●? ?前期調(diào)研

Previous Research

大邱紡織業(yè)經(jīng)歷了很長的歷史，隨著現(xiàn)代紡織業(yè)的誕生，大邱實(shí)現(xiàn)了高速發(fā)展的狀態(tài)。

Daegu textile industry has experienced a long history, and with the birth of modern textile industry, Daegu started to develop at a high speed.

但紡織業(yè)的高速發(fā)展，卻帶來了很多問題，特別是在生態(tài)環(huán)境方面：過去許多紡織印染企業(yè)的環(huán)保意識不強(qiáng)，且生產(chǎn)廢水處理不到位，很多剩余污泥也沒有得到妥善的處理便直接傾倒，給環(huán)境造成了巨大的生態(tài)風(fēng)險(xiǎn)。

However, the rapid development of the textile industry brought about many problems, especially in the ecological environment: in the past, many textile companies had little awareness of environmental protection, and industrial wastewater was not treated properly, and sludge was dumped directly without proper treatment, causing a great ecological risk to the environment.?

因此，為了降低工業(yè)污染對生活的影響，直到20世紀(jì)末期，大邱紡織業(yè)逐漸走向衰落，紡織產(chǎn)業(yè)中心遷移，只有少量紡織工業(yè)留在大邱城市。隨著大邱產(chǎn)業(yè)的發(fā)展變遷，其物理城市空間也不斷擴(kuò)張。而留在中心城區(qū)的紡織、印染等工業(yè)大批外遷，隨之產(chǎn)生了郊區(qū)化、社會(huì)空間不平等等問題，各區(qū)人口不斷流失。

Therefore, in order to reduce the impact of industrial pollution on life, the center of Daegu's textile industry gradually moved until the end of the 20th century, and only a small amount of textile industry remained in Daegu city.?As Daegu's industries changed, its physical urban space expanded. The textile industry that remained in the city left in large numbers, resulting in various problems such as suburbanization and social space inequality, and the loss of population in each district.

總結(jié)來看，在過去，紡織業(yè)在大邱市的發(fā)展中起著至關(guān)重要的作用。而紡織產(chǎn)業(yè)帶來的污染問題和遷移，導(dǎo)致產(chǎn)業(yè)與城市分離，逐漸淡出人們的日常生活。那么，如何重拾工業(yè)記憶、融入日常生活，是未來城市發(fā)展需要重點(diǎn)考慮的問題。

To sum up, the textile industry played a vital role in the development of Daegu in the past. However, the pollution problems and migration brought about by the textile industry have led to the separation of the industry from the city and the gradual fading of the industry from people's daily lives. Then, how to regain the memory of industry and integrate it into daily life is a key consideration for the future development of the city.

目前，這種產(chǎn)業(yè)與城市分離的狀態(tài)，產(chǎn)生了很多負(fù)面的影響：由于紡織工業(yè)沒有產(chǎn)業(yè)升級，設(shè)施老化，難以保持或提高生產(chǎn)力，活力衰退，新建產(chǎn)業(yè)園持續(xù)低迷。這些建筑群不僅功能低下，而且不斷破壞城市景觀的美麗。

Currently, this state of separation of industry from the city has many negative effects: as the textile industry has no industrial upgrading, facilities are aging, it is difficult to maintain or improve productivity, vitality is declining, and new industrial parks continue to be depressed. These complexes are not only low-functioning, but they continue to destroy the beauty of the urban landscape.

產(chǎn)生負(fù)面影響的幾個(gè)主要因素是：工廠占地面積大、功能單一，無法與現(xiàn)代生活相匹配；工業(yè)污染及其處理影響日常生活；原有的文脈隨工廠遷移而斷層，逐漸遠(yuǎn)離日常生活。

Here we summarize several major factors that produce negative effects: the factories occupy a large area and have a single function that cannot match modern life; industrial pollution and its treatment affects daily life; and the original cultural lineage breaks down with the relocation of factories and gradually moves away from daily life.

所以，我們希望從大邱原始的工業(yè)文脈出發(fā)，在原來廠址的基礎(chǔ)上以原先的工業(yè)語言和空間秩序搭建起新的語言和空間秩序，讓工廠與生活相融合。

Therefore, we hope to build a new language and spatial order based on the original factory site from the original industrial culture of Daegu, so that the factory can be integrated with life.

●? ?選址與基地分析

Base Analysis

隨著城市的擴(kuò)張，工業(yè)逐漸遷移出中心城區(qū)，沿河流分布，形成一條工業(yè)帶。大邱的歷史文脈主要存在于中區(qū)和外圍部分，而在中區(qū)存在著文化斷層現(xiàn)象。近現(xiàn)代工業(yè)歷史文脈集中于老城區(qū)周邊，而城郊現(xiàn)代工業(yè)園區(qū)歷史文脈稀少。

With the expansion of the city, industries gradually moved out of the central city and were distributed along the river, forming an industrial belt.?However, Daegu's historical industrial heritage is mainly concentrated around the old city, while it is almost absent in modern industrial parks.

目前，大邱市已經(jīng)開始對沿河工業(yè)帶進(jìn)行產(chǎn)業(yè)再生和升級計(jì)劃。

Currently, Daegu City has started an industrial regeneration and upgrading plan for the industrial zone along the river.

