果麥書店 · 老樓變書店、藏在西溪的木梁森林里 | BUILDING RENOVATION BOOKSTORE

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項(xiàng)目位于西溪濕地福堤的北端。原建筑是二十年前的辦公樓建筑——U型中軸對(duì)稱的布局,功能空間組合的錯(cuò)綜體量。建筑架空于濕地上，三翼環(huán)抱的水院封閉而消極。設(shè)計(jì)需對(duì)其進(jìn)行外立面改造及室內(nèi)設(shè)計(jì)，將其轉(zhuǎn)化為一處書店。

剝離掉所有圍護(hù)墻體，留下的是一組混沌而無意義的混凝土框架結(jié)構(gòu)。一系列新“結(jié)構(gòu)群”的介入，給原本混沌的結(jié)構(gòu)強(qiáng)行賦以新的秩序，使其轉(zhuǎn)化為與自然深度關(guān)聯(lián)的空間場(chǎng)域。

The project is located at the northern end of the Futi in Xixi Wetland. The original building was an office building from twenty years ago - with a U-shaped symmetrical layout along the central axis and a complex volume of functional space combinations. The building is elevated over the wetland, and the water courtyard surrounded by three wings is closed and passive. The design requires the renovation of its facade and interior design to transform it into a bookstore.

Stripping away all the retaining walls, what remains is a chaotic and meaningless concrete frame structure. The intervention of a series of new "structural groups" forcibly endows the originally chaotic structure with a new order, transforming it into a spatial field deeply connected with nature.

一、西溪濕地 ·果麥書店

RESIDENTIAL DESIGN

一層被規(guī)劃為環(huán)抱水院、水平連通的空間。西側(cè)縱向主空間容納了書籍展銷功能，北翼書吧為咖啡閱讀區(qū)；南翼為閱讀沙龍區(qū)，通過室外樓梯與二樓景觀露臺(tái)相連。剝離掉所有圍護(hù)墻體，留下的是一組混沌而無意義的混凝土框架結(jié)構(gòu)。一系列新“結(jié)構(gòu)群”的介入，給原本混沌的結(jié)構(gòu)強(qiáng)行賦以新的秩序，使其轉(zhuǎn)化為與自然深度關(guān)聯(lián)的空間場(chǎng)域。

針對(duì)原狀錯(cuò)綜的屋頂梁板，通過引入容納機(jī)電設(shè)備的吊頂系統(tǒng)進(jìn)行梳理，原框架結(jié)構(gòu)被解體為：叢立的柱群，支撐起高低錯(cuò)落的體量。西側(cè)屋頂體量的簡(jiǎn)化調(diào)整，與立面退入的柱廊，將原中軸對(duì)稱的立面調(diào)整為水平向的懸浮體量，從而強(qiáng)化建筑的公共性。主入口平臺(tái)的既有弧形車道上，鋪設(shè)了由水泥條構(gòu)成的錯(cuò)角形人行棧道，將原車行平臺(tái)轉(zhuǎn)化為尺度多樣、方向變換的入口空間。

The first floor is planned as a space that surrounds the water courtyard and is horizontally connected. The longitudinal main space on the west side accommodates the function of book exhibition and sales, while the book bar in the north wing serves as the coffee reading area. The south wing is the reading salon area, which is connected to the second-floor landscape terrace via an outdoor staircase. Stripping away all the retaining walls, what remains is a chaotic and meaningless concrete frame structure. The intervention of a series of new "structural groups" forcibly endows the originally chaotic structure with a new order, transforming it into a spatial field deeply connected with nature.

For the intricate roof beams and slabs in their original state, a ceiling system for accommodating mechanical and electrical equipment was introduced to sort them out. The original frame structure was disassembled into: clusters of columns supporting the volumes of varying heights. The simplified adjustment of the roof volume on the west side and the receding colonnade on the facade transform the originally symmetrical facade along the central axis into a horizontal suspended volume, thereby enhancing the public nature of the building. On the existing arc-shaped lane of the main entrance platform, a staggered pedestrian walkway composed of cement strips has been laid, transforming the original vehicle platform into an entrance space with diverse scales and directional changes.

原建筑朝向水院的不規(guī)則玻璃體量被替換為一處單坡頂。平面斜線的幾何潛力被充分利用，自然地構(gòu)成了剖面逐漸壓低的坡頂；同時(shí)原樓板被局部敲除，改造為一處下沉近水區(qū)域。壓低的頂面與下沉的地面共同作用，成為了一處融入濕地的“水榭”。退臺(tái)階梯提供了朝向濕地、三面而坐的閱讀場(chǎng)所。在 U 型平面轉(zhuǎn)角處，將水榭“割讓”給水院，不僅對(duì)室內(nèi)空間產(chǎn)生了水平方向的扭轉(zhuǎn)，同時(shí)獲得引向濕地水面的垂直力，強(qiáng)化了濕地對(duì)于內(nèi)部的空間作用。水榭屋面采用灰色鈦鋅板，頂棚則整體噴涂以銀色金屬漆：既著意強(qiáng)化坡頂作為物體壓下水面的空間力，又突顯銀色對(duì)環(huán)境光反射的微妙反應(yīng)，以作為映射呈現(xiàn)自然水光的背景。龐大的水榭頂棚在每天上午反射出瀲滟的水波紋，濕地以這樣奇特的方式“進(jìn)入”室內(nèi)。

