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Appreciation towards LUO studio for providing the following description:

正交木框架自古以来即是东方殿堂、庙宇、居所等几乎囊括所有功能类型的主要结构原型。山西作为中国古代木构建筑的重要保存地，现存南禅寺、佛光真容禅寺等众多珍贵实例，这些实体遗存暗含着东方传统建筑的深厚文脉。

The orthogonal timber frame has long been the primary structural prototype for nearly all functional building types in the East—from halls and temples to dwellings. Shanxi, as one of the most important regions for the preservation of ancient Chinese timber architecture, retains many precious examples such as Nanchan Temple and Foguang Temple. These surviving entities embody the deep cultural lineage of traditional Eastern architecture.

▼门店外观，Storefront exterior © Jin Weiqi

单农作为一个以内蕴东方意境为基底的服装品牌，虽已有众多门店，但在晋地首府，应以何种空间呈放衣物？如何与地域文脉相生？成为设计的起点。

▼草稿，Sketch © Luo Yujie

▼结构轴测图，Structure axonometric diagram © LUO studio

DANNONG, a clothing brand grounded in an inner Eastern sensibility, already operates many stores. Yet in the capital of Shanxi, how should garments be presented in space? How should the store grow in resonance with the region’s architectural heritage? These questions became the starting point of the design.

▼店铺室内布局，Interior layout of the store © Jin Weiqi

框与衫，重与轻
Frames and Garments: Weight and Lightness

从平面与剖面视角观之，东方传统木构框架多呈纵横正交之势；于图形学层面，纵与横皆为“线”。衣物的悬挂方式同样以“线”为主，两者在某种意义上具有高度契合性。

In plan and section, traditional Eastern timber frames often unfold in a rectilinear, orthogonal order; in graphic terms, both the vertical and horizontal members are “lines.” Garments are likewise suspended through a system of “lines.” In this sense, the two possess a high degree of conceptual alignment.

▼衣物的悬挂方式，Garments suspended system © Jin Weiqi

本案位于现代城市公共商业空间之中，原建筑主体为混凝土框架结构。在这一工业化体系内植入传统木构框架，使其在当代商业场景中回溯山西木构文脉。根据商铺既有柱跨的尺度，最终以“三开间、四柱跨”为宜。由此，中开间顺势生成入口、座椅区、收银台、主影像背景墙的轴线序列，两端开间则配置长挂杆衣物展列。悬挂的衣物进一步强化木梁与柱的线性特征。

▼平面图，Plan © LUO studio

The project is located within a contemporary commercial complex, whose building structure is a reinforced-concrete frame. Within this industrialized system, a traditional timber frame is grafted to evoke the lineage of Shanxi’s wooden architecture in a contemporary retail setting. Based on the store’s existing structural grid, a “three-bay, four-span” composition is adopted. The central bay naturally generates an axial sequence for the entrance, seating zone, cashier, and main visual backdrop, while the two side bays host long hanging rods for displaying garments. The suspended clothes further emphasize the linear qualities of the beams and columns.

▼从公共空间看向店铺，View of the store from the public space © Jin Weiqi

以南禅寺、佛光寺为例的山西传统木构，呈现出极强的厚重感，其粗壮木料的尺度给人以分量之重。本案的木料截面选择亦遵循此原则，以厚重的方木呼应晋地木构特征。
厚重梁架之下，是轻柔的织物。相较粗、重方木，衣料以轻、柔示人，两者之对比使彼此的物质特性更为凸显。仿佛“大梁悬挂巧物”，暗合单农造衣中“于细微处尽其工”的精神。

▼模型，Model © Jin Weiqi

The traditional timber structures of Shanxi—exemplified by Nanchan and Foguang Temples—are known for their robust mass and heavy timber proportions. Following this principle, the project selects thick square timbers to echo the regional architectural vocabulary. Beneath the weighty beams lies the softness of textile. The contrast between the heavy and the light—between coarse timber and delicate fabric—heightens the material presence of each. As if “massive beams suspend fine objects,” the composition aligns subtly with DANNONG’s spirit of “crafting with meticulous attention to the smallest detail.”
▼厚重与轻柔，the heavy light © Jin Weiqi

榫卯之功
Craft of the Mortise-and-Tenon

榫卯嵌合作为东方智慧与造物观念的重要显征，在前工业时代不仅承载文脉，更具有关键结构意义。其“柔性”连接在地震中表现出卓越的韧性；在小木作中，各类榫接亦能良好应对气候湿度差异带来的形变与开裂。南禅寺一处外墙东北角柱，因虫损而在唐之后（据称为宋）以“螳螂头榫”修复，通过模拟发现其特殊榫型可侧向推入，尤适合角部修补，体现了榫卯机制的精妙。

The mortise-and-tenon joint—an iconic manifestation of Eastern intelligence and craftsmanship—held not only cultural significance in pre-industrial times but also structural necessity. Its “flexible” connections demonstrate remarkable resilience in earthquakes; in small-scale joinery, various mortises effectively accommodate humidity-driven expansion and contraction. At Nanchan Temple, the northeast corner column of an exterior wall, damaged by insects, was repaired after the Tang dynasty (reportedly in the Song) using a “praying mantis” mortise. Simulations show that its unique form allows lateral insertion, making it ideal for corner repairs—an example of the ingenious logic of mortise-and-tenon mechanisms.
▼“柔性”连接，“flexible” connections © Jin Weiqi

在此空间中，设计希望贯彻“榫卯之功”，具体如下：

In this space, the design seeks to embody the “craft of the mortise-and-tenon” through the following strategies:

