道法自然-藏在成都青羊宫的庭院餐厅

公司：	MUDA慕达建筑	类型：	景观 \| 建筑 \| 室内
地区：	中国	标签：	餐饮空间

“人法地、地法天、天法道、道法自然”—— 《道德经》

“Man patterns himself on the operation of the earth; the earth patterns itself on the operation of heaven; heaven patterns itself on the operation of Dao; Dao patterns itself on what is natural.” — Dao De Jing

▽ 中庭 Central Courtyard

▽ 南入口 South Entrance

‖ 项目背景 Project Background ‖

“要附白鹤背，往访青羊踪”

MUDA慕达建筑此次设计的“宽三堂-东方人文生活空间”，位于中国四川省成都市青羊宫旁。青羊宫历史悠久，始建于周朝，原名青羊肆，后唐僖宗于蜀中避难，以此为行宫，诏改为青羊宫并致力修建。青羊宫被誉为“川西第一道观”，也是中国著名的道教宫观之一。

Located in Chengdu, China, MUDA-Architect’s recently completed work “Kuansan Town - Oriental Cultural Life” restaurant resides next to the Daoist temple Qingyang Palace. The ancient Qingyang Palace, originally named Qingyang Si, was built in the Zhou Dynasty (1046-256 BCE). After taking refuge in Sichuan during the Tang Dynasty, Emperor Xizong refurbished and expanded Qingyang Si, entitled it The Qingyang Palace. Having survived multiple war ruins and reconstructions, the Qingyang Palace is now the most prominent Daoist temple complex in Western Sichuan and China at large.

▽ 青羊宫视角的东入口 View From the Qingyang Palace

▽ 与青羊宫一墙之隔的茶室 Tea room

‖ 设计理念 Design Concept ‖

“为天下谷，常德乃足，复归于朴”

设计理念来自于道家哲学经典《老子》，道家讲“谷是生之地，生之繁衍不息”。谷的内部是没有形状的，正因如此，才可以呈现出任何形状。谷的意象指向“实”之间的“虚”与“无”，使它有孕育、承载“生”的无限可能，且无法被用尽。

The design of Kuansan Town is derived primarily from ancient Chinese philosophy Daoism and is inspired by multi-century cultural heritages and well-protected historical architectural surroundings. The 'valley,' according to the classic Laozi, is a realm of all births, autopoiesis, and an infinite self-generation mechanism. The ‘valley’ is shapeless within, allowing it to take any form. It alludes to the 'vacancy' and 'nothingness' within the 'real', providing the possibility to nurture everything possible.

▽ 中庭-红色玻璃形成的弧形天际线 Spiral Stairway

▽ 中庭- 虚与实，轻盈与厚重的对比 bold contrast between the virtual and the real, lightness and heaviness

溪/水的意象则为“谷”带来生生不息的源泉，使谷盈，善利万物，滋养生息。谷与水的意向包含了道家对世界与生命的看法与哲学观，谷与水的关系是生动的，有生命力的，且永恒的。我们提取了关于“谷”的描述进行衍生，营造虚的“谷”，并通过“水”的手法引入流动的“溪”将其演绎成建筑空间，重建场所感和叙事感。

While the valley is formless, the ‘water’ acts as a stream of liveliness that endlessly nourishes and fills the ‘valley’. In the Daoist philosophy of Existence and the Universe, the relationship between the Valley and Water is vivid, eternal, and vital; it is the origin of all beings. MUDA-Architects extracted such depiction of 'valley' and interpreted it into the architecture through the application of 'water' to rebuild spacial narration and the sense of place.

