京兆尹素食餐廳室內設計，北京，中國

京兆尹素食餐廳室內設計，北京，中國

King's Joy Restaurant, Beijing, China, 2012

評論

王維仁：合院四帖：游園京兆尹

之一城市肌理：四合院胡同

京兆尹餐館在北京的東城雍和宮西側，北側緊鄰五道營胡同，往南是官書院胡同和國子監以及孔廟，是一棟新建的兩進四合院。仔細比對乾隆時期的京城全圖與之前的航拍圖，我們發現這個地塊和乾隆年間的地塊是符合的，應該是一棟兩跨兩進的四合院宅子，或者是兩棟兩進的四合院宅子并列著。東側的四合院形制完整，西側的四合院前院較窄、形制不規則。四合院宅子的南側也是一條東西向的短胡同，和北側五道營胡同平行，但這條胡同在西側被一棟大宅給堵住了。胡同應該是可以和街廓里面的國學胡同對齊的，但近年的航拍圖已經看不到這條胡同了，成為一片寬廣的空地。

新修的京兆尹建筑是一棟新建的仿傳統四合院，除了主軸上南北兩個院子，西側院加了兩組南北朝向的雙坡屋頂。地塊南側胡同變成的空地，現在成為餐館的停車配套，也是四合院建筑的前庭廣場。這樣的城市地塊和建筑變遷，改變了雍和宮大街沿街致密的城市胡同肌理。現在我們從安定門東大街沿口沿雍和宮大街往南，可以明顯地看到前庭寬廣、相對獨立的大院餐館。建筑多了一番京兆尹的闊氣，卻也少了一分北京城胡同空間的轉折。這些條件應該都不是非常建筑的室內設計能夠控制的，卻也是他們面對的挑戰。

之二形態空間：兩進院對兩跨院

面對新建的四合院，非常建筑對整體空間體驗與空間秩序的安排，做了一個重要的決策：利用大門的由南轉向西，調整四合院的空間秩序，把原有面南的兩進院，改變成面西的兩跨院。設計將原本建筑門廳的大門封閉，門廳成為圍繞南院一系列的餐室之一。訪客由雍和宮大街轉入四合院外的前庭，過前廳而不入，反而由宅子盡端的側墻入口轉入了西側院，再迂回進入設于西側廂房的新大門。這樣的調整，替建筑帶入了巷弄的前奏體驗，增加了城市空間的深度，除了避免訪客由南面停車場登堂入室的尷尬，也彌補了城市改造后失去的胡同空間經驗。

被轉化成為兩跨院空間關系的餐館，進入西大門后右轉到過廳前臺， 往左舉目旋即看到改為室內中庭的南院，步下臺階站在中庭天窗下，可以隱約看到北側的另一個室外庭院。四合院的兩個院子南北呼應，分別被賦予天窗中庭和樹木庭院的不同個性，也是餐廳和園林的不同功能。南院天窗中庭利用中央的十字結構，四分懸掛了八面屏風增加空間的尺度感，也折射緩和室內中庭的直接光線。西廂房和前臺過廳成為組織建筑南北空間的主要流線，圍繞著南北院的四周布置餐臺，分別圍合呼應兩個院子的空間個性 。

之三裝折天花：磚瓦織里的小木作

餐廳室內的墻體裝折與隔扇，無論是餐室間隔、走道屏風、天花反折、吧臺背墻，都成為非常建筑用來試驗材料織里方式的展示。石濤描述畫家寫生“收進奇峰打草稿”，應該就是建筑師的這種探索狀態。以走道上前后交錯五六不等的兩排屏風為例：內鑲在木框里的小青瓦是半弧形的單一模組，經過了非常建筑橫豎、上下、正反、內外、曲折的各種組合，竟然可以砌出11種不同的肌理。我們說密斯對細部的執著或明末文人的賞奇玩物，大約也就是進入這種情境了。

李漁在閑情偶記里描述的“堂高數仞宜，于夏而不宜于冬”，以及“登貴人之堂”的“令人不寒而栗”，也許常常是室內設計入場，面對冰冷陽春的建筑內殼時的感慨。經過了非常建筑的“裝修”后，從整體的室內效果看，這些反轉邏輯的材料建構，無論是磚瓦作成的小木作，或者是木料作成的磚瓦砌疊，都成功地喚起了人體對材質和尺度的知覺。從深木色的木磚旋轉砌隔墻，到豐子愷式的黑白筆墨，與天花的反折木板或卷棚頂，透過與白色混凝土梁柱的交錯，設計巧妙地遮掩了原來建筑的高大與尷尬的結構，真正達到了建筑需要裝折的目的。

