感谢 AAI·里未设计 予gooood分享以下内容。更多关于他们，请至：AAI·LifeWay studio on gooood
Appreciations towards AAI·LifeWay studio for providing the following description:

光阴成诗，时空对照
time becomes poetry, time and space contrast

保护属于城市的具象记忆、让“老物件”重拾新的生命力、创造经由空间展现的时光交织，在温州母亲河温瑞塘河边，矗立一座体现与传统文化的会所。

Protect the concrete memory of the city, let the “old objects” regain new vitality, and create the interweaving of time through space exhibition, academy, which tells a unique story and traditional culture, stands on the Wenruitang river of Wenzhou’s mother river.

▼建筑外观，external view of the building ©曾江河

风起塘河
The wind blew tang River

自晋代成型起，温瑞塘河已经默默流过了近两千年的时间。它守护着温州一方土地，见证了无尽的斗转星移，更浣尽人事物匆匆驻留的痕迹。正是在这样的进程中，城市与高楼拔地而起，无数曾经繁华的场所渐渐被风蚀为只可远观的见证者，最终消散在时间的烟瘴中。

对于这样的建筑，是放任时间对它们无情的侵蚀？抑或留下一份客观的记录？还是将它们当作精美的艺术品收藏？业主联合设计师对温州的老建筑进行了考察调研——通过新的视角赋予一栋明末清初老建筑独属当下时代的生命力，让雕梁画栋重新开口。

这栋明末清初的老建筑早已年久失修，斑驳的砖瓦与残破的墙壁昭示着它风烛残年的状态，因功能与实际保护需求必须将老建筑安置于二层高度的条件无疑增加了设计与实施难度。

Since the formation of the Jin Dynasty, the Wenruitang River has been flowing silently for nearly two thousand years. It is guarding the land of Wenzhou, witnessing the endless changes of events and the traces of people and things staying in a hurry. It is in this process that cities and high-rise buildings have sprung up, and countless once prosperous places have been gradually eroded by the wind and become witnesses only from afar, and finally dissipated in the miasma of time.

For such buildings, is time allowed to erode them mercilessly? Or leave an objective record? Or collect them as fine art? The owners and designers jointly write their own answers on the Bank of the Wenruitang River, giving an old building in the late Ming and early Qing Dynasties unique vitality of the current era through a new perspective, so that carved beams and painted pillars can open up again.

This old building in the late Ming and early Qing Dynasties has been in disrepair for a long time. The mottled bricks and broken walls show its old age. Due to the function and actual protection needs, the condition that the old building must be placed at the second floor height undoubtedly increases the difficulty of design and implementation.

▼改造前建筑原貌，original condition of the building ©AAI·里未设计

我们设想在新老空间中完成几百年维度的穿越，承载“让温州回到温州”的空间主旨，让老建筑可知可感可用，这就是建筑所传达的场所精神。

However, the designers gave a satisfactory answer: they completed the crossing of several hundred years in the new and old space, carried the space theme of “let Wenzhou return to Wenzhou”, and make the old buildings knowable, perceptible and usable. This is the place spirit conveyed by Academy.

▼设计草图，design sketch ©AAI·里未设计

光阴成诗
Time becomes a poem

建筑被划分为“古”、“今”两部分，其中“古”空间以明末老建筑为核心直观呈现历史切片，“今”空间则关注塑造具诗意的空间体验序列。

Academy is divided into “ancient” and “modern” parts, in which “ancient” space takes the old buildings in the late Ming Dynasty as the core to visually present historical slices, while “modern” space is related to creating a poetic spatial experience sequence.

▼分解轴测图，exploded axonometric ©AAI·里未设计

弥合新旧建筑间的时间错位性，除了在风格、材质、颜色等诸多细节强调“画风统一”，更重要的是从使用者的体验出发，“重塑”一系列具有历史纪念意义的旧场所，让新建筑产生对话，让传统和现代间具有向心性和不可分割性。

To bridge the time dislocation between new and old buildings, in addition to emphasizing the “unity of painting style” in style, material, color and many other details, more importantly, starting from the user’s experience, “reshape” a series of historical monumental old places, so as to create dialogue between new buildings and make tradition and modernity centripetal and indivisible.

