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一望無際的草坡之上

星星點點散落著幾座簡約的白色蒙古包

與葳蕤樹木相互掩映

五邊形、六邊形、八邊形

各有各的新奇獨特

草原并非總是碧草連天

以草原環境的優劣為標準

分為杭蓋、草原、山區、戈壁等

“杭蓋”意為森林邊緣的優質牧場

在烏蘭毛都廣袤的大草原上，「飛蔦集·草原宿集」重新找回了與自然環境的直接聯系。當我們駐足于這片場地，環視四周時，由于草原的遼闊無垠，天穹的邊界線在遙遠的地平線上被連續不斷地勾勒出來，遠山、近處的樹林，乃至羊群，都隨著這邊界線的延伸而環繞、鋪展。

在這片蒼穹之下，萬物以觀者為中心，由近及遠層層遞進，直至那無限寬廣的天際。回想蒙古包的空間布局，其同樣體現了對場地的直觀感知。蒙古包內部以火撐為核心，家具與物件圍繞其層層分布；大型蒙古包可舉辦盛大宴會，小型蒙古包則適合2-3人居住。這種空間布局，無論大小，均呈現出一種向心的形式，或者說是一種符合層級嵌套的空間模型。「以小見大」，正是蒙古包對這片廣闊場地的獨特回應；它用有限的居住空間，映射出無限曠遠的場地空間形態。

In the vast grassland of Wulan Maudu, "Flying Niaoji · Grassland Suji" has rediscovered its direct connection with the natural environment. When we stop in this field and look around, because of the vast expanse of the grassland, the boundary line of the sky is continuously outlined on the distant horizon, and the distant mountains, the near woods, and even the sheep are surrounded and spread along this boundary line.

Under this sky, everything is centered on the viewer, progressing from near to far, until the infinite expanse of the sky. Recalling the spatial layout of the yurt, it also reflects the intuitive perception of the site. The interior of the yurt is centered on the fire support, around which furniture and objects are distributed layer by layer. Large yurts can hold grand parties, small yurts are suitable for 2-3 people to live. This spatial layout, no matter the size, presents a form of centripetal, or a spatial model that conforms to hierarchical nesting. "Seeing the big with the small" is the yurt's unique response to this vast site; It uses the limited living space to map the infinitely vast space form of the site.

一、烏蘭毛都 · 飛蔦集

RESIDENTIAL DESIGN

「飛蔦集·草原宿集」位于內蒙古烏蘭毛都草原，是STUDIO QI建筑事務所繼寧夏中衛「飛蔦集·黃河宿集」后的第二個項目。該項目在廣闊的自然環境中采用單體分散布局，包括15個客房、接待區、餐廳、泳池以及員工宿舍。在客房、公共區域和餐廳，以及各功能空間的組合中，我們嘗試了不同多邊形單體的形式與平面布局，以探討向心性形式演變的可能性及其彈性。其中五邊形、六邊形和八邊形是從圓形向心形式中剝離出來的，根據其不同的內部結構。這三種多邊形以客房為主要功能體，作為特定范型來討論向心空間形式的理型。

Located in Wulan Maudu Grassland, Inner Mongolia, "Flying Niaoshi · Grassland Hostel" is STUDIO QI's second project after "Flying Niaoshi · Huanghe Hostel" in Zhongwei, Ningxia. The project consists of 15 guest rooms, a reception area, a restaurant, a swimming pool and staff quarters in an expansive natural setting. In the combination of guest rooms, public areas and restaurants, as well as various functional Spaces, we experimented with the forms and layouts of different polygonal monomers to explore the possibility of the evolution of centripetal forms and their elasticity. The pentagons, hexagons, and octagons are separated from the circular centripetal form, according to their different internal structures. These three polygons take the guest room as the main function, as a specific paradigm to discuss the physical type of the centripetal space form.

