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在伊達(dá)斯建筑論壇位于柏林市中心的辦公室，克里斯汀、漢斯講述了他們和松陽(yáng)的故事。

和伊達(dá)斯關(guān)注過(guò)的世界上其他地方的建筑實(shí)踐相比，松陽(yáng)鄉(xiāng)村發(fā)展的獨(dú)特之處是什么？

最大區(qū)別是，它切實(shí)發(fā)生了。我們?cè)跉W洲和世界上其他地方討論被人們忽視的鄉(xiāng)村問(wèn)題，我們開(kāi)會(huì)、做展覽，但是中國(guó)在行動(dòng)，在向前推進(jìn)，不是在空談。我不知道建筑師徐甜甜和當(dāng)?shù)厝诉@種非常好的互動(dòng)，是如何建立起來(lái)的，重要的是他們找到彼此，彼此支持、彼此信任，共同推進(jìn)。

徐甜甜是切實(shí)關(guān)心這個(gè)地區(qū)，為這個(gè)地區(qū)考慮。有一些鄉(xiāng)村建設(shè)是“大動(dòng)作”，建工廠，松陽(yáng)實(shí)踐不是這樣，松陽(yáng)是“針灸式”的，在正確的地點(diǎn)、正確的時(shí)機(jī)，這樣做其實(shí)是更需要時(shí)間和付出。比如大木山茶坊，具體負(fù)責(zé)的當(dāng)?shù)嘏膶W(xué)習(xí)茶道的年輕人成長(zhǎng)為可以教茶道的老師。再比如在平田村的農(nóng)耕館，從傳統(tǒng)農(nóng)藝的展館到扎染坊、住宿、建筑、環(huán)境，所有這一切彼此適配，據(jù)我所知，這一點(diǎn)在國(guó)際上也是獨(dú)一無(wú)二的。

印象很深刻的是，村和村是彼此連接很好的社區(qū)。這個(gè)展覽上每一個(gè)具體的建筑項(xiàng)目，都不能和其他幾個(gè)分開(kāi)，不是說(shuō)“這一個(gè)”如何，而是如何通過(guò)當(dāng)代建筑改善推進(jìn)鄉(xiāng)村生活。建筑師非常用心地和當(dāng)?shù)卣⒋迕窈献?，也給我深刻的印象。他們彼此都非常清楚可以利用當(dāng)代建筑設(shè)計(jì)，來(lái)創(chuàng)造一種新的鄉(xiāng)村身份認(rèn)同，給當(dāng)?shù)厝艘环N價(jià)值感，建立起新的鄉(xiāng)村自信。除此之外，這些建筑還是非常有根基的基礎(chǔ)設(shè)施，這些設(shè)施不僅把村和村、村和縣連接，而且在村子內(nèi)部也是如此，兩個(gè)向度，一個(gè)是向內(nèi)把人連接在一起，一個(gè)是向外的連接。

高速鐵路、飛機(jī)、高速公路改變鄉(xiāng)村，互聯(lián)網(wǎng)的發(fā)展也推動(dòng)鄉(xiāng)村發(fā)展。我們?nèi)テ教锎?，看到年輕人利用互聯(lián)網(wǎng)把村子和這個(gè)世界，至少和中國(guó)其他地區(qū)連接在一起。對(duì)此我們并不驚訝，我們驚訝的是本來(lái)希望德國(guó)農(nóng)村也能這樣，但是德國(guó)沒(méi)有做到。德國(guó)、甚至整個(gè)歐洲都有這個(gè)問(wèn)題，我們忘記了不在城市生活的人。而要想在鄉(xiāng)村生活甚至創(chuàng)造新經(jīng)濟(jì)，不能沒(méi)有和城市的聯(lián)接。松陽(yáng)，在這方面是一個(gè)非常好的例子，我們都可以從中學(xué)到很多。

為什么舉辦這一展覽？

我們需要這種對(duì)話，“對(duì)話”是伊達(dá)斯一直以來(lái)的宗旨之一。鄉(xiāng)村問(wèn)題是全世界都在面臨的問(wèn)題。歐洲人有時(shí)是有一點(diǎn)傲慢的，他們知道正在發(fā)生什么，但是假裝沒(méi)看見(jiàn)。我們很重要的目標(biāo)是要讓他們了解世界上其他地方在做些什么，他們可以從中學(xué)習(xí)到很多。“松陽(yáng)故事”接下來(lái)還將會(huì)在今年的威尼斯雙年展及瑞士、奧地利等國(guó)展出，國(guó)際著名建筑師、學(xué)者也將到松陽(yáng)參加國(guó)際論壇，大家將一起討論、學(xué)習(xí)“松陽(yáng)故事”這個(gè)精準(zhǔn)的、了不起的實(shí)踐，這個(gè)實(shí)踐對(duì)整個(gè)世界都充滿啟發(fā)和借鑒意義。沒(méi)有真正的現(xiàn)實(shí)的榜樣，只有理論，討論很難真正深入。尤其在威尼斯雙年展上，很多人都在，我相信會(huì)有更多機(jī)構(gòu)續(xù)展，那將是“松陽(yáng)行動(dòng)”！

