設(shè)計(jì)單位? 介介工作室

項(xiàng)目地點(diǎn)? 中國(guó)北京

竣工時(shí)間? 2024年2月

建筑面積? 50平方米

本文文字由設(shè)計(jì)單位提供。

緣起

2023年春末之際，我們受景德鎮(zhèn)御窯博物院委托，為其設(shè)計(jì)在北京的展廳及配套空間。場(chǎng)地在全國(guó)農(nóng)業(yè)展覽館的紅房子藝術(shù)空間內(nèi)，滋生·御窯茶坊作為展廳的配套茶室，面積不大，五十平方米左右，承載著茶飲、文創(chuàng)展賣(mài)等功能。

At the end of spring in 2023, we were entrusted by the Jingdezhen Imperial Kiln Museum to design its exhibition hall and supporting spaces in Beijing. The venue is located within the Red Brick Art Space of the National Agricultural Exhibition Center, with the Zishi Imperial Kiln Tea House as the complementary tea room to the exhibition hall, covering an area of about fifty square meters, hosting functions such as tea drinking and creative cultural product sales.

場(chǎng)地位于農(nóng)展館后湖北邊，之前作為后勤用房而使用，因其紅磚外墻特征，被親切地稱(chēng)為“紅房子”。我們受托對(duì)這棟一層平房進(jìn)行室內(nèi)改造，遵循不改變其原有建筑風(fēng)貌和結(jié)構(gòu)完整性的原則進(jìn)行設(shè)計(jì)。

The site is located on the north side of the rear lake of the Agricultural Exhibition Center and was previously used as a logistics building. Due to its distinctive red brick exterior, it is affectionately referred to as the "Red House". We were entrusted with the interior renovation design of this single-story bungalow, while adhering to the principle of not altering its original architectural style and structural integrity during the design process.

搭建一個(gè)廢墟之上的茶棚

作為景德鎮(zhèn)御窯博物院在北京的展覽空間，我們抽象出了“被挖掘的遺址現(xiàn)場(chǎng)”為的概念作為展廳的空間設(shè)計(jì)概念，創(chuàng)造出一種時(shí)空對(duì)話(huà)。而展廳的配套空間，滋生·御窯茶坊在遺址旁的院宅廢墟上應(yīng)運(yùn)而生，旨在轉(zhuǎn)譯百年的喝茶文化。

As the exhibition space of the Imperial Kiln Museum in Jingdezhen, we have abstracted the concept of "excavated archaeological site" as the spatial design concept for the exhibition hall, creating a dialogue across time and space. The supporting space of the exhibition hall, the Zishi Imperial Kiln Tea House, has emerged from the ruins of the courtyard next to the archaeological site, aiming to interpret the century-old tea culture.

那位于遺址邊上的廢墟上的茶坊應(yīng)該是什么樣的呢？坍塌后的幾片殘墻，被時(shí)間侵蝕后獨(dú)剩的臺(tái)基，或者還有糟朽到一半圓柱……是這片廢墟的狀態(tài)。

What would the tea house on the ruins next to the site look like? The collapsed walls, the weathered pedestal standing alone, or perhaps the half-rotted pillars that is the condition of these ruins.

我們通過(guò)四層置入完成了院宅廢墟上茶棚的情境意向轉(zhuǎn)化，意在塑造一個(gè)在斷壁頹垣間臨時(shí)搭建起的茶棚場(chǎng)景——首先，置入臺(tái)基，象征著時(shí)間的流逝與建筑的遺存；第二層為殘墻的置入，復(fù)刻原有院宅的殘墻，保留坍塌后的結(jié)構(gòu)狀態(tài)；第三，搭建茶坊操作臺(tái)和棚頂，形成茶室的必備框架；最后，置入家具，形成完整的品茶空間。

Through the four-layer installation, we have achieved the transformation of the tea pavilion on the ruins of the courtyard, aiming to create a temporary tea pavilion scene amidst the broken walls and ruins. Firstly, the installation of the platform symbolizes the passage of time and the remains of the architecture. The second layer involves the installation of the remaining walls, replicating the original state of the courtyard, and preserving the collapsed structural status. Thirdly, the construction of the tea kiosk operation platform and the pavilion roof forms the essential framework for the tea room. Finally, the placement of furniture completes the entire tea-tasting space.

在原有廢墟結(jié)構(gòu)的基礎(chǔ)上，我們?nèi)谌胼p質(zhì)新材料，如紙面、樺木板和透光亞克力，創(chuàng)造出茶坊的頂面和窗戶(hù)。這些材料的組合不僅賦予空間的臨時(shí)性，也喚起了在自然環(huán)境中因地制宜、構(gòu)筑簡(jiǎn)單居所的記憶。

Upon the existing ruins, we integrate lightweight new materials such as paper panels, birch wood, and translucent acrylic to create the roof and windows of the tea house. This combination of materials not only bestows a sense of transience to the space but also evokes memories of adapting to the natural environment and constructing simple dwellings.

廢墟結(jié)構(gòu)的保留與臨時(shí)性

在平面布局上，我們根據(jù)原有空間特征，規(guī)劃出一套融合院宅廢墟元素的平面布局：從入戶(hù)庭院到大廳，到廚房，從小庭院到雅室，皆由這套院宅廢墟原有的平面生發(fā)而成。

In the layout, we have devised a plan that integrates the elements of a residential ruin based on the original spatial features. From the entrance courtyard to the hall, and from the kitchen to the small courtyard and the elegant chambers, all have evolved from the original plan of this residential ruin.

光和影的時(shí)間性

為了捕捉光與影的時(shí)間性，我們?cè)诓璺粌?nèi)設(shè)計(jì)了一個(gè)發(fā)光頂，模擬臨時(shí)茶棚的自然光線(xiàn)?？砷_(kāi)合的亞克力窗戶(hù)不僅調(diào)節(jié)光線(xiàn)，還讓微風(fēng)進(jìn)入，成為室內(nèi)的一部分，增強(qiáng)了時(shí)間流動(dòng)的感覺(jué)。

In order to capture the temporality of light and shadow, we have designed a luminous ceiling within the teahouse, simulating the natural light of a temporary tea pavilion. The adjustable acrylic windows not only regulate the light, but also allow the gentle breeze to enter, becoming an integral part of the interior, enhancing the sensation of time flowing.

結(jié)語(yǔ)

滋生·御窯茶坊的設(shè)計(jì)實(shí)踐，始于“廢墟上的茶棚”這一情境意向，貫徹了從平面結(jié)構(gòu)到空間結(jié)構(gòu)、從形式到做法的始終如一。這次對(duì)情境意向轉(zhuǎn)譯的探索，是一次對(duì)構(gòu)建畫(huà)面意向空間的新嘗試。

The design practice of Zisheng·Yuyao Tea House began with the concept of "tea pavilion on a ruin", and has consistently implemented the transition from flat structure to spatial structure, from form to approach.

完整項(xiàng)目信息

項(xiàng)目名稱(chēng)：廢墟上的茶棚 - 滋生·御窯茶坊室內(nèi)設(shè)計(jì)

項(xiàng)目地址：北京市

項(xiàng)目類(lèi)型：茶室

設(shè)計(jì)單位：介介工作室

主創(chuàng)設(shè)計(jì)師：明冠宇

項(xiàng)目成員：曹錦燦，伊力奇

建筑面積：50平方米

竣工時(shí)間：2024年2月

業(yè)主方：景德鎮(zhèn)御窯博物院，全國(guó)農(nóng)業(yè)展覽館，滋生文化

攝影師：朱雨蒙，Chill Shine丘文三映

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