趙云海、陳國棟、Nicola Saladino榮獲可持續發展設計獎·2025年度鉑金獎!
來源： 閱讀：(463)評論：(0) 收藏：(0)傳播語：與歷史對話，為技藝尋路，同自然共生——可持續，與每個你息息相關！
可持續發展設計獎·2025年度鉑金獎
SUSTAINABLE DESIGN AWARD·2025PLATINUM AWARD
12月5日，在“可持續發展設計獎·2025年度總競選”現場，15位“可持續發展設計獎·2025年度金獎”對獲獎作品進行限時 5分鐘的演講，展示可持續發展設計作品優秀的設計理念 。15位金獎獲獎代表激情開講，在評審代表及觀察團共同的投票下，《先鋒書店-碧山書局》、《千匠百工木構傳習中心》、《THE CLOUD |HAITANG RIVER WATER SPORTS CENTER》分別榮獲室內、建筑、景觀三大類別的“可持續發展設計獎·2025年度鉑金獎”！
在總競選現場，獲獎選手們通過對各自獲獎作品的介紹，分享自己的可持續發展設計理念，讓我們通過演講實錄回顧他們精彩的表現，共同感受可持續發展設計作品的獨特魅力！
PART01 室內設計INTERIOR DESIGN
獲獎作品/先鋒書店-碧山書局
趙云海/COD 云海設計有限公司(中國,新加坡)
首先，我想通過我的視角來表達一下我所理解的可持續發展。
First, I'd like to share my perspective on what I understand sustainable development to be.
這是一個來自安徽黃山的黟縣的下面碧山村的小村莊里，這個房子距今有193年，大概是在清代乾隆年間的汪氏宗祠的房子。
This is a small village in Bishan Village, Yixian County, Huangshan, Anhui Province. The building, dating back 193 years, is the Wang Clan Ancestral Hall, constructed during the Qianlong era of the Qing Dynasty.
在接到這樣一個項目，我想作為任何一個設計師來說都非常想表達設計，想表達創意。我當時在這里住了一個星期，我想了有各種各樣的沖擊，創意的沖撞，甚至是人與人的矛盾，人與自然的矛盾，包括人與自己的矛盾，想把當代與歷史的沖擊做到非常強勢的狀態。
Upon receiving such a project, I believe any designer would be eager to express their vision and creativity. I stayed here for a week, experiencing all sorts of clashes—clashes of ideas, even conflicts between people, between humanity and nature, and between individuals and themselves. I aimed to create a powerful collision between the contemporary and the historical.
但是我住了一個星期之后發現，我應該盡可能地退讓，我應該讓自己消失，我應該讓設計消失，我不應該跟它搶，跟它去爭。
But after living there for a week, I realized I should yield as much as possible, I should make myself disappear, I should let the design fade away—I shouldn't compete with it or vie for attention.
所以，最終做成了現在這個樣子，只是把它滿足了最基礎的功能的需求，讓原本的美，讓歷史、讓建筑、讓細節、讓結構的美傳承下來。
First, I'd like to share my perspective on what I understand sustainable development to be.
因為這個房子是沒有任何室內關系的，黃山的冬天還是很冷的，夏天也很熱，以前的書柜是實木的書柜，下半部分都已經潰爛不堪，所以以這種形式把它懸空起來，采取跟當地徽派建筑外墻同樣的材質，做成這樣一個框架把原來用了十年的書柜再次嵌入進去。
Since this house has no interior connections, Huangshan's winters are quite cold and summers are very hot. The previous bookshelf was solid wood, and its lower section had completely rotted away. Therefore, we suspended it in this manner, using the same material as the exterior walls of local Huizhou-style architecture to create this frame. We then re-embedded the decade-old bookshelf into it.
這是門口的一個牛棚改成的咖啡區域。通過這個狹窄的樓梯可以上到二層多功能的區域，可以喝咖啡，可以開個小會。通過窗外可以讓當代的人與歷史進行對話，在這里可能和190年前看到的景色都是一樣的。
This is a coffee area converted from an old cattle shed at the entrance. A narrow staircase leads up to the second-floor multipurpose space, where you can enjoy coffee or hold small meetings. Through the windows, contemporary visitors can engage in a dialogue with history—the view here may be virtually unchanged from what was seen 190 years ago.
