“天空一片黯淡，紫色的蓝色云彩夺目。”一瞥，它就消失了。海洋是深灰色的。波浪以一种你几乎能听到的节奏划向沙滩。这是一种很深很远的共鸣声。海风把脚印吹到沙地上，产生了阵阵风浪。一艘旧船在沙下半沉，好像它在这里已经藏了好几年了。曾经是渔民庇护所的小房子很少被柏油。剩下的瓦片和破碎的墙壁在黑暗中包围了空间。透过墙上膨胀的开口，向外看，是寂静中的大海，就像挂在墙上的画“。

"As the sky dims, cloud is dazzling in purple blue. Within a glimpse, it vanished. Ocean is in charcoal gray. The wave paddles to the sand with a rhythm that you can almost hear. It’s a resonate sound that travels deep and far. The sea breeze leaves its footprint onto the sand land, creating ripples of air waves. An old boat sits half-sunken under the sand, as if it has harbored here for years. There are few tarred down small houses used to be fishermen’s shelter. The leftover shingles and broken walls enclose space in dark. Through the dilapated openings on the wall, look out, is the sea in stillness, like paintings hanging upon the wa

 © Su Shengliang

(三)苏胜良

在那一刻，我们设想未来的图书馆也应该静静地坐在海边。从外表上看，它就像一颗饱经风霜的岩石，纯净而坚实；但内在，它所蕴含的是丰富的感情和经验。走进太空时，人们开始感受到海洋的光、风和声音。感知之后的是每个人和海洋之间独特的精神联系。在这里，每个人都可以放慢平常的节奏，展现出与城市生活不同的遥远和孤独的感觉。

At that moment, we envision the future library should also be quietly sitting on the seashore. From outside, it looks like a weathered rock that is pure and solid; but inside, what it contains is the rich feelings and experiences. When walking into the space, one starts to feel the light, breezes, and sound of the ocean. What comes after the perception is the unique spiritual linkage between each individual and the sea. In here, everyone can slow down the usual pace, and unfold the feeling of distant and loneliness different from the city life.

设计从章节开始。图书馆有一个阅读区，一个冥想空间，一个活动室，一个酒吧和一个休息区。根据每个空间，我们建立了空间和海洋之间独特的关系，定义了光和风是如何进入每个房间的。

The design began with section. The library houses a reading area, a meditation space, activity room, a drinking bar and a resting area. According to each space, we establish distinctive relationship between space and the ocean; define how light and wind enters into each room.

阅读区

A- Reading Area

海洋，一个千变万化的角色，从一个季节到另一个季节，从早到晚都在变化.这就像一部关于自然的戏剧。就好像把舞台让给了这个海洋的特征，我们把座位平台堆在后面，这样每个人都可以看到舞台的开阔视野。朝着大海，建筑物被一系列可操作的地面玻璃墙所包围。当天气好的时候，墙面就会向大海敞开，直接连接着里面和外面。在这些枢轴墙的顶部是一个横穿图书馆的水平视图窗口，它是海景的主要框架。

Ocean, an ever-changing character continues to alter from season to season, morning to night. It is like a drama play of nature. As if giving the stage to this character of ocean, we pile up seating platforms raised toward the back, so that everyone has an unblocking view to the stage. Toward the sea, the building is enclosed by a series of operable glass walls at ground level. When the weather is nice, the wallsare open to the sea directly connecting inside and outside. On top of these pivot walls is a horizontal view window that goes across the library; it is the main framing of sea view.

为了避免任何结构构件的中断，所有的屋顶荷载都由运行在视图窗口上方的钢桁架来承担。在钢桁架的两边，我们把手工制作的玻璃砌块泥塞到墙上.这面墙软化了钢桁架的硬度。此外，这种材料的半透明性对光很敏感。它通过一天中不同的时间将自然光和人工光转换成内外光，平稳地改变了建筑的氛围。

To avoid interruption from any structural component, all the roof loads are carried by the steel trusses running above the view window. On both sides of steel trusses, we infill hand-crafted glass block masonries into wall. The wall softens the hardness of steel trusses. Furthermore, the translucency of such material is sensitive to light. It transforms both natural and artificial light to inside and outside throughout different time of the day, smoothly changing the ambience of the building.

