北京大运河书屋 / 意度建筑

编辑：蔡如若（实习）| 校对：李博超 | 2024.10.24 09:56

设计单位 意度建筑

项目地点 北京

建成时间 2023年1月

建筑面积 751平方米

本文文字由设计单位提供。

京杭运河

The Beijing-Hangzhou Grand Canal

京杭大运河是世界上里程最长、工程最大的古代运河，也是最古老的运河之一，全长约1797公里，至今已有2500多年的历史。北京通州段之运河，因它主要担负着运送南方粮食及征收税赋之重任，被当地民间学者赞为 “铜帮铁底” 运粮河。曾经的通州运河两岸，那是一片何等的繁忙盛景。

The Grand Canal is the longest and largest ancient canal in the world and also one of the oldest. With a length of approximately 1,797 kilometers, it has a history of more than 2,500 years. The section of the canal in Tongzhou District, Beijing is known as the "copper-sided and iron-bottomed" grain transport river by local folk scholars. As it was mainly used for transporting grain from the south and collecting taxes, the banks of the Tongzhou Canal were once extremely busy.

运河书院坐落在北京大运河通州段的西岸，位于北京城市副中心的东侧，它原是一座古色古香的仿古建筑，周边桃林绚烂，绿柳摇曳，人们唯有穿过林间那蜿蜒的步行小径，方可抵达这方宁静之地。

The Canal Academy is situated on the west bank of the Tongzhou section of the Grand Canal in Beijing and on the east side of the sub-center of Beijing. Originally an antique-style building, it is surrounded by peach blossoms and green willows. People can only reach it by traversing the footpaths in the forest.

这座建筑已经闲置十余年，业主希望将其改造为一个包含旅游接待、休憩、水吧和书屋等功能的复合空间，使其既满足公园游客接待的公益职能，又可通过经营水吧和书屋实现投资运营收支平衡。

This building has been unused for over a decade. The owner hopes to convert it into a complex functional space incorporating tourism reception, rest areas, a water bar, and a bookshop. This will not only fulfill the public welfare function of receiving tourists in the park but also achieve a balance between investment, operation, income, and expenditure by operating the water bar and bookshop.

流淌的界面·流动的空间

Flowing Interface · Flowing Space

既有建筑的柱网布置极为紧密，南北共列五排柱网，四跨纵深，类似古建筑的“双槽”柱网体系。建筑的中部柱子高耸，在距地面三点九米的标高处，存有横向联系梁。这想必与仿古建筑的屋面举折相关，然而这却致使空间被切割得支离破碎。我们一致认为，此空间并不适宜作为接待中心与书屋。倘若依据柱位砌墙以限定空间，那柱子便会过多，空间不但会显得呆板琐碎，中部柱跨的光线也将因受边跨墙体的阻挡而变得幽暗。

The column grid layout of the existing building is quite dense, with a total of five rows of column grids from north to south and four bays in depth. Moreover, because the columns in the middle are excessively tall, there is a transverse connecting beam at an elevation of 3.9 meters from the ground. This is presumably related to the roof pitch of the antique-style building. However, this leads to the space being extremely fragmented. In our view, this space is not suitable for being a reception center and a bookshop. If walls are constructed according to the column positions to demarcate the space, there will be too many columns. The space will not only be rather rigid and fragmented, but also the light in the middle column bay will become dim as it is blocked by the walls of the side bays.

因此我们希望打破既有柱网的限定，创造去一个“无柱”空间，让自然光线和空气自由流动，为访客构建一处自由徜徉的休憩场所。基于这个认知，我们提出了一个“流淌的墙体”的概念，以曲线形的片墙串联起柱网，通过柱子间的灵动连线消解柱子，构建出不规则却又相对完整的空间形态，并在弯曲的墙上开挖拱形洞口，联络被分隔的空间，形成相对模糊的边界区隔。如此一来，流动的墙体将空间融合为一个整体，各个空间之间也变得“透明”起来，构成相互关联、相互凝望的观照体系。这种办法类似于将自由的园林空间结构植入了类似中国建筑“双槽”的严整平面，为建筑内部的空间赋予了起承转合和因借自然的趣味性。

Therefore, we aspire to shatter the confines of the existing column grid and fashion a “column-less” space, enabling natural light and air to flow freely and establishing a haven where visitors can wander at will and find repose. Grounded in this perception, we put forward the concept of “flowing walls”. Curved partition walls are employed to link up the column grids. Through the supple connections between the columns, the columns are gradually dissolved, thus giving rise to an irregular yet relatively complete spatial form. Arch-shaped openings are carved on the sinuous walls to bridge the separated spaces and create relatively indistinct boundary divisions. In this manner, the flowing walls not only fuse the space into a unified whole but also render the spaces “transparent” to one another, constituting an interconnected and mutually observing system. This approach is akin to implanting the free garden space structure into a strict plane reminiscent of the “double grooves” of Chinese architecture, endowing the interior space of the building with the allure of transition, connection, and borrowing from nature.