▼顶视图，top view ©曾江河

▼鸟瞰，aerial view ©曾江河

设计师以“九园十二景”为题，对照温州历史上郭璞建城时的九山布列结构，园林这一备受传统士大夫喜爱的空间元素与相关营园技法被多次运用于空间塑造，并作为线索串联起主要场景节点。

With the title of “nine gardens and twelve sceneries”, the designer contrasts with the layout structure of nine mountains when Guo Pu built the city in the history of Wenzhou. The garden, a space element loved by traditional literati, and related garden management techniques have been used in space modeling for many times, and used as a clue to connect the main scene nodes.

▼九园十二景，nine gardens and twelve sceneries ©AAI·里未设计

自入口空间序列开始，建筑就营造了一种跳脱于烟火气之外的氛围，与车流密集的街道和灯火璀璨的城市自然地衔接又恰好地疏离。青灰色的砖瓦立面与若隐若现的老建筑如同待启的老书封面，预示着到访者即将走入由光阴构筑的空间故事语境。

From the beginning of the entrance space sequence, the building has created an atmosphere beyond the pyrotechnic atmosphere, which naturally connects with the traffic intensive streets and the city with bright lights, but also just alienates. The bluish gray brick facade and the old buildings are like the old book cover waiting to be opened, which indicates that the visitors are about to enter the space story context constructed by time.

▼项目沿街立面，facade of the project along the street ©曾江河

▼若隐若现的老建筑，partly hidden old buildings ©曾江河

经过由竹列构成的长廊，便来到颇具侘寂意味的庭院，空间节奏的欲扬先抑如同桃花源中“初极狭，才通人，复行数十步，豁然开朗”的描写。而一束天光自头顶倾泻下，在深灰构成的庭院底色上晕染出丝缕妙而不可捉的禅意。

After the long corridor composed of bamboo rows, you come to the courtyard with a sense of tranquility. The rhythm of space is like the description in the peach blossom garden that “At the beginning, it was extreme narrow, and it could only pass through people. After walking dozens of steps, it suddenly enlightened”. And a beam of sky light poured down from the top of the head, and on the courtyard background composed of dark gray, it fainted and dyed a thread of wonderful and unreachable Zen.

▼竹列构成的长廊，corridor defined by rows of bamboos ©曾江河

▼竹列构成的长廊，corridor defined by rows of bamboos ©曾江河

▼庭院，courtyard ©曾江河

劲松装点的水院序列组织起景厅与二层高的如虹云廊，成为“今”空间的重心：凭栏而眺，水木互峙，室内与室外、虚与实、厚重的建筑底色与轻盈的自然景致，共同勾勒出一副具古韵的水墨图景。

The water courtyard sequence decorated by sturdy pines organizes the scenery hall and the two-story rainbow cloud corridor, which become the focus of the “modern” space: overlooking by the railing, water and wood facing each other, indoor and outdoor, virtual and real, heavy architectural background and light natural scenery, and together outline a pair of ancient ink painting.

▼水院，water courtyard ©曾江河

▼松树装点的空间，space decorated by pine trees ©王厅

而在其中，呈半圆舒展的云廊同时承担起景观面、灰空间、路径三重角色：设计高度不同的“天水”“地水”双庭经由云廊的切割分列东西，而又由通透的玻璃面再视觉上相互渗透；叠落的水体将自然的韵致与意向渗透进廊道灰空间的柔性界面；穿梭其间，水声草木声相映，光影相错。

Among them, the semicircle stretched cloud corridor plays the role of landscape surface, gray space and path: the “Sky water” and “Ground water” double courtyards with different design heights separate things through the cloud corridor, and then penetrate each other visually through the transparent glass surface; the overlapping water body infiltrates the natural charm and intention into the flexible interface of the corridor gray space; and sounds of water and trees reflect each other, but light and shadow alternate between them.

▼云廊，cloud corridor ©Holi河狸景观

再往西去，便是一条连接“古”“今”空间的狭长走廊，摒除多余的装饰，强调从顶部长条窗引入的天光。而在光的指引下，场所与行进行为的仪式感被无限放大，从“今”空间向“古”空间的递进亦被渲染上情绪的铺垫。

Further to the west, there is a narrow corridor connecting the “ancient” and “modern” spaces. The redundant decoration is eliminated, and the skylight introduced from the long window at the top is emphasized. Under the guidance of light, the ritual sense of place and marching behavior is magnified infinitely, and the progression from “modern” space to “ancient” space is also played up as the bedding of emotion.

