感谢 造园建筑（联系邮箱：info@gardeningarchitects.com）予gooood分享以下内容。更多关于他们：Gardening Architects on gooood
Appreciation towards Gardening Architects (contact: info@gardeningarchitects.com) for providing the following description:
文化的传播从来不是单向的“移植”，而是双向的“再造”。茶与咖啡作为一种世界级的饮料，如今已然不分文化与地域的归属，皆自然的融入到地方生活场景或织入地域文化中，甚至成为地方饮食的创新内核。
The dissemination of culture has never been a one-way “transplant,” but rather a two-way “reinvention.” Tea and coffee, as world-class beverages, have long transcended cultural and geographical affiliations, naturally integrating into local life scenes or weaving into regional cultures, and even becoming the innovative core of local cuisines.
▼嵌入世俗中的青岩洞天，The Qingyan Cave Paradise Nestled in the Secular World © S2Y Creative & 造园建筑
一种饮品跨越地理与文化边界后，并非被同化，而是在新的土壤中再生成为独特的文化系统。中国茶东传日本的历程表明，一种饮品传入新地方之后，真正的影响力不在于它保留了多少原乡味道，而在于它催生了多少新的世界。日本茶不完全是中国茶的分支，它独立成就了“另一套世界”：形成了自我的建筑、器物、礼仪、哲学、教育传承体系，绵延数百年不绝，以他们的方式将茶“重写”了一遍。
When a beverage crosses geographical and cultural boundaries, it is not assimilated, but regenerates in new soil to become a unique cultural system. The journey of Chinese tea eastward to Japan demonstrates that after a beverage is introduced to a new place, its true influence lies not in how much of its original flavour it retains, but in how many new worlds it gives rise to. Japanese tea is not merely a branch of Chinese tea; it independently achieved “another world of its own”: forming its own architecture, utensils, rituals, philosophy, and educational lineages that have endured for centuries, “rewriting” tea in their own way.
▼嵌入世俗中的青岩洞天，The Qingyan Cave Paradise Nestled in the Secular World © S2Y Creative & 造园建筑
以此为鉴，这正是我们今天讨论“咖啡中国化”的期待：不是简单的搬运西方，也不是把咖啡变成“中国的茶”，而是让咖啡在中国生成一个“新的咖啡世界”——拥有独特的空间语言、美学系统、饮用仪式与精神内涵。肯定有一天，世界看到的不是“中国在喝咖啡”，而是“中国重新书写了咖啡”。
Taking this as a mirror, this is precisely our expectation in discussing “the Sinicisation of coffee” today: not a simple transplantation of the West, nor turning coffee into “China’s tea,” but allowing coffee to generate a “new coffee world” in China—possessing a unique spatial language, aesthetic system, drinking rituals, and spiritual connotations. One day, the world will surely see not “China drinking coffee,” but “China rewriting coffee.”
▼宋的衣角，The Hem of Song dynasty © S2Y Creative & 造园建筑
咖啡，首先面对的是市井。在杭州新开张的恒隆广场，我们的条件比较受限：一是小，店铺与外摆分别只有六十平方米；二是割裂，外摆与店铺隔着三十多米，不易关联。因此我们用一种“推远三境”法，求深、求广、求远，重新生出一种咖啡空间的营造诗学。
Coffee, first and foremost, confronts the common street. At the newly opened Henglong Plaza in Hangzhou, we faced considerable constraints: first, smallness—the shop and its outdoor seating are only sixty square metres each; second, fragmentation—the outdoor seating is separated from the shop by over thirty metres, making association difficult. We therefore adopted a method of “pushing three distances” to seek depth, breadth, and remoteness, giving birth to a new poetics of coffee-space creation.
▼洞观的远，Seeing Far into the Depths © S2Y Creative & 造园建筑
一，求深——洞天饮咖：内敛性造境
Seeking Depth – Coffee in a Grotto-Heaven: An Introverted Mode of World-Making
假如咖啡在宋代进入中国，应该不会被禅师们拒绝，虽然有着近似醒脑的功能，咖啡的独特的木质味与烘烤焦香，以及与其他原料配佐所爆发出来的种种惊喜，与茶各领一方，并不能相互取代。咖啡在历史上本该有可能进入寺院禅堂，成为僧侣的日常之物，载礼载道之物。于是，《罗汉洞天吃茶图》便有可能成为《罗汉洞天饮咖图》。
▼《罗汉洞天吃茶图》，
“Tea-Drinking Scene at Luohan Cave” © 南宋·周季常、林庭珪
If coffee had entered China during the Song dynasty, it would likely not have been rejected by the Chan monks. Though possessing a similar mind-clarifying function, coffee’s distinctive woody notes and roasted fragrance, along with the myriad surprises unleashed by its combinations with other ingredients, occupy a realm parallel to tea—neither can substitute the other. Historically, coffee might well have entered the meditation halls of monasteries, becoming a daily staple for monks, a vessel for ritual and doctrine. Thus, The Arhats Drinking Tea in a Grotto-Heaven might well become The Arhats Drinking Coffee in a Grotto-Heaven.