之四園林庭院：竹林院的游園

京兆尹餐廳共有大小6個庭院。除南北兩院和北正房左右兩個天井小院，最成功的安排就是西側前院和后邊院墻之間的竹林院。竹林院原本只是建筑與院墻間不規則的剩余空間，改造后不但能提供北側餐室窗景，更強化了餐廳進口空間的層次。

入口從西側的小巷轉折進入餐廳，非常建筑在小巷盡端加砌了一道約2m高的短墻，挖了一個橢圓形帶斜角的洞窗。雖然短墻輕微地暗示訪客右轉直入大門，然而墻后一片致密蔥綠的竹林，卻巧妙地引發訪客一探究竟的好奇。加上一路進來水氣感應形成霧氣繚繞的仙氣，進一步地增加了背后竹林的神秘感的吸引力。就整體設計來看，這6個大小不同庭院與餐室布局，讓流線貫穿大小庭院，也引發訪客用餐前后一探究竟的游園情境，是空間組織成功的關鍵。

后記

張永和的非常建筑一向以空間思辨嚴謹與建構系統明晰著稱，然而在京兆尹的設計說明里卻是明擺著寫道“設計不希望引人注意，旨在創造一個舒適的環境 ”。這樣非常不“非常建筑”的設計說明也許是室內設計的必然狀態，也許是張永和心境的改變。而張永和對文學電影的情境描繪，或許反而在京兆尹的空間里得到了釋放。

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Comment

WANG Weijen: 4 Notes on a Courtyard: Walking Through King’s Joy Restaurant

No.1 City Texture: Courtyard & Hutong

The newly built building for King’s Joy Restaurant is an imitation of the traditional courtyard, except for the north and south courtyards on the axis, and 2 double pitch roof facing south on top the west courtyard. The empty area south of the site which used to be hutong became the parking space for the restaurant and the front square for the courtyard architecture. This transition of urban land and architecture changed the city texture of dense hutongs alongside Yonghegong Avenue.

No.2 Form & Space: 2 Courtyards in Depth vs.2 Courtyards in Width

FCJZ made an important decision about the entire space experience and space sequence arrangements of the newly built courtyard: adjusting the space sequence by turning the entrance from facing south to west, and changing from 2 courtyards in depth facing south, to 2 courtyards in width facing west. In the design, the original gate in the entrance hall is closed, and the hall became one of the series of dining rooms surrounding the south courtyard. Visitors turn to the front square outside the courtyard from Yonghegong Avenue,pass the entrance hall but not entering, but enter the west courtyard from the entrance on the side wall at the end of the house instead, and then enter the new gate in the west wing house. This adjustment brought architecture into the prelude experience of alleyways,increased the depth of city space. It not only avoided the embarrassment of visitors entering from the south parking space, but also made up for the hutong space experience lost in the transformation of city.

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The 2 courtyards are corresponding from north and south. The different characteristics given to the skylight courtyard and the tree courtyard are also the different functions of restaurant and garden. 8 screens are hung down in 4 groups from the cross structure in the center of the south skylight courtyard. They increased the sense of scale and softened the direct sunlight in the courtyard by refraction.

No.3 Decorative Folding Ceiling: Little Wooden Crafts in the Weave of Bricks and Tiles

All the decorative partitions and screens in the restaurant are demonstrations of FCJZ’s experiment in material weaving, no matter if it’s the partitions between dining rooms, the screens in the hallways,the folding in the ceilings, or the back walls of the bar.

After FCJZ’s decoration, from the entire interior effect, all of these reversing logic material constructions, whether the little wooden crafts made from bricks and tiles or the piles of bricks and tiles made from wood, arouse people’s awareness of material and scale. From the partition walls built by rotating dark wooden bricks, to the black and white ink in Fengzikai Style, and where the folding wooden ceiling or Juanpeng ceiling meet the white concrete columns, the design cleverly hid the original huge and awkward structures in the building. It truly achieved the goal of decoration the building needs.

No.4 Garden Courtyard: Walking through the Bamboo Garden

Entry to the restaurant is through the turn in the small alley in the west. FCJZ added a short wall about 2m high at the end of the valley, with a window shaped as eclipse with bevel angles. Although the short wall slightly suggests visitors to turn right and enter straight through the gate, the flourish and green bamboo grove behind the wall cleverly intrigues visitors to explore out of curiosity. The moisture along the way forms a kind of heavenly fog, which further increases the mysterious attraction of the bamboo grove behind. Judging from the entire design, the organization of these 6 different courtyards and dining halls allows the circulation to go through all the courtyards, and encourages visitors to explore the gardens before or after meals. This is the key to a successful space organization.

