感谢梓集建筑的分享 2015年的秋天, 1/3Kiosk在深港双年展展场落成。当届展览主题是“城市边缘”，主展区在大成面粉厂：从城市西南角的蛇口港地铁站出来，沿着行人稀少的港湾大道向西走上约500米就到了。 In the fall of 2015, the 1/3 Kiosk was launched at that year’s UABB (Bi-City Biennale of Urbanism/Architecture). Themed “Urban Borders”, the main exhibition venue was the Dacheng Flour Mill in Shekou. From the Shekou Port Metro Station, located in the southwest corner of the city, visitors had to walk along the desolate street for about 500 meters to reach the factories where the exhibition was help.
2015年的秋天, 1/3Kiosk在深港双年展展场落成。当届展览主题是“城市边缘”，主展区在大成面粉厂：从城市西南角的蛇口港地铁站出来，沿着行人稀少的港湾大道向西走上约500米就到了。
In the fall of 2015, the 1/3 Kiosk was launched at that year’s UABB (Bi-City Biennale of Urbanism/Architecture). Themed “Urban Borders”, the main exhibition venue was the Dacheng Flour Mill in Shekou. From the Shekou Port Metro Station, located in the southwest corner of the city, visitors had to walk along the desolate street for about 500 meters to reach the factories where the exhibition was help.
作为蛇口工业化进程的重要印记，大成面粉厂身后浓缩着很清晰的历史可读性，它的存在也一直是蛇口工业区改造无法忽略的掣制和契机。然而同时，周边太子湾片区的整体更新规划，无疑已经在人们心头给大成写上了一个鲜红的拆字。虽然我们也没有期望这个临时建筑能够长期留存下去，但在设计开始之前，就知道了宿命，也多少沾染了些悲情的色彩。
As a significant landmark of Shekou’s industrialization, the Dacheng Factory has an undeniable historical trace, as well as a physical prominence in the eventual transformation of the area. However, the redevelopment master plan for the surrounding Prince Bay peninsula has projected an undeniable sense of temporality. While we did not expect longevity for this structure, there was a certain melancholy in foreseeing its demise even before its birth.
在当时看来，太子湾的宏大图景还显得异常“遥远”，所以凌驾周边环境体量的大成面粉厂，一直是该区域庞大高耸的工业地标。在李兴钢老师的支持下，我们最终选择了一个场地制高点，一个观海和见证太子湾发展的最佳记录视角：面粉厂的磨机楼屋顶。
At that time, the Dacheng Factory remained a towering landmark in the region, surrounded by other low industrial structures and soaring to the sky. Finally, with the support of Mr. Li Xinggang, we chose a site of commanding height, the best observation point for the ocean and part of the upcoming massive redevelopment in that area: the roof edge of the mill building.
第一次进入磨机楼时，机械留下的巨大孔洞穿插在高耸的空间中，极为震撼。这种Gordon Matta-Clark般的体验，让我们也更加相信小房子放在屋面的想法：它会成为人们移动的诱因和终点——工业建筑的重复秩序、强大的空间拔升感和豁然开朗的屋面体验，人们或许能够重新审视脚下这片后工业城市的“可居性”。
During our first visit to the mill building, we saw how the spectacular holes and scars left by machinery were interspersed through the towering space. This Gordon Matta-Clark type experience further convinced us in the idea of a small house on the roof. The small house would become the incentive and destination for people’s movement: through the repetition of industrial order, a strong sense of spatial uplift and a wide open roof experience, people would be able to reexamine the meaning of ‘habitability’ in this post-industrial city.
在5X5X5m的主体尺寸要求内，我们希望创造三个层次的空间感受：将“室内”压缩至1/3，整理出2/3的室外庭院，并将其中一半从屋顶挑出；人们经过被压缩的室内后忽然来到在城市尺度进行释放的绿色庭院，并进而悬浮于城市上空，小心翼翼地展开视野。
Within the required 5x5x5m structural frame, we hoped to create three levels of experience: we compressed the “indoor” to 1/3, organizing 2/3 of the outdoor courtyard, and outstretched half of it outside the roof. People pass by the compressed interior, and then suddenly get released to the green courtyard at an urban scale, before finally reaching suspension above the city and gradually expanding the view.
由于项目预算紧张，一个在空中屋面任性悬挑的“临时建筑”，到了逐渐真实起来的阶段，每做一个动作，都需要和各方艰难沟通争取。我们觉得一个不那么容易出现的事物正在出现，一点点努力突破着日常，这个过程似乎也是在靠近一种持久性，也时常让我们忘记这只是一个短期的存在。
Due to a tight budget, a ‘temporary building’ that was capriciously cantilevered in the roof gradually had to face reality. Every action needed to be nimbly communicated with all parties. We felt something not easily achievable was slowly emerging, breaking through the mundane bit by bit. This process seemed to resemble a kind of captivated persistence that at times made us forget about its transience.
为了小房子的顺利建造，我们陆陆续续准备了一年多。而正式开工到完工，大概只用了三个月。实际的施工进展比我们设想中要顺利，完工效果也在既有预算下得到了保证。整个施工过程大概可以分为三个阶段：小房子在地面进行了主体钢结构搭建以及立面钢板的安装，然后吊装到磨机楼屋面，最后进行剩余部分的施工。头尾两个阶段是常规的，而房子被晃晃悠悠吊在空中的那短短一分钟里，物质感是丧失的，是无法定义的。这个反常的经验最终描述了整个房子最戏剧的表达：静静落在屋顶一隅，幕天席海，闻风话雨。
We successively prepared over a year for the construction, while it took only 3 months to complete. The actual process was smoother than expected, and the finishing quality was also ensured. The whole construction can be roughly divided into three stages: Structure assembly, lifting structure to the roof edge and detailing. The main structure and steel frame was built on the ground, and then lifted up onto the rooftop for further construction there. The first two phases were routine, but in the blink of an eye the house was dangling in the air and its sense of substance was lost in definition. This anomalous experience eventually put forward the most dramatic expression of the entire house; silently falling on the edge of the roof, against the sky and the sea, with wind and rain.
