台绣院 / CO-MILIEU + 深源创新实验室

Tai Xiu Yuan/CO-MILIEU+Deep Source Innovation Laboratory
台绣院 / CO-MILIEU + 深源创新实验室

对传统形制的尊重与创新：该项目最显著的亮点在于对原有江南传统三开间大院落的尊重与创新性改造。设计团队深入研究了浙江民居的空间脉络，保留了原始木结构，并巧妙地将传统合院转化为具有公共活动和艺术商业展示功能的核心。通过“水岸-庭院-中庭-楼梯-艺廊”的公共空间轴线的构建，激活了封闭的传统民居，赋予其新的生命力。这种对传统形制的尊重，结合对现代功能的适应性改造，体现了设计者对历史文脉的深刻理解和对可持续设计的积极探索。

空间布局的精巧与功能融合：项目的精髓在于其空间布局的精巧和功能融合。设计师通过拆除部分楼板，创造了通高的大厅界面，强化了空间的开放性和仪式感。同时，利用丝绸般的褶皱墙面作为通高空间的艺术主题，既营造了独特的视觉效果，又巧妙地划分了空间流线。茶室、玻璃幕墙的运用，以及室内外空间的相互渗透，都体现了设计师对空间利用的极致追求。项目不仅满足了商业展示和公共活动的需求，更创造了一种新的文化体验，实现了传统文化与现代商业的完美融合。

细节的考究与整体的统一：项目的整体设计体现了对细节的极致考究和整体风格的统一。定制化的设计贯穿始终，从材料的选择、家具的陈设到细部物件的打造，都体现了设计师的匠心。项目大量采用半透明墙体材料、异形灯具、嵌入式家具等，并与业主共同完成设计与落地，避免了标准化成品的使用，保证了项目表达的独特性和一致性。通过新旧材料的巧妙拼贴、建筑工法的相互借鉴以及自然形态的运用，营造出一种润物无声的氛围，展现了设计者对空间品质的极致追求和对整体氛围的完美掌控。

Traditional shape

The Zhoujiali, located in Jiadang Old Street, is a historical building with a traditional three bay courtyard in the south of the Yangtze River. The seven bay main house is the core of the courtyard, which is surrounded by two horizontal houses (wing rooms) and inverted seats (single storey gatehouses) to form a complete volume. The central part is a square authentic landscape stone court, forming a hall horizontal spatial layout. The Xieshan Peak is combined with the gable roof, and there are cornices on all sides. The local residential courtyards in the Taizhou area of Wuyu District have a larger scale and are also suitable for conversion into public spaces or commercial places. The second floor is usually used for storage space, but can also serve residential purposes. The room above the center of the "front hall" is usually a ceremonial space. On the basis of fully understanding the spatial context of Zhejiang residential buildings, the design team proposed a new theme and sought suitable renovation strategies while retaining the original wooden structure.
传统形制

位于葭沚老街的周家里是一座江南传统三开间大院落的历史建筑，以七开间的主屋为合院核心，由两横屋（厢房）与倒座（单层门房）共同围合而成完整体量，中央为四方道地景观石庭，形成堂-横式空间布局，歇山顶与硬山顶相结合，四面皆有披檐。吴语区的台州片区的风土民居院落尺度较大，本身也适合转换为公共空间或商业场所。二层一般为储藏空间，也可为居住功能，“堂前”正中上方一间通常为仪式空间。设计团队在充分理解浙江民居的空间脉络的基础之上，针对新主题的提出，在保留原始木结构的限制条件下，寻找合适的改造策略。

Renovation Strategy

Combining with the original spatial pattern, a new public space axis of waterfront courtyard atrium staircase art gallery will be formed, transforming enclosed residential buildings into the core of public activities and artistic commercial exhibitions. Combined with Tai Xiu's characteristic runway and cultural exhibition activities, it will become the new cultural core of Jia Long Street..
改造策略

结合原有空间格局，形成新的水岸-庭院-中庭-楼梯-艺廊的公共空间轴，将封闭的民居改造为公共活动与艺术商业展示的核心，结合台绣特色走秀和文化展示活动，成为葭沚老街新的文化核心。

