2                               
Cost: about 800,000 RMB
This is a small project consisting of architecture reconstruction, sight layout and interior design.
The premise is located in a beautiful valley of Mi Yun county, Beijing. It is a private rural house, which used to be the commendation and boarding room for the staff.  This one-story brick compounds was constructed in 90s and takes on the feature of ‘European Style’, which was followed blindly nationwide at that time. The house looks like a letter ‘U’ and lies on a North-high, South-low surface with terrace base. The open of the ‘U’ faces north, and , with the 3 meters-high stone wall, closes as a courtyard. The entrance was opened  north. Besides that, the house has not any relation with the mountain.   Furthermore, the original red tiles and white wall look quite unharmonious in the mountain.
The owner is going to reform it to a small assembly hall to lodge and cater for the travelers. The original boarding room and kitchen will be remained, and the dorms will be transformed to 7 standard guest room with bathrooms, 2 dinning chambers and 2 chess & cards rooms. Because of the former jerry-build and time wearing away, a lot of invisible repair is needed, and the budget remains poor. Only may the quite normal technique and material as bricklaying, painting, sticking be recommended.  In addition, the designer , as a painter of traditional Chinese painting and lacking the architectural language, can only take the low-end techniques and focuses on creating the environment of ‘poetical and picture-like’.  
The design starts with 3 points:
1. mingling with the mountain. Adding two ‘L’-shaped fence walls extending to the south and north of the ‘U’ respectively, just like two arms hugging the mountain in. Not only is a south courtyard ‘hugged’ out, but also the closeness of north courtyard is enhanced. A gate is opened south, and a wooden hanging  along the corridor, protrudes south over the stone dam wall 1.8 meters, just like sending the guests inside the mountain’s bosom. The terrace and the connected balcony, which is caped with a sun shield, together form a gray space, rendering the sentiment of ‘ mountain viewing’. A pool and a pavilion are added in the north yard. A stone trough introduces water into the pavilion then out, adding a motion and sound. Therefore, the construction is mixed with the mountain, between which the dialogue is built, and the direction sense of the building is also altered.
2. Extension of local traditional culture trace. The original building has no obvious style. In order to be harmonious with the surroundings and consistent with the traditional architecture, the added fence walls are laid with dark bricks, and all the tiles are painted black, while other walls remain white. In this way, black, white and gray form the base tone, and the new terrace, doors and windows are made of original timber. The new plat layout takes on a new look of yards partition and interlude.  The overall environment recalls the traditional civil lodge. Therefore, the building’s ‘culture trace’ is ‘get back’.   
3. Introduction of modern life. Most travelers come to the mountain with yearning of both modern life and nature. It makes no sense to copy an old ‘siheyuanr(four enclosed compound)’, which is not permitted by the budget, either.  The lifestyle of ‘modern’ has become the only choice of people. So, the architectural style of this building features dense modern characters, and its interior design also adopts complete modern style and furnishings. The pavilion in the north yard particularly takes a shape of ‘constructing’, to the hillside forming a strong contrast of manpower and nature, which illustrates the conflicting desire of modern people to both destroy and respect the nature.
All the furniture is also the work of the designer.
The above 3 points are merged with the least budget, and the sentiment of ‘mountain lodging’, which the traditional mountains-and-waters paintings features, is also established by the contemporary architectural way.Abstract: is also established by the contemporary architectural way.Key words:bricklaying, painting, sticking, mingling ,culture trace, Introduction,poetical and picture-like.