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Yiiie Co.,Ltd

Yiiie Architects

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7 Siweicun, Moziqiao, Wuhou district, 

Chengdu, China 610000

 

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Yiiie Co.,Ltd
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Pavilion in A15 Market

Luhu, Chengdu, China

2023

A15菜摊摊外公共空间白棚棚

中国 成都 麓湖

2023

Project Name: Pavilion in A15 Market

Project Location: Luhu, Chengdu, China

Design time: 2023

Completion: 2023.12.01

Project Area: 130㎡

Design Team: Zhang Tang, Xia Fan

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项目名称:A15菜摊摊外公共空间白棚棚

项目地址:中国成都A15麓客街239号

设计时间:2023年

完成时间:2023年12月1日

建筑面积:130㎡​

设计团队:张唐、夏凡

CPI W-18b is a new small-scale commercial building located in the lakeside CPI commercial cluster in Chengdu. The owner hopes the building can seamlessly integrate with the lakeside, trees, and environment while creating a vibrant new commercial usage scenario with a sense of publicness.
The owner has raised questions on how design can better assist commercial scenes in achieving sustainable development and how small-scale commercial buildings can respond to demands for publicness. This presents an opportunity to delve into the relationship between commercial space and public space (publicness) as well as sustainability issues.

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1. Public Space (Publicness):

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CPI, as a "natural wild garden-style" standalone commercial cluster community, connects scattered individual commercial units through the aggregation of "public spaces" such as parks, squares, open spaces, sidewalks, waterfronts, and streets. While the community provides these public spaces, we believe that commercial units should also shoulder some public responsibility. Guests who are tired from walking should not only be able to sit on benches by the roadside but also be able to sit outside each shop. If each unit only pursues maximizing business area or strictly guards its boundaries, then the community will be fragmented, disjointed, and even composed of opposing segments.

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Therefore, we have actively opened the building to the surroundings, forming new usage scenarios by connecting with the outside on each side, supporting and participating in public activities. On the north side, facing the inner lake, there is a circular walkway. The flow of people on the walkway is relatively noisy, so we have raised the interface and created a horizontal height difference to establish both near and far relationships, ensuring relative independence between inside and outside while allowing visual connection. Inside, people can greet passing friends, sit and gaze outside, and passersby can stop to rest. At appropriate times, the merchants can also display their goods. On the east side, at the end of the island, we have enclosed a quiet space for natural contact using stairs, the space below the second floor overhang, and several peach trees on the island. On the south side, a cement platform has been built by the lake. Future occupants such as kayak brands can wash their boats here, and guests and staff can also have more private conversations while sitting on a couple of chairs. On the west side, as one of the entrances to the building, we have created a mesh canopy around the trees, which can filter out some falling debris to form a gray space, and equipped with a bar space to support future outdoor activities such as coffee, alcohol, and music playback.

 

2. Light Structural Materials, Emphasizing Spatial Forms:

 

To achieve the above spatial ideals and enable more freedom and possibilities for the space, we have adopted a strategy of lightweight structural materials and emphasizing spatial forms in construction logic. The use of a 100*100-sized steel frame, sunlight panels, and pressure-regulated steel plates, among other industrial products, enables low cost, rapid construction, and compliance with green energy requirements. Under lightweight industrial materials, wooden materials are used for local beams and columns to create a cozy community atmosphere.

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3. Sustainability:

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The gap between the speed of information in modern society and the "time lag" of the real world has led to urban hollowness and anxiety. We hope to confront this anxiety by orienting towards sustainable development and creating buildings that are perceptive to the present moment and changes.

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Mesh canopies are used for the building facade, not emphasizing the building's outline. Fallen leaves on the canopy become part of the building process and materials. The appearance of the building changes with the seasons, from green to yellow, and from sparse to dense. Combined with Chengdu's local climate characteristics, the boundaries between artificial and natural are blurred, utilizing tree canopies to form spaces, extending outdoor stone paving indoors, and bringing soil and small flowers into the interior. The facade adopts a multi-layered structure, with the outer layer's mesh providing permeability for environmental protection and energy conservation when the temperature is suitable, while the inner layer's glass sliding doors provide insulation and anti-theft features.