▼洞与灯与座的复合，
A Combination of a Cave, a Lamp, and a Stand © S2Y Creative & 造园建筑
在洞天里饮咖啡，这既是咖啡中国化想象的源头，也是对商场环境的一种立场：众人喧嚣，我静谧；众人显露，我深藏；众人炫目，我幽玄。这不仅是空间策略，更是一种对消费主义“展示性空间”的抵抗，咖啡店是城市中的“藏身处”，更是一种文化的“洞察点”。
▼咖啡店轴测图，Isometric Drawing of the cafe © 造园建筑
Drinking coffee in a grotto-heaven serves both as the origin of our Sinicised coffee imagination and as a stance against the shopping-mall environment:While the crowd is clamorous, we are serene; while others are exposed, we are hidden; while they are dazzling, we are dark and profound. This is not merely a spatial strategy, but a resistance against the consumerist “space of display.” The coffee shop becomes a “hiding place” within the city, and moreover, a “vantage point of insight” into culture.
▼洞的阳台，the balcony of the cave © S2Y Creative & 造园建筑
▼灯转阶下，The light shines on the steps below © S2Y Creative & 造园建筑
二，求广——山水饮咖：展开性造境
Seeking Breadth – Coffee Amidst Mountains and Waters: An Expansive Mode of World-Making
将咖啡空间从室内解放出来，茶有野点，咖啡有露营，但露营是归零、减法与松弛，却没有造境。我们需要发明中国人面向山水的“饮咖之境”，咖啡需要融入中国画意的图式，实现咖啡的山水化。
Freeing the coffee space from the confines of the interior—just as tea has its nodate (outdoor tea drinking), coffee has its camping. But camping tends toward reduction, simplification, and relaxation, without constructing a world. We need to invent a “realm for drinking coffee amidst mountains and waters” for the Chinese sensibility, one that integrates coffee into the pictorial schemata of Chinese painting, achieving the landscape-isation of coffee.
▼咖啡洞，The coffee cave © S2Y Creative & 造园建筑
▼洞察外界，Insights into the Outside World © S2Y Creative & 造园建筑
▼青岩升华灯，Qingyan Shenghua Lamp © S2Y Creative & 造园建筑
▼以幽冥对浮华，
Contrasting the Underworld with Vanity © S2Y Creative & 造园建筑
▼经纬停匀，Warps and Wefts Aligned Evenly © S2Y Creative & 造园建筑
▼畦封井画，Painting of a Sealed Well in a Farm Field © S2Y Creative & 造园建筑
▼嶙峋松龛，Rugged Pine Shrine © S2Y Creative & 造园建筑
在此，在外摆区域，先尝试两种，形成一组高下：高，阁台眺远；低，莲池鱼戏。阁台眺远，登高望远的视域展开，取高台之栏围与高堂立面为背屏。这是一种楼台堂正的造境，向高，向远。
▼外摆区山水道具轴测图，Isometric Drawing of Landscape Props for the Outdoor Display Area © 造园建筑
Here, in the outdoor seating area, we first attempted two configurations, forming a vertical pair: Above, a pavilion-terrace for distant viewing; below, a lotus pond with frolicking fish. The pavilion-terrace for distant viewing unfolds a vista of elevation and distance, using the railing enclosure of a high terrace and the elevation of a grand hall as its backdrop. This is a mode of world-making with the dignity of a pavilion-and-hall composition, reaching upward and outward.
▼外摆区，莲池望向阁台，From the outdoor seating area, Lianchi looks toward the pavilion © S2Y Creative & 造园建筑
莲池鱼戏，一种强烈的具身性的池院，人深陷于荷池中，池不仅是景，也是“家具”。视线低平，半躺包裹，形成荷抱贴水之感。
The lotus pond with frolicking fish is an intensely embodied courtyard-pond, where one is deeply immersed among lotus plants. The pond is not merely a view, but also “furniture.” With the line of sight kept low, and the body half-reclined and enveloped, it creates a sensation of nestling close to the water amid the lotus leaves.
▼外摆区，阁台眺远，From the outdoor seating area, Balcony with a View of the Distance © S2Y Creative & 造园建筑
阁台俯瞰莲池，莲池仰望阁台，成为一组内向的互望小世界，这亦是对周遭的境遇性屏蔽。
The lotus pond with frolicking fish is an intensely embodied courtyard-pond, where one is deeply immersed among lotus plants. The pond is not merely a view, but also “furniture.” With the line of sight kept low, and the body half-reclined and enveloped, it creates a sensation of nestling close to the water amid the lotus leaves.
