项目位于北京和平门琉璃厂西街，这里算是北京最为知名的古玩字画老街了。街道建筑兴建于八十年代左右，由政府统一规划。房子是清一色的钢筋混凝土结构的两层仿古建筑，带有一层地下室。
设计目的是创造东方、禅意、自然、朴素的空间氛围，同时在现有柱网的限制条件下，使得室内空间得到最大化的呈现。屏风作为中国传统室内空间的组成部分，起到分隔、美化的作用。它与古典家具一脉相承，呈现出一种和谐、宁静之美。
设计利用屏风展墙作为基本语言，将现状建筑空间整合起来。首层由固定屏风围合成一个上下通透的盒子展厅，给人以鲜明的第一印象；二层折叠的屏风展墙使空间能够弹性利用，提高空间利用率。地下室通过软膜天花形成一个类似庭院一般的亮空间，消除地下空间给人的压抑感。
叠屏将传统的艺术精品通过当代空间语言传递表达出来，让更多的人乐于参与到这样的空间之中，从而传递公共价值。
The project is located in Liulichang West St. in Hepingmen, Beijing. Liulichang is well known as a series of 2-storey traditional Chinese style housings with reinforced concrete structure and basements that sell various craftworks, artistry and antiques. They were built under the planningof the government about thirty years ago.
The purpose of the design is to create a space full of the elements of Orient, Zen, Nature and Simplicity, as well as maximize the interior space under the limit of the existing grid. Folding screen has long been a part of traditional Chinese decoration, which delivers the beauty of serenity and harmony by separating and embellishing a room as a member of traditional Chinese furniture. A screen display wall would be used as a basicelement to integrate the current construction space.
The first floor is designed to be an up-and-down transparent exhibition hall enclosed with fixed folding screens, which would certainly deliver an intense impression at the first sight. The folding screen display wall on the second floor enhances the elastic utilization of the space. As to the basement, a ceiling made of soft films creates a bright enclosure just like a court to eliminate the space oppression.
Folding screen is such a precious traditional fine art that’s expressing modern art of space utilization as well as its public value by attracting more people into such an enjoyable space.
↑ (left) now 改建后的立面 (right) before 改建前的立面
Project name: Rongbaozhai Western Art GalleryProject site: Liulichang, BeijingProject type: Display Building area: 400m2Design duration: 2012.12—2013.02Construction period: 2013.03—2013.05Design team: Han Wenqiang, Cong Xiao, Kong LinPhotographer: Wang Ning
项目名称：荣宝斋西画馆项目地址：北京，琉璃厂项目类型：展示+改造建筑面积：400平米设计时间：2012.12—2013.02施工时间：2013.03—2013.05设计团队：韩文强、丛晓、孔琳摄影师：王宁
gooood与建筑营的对话
Conversation between gooood and ARCHSTUDIO
1
看了你们的网站，发现你们已经建成的作品达到10个左右，而你们成立的时间最多不过4年。这些建成的作品中许多完成度都不错，这在中国挺难得，请问你们是如何同时进行这么多项目并实现完成度和保证施工质量的？
After visiting your website, I found that your studio have completed about ten works in just four years since it was founded. Most of them are very excellent, which is rare in China. So how could you undertake so many projects at the same time while ensuring the construction quality?
我们希望设计能尽量贴近现实，基于现实的限制，解决现实的问题，整合现实的矛盾，最终制造出我们期望的现实环境。从流程上来讲，设计概念到最终实施需要连续逻辑的思考，每一步都需要反复比较和推敲，优选出最佳。因此工作室通常采用集体讨论+项目负责的设计机制。方案阶段利用集体讨论来集思广益，可以理清问题，同时会有一个设计师负责从方案到施工现场协调的全过程，配合进度控制方案的完成质量。这样的分工协作可以在一定程度上适应紧密的工作日程。
In my view, the design shall be close to reality as much as possible, namely based on the real limits, solving real problems and consolidating real contradictions, thereby creating an ideal real environment. In terms of the process from design concept and final implementation, it is a result of continuous logic thinking, each step requiring repeated comparison and deliberation to figure out the best one. Our studio adopts the design mechanism - group discussion and project responsibility. We put heads together through group discussion to clarify the problems at the conceptual stage. Meanwhile, a designer is assigned to take care of the full coordination process from the design stage to construction site and thus control the completion quality based on the construction schedule. Such a coordination and distribution of responsibilities prove suitable for a tight agenda to acertain extent.
