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相上丨城厢古镇·璞域：阴翳中的回响

2025/04/15 21:00:00

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Saussure Architects

城厢古镇·璞域

：阴翳中的回响

Echoes in the Shadows

城厢古镇位于

四川省成都市青白江区

，始建于公元553年南朝时间的西魏，直至1950年金堂县迁址赵镇，已有1600年建制史和1400年县治史，完整保留了4街32巷64院落的古县城龟背制格局。这里有

两汉的城墙与青铜马、始建于宋的绣川书院、明代的觉皇殿佛像、清代的文武双庙、民国的院落建筑，也有“三线”建设时期留下的工业老厂房。它将各个时期的历史文化融于一体，给成都遗留下一个非常罕见的、浓缩了当代中国城乡变迁轨迹的典型样本。

璞域酒店位于城厢古镇文庙东南侧的奎阁巷，由16栋古建和风貌建筑组成，囊括陈希文公馆、沈家祠堂、盖宗祠以及奎阁巷民居。

相上文象以软装设计的方式进入本项目，

在尽可能保留原始的结构与格局、还原时间深处的人文历史痕迹的前提下，尝试着

以古老为现代做注解，将记忆-物-知觉层层编织进空间细节。

Chengxiang Ancient Town is located in Qingbaijiang District, Chengdu City, Sichuan Province, was founded in 553 A.D. in the time of the Southern Dynasties of the Western Wei Dynasty, until 1950 Jintang County moved to Zhaozhen, there have been 1,600 years of history of the establishment of the history and 1,400 years of the history of the county government, the complete preservation of the 4 streets, 32 alleys and 64 courtyards of the ancient county tortoise back system pattern. There are city walls and bronze horses of the two Han dynasties, Xiuchuan Academy built in Song Dynasty, Juehuangdian Buddha statue of the Ming Dynasty, Wenwu double temples of the Qing Dynasty, courtyard buildings of the Republic of China, and old industrial factories left behind during the construction period of the “Three Lines”. The history and culture of each period are integrated into one, leaving Chengdu with a very rare and typical sample of the urban and rural changes in contemporary China.

PUYU is located in Kueige Lane, southeast of Wenmiao in Chengxiang, which consists of 16 buildings with ancient architecture and style, including Chen Xiwen Public Hall, Shen Family Ancestral Hall, Gai Ancestral Hall, and Kueige Lane residential houses.Saussure enters the project with furnishing design, and tries to annotate the ancient with modern, while preserving as much as possible the original structure and pattern, and restoring the traces of the humanistic history of the depths of time. And weave the memory-objects-perception into the details of the space.

时 - 沉默，封存往日的波澜

TIME - Silence，Sealing memories of the past

历史的废墟，并不总是呈现出坍圮倾颓的样貌。古罗马与颐和园，是废墟；老城区不平整的门窗与土墙，是废墟；屋檐下与石阶上投掷的锯齿状阴影，也是废墟。

有时候废墟就是一种感觉，一种物将时间深深浸泡其中的感觉，全然自主地沦陷。是人类不在场的证明。

而意识到废墟的时刻，便是有能力完成一场跨越时间的“物”与“我”之关系的认领时刻。“我”在时间上留下断裂的记忆，再回来时，便是千头万绪的蓦然回首。而说时间在此停滞不流动，是不准确的。甚至，不仅时间在其间自由流淌，风也可以轻松地穿过，郁郁乎悠远而清凉。

The ruins of history do not always look like collapse. Ancient Rome and the Summer Palace are ruins; the uneven doors, windows and walls of the old city are ruins; the jagged shadows cast on the stone steps are also ruins.

Sometimes ruins are a feeling, a feeling of an object soaking time deeply in it, falling all by itself. It is the proof of human absence. The moment of realizing the ruins is the moment of having the ability to complete a claiming of the relationship between the “thing” and the “I” . The “I” leaves a fractured memory in time, and when it returns, it looks back. It would be inaccurate to say that time stops flowing here. Not only does time flow freely through it, but the wind passes through it with ease, distant and cool.

璞域酒店的大堂与接待休闲区，原为始建于清代的陈希文公馆，是一座

坐南朝北的二进四合院。由前厅、一进天井及两侧厢房、中厅、二进天井及两侧厢房、正厅等建筑组成。木质穿斗，单脊悬山顶，万字格隔扇，檐柱与枋的基础框架，

在历史记忆的层面唤起一种古旧而低缓的目光。

值得一提的是，这里的时间并非严格意义上的历史时间，而是一种在历史支配下的民间时间，虽陈却不腐，古新驳杂，生息攘攘。

The lobby and reception area of PUYU Hotel, which was originally built in the Qing Dynasty as the Chen Xiwen Public House, is a two-room courtyard facing south and north. It consists of the front hall, the first patio and the two side rooms, the center hall, the second patio and the two side rooms, the main hall and other buildings. The wooden pierced dipper, single-ridged overhanging mountain roof, wanzhi lattice partition, and the basic framework of gables and square pillars, evoke an ancient and low and slow gaze at the level of historical memory.