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Postscript

Yung Ho Chang’s FCJZ has always been known for the strictness of space logic and the clearness of construction system, but in the design introduction of King’s Joy Restaurant, there’s a plain writing saying “the design didn’t want to draw attention but was aimed at creating a comfortable environment”.This introduction which is very not FCJZ may be the inevitable statue of interior designs, or a change of Yung Ho Chang’s state of mind. However, the scene description of literature movies by Yung Ho Chang, might be released in the space of King’s Joy Restaurant instead. (Translated by CHEN Yuxiao)

項目信息/Credits and Data

客戶/Client: 北京京兆尹餐飲文化有限公司/Beijing King's Joy Food Culture Co., Ltd.

地點/Location: 北京市雍和宮大街/Yonghe Lama Temple Street, Beijing, China

建筑設計/Architets: 非常建筑/Atelier FCJZ

主持建筑師/Principal Architect: 張永和/Yung Ho Chang

項目團隊/Project Team: 王玥，郭照瑋，邢大偉，陳正達，吳瑕/WANG Yue, GUO Zhaowei, XING Dawei, Dan Chen, WU Xia

設計范圍/Designed Area: 地上1層用餐區/Dining area on Ground Floor

建筑面積/Floor Area: 1298.5m2（地上/Above ground）

主要材料/Material: 木磚、筒瓦、青磚/Wood, bricks and tiles

設計時間/Design Period: 2011-2012

施工時間/Construction Time: 2012

攝影/Photos: 舒赫/SHU He

設計條件

基地：雍和宮對面五道營胡同口里的一組新四合院；使用：素食餐廳。

空間

這是一個室內設計，我們需要在尊重四合院基本格局的基礎上對該建筑的空間進行重組。餐廳的入口從南邊一進院子的倒座改到西側的夾道里，使人們在到達中心院落之前先經過一個曲徑式的過渡的空間系列。為了獲得需要的使用面積，原有的一個院子需要封起來，但我們希望仍然保持兩個院子的感覺，因此將封閉的院子做得盡量通透、明亮，用一個懸掛的八面屏營造既開敞又親密的尺度。其結果是形成一個室外、一個室內的兩個院子空間的對比。其他空間都圍繞院子展開。

材料

我們采用了傳統材料當代做法的策略。從典型四合院建筑中提取了木、磚、瓦等材料，將它們以非常規的使用和建造方法來對待：將木作成磚來砌筑；磚疊澀本是墻的砌法，但被移植過來作吧臺；屋頂上用的瓦則用來搭屏風和酒瓶架；等等。其目的是想達到傳統和現代的共生與結合。

景觀

我們對傳統園林是抱批判態度的，認為其設計偏于繁瑣。我們的景觀設計中把傳統的庭院內的元素簡化成幾個色塊和質感，如暗紅色的木構架、灰色的磚鋪地、灰白相間的石子，希望把古代景觀中的瑣碎去除，同時把其精華調動出來。□

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Design Conditions

Site: A recently built courtyard house (Siheyuan)at the entrance to Wudaoying Hutong, opposite of the Lama Temple. Program: A vegetarian restaurant.

Space

This was an interior design project. Based on our respect for the basic structure of the courtyard house, we reorganized the interior spaces. The entrance of the restaurant was altered and moved from the southern rooms to the passageway on the west, in order to allow users to pass through a series of labyrinthine transitional spaces before arriving at the central courtyard. In order to achieve the required floor area, one of the original courtyards had to be covered. Yet we still hoped to preserve the feeling of two courtyards. Thus we made the covered courtyard as transparent and bright as possible. An eight-panel folding hanging screen was employed to create a scale that is both open and intimate. This design results a contrast between an indoor courtyard space and an outdoor courtyard space. Other spaces were developed surrounding the courtyards.

Materials

Our strategy was to use traditional materials in a modern way. We mainly used wood, brick, and tile taken from traditional courtyard construction and then applied unconventional uses and construction methods to these materials. Wood blocks were laid as bricks; brick corbels were normally employed for the cantilevered wall but in this case they have been used to construct the bar. The roof tiles were repurposed to make folding screens, wine racks, etc.The objective was to achieve a coexistence of modern and traditional.

Landscape

We hold a critical attitude towards traditional gardens, believing such designs tend to be too mired in minor details. Our landscape design for this project took traditional courtyard elements and simplified them into several colour tones and textures. For example, we use a crimson wooden frame, grey tile floor, and interspersed grey and white pebbles, hoping to remove the trivial elements of ancient landscape while showcasing its essence.□

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