在古罗马的首都，人们为持续几个星期的戏剧和节日建造临时的木结构剧场，这些承载短暂情绪的框架，只存在于文字记载中，却逐步勾勒出了后续的砖石巨构。谷洪与Pierre Lescot设计了巴黎最古老的公共喷泉，而在当时只是为了迎接亨利二世到来，供人们临时聚集停留的装置。Kiosk落成后，我们也一直无法定义它的性质。过程中尝试拓展了边界，但我们从建筑学出发，也最终希望能够回到学科。
In the capital of ancient Rome, people built temporary wooden theaters for dramas and festivals that only lasted for weeks. These frames of short-lived emotions only existed in writing, but gradually outlined the subsequent masonry structures known to the world. Jean Goujon and Pierre Lescot designed the oldest public fountain in Paris, which was intended as a temporary installation for the gathering of crowds greeting the arrival of Henry II. We are still unable to define the Kiosk’s true nature, but in the process of expanding boundaries, we departed from architecture and finally hoped to return to its discipline.
然而，小房子无论是用图像还是视频，都很难真实还原和再现其场所感。摄影师朋友张超帮忙进行了多次拍摄，也赶上了深圳二十年一遇的大雪。记录是一个持久的过程：三分一宅最后是特别轻的一个状态，但当人们环顾它的周遭，又不可避免地感受到时间的厚重分量。我们很珍视这种感受。
However, it proves difficult to restore and reproduce its existence through media. Photographer, and our friend, Zhang Chao helped with multiple shooting sessions, and even caught the heaviest snowfall in 20 years. Documentation is a long-lasting process: 1/3 Kiosk is in a particularly light state towards the end, but when people look around, they inevitably feel the weight of time. We very much hold this contrast dear.
遗憾的是，项目开放短短几天后，屋顶平台就因为“安全考虑”封闭了，一直到那届深双结束都没能再次开放。我们原本希望它是个观看点，然而自始至终它的存在状态却是一个被观看的高点。当然，仍然有人因为它误入了磨机楼，虽止步于上到屋面的钢楼梯，我们的初衷也在某种程度上兑现了。
Unfortunately, just a few days after the project opened, the roof deck was closed due to “safety considerations”, and it did not re-open until the end of UABB. We had expected it to be a viewing point and destination, but instead remained an object of focus throughout it time. Of course, there are still people who strayed into the mill to check it out; stopping at the steel stairway access to the roof, and in a way our intention was fulfilled to some extent.
我们后来多次爬上屋顶去看它，每次心情都大不相同。2016年下旬去的时候，小房子面对的蛇口客运码头已经完工；当时如果知道会盖成现在的样子，应该会重新考量这次选址。后几年再去时，因为没有任何维护，小房子老化很快，白色立面上出现了涂鸦，略有心酸。而此时对面太子湾区域塔楼的飞速成长，小房子的视野也被遮挡。在无人陪伴的几年里，它独自见证了太子湾的崛起。转念来看，可能它更多承载的是太子湾方向不断升高的回看和凝视。这似乎是我们对深圳速度最真切直白的一次体验。但这之后，就再也没有萌生过去看它的念头了。
We later climbed up the roof many times to visit it, and the mood was very different every time. In late 2016, the Shekou Ferry Terminal facing the small house was completed. If we had known that it would be built as it is now, we would perhaps had reconsidered the choice of location. Due to lack of maintenance, the small house had quickly aged in the years that followed and graffiti appeared on the white facade, which was slightly sad. While the towers across Prince Bay area rapidly grew, the view of the small house was eventually blocked and the once unique vantage point of the kiosk was now no more than a memory. In the unaccompanied years, it alone witnessed the rise of Prince Bay, from the land filling of the water to the demolition of the industrial structured and finally to the erection of the glass towers. In retrospect, it may have received more gazes from outside. This seems to be our most straightforward experience of Shenzhen Speed. But after that, we never visited again.
在深圳的南端海角，小房子安然度过多次剧烈的台风天，然后在某一刻悄无声息地消失在了城市的天际线里。此时，旁边的8号仓库已经拆除，而磨机楼和筒仓屹立依然。面粉厂保留不拆的消息，给三分之一宅这次轻盈的停留，写下了一个善意的结尾，而我们对城市的具体记忆和身体创造，或许能够超越物质实体和地理边界，进入更广阔的想象空间。
At the southern tip of Shenzhen, the kiosk endured harsh heat, pouring seasonal rains and several tropical typhoons, and then suddenly and silently disappeared into the city’s skyline. At that time, the adjacent Warehouse 8 had been demolished, while the mill building and silos still stand. The recent news that the mill will not be dismantled writes a kind finale to the short stay of 1/3 Kiosk, and our physical memory and interaction with the city may reach beyond physicality and geography to be part of a collective memory.
设计团队：左龙、Alex Lara、王雪培、陈露冰、董苏，杜月，刘奇才，林仕成
