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Thanks LUO studio for authorizing the publication of the project on mooool, Text description provided by LUO studio.
罗宇杰工作室：继浙江龙游“瀫石光·艺术生态走廊”的“岩上亭”作品之后，再次受邀参与风语筑组织的城市策展项目“环两山建筑艺术计划”，在惠州218公里最美旅游公路上，选择苏东坡“人生赏心十六乐事”的一件乐事为主题，联合艺术家进行空间装置创作，并将咖啡茶饮等轻业态融入其间。前期随帮帮（环两山建筑艺术计划总策划）进行现场踏访后，我们分选到麻榨镇十三坝桥旁边的竹林作为项目位置。
LUO studio：Following the Sandstone Wood Pavilion designed for the “HU SHI GUANG · Art Eco Site” program in Longyou, Zhejiang, we were once again invited by Fengyuzhu—this time to engage in a regional-scale curatorial initiative—the “Nankunshan-Luofushan Rim Pioneer Zone (Huizhou) Architectural Art Project.” Drawing on Su Dongpo’s “Sixteen Delights of Life” as its curatorial framework, the initiative brings together architects and artists to create rural waystations and spatial installations along Huizhou’s 218-kilometer-long scenic tourism highway. Each participating team selected one of Dongpo’s sixteen delights as the theme, creating a spatial installation complemented by café and tea offerings. During early site visits with Bangbang, the initiative’s chief curator, a bamboo grove beside Shisanba Bridge in Mazha Town was chosen as our project site.
▽项目坐落于竹林之间 ©朱雨蒙
最初从照片中看到十三坝桥，并未产生强烈直观感受，而当亲临现场，从丛竹林穿行而入，十三个石坝墩沿河道展开、序列分明的阵势立刻显现：每两根坝墩之间，以榫卯式的镶嵌关系嵌入三根被岁月踏磨光滑的青石条板。站在桥侧，开始不断追问：当年的工匠为何采用这样的构造逻辑？这些尺度与形式背后对应的是怎样的材料条件与施工手段？又有多少行人在此往返，才将石板磨出如此温润的表面？
这些疑问提醒我们：如此靠近一种特有的在地路桥遗迹，应该要做什么样的动作？带着这些思考，需要在其附近做出何种恰当的空间回应，才能同时回应政府的需求、业主的需求？并让建筑师在价值与方法上更觉自洽？团队首先做的第一个工作并不是开展设计，而是踏访当地的造桥历史，以田野调查的方式追溯前工业时代的地方知识与造桥匠艺。
When we first saw Shisanba Bridge through photographs, it did not leave a particularly strong impression. Yet upon arriving on site and walking through the bamboo grove, the bridge revealed itself with striking clarity: thirteen stone piers unfold along the river in a precise and rhythmic sequence. Between each pair of piers, three gray stone slabs—worn smooth by decades of footsteps—are inserted through a mortise-and-tenon-like interlocking system. Standing by the bridge, we couldn’t help but wonder: why did the craftsmen adopt this structural logic? What materials and construction methods shaped these dimensions and forms? How many people must have crossed here, back and forth, to wear the stone into such a gently polished, tactile surface?
These questions led us to consider what kind of architectural response could be made in close proximity to such a distinctive piece of local bridge heritage. What intervention here would be appropriate—one that could meet the expectations of the government and the client, while allowing us, as architects, to remain true to our architectural values and methodology? Rather than beginning with design, our first step was to explore the local history of bridge building, tracing pre-industrial local knowledge and craftsmanship through field research.
▽设计让场地的活力再现 ©朱雨蒙
田野考证 Field Research
通过查找地方志与实地踏访，了解到惠州地区存在两类主要的民间造桥工艺。
Through archival research and on-site fieldwork, we identified two primary vernacular bridge types in Huizhou.