我們基于《2025年大邱廣域市城市再生戰(zhàn)略計(jì)劃》，選取三處城市經(jīng)濟(jì)基礎(chǔ)型之一的老工業(yè)園區(qū)作為選址，進(jìn)行產(chǎn)業(yè)與城市結(jié)合新模式的嘗試。

We selected one of the three old industrial parks as our site based on the "Daegu Metropolitan City Urban Regeneration Strategic Plan 2025".

場地存在這三種問題：使用密度過低、缺乏生長性、使用功能單一。我們希望從生產(chǎn)和生活兩大功能體系入手，通過工業(yè)生產(chǎn)、歷史展示、休閑娛樂三區(qū)的功能結(jié)合，為原有的紡織工業(yè)找到新的發(fā)展方向，以期找到平衡生產(chǎn)、生活的產(chǎn)業(yè)模式范式。

The site has these three problems: low use density, lack of growth, and single use function.We hope to find a new direction for the original textile industry by combining the functions of three zones: industrial production, historical exhibition, and entertainment, with a view to finding a paradigm for an industrial model that balances production and life.

●???設(shè)計(jì)成果

Design Achievement

我們希望用設(shè)計(jì)討論一個(gè)工廠的多種可能——工廠森林。

We want to use design to discuss the many possibilities of a factory - a Factory Forest.

原有的廠房存在平鋪浪費(fèi)、生產(chǎn)效率低下等問題。

As mentioned before, the original factory building has problems such as flat waste?and low production efficiency.

我們希望打散不同功能屬性的空間，把他們混合重組，彌補(bǔ)各個(gè)功能空間之間的缺點(diǎn)，提升空間利用效率，并形成一個(gè)可生長的循環(huán)系統(tǒng)。

We hope to?break up the spaces with different functional attributes and then mix them to make up for the shortcomings of each functional space, improve the efficiency of space utilization, and become a growable circulation system. However, while the functions were diverse, the closely arranged links in the production line?were also separated.

但功能豐富的同時(shí)，生產(chǎn)線里緊密排列的環(huán)節(jié)也被分開了。我們研究了一下整個(gè)工藝流程。我們發(fā)現(xiàn)紡織流程的每個(gè)環(huán)節(jié)所需要的空間大致是一樣的面積，污水處理也是一樣，即每個(gè)生產(chǎn)環(huán)節(jié)可以被簡化為一個(gè)固定尺寸的最小單元。

However, while the functions are enriched, the closely arranged links in the production line are separated.?We studied the entire process flow. We found that the space required for each link of the textile process is roughly the same area, and so is the wastewater treatment, i.e. each production link can be reduced to a minimum unit of fixed size.

因此，我們希望通過產(chǎn)業(yè)上樓的形式，將整個(gè)生產(chǎn)流程中的環(huán)節(jié)以最小單元為單位縱向排列，使單位面積上的生產(chǎn)效率提高，也為功能空間的滲透組合創(chuàng)造了可能性。

Therefore, we hope to arrange the links in the whole production process vertically as the smallest unit through the form of industrial upstairs, so that the production efficiency per unit area can be increased, and also create the possibility for the permeable combination of functional space.

以下是我們的建筑生成思路：我們將工廠形態(tài)由平鋪改為垂直，在垂直的生產(chǎn)單元周圍附著公共空間，多個(gè)垂直生產(chǎn)單元排列形成“工廠森林”。

Here is our idea of building generation: we change the factory form from flat to vertical,?and attach public space around the vertical production units, and arrange multiple vertical production units to form a "factory forest".

我們將這個(gè)概念視為一種對未來城市邊緣工業(yè)園區(qū)的改造設(shè)想，“生產(chǎn)線的森林” 是城市產(chǎn)業(yè)升級過程中遺留的舊廠房在城市中的一種新形態(tài)，也是對舊有工業(yè)文脈的呼應(yīng)。

We see this concept as a vision for the transformation of the future industrial park at the edge of the city. The "forest of production lines" is a new form of the old factory buildings left behind in the process of urban industrial upgrading, and echoes the old industrial culture.

它的每個(gè)垂直單元都與舊廠房的結(jié)構(gòu)框架相當(dāng)，尺寸為10*10*9，該尺寸也是前文提到的最小工業(yè)單元的尺寸，相當(dāng)于我們按場地上的原廠房結(jié)構(gòu)尺度上建立這一新的垂直框架。

Each vertical unit of it is comparable to the structural frame of the old factory building, with the size of 10*10*9, which is also the size of the smallest industrial unit mentioned before, and we are building this new vertical frame on the scale of the original factory structure on the site.

下一步，我們希望將污水處理、生活綠化等功能置入空間，為這片新型工廠置入社會(huì)文化屬性。我們進(jìn)一步明確了前文提出的“滲透型”工業(yè)街區(qū)模式。這種空間模式具有可變性，這個(gè)未來的工業(yè)社區(qū)能夠以動(dòng)態(tài)平衡的方式維持一個(gè)理想的生產(chǎn)-生活-生態(tài)功能比例，根據(jù)不同的地形、使用需求等等因素，多種功能在場地上的不同區(qū)域聚集或分散，任何功能、任何高度的垂直單元都可以在統(tǒng)一的框架內(nèi)被搭建。

We also wanted to place the functions of sewage treatment and greenery into the space, and put social and cultural attributes into this new factory.We further clarify the " penetrating" industrial neighborhood model proposed in the above section. This spatial pattern is variable, and this future industrial community can maintain an ideal production-life-ecology function ratio in a dynamic and balanced way, depending on the topography, usage needs and other factors, multiple functions can be gathered or dispersed in different areas of?the site, and vertical units of any function and height can be built within a unified framework.

