嘉兴一晌·良园，线香展厅的瞬变与互文 / 宇作建筑

编辑：宋诗雨 | 审校：宋诗雨 | 2026.05.26 16:39

设计单位 宇作建筑

项目地点 浙江嘉兴西塘

建成时间 2025.04

建筑面积 45平方米

本文文字由设计单位提供。

/ 缘起

The Genesis

场地位于西塘古镇附近的良壤酒店艺术街区，此处汇集了诸多器物店、手工艺商店等，我们的业主受邀进驻街区内一座仿古建筑首层的两开间铺位，开设他们的第一家线下展厅。

The site is situated within the Naera Circle adjacent to Xitang Ancient Town, an art district that hosts numerous handicraft stores. Our client was invited to occupy a two-bay shop on the ground floor of a traditional Chinese style building within the commercial street, within the block, where they will launch their first offline store.

业主的线香品牌取名“一晌”，令人联想到映照在墙面上的婆娑树影。几经讨论，我们决定以“香气的花园”作为意象，试图通过展厅空间向来访者传递这种浪漫而又转瞬即逝的氛围。

The owner named their incense stick brand "SHANG "， which evokes the dappled tree shadows cast upon the wall. After several discussions, we decided to adopt the imagery of a "garden of fragrance" to convey this romantic yet fleeting atmosphere to visitors through the exhibition space.

/ 花园中的棚架

Pergola in the Garden

针对原土建的改造动作相对克制，原始天花被放松地裸露出来，仅在两间铺位的分户墙上进行开洞，让人得以在空间内自由穿行，也让视线、光线和外部的景观相互渗透。围绕墙边界铺设石景花木，形成“花园”。

The renovation of the original building structure is relatively restrained. The original ceiling is simply exposed, and only openings are made on the partition wall between the two spaces, allowing people to stroll freely in the space and enabling the mutual penetration of sight, light, and external landscapes. Stone scenery and plants have been arranged around the perimeter of the walls, creating a "garden".

在此空间结构的基础上，引入了一套“棚架系统”，构成空间骨架的同时，展示道具和灯具等可以悬挂于其上，也可根据展览和空间使用情况自由调整。

On the basis of this spatial structure, a "pergola" is introduced, which not only forms the spatial skeleton but also allows display props, lighting fixtures, etc., to be hung on it and allows it to be freely adjusted according to the display needs and space utilization.

/ 瞬变的内部与边界

Transient Interior and Boundary

除了展厅所必须的产品陈列区域之外，业主希望设置一处试香室兼茶室，以及可以举办手作活动的工作坊空间。

In addition to the essential product display area, the client desires the inclusion of a incense testing and tea room, alongside a workshop space suitable for hosting handmade activities.

为了构建一个可适应多元功能的空间叙事，我们在棚架上悬挂了的半透帷幔，将日光筛滤成漫射的光晕，同时编织出空间中转瞬即逝的光影变化，呼应着内部不断变化的使用图景。

To curate a spatial narrative of adaptive versatility, we've suspended semi-translucent draperies from the pergola—veils that sieve daylight into diffused glows while weaving ephemeral partitions, responsive to the ever-shifting tapestry of use within.

我们在临街的边界设计了一套“瞬变”的门窗系统。

We designed a transformable door-window system for the street-facing boundary.

当门窗扇全部关闭时，呈现出一种谦逊而又与周边街区相协调的传统意蕴；而当门窗扇以精心设计的各种模式开合变化时，又意外地瞬变为橱窗、展台、茶桌等多种互动态。

When fully closed, it exudes a modest traditional charm that harmonizes with the surrounding blocks; when the doors and windows operated in carefully engineered switching modes, they seamlessly transform into interactive features like display windows, exhibition counters, and tea stands.

/ 建造、材料的互文

Intertextuality of Construction and Materials

我们选取本地回收的多种旧木板与门扇作为展台和其他木作的材料，并与代表了工业化体系的欧松板混用，表面施以多道木蜡油，最终手工打磨成一种粗粝而优雅的统一质感，以衬托线香产品和香器的精致感。

We sourced locally reclaimed wooden planks and door panels as materials for the exhibition stands and other woodwork, blending them with Oriented Strand Board (OSB) that embodies the industrial system. The surface is coated with multiple layers of wood wax oil, then hand-sanded to achieve a unified texture—rustic yet elegant—to accentuate the delicacy of incense sticks and burners.

“棚架”由成熟的工业化标准产品——线棒（Wire rod）及其成品连接件搭建而成，在线棒表面用手工缠绕麻绳，赋予材料一种近似于线香的质感、色泽和形态，也使得工业化材料与手工艺相融合。由于线棒具有一定弹性，支撑杆与天花拉杆之间形成了微妙的平衡态，如同线香笔挺而又易碎的物质状态。

The "pergola" is constructed from mature industrial standard wire rods and their prefabricated connectors. Hemp ropes are hand-wound around the wire rods, imbuing the material with a texture, hue, and form akin to incense sticks—an integration of industrial materials with artisanal craftsmanship. The inherent elasticity of the wire rods creates a delicate equilibrium between support rods and ceiling tie rods, evoking the upright yet fragile physicality of incense.

意义（sens）被附着于被挪用（appropriate）的“现成品”（readymade）之上，而最终由建造与材料的互文（intertextuality）得以完整浮现。

Meaning (sens) adheres to the appropriated "readymades," fully emerging through the intertextuality of construction and materials.

/ 设计一种互动与组织模式

Develop an interactive and organizational model

在严苛的造价限制下，传统“业主方—设计方—施工方”的协作架构难以维系。为此，我们探索了一种以业主为核心的建造组织模式——摒弃常规设计图纸，转而采用“购物清单” 与“组织图” 作为指导工具，即：设计方通过调研互联网购物平台与本地市场，筛选可用物料，并向业主传授工艺操作方法、协调施工时序；业主则依据“组织图” 自主采购、运输物料至现场，并自行完成施工任务。

Under stringent cost constraints, the traditional "client-designer-builder" collaborative framework proves unsustainable. In response, we pioneered a client-centric construction organization model, replacing conventional design drawings with "shopping lists" and "organizational charts" as guiding tools. The design team curates available materials through research on e-commerce platforms and local markets, imparting craftsmanship techniques and coordinating construction timelines to the client, who assumes responsibility for procuring, transporting, and self-executing construction based on the organizational chart.

这种模式下，现场建造不再依赖节点详图进行精确控制，而是基于标准预制产品的逻辑，融入适应性非标准操作。

This model shifts on-site construction control from detailed joint drawings to an adaptive non-standard operation within the logic of standard prefabricated products.

或者说，我们并非聚焦于设计某个具体的建筑空间或物质实体，而是设计一种业主与设计方之间的采购、运输、施工的动态组织模式，从而解构了传统制度化的三方协作关系。在这种消弭了专业职能壁垒的小微建造活动中，建筑师或许可以突破日益被产业化建造体系所压缩的资源调度能力，获得重塑未来实践图景的主动权。

Put differently, the focus is not on designing a physical architectural space but on formalizing a dynamic procurement-transportation-construction organizational model between clients and designers—thereby deconstructing the institutionalized tripartite relationship. In such small-scale constructions that dismantle professional silos, architects may transcend the resource scheduling limitations of industrialized systems and reclaim the initiative to reshape future practice paradigms.