▽惠州古桥调研分布图 ©罗宇杰工作室
其一为坝桥，即十三坝桥这一类型：其坝墩座迎向上游呈梭尖形，首部微微翘起，形似水面挺出的鹅胸，因此当地亦称“鹅胸”桥。此类桥多出现于河道与堤岸高差不大的地段，桥身相对低矮，也常被理解为“矮桥”。在查找资料过程中，发现苏东坡主政惠州时为了便利大家而筹资、主持修建了一座“浮桥”，数十艘船呈一字阵列浮放于水面，在彼此相邻的船上架设桥面，据称也是“坝桥-鹅胸”的形态原型，此次风语筑策划了一条线索“东坡乐事”，须在一定方式上与苏东坡形成关联，从这个角度思考，在设计中充分考虑“坝桥”之空间形态，也就与苏东坡产生了强关联。
The first type is the baqiao, represented by Shisanba Bridge. These bridges feature upstream-facing piers shaped like tapered spindles, with slightly raised tips evoking a goose’s chest—hence the local name, “goose-chest bridges.” They are typically found where the height difference between river and embankment is small, resulting in relatively low bridge decks, which are sometimes referred to as “low bridges.” Historic records revealed that when Su Dongpo governed Huizhou, he raised funds and oversaw the construction of a “floating bridge” to facilitate local travel. Dozens of boats were lined up across the river, with planks laid between adjacent boats to form a continuous bridge deck. This is said to be an early morphological prototype of the “goose-chest bridge.” Since the project’s curatorial narrative is thematically linked to “Dongpo’s Delights,” drawing on the spatial logic of the “goose-chest bridge” became a meaningful way to connect the project with this historical reference.
▽惠东县梁化镇黄竹浪村桥 ©曹玉涛
▽惠州市博罗县麻陂镇坳头垅村高升桥©曹玉涛
▽龙门县麻榨镇河东村十三坝桥 ©罗宇杰
▽龙门县麻榨镇河东村十三坝桥 ©洪轮
其二为高桥，当地又称“板凳桥”。其常见的场地条件为：两端堤岸显著高于河道，且河道相对较窄。为跨越高差兼形成稳定受力，当地工匠雕凿出特别长、细的石柱（截面边长尺寸约为18公分），并使其如同“板凳”结构般“向下且向外撑开”，以获得更好的支撑与抗倾覆能力，由此得名。
The second type is the gaoqiao, locally known as the “bench-leg bridge.” This form typically appears where the embankments rise markedly above the water level and the river channel is relatively narrow. To bridge the height difference and ensure structural stability, local craftsmen carved exceptionally long and slender stone posts—each with a cross-section of roughly 18 centimeters—and arranged them to splay outward and downward like the legs of a bench, providing greater support and improved resistance to overturning. The name “bench-leg bridge” derives directly from this distinctive structural posture.
▽惠东县白花镇坦塘村黄沙塘高桥 ©洪轮
▽惠东县白花镇田屋村田屋桥 ©曹玉涛
▽惠东县白花镇坦塘村黄沙塘高桥&惠东县稔山镇涧背村永远桥（右1） ©洪轮
坝桥体系因河道宽窄变化而呈现出不同的坝墩数量。以十三坝桥所在大陂水河段为例，上下游及其分支可见八坝桥、五坝桥、四坝桥等多种数量形式：石板长度相对恒定，而跨越宽度变化，使“坝数”成为一种因地而生的构造结果。坝桥还常见于当地传统围屋入口。围屋外围往往设置水系，在入口处需架设过水小桥，常以坝桥制式完成。在调研围屋坝桥的过程中自然走访了多处围屋，并发现一类极具地方性的建造特征：围屋墙体上常出现葫芦形窗洞，以及半圆形、三角形等窗洞形式。这些并非刻意的装饰，而更像是“在地施工与生活经验”留下的可读痕迹，也成为后来设计参照的重要来源。
Within the baqiao system, the number of piers varies according to the width of the river. Along the Dabeishui River, where Shisanba Bridge is located, we found bridges with eight, five, or four piers along the upstream and downstream stretches of the river, as well as its tributary branches. The stone slabs used for the deck remain relatively constant in length, while the span changes—making the number of piers an adaptive, site-specific structural response.
