大地长桌，浙江衢州 / 梓集fabersociety_公共景观_设计案例作品

发布时间：2024-06-19 12:44:54 {{ caseViews }} {{ caseCollects }}

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命题与自我命题

Propositions and Self-Propositions

2023 年的夏天，瀫石光·艺术生态走廊在浙江省衢州市龙游县的小南海镇扎根。大地长桌落于走廊中段，平行于濲水徐徐展开，由田间小路中新建的户外长廊和路旁改造的农具房组成，两者相依而生，互为补充。

In the summer of 2023, the Jushi Guang Art Ecological Corridor took root in Xiaonanhai Town, Longyou County, Quzhou City, Zhejiang Province. The Table 18, which runs parallel to the Gu River, is located amid the Corridor. It comprises a new pavilion along the field paths and a renovated farm warehouse by the roadside. These two elements coexist and complement each other.

▼漂浮于大地之上，Floating above the earth ©张准

▼自然与人工的节奏共鸣，Natural and artificial rhythms©张准

▼植被掩映中的农具房和长桌，The harness-room and the long table amidst the vegetation©张准

设计伊始，选址是自由的，功能是开放的，我们却一度茫然。作为艺术季摇旗呐喊的一部分，项目本身对于抽象性有天然的内在需求，它需要一份从当代乡村语境中脱离出来的视觉张力，但我们并不想过度放大这件事。它在审美和内容上，应该与场地和社区产生关系，它当然也服务于游客，但说到底不关于猎奇。

At the beginning of the design, both site and function were unconfined; we were at a loss for a while. As part of the engagement of art, the project has a natural inherent demand for abstraction. Visual tension needs to be separated from the contemporary rural context, but we do not want to exaggerate this. It should have a relationship with the site and the community in terms of aesthetics and content. It indeed serves tourists, but it is not about novelty seeking.

▼田间的大地长桌，Long table in the field©张超

▼大地长桌与在地社区，Thelong table with local community©张超

中国有很多小县城，看似同质化，但你读进去，其实都有自己独特的美好，可惜往往缺乏挖掘和描绘，也少有自觉。在龙游，我们希望这是一次在地讨论同质乡镇差异化更新的机遇，而不是建筑师大声说话的噪声场。

由此，我们带着一点对过往的反思，带着一份其实外来者的自省，为项目在任务书之外，设定了一些出发点：它终究要属于这里，新的关系在发生，是非也陆续抵达，是龙游日常里的美好；如果乡村更新都只是掷入一些放之四海皆准的“奇观”，便难免走向了另一种同质化。

There are countless counties in China that may appear to be homogeneous, but when you look closer, you will discover that they each have their particular beauty, which is often overlooked and underrepresented. At Longyou, we hope this is an opportunity to explore the differentiation and rejuvenation of homogeneous townships on the ground rather than a platform for architects to shout.

Thus, with a quantity of reflection on the past and a self-reflection of outsiders, we set some starting points for the project beyond the design brief: it will belong here after all, new relationships are happening, and right and wrong are arriving one after another; it will serve as the beauty of the daily life in Longyou; if all the countryside regeneration is just a matter of throwing in a few “icons” that can be applied everywhere, it will undoubtedly result in another type of homogenization.

▼在地特质的挖掘与描绘，The excavation and description of the characteristics in the site ©张超

▼日常里的新是非，Daily life©张超

在地生长

Growth

龙游自古“四省通衢”，八方商客往来熙攘，在此交融杂合，形成了特有的饮食文化。在这里，食物是绕不开的地方话题。我们也顺势，确定了“食”这个可以共享和交流的功能：以一份食物为契机的相聚，作为公共性和在地性的切入。

功能在了，选择场地时，我们便关注三件事情：一是龙游的山脉、建筑、农田景观，都沿衢江东西向水平展开，我们希望场地也有同样的特质；二是场地宜亲近农田，与“食物”的主题天然相扣；三则是场地内一定要有现存构筑物，能被加以改造利用，而非完全新建。

Longyou has been at the crossroads of four provinces since ancient times, teeming with merchants from all sides, mixing and mingling to create a distinct cuisine culture. Food is an unavoidable topic of conversation here. Based on this, “food” can be utilized as a shared and exchangeable function, a meeting point both public and local.