所以，回到室內會讓人給它一種豐富的感情上的體驗。書就是人類發展、人類進化、人類前進的一盞明燈，我認為這種方式也表達了可持續的發展。
Therefore, returning indoors offers a rich emotional.Therefore, returning indoors offers a rich emotional experience.Books serve as a guiding light for human development, evolution, and progress.I believe this approach also embodies sustainable development.
我想用這張照片結束我給大家的分享，這是一束光對建筑切割的兩個區域，有明有暗。我們的先輩在陰影里作為我們前行的依托，而嶄新鮮活的生命活在陽光燦爛的日子里，謝謝大家。
I'd like to conclude my sharing with this photograph—a beam of light slicing through two distinct zones of the building, casting light and shadow. Our ancestors stand in the shadows as our foundation for moving forward, while vibrant new life thrives in the radiant sunshine. Thank you all.
PART02 建筑設計ARCHITECTURAL DESIGN
獲獎作品/千匠百工木構傳習中心
陳國棟/無名營造社
我是無名營造社的陳國棟，我這次申報的項目叫《千匠百工木構傳習中心》。今天我想不從設計技術的角度來展開我的介紹，我想從關于地方木構建筑如何可持續發展，這種建筑形式如何走到下一個時代。
Today, I'd like to shift the focus of my presentation away from design techniques. Instead, I want to explore how local timber-frame architecture can achieve sustainable development and how this architectural form can transition into the next era.
我們的事務所是扎根于鄉村的建筑事務所，最初成立于日本京都，從2017年直接回國直接搬到了貴州的黔東南，至今接近9年的時間在貴州黔東南。
Our firm is a rural-based architecture practice originally established in Kyoto, Japan. In 2017, we relocated directly to Qiandongnan, Guizhou, where we have now been based for nearly nine years.
這是我工作的地方，這樣傳統的村落在貴州黔東南有415個這樣的村落，自然共生，因地制宜就地取材，體現著我們地方建筑的可持續發展，當地還保持著這樣的建造方式，包括我們的房子還是這樣一種可持續發展的邏輯和系統，延續了上千年。非常遺憾黔東南地區這些年受到了很大的沖擊，村莊里木構建筑開始消失，涌現出來非常多這樣的磚房。
This is where I work. There are 415 such traditional villages in Qiandongnan, Guizhou. They coexist naturally with the environment, utilizing local materials and adapting to the terrain, embodying the sustainable development of our regional architecture. The area still preserves these construction methods, including our houses, which follow this same sustainable logic and system that has endured for over a thousand years. It is deeply regrettable that Qiandongnan has faced significant disruption in recent years. Wooden structures in these villages are disappearing, replaced by a proliferation of brick houses.
無名營造社在地方接近8年半的時間，我們一直做關于地方木結構建筑的可持續發展的設計實踐。我們也有一個很困惑的議題是中國這樣一種地方性的建造，它還能不能走到下一個時代？我們非常堅信一件事情就是人非常重要，這樣的掌墨師傅他們還有活路干，也許這樣一種營造系統還可以到下一個時代去。
For nearly eight and a half years, Wuming Construction Society has been engaged in sustainable design practices for local timber-frame architecture. We grapple with a perplexing question: Can such regional construction traditions in China endure into the next era? We firmly believe that people are paramount. As long as master carpenters like Zhang Mo remain active, perhaps this construction system can carry forward into the next generation.
所以，3年前我們開始協同地方的掌墨師傅走進工廠，試圖討論關于地方的裝配式木結構建筑是否從產業化的角度來延續，我們就從這種裝配式木構的研發、生產到銷售做一些實踐。隨著我們產品市場化開始推出，就帶領著地方的掌墨師傅走出黔東南，到不同的地區建造房子。我們試圖做一個討論是關于地方的木結構建筑是否可以產業化，它是否可以工業化或者是半工業化的可能性來做出一些探索。
Three years ago, we began collaborating with local master carpenters to enter factories, exploring whether regional prefabricated timber structures could be sustained from an industrialization perspective. We embarked on practical efforts spanning the research, production, and sales of these prefabricated timber systems. As our products entered the market, we led these local master carpenters beyond Qiandongnan to construct buildings in various regions. We sought to explore whether local timber construction could be industrialized—whether it held potential for full or semi-industrialized production—and to conduct experiments in this direction.