Baqiao bridges are also commonly found at the entrances of traditional Hakka walled compounds. These local compounds are often surrounded by waterways, requiring a small bridge at the entrance, typically built in the baqiao style. During our field survey of these bridges, we visited several local walled compounds and discovered a distinctive local architectural feature: gourd-shaped window openings, as well as semicircular and triangular ones, carved into the walls. These were not deliberate decorations, but rather traces of local construction practices and everyday life—elements that later became important references in our design process.
▽广东省惠州市龙门县永汉镇鹤湖村 鹤湖围 窗洞 ©洪轮
在板凳桥的踏访中，我们更直接地感受到当地石作匠艺的成熟：细长石柱上仍能雕凿复杂卯口，纵横叠梁穿卯卡孔，构造简洁而清晰有力。与之相呼应的，是当地民居中普遍存在的精妙石窗、石框、石锁、石槛等细部。由此不难理解，能够建造出如此精巧的榫卯石桥，背后必然依托一套长期积累的石作体系与工匠知识。
对我们而言，这一阶段看似是在为设计寻找依据，实际也产生了一个重要的伴生结果：通过学习与记录，我们进一步理解了一系列独特的石作技艺如何在地方环境中被组织、被传承、并最终沉淀为可见的构造语言。
Our investigation of “bench-leg bridges” revealed even more directly the sophistication of local stone craftsmanship. Despite their slender proportions, the stone posts feature precisely carved mortise-and-tenon joints, with beams interlocked horizontally and vertically, demonstrating clear and robust structural logic. This corresponds closely with the refined stone details found throughout local dwellings—windows, frames, locks, thresholds. It became evident that such intricate mortise-and-tenon stone bridges found here could only have emerged from a long-established system of stone craftsmanship and accumulated artisan knowledge.
For us, this phase was not merely about gathering evidence to inform design decisions; it also yielded a key insight. Through observing and documenting these structures, we came to understand how a distinctive set of stoneworking techniques had been organized, transmitted, and ultimately crystallized into a visible construction language within the local environment.
▽坝桥建构分析 ©罗宇杰工作室
▽板凳桥建构分析 ©罗宇杰工作室
引出设计之目的 Design Vision
在逐一查找桥名与地点，并进行实地踏访的过程中，我们意识到惠州地区类似桥梁数量之多远超预期。它们曾是农耕时代最重要的生产与生活通行路径，却在城市化与交通系统更新之后逐步被边缘化。作为仍然无声矗立的民间基础设施，它们既值得被记录，也值得被言说。
因此，我们在十三坝桥端尾的丛竹林中为项目预设了一项明确功能：为惠州地区这些逐渐被遗忘的民间之桥建立一个小型博物馆——“古桥微馆”。展馆须具备两部分基本功能：“展厅空间”及其“辅助空间”，此次“环两山-东坡乐事”的策划中须将“茶、咖”以及“卫生间”等基本的功能植入进项目，这与“古桥微馆”的“辅助功能”是完全匹配的，从功能设置的被动性来说实现了运营之初的功能策划；从主动性上来说，这又非常贴合一个博物馆的基本辅助功能，可谓一举两得。
During our research—identifying these vernacular historic bridges by name and location, and conducting on-site visits—we realized that the number of such bridges across Huizhou far exceeded our expectations. Once essential pathways for daily life and agricultural production, many of them have gradually been marginalized amid urbanization and transportation upgrades. As silent yet enduring pieces of vernacular infrastructure, they deserve not only to be recorded, but also to be made visible again.