After determining the function, we focused on three things when choosing the venue: first, mountains, buildings and farmland landscape, all of which are horizontally spread out along the east-west direction of the Qu River, and we hoped that the venue would have the same qualities; second, the venue should be close to the farmland, which is naturally in line with the theme of food; and third, the venue should have existing buildings that could be transformed; Third, there shall be existing structures on site that may be renovated.

▼龙游平行于衢江水平展开的山脉、建筑、农田，The mountains, buildings and farmlands spread out parallel to Qujiang River©张超

在场地中段，我们幸运地找到了一条平行于衢江的田间小路，路旁有一座废弃的农务工具房。农具房山墙面对着西侧主要到达的路径，而南侧的林地和新建城市道路，隔开了衢江水岸。北侧为大片农田，田间道路即由此经过展开，道路两侧都能看到起伏绵延的山脉。

Fortunately, we discovered a field walk parallel to the Qu River, with a derelict farm warehouse along the road. On the west side, the warehouse’s wall confronts the main arrival path, while on the south side, the Qu River waterfront is separated by woodland and a new town road. To the north lies a considerable expanse of farmland, over which the field road winds, with rolling hills visible on both sides.

▼农具房与田间路，The Warehouseand field road©吕凝珏、曹睿芝

▼场地总平面图，General site plan©梓集 fabersociety

设计从农具房出发。作为共享聚餐空间，它面积局促且现状结构较差，内部隔墙无法拆除，封闭的立面也很难打开。我们在试探中转念，将餐厅的定义由室内化到外向：聚餐中最张罗的场景，其实是围绕“大餐桌”这件家具组织的，我们把它从小房子中抽象提取，转为与自然密切对话的地景公共装置，沿着小路的方向延展出一张“大地长桌”。

▼设计生成图，Design generation diagram©梓集 fabersociety

▼轴测效果图，Axonometric drawing©梓集 fabersociety

The design begins in the warehouse. It is rather small for a common dining space, with interior partitions that cannot be removed and walls that are difficult to open. During the exploration process, we shifted the definition of the dining room from indoor to outdoor: the most elaborate scene of the gathering is organized around the “big dining table,” which is abstracted from the tiny house and transformed into a public installation of the ground in close dialogue with nature, extending a “long table” along the path. The “Table 18” extends toward the trail.

▼平行延展的山、田和建筑，Parallel stretches of mountains, fields and building©张超

就这一席之地，也有些古老的成分。长桌作为一种生活物件，随着家庭人员数量的增多与宴请文化的逐步流行，长案的功能逐渐从写作延伸至家庭用餐和社交聚集。由此，时间和空间不断累积，“长桌”演化并记录着在地叙事，我们也试图将周边社区的居民、前来的游客、误入的旁观者，设定为在此相遇并一起“上桌用餐”的“大家族”，讨论龙游公共界面别有风味的搭建方式。

▼左：宋代赵佶《文会图》绢本设色/ 右：油画《维多利亚时期的晚宴》，Sir Henry Cole，藏于香港海事博物馆，Left: Wenhui Painting by Zhao Ji in the Song Dynasty on silk/Right: Oil painting Dinner Party in the Victorian Period, Sir Henry Cole, in Hong Kong Maritime Museum

With an increase in the number of family members and the rising popularity of banquet culture, the function of the long table has steadily expanded from writing to family dinners and social events. As a result, time and space accumulate, and the “long table” evolves and preserves local narratives. We also attempt to portray the residents of neighboring communities, visitors, and spectators who enter by accident as those who meet and interact here. We also strive to group inhabitants of neighboring communities, visitors, and onlookers into a “big house” that gathers here and “dines at the table” to debate how to create a distinctive public interface in Longyou.