2
请分享一些你们所知道的，基于中国施工环境，可以用简单的方法施工同时效果还很好的工艺或做法？
Could you please share with us some simple yet effective process or construction methods that are suitable for China’s conditions?
简单的施工出现很好的效果我认为基本没有。我们经常是追求简单的效果，但背后的施工就相对复杂一点。工人擅长的是常规做法，对于非标准做法就需要设计师和工人一起研究确定。最简单的例子，比如国画展厅中的踢脚线和挂镜线。按常规做法先做好墙面再安装成品就行了，但我们希望线条简洁一些、细致一些，将它们嵌入墙体并限制线条的厚度和材料，这就需要改变墙面基层做法，定制和加工。
I do not think that simple construction generates good result. Generally speaking, we pursue simple result but make construction more complex. Workers are good at common practice, but the unconventional practice is determined by both designer and workers. For example, to make the skirting line and picture rail in the exhibition hall, by rule, wall space is made first and then finished products are put into it. But we want simple and delicate lines, so we need to embed such lines into the wall and limit their thickness and materials, thus the basic level of wall space has to bechanged by custom and process.
3
经历这么多有趣的实际建设项目，你们最大的收获是什么？
What’s your greatest harvest from so many interesting construction projects?
谈不上收获，只是一点感受。我觉得实践的意义就是通过设计去接触社会现实，与人沟通。了解人的需求、适应人的生活方式、提升生活环境的质量是设计师的职责。现实社会人的生活节奏越来越快，城市越来越大，而人与人、人与自然的真实关系却越来越疏离。因此我们总是希望设计能与人的距离更接近一些，让生活节奏慢一点、轻松一些，把空间环境变成一种媒介，它促成人与人、人与自然、人与社会的交流，创造一种积极地氛围使人的身体可以去感知和体验。
Actually, I’ve got some ideas about this. The meaning of practice is to contact reality and communicate with other people through design. What a designer should do is to understand what people need, adapt to people’s lifestyle and improve the quality of living environment. As the pace of lifebecomes faster and faster and cities constantly expand, there is a long distance between people and human being and nature. So, we do our best tomake the design close to people, slow down the life pace and create a more relaxing environment. In this way, space environment becomes a medium promoting the communication between people, human being and nature, as well as people and society, thus creating a positive atmosphere for us.
4
你们觉得内装项目和公建项目有什么最明显的挑战？
What’s the biggest challenges of interior design and public constructions?
我们目前所做的大部分项目甲方都是个人或者公司，因此不论建筑还是室内，在操作方式上两者并没有什么明显的不同。相对来说，建筑偏重于设置控制性的规则；室内则是在塑造差异性。我认为设计师与甲方的沟通和相互理解对设计结果至关重要。有时候，挑战来自于你要很清楚那些要坚守，哪些可以妥协。
At present, most of our clients are individuals or companies. There is no obvious difference in construction and interior design. Comparatively speaking, building design mainly lays more emphasis on setting controlling rules while interior design creates differentiation. It is important fordesigners to communicate with our clients and understand them. Sometimes, the challenge lies in the fact that designers must know fairly well about the bottom line.
5
您的观点“建筑偏重于设置控制性的规则；室内则是在塑造差异性”，可以多说一些吗？
Could you please explain more about “building design mainly lays more emphasis on setting controlling rules while interior design creates differentiation”?
