期来度假庄园丨中国宜宾丨润舍RESOLUTE设计事务所

如今，一个城市的“古镇”和“古街”已经被城市的管理者叫嚷得甚嚣尘上，仿佛城市的“标配”，而这时四川宜宾的李庄，却像一个内心安稳、平静的小孩，枕在母亲河——长江的怀里沉沉睡去。她真的安然无忧吗？不，不是这样的！只是她怀揣三项旁人难以企及的优势：万里长江第一古镇 、诗书传家的古风和抗日战争期间大量学术机构迁居于此，带来的浓郁学术氛围和永不屈服的抗战精神。

Nowadays, ancient towns and ancient streets have become a cliché promoted by urban administrators, seemingly a standard feature of every city. Yet Lizhuang in Yibin, Sichuan, is like a calm and composed child, nestled in the embrace of the Yangtze River, its mother river, in a peaceful slumber. Is it truly free from care? Far from it. It simply boasts three unparalleled strengths: being the first ancient town along the Yangtze Rivers thousands of miles, a time-honored tradition of valuing education and literary heritage, and a profound academic atmosphere coupled with an indomitable wartime spirit, fostered by the numerous academic institutions that relocated here during the War of Resistance against Japanese Aggression.

在抗战时期，梁思成和林徽因两位有深厚传统建构学养的建筑大家，就带领着 “中国营造学社”栖身于李庄的月亮田。这里，曾经由占地约60亩的水街连接起街供人居住和交流的馆和院落。于是， “李庄古镇管委会”在2023年，就携同相关的地产开发运营机构，合力策划并建设出以地面上二层、具有中国传统建筑氛围的水上之城：“月亮田”景区，期望用纵横阡陌的“水系”为特征和儒家的“礼”文化相互结合，重新定义在“新民俗”引领下的“住居”模式。

During the war, Liang Sicheng and Lin Huiyin, two preeminent architects with profound knowledge of traditional Chinese construction, led the Society for the Study of Chinese Architecture to take refuge in Yueliangtian of Lizhuang. Once, this area was a network of water streets spanning about 60 mu, connecting residential halls and courtyards for living and socializing. In 2023, the Lizhuang Ancient Town Administrative Committee, in collaboration with relevant real estate development and operation institutions, jointly planned and constructed the Yueliangtian Scenic Area – a water town with two above-ground floors, imbued with the charm of traditional Chinese architecture. The project aims to redefine the habitation model under the guidance of new folk customs by integrating the crisscrossing water systems with the Confucian culture of rites.

于是，如今一座具有“新中式”意味的《期来庄园》应时而生。

Thus, Qilai Manor, a complex with neo-Chinese characteristics, came into being at the right moment.

当成都润舍纳图设计的设计总监李雪接到《期来庄园》的设计委托时，庄园已经是一组具有中式传统风貌的木构建筑群：古木梁柱间沉淀着时间，“四水归堂”的 空间格局中蕴含着独自成篇的礼序。但是，设计师也敏锐地察觉到建筑的问题：它在功能布局、尺度比例、采光、设备等方面存在不合理之处，导致它无法满足当代酒店的运营需求。

When Li Xue, Design Director of Chengdu Runshe Natu Design, received the commission for Qilai Manor, the estate was already a complex of traditional Chinese wooden structures: time is embedded in the ancient wooden beams and columns, and a distinct ritual order unfolds in the spatial pattern of the four waters converging into the hall courtyard. However, the designer keenly identified the architectural flaws: irrational functional layout, scale and proportion, lighting, and equipment configuration, which rendered it unable to meet the operational demands of a contemporary hotel.

