衡建筑 | 青门酒吧庆王府店

每种文化都无法承受及吸收来自现代文明的冲击，这就是我们的迷：如何成为现代又回归自己的源泉。
Every culture is unable to withstand and absorb the onslaught of modern civilisation, and this is our mystery: how to become modern and return to our own sources.

本项目位于天津庆王府旧址侧楼。庆王府是清朝庆贞亲王载振在天津的故居。该建筑建于 1922 年并于次年（1923 年）落成，位于当时的天津英租界的剑桥道。为砖木混合结构三层内天井围合式建筑。建筑外立面为中式青砖砌筑，外檐为水刷石，环绕四周的回廊和立柱，搭配着蓝、绿、黄三色中国传统琉璃栏杆形成柱廊。建筑内部中庭，是整个建筑的中心，其他房屋在其四周依序展开，该建筑是一座典型的中西合璧建筑。
This project is located in the side building of the former Qing Wang Fu site in Tianjin. The Qing Wang Mansion was the former residence of Prince Zai Zhen of the Qing Dynasty in Tianjin. The building was constructed in 1922 and completed the following year (1923) on Cambridge Road in the then British Concession of Tianjin. It is a three-storey brick and timber building with an inner courtyard. The building’s exterior facade is made of Chinese brick with water-brushed stone eaves, surrounded by verandahs and columns with traditional Chinese glazed balustrades in blue, green and yellow to form a colonnade. Inside the building, the atrium is the centre of the whole building, with the other houses spreading out around it in order, making the building a typical combination of Chinese and Western styles.

该项目的委托方青门是本土化的精酿啤酒品牌，坚持西方酿酒理念与东方原料审美碰撞的本土化路线。场地和品牌特性的奇妙组合促使我们寻找共同基因的空间表现形式。
The commissioner of this project, Qingmen, is a localised craft beer brand, adhering to the local route of colliding western brewing concepts with oriental raw material aesthetics. The combination of the site and the brand’s identity prompted us to look for a spatial expression of the common DNA.

回廊的地面层是一个狭长的矩形，宽度只有 4 米，有趣的地方在于它是一个通高空间，最左边的楼梯上去是由柱廊构成的阳台。在平面上我们把空间分为左右两个区域，左边入口面对吧台，16 酒头被隐藏在墙里。右边的落座上下排布。
The ground floor of the cloister is a long, narrow rectangle, only 4 metres wide, and interesting in that it is a through-height space, with a balcony made up of a colonnade up the leftmost staircase. On the plan we divide the space into two areas, left and right, with the entrance on the left facing the bar,16 where the wine heads are hidden in the wall. On the right side, the seating is arranged in an up-and-down row.

穹顶演绎 Dome Rendition

欧洲因其具有相通的文化背景，因此建筑及其意志在根源上有很多共性，不论是建筑材料上的砖石、建筑技术上的拱券、穹隆、扶壁、建筑形态上的塔楼、穹顶、柱廊等，都有一脉相承的特点。庆王府侧楼的回廊让我们联想到了热那亚——散落在城市内部的回型柱廊与穹顶构成了大大小小的庭院空间，为这座城市历史悠久文脉绵密的城市带去了呼吸孔。在通高空间中我们打算使用中国传统木构的基本元素进行参数化设计，重组西方建筑传统的的穹顶空间。穹顶上的木方序列同时也是对立面错落砖石结构的平面变体。
Europe has a common cultural background, so the buildings and their wills have a lot in common at the root, whether it is the masonry of the building materials, the arches, domes and buttresses of the building technology, or the towers, domes and colonnades of the architectural form, they all share the same characteristics. The cloisters of the side buildings of the Qing Wangfu remind us of Genoa – the back-shaped colonnades and domes scattered throughout the city’s interior.The corridors and domes are scattered throughout the city, forming large and small courtyard spaces that provide breathing holes in a city with a long history and a dense cultural heritage. In the through-height spaces we intend to parametrise the basic elements of the traditional Chinese timber frame and reorganise the dome spaces of the Western architectural tradition. The sequence of wooden squares on the dome is also a planar variation of the staggered masonry on the opposite side.

▲穹顶的木方序列

镜子与透视 Mirror and Perspective

由于场地的尺度有限，只能容纳三组穹顶，作为一种强秩序语言来说过于薄弱。文艺复兴大师 Bramante 在 15 世纪建造 Santa Maria presso San Satiro 时也遇到了类似的问题，由于场地的限制，没有足够的空间建造唱诗台。为解决这个问题 Bramante 利用透视法将深度仅为 97 厘米的雕塑和绘画，创造了一个透视空间，将空间延申了将近 9.7 米。然而在当代，透视法已然成为一种古典符号，古典的雕塑和绘画也不再适应当下绝大部分建筑语境。在此启发下我们决定将最右侧的整个墙面做成镜面，以反射原有的三组穹顶，最后视觉上变为六组穹顶的序列，且延伸了仅有 50 平且狭长室内空间。
Due to the limited scale of the site, only three sets of domes could be accommodated, which is too weak as a language of strong order. The Renaissance master.
The Renaissance master Bramante encountered a similar problem when he built the Santa Maria presso San Satiro in the 15th century, as there was not enough room for a choir due to the constraints of the site. To solve this problem, Bramante used perspective to create a perspective space from sculptures and paintings that were only 97 cm deep, extending the space by almost 9.7 metres. In contemporary times, however, perspective has become a classical symbol, and classical sculpture and painting are no longer adapted to most contemporary architectural contexts. Inspired by this, we decided to mirror the entire rightmost wall to reflect the original three domes, resulting in a visual sequence of six domes and extending the narrow interior space of only 50 square metres.

在酒精的烘托下，被镜子拉长的空间带给人一种超现实的意外幻觉。从青门酒吧二层的露台望去依旧是两百年前的楼宇，在露台上驻足观赏、品酒聊天的同时，我们将城市中微小构成的空间与风景归还给公众。
The space elongated by mirrors and fuelled by alcohol brings a surreal and unexpected illusion. From the first floor terrace of the Green Door Bar, the view is still of buildings from 200 years ago, and by stopping on the terrace to watch, sip and chat, we are returning to the public the spaces and landscapes that make up the smallest part of the city.