▼外摆区，莲灯盏盏，From the outdoor seating area, Lotus-shaped lanterns, one after another © S2Y Creative & 造园建筑
▼莲为灯，叶为栏，The lotus serves as a lamp, and its leaves as a railing © S2Y Creative & 造园建筑
三、求远——画舫饮咖：游动性造境
Seeking Remoteness – Coffee on a Painted Pleasure Barge: A Mobile Mode of World-Making
远，一方面指的是不固定地点的咖啡活动，另一方面指的是愿景与想象。它是一幅画，也是未来要做的事情。这幅画，这件事，就是吧台的背景，成为洞天咖啡的话题，洞天观此画，即是从原点望向未来。
Remoteness, on the one hand, refers to coffee activities not fixed to a single location; on the other hand, it points to vision and imagination. It is a painting, and also a future endeavour. This painting, this endeavour, becomes the backdrop of the bar counter, a topic for coffee in the grotto-heaven. Viewing this painting from within the grotto means looking from the origin toward the future.
▼饮咖思远，Sip Coffee, Think of the Future © S2Y Creative & 造园建筑
▼咖啡未来的图景，A Vision for the Future of Coffee © S2Y Creative & 造园建筑
江南水网相较于高速公路与航空，属于慢生活。画舫，是一种慢节奏赏景游宴的文化公交，这样的公交之上，植入咖啡，形成“一杯咖啡，一段水路”的体验序列。画舫不仅是交通工具，更是移动的社交空间，咖啡作为“慢节奏的服务者”，沿着水网蔓延开去。用时间的悠远织造着空间的无限广远。
Compared to expressways and aviation, the water-net of Jiangnan belongs to a slower way of life. A painted pleasure barge is a kind of slow-paced cultural public transport for scenic touring and feasting. Implanting coffee onto such a vessel creates a sequential experience of “a cup of coffee, a stretch of waterway.” The pleasure barge is not merely a means of transport, but a mobile social space, with coffee serving as a “slow-paced attendant” spreading along the water network. Through the vastness of time, it weaves an infinite expanse of space.
▼画，今日的咖啡舫，painting: Today’s Coffee Boat © S2Y Creative & 造园建筑
从“一杯饮品”到“一套世界”的营造，咖啡空间的中国化之路，才刚刚开始。我们不是在为咖啡寻找一个容器，而是在以咖啡为引，重新发明一种生活世界的可能性。它不是将咖啡塞进中国风格的壳里，而是让咖啡成为中国山水精神的当代载体；它让咖啡不再是“舶来的第三空间”，而成为“有根的中国日常”；它让咖啡店不再是“城市中的孤岛”，而成为与洞天、莲池、画舫、山野相连的人文网络。
From “a cup of drink” to “a world of its own”—the Sinicisation of coffee space has only just begun. We are not seeking a container for coffee; rather, using coffee as a catalyst, we are reinventing the possibility of a lifeworld. It is not about stuffing coffee into a Chinese-style shell, but about allowing coffee to become a contemporary vessel for the Chinese spirit of mountains and waters. It transforms coffee from a “transplanted third space” into “a rooted Chinese daily ritual.” It turns the coffee shop from an “urban island” into a humanistic network connected to grotto-heavens, lotus ponds, painted barges, and mountain wildernesses.
▼画，宋的咖啡舫，painting: Song’s Coffee Boat © S2Y Creative & 造园建筑
项目名称：AITCOFFEE宋韵
项目类型：室内
项目地点：浙江省杭州市
建成状态：建成
设计时间：2025年9月
建设时间：2026年3月
建筑面积：120平方米
设计单位：造园建筑工作室 中国美术学院建筑艺术学院
设计单位联系方式：info@gardeningarchitects.com
主创建筑师：王欣、姚汉青、王徐超、谢庭苇
业主：AITCOFFEE
道具：日兴圆艺术家居，态度家具
施工：杭州叁木装饰设计有限公司
照明：杭州荣熙照明工程有限公司
摄影师：造园建筑，S2Y Creative
Project Name: AITCOFFEE Song Rhyme
Project Type: Interior
Project Location: Hangzhou, Zhejiang Province
Completion Status: Built
Design Period: September 2025
Construction Period: March 2026
Floor Area: 120 sqm
Design Firm: Gardening Architects, School of Architecture, China Academy of Art
Design Firm Contact: info@gardeningarchitects.com
Principal Architects: Wang Xin, Yao Hanqing, Wang Xuchao, Xie Tingwei
Client: AITCOFFEE
Furnishings/Props: Rixingyuan Artist Home, Taidu Furniture
Construction: Hangzhou Sanmu Decoration Design Co., Ltd.
Lighting: Hangzhou Rongxi Lighting Engineering Co., Ltd.
Photography: Gardening Architects, S2Y Creative
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