▼延伸到场地中的大“家具”，Large “furniture” extending into the site©张超

农具房 The Warehouse 改造后的农具房，主要用于室内就餐和备餐，同时兼容展览、聚会、休憩、研讨等场景，人来往的多了，也就有泛泛而聚的意思。建筑则是田间的常例，代表着曾经密集的农耕劳作回忆，因此我们对整体形态不做过多改动，除新增一个主入口以外，其他原有洞口和老旧门窗也都被保留下来。新增的金属屋面，解决原屋面漏水的同时，在建筑西侧向外悬挑，形成檐下灰空间，也昭示着主入口。

The reconfigured warehouse is primarily used for indoor dining and meal preparation. However, it is also suitable for exhibitions, gatherings, resting, and seminars, with people coming and going in various settings.

Building is a typical example of a field, embodying the memories of previously intensive farming labor. Therefore, we did not make many alterations to the overall shape, except adding a new main entrance; the other original holes and old doors and windows were also kept.

The new metal roof, which eliminates the leaks in the original roof, is cantilevered outwards on the west side of the building, creating a grey space beneath the eaves that emphasizes the main entry.

▼农具房形成的入口空间，The entrance space formed by the Warehouse ©张超

▼农具房与附近的民居，The Warehouseand nearby dwellings©张超

小房子的原始屋面已无法使用，现状墙体条件也较差，无法支撑新的屋面系统。为避免对墙体进一步的损坏，我们在老房子的立面外侧新增了一套钢木结构体系，立柱轻轻脱开原始墙体，独立支撑梁和屋面。我们保留了原有的屋面木梁，一是与老墙体共同组成记忆，二是不破坏老墙体现有的拉结稳定性，而老房子外置的结构系统在比例关系上也与长桌产生了视觉联系。

The small house’s original roof was no longer functional, and the existing walls were too weak to sustain the new roofing system. To protect the walls from future damage, we installed a new steel and timber structural system on the outside of the ancient house’s facade, with columns gently removed from the existing walls to support the beams and roof independently. We kept the original roof beams to create a memory of the ancient walls without breaking their existing tie stability. The old external structural system creates a visual connection with the long table regarding proportionality.

▼新旧结构的剖面关系，Sectional relationship between old and new structures©梓集 fabersociety

▼农具房施工过程，Farm tools house construction process

©刘安海、梓集 fabersociety

西侧山墙面由于进行了新的开洞，且墙体较高稳定性差，因此新增了胶合木圈梁箍住墙体上部，增加老房子的整体强度。我们驱车在汀塘圩村的河床附近找到了一块直径约 2m5 的天然岩石，将其挪到场地后，用一根纤细的拉杆与悬挑梁进行拉结和稳定。而大石头本身合宜的轮廓，也形成了主入口旁的一处缓冲消遣和视觉闲暇。

Because of the new apertures on the west side of the wall and the higher wall’s poor stability, new glued timber ring beams were added to hoop the upper half of the wall, increasing the overall strength of the old building. A natural rock about 2m5 in diameter was discovered near the riverbank in Tingtangxu Village and transported to the spot, where it was attached and stabilized with a slender tie rod to the overhanging beam.

▼左保留的老木梁和其拉结的墙体 /右圈梁、木梁和大石头，Left retained old wooden beams and their knotted walls/Right ring beams, wooden beams and large stones©张超

▼屋面悬挑形成的檐下灰空间，The gray space under the eaves formed by the roof overhang©张超

▼天然岩石和屋面的连接，Natural rock and roof connection©张超

一十八

18农具房是既存的主体，长桌是衍生开来的精彩。在仅有 4 米宽的田间路上，这张长达 18 米的平面，是和本地社区进行联动的介质。长桌作为“餐厅”本体功能的延续，横亘于山水间，呈现出更为自然性和公共性的语境。

▼概念草图，Conceptual sketch©梓集 fabersociety

The warehouse is already there, and the long table adds the finishing touch. This 18-meter-long flat surface serves as a conduit for connecting with the local population along the 4-meter-wide field road. As a continuation of the restaurant’s purpose, the long table extends across the landscape, creating a more natural and public setting.