另一方面，這種空間形式具有生長可塑性。它與舊廠房共享同一個(gè)單元尺寸的框架，可以直接嵌入舊廠房并生長蔓延，逐漸代替原有的平鋪式的工業(yè)模式，最終完成更新迭代。

On the other hand, this spatial form has growth plasticity. It shares the same unit size frame with the old factory building, and can be directly embedded in the old factory building and grow and spread, gradually replacing the original flat industrial model and eventually completing the renewal iteration.

我們設(shè)定了生產(chǎn)、生活、生態(tài)以及交通四種功能模塊，并針對不同的地形和場所以及環(huán)境因素等三大類影響因素，制定了各個(gè)模塊彼此之間的連接規(guī)則，最終生成多種功能混合的算法結(jié)果，最后通過建立篩選機(jī)制，生成最適合于場地的模型。

We set up four functional modules: production, living, ecology and transportation, and developed rules to connect each module with each other for three types of influencing factors such as different topography, daylight conditions, and population distribution, etc. Finally, we generated the algorithm results of multiple functional mixes, and finally generated the most suitable model for the site by establishing a filtering mechanism.

以下是GH內(nèi)的電池組展示，我們可以根據(jù)設(shè)定的規(guī)則在不同種類的場地里生成隨機(jī)模型。

The following is a demonstration of the battery within GH, where we can generate?random models in different kinds of sites according to the set rules.?

這種生長可塑性的工業(yè)模式，可以隨著工廠的發(fā)展逐漸覆蓋沿河的工業(yè)帶，讓生產(chǎn)和生活、生態(tài)相融合。

This kind of growth plasticity industrial model can gradually cover the industrial zone along the river with the development of the factory.

我們以下面這個(gè)地塊為例進(jìn)行基地分析。場地內(nèi)要素較多，西側(cè)有污水處理，北側(cè)有河流和綠地空間，且有一條道路連通至河對岸。我們根據(jù)地形和周邊功能進(jìn)行大致的功能分區(qū)。每個(gè)功能區(qū)域都以一種功能單元為主導(dǎo)，其余功能單元滲透其中并且逐漸擴(kuò)散，最終填滿場地。

There are many elements in the site, with sewage treatment on the west side, a river and green space on the north side, and a road connecting to the other side of the river. We made a general functional zoning based on the topography and surrounding functions. Each functional area is dominated by one type of functional unit, and the rest of the functional units penetrate and gradually spread out, eventually filling the site.

我們?nèi)匀灰裕保埃保? 9為基本的垂直單元尺寸，九個(gè)垂直單元塊為一組，成形成了五種不同的功能空間和組合模式。為了應(yīng)對不同工業(yè)園區(qū)的場地情況，我們設(shè)想了這五種單元針對五種不同地形的組裝模式，它們能夠在場地上排列組合出高低起伏的“工廠森林”。

We still use 10*10*9 as the basic vertical unit size, and every nine vertical units are grouped together to form five different functional spaces and combination patterns.In order to cope with different site conditions, we envisioned these five units assembled in five different terrain patterns, which can be arranged on the site to create a "factory forest" of different heights.

下面我將分別介紹生產(chǎn)、生活、生態(tài)單元在這個(gè)框架內(nèi)的運(yùn)行模式。

I will introduce the production, living and ecological units within this framework.

?生產(chǎn)單元?

Production Unit

我們將明確建筑內(nèi)的生產(chǎn)循環(huán)流程，即紡織原料進(jìn)入這片工廠森林后將如何經(jīng)歷每一個(gè)加工環(huán)節(jié)，垂直單元內(nèi)部將會(huì)有怎樣的交通運(yùn)輸。

We will define the production cycle in the building, i.e. how the textile material will go through each processing stage after entering this factory forest, and how the transportation will be inside the vertical unit.

我們通過文獻(xiàn)研究確定了生產(chǎn)各個(gè)環(huán)節(jié)的面積大小，將生產(chǎn)流程和周邊附屬功能空間，進(jìn)行豎向的重新組織，形成新的生產(chǎn)流程環(huán)節(jié)，讓原有的工業(yè)流線從二維轉(zhuǎn)向三維。

After determining the area size of each production link, we organize the production process and the surrounding subsidiary functional space vertically, so that the original industrial flow line is shifted from two-dimensional to three-dimensional.

這種生產(chǎn)模式也為不同規(guī)模的生產(chǎn)活動(dòng)運(yùn)作提供了可能：垂直生產(chǎn)單元通過不同的整合或組合，為微小企業(yè)、手工作坊以及成熟企業(yè)都提供了對應(yīng)的生產(chǎn)線規(guī)模與配套辦公空間。

This production model also offers the possibility to operate production activities at different scales: vertical production units are integrated or combined in different ways to provide the corresponding production line scale and supporting office space for micro-enterprises, handicrafts as well as established companies.