分析图

The south gate of the Tai Xiu Yuan faces the waterfront. As it serves as an important historical interface and frequent venue for activities, we have chosen to only develop a limited design for the south facade, replacing only the original wooden door and adding two sets of brass signs, making the traditional brick wall and stone carved doorway the main characters. Through the open door, the illuminated walls in the courtyard and hall still exhibit a visual attraction that converges inward. Similarly, the eastern facade only replaces a small number of original wooden doors with glass doors, facing the main street to improve accessibility; Partial display windows have been set up on the west facade, allowing visitors to catch a glimpse of the clothing products displayed in the commercial space along the street of Tai Xiu Yuan.
台绣院的南侧大门朝向水畔，因其作为重要的历史界面与频繁展开活动的场所，我们选择对南立面只展开有限度的设计，仅将原本的木门换新，并增加了两联黄铜标识，让传统的砖墙与石刻门头成为主角。透过打开的大门，庭院与厅堂中发光景墙依然展露出汇聚向内的视觉引力。同样，东侧的外立面只将少量原本的木门更替为玻璃门，面向主街道提高可达性；西侧立面设置了部分橱窗，使得游客能够一睹台绣院沿街商业空间中展陈的服装产品。

The two door gatehouse at the entrance has been transformed into a uniquely atmospheric tea room. The original wooden doors and window sashes in the three directions of east, west, and north in the courtyard have been removed, leaving only stone wall panels. The eaves and corridors are enclosed by glass curtain walls, becoming a space for indoor communication and display. As a result, the indoor space expands and extends outward from the courtyard. In order to create a new floor interface and increase the net height, the original stone slab floor indoors was removed and replaced with fine-grained beige terrazzo as the final finish after pouring concrete. Some of the stone slabs were also used to backfill to the courtyard and eaves, and some of them were damaged and cracked due to long-term disrepair.
入口处两厢门房被改造为氛围独到的茶室。庭院东西北三方位的原本的木门与窗扇被拆除只留下石头墙板，檐廊被玻璃幕墙围入，成为室内与的通行与展示空间，室内空间因此向庭院外扩与延展。为了创造新的地坪界面和增加净高，室内原本的石板地面被拆除，浇筑混凝土后以细颗粒的米色水磨石作为最终的完成面，部分石板也被利用回填至庭院与檐廊中部分因年久失修而损坏开裂的石板地面。

The floor slabs of the three bay hall in the original main building were removed to form a high hall interface, and the height of the hall also conforms to the commonly used shape of the original residential building. The artistic atmosphere of the elevated space is dominated by the undulating folds of silk walls, which have become a natural form under the shaping of transparent fiberglass, and also divide the traffic between the front and back of the hall, maintaining the spatial prototype. The light and amorphous suspended chandelier serves as a point like light to illuminate the lobby and complement the weaving culture of Tai Xiu. The main staircase, with its delicate posture, is connected to the cash register, acting as a thread between the structures, directing the flow of people towards the art exhibition hall on the second floor.
原正房中堂三开间楼板拆除，形成通高的大厅界面，厅堂通高也符合原民居常用形制。以绸缎般起伏的褶皱墙面作为通高空间的艺术氛围主角，其在透光玻璃钢的塑造下成为了自然的形态，也划分出堂前堂后的交通分割，维持了空间原型。轻盈无定形的悬浮吊灯作为点状的光亮一同为大堂提供照明，也与台绣的织造文化交相辉映。姿态纤柔的主楼梯与收银台相连一体，在结构之间如穿针引线，将人流导向二层的艺术展厅。

The first floor interior features a large area of warm white terrazzo flooring and settled wood color as the main tone, creating a suitable yet old and new juxtaposition of objects and situational relationships. Customized design conforms to the native structure, intervening in a soft and smooth form, creating a rhythm of zoning appropriately, while meeting the brand's display and comprehensive functional needs. The laminated water patterned glass is set close to the original wall, serving as both a backdrop for hanging clothing and revealing the historical traces of the old bricks and stones behind it.

