从白天的早茶至夜晚的中式鸡尾酒吧以灯光转换氛围，白日以暖白色为主，夜晚以蓝色红色为调。

Intelligent lighting system has been applied to switch space mood, warm white in daytime and blue red in the night, to delivery a fantastic experience timely and fractionally.

 

 

“九天开出一成都，万户千门入画图”

“Chengdu, carved out by Heaven millions of years ago, presents before the eyes a picturesque view of myriad beautifully decorated households.”——from Libai, poet in Tang Dynasty

 

蜀地的四十万云烟已然入过无数文人之梦，设计伊始，我们就知晓此番“得云”入蜀，需借天时——博古而通今；地利——因地而适宜；人和——西风而东渐；方为守之云开而得见月明。

Chengdu was eulogized by thousands of poems. Being commissioned that Tak Wan Tea House is to be introduced into Chengdu, we realize that it will have enjoyment to abide by Mencius philosophy of opportunities of time vouchsafed by Heaven——erudite and informed, advantages of situation afforded by the Earth——adaption to local context, and the union arising from the accord of Men——medication on interaction between east and west.

 

餐厅内以中轴对称布局，穿斗成梁，取自于川西大宅楼牌上的山花造型，整体线条优美但极具力量感，曲线顺势而下形成卡座私密之所。

Interior part is rigidly axisymmetric, the ceiling outline comes from shape of pediment from Sichuan traditional architectural archway and supported by curved black wood beams, which defines intimate semi-private space along both flanks of the hall.

 

 

大唐之风，大隐之道

TANG-ORIENTED RHYME AND HERMIT IN THE CITY

 

古有廊腰缦回载朝歌夜弦，今有穿斗出墙，外挑跑马廊容市井喧嚣。

It was drawn a winding corridor meanders like a ribbon and dancing sleeves in Tang dynasty, nevertheless, we look back into future to create something can resonate and meet modern life of urbanites in our times.

 

得云茶楼毗邻大慈寺，此寺得唐玄宗赐名又几经兴废而盘桓至今，为清末复建，而不复当年大唐之风格。但遥想当年也必是“廊腰缦回，檐牙高啄”之大气磅礴。

Tak Wan Tea House is adjacent to Daci Temple named by Emperor Xuanzong of Tang. After replacement of dynasties, it was finally rebuilt in late Qing Dynasty, is no longer grandeur comparing to its original appearance, it was an impressive landmark though.

 

室外跑马廊的青花瓷柱之间设置有卡座区域

Booths is setting in between blue and white porcelain columns to enjoy fresh air.

 

故得云茶楼设计一取大唐建筑之长，整齐而不呆板，华美而不纤巧，舒展而不张扬，古朴而零落有致；二取巴蜀建筑之形，穿斗白粉墙，外挑跑马廊。

Therefore, we take advantages from features of Tang Architecture, symmetrical but not rigid, elaborate but not slender, extensive but unpretentious, on the other hand, Bashu native architecture elements—wooden slatted structure with white clay wall, bridle porch under overhanging floor— has been considered as well.

 

空间其外，屋顶之下以黑色斗梁穿墙而出；其外以六根青花瓷柱列阵而成跑马廊之态；空间其内，以中轴对称布局，穿斗成梁，取自于川西大宅楼牌上的山花造型，整体线条优美但极具力量感，曲线顺势而下形成卡座私密之所。携一二好友倚窗而坐或高谈或闲聊，开启金箔雕花窗，即是跑马廊外喧嚣市井，所谓大隐于市，又何曾在乎庙堂之远？

In terms of shopfront, black wooden bucket beams orderly stacking and protruding from facade, and accommodating with six 3-meters-tall, 0.6-meters-radius blue-and-white porcelain columns hand printed of cloud and dragon motif by Chinese artisan from Jingdezhen, were arrayed to form the eye-catching bridle porch. Interior part is rigidly axisymmetric, the ceiling outline comes from shape of pediment from Sichuan traditional architectural archway and supported by curved black wood beams, which defines intimate semi-private space along both flanks of the hall.

