傳統(tǒng)建筑的保護(hù)修復(fù)是物質(zhì)文明與精神世界在時(shí)間契點(diǎn)的同頻震蕩。對(duì)于傳統(tǒng)民居的現(xiàn)代重構(gòu)方面，延續(xù)與舍棄的當(dāng)然可以同時(shí)進(jìn)行，但對(duì)人與自然共處溫度的發(fā)掘和居住習(xí)慣的可變化傳承，喚起精神層面的豐沛對(duì)話，卻是儒可墨可軒想要持續(xù)討論的重要課題。
The protection and restoration of traditional buildings is the same-frequency oscillation of material civilization and spiritual world at the time point. For the modern reconstruction of traditional dwellings, continuation and abandonment can of course be carried out at the same time, but the exploration of the coexistence of human and nature, the changeable inheritance of living habits, and the arousing of rich dialogues at the spiritual level are what Confucianism and Mokexuan thought. Important topic for ongoing discussion.
項(xiàng)目位于西溪濕地鄔家灣，考慮到建筑的融合度問(wèn)題，所以在設(shè)計(jì)是選擇保留原有建筑的基本風(fēng)貌，以現(xiàn)代性的功能考慮驅(qū)動(dòng)內(nèi)部轉(zhuǎn)化。
The project is located in Wujiawan, Xixi Wetland. Considering the integration of the buildings, the design is to retain the basic features of the original buildings and drive the internal transformation with modern functional considerations.
行走的建筑
Walking House
建筑的主體結(jié)構(gòu)由安徽池州青陽(yáng)縣的清中期徽派民居搬運(yùn)而來(lái)，而在設(shè)計(jì)的過(guò)程中，選擇以現(xiàn)代空間表達(dá)的手法將這座兩百多年歷史的傳統(tǒng)民居解構(gòu)重塑，以在地化的融合過(guò)程賦予其獨(dú)特的場(chǎng)域氛圍。
The main structure of the building was carried from the Hui-style houses in Qingyang County, Chizhou, Anhui Province in the mid-Qing Dynasty. During the design process, we chose to use modern spatial expression to deconstruct and reshape this traditional house with a history of more than 200 years. The fusion process of localization gives it a unique field atmosphere.
新建筑整體以傳統(tǒng)民居的圍合結(jié)構(gòu)為主體，以木結(jié)構(gòu)作為框架主體。入口處采用在傳統(tǒng)中式宅邸的建筑制式，深色木質(zhì)帶來(lái)的潤(rùn)澤輔以白色的墻體，在加固建筑形體結(jié)構(gòu)的同時(shí)，與深色木結(jié)構(gòu)形成了強(qiáng)烈的對(duì)比，同時(shí)就在地文化的基因注入其中。
The new building as a whole takes the enclosed structure of traditional houses as the main body and the wooden structure as the main frame. The entrance adopts the architectural style of traditional Chinese mansions. The moisturization brought by dark wood is supplemented by white walls. While strengthening the building structure, it forms a strong contrast with the dark wood structure. At the same time, the local culture gene into it.
建筑格局以四面環(huán)保的方形格局天井為中心，中央引入水景，呼應(yīng)徽派建筑中“四水歸堂”的吉祥寓意和中國(guó)人傳統(tǒng)根據(jù)物候變化“應(yīng)時(shí)而動(dòng)”的行動(dòng)理念，將自然接入室內(nèi)空間。
The architectural pattern is centered on an environmentally friendly square patio on all sides, and a water feature is introduced in the center, echoing the auspicious meaning of "four waters return to the hall" in Huizhou architecture and the Chinese traditional action concept of "moving with the times" according to phenological changes, connecting nature to interior space.
