本期編輯/上海雅舍辛乙堂

Yashe  Studio
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建筑是人類社會(huì)生活的三大要素之一和滿足人們生活的需要而營造房屋與其他建筑物的藝術(shù)。甘肅是祖國遠(yuǎn)古文化發(fā)祥地之一,它的建筑也是我國 古老的獨(dú)具地方風(fēng)格的建筑體系之一。

Architecture is one of the three elements of human social life and the art of building houses and other buildings to meet the needs of people's life. Gansu is one of the birthplaces of ancient Chinese culture.

據(jù)考古發(fā)現(xiàn):遠(yuǎn)在二三十萬年前 器時(shí)代中期，甘肅就有人類活動(dòng)了。公元前五千年左右的精細(xì)石器，公元前二千年左右的“半山期”、“馬家窯期”等豐富的陶器,特別是 期秦安楊家溝的白灰面住室遺址的發(fā)現(xiàn)，反映了遠(yuǎn)古奴錄社會(huì)勞動(dòng)人民生活及生產(chǎn)力發(fā)展的情況。

According to archaeological findings, human activities occurred in Gansu Province as far back as the middle of the instrument age, 200 to 300 thousand years ago. The discovery of fine stone tools around 5000 BC...

甘肅歷史上是一個(gè)多民族地區(qū)，由于歷代統(tǒng)治階級(jí)相互攻戰(zhàn)征掠，使甘肅成了歷史上軍事爭奪頻繁的地區(qū)。這種狀況反映到建筑上，使甘肅建筑非常突出地普遍具有軍事的性質(zhì)，出現(xiàn)了大量軍事城池、長城邊墻、關(guān)隘、烽火臺(tái)、堡寨和駐兵屯田設(shè)施。

Gansu is a multi-ethnic area in history. Due to the mutual attacks and raids of the ruling classes in previous dynasties, Gansu has become an area with frequent military competition in history. 

建筑文化在我國呈現(xiàn)出多樣化的樣貌，不同的地區(qū)和民族擁有著不同的建筑文化。那么，甘肅文化中建筑文化又如何呢？

 Architectural culture in China presents a diverse appearance, and different regions and nations have different architectural culture. So, what about the architectural culture in Gansu culture?

甘肅民居主要成分當(dāng)屬四合院行制，也是漢民族自漢唐以來民居建筑發(fā)展的主流。這種建筑形式充分體現(xiàn)了儒家文化思想，充分體現(xiàn)了封建宗族制度的需要，極大限度的滿足了大家族、大家庭的居住、生活需求。

The main components of Gansu folk houses belong to the quadrangle system, which is also the mainstream of the development of folk houses of the Han nationality since the Han and Tang Dynasties. 

受當(dāng)?shù)貍鹘y(tǒng)風(fēng)水觀念支配，院落大門多座院之東南，廁所置于院之西南角。院內(nèi)雨水則匯流于西南排出院外。四合院大門多采用屋宇門形式。即是將倒座東側(cè)稍間辟作門道，而在倒座后墻上開門的一種大門。門框、門扇堅(jiān)實(shí)厚重，造形簡約樸素。

Dominated by the local traditional Feng Shui concept, the gate of the courtyard is located in the southeast of many courtyards, and the toilet is located in the southwest corner of the courtyard. The rainwater in the hospital flows to the southwest and is discharged outside the hospital. 

采用此種門的實(shí)用目的有二：一是天水歷史上華戎雜處、戰(zhàn)事頻繁，兵災(zāi)匪患較多；倒座后墻堅(jiān)固高竣，在此開門封閉安全。二是大門形制簡樸可以藏拙不顯豪富。除此而外，亦有部分大門采用對(duì)山式墻垣門，即大門對(duì)著前院東房山墻開南門，或?qū)χ鞣可綁﹂_北門。

There are two practical purposes for adopting this kind of gate: first, in the history of Tianshui, Huarong was miscellaneous, wars were frequent, and there were more disasters of war and banditry; The back wall of the inverted seat is solid and high, and it is safe to open and close the door here. 