For this reason, we defined a clear design vision: to establish a micro-museum—dedicated to these gradually forgotten vernacular historic bridges in Huizhou. Situated within a bamboo grove beside Shisanba Bridge, the museum was conceived with two fundamental components: exhibition spaces and supporting facilities. As part of the “Nankunshan–Luofushan Rim Pioneer Zone (Huizhou) Architectural Art Project” and under the curatorial theme of “Dongpo’s Delights,” the micro-museum was required to incorporate basic amenities such as tea and coffee services and restrooms. These facilities fulfill the project’s operational requirements while simultaneously aligning with the auxiliary functions inherent to a micro-museum.
▽设计为这些逐渐被遗忘的民间之桥建立一个小型博物馆——“古桥微馆” ©朱雨蒙
我还邀请了广东地区的版画艺术家刘庆元老师，希望他带领团队，以我们调研到的分布于惠州各地的石桥为主题，进行艺术性的记录与创作，并以其作品作为“微馆”的展品。展览主题由刘老师拟名为“乡下的桥”，在此意义上，刘庆元老师与我也在一定程度上共同承担了策展的工作：以建筑搭建叙事的容器，以艺术呈现作为发声的媒介。
We also invited the Guangdong-based printmaking artist Liu Qingyuan to create a collection of artworks documenting the stone bridges we surveyed in Huizhou. His works became the primary exhibits of the micro-museum, under the theme he proposed—“Bridges of the Countryside.” In this sense, we jointly assumed a curatorial role: architecture forming the vessel for narrative, and art becoming the medium to give voice to these vernacular bridges.
▽以建筑搭建叙事的容器，以艺术呈现作为发声的媒介 ©朱雨蒙
设计的基本动作 Design Moves
古桥微馆在空间上需要达成几个目标：
第一，满足到访游客的基础服务需求，包括饮水、如厕与休憩。因此，小展馆内设置咖啡与饮品水吧，配置卫生间与洗手池，并组织室内外座椅系统。
第二，作为十三坝桥的邻近空间装置，它应当强化观桥体验。为此，我们在高程上营造一条较高的栈道，使人能够登高眺望坝桥与河道，从更宏观的视角理解坝桥的序列。
The design of the micro-museum responded to several spatial objectives.
First, to provide basic services for visitors—refreshments, restroom access, and resting areas. Accordingly, the micro-museum incorporates a café, restrooms, washbasins, and a system of indoor and outdoor seating.
Second, to enhance the experience of viewing the nearby historic Shisanba Bridge. An elevated walkway was introduced, inviting visitors to look out over the bridge and the river, thereby gaining a broader perspective and a more comprehensive understanding of the bridge’s sequential rhythm.
▽古桥微馆 ©朱雨蒙
第三，我们希望在坝桥旁不仅表达“坝桥-鹅胸-高桥”，也能同时提示当地“高桥（板凳桥）”的另一套造桥体系。1）有室内的建筑体-表意“鹅胸-坝桥”：以“坝墩—石板”之间极具榫卡感的关系为起意，将其抽象提炼为空间中的梭形混凝土体，榫卡其间的，则是一个木构架设的通道体。通道尽端设置座位，为观看十三坝全貌的最佳点，梭形混凝土体分为上下两层：底层设置卫生间与洗手池，服务不进入展厅仍需如厕的游客，并组织入口与部分展览，同时通过内部楼梯连接二层；二层设置展览与水吧台，为需要饮品与简食的游客提供服务，二层亦设置出入口，外部直接连接长栈道。2）无室内的构架建造-表意“板凳-高桥”：栈道依据“板凳桥”的建造制式，以钢筋混凝土浇筑方式营造“卯柱与榫梁”，柱与梁完全参照“板凳”桥的构造逻辑，空间截面呈细等腰梯形，获得更稳固的结构力学关系。
Third, to reinterpret two vernacular bridge systems—the baqiao (“goose-chest bridge”) and the gaoqiao (“bench-leg bridge”). The approach is twofold:
1. The architectural volume—evoking the baqiao typology
The building volume draws on the structural logic of the baqiao. Inspired by the interlocking relationship between the bridge’s stone piers and slabs, we created a spindle-shaped concrete volume representing the pier, penetrated by a timber-framed passage that symbolizes the bridge deck. Seating is placed at the end of the passage, offering the best vantage point for a sweeping view of the nearby Shisanba Bridge. The spindle-shaped concrete volume comprises two levels. The lower level accommodates a restroom and washbasins—serving visitors who may not enter the gallery—along with the entrance and part of the exhibition space, connected by an internal staircase to the upper level. The second floor houses the main gallery and a café offering drinks and light refreshments, with direct access to the elevated outdoor walkway.