▼横亘于山水间的长桌，A long table across the mountains and rivers©张超

▼水平展开的 18m，Horizontal expansion of 18m©张超

18m 的长度将尺度体验极致放大，固然已是反日常的了，可以承载想象中的聚集与分享，也带一点文明的味道。它微微降低的高度也能直接感知身体，形成一个舒展的木质表面，可供坐卧。但偏偏这样尺度，在广袤场地的草木繁盛中，力量上还未能足够——我们希望这张桌子能有一个新的姿态，或许能够没有桌脚地漂浮起来，轻轻抚过它所在的土地，与现实若即若离，游移在日常与想象之间。

▼长桌轴测拆解示意图，Long table axonometric dismantling diagram©梓集 fabersociety

The 18m length takes the scale experience to the extreme, hosting more anticipated gatherings and sharing on an anti-everyday scale. The slightly lower height also allows the long table to directly perceive the body, resulting in a large wooden surface for sitting and lying. Amid the vast site’s grass and trees, we hope this table will take on a new pose, possibly floating, gently caressing the earth it sits on, as if distinct from reality, moving between the mundane and the imaginative.

▼可供坐卧的桌面，Table top for sitting and sleeping©张超

日照充沛的龙游，也常绵绵风雨，田间的相遇需要庇佑晴雨的屋面。如果长桌能够悬挂于一条大跨度不落柱的连续屋面结构上，那么悬浮的状态就能够在一套整体性的结构逻辑中诞生。结构采用两侧钢结构落柱和中部的弧线张弦桁架来完成这个跨度，桁架的下弦采用刚性杆，来抵消向上的风吸力；再用轻质拉杆和大跨钢结构连接，让桌板漂浮起来。张弦桁架的引入，也将构筑物从“支架”或者“遮阳棚”的基本日常印象中脱离出来。

▼悬浮的长桌，A long floating table©梓集 fabersociety

▼长桌施工过程，Long table construction process©梓集 fabersociety

If the long table can be suspended from a continuous ceiling structure with a significant span and no collapsing columns, the suspended condition can be realized using a set of holistic structural logic. To finish the span, the construction incorporates steel drop columns on both sides and a curved tension chord truss in the center. Rigid rods are employed in the truss’s lower chord to combat upward wind suction; lightweight tie rods are then utilized to link to the prominent span steel structure, allowing the table to float. The tension truss further distinguishes the structure from the simple everyday notion of a “stand” or an “awning.”

▼夕阳下的 18m 长桌，18m table at sunset©Arch Nango

常规跨度的结构落位，对长桌空间整体聚集感影响较大，悬浮的方式弱化了这种分隔，也保证了屋面的连续性。轻质的拉杆若有若无，含蓄的营造了空间限定，也偶尔成为孩子们上下攀爬的辅助。长桌上方的围合和隐性划分，进一步模糊了日常桌面的使用旧例。

▼屋面和拉杆的共同限定，Common restriction of roof and tie rod©梓集 fabersociety

The consistent span of the construction of the long table space on the overall sense of aggregation has a more substantial impact on the suspension of the way to lessen this separation while also ensuring the continuity of the roof. The lightweight tie bar, if present, indirectly limits space while also occasionally assisting toddlers in climbing up and down. The enclosure and implicit divides above the long table shape how people use the table daily.

▼拉杆围合的桌上空间，Tie rod enclosed table space©张超

▼长桌的结构选型和形态研究，Study on structure selection and shape of long table©梓集 fabersociety

▼计算分析截图，Calculate and analyze diagram©和作结构

▼常规柱跨和大跨度长桌，Regular column span and long table with large span©张超

▼漂浮于夜幕之下，Night view©张超

18 到 42

From 18 to 42

指代总归有局限，为更进一步拓展“桌”的边界，从形式、结构和体验上，我们将 18m 的长桌继续延伸，成为一个 42m 的公共系统。人们可以在此聚会、野餐、闲坐、午睡，荡秋千并看风景，田间小径也从通行空间演变为驻留场所，随着时间推移，更多可能性也会持续涌现。

To further broaden the table’s borders formally, structurally, and experientially, we stretched the 18-meter-long table to become a 42-meter-long public system. People can meet, picnic, sit, nap, swing, and admire the beauty here, and the field path transitions from a passing space to a place to remain, with more possibilities emerging as time goes on.