It is worth mentioning that the time here is not strictly historical time, but a kind of folk time under the domination of history, which is old but not corrupted, ancient mixed new, and bustling with life.

光 - 阴翳，低到尘埃

LIGHT - Dim，Low to the dust

建筑，光影，相互给予，留下或坚硬或柔软的衬线。

如果没有光影，建筑是无法呼吸的。

而老建筑尤其如此，阴翳中深埋古老的回响。

Architecture, light, give to each other, leaving behind either hard or soft serifs. Without light, architecture cannot breathe. And this is especially true of old buildings, where the echoes of the past are buried deep in the shadows.

以

陈希文公馆、沈家祠堂、盖宗祠以及奎阁巷民居为原始底图的璞域，

拥有非常充足的公共区域。巷道通幽，院坝敞阔。因为老建筑低矮，阳光的进入变得十分容易。在这里，深深浅浅的灰砖、长短不一的矮墙，疏漏有光的瓦窗，枝叶繁盛的植物，共同构筑出了

一个光移影动的互动场域

。

不仅如此，它还与其他区域中的阴翳小景构成柔缓的复调，将浓郁的阴影，通过墙体之间的围合，贯穿至整个空间的老建筑之中。而座椅则充分指出了人/身体在其中的位置。

With the Chen Xiwen Public Hall, the Shen Family Ancestral Hall, the Gai Zong Ancestral Hall, and the Kuei Ge Alley dwellings as its original base map, the PUYU Hotel has very ample public areas. The alleys are secluded and the courtyards are open. Because the old buildings are low, the entry of sunlight becomes very easy. Here, the deep and light gray bricks, short walls of different lengths, tiled windows, and leafy plants together create an interactive field of light and shadow.

Not only that, it also forms a soft polyphony with the shaded vignettes in the other areas, bringing the rich shadows, through the enclosure between the walls, throughout the old architecture of the space. The seating, on the other hand, fully points out the position of the person/body in it.

旧与新，浓与淡，回忆与期待。在空间陈列中，对光影的捕捉，被当作一种可识别的方式进行处理。无论是阳光下的院落一角，还是门厅过道里不经意的一瞥，光影不曾离场，而物浸润其中，弥漫着时间的幽深质地，不动声色地承载着意识感知的偶然降临。

Old and new, strong and light, memories and expectations. In spatial display, the capture of light and shadow is treated as a recognizable way. Whether it is a corner of the courtyard under the sunlight, or an inadvertent glance in the foyer aisle, the light and shadow never leave the scene, but the object is immersed in it, suffused with the deep texture of time, and immovably carrying the accidental descent of conscious perception.

如果说，室外植物与建筑墙体制造的阴翳是一种半开放半自然的选择，那么室内更幽微更低靡的昏缓，则是一种纯然的人文建构，一种隐藏的生活艺术。

阴翳如长梦。清晨与黄昏的太阳，克制地将光斑洒落在墙角，一寸一寸移动，留下浓重的光影对比，任由器物在可见与不可见之间来回显现或遮蔽。

这一切仿若一个东方的叹息，器与物委身其中，静若尘泥

，而摇曳的光泽则因昏暗与克制而得以充分滋养。

If the shade created by outdoor plants and building walls is a semi-natural choice, then the more subtle and subdued dimness indoors is a purely humanistic construct, a hidden art of living.

The shade is like a long dream. The sun in the early morning and dusk restrainedly spills light spots on the corners of the walls, moving inch by inch, leaving a heavy contrast of light and shadow, allowing the objects to appear or cover up back and forth between the visible and invisible. All this is like a sigh from the Orient, in which the objects and the artifacts are committed, as if they were dust, while the wavering luster is fully nourished by the darkness and the restraint.

物 - 幽微，新旧混杂的情绪

OBJECT - Soft，The mixed emotion

作为时间的载体，

物既能在此一时刻凝结时间，也是在彼一时刻将时间释放。

当偶然的光线从朦胧昏聩的场景中，将物点亮时起，幽微的生命力便已经开始蔓延。这是一种有别于自然之中动植物的生命力，这种生命力缘于物的自我敞开，缘于物自发地凝结与释放时间的能力。而它真正的迷思还在于，它吸引着我们无限地朝着物自体的方向接近，却永远无法真正抵达。

As carriers of time, objects can both condense time in this moment and release it in another moment.

The moment the object is illuminated by the occasional light from a dim scene, a subtle life force has already begun to spread. This is a kind of vitality that is different from that of plants and animals in nature, which is due to the self-opening of the object, and the ability of the object to spontaneously condense and release time. The real myth of it is that it attracts us to approach infinitely in the direction of the object's self, but we can never really reach it.