游客休憩区位于建筑最北侧，临窗而居，为坐下来歇脚的游客提供观看北面小丘景观的机会。旅游咨询和水吧区融合在一起，面向入口大厅，为游客提供解答、补水和简餐等服务。

The tourist rest area is located at the northernmost side of the building. Situated by the window, it provides an opportunity for tourists taking a break to view the landscape of the small hill to the north. The tourist information and water bar area are integrated. Facing the entrance hall, it provides services such as answering questions, replenishing water, and offering simple meals for tourists.

多功能区既是读书区又可兼做休憩区，布置在空间中部。绕过正对入口的“影壁墙”，是相对独立的读书区，这里相对私密安静，在阅读的同时也可观看南侧庭院景色。

The multi-functional area serves as both a reading area and a rest area and is located in the middle of the space. After bypassing the "screen wall" directly facing the entrance, there is a relatively independent dedicated reading area. This place is relatively private and quiet, making it suitable for reading. One can also view the courtyard scenery on the south side.

服务空间集中布置在建筑东南角。三种空间由喧闹到安静，逐渐过渡，衔接自然。这受益于在流动墙体上掏挖的拱洞，使各空间不至于突然转换而显得割裂，既保证了这三种空间既相互联通，又相对独立。

The service space is centrally arranged in the southeast corner of the building. The three spaces gradually transition from noisy to quiet, with a natural connection. This benefits from the arched openings excavated in the flowing walls, so that the spaces do not appear fragmented due to sudden transitions, ensuring that these three spaces are both interconnected and relatively independent.

在建筑的剖面研究中，我们发现，由于建筑采用中式的的“大屋顶“建筑形制，其中部空间极为高耸，如不加以利用，殊为可惜，但由于现状3.9m标高的连系梁又使其难以使用。因此我们利用现有的结构，在3.9m标高处的横向联系梁之间，增加单元式夹层，改造为多功能阅览区。

In the sectional study of the building, we found that due to the adoption of the Chinese-style "large roof" architectural form, the central space of the building is extremely high. If not utilized, it would be a great pity. However, due to the fact that the existing connecting beam at an elevation of 3.9 meters is difficult to use. Therefore, we make use of the existing structure and add unit-type mezzanines between the transverse connecting beams at an elevation of 3.9 meters and transform it into a multi-functional reading area.

但是以现状3.9m梁标高为单元式夹层结构板标高的话，由于屋面折梁截面高度较大，多功能阅览区的净高捉襟见肘，因此我们让夹层结构梁底标高与3.9m标高混凝土梁的底部平齐，单元式夹层被轻轻的悬挂在原结构上，由此提高了折梁下面的空间净高，形成一个尺度合宜的“阅池”。同时，因3.9m标高的东西向联系梁的上部为屋脊的下方空间，我们将其作为联系走道，并在其顶部集成空调和照明，用足高度。访客可通过走道找到“阅池”，经过木质台阶步入阅池，坐在半圆形的台阶上，在斜屋顶的“荫蔽”中，沉下心去，静静地读书。

However, if the current beam elevation of 3.9 meters is taken as the elevation of the unit-type mezzanine structure slab, due to the large cross-sectional height of the folded roof beam, the clear height of the multi-functional reading area is rather constrained. Therefore, we align the bottom elevation of the mezzanine structure beam with the bottom of the 3.9-meter elevation concrete beam. The unit-type mezzanine is delicately suspended on the original structure, thus increasing the clear height of the space under the folded beam and creating a “reading pool” of appropriate scale. At the same time, since the upper part of the east-west connecting beam at the elevation of 3.9 meters is the space below the roof ridge, we use it as a connecting walkway and integrate air conditioning and lighting on its top to fully utilize the height. Visitors can find the “reading pool” through the walkway and enter it via wooden steps. Sitting on the semicircular steps, under the “shade” of the sloping roof, they can settle down and read quietly.