▼按模数延展的木结构长廊，Modular extension of the wooden structure corridor©张超

▼屋面下悬挂的秋千布和田间视野，Swing cloth hanging under the roof and field view©张超

长桌两侧的木结构长廊，是中部大跨钢结构结构的稳定性补充，也满足村民和游客的休憩需求。屋面下悬挂的秋千布，则意外的受欢迎。整合后 42m 的公共界面，像斜阳下农具房在田间投下的影子，事无巨细地描述着彼此。我们把两者的结构在主入口的位置进行连接和回应，形成一体性的表达。农具房作为打开境遇的引子，我们来之前它就在这里，最后终究退回在地的起因，并承载一切逻辑的根本。

▼农具房和木结构长廊的场地关系，The site relationship between the warehouse and the wooden promenade©梓集 fabersociety

▼木结构长廊和钢结构长桌的剖面关系，Section relationship between wooden structure promenade and steel structure long table©梓集 fabersociety

The wooden system on both sides of the long table complements the stability of the large-span steel structure in the center and meets the resting needs of villagers and visitors. The swing cloth hanging under the roof is an unexpected favorite, and the 42m public interface, like the shadow cast by the farmhouse in the field under the slanting sun, describes each other in detail. We connect and respond to the two structures at the main entrance to form an integrated expression. The farmhouse serves as an introduction that opens up the situation, which was here before we came. It eventually returns to its origins on the ground and carries the root of all logic.

▼农具房和长廊在入口处相连的结构，A structure connecting the warehouse and the promenade at the entrance©张超

山与水 Mountain & River 整体屋面形式的选择，则与远方有关。当我们走在这条田间路上，并不能感知到濲水温腻的涟漪，而远山又呈现出柔和的起伏形廓，不激烈，有节奏感，像山也像水。我们思考自然地理和人造物间隐含的几何对应和拟态关系，长桌沿路平行于濲水和山脉的展开，也是希望链接和想象这里的山水相悦。▼山、水、田，Mountains, water, fields©梓集 fabersociety

Environmental factors determine the overall roof form. As we consider the implicit geometric correspondence and the mimetic relationship between natural geography and artificial things, the long table along the road mirrors the unfolding of the water and mountains, attempting to connect and visualize the delights of the scenery here.

▼大地长桌、瀫水和远山，18m long table, lake and remote mountains©张超

▼多种不同弧度的山水回应，A variety of different radians of landscape response©张超

长廊的屋面在剖面上做了一个单向的倾斜：对北侧山脉和田野抬高，掀起观景的视线，对南侧则压低檐口，遮挡车道方向上的视觉杂乱；而西侧迎着行人到来的方向展示出表情，同时在场地内形成安定的场所感，经营人们的留驻。斜屋面顺应了农具房坡屋顶的形式关系，同时微微降低姿态，默许着其“家具”物件与“建筑”主体的从属关系。此时我们才发现，项目最终适宜的尺度，源自农具房缄默中画下的衡量，令我们不会过大、过高或过吵。

The roof of the promenade is sloped in a one-way profile: to the north, the mountains and fields are elevated to provide a view of the landscape; to the south, the gable end is depressed to block out visual clutter in the direction of the driveway; and to the west, it meets the direction of pedestrian arrival while creating a sense of serenity and peace within the site. The sloping roof follows the formal relationship of the sloping roof of the warehouse while at the same time slightly lowering its stance, implicitly acknowledging the subordination of its ‘furniture’ objects to the main ‘building.’ It is only then that we realize that the final appropriate scale of the project comes from the measurements drawn in the silence of the farmhouse so that we will not be too big or too noisy.

▼“家具”物件与“建筑”主体的从属关系，The subordination of “furniture” objects to the subject of “architecture”©张超

▼面向北侧田野打开的单坡屋面，Open single-pitched roof facing the field to the north©张超

农具房的屋面材料从功能角度选择了金属板，但长桌主体和公共长廊的屋面，则采用了柔软的防水布，呈现出不那么完型、不那么确定的状态。屋面随着不同天气和时间，产生对应的变化，融于与自然交谈中，不再是一个自说自话的静态场景。

While the warehouse’s roofing material was chosen for practical reasons, using a soft tarpaulin on the main body of the long table and the public gallery makes the roofing less solid. The roofing changes in response to the weather and time of day, morphing into a conversation with nature rather than a static landscape that stands alone.