这时，设计师突发奇想：将以前酒店内部餐饮、社交空间移出酒店，形成礼仪、茶空间、宴会厅、与“礼仪空间”配套的暂居空间、展卖空间和纯民宿空间。这几个空间呈现出平行、合作的态势，形成了另一种酒店空间的组合方式，使空间不仅能弥合建筑带来的问题，还能优化空间功能的配置，以适应当代酒店的需求。

It was then that the designer conceived an innovative solution: relocating the hotels internal dining and social spaces to form independent functional zones, including a ritual hall, tea house, banquet hall, temporary accommodation supporting the ritual space, exhibition and sales area, and pure homestay units. These spaces coexist in a parallel and collaborative manner, creating a new modular layout for hotel spaces. This design not only addresses the architectural deficiencies but also optimizes functional allocation to adapt to modern hotel needs.

作为对当今设计趋势有独到见解的设计师李雪，从来对“仿古设计”嗤之以鼻，却热衷于探索传统设计语言在当代语境引领下，如何使呆板的建筑空间重新焕发生机的方法，创造出新的、具有东方美学神韵的新空间。于是，她大胆构思，对原有空间存在的采光不足、色调压抑的问题，通过引入光线、通透材质琉璃等元素，营造富有东方意境的光影效果，重塑建筑的“内表皮”和空间氛围，最大程度地保留《期来庄园》原有的木构建筑韵味和文化意涵，打造具有东方美学价值的空间。

As a designer with a unique perspective on current design trends, Li Xue has always scorned antique replication design. Instead, she is passionate about exploring how traditional design language, under the guidance of contemporary context, can revitalize rigid architectural spaces and create new realms infused with the spirit of Oriental aesthetics. With bold vision, she tackled the original spaces poor lighting and depressing color palette by introducing natural light and translucent materials such as glazed glass, crafting light and shadow effects that evoke Oriental artistic conception. She reshaped the buildings inner skin and spatial atmosphere, preserving to the greatest extent the original wooden architectural charm and cultural connotation of Qilai Manor, and forging a space of profound Oriental aesthetic value.

在这样的思想指导下，设计师开启了在《期来庄园》用东方美学的目光进行的视觉叙事之旅：首先，在礼宴大厅中，设计师用中式服装的形与色，铸成了一道朱砂色的对襟屏风。它不仅是视觉的焦点，更是整个空间仪式精神的凝结。在这里，设计师用屏风的体积感去遵循中国传统服饰的“对襟”形态：左右对称，庄重开合。

Guided by this philosophy, the designer embarked on a visual narrative journey at Qilai Manor through the lens of Oriental aesthetics: First, in the grand ritual and banquet hall, the designer drew inspiration from the form and color of traditional Chinese clothing to create a cinnabar-colored front-opening screen. More than a visual focal point, it is the embodiment of the ritual spirit of the entire space. Here, the volumetric sense of the screen echoes the front-opening style of traditional Chinese garments – symmetrical, solemn in its opening and closing.

这绝非形式的简单挪用，而是将穿戴的礼仪转化为空间的礼仪的新颖手法。

This is by no means a simple appropriation of form, but an innovative approach that transforms the etiquette of dressing into the ritual of space.

其次，屏风上，设计师以镂空的铜钱纹进行现代构成演绎，纹样连续重复，形成富有节奏的肌理。实现了空间的“隔而不断”，光线与视线可以自由穿透，保持大厅整体的通透与呼吸感，空间层次随之生动。

Second, the screen is adorned with hollowed-out copper coin patterns reimagined through modern composition. The repeated and continuous motifs form a rhythmic texture, achieving the Oriental spatial principle of separation without isolation. Light and sight penetrate freely, maintaining the halls overall transparency and airiness, and enlivening its spatial layers.