▽ 中庭-藏在木色序列中的结构柱structural sequences

▽ 中庭- 浅池中的鱼和景 Fish in a shallow pool

‖ 南入口 South Entrance ‖

“为天下式，常德不忒，复归于无极”

项目有东南两个入口，其中南入口为社会入口，位于成都市一环路，紧邻青羊宫地铁站。作为整个场域的起点，南入口取意“无极之境”。无极，指的是混沌的先天状态，无形无相，不分阴阳，为万物之始。万物生于有，有生于无，“无极之境”也寓意整个空间的开始。

Among the two entrances of Kuansan Town restaurant, the south entrance locates aside from the first ring road, adjacent to Qingyang Palace metro station. Being the starting point for the entire project, we entitled the south entrance after the Daoism terminology “the gate of primordial origin (Wuji)”. Wuji represents the chaotic pre-existing state of all things, which is formless, undefined, and incomprehensible. The south entryway represents the domain of all living and non-living entities' primal origins.

▽ 南入口处的老树，以半高红墙相围 Old tree in South entrance, enclosed by a half-height red wall

▽ 南入口处的老树- 不同光影下的绿树红墙 play of light and shadow

▽ 南入口处的水缸细节，形成一个太极图案 the vat

在熙熙攘攘的现代都市，缓缓推开两扇古朴的铜门，蜿蜒的红色景墙散发着浓郁的东方传统美学气息。红墙灰瓦，百年古树屹立其中，向内生长，引导着来者的视线，吸引人们到达“谷”的深处。

Imagine walking in the hustle and bustle city street of Chengdu and encountering a two-sided copper-knobbed ancient door. Open it slowly to reveal a meandering red wall with a strong traditional aesthetic, growing inwards and guiding the view and flow of visitors towards the Valley.

▽ 从等候区望向南入口的老树 view from the waiting area

▽ 从等候区的取景框捕捉中庭景色 the framed view to the atrium

‖ 庭院 The Courtyard ‖

“人法地，地法天，天法道，道法自然”

道家以“无为而无不为”、“反者道之动”，是道之自然。庭院的设计，作为此次项目中“谷”最为核心的体现，MUDA慕达建筑以“天圆地方”为切入点，为二层增加室外平台，边缘形成一条顺滑曲线，使用红色的玻璃栏杆将其符号化，抬头便是蓝天绿树的取景框。而一层方形的庭院则进行了造景，回应“一池三山”的意向。“天圆地方”的道，“一池三山”的法，掌控了整体的自然要素。

One of the fundamental Daoism philosophies is to follow the non-willful action, in which any human tampering with the flow of reality will be reverted to what is natural. MUDA starts with the idea and restored the original rigid square-shaped courtyard with a soft yet bold skyline. By adding the second-floor terrace and connecting the terrace with the sinuous spiral staircase, the visitor’s sight is framed by the smoothly designed red glass fences. Following the classic Chinese garden feature of ‘three Islands in one pond’, we designed a water-featured landscape, restoring the courtyard to its natural state.

▽ 中庭-院内造景一池三山 garden feature of ‘Three islands in one pond’

▽ 中庭的结构钢柱序列连接中庭与二楼平台空间 the structural steel columns connect the atrium to the second floor terrace

▽ 中庭水景的结构钢柱序列给游人的视线进行了空间重组，实现了步移景易The structural steel column sequence gives a spatial reorganization of the visitor’s view

MUDA慕达建筑希望通过不同的造景手法，将景色入画，一步一景，移步换景。中庭水景的结构钢柱序列给游人的视线进行了空间重组，实现了步移景易；弧形旋转楼梯将一楼与二楼空间串联，二楼曲线平台实现了空间的收放，提供了与青羊宫的不同观景视角。院内造景，院外借景，窗棂对景，利用传统园林的流线组织原则使游人身处其中，处处皆是体悟。

In designing the courtyard landscape, MUDA hopes to enhance visitors’ experience of scenic appreciation through traditional landscaping techniques. The structural columns are meticulously hidden within a series of column sequences that reconfigured the visual experience as visitors pass through the complex. The spiral stairway's curving edges are extended to the second level, generating spatial tension on the terrace and presenting breathtaking views of the Qingyang Palace from each angle. Through borrowed scenery, creating scenery, and framing scenery, visitors can expect to glimpse delicately composed and framed scenery at various angles and perspectives, unrolling like a scroll of landscape painting. Changing sceneries elucidate physical and mental enlightenment with every step meandering through the winding path of Kuansan Town.