旧物的记忆

Memory of Old Objects

京杭大运河对于生活在运河沿岸的人们来说，沉积了难忘的历史与记忆。但随着时间的流逝，这种记忆变得模糊，存留下来的记忆最终会凝结在历史遗物上，如杭州的拱宸桥、北京的什刹海，成为人们心中共同的集体记忆。

而在大运河森林公园，除了流淌的河流，没有可观的遗迹实存。但对于业主来说，运河很多设施的施工出自他们之手，多年的养护工作有着他们的足迹，这些事件不可否认的也应属于运河记忆的一个分子，那么相关的旧物也理所应当属于“遗物”的范畴。比如说围合院子、保护草坪的木栅栏，已经在此留存十余年，虽然无法与附近的通运桥和燃灯塔相比，我们仍然认为这也是运河记忆的一部分，并且这些旧物更接近普通民众的记忆，它有属于自己的历史价值。由此我们扩展了这种记忆的外延，收集这些木栅栏、青瓦、玻璃砖和运河沿岸的经过雕琢老石条，作为建造的材料。收集的工作也不限于北京本地，我们沿着运河一路向南，奔赴山东、江苏和浙江，寻找有故事的石头、有记忆的门券……

For those who dwell along the Beijing-Hangzhou Grand Canal, it has accrued an unforgettable history and a trove of memories. Yet, as time slips by, these memories grow hazy. The remaining recollections will ultimately coalesce upon historical relics, like Gongchen Bridge in Hangzhou and Shichahai in Beijing, becoming the common collective memory in people's hearts.In the Grand Canal Forest Park, apart from the flowing river, there are no visible remnants in existence. But for the proprietors, many facilities along the canal were constructed by their hands, and their footprints are left in the years of maintenance work. Undoubtedly, these events should also be a part of the canal's memory. Thus, related old objects should rightfully belong to the category of "relics." For instance, the wooden fences that enclose the yard and safeguard the lawn have been here for over a decade. Although they cannot be compared with the nearby Tongyun Bridge and Rantern Pagoda, we still believe that this is also a part of the canal's memory. Moreover, these old objects are closer to the memories of ordinary people and possess their own historical value. Hence, we have expanded the reach of this memory. We collect these wooden fences, gray tiles, glass bricks, and the old carved stone slabs along the canal as construction materials, and it is not limited to Beijing. Finally, we journey south along the canal to Shandong, Jiangsu, and Zhejiang in search of stones with tales and entrance tickets with memories...

左：运河岸边保护花草的木栅栏围墙；中：拆迁留下的玻璃砖；右：西湖边上的老石板 ©意度建筑

在寻访中，我们发现，很多造园师、商人利用自己收集的旧物件打造自己的宅邸，细节交接很有趣味，毫不拘泥。这些见闻直接影响了我们对地面铺装的做法，最终我们采用项目老建筑屋顶的旧瓦做铺装，并搭配老石板、旧青砖组合成耐人寻味，引人深思的构造细节。

During our search, we discovered that many gardeners and merchants use the old items they have collected to create their own mansions. The detailed connections are very interesting and unrestrained. These observations directly influenced our approach to ground paving. In the end, we used the old tiles replaced from the roof of the old building in the project for paving, and combined with old stone slabs and old blue bricks to form thought-provoking and contemplative structural details.

在我们看来，这种旧物实际上是一种可以直接引发意识共鸣的浅层意义上的符号，也是最容易引发联想和通感的手段。旧物材料的符号特性，传达着耐人寻味的记忆和时间痕迹，让人联想到千年运河遗留下的点滴故事。

In my view, these old objects are, in essence, symbols of a shallow sort, capable of directly striking a chord in consciousness. They are also the most effortless means to evoke associations and synesthesia. The symbolic nature of old materials conveys memories that are as captivating as a mystery and traces of time. They are like silent storytellers, making people think of the dribs and drabs of tales left by the millennium-old Grand Canal.

左：南方某私宅庭院的细部；中：运河书院的室外台阶细部处理；右：运河书院的景观步道细部处理 ©意度建筑

我们将原来保护草坪的木栅栏改造为木质天花，空调出风口也采用旧木板，让木工师傅切割成细条，制作成出风和回风百叶；我们还将甲方拆迁时收集的木板作为楼梯的地板。时间的打磨令木板纹理更加深刻，风雨的洗礼让它们的质感更加丰富，再加上工人敲打的眀钉，使这种旧木板更具故事性。

We transformed the original wooden fence that protected the lawn into a wooden ceiling. The air vents of the air conditioner also employ old wooden boards. The carpenter cuts them into thin strips and fashions them into air outlet and return louvers, as if crafting delicate works of art. We also use the wooden boards collected by the client during demolition as the floor of the stairs. Time's gentle polishing has etched deeper textures into these boards, like an artist's brushstrokes on a canvas. The baptism of wind and rain has enriched their texture, endowing them with a patina of age. Coupled with the exposed nails hammered by workers, these old wooden boards are like pages from a history book, brimming with tales waiting to be told.