 

吧台背景墙装饰有来自景德镇的青花瓷器

Wine Bar backdrop is decorated with dozens of blue-and-white porcelain from Jingdezhen.

 

 

今之奇巧

TRADITONAL CRAFTSMANSHIP WITH MODERN TEACHNOLOGE

 

古代匠人能因势象形，各具情态，而今我们以现代技艺重新演绎历史。

门外跑马廊处6根青花瓷柱由中国艺术家于景德镇烧制，拉胚、绘制、上釉到最后烧制成型历时大半年，通体高3米直径60公分，成品率极低，其上绘有青龙盘云而出，若影若现。

Located at bridle porch area standing six 3-meters-high and 60-cm-diameter pillar, blue-and-white porcelain columns, hand printed by Chinese artisan from Jingdezhen, with dragons hovering among clouds motif, which took more than half a year from pulling embryo, drawing, glazing, and finally firing with considerably low yield.

 

室内软装细节

Furnishing tells the interaction between east and west

 

窗格装饰灵感源自故宫倦勤斋，震撼于其竹编“翻簧“工艺，我们结合现代激光雕刻玻璃与单层镜面膜，重构倦勤斋竹编双层月洞门之效果。地面则以天然青金石调色的水磨石内嵌黄铜祥云图案，向高超珐琅工艺致敬。

Inspired by superb craftsmanship of double layer bamboo-weaving from Juanqin Zhai, the Forbidden City in Qing dynasty, we not only use its language to redesign the openable windows but also combining with high-tech laser carving optical glass and mirror effect film to reinterpret in a modern approach. The terrazzo flooring color ingredients form natural lapis lazuli and inlaid with Chinese traditional cloud shape made of solid brass, which is elaborately considered to pay homage to superb enamel craftsmanship of cloisonné.

 

墙面装饰取自故宫倦勤斋之月洞门与仙鹤图之元素，并以手绘而成，柱上装饰以法式黄铜红色丝绒灯。顶面设计举架蜿蜒而下，其上悬以最早使用于十九世纪西方老酒馆内的皮带驱动电扇（Brewmaster），以适应巴蜀炎热潮湿气候。

The wall backdrop adorned with hand-painted wallpaper, was inspired by moon gate and fairy-crane motif from Juanqin Zhai, the Forbidden City. The brass hand-made lamps covering red velvet were redesigned and fixed on each pillars. The complex ceiling structure installed and decorated with several belt-driven fan (Brewmaster), originally used in western tavern of 1800s, is to adapt hot and humid climate of Chengdu.

 

西风之东渐

EAST MEETS WEST

 

古为今用，西风东渐。室内装饰之中西合璧，一片和合之妙。

Adapting ancient forms for present-day use and mixing west with east.

 

墙面装饰取自故宫倦勤斋之月洞门与仙鹤图之元素，并以手绘而成，柱上装饰以法式黄铜红色丝绒灯。顶面设计举架蜿蜒而下，其上悬以最早使用于十九世纪西方老酒馆内的皮带驱动电扇（Brewmaster），以适应巴蜀炎热潮湿气候。家具桌形取于八仙桌，而桌椅则重构维也纳分离派大师霍夫曼（Josef Hoffmann，1870-1956）设计的蝙蝠椅（Fledermaus Chair）。

The wall backdrop adorned with hand-painted wallpaper, was inspired by moon gate and fairy-crane motif from Juanqin Zhai, the Forbidden City. The brass hand-made lamps covering red velvet were redesigned and fixed on each pillars. The complex ceiling structure installed and decorated with several belt-driven fan (Brewmaster), originally used in western tavern of 1800s, is to adapt hot and humid climate of Chengdu. Furnitures, such as dinning table taking shape from Chinese Eight Immortals table and dining chairs subtly redesigned from Fledermaus Chair by Josef Hoffmann, is trying to make a dialogue between west and east.

