“秘境”变“坦途”，最后被现代化的步伐湮没，是一件没有办法阻挡的事。如今的丙中洛就是在这样一个逐渐被湮没的过程里，左顾右盼却又手足无措。我们在那里做了一个空间，想让一点点“光”照进这一往无前、正在变革的潮流里。乡村建设不仅仅只是建设乡村。--顾忆 2004年，田壮壮导演拍摄的一部诗一般的纪录片《德拉姆》中，第一个镜头就是丙中洛乡的远景，云雾中的丙中洛如世外仙境般进入到大众视野。正如田壮壮所言：“居住在这里的民族，就像高原的山脉一样，不卑不亢，充满了传奇般的色彩，与自然和谐地并存。我们这些从外边来的人，只能仰视、欣赏、赞美他们。”在这样一处雄奇、神秘、美丽到令人失语的地方世代生活着怒族、傈僳族、藏族以及独龙族等十多个少数民族，多民族的栖息也让这片土地的人们有着非常自由的信仰，基督教、天主教、藏传佛教等共存共生，用不同的语言讲诉着他们自己的信仰与热爱，以及最原始的纯粹。 在前期考察中发现丁大妈家原生场域地势高差明显，这也给了我们一个契机，将建筑组分台处理，与庭院景观高差自然协调。旧屋改造与新房基于场地的高差穿插链接，出于各功能区域连通性的需求，我们考虑在场地内设置多种动线，并消隐生硬的挡墙与传统的连廊，采取更为开放的形式与自然互拥，创造出更为丰富的迂回行动路线。 神说，要有光，就有了光 在西方早期文明中，人们称透过云层间隙射出的光束为耶稣光，也就是我们现在所熟知的丁达尔效应。因此，我们在改造的伊始就想为丁大妈建立一个关于光的精神场域--丁达尔堂，以光代表神的位置。丁达尔堂没有对于传统宗教的刻意追求，只是将光的各种可能性融入，光束透过彩色玻璃映射在墙面，色彩使构图变得灵动，空间也仿佛成为光的容器。只此所营造的氛围感知与精神在空间中被无限放大，也使得让人更加期待。当丁大妈坐在丁达尔堂的长椅上再次唱起藏语的圣诗，建筑与人的交互所迸发出的能量，是洞穿心灵的力量。 “如果美丽有颜色，你已经看到了。”这是在丙中洛随处可见的一句宣传语。但此刻我们想说，如果光可以被看见，你已经看到了。
There is no way of stopping the transformation of “mysterious realms” into “open grounds” and their eventual oblivion under the tide of modernization. This is what is going on in Bingzhongluo Town today, which glances right and left but feels all at sea.There we have created a space, hoping to let a beam of “light” shine in the unstoppable tide of on-going change.Rural development involves more than just rural construction. –Gu Yi In 2004, director Tian Zhuangzhuang shot a poetic documentary titled DELAMU, in which the first scene is a distant view of the township of Bingzhongluo in cloud and mist like an otherworldly fairyland, attracting the eyes of the audience. As Tian Zhuangzhuang said, “Local people, like the mountains on the plateau, are neither cringing nor arrogant but steeped in legend, living harmoniously with nature. Those of us who come from outside can only look up to, appreciate and praise them.” In such a magnificent, mysterious and incredibly beautiful place, over ten ethnic minorities have been living for generations, including Nu, Lisu, Tibetans and Drung. Multi-ethnic habitation also gives people great freedom to choose their beliefs, such as Christianity, Catholicism and Tibetan Buddhism, and express their devoutness, passion and the most primitive purity in different languages. During the preliminary inspection, we found obvious altitude differences at the original site of Aunt Ding’s home, which also gave us an opportunity to divide the building complex by terrace and naturally harmonized it with the height differences of landscape in the courtyard. The renovated old house and the new house were interspersed and connected with each other based on the altitude differences of the site. For the sake of the connectivity of functional zones, we considered setting up various lines of locomotion within the site, eliminating the stiff partition walls and traditional corridors, and embracing nature in a more open form, to create a richer meandering course of locomotion. God said, “Let there be light,” and there was light. In early Western civilization, people called the beams of light coming through clouds Jesus Light, which as we all know today is the Tyndall Effect. Therefore, from the very beginning of renovation, we wanted to establish a spiritual field of light for Aunt Ding, named Tyndall Hall, to represent the position of God with light. There is no deliberate pursuit of traditional religion except the integration of various possibilities of light in Tyndall Hall. The beams of light are cast on the walls through the stained glass, the colors of which make the composition dynamic and the space just like a container of light. The sense of atmosphere and spirit created are amplified in the space, arousing greater expectations of people. When Aunt Ding sits on the bench of Tyndall Hall and sings Tibetan hymns again, the interaction between architecture and humanity brings an outburst of energy that touches the soul. “If beauty has color, you have seen it.” This is a slogan that can be found everywhere in Bingzhongluo. But at this moment we would like to say that if light can be seen, you have already seen it.