▼屋面在微风中起伏的不确定性，The uncertainty of the roof undulating in the breeze©胡兴启

这样的屋面材料不那么永久，但这恰恰很乡村，包含着原生的临时和随机。材料本身随着会随着日出日落和四季，慢慢陈旧甚至消失，自然更迭，非永恒性也是乡村的质地。而钢木骨架的结构主体，则会站立地更长久一点，这也就增加了一层时间的维度。

The roofing materials are less permanent, but this is quite rustic, retaining the impermanent and unpredictability of the original. The material will gradually age and even disintegrate with the dawn, sunset, and seasons, and the countryside’s texture reflects this natural turnover and non-permanence. The structural body of the steel and wood skeleton will last slightly longer, adding a layer of temporal dimension.

▼屋面庇护下的公共性，Publicity under the roof shelter©张超

隐匿和表现 Concealment and Expression

在乡村的语境中，我们担心项目对于结构的表达，或许是过于“技术”的，因此我们在桁架主体外侧包裹了黑色防水布，将其若隐若现的抽象表达，同时也让餐桌漂浮在场地中的主体状态变得完整和凸显。中间的长桌大跨是钢结构的，两侧则是以胶合木结构为主，但我们选择把原木色的构件用墨汁手工涂成黑色，然后用清漆封住，弱化了它和钢结构之间的严格分野，可识别但不彰显，这同样是对不确定性的一种回应。

▼整体结构轴测，Overall structure axonometry©梓集 fabersociety

We were afraid that the project’s expression of the structure would be too “technical” in the rural surroundings, so we wrapped a black drape over the outside of the significant trusses to express their hidden abstraction and to emphasize the table’s floating status in the location. The long table in the center is made of steel, while the two sides are mostly glued laminated wood. However, we chose to hand-paint the original wood components black with ink and then seal them with varnish, weakening the strict distinction between it and the steel structure and making it recognizable but not prominent, a response to the uncertainty.

▼抽象表达的结构系统，A structural system of abstract expression©张准

在细节层面，别于整体的抽象不明，我们对结构和材料进行了真实的表达。结构体系的连接节点均坦率外露，材料也根据自身特性和功能要求做了视觉强化。同时，波浪形的语言图底也从整体的形体草图，延续贯穿到细微尺度中，比如屋檐的金属小滴水和亚克力的弧形防水扣盖。这份没有做过多动作的直白，在场地里也感觉足够丰富了。

A more accurate portrayal of the structure and materials has been created at the detail level. The structural system’s connecting nodes are exposed, and the materials are visually enhanced based on their unique properties and functional requirements. At the same time, the language of waves occurs throughout the project, including the metal drips on the eaves and the curved acrylic waterproof cover. It also feels rich enough on the site.

▼细部大样示意图，Detail sketches©梓集 fabersociety

▼细部，Details©张超

和她（他）们 With People 我们眼中，大地长桌和当地的关系，不应该是抽象到需要被刻意解读的，但也不应该十分具体，从而限制了很多可能性。尤其是当我们作为外来的闯入者，对于本地的理解并没有那么深刻，特别自负的去做一个固定功能、大张旗鼓的介入，那些洋洋得意的“我以为”，往往其实是无关宏旨的冒犯。

In our view, the relationship between the Long Table and the local area should not be so abstract that it requires deliberate interpretation, nor should it be so concrete that it limits many possibilities. Especially as outsiders, our understanding of the local context is not profound. Creating a fixed-function, ostentatious intervention with an overly confident approach often results in presumptuous actions that are, in fact, irrelevant and offensive.

我们希望最终能留下的，是一种在地化的集体想象空间，最后它怎么填充、怎么书写，是由居民去自由发挥的。随时间流转，我们也逐步走出猎奇的目光，走向对平常的瞩目。在驻场和后期运营期间，有村民们向我们表达过对长桌的过分偏爱，甚至带着一丝捍卫；我们亦欣喜地看到居民来到场地上按自己的理解使用长桌，有趣的互动陆续发生，在地关系也愈发紧密。

What we intend to leave behind is a kind of localized collective imaginary space, and it is ultimately up to the people to decide how it is filled and written. We have progressively shifted our focus from the extraordinary to the everyday. During the residency and later operation, some villagers expressed their excessive preference for the long table, even with a hint of defense; we were also pleased to see the residents come to the venue to use the extended table following their understanding, and exciting interactions occurred one after the other. The relationship between the locals and the locals grew stronger.