The irregular glass volume of the original building facing the water courtyard was replaced with a single-pitched roof. The geometric potential of the plane diagonal is fully utilized, naturally forming a gradually lowering slope top of the section. At the same time, the original floor slab was partially knocked out and transformed into a sunken area close to water. The lowered top surface and the sunken ground work together to form a "waterside pavilion" that blends into the wetland. The retreat steps offer a reading space facing the wetland and sitting on three sides.

At the corner of the U-shaped plane, the waterside pavilion is "ceded" to the water supply institute. This not only causes a horizontal twist in the indoor space but also brings a vertical force towards the water surface of the wetland, enhancing the effect of the wetland on the internal space. The roof of the waterside pavilion is made of grey titanium-zinc plates, while the entire ceiling is sprayed with silver metallic paint: this not only deliberately enhances the spatial force of the sloping top as an object pressing against the water surface, but also highlights the subtle response of silver to the reflection of ambient light, serving as a background that reflects the natural water light. The huge waterside pavilion roof reflects the rippling water waves every morning, and the wetland "enters" the interior in such a peculiar way.

二、空間美學(xué)

RESIDENTIAL DESIGN

《營(yíng)造法式》中記載過一類宋式臨水外檐裝修構(gòu)件 —— “障日?”。設(shè)計(jì)對(duì)該傳統(tǒng)原型進(jìn)行了當(dāng)代轉(zhuǎn)譯：木梁突破建筑邊界向外出挑，披檐兩側(cè)由上拉的吊桿懸掛在木梁上，中間由一根下接的斜桿輔助支撐，從而構(gòu)成了特殊的臨水建筑界面。披檐采用了與水榭相似的材料構(gòu)造。披檐作為建筑鄰水邊界的中介性元素，有兩點(diǎn)作用。其一是調(diào)節(jié)室內(nèi)光線，在遮擋刺眼的直射陽光同時(shí)，銀色頂棚提供了柔和的漫射光，形成更適宜閱讀的室內(nèi)空間；其二是，調(diào)節(jié)空間尺度，壓低的檐口屏蔽掉福堤的游客及水院兩翼對(duì)視的干擾，讓人在室內(nèi)的視線朝下導(dǎo)向濕地水面，強(qiáng)化建筑架空于水上的場(chǎng)所知覺。木梁懸吊的披檐、柱間架空的桌椅構(gòu)件，與立體錯(cuò)動(dòng)的玻璃界面、可整面打開的折疊窗,共同形成了建筑與自然之間的多處中介性場(chǎng)域。

書架被設(shè)計(jì)為寄生于柱列之間的特定結(jié)構(gòu)要素 —— 通透的“書梁”，希望讓讀者既能看到書籍、又能看到風(fēng)景。我們與結(jié)構(gòu)師張準(zhǔn)進(jìn)行合作，創(chuàng)造了 “書梁”結(jié)構(gòu)裝置：以橫向水平木梁與縱向不銹鋼板進(jìn)行水平層疊，成為組合結(jié)構(gòu)：膠合木和歐松板組合成工字型截面，承擔(dān)長(zhǎng)達(dá) 6 米的結(jié)構(gòu)跨度，而縱向不銹鋼板則將木梁聯(lián)結(jié)為結(jié)構(gòu)整體，實(shí)現(xiàn)平面內(nèi)的抗扭。書梁由兩側(cè)的結(jié)構(gòu)吊桿懸吊而與柱子固定，實(shí)現(xiàn)“梁”型的受力模式。

The "Yingzao Fashi" records a type of Song-style exterior eave decoration component facing water - "zhanri ?". The design makes a contemporary translation of this traditional prototype: the wooden beams break through the building boundaries and extend outward. The eaves are suspended from the wooden beams on both sides by upward-pulling suspension rods, and are supported by a downward-connected diagonal rod in the middle, thus forming a special interface of the water-facing building. The eaves are constructed with materials similar to those of the waterside pavilion.

The eave, as an intermediary element of the water-adjacent boundary of a building, has two functions. One is to adjust the indoor light. While blocking the dazzling direct sunlight, the silver ceiling provides soft diffused light, creating a more suitable indoor space for reading. Secondly, the spatial scale is adjusted. The lowered eaves block the interference from tourists at the Fu Di and the two wings of the water courtyard, allowing people's line of sight inside to point downward towards the wetland water surface and enhancing the perception of the building being elevated above water. The eaves suspended by wooden beams, the suspended table and chair components between the columns, the three-dimensional staggered glass interfaces and the folding Windows that can be fully opened, together form multiple intermediary fields between the building and nature.

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