YAN吧，郑州 / 徽宗设计研究室

这是一个历经五年的改造，从2018年至2023年YAN经历了一个空间五年的轮回，这里承载了五年来人们的悲欢离合。人群熙熙攘攘，舞台此起彼伏，你落幕我登场的悲喜剧相互叠加，这些都深深的烙痕在了这密度极大的空间里，以及这三米的清混墙面上。

This renovation project has been in operation for five years, from 2018 to 2023, YAN has experienced a five-year reincarnation of space, which carries the joys and sorrows of people in the past five years. The crowd is bustling, the stage is up and down, and the tragicomedy of you ending and me appearing on the stage is superimposed on each other, all of which are deeply imprinted in this extremely dense space and on the three-meter fair-faced concrete wall.

▼门店立面，facade © 李研彤

▼外部座位及入口，outside seatings and entrance © 李研彤

我们的改造就是对此进行有意识的保留，这些确定是空间最重要的“材料”。当时已经认为把这样一个不足100平米的空间推敲到了极致的我们，还能继续深挖些什么…… 只有我们，我们的内心。空间大小虽没有变化，业态依旧如故，但是这五年，我们的内心都经历了或多或少忐忑的时刻，起伏不断，甚至扑朔迷离。遥想不过是五年，已经物是人非，那么五十年，百年，这里曾发生过什么变化。我们不断搜集着关于这里，这座城市的百年记忆，曾经的照片，物件。然后，仿佛不曾有过的，似是而非的过去片段：百年前的建筑，推着孩子们的老大爷，那时候就来过此地采风的洋人…… 这些不断激起我内心对于这座城市这个空间的表达冲动。我们要创造的不仅仅是未来的某种可能性，更多是对于过去的回顾与重新表达，让那些实实在在发生过的事情，不要就这样简单的烟消云散，把它们从博物馆里请出来。因为即使我们早已忘记，但这些“发生”已经存在于我们的细胞当中，也在潜移默化的影响着我们的当下，决定着未来的幸福。也是探索我们自己的基因密码。

Our transformation is a conscious preservation of these identifying, the most important “materials” of the space.At that time, we already thought that we could continue to dig deeper with such a space of less than 100 square meters… It’s just us, our hearts.Although the size of the space has not changed, and the format is still the same, in the past five years, our hearts have experienced more or less apprehensive moments, ups and downs, and even confusion.It’s only been five years, and things are already wrong, so in 50 years, 100 years, what has changed here.We are constantly collecting 100 years of memories of this place, the city, photos and objects from the past.Then, as if there had never been, a specious fragment of the past: the building a hundred years ago, the old man who pushed the children, the foreigners who came here to collect wind at that time… These continue to stir up my inner impulse to express myself about the city as a space.What we want to create is not only a possibility of the future, but also a review and re-expression of the past, so that those things that have really happened will not simply disappear and be invited out of the museum.Because even if we have long forgotten it, these “happenings” already exist in our cells, and they are also imperceptibly affecting our present and determining our future happiness. It’s also about exploring our own genetic code.

▼外摆区，external dining area © 李研彤

▼入口区域，entrance area © 李研彤

▼室内概览，interior overview © 李研彤

▼一角，corner © 李研彤

作为一名建筑师，空间的缔造者。我常常在想，我们究竟在做什么。在上个世纪就不幸被库哈斯预言到，建筑最终将沦为媒体的符号。无论是动辄十几万方的城市巨构，还是被网红疯狂打卡的热门小店。这些年，我们实实在在领略到了，库哈斯言中“媒体的符号”。但是沉静下来，往深处不断，建筑空间，真的是这样的存在吗？即使是那些热衷于拍照打卡的网红们，真的就只是为了在网上一博流量而到来此地吗？人的潜意识往往决定了很多连自己都想不到的抉择，我们的很多选择又往往依赖于此，人们之所以被一个建筑空间吸引，且往返不断，本质上还是对美与感动的憧憬。城市中日益冰冷麻木的心，充满着堆砌的虚伪，毫无意义的信息，以及敏感的人情世故，且本世纪又处在完美的无神论世界。那么一个独立的完整的充满精神力的空间，就是救赎这颗麻木之心的殿堂，这应是一座建筑空间的必然本质，一切物理的功能都应当遵循于它，服务于它。否则就必然是“媒体的注脚”，转瞬即逝。

As an architect, a creator of space.I often wonder what exactly we’re doing.In the last century, Koolhaas predicted that architecture would eventually become a symbol of the media.Whether it is an urban giant structure that can easily reach hundreds of thousands of square meters, or a popular small store that is frantically checked in by Internet celebrities.Over the years, we have really appreciated the “symbol of the media” in Koolhaas’s words.But when it calms down and goes deeper, is the architectural space really like this? Even those Internet celebrities who are keen to take pictures and check in, are they really just here for the sake of online traffic?People’s subconscious often determines a lot of choices that even they can’t think of, and many of our choices often depend on this,the reason why people are attracted to an architectural space and keep going back and forth is essentially a longing for beauty and emotion. The increasingly cold and numb hearts of the cities are full of piles of hypocrisy, meaningless information, and sensitive human sophistication, and the perfect atheistic world of this century.Then an independent and complete space full of spiritual power is the temple of salvation of this numb heart, which should be the inevitable essence of an architectural space, and all physical functions should follow it and serve it. Otherwise, it will inevitably be a “footnote to the media”, fleeting.

▼室内与街道，interior and street © 李研彤

▼一瞥，glimpse © 李研彤

▼长桌，long dining table © 李研彤

▼室内就餐区，interior dining table © 李研彤

记起一篇关于中世纪的文章，大概是“猫正追，松鼠正逃，愿猫逮住松鼠，愿松鼠脱险，两愿同在我心中。这刹那的心情，就是上帝的，上帝的心情。”如果此心情持续的无限延伸，便是我们的当下，猫与松鼠早已融于我们的心中，而且此种心情确是，使我们不断动容，代代相传的印证。

I remember an article about the Middle Ages, probably “The cat is chasing, the squirrel is fleeing, may the cat catch the squirrel, may the squirrel escape, and the two wishes are in my heart.” The mood of this moment is God’s, God’s. If this mood continues to extend infinitely, it is our present moment, and the cat and the squirrel have long been integrated into our hearts, and this mood is indeed the confirmation that we are constantly moved and passed down from generation to generation.

▼室内夜景，interior night view © 李研彤

▼夜景概览，overview at night © 李研彤

▼平面图，plan © 徽宗设计研究室