这两者是相对而言的，其实是尺度上的差异造成的。通常建筑较大，利用体量、分区、流线控制群体的关系，由于建筑的投资方并不一定是建筑的使用者，所以必须保持空间的通用性。而室内设计则相对灵活、具体一些，同样的建筑可以有很多完全不同的室内，因此也更注重具体人群的行为方式和个人的体验。不过现在这种区分越来越模糊，巨大的室内与微小的建筑也比比皆是。
Relatively speaking, this is caused by the difference in the dimensions. Generally, volume, regionalization and circulation are used to control the mutual relations among the groups for bigger structure. The generality of the space must be kept, considering that the investor may not be the user. While interior design is more flexible and specific, or in other words, there are many different interior designs for the same building. But it pays more attention to the behavioral pattern and experience of specific person. But now, the differentiation becomes blurred. Large interior spaces and tiny buildings are commonly seen.
6
叠屏项目中最大的挑战是什么？
What’s the biggest challenge you came upon in “Folding Screen”?
挑战主要来自实施的过程。在荣宝斋甲方的支持和信任下，我们的设计从想法到施工图阶段基本上还是比较顺利的。但是由于原建筑装修图纸资料的缺失，以及项目时间和施工程序的限制（施工图完成，通过审核预算，招标后确定施工方），所以在施工图完成时，原建筑装修还没有拆除，这就自然会出现设计效果与现场条件对接时存在差异。所以施工过程就特别需要设计师能具有一定的弹性，根据现场条件和施工工艺水平“再设计”，以保持概念到结果的完整性。比如楼梯，看其外表原以为是厚重的混凝土结构，后发现是木结构的。这样我们就有机会用更轻巧的钢梯取而代之。楼梯设计将踏板与梯段梁分开，中间通过金属杆件连接，尽量纤细以突出轻盈的感受。而这样非常规的设计不能厂家定制，使用多厚的钢板、多大的梁、多粗的连接杆需要在现场不断与施工工人协商，为此还制作了1比1的样品测试稳定性。再比如二层原本是平顶，拆除时发现原建筑粗糙的坡屋顶结构。我们果断选择将部分坡屋顶裸露与室内空间，增加室内高度的同时，保留了原建筑与新设计的对比关系。
We encountered many challenges in the process of implementation. With the support and trust of Rongbaozhai, our design work proceeded smoothly from conceptual stage to construction drawing stage. But due to the absence of decoration drawings of original building, limits of timeand construction process (the construction unit can only be determined after the completion of construction drawing, examination and approval of the budget and conducting the bidding), the architectural decoration and finishing had still not been removed after the completion of construction drawing, thus naturally causing difference in the design effect and site conditions. For this reason, the designer must have theflexibility, meaning to “redesign” based on site conditions and construction technology, to keep the integrity from the concept to result. Takethe staircase as an example, judging by its appearance, it was heavy concrete structure but in fact it was wooden. Thus, we replaced it with lightsteel ladder. According to the staircase design, the footstep and stairway beam were separated and connected with metal bar to make it look slimand light. But such an unconventional design requires necessary materials not able to be customized, so it was necessary to constantly consult withthe construction workers about the steel plate, beam and connecting rod. Also, we made the 1:1 sample to test the stability. Another case was that we thought that the second floor had a flattop but in fact it was made of rough slope roof structure. We chose to expose part of the slope roof structureto the interior space, thus preserving the comparison and contrast between the original building and new design while increasing the height of the interior part.
7
发现你们常用白色，同时原木色与白色的搭配出现最普遍。为什么对白色和原木有偏好？材料运用有哪些心得？
I found that white and the combination of wood and white are commonly applied in your works? Why do you prefer them? And can you share with us some experience in material utilization?
这个也可能与我们的很多项目是展厅设计有关吧，白背景会突出展品。我觉得白色可以塑造一种抽象的、中性的超现实感，强化空间的自成一体；而原木材质则代表具象的、温暖的、与人亲近的尺度，可以把人拉回到实体空间。两者的对应可以在内外空间之间创造出张力。材料的合理运用可以解决空间问题，塑造氛围。我们也在努力尝试不同的材料。
Maybe, it is related to the exhibition hall design, because white color background can always highlight the exhibits. I think that, white color is favorable to creating the abstract and neutral surreal sense and underlining spatial wholeness, while log represents concrete, warm and social sense, making people in a physical space. Their correspondence can create the tension between interior and exterior space. The reasonable application of materials can solve the spatial problems and create atmosphere. We also try to make use of different materials.