▼没有多余装饰的长廊，long corridor with limited decoration ©王厅

▼长条天窗引入天光，skylight introducing sunlight into the space ©王厅

“古”空间中，明末老建筑被设计师抬升至二层高度，由半透明的金属网包裹，具有丰富光影效果的二层立面体系映衬得古建筑朦胧而虚幻。随着到访者的行进，二层立面间的视觉衍射将会在观者眼前呈现动态视错觉，表现出跳脱于静谧沉敛空间底色的生命张力。建筑与景观之间、实体与倒影之间，光与影之间，皆是“古”“今”共同诉说的光阴故事。

In the “ancient” space, the old building in the late Ming Dynasty was raised to the second floor height by the designer and wrapped by translucent metal mesh. The two-layer facade system with rich light and shadow effects set off the hazy and illusory ancient buildings. With the visitors moving forward, the visual diffraction between the two facades will present a dynamic visual illusion in front of the audience, showing the life tension of jumping out of the quiet space background. Between architecture and landscape, between entity and reflection, and between light and shadow, are time stories shared by “ancient” and “modern”.

▼半透明金属网包裹的老建筑
old building wrapped by translucent metal mesh ©曾江河

时空对照
Spatiotemporal contrast

如何让老建筑的元素与精神更深地融入空间与使用者的行为，成为设计师在空间中持续关注的问题。

除了让老建筑再生成为可进入可使用的场所，设计师进一步解构“过去”与“现在”的对照关系，让古今的空间碎片得以更细节、更彻底地相互渗透。玻璃与金属组成的现代语汇中戏剧化地出现在已有数百年历史的老建筑中，与古朴典雅的梁架椽子形成冲突与和谐奇妙并存的关系。四水归堂的天井构筑起会客厅的采光空间，几何感的灯具一边彰显现代的设计感，一边定格几百年前雨水如瀑的片刻；曾经最主要的礼序空间成为好友间畅所欲言的舞台。

How to make the elements and spirit of the old buildings more deeply integrated into the space and the user’s behavior has become a continuous concern of designers in the space of Academy.

In addition to regenerating old buildings into accessible and usable places, designers further deconstruct the contrast between “past” and “present”, so that the ancient and modern space debris can penetrate into each other in more detail and thoroughly. The modern vocabulary composed of glass and metal dramatizes in the old buildings with hundreds of years of history, forming a conflict and harmonious relationship with the simple and elegant beams and rafters. The courtyard of Sishuiguitang builds the daylighting space of the meeting hall. The geometric lamps show the modern sense of design while setting the scene of rain like waterfall hundreds of years ago. The once most important ritual space has become a stage for friends to speak freely.

▼接待大厅，reception hall ©曾江河

▼会客厅，meeting hall ©曾江河

穿斗式的老构架与精美的木雕在大堂空间中围合出层级更丰富的灰空间——穿梭于柱廊，抬头欣赏这依旧漂亮的老物件，新老空间元素随着人的动作为不断角力，使用者所处的场景也在古今间无缝切换。

The old structure and exquisite wood carvings in the hall space form a gray space with more rich levels – shuttling through the colonnade, looking up to appreciate the still beautiful old objects. The elements of the new and old space are constantly wrestling with people’s actions, and the scenes of the users are also seamless switching between ancient and modern times.

▼老构架在大堂中星恒层级丰富的灰空间，old structure creating rich gray spaces in the lobby ©王厅

▼柱廊，colonnade ©王厅

老建筑的细部有时会更碎片化地呈现：置身于茶室的单颗柱保留了明末最古朴的色泽与形态，如同一个穿越时空的旁观者，与玻璃幕墙、旋转楼梯无言地对话。即使周遭发生的行为（品茗）延续了它所曾经见证的传统，却依旧以焕然一新的场景呈现，更突显牵连于“时间”这一线索的对比张力。

Sometimes the details of old buildings are more fragmented: the single column in the teahouse retains the most primitive color and shape of the late Ming Dynasty, just like a bystander through time and space, talking with glass curtain walls and revolving stairs in silence. Even if the behavior (tea tasting) around it continues the tradition it once witnessed, it still presents a new scene and highlights the contrast tension involved in the clue of “time”.