為什么給展覽取名“松陽(yáng)故事”？

這是我們這個(gè)很棒的團(tuán)隊(duì)共同想出的名字。當(dāng)你要探討一個(gè)話題的時(shí)候，以講述故事的方式進(jìn)行，有個(gè)人化的講述和感受，才能打動(dòng)人。這是一個(gè)故事，不是一個(gè)項(xiàng)目。而且故事有延展性，不會(huì)終結(jié)。我們想要講好這個(gè)故事，而且是在世界范圍內(nèi)講述。

是的，“松陽(yáng)故事”將在更廣闊的天地與不同文化背景的人見(jiàn)面、交流。“從事論壇工作38年，我從未見(jiàn)過(guò)如此令人激動(dòng)、如此面向未來(lái)的實(shí)踐。”克里斯汀語(yǔ)氣篤定，讓人感受到她對(duì)松陽(yáng)鄉(xiāng)村振興實(shí)踐的熱忱。

在中國(guó)廣袤的土地上，和松陽(yáng)一樣腳踩大地，摸索著從泥土里生長(zhǎng)出來(lái)的實(shí)踐之路還有很多——那都是未完待續(xù)的中國(guó)故事，是一個(gè)個(gè)普通中國(guó)人用雙手在大地上寫(xiě)下的樸素的精彩篇章——此時(shí)此刻，正等待我們?nèi)グl(fā)現(xiàn)，去閱讀，去傳播。

In the office of Aedes Architecture Forum in downtown Berlin， Ms. Kristin Feireiss and Mr. Hans-Jürgen Commerell talked with me about their appreciation of the Songyang Story. Hereinafter is a summary of the interview.

Xu Xin： What is so special about Songyang in comparison with other places in the world that Aedes has concerned itself with？

Kristin Feireiss： The biggest difference is that Songyang has happened. In Europe and other parts of the world， we have held conferences and exhibitions when we presented the overlooked rural issues. But China has taken action and has been pushing it forward. China does. There is no empty talk. I am not sure how architect Xu Tiantian set up such excellent interaction with local people， but what matters is that they have found each other， trusted and supported each other， and made progress. Xu Tiantian concerns herself with the region and puts her heart in the interest of the region. Some rural regions engage in big moves such as building a factory. Songyang does not do that. What Songyang does is something like architectural acupuncture： at the right time and the right opportunity. Such accurate solutions take much more time and dedication. As far as I know， the Songyang practice is unique， if examined in an international perspective.

Hans-Jürgen Commerell： I was deeply impressed that the villages in Songyang are well-connected communities. Individual cases at the exhibition are well connected. You cant separate one from the rest. A discussion of a case will naturally leads to a discussion about how modern architecture improves rural life. I was also deeply impressed with the architect who cooperated whole-heartedly with the local government and village residents. Together they knew the modern architectural design could create a new rural identification， render a value system， and establish a new confidence in the rural region. This is the primary factor that people stay in the village and the factor that attracts people to come back. Meanwhile， these buildings can boost the development of micro-economy. Moreover， these buildings are also fundamental infrastructure， which serves as a connection between villages and between villages and the county. Two dimensions： they connect people in rural communities and they connect to the outside world.

High-speed railways， airplanes and express highways change countryside and internet also drives rural growth. While we were in Pingtian Village， we saw young people connected the village with the world， at least with other regions of China. We were not surprised to see these things in China. We were surprised that Germany hasnt done the same. We hoped rural Germany could have done this. Germany and Europe have this problem. We forget those who are not living in cities. Living and creating a new economy in countryside needs connections with cities. Songyang is a very good model， from which we can learn a lot.

Xu Xin： Why hold this exhibition？

Kristin Feireiss： we need such a dialogue. Dialogue is one of the principles of Aedes since its inception. Rural issues are universal all over the world. Let me put it this way： Europeans are sometimes a little bit arrogant. They know whats happening but pretend they dont see it. It is our key task to allow Europeans to know what people are doing in other parts of the world so that Europeans can learn. “Songyang Story” is scheduled to continue at the national architecture museum in Switzerland， the national architecture museum in Austria. Xu Tiantian will be attending the Venice Biennale this year. People will discuss and study “Songyang Story”. It is an accurate and great practice and is enlightening and significant to the world. Theory contributes little to discussions. Examples in real life do. Many people will attend Venice Biennale and I believe Songyang Story will have more opportunities to be exhibited. That will be Songyang Action！

Xu Xin： Why did you name the exhibition Songyang Story？

Kristin Feireiss： we have a great team and this team chose the name. When you need to explore a topic， the best way to go is to tell a story. Only a human story can touch people. Songyang is a story. It is not a project. Moreover， a story goes on and does not come to an end. We wanted to tell this story well and tell it in the context of the world.

Yes， Songyang Story will meet people with different cultural backgrounds in a broader world and exchanges will take place. The first stop was Berlin. Then it will go to the Venice Biennale， the national architecture museum in Basel， Switzerland， and the national architecture museum in Vienna， Austria. Prominent international architects and scholars will also attend an international forum in Songyang. I have been at Aedes for 38 years， but I have never seen such an exciting and future-oriented practice！