 

透过可开启的木作金箔雕花窗与室内遥相呼应

Interaction interior with exterior through openable wooden carving gilding windows.

 

由于是全日餐厅，从白天的早茶至夜晚的中式鸡尾酒吧以灯光转换氛围，白日以暖白色为主，夜晚以蓝色红色为调，当五光十色斑驳于仙鹤手绘墙面之上，自是一番游刃于古今之奇幻感。

Intelligent lighting system has been applied to switch space mood, warm white in daytime and blue red in the night, to delivery a fantastic experience timely and fractionally.

 

“草树云山如锦绣，秦川得及此间无”

天上人间只此一地的锦官城，有“得云入蜀”也自是只此一间，别无二致。

Tak Wan Tea House, as an exquisite and irreplaceable space, will tell its own story in Chengdu.

 

结合现代激光雕刻玻璃与单层镜面膜，重构倦勤斋竹编双层竹编效果

Inspired by superb craftsmanship of double layer bamboo-weaving from Juanqin Zhai, the Forbidden City in Qing dynasty, we use high-tech laser carving optical glass and mirror effect film to reinterpret in a modern approach.

 

 

项目信息

 

建筑公司 / Design Studio: NONG STUDIO
完工时间 / Completion year: 2019.10
建筑面积 / Area : 140 sqm
项目地址 / Address: 成都太古里 / Taikoo Li, Chengdu, China

摄影师 / Photographer：汪昶行 / Chasing Wang

主创建筑师 / Chef designer：汪昶行 / Chasing Wang, 朱勤跃 / Neal Zhu

设计团队 / Design Team：焦枫林，冯培艺，张帆，张安琪，兑立昊，姜跃峰 / Maple Jiao, Vera Feng，Fan Zhang，Angel Zhang，Lihao, Dui, Jason Jiang

软装设计顾问 / FF&E Consultant：李蔓 / Linda Lee

灯光设计 / Lighting Consultant：杨飞 / Fager Yang

客户 / Client：上海熙玺府餐饮有限公司 / F.C.C. GROUP

主要材料 / Main materials：木作金箔，黑色木饰面，手绘祥云龙纹青花柱，黄铜家纹固件，异形铝板，不锈钢，青金水磨石，景泰蓝大理石，艺术仿古镜，单面反射玻璃，激光雕刻玻璃，定制软包，手绘倦勤斋壁纸等 / Solid wood covering gold foil, Black oak veneer, Hand painted blue and white porcelain column of Chinese cloud with dragon pattern, Brass caving architectural fittings, Undulating aluminium, Stainless steel, Lapis lazuli terrazzo, Azul Bahia marble, Antique mirror, one side reflective glass, Laser engraved glass, Bespoke fabric, Hand printed Tien Qin Zhai pattern wallpaper. 

 

 

创始人介绍

 

汪昶行 博士 | 室内建筑师 | NONG STUDIO 弄设计创始人

汪昶行，弄设计NONGSTUDIO创始人，同济大学建筑与城市规划学院博士，中国85后空间设计的代表人物，出生上海书香门第家庭，从上海多元的文化背景和艺术家父亲的熏陶中，形成了他独到的文化洞察力，成为他设计的本源与初心，后在意大利米兰理工大学和纽约帕森斯艺术学院的留学经历，以及全球知名设计事务所Yabu Pushelberg的工作经历，拓展了其中西融合的独特视野，同时他也坚信设计的言之有物来源于理论研究，从博士研读时期开始，7年致力于研究近现代（1843-2013）上海室内设计史，以理论为基础，对历史、文化、风格、细节等深入研究来创造全新的体验，并赋予历史以新的时代气息。
此外，他曾游历50多个国家300多个城市，热爱摄影与收藏。“旅行给了我全球视野，摄影给了我敏锐洞察，而收藏形成个人品味。”所有的经历都塑造了他“顽物明志”的设计哲学与人生态度，汪昶行说，“玩物不会丧志、传统不是包袱、文化不只怀旧。