MARUS COFFEE 及咖啡学院 / 知一设计研究室

MARUS COFFEE and Coffee Academy/Zhiyi Design Research Laboratory
MARUS COFFEE 及咖啡学院 / 知一设计研究室

空间语言的巧妙转译：咖啡馆的设计充分体现了设计师对苏州园林建筑精髓的深刻理解和巧妙运用。项目没有简单地复制园林元素，而是将其中的“亭”、“廊”、“景”三大核心元素进行抽象和转译，融入到现代建筑语境中。例如，通过对原有建筑立面的改造，重新引入了“灰空间”的概念，创造出独特的“亭”结构。这种设计手法不仅是对历史文脉的尊重，更是对传统空间意境的创新性表达，赋予了建筑独特的韵味和文化内涵。这种转译而非照搬的手法，是整个设计的点睛之笔。

“亭”的空间叙事与互动： 项目中最引人注目的是对“亭”的创新性运用，设计师巧妙地将“亭”定义为一种具有“驻足”和“表演”属性的空间。通过两个不同属性的“亭”的设置，构建了空间层次感和互动性。第一个“亭”通过向外延伸的斜屋面，创造了开放的灰空间，欢迎路人驻足；第二个“亭”则围绕吧台，构建了咖啡师与客人之间的互动舞台，让空间的使用者体验到独特的社交氛围。这种设计不仅仅停留在视觉层面，更注重空间体验，将建筑与人的活动紧密结合，营造出充满活力和参与感的生活场景。

廊道的弹性与边界的模糊： 设计师在项目中引入的“廊”元素同样值得称道。为了满足不同功能区的分隔需求，同时减少隔离感，设计师精心设计了一个半透明的廊道。这个廊道不仅仅是空间的分隔，更是一个充满弹性和层级的边界。通过材料和开孔方式的变化，廊道在视觉上呈现出不同的通透性，使用者可以感受到空间边界的模糊和流动。这种设计手法借鉴了传统园林廊道的精髓，在现代建筑中营造出一种动态的空间体验，使得不同的功能区在视觉上相互关联，形成一个和谐统一的整体，体现了设计师对细节的极致追求。

The characteristics of the original regional architecture in Suzhou were distinct. The design team abstracted the three major elements of "pavilion," "corridor," and "landscape" from garden architecture, abstracted the essence of space, and wanted to combine them with some of the inherent properties of the original building. The original building had a row of invisible colonnades on the ground floor. The renovation in 2012 weakened the original colonnades and closed the facades with glass curtain walls, thus dividing the indoor and outdoor spaces clearly.
苏州这个城市原本地域建筑的特性是鲜明的，设计团队将园林建筑中的“亭”“廊”“景”等三大元素，抽象出空间本质之后，想去与原建筑本身自带的一些属性去进行结合。原建筑底层有一排隐形存在的柱廊，2012 年的那次改造将原本的柱廊弱化，立面均被玻璃幕墙封闭上，从而划分出了清晰的室内室外空间。

So the first thing the design team did after receiving the original drawings was to respond to the disappearance of the colonnade and the gray space remaining on the facade due to various reasons. The original starting point of the design team was to restore the gray space that should have existed on the facade, but the untranslated spatial restoration appears somewhat straightforward and arrogant. After comparing multiple options, we ultimately decided to place a "pavilion" in the following way as shown in the diagram. The original glass curtain wall has been replaced with galvanized sheet metal, and the columns are presented in an embedded manner. The sloping roof provides grey space for guests or passersby while also extending the presentation of the first floor commercial building on the facade from the initial corridor along the street to a block embedded in the entire building, which is called the "house".
所以设计团队在拿到原始图纸后的第一件事，是想要去回应最初因诸多原因而消失掉的柱廊和留存于立面的灰空间。设计团队的原始出发点是还原立面本该存在那一个灰空间，但是未经转译的空间性还原显得些许直白与傲慢。最终在对比多个方案之后决定以下图的方式去放置一个“亭”。原先的玻璃幕墙被替换成为了镀锌板，柱子以嵌入的方式去呈现，而倾斜挑出的屋顶在向外为客人或路人提供灰空间的同时，也让一层底商在立面上的呈现状态从最初沿街的廊道延展成为嵌入整个楼体的体块，也就是所谓的“房子”。

The "stop" in a pavilion is defined as a type of building with a roof that is not completely enclosed below, and has a welcoming property for people to stop. We have placed two 'pavilions' with different attributes in the overall space. The first one is the sloping roof extending outward from the facade, which is not actually cut off from the facade, but is inserted diagonally on the facade, and the interweaving relationship of the sloping roof can be perceived indoors. This uncut slope is detached from the wall decoration purely symbolically, making it both the facade itself and an abstract "pavilion" with spatial characteristics belonging to the pavilion.
亭
亭中的“驻足”
所谓“亭”，被定义为有屋顶，屋顶之下不完全封闭的一种带有欢迎人停留属性的一种建筑物。我们在整体空间中置入了两个不同属性的“亭”。第一个是从立面向外延伸的斜屋面，实际并未切断于立面，而是斜插在立面之上，在室内能够感知到斜屋顶的穿插关系。这个未被切断的斜面在纯粹的符号性上便与墙面装饰脱离，使其成为了一个即是立面本身，也是抽象意义上的“亭”，具有了属于亭的空间性。