這是工業(yè)生產(chǎn)的整個(gè)交通運(yùn)輸流線。通過附加塔吊設(shè)施的頂部桁架從頂層輸送生產(chǎn)原料至垂直車間，經(jīng)過加工后將成品在底層匯總運(yùn)輸。相比之下，人的活動(dòng)路線在中間層可以靈活穿梭，最終，生產(chǎn)單元通過自由組合與運(yùn)輸流線組織成為垂直工廠的運(yùn)行基礎(chǔ)，附加的生態(tài)單元為車間廢水提供初步過濾和環(huán)境綠化，而附加的生活單元提供了車間工作人員進(jìn)行辦公會(huì)議的空間。

This is the entire transportation flow of the industrial production. The top trusses with additional tower crane facilities transport production materials from the top floor to the vertical shop, and after being processed, the finished products are aggregated and transported on the bottom floor.In contrast, the route of human activity is flexible in the middle level.?Ultimately, the production units become the basis for the operation of the vertical plant through the free combination and organization of the transport flow, the additional ecological unit provides initial filtration of the factory wastewater and environmental greening, and the additional living unit provides space for office meetings of the factory staff.

?生活單元?

Living Unit

其次是生活單元的運(yùn)行模式。對于生活部分，以商業(yè)、展示、研發(fā)等輔助工業(yè)生產(chǎn)的功能為主，協(xié)助工業(yè)生產(chǎn)形成完善的產(chǎn)業(yè)鏈。

Next is the operation mode of the living unit.?For the living part, the functions of commercial, exhibition, R&D and other auxiliary industrial production are mainly used to assist industrial production to form a perfect industrial chain.

空間形式上，生活單元大部分與舊廠房連接緊密，通過擠壓、分離、傾斜等操作手段，產(chǎn)生新的建筑語言形式，為生活單元的空間提供了更多的可能。

In terms of spatial form, most of the living units are closely connected with the old factory buildings, and through such operational means as extrusion, separation and inclination, new forms of architectural language are produced, providing more vitality and a sense of industrial culture to the space of the living units.

?生態(tài)單元?

Eco-Unit

對于生態(tài)單元，考慮到上面提到的大邱的工業(yè)污染，我們把大邱的綠色系統(tǒng)放到生態(tài)單元中，選擇大邱常見的或?qū)徔椢廴緝艋泻锰幍闹参?，讓它們對生產(chǎn)單元產(chǎn)生的污水污泥進(jìn)行凈化，并把它們錯(cuò)落有致地放在場地中，使工廠具有小森林的生態(tài)模式。

For the eco-unit, considering the industrial pollution in Daegu mentioned above, we put?the green system of Daegu into the eco-unit by selecting plants that are common in Daegu or are good for textile pollution purification, so that they can purify the sewage sludge produced by the production unit and place them in the site in a staggered manner, so that the plant will have the ecological pattern of a small forest.?

紡織業(yè)最初的革命來自于珍妮機(jī)，它把原來的水平錠變成了直立錠，在我們最瘋狂的夢想中，紡織廠的生產(chǎn)線可以成為一個(gè)垂直的森林，創(chuàng)造一個(gè)新的工廠模式，并與城市范式相結(jié)合，這是我們對未來的一個(gè)美好目標(biāo)。

The?original revolution in the textile industry came from the Jenny machine, which turned the original horizontal spindle into an upright one, and in our wildest dreams, the textile factory line could become a vertical forest, creating a new factory model and combining it with the urban paradigm, a wonderful goal in our fantasy future.

●? ?前期調(diào)研

Previous Research

我正在從歷史和文化方面探索產(chǎn)業(yè)是如何與人們的生活相結(jié)合的。

I am exploring how industry is integrated with people's lives from the historical and cultural aspects.

首先，我對大邱紡織業(yè)的歷史進(jìn)行了梳理和研究。大邱的現(xiàn)代紡織業(yè)始于日本殖民時(shí)期。隨著城墻的拆除和傳統(tǒng)城市空間的解構(gòu)，該產(chǎn)業(yè)定義了這座城市。20世紀(jì)80年代以后，隨著城市規(guī)模的擴(kuò)大和新的城市需求，產(chǎn)業(yè)與城市分離，紡織工廠相繼外遷，紡織業(yè)逐漸淡出中心城區(qū)和人們的日常生活。

Firstly, I combed and studied the history of Daegu's textile industry.?The modern textile industry in Daegu began during the Japanese colonial period. With the demolition of city walls and the deconstruction of traditional urban space, the industry has defined the city. After the 1980s, with the expansion of urban scale and new urban demands, industries and cities were separated, textile factories moved out one after another, and the textile context gradually faded from the central urban area and people's daily life.

在此基礎(chǔ)上，我對大邱的工業(yè)背景、工廠形態(tài)、生產(chǎn)活動(dòng)、生產(chǎn)設(shè)備的演變發(fā)展進(jìn)行了研究和整理。并對這些支離破碎的歷史節(jié)點(diǎn)和空間碎片進(jìn)行重組，提取原型。

Then I researched and organized the evolutionary development of Daegu's industrial background, plant forms, production activities and production equipment in relation to this timeline. And these fragmented historical nodes and spatial fragments are reorganized and prototypes are extracted.