“待四時之景”與界面的伸縮性“游牧人依水草而居，轉徙無常，故以穹廬為棲止。”此乃一段關于游牧生活的描述，其中“穹廬”即指蒙古包。游牧人會定期遷徙，在天氣晴好的日子里，他們會在蒙古包前搭建一個帳幕，隨后便可與友人一同坐在帳幕前欣賞眼前的風景；“待四時之景”則是一種持續一段時間的游牧旅居生活狀態。帳幕前的景色會隨著四季和地點的變化而改變，但蒙古包的內部空間卻始終如一；蒙古包是一個封閉且包裹的室內空間，而帳幕則是其與外部場地和景物相聯系的一種延伸。

"The scene of waiting for four hours" and the flexibility of the interface "nomads live by water and grass, migration is impermanent, so the roof is perched." This is a description of nomadic life, in which the "dome" refers to the yurt. Nomads migrate regularly. On fine days, they set up a tent in front of a yurt, where they can sit with their friends and enjoy the view. The "four hours of stay" is a nomadic state of life that lasts for a period of time. The view in front of the tent changes with the seasons and the location, but the inner space of the yurt remains the same; The yurt is an enclosed and wrapped interior space, while the tabernacle is an extension of its connection to the external site and scenery.

二、空間美學

RESIDENTIAL DESIGN

室內坐榻前，較淺的 2.5 維窗洞（淺空間）意味著青蔥草原向內的滲透，而 2.5 維門洞構成的入戶玄關與露臺則是通往戶外草原的無盡延伸。客人被一個淺空間引入室內的同時，視線又被另一個淺空間引向草原。視線在室內空間與充滿生機的草原間不斷切換。在一幕幕場景的交織中，客人漸漸模糊了自己是在客房沙發上躺臥，還是置身于微風輕拂的草原之上，這種似有若無的空間遐想將人帶往無盡的草原邊界。

In front of the bed, the shallow 2.5-dimensional window (shallow space) means the penetration of the green onion grassland, while the entrance porch and terrace formed by the 2.5-dimensional door are endless extensions to the outdoor grassland. While the guest is drawn into the interior by one shallow space, the view is directed to the grassland by another shallow space. The view switches between the interior space and the vibrant grassland. In the interweaving of scenes, guests gradually blur their own sofa in the guest room, or in the breeze on the prairie above, this seemingly empty space reverie takes people to the endless prairie boundaries.

針對內蒙古烏蘭毛都大草原的場地特征和地方傳統進行了挖掘與探索，重新審視遼闊草原與蒙古包之間的時空關系，并對多邊形形態的演變進行了持續實驗。新生的建筑形式既體現了對歷史在地性的回歸，又展現了當代草原居住生活的新面貌，使鄉村在延續的敘事中得以煥發生機。當玄關和坐榻區作為邊體與起居室相連時，起居室的視野邊界能夠借助邊體上的窗戶延伸到草原。當露臺的門開啟時，草坡上的微風隨之飄入室內，淡淡的草籽香又將端坐在沙發上的客人引向戶外。兩個臥室作為邊體與起居室分隔開來，形成相對獨立的兩個房間，使客人仿佛置身于一個尺度更小的包裹空間之中，無垠的草原仿佛被推至遠方。由八邊形單體形式構成的是一個正四邊形天井，其四個長面平行于八邊形。

According to the site characteristics and local traditions of Wulan Maudu Grassland in Inner Mongolia, the paper explores and reexamines the spatio-temporal relationship between the vast grassland and the yurt, and conducts continuous experiments on the evolution of polygon morphology. The new architectural form not only reflects the return of history to the place, but also shows the new look of contemporary grassland living life, so that the countryside can be revitalized in the continuation of the narrative. When the porch and seating area are connected to the living room as a side body, the view boundary of the living room can be extended to the grassland through the Windows on the side body. When the patio door is opened, the breeze from the grassy slope wafts into the room, and the faint scent of grass seeds draws the guests sitting on the sofa to the outdoors. The two bedrooms are separated from the living room as sides, forming two relatively independent rooms that allow guests to feel like they are in a smaller package space, and the vast grassland seems to be pushed into the distance. The octagonal monomer form is a regular quadrilateral patio with four long faces parallel to the octagon.

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