The first "pavilion" is about the venue, while the second "pavilion" focuses on the state between the barista and the guests. ”The enclosed bar in the pavilion divides the space under the eaves into two parts, one for the barista and the other for the guests. The centrally arranged circular bar counter belongs to the realm of baristas, which can be understood as a performance "stage" for baristas. It can operate and produce while maintaining sufficient dialogue with customers in a certain enclosed space. Outside the bar counter, the virtual space between the eaves of the "pavilion" and the four pillars under the eaves belongs to the guests, combining the sense of belonging still located under the pavilion with the experience of sitting around and watching the center of the stage.
亭中的“表演”
第一个“亭”是关于场地的，第二个“亭”则是聚焦于咖啡师与客人之间的状态。”亭“中通过围合的吧台，将“亭”屋檐下的空间分成了两个部分，一部分空间是属于咖啡师的，一部分空间是属于客人的。居中布置的回型吧台是属于咖啡师的一方天地，可以理解为是属于咖啡师的表演“舞台”，能够在有一定围合感的空间里同时进行操作出品和保留与客户之间充足的对话性。而吧台外，“亭”的屋檐和屋檐下的四根立柱之间的虚空间，则是属于客人的，兼具依旧位于亭下场所的归属感和围坐观看舞台中心的体验感。

The design team understands that this "pavilion" is not an isolated island in the world, but rather appears to be isolated in the "garden", but is actually connected to the surrounding scenery, space, and even the original architecture, constantly creating a dialogue. In order to construct such a relationship, we will extend the I-beams and steel columns belonging to the "pavilion" structure from the inside of the pavilion to the surrounding area, intersect with the original building wall on the west side, and construct new walls and corridors during the extension process on the east side, connecting with the environment outside the pavilion.
设计团队理解的这个“亭”并非遗世独立的一个孤岛，而是在“园”中看似孤立，实则与周边的景物，空间，甚至原始建筑都是连接在一起，并不断产生对话的。为了构筑这样的关系，我们将属于“亭”结构中的工字钢梁和钢柱从“亭”内向周边延展，在西侧与原始建筑的墙面相交，在东侧的延申过程中构筑成新的墙面与廊道，与亭之外的环境产生联结。

The original demand of the gallery owners was to completely separate the three main functions and make them independent of each other. In order to meet usage needs while reducing isolation, the design team wants to create a boundary that is as flexible and hierarchical as possible. So, the design team placed a semi transparent corridor between three functional zones, which not only separated the space and naturally became the boundary, but also connected these three areas together to form a buffer barrier, so that although the teaching area, office area, and coffee shop are separated in accessibility, they are visually perceived as a whole.
廊
业主的原始诉求是将三个主要功能完全分隔开互相独立。为了满足使用需求的同时减少隔绝感，设计团队想要尽可能的去创造一个充满弹性和层级的边界。所以，设计团队将一个半透的廊道置于三个功能分区之间，既分隔了空间，自然的成为边界，又将这三个区域串联了起来，形成一个缓冲屏障，使得教学区，办公区和咖啡店三个空间虽然在可达性上被分隔开，但从视觉感知上却是一个整体。

Walking in traditional garden corridors, the relationship and distance between people and the surrounding scenery are constantly changing, and the design team is also trying to translate this change into this corridor in a way that changes transparency. By changing the materials and opening positions and methods in the corridor, users of the space can feel the elasticity of this boundary while walking in the corridor - sometimes it can actually pass through; Sometimes it can be seen through directly; Sometimes one can see figures swaying in the nearby space; Sometimes you can feel the connection with adjacent spaces through the windows at the top, separated by a solid wall.
在传统园林廊道中行走，人之于周边景物的关系和距离感是在不断变化的，设计团队也尝试将这种变化以改变通透性的方式转译到这个走廊中。通过在改变廊道中的材料和开孔位置以及方式，空间的使用者能够在廊道中行走时感受到这个边界的弹性 —— 有时可实际穿过；有时能直接看透；有时能看到临近空间中婆娑的人影；有时能隔着实墙，通过顶部的开窗感受到与相邻空间的连接感。

The details understood by the design team should serve the whole. The main structure of the pavilion, consisting of I-beams and steel columns, visually perceives the volume and weight of the space, and is also the structural foundation of all indoor elements. So the second level of details placed by the design team are attached to the main structural system - protruding along steel beams, columns, and trusses and suspended, forming lighting fixtures, seats, and storage racks. The socket and switch are also attached to the steel column in a parasitic manner.
细部
设计团队所理解的细节，应该是服务于整体的。构成“亭”的主结构，工字钢梁和钢柱，在视觉上让人们感知到空间的体积和重量，同样也是构成一切室内元素的结构基础。所以设计团队置入的第二层级的细部是依附于主要构造系统的 —— 沿着钢梁、钢柱和桁架挑出再悬吊，形成了灯具，座椅和置物架。插座和开关也是以寄生的方式依附在钢柱上。