●???設(shè)計(jì)成果

Design Achievement

基于城市層面的分析和上述研究，我提出了一種名為"城市游戲"的設(shè)計(jì)策略。

Based on the city-level analysis and the above research, I propose a design strategy called City Game.

大邱已經(jīng)失去了它的紡織文化和工廠歷史，它的城市文脈已經(jīng)被消費(fèi)和現(xiàn)代化所擠壓。本設(shè)計(jì)希望通過城市游戲和建筑敘事喚醒這段沉默的歷史。

Daegu has lost its textile culture and factory history, and its urban context has been squeezed out by consumption and modernization. This design hopes to awaken this silent history by means of urban games and architectural narratives.

以城市中殘存的印染廠廢墟為背景，想象時(shí)間、自然和工業(yè)如何將這里變成一片廢墟叢林，隱藏著紡織記憶和工廠遺跡，并為游客增加一條游戲路線。根據(jù)大邱紡織業(yè)的歷史，設(shè)置了"舊城"、"起點(diǎn)"、"工廠"、"慶典"、"機(jī)器"、"廢墟"、"迷宮"、"新生"等一系列游戲關(guān)卡。

Set in the ruins of the printing and dyeing factories that remain in the city, imagine how time, nature and industry have turned this place into a jungle of ruins that hides textile memories and factory remains, and add a game route for visitors. A series of game levels including "Old City", "Beginning", "Factory", "Festival", "Machine", "Ruins", "Labyrinth" and "New Life" are set according to the history of Daegu textile industry.

我把反映印染廠歷史和大邱紡織工業(yè)變遷歷史的敘事路線作為廢墟探險(xiǎn)的游戲路線，把工廠內(nèi)剩余的界面和走廊作為游戲路線的引導(dǎo)，把象征工廠歷史和生產(chǎn)過程的符號連接起來。

I used a narrative route reflecting the history of the printing and dyeing factory and the history of the changes in the Daegu textile industry as the game route for the ruin adventure, and used the remaining interfaces and corridors in the factory as a guide for the game route, linking the symbols that symbolize the history of the factory and the production process.

接下來是各個(gè)游戲關(guān)卡的介紹。

Next is the introduction of each game level.

?場景1：老城?

Eco-Scene 1: Old City

在工業(yè)塔的吸引下，玩家進(jìn)入廢墟公園。廢墟公園的入口是一片森林。在穿越森林的過程中，玩家會(huì)聯(lián)想到20世紀(jì)50年代以前，大邱古城墻內(nèi)傳統(tǒng)的植桑養(yǎng)蠶的手工編織時(shí)代。

Attracted by the industrial tower, players enter the ruined park. The entrance to the ruined park is a forest. In the process of walking through the forest, players think of the traditional hand-woven era of mulberry planting and silkworm rearing in the walled old town of Daegu before 1950s.

?場景2：開始?

Scene 2: Beginning

穿過樹木和破舊的建筑，玩家們來到一條穿過屋頂和墻壁的長廊。走廊和建筑的沖突象征著日本殖民時(shí)期大邱開始紡織業(yè)現(xiàn)代化時(shí)拆除墻壁和建造火車站。

Through trees and dilapidated buildings, the players make their way to a long corridor that cuts through roofs and walls. The clash of corridors and structures symbolized the demolition of walls and the construction of railway stations during the Japanese colonial period, when Daegu began to modernize its textile industry.

?場景3：工廠?

Scene 3: Factory

連接走廊的盡頭通向下一個(gè)建筑，這是一個(gè)圓桶形的高聳紀(jì)念碑式建筑，光線通過天窗灑向底部的染缸，布料在空間中流動(dòng)。

The end of the connecting corridor leads to the next building, a barrel-shaped, towering monumental structure with light streaming through skylights onto the dye vats at the bottom and the fabric transferred through the space.

游戲者不禁聯(lián)想到20世紀(jì)60年代該行業(yè)定義城市時(shí)如火如荼的生產(chǎn)和染色場景。

The gamer can't help but think of the production and dyeing scene in full swing when the industry defined the city in the 1960s.

?場景4：節(jié)日?

Scene 4: Festival

游戲者走出工廠，沿著宿舍外的垂直操場和連接走廊，來到漂浮在屋頂上的網(wǎng)架平臺，發(fā)現(xiàn)這里有一個(gè)露天展覽廣場。

The gamer walks out of the factory, along the vertical playground and connecting corridor outside the boarding house, to the net frame platform floating on the roof, where he finds an open-air exhibition square.

20世紀(jì)60年代，大邱的經(jīng)濟(jì)在紡織業(yè)的帶動(dòng)下飛速發(fā)展，人們的生活與紡織業(yè)密不可分。

1960s period, Daegu's economy soared under the impetus of the textile industry, and people's lives were inseparable from textiles.

?場景5：機(jī)器?

Scene 5: Machines

沿著連接走廊走下屋頂，游戲者進(jìn)入了一個(gè)封閉的工廠，這個(gè)空間里充滿了各種工業(yè)機(jī)器。無意間走進(jìn)機(jī)器，他驚訝地發(fā)現(xiàn)，在冰冷的機(jī)械外表下，一個(gè)柔軟舒適的生活空間被囚禁在里面。

Walking down the roof along the connecting corridor, the gamer enters a closed factory, a space filled with various industrial machines. Walking into the machine unintentionally, he is surprised to find a soft and cozy living space imprisoned inside under the cold mechanical exterior.