今天申報的項目是基于這樣的背景產生出來的，成立了一個千匠百工木結構建筑的產業基地，它是由一個學校改造而生，今天申報的一個項目是其中一棟房子是關于這些掌握師傅的木構傳習中心。由于時間關系我就快速過一下它所在的環境，它處于黔東南州榕江縣城旁邊的一個小村莊，依托這個小學校剛好有一些建設用地，就以木結構建筑如何當代化，以及是否能夠產生更多促進當地木工的品牌而作出的回應。
The project submitted today emerged from this context: the establishment of a Thousand Craftsmen, Hundred Trades timber construction industrial base, born from the renovation of a school. The project submitted today involves one of its buildings—a timber construction apprenticeship center for master craftsmen. Due to time constraints, I'll briefly outline its location. Situated in a small village adjacent to Rongjiang County in Qiandongnan Prefecture, it leverages available construction land from the former school. The project responds to questions about modernizing timber construction techniques and whether this approach can foster a local woodworking brand.
其實我們的設計都是來自地方，尤其是這棟建筑當地叫鼓樓，我們從鼓樓的結構體系中延伸出來，也通過用當地的杉木材料，如何跟現代的技術融合，比如說鼓樓的結構形式的延伸，如何以當代的生命力，如何跟這個時代對話，或者是我們想象未來這樣的木結構建筑，它如何走到下一個時代去，我們非常渴望做這樣的討論。
Our designs are deeply rooted in local context, particularly this building locally known as the Drum Tower. We drew inspiration from its structural system, exploring how to integrate local cypress wood with modern techniques. For instance, extending the structural form of the Drum Tower, infusing it with contemporary vitality, and engaging in dialogue with our era—or envisioning how such timber structures might evolve into the next generation. We are eager to engage in such discussions.
我們采用的工法還是采用黔東南地區的榫卯的穿斗結構形式，我們希望它在這個時代有活力來重新討論思考中國鄉村的未來，或者是延續了幾千年的建筑性它如何在民用，這是我們團隊選擇扎根在黔東南的一個原因。
The construction method we employ still utilizes the mortise-and-tenon post-and-lintel structure typical of the Qiandongnan region. We hope this approach can revitalize contemporary discourse on the future of China's rural areas, or explore how this millennia-old architectural tradition can be adapted for modern residential use. This is one reason our team chose to establish our base in Qiandongnan.
這個地方是未來希望能夠傳習木結構建筑，這是中央美院的建筑系，去年來待了一周。我們希望有更多的學術機構和更多同行能夠跟在地的師傅們做更多的交流和溝通，來反思關于地方的建造，我們希望重新被大家看見。
This place is where we hope to pass on the tradition of timber-frame construction. It belongs to the Architecture Department of the Central Academy of Fine Arts, where I spent a week last year. We hope more academic institutions and colleagues will engage in deeper exchanges and communication with local master craftsmen to reflect on regional building practices. We aspire to be seen anew by everyone.
這里也做了非常多技術上的壁壘，尤其是木結構的防火，我們也做了防火的處理。包括它如何保溫、隔音、防水的技術，我們依然保存著；我們認為建筑的營造一個，包括所有的民俗活動，它建造的儀式，雖然說它是一個現代的建筑，我們希望能夠有一個儀式跟它的文化系統能夠保存下來。
Numerous technical barriers were also implemented here, particularly in fireproofing the timber structure, which underwent specialized fire-retardant treatment. We preserved the techniques for thermal insulation, soundproofing, and waterproofing. We believe that the construction process itself, including all folk rituals and ceremonial practices involved in building—even though it is a modern structure—should be preserved. We hope to maintain the rituals and cultural systems associated with its creation.