敞開(kāi)式的布局將天光充分引入，為暗色調(diào)的內(nèi)部構(gòu)造提供了柔和的自然照度，同時(shí)在左右山墻處增設(shè)了數(shù)處小窗，增強(qiáng)室內(nèi)中段的通透度與呼吸感。
The open layout fully introduces skylight and provides soft natural illumination for the dark-toned interior structure. At the same time, several small windows are added on the left and right gables to enhance the transparency and breathing in the middle of the room.
消解的邊界
Counteract Border
一樓的茶室采用了巨大面寬的玻璃幕墻，將室外的自然場(chǎng)域與室內(nèi)的陰翳邊界消解，從“無(wú)界”的角度表現(xiàn)建筑與周圍濕地環(huán)境的融合關(guān)系，聯(lián)通內(nèi)景和外景的兩個(gè)場(chǎng)域。人在景中亦為景，在西溪的氤氳中體驗(yàn)歷史的潤(rùn)物無(wú)聲。
The tea room on the first floor adopts a huge glass curtain wall, which dissolves the outdoor natural field and the indoor shadowy boundary, expresses the fusion relationship between the building and the surrounding wetland environment from the perspective of "unbounded", and connects the two fields of the interior and exterior scenes. area. People in the scenery are also scenery, and experience the moisturizing of history in the mist of Xixi wetlands.
二層空間直觀系統(tǒng)的體現(xiàn)建筑木結(jié)構(gòu)的精彩之處。屋頂上方的巨大藻井，層層嵌套的框架結(jié)構(gòu)拉高了建筑的整體縱向空間感受。
The intuitive system of the second floor space reflects the splendor of the wooden structure of the building. The huge caisson above the roof and the nested frame structure elevate the overall longitudinal spatial experience of the building.
由于建筑層高的限制，在二樓空間山墻和面寬開(kāi)辟的窗口，都選擇了較低的高度設(shè)置，同時(shí)橫向拉寬視覺(jué)范圍，令體驗(yàn)者在享受茶飲清歡的同時(shí)，與外界建立契合語(yǔ)境的共鳴體驗(yàn)。
Due to the limitation of the height of the building, the lower height settings are chosen for the windows opened on the gables and face widths of the space on the second floor. At the same time, the visual range is widened horizontally, so that the experiencer can enjoy the tea and enjoyment while establishing a relationship with the outside world. A resonant experience that fits the context.
意趣的空間漫游
Space Odyssey
品牌主理人的具備豐富的學(xué)識(shí)涵養(yǎng)和獨(dú)到的審美情趣，為儒可墨可軒的空間造境賦予了生動(dòng)的人格。由于空間中的印章藏品，在構(gòu)建時(shí)將整面墻設(shè)計(jì)成多個(gè)獨(dú)立壁龕用以陳列，貫穿整個(gè)縱向空間。
The brand manager has rich knowledge and unique aesthetic taste, which endows the space creation of Ru Ke Mo Ke Xuan with a vivid personality. Due to the seal collection in the space, the entire wall was designed as multiple independent niches for display during construction, running through the entire longitudinal space.
在二樓同樣設(shè)置了多個(gè)獨(dú)立的茶飲區(qū)域和陳列區(qū)域，結(jié)合茶、印、書(shū)、畫(huà)等傳統(tǒng)元素串聯(lián)，將場(chǎng)景化運(yùn)用散落在空間各處。
On the second floor, several independent tea drinking areas and display areas are also set up. Combined with traditional elements such as tea, printing, calligraphy, and painting, the scene is scattered throughout the space.
整體空間刻意回避了標(biāo)準(zhǔn)動(dòng)線設(shè)計(jì)，以留白的概念貫穿整個(gè)空間，在平面和縱向的多重維度，以開(kāi)放自由的觀念參與建筑的生長(zhǎng)過(guò)程，進(jìn)一步豐富了整個(gè)建筑的整體性概念。
The overall space deliberately avoids the standard moving line design, and runs through the entire space with the concept of blank space. In the multiple dimensions of plane and vertical, it participates in the growth process of the building with the concept of openness and freedom, which further enriches the overall concept of the entire building.