最后，在《期来庄园》室外的水道中，建筑师通过建构石拱“三愿桥”，利用水给人带来碎裂光影之美创造意境，在这里，“水” 变成媒介，变成连接隔水相望的建筑之间的“柔和剂”，并创造了倒影、反光、流动性和撕裂现实的图像，静谧而神秘，形成“人在房间的欢愉”。将人们赖以生存的“陆地”变成“岛屿”和“此岸和彼岸”的关系。空间节奏和游走路径因此发生了改变。整个《期来庄园》一层变成犹如一个室内和室外游动、可以自由切换空间和景观回廊。

Finally, in the outdoor waterways of Qilai Manor, The architect constructed the Three Wishes Stone Arch Bridge. Leveraging the fragmented light and shadow cast by water, she crafted a poetic artistic conception – water becomes a medium, a soft bond connecting the buildings across the stream, creating reflections, refractions, fluidity, and ethereal visual effects that blur the boundary between reality and illusion. Serene and mysterious, it evokes a sense of joy within the chamber. The land, our earthly abode, is transformed into a series of islands, creating a relationship of this shore and the other. This redefines the spatial rhythm and circulation paths, turning the entire first floor of Qilai Manor into a fluid corridor where indoor and outdoor spaces, and scenery, blend and transition freely.

设计，是当代人向未来时空致敬的方式，它的受众是对明天有渴望的一批人，而决不是向后看。任何代表过去的、带有“装饰”痕迹的物件，其生命周期都是短暂的。

Design is a way for contemporary people to pay homage to the future – it is for those who aspire to tomorrow, never for those who dwell on the past. Any object that symbolizes the past, marked by excessive ornamentation, has a fleeting life cycle.

在《期来庄园》的设计中，设计师用具有现代感桌椅，去直接对撞曾经具有标志性的色块、光线和门窗，使传统和未来叠印在一个空间中，形成宁静、优雅和张力，让人们看到传统不是“死的”、仅能供人凭吊的象征物。设计师李雪在空间的营建中，尽量用古典的意蕴和象征，使空间不再支离破碎，而是整体的、充满朝气和年轻生命力。

In the design of Qilai Manor, the designer juxtaposes modern tables and chairs with iconic traditional color blocks, lighting, and doors and windows, overlaying tradition and the future in a single space. The result is a realm of tranquility, elegance, and tension, revealing that tradition is not a lifeless relic for mere commemoration. In shaping the space, Li Xue employs classical implications and symbols to unify the design, infusing it with vitality and youthful energy, rather than leaving it fragmented.

在传统与现代对峙中，设计师选择了一种轻快、不对称的方式以吸引我们的关注：色彩的对撞和仿明式家具的运用，透露出设计师对时尚研究的心领神会和对“简而不素”的把握，空间至此有骨力、有身段，显示出极简的魅力。

In the confrontation between tradition and modernity, the designer adopts a light, asymmetrical approach to capture attention: the contrast of colors and the use of Ming-style inspired furniture reflect her profound understanding of fashion and mastery of the principle of simplicity without plainness. The space thus gains structural strength and graceful form, exuding the allure of minimalism.

作为一个公共空间，其属性当然是商业化的，因此，公共空间的设计师对空间的生存寿命具有不可推卸的责任，他必须依照商业逻辑进行铺层和展开设计。因此，李雪笃定地认为：一个商业空间成功，必须保证“日常”与“非日常”的平衡，将商业放在“日常性”的底色下，才是正途。

As a public space, it is inherently commercial, and thus the designer bears an unshakable responsibility for its long-term viability. Design must be developed and executed in accordance with commercial logic. Li Xue firmly believes that the success of a commercial space lies in balancing the everyday and the extraordinary, and grounding commercial operations in the ordinariness of daily life – this is the right path.

设计师在思考《期来庄园》的底层逻辑时，有一点十分清晰：靠古典“礼”的仪式感，是不足以支撑《期来庄园》的商业大厦的，只能依靠“礼”作为营销“事件”，为民宿“引流”。由此，设计师在设定《期来庄园》商业模式的伊始，就在思索围绕民宿的商业闭环建构，在此基础上加入“古典婚礼”的仪式感，发展出自己的特色。

When contemplating the underlying logic of Qilai Manor, the designer had a clear insight: the ritual sense of classical rites alone cannot support the estates commercial operation; it can only serve as a marketing event to drive traffic to the homestays. From the very beginning of defining the business model, she focused on building a commercial closed loop centered on the homestays, and on this foundation, integrated the ritual sense of classical weddings to create a unique selling proposition.