左：用木栅栏改造的天花板及出风口；右：用拆迁保留的老木板拼接的木地板 ©意度建筑

业主拆除的旧玻璃砖被用到外立面中，与窗子配合形成采光、通风和观景的功能组合。玻璃砖令光纤柔和的进入室内，增加了内外景观的朦胧感。

The old glass bricks removed by the owner are used in the facade and combined with the windows to form a functional combination of lighting, ventilation, and viewing. The glass bricks allow the soft light to enter the room, increasing the hazy feeling of the interior and exterior landscapes.

由于这些旧物尺寸、规格和数量都不准确，在砌筑的过程中，项目团队必须亲自驻场设计，根据具体材料的材质和尺寸和工人师傅一起探讨，寻找最合适的砌筑方案，保证灰缝最小，并确保拼贴的节奏美感。

Since the sizes, specifications, and quantities of these old objects are all inaccurate, during the masonry process, one must be present on site for design in person. Discuss with the workers according to the material and size of the specific materials to find the most suitable masonry scheme, ensure the smallest mortar joint, and ensure the rhythmic beauty of the collage.

在软装阶段，业主将他们拆掉的一些就灯具、空调、咖啡机、桌椅等一股脑运过来，准备都放在书院里边。在我们业内的认知力，这些软装必须与原设计的审美与性格相符合，否则设计就失掉了控制，变得不纯粹。因此，起初我们是难以接受业主的这些做法的。

During the soft decoration stage, the owner simply brought over all the old lamps, air conditioners, coffee machines, tables, chairs, and other items they had removed and planned to place them all inside the academy. In our professional perception, these soft decorations must conform to the aesthetics and character of the original design. Otherwise, the design will lose control and become impure. Initially, we had difficulty accepting these actions of the owner.

但在调整软装过程中，我们不断反问自己：是谁规定必须要做成与设计初衷一模一样才是对的？是谁规定设计必须百分百落地才是好的？我们认为，好的设计应该允许条件的不断变化，好的空间应是可以无限使用的，也需要允许业主的自我调整与完善。在与自己达成和解之后，我们与业主一同，根据空间的气质，在比选中确定“最合适”的那组旧家具。

However, during the process of adjusting the soft decoration, I constantly asked myself: Who stipulates that it must be exactly the same as the original design intention to be correct? Who stipulates that a design must be fully implemented to be good? I believe that a good design should allow for continuous changes in conditions. A good space should be infinitely usable and also need to allow the owner's self-adjustment and improvement. After reaching reconciliation with myself, we worked with the owner to determine the "most suitable" set of old furniture through comparison and selection according to the temperament of the space.

显然，这种“开盲盒”式的组合一定不会达到设计师内心的“完美状态”：上世纪90年代的玻璃灯具配合着裸露的混凝土屋顶，不加粉饰的墙面映衬着工业风的色温不一致的吊灯…….但庆幸的是，空间中的90%材料都是旧物，我们认为它们均被时间罩上了一层“蒙版”，让自身变得温润而不至于显得那么尖利。它们本身就携带着情绪，携带着一种“不完美”，而这种不完美的集合，使得空间组成的“视觉颗粒”更为均质化，从而产生一种整体带有怀旧情绪的朦胧美感。

Obviously, this "blind box opening" style combination will definitely not reach the "perfect state" in the designer's heart: glass lamps from the 1990s are matched with the exposed concrete roof, and the unadorned walls are set off by industrial-style pendant lamps with inconsistent color temperatures... But fortunately, 90% of the materials in the space are old objects. We believe that they are all covered by a "mask" of time, making themselves gentle and not so sharp. They themselves carry emotions and a kind of "imperfection." And this collection of imperfections makes the "visual particles" that make up the space more homogeneous, thus creating an overall hazy aesthetic with nostalgic emotions.

运河书院虽然面积不大，但其从设计到施工历经四年，带给我们很多思考。我们认为它是个典型的平民建筑，不追求华美的外表，不艳羡精致的材料，不纠结精致的细节，让自由的空气流动于空间之中，让凝结时间记忆的材料表达自身的魅力。对于我们而言，在某种条件及业主认知的限定下，引导业主是一种条件反射，但当理性分析后，业主的诉求是“正义”的，我们除了愿意放弃专业霸权外，还需要将那些看似不可理喻的诉求，通过自己的认知和专业，转化为一种正向的、具有意义的过程和结果。

Although the Canal Academy is not large in area, it has taken four years from design to construction. It has given me a lot of thoughts. I think it is a typical civilian building. It does not pursue gorgeous appearances, envy exquisite materials, or get bogged down in delicate details. It allows free air to flow through the space and lets materials that condense time memories show their own charm. For us, under certain conditions and within the limitations of the owner's perception, guiding the owner is a kind of instinctive reaction. But after rational analysis, if the owner's demands are “justifiable,” in addition to being willing to give up professional hegemony, we also need to transform those seemingly unreasonable demands into a positive and meaningful process and result through our own cognition and professionalism.