半拱形屋顶向大海敞开，暗示着空间的主要主题。同时，曲率允许南北方向和东西方向都有很大的跨度.在屋面结构上插入了几个直径为30厘米的圆形开口和阵列。当天气允许时，它们可以打开，并有助于通风室内空气。在一年的三个季节-春、夏、秋，每天下午1：00至4：00，阳光从狭窄的空气通道流过，并随着时间的推移在空间中投射出亮点，蜿蜒而过。

The half-arched roof opens toward the sea and implies the main subject of the space. Meanwhile, the curvature allows wide span running both north-south and east-west directions. Several 30cm diameter circular openings are inserted and array on the roofing structure. They can be open when the weather is allowed, and help to ventilate indoor air. During three seasons of the year – spring, summer and fall, from 1:00 to 4:00 pm every day, sunlight would stream through those narrow air passage ways and project light spots inside and meandering through space with time shift.

 © Su Shengliang

(三)苏胜良

B-冥想空间

 B- Meditation Space

冥想空间就坐在阅读区旁边。相对于明亮，均匀分布的光线，开放和公共的阅读区域，冥想空间是相当暗淡的，锐利的光和阴影，封闭的和私人的。房间的东侧和西侧有两个30厘米宽的狭长开口。一个是水平的，一个是垂直的；一个捕捉日出的光，另一个抓住日落的光照。在这个房间里，一个剧烈的屋顶弯曲把天花板推低。在这条曲线之上，它创造了一个通向屋顶的低阶平台。在这个地区，人们听到了海洋的声音，尽管视觉是遥不可及的。

The meditation space is sitting aside from reading area. In contrast to the reading area that is bright, evenly distributed light, open and public, meditation space is rather dimmed, sharp of light and shadows, enclosed and private. There are two slim openings, 30cm wide, on east and west side of the room. One is horizontal and one in vertical; one captures the light of sunrise and the other grasps the sunset illumination. In this room, a drastic roof curved pushes the ceiling down low. Above this curve, it creates a lowterrace to the roof top. At this area, people hear the sound of ocean, though the vision is out of reach.

C-活动室

 C- Activity Room

活动室是一个相当孤立的空间。由于潜在的事件和声音，它与阅读区之间有一个室外平台。面向东方的屋顶上的光井和西面的清晰故事，从不同的方向聚集了一整天的灯光。暖光和冷光重叠，同时缩小空间。

Activity room is a fairly isolated space. Due to potential event and sound, it is being separated from reading area with an outdoor platform in between. The light well on the roof facing east and the clear story at west collect lights throughout the day from different directions. Warm and cold light overlap and tintthe space simultaneously.

如果我们沿着南北轴线切入这座建筑，我们就能看到每个空间是如何与海洋区分开来的。与人体的运动记忆相结合-编舞系列经验。

If we slice through the building along the north-southlong axis, we can see how each space elaboratesitselfwith ocean distinctively. And the movement and memory of human body togetherchoreograph series of experience.

在施工阶段，我们与当地的一个施工团队合作，我们最大的挑战是实木浇筑混凝土。木材形式的使用灵感来自脚印、风和车轮在现场留下的沙痕。它意味着记忆的标志，在时间上，可以读成一首诗。木纹是我们想要留在图书馆的实现过程的标志。此外，它还软化了混凝土的硬度与温暖。

During the construction phase, we worked with a local construction team and our biggest challenge was wood form poured-in-place concrete. The use of wood form was inspired by the sand marks of foot prints, wind and wheels on site. It implies a mark of memory in time that can be read as a poem. Wood grains are the marks of realization process that we want to leave on the library. Also, it softens the hardness of concrete with warmth.

挑战接踵而至。我们怎样才能让这些木纹可见，甚至是触手可及？我们如何创造我们想要的具体颜色？我们如何避免诸如泄漏、破裂和气泡等缺陷？这些都是我们在与建设团队合作时所面临的关键挑战。我们对混凝土墙进行了三次模拟测试，以确保最终质量。每一次，我们都取得了进步，但也发现了新的问题有待解决。我们在整个过程中不断地面对许多未知和探索。

Challenges came one after another. How do we keep those wood grains visible and even touchable? How do we create the concrete color we want? How do we avoid flaws such as leaking, cracking, and air bubbles? Those are crucial challenges we faced while working with construction team. We tested mock-ups of concrete wall three times to ensure the final quality. Each time, we made progress but also found new problems to be resolved. We continuously confront with much unknown and exploration throughout the entire procedure.

 First Floor Plan

一层平面图

每一个建筑都是一个难以形容的命运，每一个参与方都有一个奉献和勤奋的前提。(B).

Every construction is an indescribable given fate, with a premise of dedication and diligence from each party involved. ­

Architects Vector Architects

Location Nandaihe Pleasure City, Dai He Da Jie, Funing Xian, Qinhuangdao Shi, Hebei Sheng, China

Category Library

Architect in Charge Gong Dong

Project Architect Chen Liang

Area 450.0 sqm

Project Year 2015

Photographs He Bin, Xia Zhi, Sun Dongping