PART03 景觀設計LANDSCAPE DESIGN
獲獎作品 / THE CLOUD | HAITANG RIVER WATER SPORTS CENTER
Nicola Saladino / reMlX 臨界工作室
Hello, everyone. Our project is located in Sanya, Hainan, along the Haitang River. It's a water sports center.
各位好。本項目坐落于海南三亞海棠河畔，是一座水上運動中心。
It’s a pavilion inside a public park that responds to two primary design objectives: first, to create a showroom area that serves as an extension of the neighboring residential development; second, to establish a sports facility that includes a café, changing rooms, and water sports amenities.
這座公共公園內的展亭呼應兩大核心設計目標：其一，打造連接毗鄰住宅項目的延伸展示空間；其二，構建集咖啡館、更衣室與水上運動設施于一體的體育場館。
Our inspiration stems from the local natural environment, and our design primarily revolves around two elements: on top, a very light roof floats like a cloud trapped in between the trees; in the bottom, an articulated ground organizes different functions while seamlessly bridging the indoor and outdoor spaces.
設計靈感源自在地自然環境，主要圍繞兩大元素展開：上部以輕盈的屋頂如流云般漂浮于樹林之間；下部通過靈動的地面布局巧妙組織不同功能，實現室內外空間的流暢銜接。
When looking at it from the numerous high-rise buildings, the roof becomes the most visible façade of the pavilion so we had to study very carefully the design of its layers to make it look as clean and minimal as possible.
從周邊高層建筑俯瞰時，屋頂成為展亭最具辨識度的立面。我們對其層次構造進行了精心推敲，以呈現簡約、凝練的視覺形態。
Below the roof surface the project is divided into two sections: one side houses the sports center, including a café and changing rooms, while the other side temporarily hosts the residential showrooms and will later be converted into a covered public plaza.
屋頂之下空間劃分為兩個區域：一側容納運動功能區，含咖啡館與更衣室；另一側暫時用作住宅展廳，未來將轉化為有頂蓋的公共廣場。
We designed the thinnest possible roof edge to create a weightless floating effect. While the roof top is a white abstract surface, the bottom is covered with linear wooden planks that emphasize its dynamic geometry.
我們設計了極致纖薄的屋頂邊緣，以營造輕盈懸浮的視覺感受。屋頂表面呈現為純粹的白色抽象形態，其下方則鋪設線性排列的木板飾面，強化流動的幾何形態。
The café's façade features foldable and retractable windows that maximize natural ventilation, taking advantage of the sea breeze to reduce the use of AC. The section of the roof and the cascading platforms of the ground redirect all the views towards the water.
咖啡館立面采用可折疊伸縮窗系統，最大限度引入海風，促進自然通風，有效降低空調能耗。屋頂的傾斜形態與層疊式地面平臺的設計，共同將觀景視線導向水域。
For us, sustainability extends beyond using natural materials or optimizing energy efficiency: it’s also about strategically designing adaptability over time. Once the residential showrooms are demolished, the rest of the pavilion will be easily repurposed to serve the local community, thus minimizing material waste and favoring a symbiotic relationship with the park. Thank you all.
對我們而言，可持續性不僅體現在天然材料運用與能效優化，更在于構建隨時間演進的空間適應性策略。待住宅展廳完成使命后，展亭主體可靈活轉化為社區服務功能，最大限度減少材料損耗，實現與公園共生的永續關系。
/END/
可持續發展設計從不是單一答案。
在安徽碧山，趙云海的“退讓”讓歷史新生，在歷史建筑中構建了人與時空的對話；
在貴州黔東南，陳國棟的“扎根”使千年傳統技藝延續；
在海南三亞，Nicola Saladino的“融合”將自然輕擁，讓資源在循環中永續。
他們以室內、建筑、景觀的不同語言，共同詮釋了一個核心理念：真正的可持續，是敬畏時間、呼應土地、關懷人本的設計。也印證了“可持續，與每個你息息相關”的獎項理念，為設計行業貢獻了兼具人文溫度、技術巧思與長遠視野的典范。
可持續，與每一個“你”息息相關——它在我們閱讀的燈光下，在我們行走的屋檐下，也在我們仰望的云朵間。
祝賀2025年度所有的獲獎者
2026，我們“幸福”相見！
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