這臺機(jī)器象征著20世紀(jì)70年代大邱紡織工業(yè)的解體，紡織機(jī)器被出租給家庭作坊，人們的生活被工業(yè)所禁錮。

The machine symbolizes the disintegration of Daegu's textile industry in the 1970s, when textile machines were rented out to family workshops and people's lives were confined by industry.

?場景6：廢墟?

Scene 6: Ruins

游戲者再次沿著空無一人的走廊走到疊加在廠房廢墟之上的新建筑。通過新舊建筑的疊加，暗示了20世紀(jì)80年代后，工業(yè)與城市分離，紡織廠外遷，在原有廠房的基礎(chǔ)上新建了居民樓，工業(yè)從人們的生活中走了出來。

The gamer again walks up the empty corridor to the new building superimposed on top of the ruins of the factory building. Through the superposition of the old and new buildings, it is implied that after 1980s, the industry and the city separated, the textile factories moved out, new residential buildings were built on the basis of the original factory buildings, and the industry came out of people's lives.

?場景7：迷宮?

Scene 7: Labyrinth

游戲者來到一座支離破碎的建筑前，殘存的水泥柱和斷壁殘?jiān)M成了一座迷宮，看著遠(yuǎn)處出現(xiàn)的高塔，廢墟中時(shí)隱時(shí)現(xiàn)的走道喪尸，卻找不到出路。從上世紀(jì)90年代的迷茫探索階段開始，大邱已從時(shí)尚產(chǎn)業(yè)、高科技纖維技術(shù)等方面尋求紡織產(chǎn)業(yè)轉(zhuǎn)型。

The gamer comes to a fragmented building, the remaining concrete pillars and broken walls form a maze, looking at the tower that appears from afar, and the runway walkers that appear and disappear in the ruins, but he cannot find a way out. From the confusing exploration stage in the 1990s, Daegu has sought to transform the textile industry from the fashion industry, high-tech fiber technology and other aspects.

?場景8：新生活?

Scene 8: New Life

穿過廢墟叢林，游戲者終于走出迷宮，看到象征起源的工業(yè)高塔從河邊拔地而起，那一刻，游戲者熱淚盈眶，仿佛見證了城市的重生。垂直生產(chǎn)模式單元被作為整個(gè)序列的高潮，象征著未來工業(yè)與生活結(jié)合的新方式，工業(yè)重新進(jìn)入城市和人們的生活。

Through the jungle of ruins, the gamer finally comes out of the labyrinth and sees the tall tower of industry rising from the river symbolizing its origin, a moment that brings tears to his eyes, as if witnessing the rebirth of the city. The vertical production mode unit is used as the climax of the sequence, symbolizing the new way of combining industry and life in the future, with industry re-entering the city and people's lives.

●? ?前期調(diào)研

Previous Research

大邱市有著源遠(yuǎn)流長的紡織歷史，最早可以追溯至公元前2千年，延續(xù)至今大邱的紡織業(yè)成為其最具文化特征和文化內(nèi)涵的產(chǎn)業(yè)之一。

Daegu has a long history of textile, which can be traced back to the 2 millennium BC. The textile industry in Daegu has become one of the industries with the most cultural characteristics and cultural connotation.

并紗在棉紡織工業(yè)中對紗線質(zhì)量和品質(zhì)有著決定性的作用，并紗作為加捻的前道工序，并紗機(jī)的效率和工藝決定了后續(xù)倍捻的速度和質(zhì)量，均勻的紗線張力、較高的卷繞密度和良好的卷繞成形方式和是的高質(zhì)量卷裝的關(guān)鍵。

As the previous process of twisting, parallel yarn and yarn machine efficiency and technology determine the speed and quality of subsequent double twisting, uniform yarn tension, high winding density and good winding forming mode and is the key to high quality winding.

彈簧張力夾通過改變摩擦盤的貼合壓緊程度，實(shí)現(xiàn)增大或者減小夾片的摩擦力。如需要增大張力時(shí)，通過彈簧對摩擦盤施加更大的壓力，進(jìn)而增大張力值。門式張力夾主要通過墊片或者調(diào)整閉合程度保證紗線張力穩(wěn)定，但是當(dāng)并線機(jī)速變化較大時(shí)，紗線并合張力波動(dòng)較大，引起紗線毛羽量以及斷頭率增加。

The spring tension clamp increases or decreases the friction force of the clamp by changing the degree of fitting and pressing of the friction disc. If you need to increase the tension, through the spring to apply more pressure on the friction disc, and then increase the tension value.

考慮到整個(gè)系統(tǒng)的轉(zhuǎn)軸、它們相互之間的傳動(dòng)方式、對位關(guān)系，將之轉(zhuǎn)化為建筑構(gòu)圖。

Considering the rotating shaft of the whole system, the transmission mode between them and the counterpoint relationship, it is converted into a section from the longitudinal.