今年，我们在大地长桌组织了一系列与“饮食”主题相关的活动，邀请村民、周边社区居民和游客们一起参与，包括长桌宴、工作坊等，希望打开聚集和讨论的一扇窗，打样提供一种新的乡村公共生活的原型：乡村的时节渐次降临，人们总会在田间如期相遇，而长桌可能在某个时刻获得广度。

活动中，我们与居民和游客签下“长桌契”，约定未来再次相聚的时机和样式。村民在工作坊也论及更多后续的使用可能，如承载他们季节性农副产品的展卖、作为农忙时的工具台等，我们俱也汇总形成记录。我们希望活动不仅是一次次瞬时的“演出”，而是之后长效运营的基础，诚然，仅作为设计方的我们，无力承担持续运营的投入，只能粗糙地猜想，在片段中沉淀一些力所能及的善意引导，期待最终去到在地丰厚的自觉。

This year, we have organized a series of activities related to the theme of “food” at the Long Table, inviting villagers, residents of neighboring communities, and tourists to participate in them, including long-table banquets, workshops, etc., in the hope of gathering and discussing and attempting to provide a new prototype of rural public life. As the time of the year ends in the countryside, people will always meet in the field. As envisioned, the long table may expand in breadth at some point. During the event, we promised to meet again with residents and guests. During the workshop, the villagers also talked about using the long table to market their harvest and as a tool table while the busy farming seasons coming, which we summarized and documented. We expect the activity to be a foundation for long-term operation rather than a temporary “performance.” Admittedly, as designers, we cannot afford the investment for continuous operation. Therefore, we can only make imprecise assumptions and produce as much good-intentioned instruction as possible in the fragments.

与时间

With Time

大地长桌所在的汀塘圩村，沃野千里，衢水虽不分四季地流淌，水稻、油菜花等粮食作物却仍在春秋轮回中耕作交替，龙游丰富的粮米制品也源于这里深厚的农耕传统，在今天仍是生活中不可缺失的日常丰物。项目启动后，我们来去现场许多次，期间场地金黄的油菜花变成绿色的稻田，收割后又是另一番景象，其他植被随四季变化也非常丰富，而长桌相映成趣，作得有益的伴侣。

Tingtangxu Village, located in the Long Table, has a fertile field of thousands of miles. Although the water of the Qu River flows year-round, rice, rapeseed flowers, and other food crops are still cultivated in the spring and autumn cycles. Longyou’s rich grain and rice products are also rooted in the profound farming tradition here, which is still indispensable in daily abundance in our lives today. After the project was launched, we came and went to the site many times. During this period, the golden rapeseed flowers on the site turned into green rice paddies. After the harvest, it was another scene. Other vegetation changed with the seasons and was very rich, and the long table reflected each other in an interesting way, making it a useful companion.

在思考在地文化、人文地理和日常生活的过程里，我们逐渐开始反思，设计如何应对抽象与具象、日常与超常等要素的并置想象，进而期待以一种思辨的介入方式，去触及一些当下语境中的乡建议题，激发更多不同群体的参与和共事。这其中，我们愈发觉得时间变得重要，清晨湿凉但饱满的劳作、夕阳下收拾心情的万家灯火，都让建造一点点接近物质性的亦步亦趋，试图拓写下一些时间的轮廓。

In the process of thinking about culture, geography, and daily life, we gradually began to reflect on how design can respond to the joint imagination of abstract and figurative, everyday and extraordinary, and then look forward to a discursive intervention to touch upon the topic of rural construction in the current context and to pull the trigger of more different groups of people and their co-operation. In this process, we feel that time has become increasingly important. The labor at dawn and the lights at sunset make the construction closer to materiality, rubbing marks of time.