本雅明所谓的光晕，其本质就是一种对物的古老气息的怀旧。但是，这种古老气息需要通过一个更现代的底色加以对比烘托，才能被人察觉，并加以珍惜和把握。

在璞域酒店的软装陈设中，

新与旧的混杂，当代艺术审美与传统生活场景的双重叠印

，不仅仅是为了适应当代的生活方式，使之更好的为人们提供旅行与居住的日常所需，更重要的是在这种碰撞与对比之中，强化作为历史证据的居住现场，还原那个遥远迷离、明清记忆里悠闲的下午，在文化的回溯中完成一场心照不宣的古今相遇。

The essence of Benjamin's so-called halo is a nostalgia for the oldness of things. However, this oldness needs to be contrasted and accentuated by a more modern undertone in order to be perceived, cherished and grasped.

In the soft furnishings of PUYU Hotel, the mix of old and new, the double overprint of contemporary art aesthetics and traditional living scenes, is not only to adapt to the contemporary lifestyle, so that it can better provide people with the daily needs of traveling and living. More importantly, in the midst of this collision and contrast, it reinforces the living scene as a historical evidence, restores the leisurely afternoon in the distant and confusing memories of the Ming and Qing Dynasties, and accomplishes an undeclared encounter between the past and the present in the cultural retrospection.

物承载着时间，将痕迹一层层覆盖，一层层沉积。不同的物，携带着不同的时间，在空间中显现，其方式并非通过掩埋，而是并存。

物早已写下时间的注脚。

因而，我们在这里感受到的不是历史洪流的剧烈冲刷，它偏安一隅，更多的是生生不息的市井生活与时间的浸润。

Objects carry time, covering traces layer by layer and depositing them. Different objects, carrying different times, manifest themselves in space, not by burying them, but by co-existing. Objects have long since written the footnotes of time. Thus, what we feel here is not the violent washing of the historical flood, which is isolated, but more of the endless city life and the infiltration of time.

觉知 - 重构，历史与当代的肌理

AWARENESS - Restructure，History and contemporary

目光徐徐，凝而不滞。

松弛与缓慢，是知觉意识停留的条件。

璞域民宿客房，以13栋或新建或改建的奎阁巷独立小院为空间基础，保留木构框架和木质门窗，空间内部新旧序列重置，阴翳驱散。然而，尽管当代生活所需的明亮与清透已经成为空间的主体，但传统历史中的慢与弛，仍然在老木头与老器物中得到了应有的保留。

The gaze is slow and condensed, but not stagnant. Relaxation and slowness are the conditions for perceptual consciousness to stay.

PUYU hotel rooms are based on the space of 13 small independent courtyards on Kui Kak Lane, either newly built or remodeled, retaining the wooden frames, wooden doors and windows, resetting the sequence of old and new inside the space, and dispersing the shadows. However, although the brightness and clarity required for contemporary living have become the mainstay of the space, the slowness and relaxation of traditional history are still duly preserved in the old wood and old artifacts.

对物的仔细体会，实际上就是对时间的仔细体会。

我们通过器物，读取残存的记忆，认清那一段具体的时间，与某种朦胧的精神相互依偎。与此同时，我们也任由器物唤起被遗忘的身体经验与知觉意识，感受散淡，感受无常，感受小欢喜。

在这个软装项目中，我们也试图通过对过去形象的捕捉，制造了一系列新的家具产品。如顶部有翘角底部带收纳的衣帽架，同系列的茶水柜。以及增加了床幔的设计，并将蜀绣应用其中。

物的形象在此发生符号上的转译，成为完整的蕴藏新旧肌理的空间单元。

To scrutinize objects is actually to scrutinize time. Through objects, we read the remaining memories, recognize a specific period of time, and snuggle up with some kind of hazy spirit. At the same time, we also allow the objects to evoke forgotten physical experiences and perceptual awareness, feeling dispersion, impermanence, and small joys.

In this soft furnishing project, we also try to create a series of new furniture products by capturing the image of the past. Such as a coat rack with a warped top and storage at the bottom, a pantry cabinet from the same series. As well as adding the design of the bed canopy and applying Shu embroidery to it. The image of the object is symbolically translated and becomes a new spatial unit that contains the old and new texture.

尽管整个璞域酒店是从历史的时间里拖拽而出，但当代艺术与审美不能也不会缺席。

在12栋-常闲独立客房小院的前厅，当代艺术与日常生活相互融合。器物、植物、艺术、白墙、长桌、座椅，呈现为一种松弛而开放的形式，在展开与聚拢之间，在停留与经过之间，

身体的互动与知觉的互动相互补充，成就一种偶然的跳跃

。就整个璞域而言，这里完全可以被理解为一道有效的破折号，把人从过去时间的遮蔽，引向艺术与审美语境的开敞之中。

Although the entire PUYU Hotel is dragged out of historical time, contemporary art and aesthetics cannot and will not be absent.

In the front lobby of the small courtyard of independent guest rooms in Building 12, contemporary art and daily life merge with each other. Artifacts, plants, art, white walls, long tables and chairs are presented in a loose and open form, between unfolding and gathering, between staying and passing, the interaction of body and perception complement each other to achieve a kind of accidental jump. In terms of the whole PUYU Hotel, this place can be fully understood as an effective dash, leading people from the obscurity of past time to the openness of art and aesthetic context.