▼茶室，tea room ©王厅

“古”的意蕴也同样参与了对新建筑语汇的编排：第五立面的圆形取景框刚好能容下一角屋檐和一枝竹，在蓝天的映衬下是一副全新的国画小品；一品品玻璃在立面上框定屏风的比例，士大夫对园林的审美意趣在建筑一隅全然展现。

The implication of “ancient” is also involved in the arrangement of new architectural vocabulary: the circular frame of the fifth facade can just hold a corner eaves and a bamboo, which is a brand-new Chinese painting sketch against the blue sky; the glass of the first grade sets the proportion of the screen on the facade, and the literati’s aesthetic interest in the garden is fully displayed in the corner of the building.

▼屋顶上的圆形取景框，circular opening of the roof framing the view to the sky ©Holi河狸景观

“古”与“今”不再仅仅是对方的旁观者，而是在相互影响与渗透的过程中，让文脉与时空的线索对时间线上的两个不同节点分别带来影响，相互牵连故而达到平衡。

“Ancient” and “modern” are no longer just spectators of each other, but in the process of mutual influence and penetration, the clues of context and time and space bring influence to the two different nodes on the time line respectively, implicating each other, so as to achieve balance.

▼现代的园林，modern Chinese garden ©王厅

古今之境，古今之镜
Ancient and modern landscape, ancient and modern mirror

建筑片段、设计手法、材质、色彩，共同创造了难以磨灭的蒙太奇印象：是回忆，是展望，更是重塑。

当表象与手法被剥离，残存下来的只有最纯粹的本质——让老建筑在城市进程中成为可持续的参与者而非束之高阁的藏品，空间与时间的隐喻为来访者描绘具有强情境感的体验，用设计缝合新与老的边界。这些是设计师在建筑中想要达到的目的。

▼立面细部，details of the facade ©王厅

Architectural fragments, design techniques, materials and colors together create an indelible montage impression: memories, prospects and remolding.

When the appearance and technique are stripped, only the purest essence remains – let the old buildings become sustainable participants in the process of the city rather than shelved collections. The metaphor of space and time depicts the visitors’ experience with strong sense of context, and stitches the boundary between the new and the old with design. These are what the designers want to achieve in Academy.

▼一层平面图，first floor plan ©AAI·里未设计

▼二层平面图，second floor plan ©AAI·里未设计

▼立面图，elevations ©AAI·里未设计

▼剖面图，sections ©AAI·里未设计

项目名称：温州茶文化会馆
设计方：AAI·里未设计
公司网站：http://www.aai-arch.com
联系邮箱：marketing@aai-arch.com
项目设计&完成年份：2020.04-2021.11
主创及设计团队：里未设计 | 方治国，杜少峰，罗启闻，包晋晋，黎超，郑墨，骆铭树，林钰桢，赵桐，李可欣（实习生）
项目地址：浙江省温州市鹿城区马鞍池西路68号
建筑面积：2241.2㎡
摄影版权：曾江河，王厅，Holi河狸景观
合作方：浙江天然建筑设计有限公司；中南幕墙；朗道国际设计；北京集美组；深圳玛特照明设计顾问有限公司；浙江新邦建设股份有限公司；安徽存真堂古建筑工程有限公司
客户：阳光城招商

Project Name: WenZhou Academy
Design: AAI·LifeWay studio
Website: http://www.aai-arch.com
Contact e-mail: marketing@aai-arch.com
Design & Completion Year: 2020.04-2021.11
Leader Designer & Team: LifeWay studio | Bill Fang, Shaofeng Du, Leslie Luo, Elvis Bao, Chao Li, Mo Zheng, Mingshu Luo, Yuzhen Lin, Tong Zhao, Kexin Li
Project Location: 68 Maanchi West Road, Lucheng District, Wenzhou City, Zhejiang Province, China
Gross Built Area: 2241.2㎡
Photo Credits: Zeng Jianghe, Wang Ting, Holi-Beaver landscape photography
Partners: Zhejiang Tianran Architecture Design Co. LTD；Zhongnan Institute of Curtain Wall Design Research；Landau International Design；Beijing Newsdays；Shenzhen Matte Lighting Design Consultant Co. LTD；Zhejiang Xinbang Construction Co. LTD； Anhui Cunzhentang Ancient Architecture Engineering Co. LTD
Clients: YANGO CHINA MERCHANTS

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