 

Conclusion: 

 

Any form of commerce has a certain degree of public space attributes, and public spaces also possess conditions for commercial activities. They have a mutually beneficial relationship that needs to be verified. "Was the birth of urban public space invented or achieved through negotiation?" This question also applies here. Negotiation is a reciprocal change, and sustainability is an adaptive change. In this 10-year limited community, we aim to use these ten years to verify our understanding of sustainability and the reality of sustainability being "unsustainable (unchanging)".

当通透的空间溢出了建筑边界也就让周围的湖风也来自四面八方,建筑与自然交换,商业与公共性进行协商。

 

CPI W-18b是位于成都麓湖CPI商业集群湖畔的一栋新建小型商业建筑,作为Badmarket联合MRS实验性的水上活动用具展示空间。

 

希望建筑可以与湖滨、树木和环境有机融合的同时,创造有公共性、活力的新商业使用场景。并提出设计如何能更好地帮助商业场景实现可持续发展,小型商业建筑如何回应公共性的诉求。我们也希望可以借此机会展开商业空间和公共空间(公共性)的关系和可持续性议题的讨论。

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1. 公共空间(公共性):

 

CPI作为“自然野生花园式”独栋商业集群社区,通过“公共空间”的集合—公园、广场、空地、人行道、水滨和街道等将散落在各处的一个个独立的商业单体串联起来。社区提供了这些公共空间,我们认为商业单体也应该承担公共责任的一部分。走累了的客人不能只坐在路边的长凳上,也要在每家店的门口也可以坐坐。如果每个单体一味追求营业面积的最大化,或者对自己的边界严防死守,那么这个社区将会被一个个不连续的、互不相干的,甚至是对立的片段所组成。

 

因此我们将建筑积极地向四周打开,在每一面与外界连接形成新的使用情景,支持并参与到公共活动中来。北面,是面对内湖的环形栈道。栈道来来往往的⼈流相对⽐较嘈杂,如何保持开放的同时,⼜能相互之间不受干扰、保证经营场景。我们采取了抬高界⾯,制造水平面⾼度差的⽅式。建立又近又远的关系,既能保证内外相对独立,又能互望。室内的人可以跟路过的朋友打打招呼,可以坐下来望望外面发呆,路人也可以停下来歇歇脚,合适的时候商家也可以放放商品;东面,是小岛的尽头,我们用楼梯、二楼悬挑下的空间和岛上的几颗桃花树围合出了一个安静的和自然接触的空间;南面,临湖做了一个水泥平台。未来入住的皮划艇品牌可以在这里洗船,客人和店员也可以搬两把椅子在这展开更私密一些的对话;西面,作为建筑的入口之一,围绕着树我们做了一个网罩,落叶掉落其上形成灰空间的玄关,并且搭配一个吧台空间支持未来的咖啡、酒精、音乐播放等户外活动。

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2. 轻结构材质、重空间形式:

 

为实现以上的空间理想,以及希望让空间得到更多的解放、获得更多的可能性,在建造逻辑上,采用了轻结构材质,重空间形式的策略。100*100尺寸梁柱的钢结构框架,阳光板、压型钢板等工业成品的使用,得以实现低造价、快速建造以及对绿色节能的呼应。轻质工业材料下,局部梁柱与构件采用木质材料,形成亲人的社区氛围。

 

 

3. 可持续性:

 

现代社会难以应对的信息速度与现实世界的“时差”,造成了城市的空洞与焦虑。我们希望直面焦虑,以可持续发展为导向,尝试可以感知当下,感知变化的建筑。 

 

建筑外立面使用网罩,不强调建筑体的轮廓。网罩上停留的落叶成为建筑过程和材料的⼀部分,建筑的外表皮跟随着四季变化,从绿到黄、从稀疏到紧实,强调一种未完成的、变化的状态。结合成都当地气候特征,打开⼈工与自然的边界,善用树冠树荫形成空间,铺地的石材从室外延伸至室内,也将土壤和小花小草带入室内。⽴面采用多层结构,外层张拉网的通透性在温度适宜的时候实现环保节能,内层玻璃推拉门实现保温防盗。