韓國洗浴文化歷史悠久，可以追溯到公元前37年的新羅王朝。在韓國古代，公共浴池是人們重要的社交場所，在那里，人們不僅可以洗澡，還可以洽談業(yè)務(wù)、疏導(dǎo)情緒、緩解壓力。此外，它也是一個(gè)重要的醫(yī)療場所，人們在這里可以接受藥浴和按摩等治療。

Korean bathing culture has a long history dating back to the Silla Dynasty in 37 BC. In ancient Korea, public baths were important social places where people could not only bathe, but also negotiate business, channel emotions and relieve stress. In addition, it was an important place for medical treatment, where people could receive medical baths and massages.

韓國是一個(gè)擁有悠久佛教歷史的國家，佛教在這里已經(jīng)有1500多年的歷史; 世界各地的信徒在韓國寺院進(jìn)行行住坐臥、修行和禪修等活動(dòng)。

South Korea is a country with a long history of Buddhism, which has been practiced here for more than 1,500 years. Followers from all over the world perform activities such as walking, sitting, lying down, practicing and meditating in Korean temples.

我們從紡織工人的生存狀況入手，了解到他們?nèi)粘９ぷ魃畹姆敝睾蛦握{(diào)、娛樂途徑的匱乏、心靈的疲憊。由于韓國洗浴文化盛行，泡澡的同時(shí)和同事們聊天下棋是紡織工人們最大的消遣方式。但是，他們洗浴和桑拿的場所卻衛(wèi)生條件差、陰暗、簡陋。

Starting from the living conditions of textile workers, we can understand their heavy and monotonous daily work, lack of entertainment, mental exhaustion and monotonous daily life scenes. Because of South Korea's bathing culture, chatting with colleagues while taking a bath is a popular pastime for textile workers. But the places where they take baths and saunas are kind of unsanitary, dark and crude.

本設(shè)計(jì)意在關(guān)注紡織工業(yè)區(qū)工人的生理和心理需求，創(chuàng)設(shè)一個(gè)體驗(yàn)感豐富的洗浴空間，令紡織工人在疲憊、單調(diào)、重復(fù)的工作之余可以獲得休閑。

This design aims to pay attention to the physiological and psychological needs of textile workers and create a bathing space with rich experience, so that textile workers can get leisure after tired, monotonous and repetitive work.

在此之外，更進(jìn)一步，試圖為紡織工人提供一個(gè)心靈放空的冥想空間，以達(dá)到一種內(nèi)心的平和與安定。并結(jié)合工廠的工業(yè)景觀，創(chuàng)設(shè)一種機(jī)械于外，混凝土于內(nèi)的禪宗美學(xué)。

Further, trying to provide textile workers with a mind free meditation space. To achieve a kind of inner peace and stability.Combined with the industrial landscape of the factory, it creates a Zen aesthetic with machinery outside and concrete inside.

●???設(shè)計(jì)成果

Design Achievement

建筑坐落于工業(yè)區(qū)內(nèi)部，印染池旁的空間。主體分兩部分構(gòu)成：分別是織物層和結(jié)構(gòu)部分。人在浴場之中沐浴由織物形成遮蔽關(guān)系，與紡織歷史文脈呼應(yīng)。

The building is located in the interior of the industrial area, the space next to the printing pool. The main body is composed of two parts: fabric layer and structure. People bathing in the bath formed a shielding relationship by the fabric, which echoes the historical context of textile.

而這層關(guān)系與人的身體和織物之間的關(guān)系類似，暗喻人在建筑之中脫掉日常生活中代表身份和品味的紡織物以后，在混凝土的浴場之中，心無掛礙地將思想放空。

This relationship is similar to the relationship between the human body and the fabric, implying that after people remove the clothes that represents identity and taste in daily life in the building, they can empty their minds without any obstacles in the concrete bath.

基于這一理念生成了模型。在模型內(nèi)部空間的變化和冥想氛圍的營造成為了重點(diǎn)。

Based on this concept, a model has been generated. The focus is on the changes in the interior space and the creation of a meditative atmosphere.

?

一層經(jīng)過一系列的入口序列（入口廣場、步道）可達(dá)服務(wù)臺。

The first floor can reach the service desk through a series of entrance sequences (entrance plaza, walking path).

首層主要包含：冥想沐浴、旋轉(zhuǎn)浴場、觀景沐浴三類空間；二層空間主要是療愈浴場；三層為私人浴場和觀景臺。

The first floor mainly contains three types of Spaces: meditation bath, rotating bath and viewing bath. The second floor is mainly a healing bath. The third floor has a private bath and observation deck.

?沐浴?

Bathing

韓國的沐浴文化源遠(yuǎn)流長。無論是傳統(tǒng)的公共浴場還是現(xiàn)代的高端溫泉酒店都有不同的入浴體驗(yàn)。下面介紹幾種韓國浴：

South Korea has a long history of bathing culture. Both traditional public baths and modern high-end hot spring hotels have different bathing experiences. The following is the introduction of several kinds of Korean bath:

韓國蒸汽浴：值得一提的是，在傳統(tǒng)的韓式汗蒸房里，人們可以享受深層清潔和排毒的樂趣。韓式蒸汽浴是將鍋爐加熱后的水倒入房間地板下的通道中的沙石中，在蒸汽的作用下，沙石中的水分被蒸發(fā)掉，從而達(dá)到排毒的目的。

Korean steam bath: It is worth mentioning that people can enjoy deep cleansing and detoxification in traditional Korean sweat steam rooms. In a Korean steam bath, heated water from a boiler is poured into the sand and rocks in a tunnel under the floor of a room.