2. The open-air structural system—reinterpreting the gaoqiao typology
The elevated walkway reinterprets the construction logic of the traditional gaoqiao. Cast in situ reinforced concrete, its posts and beams echo the mortise-and-tenon relationship characteristic of the vernacular bridge type. Its structural cross-section adopts a slender isosceles trapezoidal form, enhancing structural stability and mechanical performance.
▽古桥微馆 ©朱雨蒙
关于细节 Details
“板凳桥”栈道笔直绵长的设置，在丛竹闪透其间，这一长长的栈道，也是在呼应矮桥及高桥造桥的兼有的“一”字空间样态，使行走过程成为一种与桥体并置的观看方式。
The long elevated walkway threads lightly through the bamboo grove, echoing the linear spatial form shared by both the local baqiao (“goose-chest bridge”) and gaoqiao (“bench-leg bridge”). Walking along it immerses visitors in an engaging visual dialogue with the nearby historic bridge.
▽在丛竹闪透的栈道 ©朱雨蒙
栈道上铺设木板并刻意强化板缝间隙，这是对鹅胸桥与板凳桥共同特征的回应——两类桥的桥面石板均存在一定宽度的间隙，这一方面源于施工与使用的便利，另一方面也形成了有趣的视线与光线关系。
Timber planks are laid across the walkway deck with deliberately widened gaps, referencing the characteristic spacing between stone slabs on both the baqiao and gaoqiao. These gaps not only facilitate construction and everyday use, but also create a subtle play of light, shadow, and shifting sightlines.
▽栈道上铺设木板并刻意强化板缝间隙，这是对鹅胸桥与板凳桥共同特征的回应 ©朱雨蒙
在混凝土墙体上，我们营造了多种窗洞形式，来源于田野调研中围屋墙体常见的葫芦形、圆扇形、三角形等开洞类型。并且，我们将调研中从废弃房屋收集的一块葫芦形石块作为展品之一，置于一层展厅，作为“材料证据”与“地方痕迹”的直接呈现。
Varied geometric openings are carved into the concrete walls, inspired by the gourd-shaped, semicircular, and triangular apertures commonly seen in the walls of local Hakka compounds. A gourd-shaped stone block collected from an abandoned house during fieldwork is displayed in the ground-floor gallery, presented as a tangible trace of local craftsmanship and architectural memory.
▽混凝土墙体上的多种窗洞形式 ©朱雨蒙
▽细部设计 ©韩大王
浇筑板凳高桥式柱梁所使用的钢制模具，在工程结束后被改造成室外景观落水槽，使洗手池的水可顺着引架逐级排出；考虑到安装与耐久风险，现场多浇筑出的两根混凝土长梁则被置于临水区域，转化为一条长座凳，成为场地中的公共停留点。
The steel molds used to cast the reinforced-concrete posts and beams of the elevated walkway were repurposed after construction as outdoor drainage channels, directing water from the washbasins into a gentle, cascading descent. Two surplus cast-in-place concrete beams were placed along the waterfront and transformed into a long bench, creating a quiet place for pause and rest.