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结语:

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任何形式的商业都有一定的公共空间属性,公共空间也具备商业行为的条件,他们互相之间是增益的关系,但需要被验证。 “城市公共空间的诞生是被发明的还是通过协商得到的?”这个问题也同样适用于这里。协商是一种你来我往的变化,可持续也是一种适应性的变化。在这个10年限定的社区里,用十年来证实我们所理解的可持续性,和可持续性“不可持续(⼀成不变)”的现实。 

Photo Credits: lifashi

摄影: lifashi

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When I was designing exhibitions before, I often unconsciously fell into a strange cycle. I wanted to create a viewing experience for a groundbreaking and unexpected new work, prompting people to look left, right, up, down, horizontally, vertically, and to view the work in different scales and mediums.

 

However, the preparation time for an exhibition design usually does not exceed a few months. Being immersed in ingenious inventions for too long often made the outcome appear crude and rough. Exhibits are the result of the author's lifelong dedication and countless hours of refining and polishing. I wonder if I should return to my core profession, architecture, which also requires a significant amount of time and dedication, to contemplate and create.

 

"Architecture" serves as a vessel, providing a space, a domain. The essence of the author/work may be magnified within this space, allowing us to get closer to the work in a more intense emotional state. Alternatively, it may evoke resistance, enabling us to perceive the essence of things through contradictions and tensions. In exhibition design, space can cleverly transform into an abstract exhibit. The abstraction lies in encapsulating the shared temperament of the creator (which is also one of the attributes of architectural space).

 

So, what kind of sensation should the space of the White Night Flowing Banquet evoke?

 

I attempted to express a space reminiscent of the White Night and Zhai Yongming(the owner and a famous Chinse female poet). Yet, this endeavor plunged me into prolonged and unresolved agony. Confirming the similarity of each step in the design process felt like answering a multiple-choice question with no clear right or wrong answer, cautious yet lacking any judgment criteria. Should I use stone or wood? Deep-toned walnut wood or bright marine plywood? These vague speculations only led to confusion and indecision.

 

There's a photo I adore of the "bad boy" Rogers and Piano laughing innocently at the Pompidou. Two young men in their thirties triumphed over nearly 700 entries with their controversial and daring designs. Rogers said, "At the beginning, I didn't realize how unexpected our actions were. Only when looking back did I realize how brave we were in our youth.

 

" I seemed to have found an anchor. The common traits I admire and aspire to in Rogers, Piano, Zhai Yongming, and the White Night: talent, avant-garde spirit, boldness, spontaneity, courage, charm, yet prone to messing up after a night of drinking, perpetually curious and youthful.

 

The Pompidou contemplates how people gather and communicate, irrespective of age, gender, wealth; it's a true cultural haven. The bars along the street where White Night is located stretch out in a long row, becoming increasingly crowded, until eventually, it's impossible to tell who is friends with whom.

 

The space is divided into two parts, with two parallel entrances. One part is the documentary of the White Night, spanning 25 years, with screens inside and outside reflecting off mirrors, blurring the boundaries of time and space. The other part is a 2.5-meter-high, 5.8-meter-wide square space, with exposed light steel joists, magnesium boards, structures, components, elevated platforms, jacks for the elevated platform, milky white and purple double-sided awnings, and the gray space under the awnings.

 

The elevated platform is meant for visitors to rest during the exhibition, which coincidentally echoes the original White Night storefront. I wanted to experiment with the mysterious and seductive purple, only to hear that Zhai once considered painting the entire White Night in purple.

 

In the film " I Fell in Love Like a Flower Bouquet ", the two protagonists, deeply immersed in literature and art, encounter two new youngsters when they break up, exchanging books just like they used to. "Coffee, bars, salons, bookstores, gathering places for literati, cultural exchange centers"—it's like a banquet, or a production line, where young people from different eras express the same essence in different ways. It's a flowing banquet for groups of three or five friends, and also a flowing banquet across time and space.

