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伊索北京19号府 / 刷刷建筑

2024/05/28 12:07:36

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场地与背景

Site And Neighborhood

项目位于北京王府井，城市肌理在基地两侧发生突变：西边是带有历史风貌的胡同与传统民居，东边则是大尺度的道路和商场。基地的古建筑群原是清代皇家贝子府的一路，是从东侧商场中心所在的位置平移到此处的复建。

Nestled within the storied confines of Beijing’s Wangfujing area, where the city texture changes dramatically on both sides of the site: to the west are historical alleys and traditional residences, while to the east are large-scale roads and shopping malls. The site’s ancient building complex as a replica was originally part of a Qing Dynasty royal Siheyuan, relocated here from the center of the mall on its east.

▼项目概览，overview of the project ©Jonathan Leijonhufvud, courtesy of Aesop

三进院四合院的府邸坐北朝南，大门沿府邸中轴线直通一进院落，对外朝向城市的公共空间，带有一种城市客厅的友好气质。

▼项目区位，site location ©atelier suasua

The Siheyuan, with its three sets of courtyard, faces south. The main gate opens along the central axis of the mansion, directly leading to the first courtyard and outwardly facing the public space of the city, giving it a friendly, urban living room-like atmosphere.

▼临街朝向城市的公共空间， outwardly facing the public space of the city ©Jonathan Leijonhufvud, courtesy of Aesop

院子与夏日凉棚

Courtyard And Summer Pergola

一进院的室外庭院为16米见方，远大于寻常民居。但因未设置抄手游廊，室外空间略显空旷，易使前来的客人顿感迷茫。旧时北京地方在夏季入伏以后，从宫中到府第，自官署至私宅，纷纷找“棚行”支搭凉棚，以避阳光曝晒。待到立秋转凉之后，棚行再来拆除。我们的空间概念就来源于此，伊索在初夏迎客，正是凉棚发生的季节，而快速搭建与拆卸也正是一种“快闪”的行为。

▼项目轴测，project axonometric ©atelier suasua

In old days Beijing after the summer solstice, from the palace to mansions, and from official residences to private homes, people would set up pergolas for respite from summer heat. These would be disassembled by specialized craftsman after the autumn commences. Our spatial concept generated from this tradition. The space starts welcoming guests in early summer, a perfect season for pergolas. And the quick assemble and disassemble is also an interpretation of “pop-up”. The first courtyard is a 16 meters square, much larger than typical residences. However, without the surrounding corridors, the outdoor space seems empty which will potentially make visitors feeling lost.

▼庭院内的凉棚，pergolas inside the courtyard ©Jonathan Leijonhufvud, courtesy of Aesop

新搭建的凉棚整体平面呈3m宽环状，客人先经过凉棚再到达各个独立的房间，自然的丰富了空间序列。同时，在中心围合出的小庭院内摆上石槽洗手池，方便客人洁净双手。顶部可开启的纱帘，为庭院呈现不同的光线变化。

The new pergola’s layout shaped like a ring with 3m width, leading guests through the semi-outdoor space to individual houses, naturally enriching the architectural sequence. In the small enclosed courtyard at the center, duo recycled stone basin are set up for hand washing, offering convenience for guests to clean their hands. The top features an openable screen curtain, providing different light effects according to the weather.

▼中心围合出的小庭院，the small enclosed courtyard at the center ©Jonathan Leijonhufvud, courtesy of Aesop

搭建技法有别于旧时的沙篙，使用盘扣式脚手架，顶部覆盖防水帆布，下挂绛红色香云纱。香云纱随风清飘，在院中营造静谧而灵动的气氛。

Differing from the old cedar wood skeleton, new structure is installed with ring-lock scaffolding, draped in waterproof canvas and Xiangyunsha silk. The silk gently sways with the breeze, creating a tranquil and dynamic atmosphere in the courtyard.

▼凉棚构造，pergola structure ©Jonathan Leijonhufvud, courtesy of Aesop

传统家具与材料

Traditional Furniture And Materials

正房和东西厢房均为三开间，对于商铺来说单体内空间略显局促。因为场地的特殊性，无法干预古建主体。同时我们又希望置入的功能仿佛已经长久的“生长”在其中，所以决定通过“家具”作为载体介入。

The main room and the east and west wing rooms are all three-bay, which feels slightly cramped for retail space. Due to the site’s uniqueness, we couldn’t interfere with the ancient building structure or finishing. However, we hoped the integrated functions would seem like they had long been “growing” there together with the house, so we decided to intervene through “furniture.”

▼通过“家具”作为载体介入，intervene through “furniture”©Jonathan Leijonhufvud, courtesy of Aesop

▼室内空间，interior space ©Jonathan Leijonhufvud, courtesy of Aesop

▼展示柜，showcase ©Jonathan Leijonhufvud, courtesy of Aesop

我们参考多种了经典的明代家具，其中体量最大的是拔步床。拔步床为明清时期流行的一种大型床。中国传统家具的有趣之处在于它常常暗示了特定的行为和姿态，“拔步”是迈步的意思，代表着迈上一步进入独立的“小木屋”之中。

Inspired by various classic Ming Dynasty furniture pieces, the largest being the “Babu Bed.” The Babu Bed was commonly found during the Ming and Qing Dynasties. Traditional Chinese furniture often suggests specific behaviors and postures. “Babu” means stepping up, symbolizing stepping into an independent “little wooden house.”

▼独立的“小木屋”，”little wooden house” ©Jonathan Leijonhufvud, courtesy of Aesop

▼来源于明代家具的灵感，Inspired by various classic Ming Dynasty furniture ©Jonathan Leijonhufvud, courtesy of Aesop

数个2.2米见方的“拔步床”被深思熟虑的归置在建筑中，形成了从私密性向公共性的转换，自然形成了内与外的空间。在其内部客人可以体验洗手、洁面、试香这些功能，而在其之外可随意散步和选购产品。

Several thoughtfully arranged 2.2-meter square “Babu Beds” are placed within the building, creating a transition from privacy to public space, naturally forming inner and outer spaces. Guests can experience consultations, face cleaning, and perfume testing inside with more intimate environment. While they can wander and shop freely outside.

▼自然形成了内与外的空间，forming inner and outer spaces ©Jonathan Leijonhufvud, courtesy of Aesop

家具的主体采用的了柚木、香云纱与紫铜相结合，室内外材质的延续使整体呈现出一种华美且端庄的气质。同时葫芦作为特制的扩香器隐藏在各个空间的角落中，待客人发现。香气从葫芦顶部涌出，带来吉祥美好的寓意。

The furniture is structured in teak, wrapped with Xiangyunsha silk, and decorated with purple copper, with the continuation of materials between interior and exterior presenting a magnificent and dignified quality. Gourd-shaped incense holders are hidden in various corners, waiting for guests to discover. The fragrance emanating from the hole on the top of the gourds symbolizes good fortune and auspiciousness in Chinese culture.

▼华美且端庄的气质，magnificent and dignified quality ©Jonathan Leijonhufvud, courtesy of Aesop