甘肅歷史上處于封閉的內(nèi)陸腹地，民風(fēng)民俗都樸實(shí)而具有獨(dú)特的特點(diǎn)，民居建筑依然如此。院落外各立面展現(xiàn)的是封閉的后檐墻外觀，灰調(diào)、粗糙、厚實(shí)、冷峻；而院落內(nèi)具有濃郁的內(nèi)向界面，各單體建筑面向庭院的二維主立面，為庭院空間提供了明顯的內(nèi)向界面。

Gansu was located in the closed inland hinterland in history, and the folk customs are simple and unique, and the folk houses are still the same. The facades outside the courtyard show the appearance of the closed rear eave wall, which is gray, rough, thick and cold.

這種濃郁的內(nèi)向界面強(qiáng)化了庭院的內(nèi)向品格；四面廊道亦里亦外、亦外亦里的“過渡空間”、“中介空間”具親和力，在金柱濃郁、內(nèi)向品格的木質(zhì)墻面的襯托下，使廊道更帶有明顯的室外內(nèi)化性。如“馮國瑞故居”等。

This rich inward interface strengthens the inward character of the courtyard; The "transition space" and "intermediary space" of the four side corridors, both inside and outside and inside, have affinity.

中國傳統(tǒng)的庭院式布局與封建禮教制約下的思想意識(shí)和心理結(jié)構(gòu)相適應(yīng)，圍合的庭院式空間，構(gòu)建了一個(gè)封閉的小天地，在這個(gè)封閉的小天地中，嚴(yán)整縱深的庭院組合，中軸突出的對(duì)稱格局，提供了建筑空間的主從構(gòu)成、正偏構(gòu)成、內(nèi)外構(gòu)成和向背構(gòu)成。這些空間構(gòu)成都被賦予了禮儀上的尊卑第等意義。

The traditional Chinese courtyard layout is compatible with the ideological and psychological structure under the constraints of feudal ethics. The enclosed courtyard space has built a closed small world. 

透過正院與偏院，正房與廂房，外院與內(nèi)院，前庭與后庭等等空間的主從、內(nèi)外劃分，庭院組群充分適應(yīng)了封建禮教嚴(yán)格區(qū)分尊卑、上下、親疏、貴賤、男女、長幼、嫡庶等一整套的倫理秩序需要。如南北宅子、賈公館、馮國瑞故居等正是中國傳統(tǒng)的庭院式布局，體現(xiàn)了儒家“禮”文化意象。

Through the division of the main courtyard and the side courtyard, the main room and the wing room, the outer courtyard and the inner courtyard, the vestibule and the backyard, and so on, the courtyard group fully adapted to the feudal ethics.

同時(shí)，如馮國瑞故居等這樣的民居四合院，四面房屋四面廊道的院落，很好地體現(xiàn)了中心庭院的明亮空間、檐廊“灰”空間、室內(nèi)“暗”空間的層層過渡關(guān)系，這也體現(xiàn)出中庭式院落空間由公共空間到模糊空間再到私密空間的層次關(guān)系。

At the same time, residential quadrangles such as Feng Guorui's former residence and courtyards with four houses and four corridors well reflect the layer by layer transition relationship between the bright space of the central courtyard.

這種層次關(guān)系展現(xiàn)的建筑形態(tài)的內(nèi)向品格，室內(nèi)外空間的有機(jī)交融，以及對(duì)庭院內(nèi)花木扶疏的自然景觀的收納滲透等等，都表現(xiàn)出天水民居庭院式布局審美上的人倫之“樂”，即“樂”的感情教化與和諧作用。

The introverted character of the architectural form displayed by this hierarchical relationship, the organic integration of indoor and outdoor space, and the reception and infiltration of the natural landscape with sparse flowers and trees in the courtyard.