The second floor exhibition hall is divided into two wings, east and west, separated by a courtyard surrounded by ethereal grilles. A corridor connects the exhibition halls, like a passage through history. The exhibition hall gathers the works accumulated by Professor Lin Xia over the years, and the fine lighting makes the light shadows of the artworks falling on the walls and ground an important part of the exhibition. Here, you can explore the collision between traditional embroidery culture and modern art forms, feel the vitality on your fingertips, and also get a glimpse of the courtyard and surrounding scenery during the exhibition. Due to the deformation of the wooden floor of the old house, the elevation of the second floor has changed significantly. Additionally, due to the limitations of the floor height and structure, it is not possible to demolish and rebuild the entire building. Therefore, several unified elevation zones have been designated to reorganize the second floor, gradually transitioning with a slope. Elastic floor mats have been laid to improve the walking experience and sound insulation effect.
一楼室内以大面积暖白色水磨石地面和沉淀的木色为基调，烘托出相宜又新旧并置的物与情境关系。定制化的设计贴合原生的结构，以柔和细润的形式介入，适当的创造出分区的节奏，又满足品牌展示与综合的功能需求。夹丝水纹玻璃紧靠原墙面设立，既成为悬挂服装的背景，又能透出背后老砖石的历史痕迹。

二楼展厅划分为东西两翼，由空灵的格栅围成的中庭分隔，一条走廊将展厅串联，宛如穿越于历史的通道，展厅中汇聚了林霞老师多年积累的作品，精细的照明使得艺术作品落在墙面与地上的光影也是成为展览的重要部分。在这里可以寻觅传统刺绣工艺文化与现代艺术形式的碰撞，感受指尖上的生命力的同时，也能在观展中一窥庭院与四周景致。二层由于老房子的木地板变形，标高变化过大，又因层高和结构限制无法整体拆除重造，故划分出几处统一标高分区重新规整二层地坪，缓慢以坡度过渡，铺设弹性地垫改进行走体验与隔音效果。

Overall Design

The unique craftsmanship in table embroidery, such as pulling, carving, engraving, penetrating, wrapping, wrapping, pasting, drawing, inlaying, etc., has also become an effective means of intervention and transformation through the translation of design in space.. Through an inward integrated design approach, Tai Xiu Yuan incorporates customized design controls such as space renovation, interior materials, furniture display, detailed objects, landscape interfaces, etc. at a high proportion, and works together with the owner to complete the design and implementation. Whether it is semi transparent wall materials, various shaped lighting fixtures, embedded furniture, or naturally curved hanging hangers, standardized finished products are not used. The cotton and linen with specific porosity and color in the laminated glass are also specially selected and produced by the owner. This also ensures systematic consistency in project expression.
整体设计

台绣中独具匠心的工艺，如拉、雕、镂、透、包、绕、贴、抽、镶等手法，也经由设计在空间中的转译，成为了介入并实现改造的有效手段。台绣院通过一种向内的整体设计思路，以较高的比例将空间改造、室内材料、家具陈设、细部物件、景观界面等都包涵在了定制化的设计控制之中，与业主共同完成设计与落地。无论是半透明的墙体材料还是造型各异的灯具，亦或是嵌入式的家具，还是自然形态弯折的悬挂衣架，都没有使用标准化的成品，夹丝玻璃中特定孔隙率与色泽的棉麻也由业主专门选择和制作。这也使得项目表达出自成体系的一致性。

分析图

In the final presentation of the transformation and content, we can summarize its overall atmosphere and quality by using new and old collages, silent moistening of objects, mutual understanding of construction methods, and natural shaping. Due to the frequent discrepancies between on-site building structures and drawings in renovation and renewal projects, continuous adjustments are required throughout the entire design and construction process. In the discussion between the owners and us on the balance between pursuing artistic effects and commercial operation needs, landing is also an experience full of improvisation, including using dismantled materials to reassemble and piece together a complete interface. In the participation of new technological processes, the traces of time and memories of spatial forms have also been preserved.
改造与内容的最终呈现中，我们可以用新古拼贴，润物无声，工法互意，自然赋形来概括其整体的氛围与品质。由于改造更新项目中往往存在现场建筑结构与图纸有大量出入的情况，因此整个设计与施工的过程中需要不断的调适。业主与我们在对于艺术效果的追求和商业运营需求的平衡的讨论中，落地也是一个充满即兴构建的经历，包括利用拆除材料重新组合拼凑完整界面。在新的技术工艺参与中，时间的痕迹与空间形制的记忆也都得到了保留。