1. 基座柱绌
Column Bases and Joinery Inserts

查阅、收集、研讨大量榫卯资料并制作模型比对后，最终选定四种榫卯制式：南禅寺修复的侧向斜推榫被优先确定——螳螂头榫；其他之二为上下垂直卡合的偏矮形式——十字榫；之三为带中心梢锁、垂直卡合且更高的形式——巴掌榫；以及最后一种需以45°空间路径侧下卡合的复杂形式。四类榫卯在形制、逻辑、安装路径上均各具特性，使空间细部呈现丰富工艺层次。

▼从历史中汲取的方法，Learning from history © Hong Lun

After extensive research and model studies of various joinery systems, four types were selected: the lateral-sliding “praying mantis” mortise from Nanchan Temple; a low, vertically interlocking cross mortise; a taller center-pinned palm mortise; and a more complex piece requiring a 45° spatial insertion path. These four systems differ in form, logic, and installation sequence, contributing to a rich layering of craftsmanship.
▼零件与拼装，Parts and assembly © Jin Weiqi

2. 木柱与梁的榫接关系
Joinery Between Columns and Beams

虽传统抬梁式木架多不在柱梁间使用榫卯，但为保持整体建造逻辑，本案采用半咬合榫接。由于运输与现场安装限制，通长的木梁须分段设置，分段处亦以半榫方式处理，使细节既清晰呈现，又保持结构榫卯性。

Although traditional “tie-beam” structures typically refrain from using mortise-and-tenon joints between column and beam, this project adopts semi-lapped joints to preserve structural coherence. Due to transport and installation constraints, full-length beams must be segmented, and the segment joints are likewise treated with half-lap joinery—making the structure legible while maintaining its crafted integrity.

▼榫卯细节，Joinery detail © Jin Weiqi

3. 挂衣杆、坐具等次级构造的榫卯整合
Integration of Joinery in Secondary Elements

东方传统木构讲究家具与建筑构件的统一逻辑。店中的坐具通过榫卯方式卡入混凝土柱绌，使家具成为结构系统一部分；挂衣杆则预先在柱上开卯口，再将金属杆以卡榫方式嵌入，形成尺度由大至小而语言统一的建造体系。

Traditional Eastern wooden architecture values the unity of furniture and structural logic. In this store, seating elements are joined into the concrete column recesses using mortise-and-tenon methods, becoming part of the structural system. Hanging rods are integrated by pre-cutting mortises at the columns and inserting metal rods through a tenon-like maneuver—creating a consistent construction language from macro to micro scales.
▼次级结构，Secondary joinery structure © Jin Weiqi

仪式与生活
Ritual and Everyday Life

消费空间亦是人的空间。“城”意味着合围与聚集；“市”则指物的交换，即“消费”。于当下物质冗余的时代，“着衣”已不再只是御寒遮体，而是物质通往精神的路径。

A retail space is ultimately a human space. “City” implies enclosure and gathering; “market” implies exchange—consumption. In the current age of material abundance, “putting on clothes” is no longer merely functional but a pathway from the material to the spiritual.
▼“市”，“market” implies exchange © Jin Weiqi

因此，单农此空间自始便不以“建造一间服装店”为目的。当所有衣物被抽离，空间首先应是一件具有物性、秩序性与精神性的当代艺术作品：以真实的材料、严谨的节点、克制的节奏构筑场域。物材都被妥善对待，以一种格物的姿态回应传统木构的逻辑。

Thus, this space for DANNONG was never intended simply as “a clothing store.” Stripped of all garments, the space should first exist as a contemporary artwork with tangible materiality, order, and spirit—constructed through genuine materials, precise joints, and a restrained rhythm. All materials are treated with respect, echoing the epistemic attitude of traditional timber construction.
▼简洁又巧妙的座椅，A simple and smart seating design © Jin Weiqi

人们在框架之间穿行、触碰材质、观察光影，从而与物、与空间、与自身建立更深层次的联系。正是在这种极简而凝练的秩序中，穿衣成为生活的仪式体验，使“认真、纯粹、有序”的品牌精神得以真正落地——以空间托举衣物，以衣物回应生活。“衣、择衣、着衣”成为一种生活的仪式。

People walk through frames, touch materials, observe light and shadow, and form deeper relations with objects, space, and self. In this minimalist but concentrated order, dressing becomes a ritual of living. The brand’s ethos—“earnestness, purity, and order”—is grounded through the space holding the garments, and the garments responding to life. “Clothes, choosing clothes, wearing clothes” becomes a ritual practice of living.

▼人与空间，Human and interior space © Jin Weiqi

▼剖面图，Section © LUO studio

项目信息
设计团队：罗宇杰工作室 LUOstudio
设计人员：罗宇杰洪轮曹玉涛梁嘉惠
业主：單農 DANNONG
施工统筹：广州朝荣装饰设计工程有限公司
混凝土施工方：北京三米空间装饰有限公司
木料施工方：辽宁金柏胜木结构科技有限公司
项目地址：山西省太原市万柏林区长兴路5号华润万象城L222
面积：171㎡
设计开始时间：2024年5月
建设完成时间：2024年9月
摄影师：金伟琦

Project Information
Project name: Pillar of Zen — DANNONG Store at The MixC Taiyuan
Design Team: LUO studio
Designers: Luo Yujie, Hong Lun, Cao Yutao, Liang Jiahui
Client: DANNONG
Construction Coordination: Guangzhou Chaorong Decoration Design Engineering Co., Ltd.
Concrete Contractor: Beijing Sanmi Space Decoration Co., Ltd.
Timber Contractor: Liaoning Jinbaisheng Timber Structure Technology Co., Ltd.
Location: L222, The MixC, No. 5 Changxing Road, Wanbailin District, Taiyuan, Shanxi, China
Area: 171 m²
Design Start: May 2024
Completion: September 2024
Photography: Jin Weiqi

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