©朱雨蒙
在景观场地的设计与施工中，一直秉持尽可能保留现有场地内的丛竹林，一方面希望建造物尊重场地；另一方面也契合“东坡十六乐事”之“微雨‘竹’窗..”的主题，这也是总策划团队一开始为十三坝项目设定的要点之一。
Throughout the landscape design and construction process, we sought to preserve the existing bamboo grove as much as possible. This light-touch approach not only respects the site context but also aligns with the curatorial framework “Dongpo’s Delights,” particularly the poetic image of “bamboo by the window in drizzling rain,” identified from the outset as a key conceptual reference for the project.
©朱雨蒙
后记 Epilogue
我们处于一个空间、物质与信息高度冗余的时代。当“营造”再次发生时，真正需要被追问的也许是：我们究竟应该营造什么，又以何种方式营造。
以十三坝为例，大湾区的城市化发展快速且显著，但在这种蔓延的背后，也存在数量庞大、正在被忽视的农耕文明聚落：这里有优美的自然景色，也沉淀着值得理解、值得传承与被讲述的工匠技艺。我们希望借由这个小小的古桥微馆，为这些仍在场、却逐渐失语的民间桥梁提供一个被看见、被记录、被再理解的机会，也让到访者在行走与停留之间，获得并唤起一段与地方历史相连接的经验及记忆。
We live in an era saturated with space, material abundance, and information. When “construction” takes place today, perhaps the real questions are what we ought to build, and in what way?
This project offers a telling example. Amid the rapid urbanization of the Greater Bay Area, numerous rural settlements shaped by agrarian culture have been falling into neglect. These places hold not only beautiful landscapes, but also a wealth of craftsmanship worth understanding, preserving, and retelling. Through this modest micro-museum of ancient bridges, we hoped to give these still-present yet gradually overlooked vernacular bridges a chance to be seen, recorded, and reinterpreted. The project invites visitors, in moments of movement and pause, to evoke a sense of connection to the place and its history.
©朱雨蒙
▽设计模型 ©金伟琦
▽设计图纸 ©金伟琦
项目简名：惠州古桥微馆
项目全名：「环两山建筑艺术计划」东坡乐事·十三坝-惠州古桥微馆
建筑事务所：罗宇杰工作室
合作艺术家：刘庆元
项目地点：广东省惠州市龙门县麻榨镇十三坝桥
设计开始时间：2025 年 3 月
施工完成时间：2025 年 12 月
项目面积：73.55 平方米
建筑景观室内设计团队：罗宇杰、王蓓蕾、洪轮、曹玉涛、梁嘉惠
施工图团队：罗宇杰、张二刚、蒋俊杰、陈伟、洪轮、曹玉涛、梁嘉惠
艺术创作团队：刘庆元、宋祺、吴迪
建设单位：惠州市环两山投资开发有限公司
执行单位：上海风语筑文化科技股份有限公司
施工单位：上木造（北京）建筑科技有限公司
摄影：朱雨蒙、韩大王
Project name: Huizhou Vernacular Historic Bridges Micro-Museum
Architectural Practice: LUO studio
Collaborating Artist: Liu Qingyuan
Location: Shisanba Bridge, Mazha Town, Longmen County, Huizhou, Guangdong
Start time: March 2025
Completion time: December 2025
Area: 73.55 sqm
Architecture, landscape, and interior design: Luo Yujie, Wang Beilei, Hong Lun, Cao Yutao, Liang Jiahui
Construction drawings: Luo Yujie, Zhang Ergang, Jiang Junjie, Chen Wei, Hong Lun, Cao Yutao, Liang Jiahui
Art creation: Liu Qingyuan, Song Qi, Wu Di
Developer: Huizhou Huanliangshan Investment & Development Co., Ltd.
Project Organizer: Shanghai Fengyuzhu Culture Technology Co., Ltd.
Contractor: Shinewood Building Technology (Beijing) Co., Ltd.
Photography: Zhu Yumeng, Han Dawang
“ 以设计唤起一段与地方历史相连接的经验及记忆。”
审稿编辑 Maggie
更多 Read more about： 罗宇杰工作室
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