8
看到事务所介绍，韩文强老师是中央美院的老师，然后是建筑营的创建人。在介绍中没有发现韩文强老师的其它从业经历。请问这种对方案到施工的严格控制的觉醒是从什么时候开始的？因为什么契机产生的？
I know from INTRODUCTION that Wenqiang Han is the founder of ARCHSTUDIO, as well as a teacher of Central Academy of Fine Arts. No more working experiences are found. When do you begin to strictly control the whole process from design to construction? And what drives you to do this?
从方案到施工是一个循序渐进的过程，经验的积累很重要。上学的时候跟着导师干活，算是初次了解到实践。后来与同事成立了设计公司，开始接触实际项目。我们会花很多时间在图纸上，施工结果却有些差强人意，但在失败中也积累一点儿经验。直到2009年，受朋友之托在北京四合院区设计一栋住宅，虽然此前的项目也会去工地，但更多的时候在对着电脑。这次的方案设计只花了两周并且快速得到认可，然后就边画施工图，边跑工地花了一年时间，其中每周至少去一次工地现场。作为设计师，第一次经历了从基础到结构、围护、室内、景观的建造全过程。我发现图纸上的很多设想必须要根据施工水平、造价、工期等等因素不断调整，才能找到最佳的解决方案，而完成质量是一个设计最为重要的指标。方案概念的优劣是仁者见仁的事，而设计完成度的好坏则关乎使用者的生活品质。这也使得我们以后的项目都在努力追寻这一目标，希望在项目现有的技术、施工的基础上去改变一些规则，创造有品质的空间环境。
It is a gradual process to make a program and then implement such a program, so experience plays a big role. I first put a program into practice under the leadership of my tutor when I was in university. Later on, I began to work on practical projects after starting a design company with my colleagues. At that time, I always spent a lot of time on making drawings but the construction results were always disappointing, but I accumulatedexperience after many failures. Until 2009, I was invited by my friend to design a building in a quadrangle area in Beijing, and I only spent two weeks in designing the program that was affirmed and approved very soon. Even though I would go to the site for previous projects, but most of the time, I still sat in front of the computer. But this time, I went to the site once a weak for one year when I made the construction drawing. As a designer, it was the first time that I experienced the whole process from base, structure, and enclosure, interior to landscaping. Then I understood that many ideas must be adjusted based on the construction, cost and duration and other factors to find the best resolution. The most importantindex of the design was the quality. People differ in the program concepts. But the completeness concerns the living quality of the users. So we alwayspursue such a goal in the future projects, in the hope of changing some rules related to current technology based on the building, with an aim to createhigh-quality space environment.
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建筑营设计工作室（ARCHSTUDIO）于2010年由韩文强创立于北京。以原创设计思维与务实理性的操作手段，坚持对建筑基本问题的关注和研究，开展多样化的创作和实践。
建筑营的工作基于现实的关注和自身环境的理解。在日趋多元复杂的社会现实中，每一个项目有其特殊的需求和限制，灵活运用设计手段解决现实问题是设计的基础；对于自然、城市、历史、社会环境的理解和发现则可以带来更多设计想法可用的资源。设计的动力来自于不断地突破和挑战边界，来自于从概念到实施过程之中清晰思维逻辑的坚持，能够从现实问题出发，根植于自身的环境，不断地寻求城市、建筑、室内之间新的可能性。
主持建筑师
韩文强建筑营设计工作室创建人/主持建筑师中央美术学院建筑学院讲师中央美术学院建筑学院硕士
丛 晓建筑营设计工作室合伙人/主持建筑师曾就职于BIAD 4A5工作室/ HSA建筑部
MORE: 建筑营 ARCHSTUDIO
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