按摩浴：按摩浴在韓國非常流行。由于快節(jié)奏的生活方式，很多顧客在疲勞之后會(huì)選擇來按摩浴池進(jìn)行全身按摩和治療，以緩解壓力和滲透壓垢。

Massage baths: Massage baths are very popular in Korea. Due to the fast-paced lifestyle, many customers choose to come to the massage bath after experiencing fatigue to get a full body massage and treatment to relieve stress and permeate the pressure scale.

藥浴：韓式藥浴通常使用肉桂、干姜和草藥等芳香物質(zhì)的混合物。這些草藥具有促進(jìn)身體血液循環(huán)、緩解疲勞和滋潤皮膚的功效。在草藥浴中，人們可以感受到體溫的升高，從而促進(jìn)人體新陳代謝，舒緩身體。

Herbal baths: Korean herbal baths are usually infused with a mixture of aromatic substances such as cinnamon, dried ginger and herbs. Because of their properties, these herbs can stimulate blood circulation in the body, relieve fatigue and moisturize the skin. In herbal baths, people can feel the increase in body temperature, thus boosting human metabolism and soothing the body.

鹽浴：韓式鹽浴的最大優(yōu)點(diǎn)是可以滋潤皮膚。在鹽浴中，可以感受到棕色糖塊的顏色，以及濃濃的天然鹽味，鹽味可以深入皮膚內(nèi)層，加快新陳代謝，從而舒緩紅腫和濕疹。

Salt bath: The greatest advantage of Korean salt bath is that it can nourish the skin. In a salt bath, one can feel the color of brown candy bars, as well as the strong natural salt taste, which penetrates deep into the inner layer of the skin and speeds up metabolism, thus soothing redness and eczema.

?冥想?

Meditation

冥想通常是指在靜默中專注于自我意識，以放松身心。冥想空間是提供安靜、舒適空間的場所，使人們更容易冥想和放松。以下是幾種不同類型的冥想空間：

Meditation usually involves focusing on one's self-awareness in silence to relax one's body and mind. Meditation Spaces are places that provide quiet, comfortable Spaces that make it easier for people to meditate and relax.?Here are a few different types of meditation Spaces:

起居室：靜坐室通常是一個(gè)無噪音、明亮、平靜的房間，讓人們在安靜舒適的環(huán)境中冥想。這些房間通常配有幾個(gè)坐墊或椅子，人們可以以任何適合自己的方式自由坐或躺。

Sitting Room: A sitting room is usually a noise-free, bright, calm room that allows people to meditate in a quiet and comfortable environment. These rooms are usually fitted with several cushions or chairs, and people are free to sit or lie down in any way that suits them.

自然場所：戶外自然場所，如季節(jié)性花園、樹林或田野，可以為冥想提供良好的環(huán)境。這些地方通常有舒適的座椅，人們可以靜靜地坐著，同時(shí)觀察周圍的自然景觀，在自然環(huán)境中感受寧靜和放松。

Natural places: Outdoor natural places, such as seasonal gardens, woods or fields, can provide a good environment for meditation. These places usually have comfortable seating for people to sit quietly while observing the surrounding natural landscape and feeling peaceful and relaxed in the natural environment.

音樂冥想：它通常將冥想和音樂結(jié)合起來，通過音樂幫助人們放松、平靜思想、控制情緒、減輕壓力和焦慮。通常，在聽音樂時(shí)，人們會(huì)專注于音樂本身，與束縛思想的雜念分開，這可以幫助人們進(jìn)入冥想狀態(tài)。在音樂冥想中，音樂通常被用來幫助人們放松身體。音樂的節(jié)奏、節(jié)拍和旋律可以影響心率和呼吸，激活身體中的愉快神經(jīng)，使身體感覺更加放松。

Musical meditation: It usually combines meditation and music to help people relax, calm thoughts, control emotions, reduce stress and anxiety through music. Often, when listening to music, people focus on the music itself and separate from the distractions that bind the mind, which can help people get into a meditative state.In musical meditation, music is often used to help people relax their bodies. The rhythm, beat, and melody of music can affect heart rate and breathing, and activate pleasant nerves in the body, making the body feel more relaxed.

?觀景臺?

Meditation overlooks

面對大邱市最悠久的工業(yè)傳統(tǒng)河流，設(shè)置了一系列空間序列和冥想眺望臺。水面為人們創(chuàng)造了一種平靜的氛圍，流水聲作為白噪聲屏蔽了周圍的噪音。

A series of spatial sequences and meditation overlooks have been set up facing the river with the longest industrial tradition in Daegu city.The building faces the river and retreats.?The water surface creates a calming atmosphere for people and the sound of flowing water acts as white noise to shield the surrounding noise.

同時(shí)，內(nèi)部設(shè)置大量水域，作為公共浴場，使得場地內(nèi)部的水面與遠(yuǎn)處河流渾然一體。At the same time, a large amount of water is introduced into the interior, so that the water inside the site is integrated with the distant river.

場地原有的紡織印染污水池和污水灌得以存儲(chǔ)下來作為工業(yè)符號的象征。

The original textile dyeing and printing wastewater pool and sewage storage became a symbol of the industry's dependence on the site.

●? ?導(dǎo)師評語?

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