首先，设计师在《期来庄园》的运行逻辑上设置了日常消费和古代礼仪消费的“双循环系统”，保证了消费收入的平衡。其次，庄园对礼仪的仪式感处理，也显示出设计师面对礼仪与日常消费时的平衡。至此，《期来庄园》不仅满足了人们的日常消费的需求，也满足了有古典仪式感的要素，可谓在日常中看见非日常。

First, the designer established a dual-cycle system for Qilai Manors operation, encompassing daily consumption and ancient ritual-based consumption, ensuring a balanced revenue stream. Second, the meticulous handling of ritual elements in the manor reflects the designers balance between ceremonial etiquette and daily consumption. Thus, Qilai Manor not only meets peoples daily consumption needs but also fulfills the desire for classical ritual experience – truly revealing the extraordinary in the ordinary.

经过两年多的探索和自问，李雪在《期来庄园》的设计中交出漂亮的答卷。

After more than two years of exploration and introspection, Li Xue has delivered an outstanding design for Qilai Manor.

设计师李雪在《期来庄园》的空间处理过程中，虽然任然采用“新中式”的手法，却让人耳目一新，因为它不是停留在软装层面对“装饰主义”的诠释上，更多放在对空间和人在其中行进的方式、室内和室外的处理方式与人体验到的和没有体验到的满足与遗憾之间……!让我们看到，东方审美在当代所具有的勃勃生命力和生意盎然的景象！

In the spatial design of Qilai Manor, Li Xue employs neo-Chinese techniques yet brings a fresh perspective – her design transcends the superficial interpretation of decorativism in soft furnishings. Instead, it focuses on the relationship between space and human movement, the integration of indoor and outdoor environments, and the interplay between the experiences people have and the subtle regrets that add depth to the journey. Her work reveals the vibrant vitality and boundless potential of Oriental aesthetics in the contemporary era.

项目信息

Information

项目名称：期来度假庄园

Project Name: Qilai Manor

项目地址: 四川宜宾李庄

Project Address: Lizhuang, Yibin, Sichuan Province

项目面积：Project Are: 5000 ㎡

设计单位：润舍RESOLUTE设计事务所

Design Company:RESOLUTE SPACE DESIGN

设计内容:硬装、软装

Design Content: Hard, Soft Installation

设计团队:李雪、韩磊、李雪旭、黄德斌、邹惠、蔡欣颖、余方

Design Team: Li Xue, Han Lei, Li Xuexu, Huang Debin, Zou Hui, Cai Xinying, Yu Fang

运营单位：宜宾翠旅投集团景区管理有限公司

Operator：Yibin Cui Travel Investment Group Scenic Area Management Co., Ltd.

项目品牌：上下SHANGXIA、U 、梵几FNJI、Kar、ziinlife吱音、AOARASI青嵐、Ballad捌楽、莺Oriole、尚锦-花不缺植造、山木造

Project Brands：SHANGXIA, U , FNJI, Kar, ziinlife, AOARASI, Ballad, Ying Oriole, Shangjin - Hua Buque Plant Creation, Shanmuzao

品牌策划：灯笼惊喜（深圳）

Brand Strategy：Lantern Surprise (Shenzhen)

灯光设计：Fukumitsu LD照东光绘｜朱理东

Lighting Design：Fukumitsu LD Zhaodong Guanghui | Zhu Lidong

项目文案：张轶青

Project Copywriting：Zhang Yiqing

项目摄影：阿永 AYstudio

Photography: AYstudio

设计年份：2023.12

Design Year: 2023.12

完工年份：2024.10

Completion Year: 2024.10