 

"Some leave, but new ones will join."

 

"Welcome to join and leave us."

 

On May 8, 2020, YiJie moved to an alley in the Yulin East Road community; 21 years ago, on May 8, White Night opened on Yulin Road.

之前做展览设计的时候,总是会不自觉陷入一个怪圈,想要设计出一个惊天动地出其不意的新的作品的观看方式,要人左看右看上看下看,横着看竖着看,把作品放大缩小放到不同介质上看。

 

而一个展陈设计的准备时间通常最长也不会超过几个月。这样沉迷于奇技淫巧的发明创造,很难不显得简陋和粗糙。展品是作者花费了毕生大量时间反复琢磨打磨而出的心血,我想我是不是也应该回到自己的本专业,同样花费了大量时间沉淀的建筑设计本身,去思考和创作。

 

“建筑”作为容器,可以提供一个空间、一个场域。作者/作品的气息或许在空间里被放大,让我们在浓度更高的情绪里离作品更近;或许发生抗衡,让我们通过矛盾和拉扯看到事物的本身。空间在展览设计中,也可以巧妙化身成为一个抽象的展品。抽象的点在于,凝聚创作者的共同气质(这也是建筑空间本身的属性之一)。

 

那白夜流水席的空间,应该呈现怎样的感受呢。

 

我试图去表达一个像翟永明老师与白夜的空间。然而这个行为让我陷入了长时间的无解的痛苦。每一步设计过程的相像与否的确认,好像在回答一个对错题,谨小慎微,又毫无评判依据。我该用石材还是木材,该用深沉的胡桃木还是明亮的海洋板?虚无缥缈的猜测除了让人迷失以外,只能变成摇摆不定的四不像。

 

有一张我喜欢的 “bad boy"罗杰斯与皮亚诺在蓬皮杜笑的天真的照片。两个三十出头的年轻人用极具争议的大胆设计战胜了近700份参赛作品。罗杰斯说:“在刚开始的时候我并没有意识到我们在做一件多么出乎意料的事情。当回头看时,才意识到在年轻时是多么勇敢。”

 

我好像找到了一个锚点。我喜欢的、我期望未来成为的样子,罗杰斯、皮亚诺和翟永明、白夜身上的共性:才华横溢、先锋、大胆、随性、勇敢、可爱,也会因为喝多了酒第二天耽误事,永远好奇和年轻。

 

蓬皮杜在思考人们如何聚集在一起,如何交流,无论男女老少、穷人或是富人,一个真正的文化庇护所。白夜的长街酒一字排开越接越长,到最后早已分不清谁是谁的朋友。

 

空间分为两个部分,左右两个并列的入口。一个部分是白夜的纪录片, 25年的时间跨度,屏幕内外与镜面的反射,模糊的时间界限、模糊的空间边界;一个部分是一个2.5米高5.8米宽的正方形空间,裸露的轻钢龙骨、玻镁板、构造、构件,抬高的地台、抬高地台的千斤顶,乳白色与紫色的双面篷布、篷布下的灰空间。

 

抬高的地台希望大家在展览过程中累了的时候可以随意休息一下,结果与最初的白夜门头不谋而合。紫色的神秘和妖娆我想尝试一下,结果听说翟老师最初曾想过把白夜涂成整片的紫色。

 

电影花束版的恋爱里,两位豆瓣深度中毒文艺青年的主角在分手的时候,看到了两个新的小年轻,和以前的他们一样在交换书本。“咖啡、酒吧、沙龙、书店,文人聚集地、文化交流所”是流水席也好像流水线,不同时代的青年用不同的当下,表达着同样的内核。它是三五好友的流水席,同时也是时空的流水席。

 

“有人离去,但又会有新的人加入进来。”

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“欢迎加入又离开我们。”

 

2020年5月8号一介搬到了玉林东路社区的巷子里,21年前的5月8号白夜开在了玉林路上。

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