▽ 一步一景，移步换景 The visual experiences changes as the visitor pass through the complex

▽ 弧形旋转楼梯将一楼与二楼空间串联 Spiral stairway connecting the two floors

▽ 窗棂对景 framing scenery

‖ 室内空间 Interior Space ‖

“楼阁宜佳客，江山入好诗”

- 花园包间 Garden Room

MUDA慕达建筑希望花园包间的设计，可以与得天独厚的自然环境建立互动。包间外即是青羊宫的古塔，几百年树龄的银杏贯穿其中。空间色调以木色和白色为主，使用灵活的木格栅推拉门实现空间的通透性，内外空间相互渗透，与青羊宫景色相映成趣。

The integration of nature and architecture is the key to designing the Garden room. With Qingyang Palace's ancient pagoda and century-old ginkgo trees as a backdrop, MUDA uses a wood tone and warm white color palette, as well as flexible wooden grille sliding doors, to blur the inside-outside boundaries, creating a permeable space that invites natural light and air into the domestic area, making visitors more conscious of their surroundings.

▽ 花园包间的空间色调以木色和白色为主 the garden room with wood tone and warm white color palette

▽ 花园包间使用灵活的木格栅推拉门实现空间的通透性 The Garden room uses flexible wood grille sliding doors to achieve a permeable space

▽ 花园包间院外借景，与得天独厚的自然环境建立互动 The room borrows the scenery from the courtyard

- 连续包间 Continuous Room

项目中一层和二层均有连续包间，二层连续包间通过顶部坡屋顶元素塑造木纹弧顶。包间与包间通过可移动隔断来灵活划分使用，软装设计以简洁调性为主，确保空间的秩序感。木饰面与墙面深灰色软包，以及搭配的吊顶氛围灯带，使整个空间兼具合用的整体性和单独使用的独特性。

Continuous rooms are constructed on both the first and second floors. The continuous rooms are designed to provide flexible services to various groups of customers while retaining a consistent appearance. Through the use of wood grain curved ceilings, minimal decorations, flexible partitions, ambient lighting, and soft furnishings, we preserve the spatial order of the continuous rooms, giving the entire space a sense of unity for group usage and minor distinctiveness for individual use.

▽ 连续包间通过可移动隔断来灵活划分使用 continuous room with flexible partitions

▽ 连续包间 Continuous room lighting details

▽ 连续包间通过顶部坡屋顶元素塑造木纹弧顶 wood grain curved ceilings

- 茶室 Tea Room

茶室的吧台空间围绕着一颗高大的银杏树，银杏树叶伸展在室内，自然与空间的界限也被打破。茶室设置三个层级的矩形镂空吊顶，空间基调以木色为主，中间区域置入发光膜作为主要照明，使空间的光氛围舒适而宁静。朝着青羊宫一侧的滑轨门可以完全旋转打开，外摆区也可作为咖啡甜品场景使用，同时也增强了室内与院外的自然景观互动。

A towering ginkgo tree surrounds the tea room's bar area, its leaves stretching across the room and blurring the boundaries between nature and the interior. The tea room has a three-tiered rectangular cut-out ceiling with a wood tone and a luminous film in the central region as the main illumination, creating a warm and tranquil light environment. The sliding doors on the Qingyang Palace side can be fully opened for coffee or dessert, while also boosting the interaction between the interior and the natural scenery outside.

▽ 茶室可完全打开的滑轨门，与青羊宫相映成趣 Tea room with sliding doors open to the Qingyang Palace

▽ 吧台空间中的高大的银杏树，可完全打开的滑轨门，打破自然与空间的界限 the ginkgo tree in the bar space and the sliding door break the boundary between nature and space

▽ 茶室窗景 Framed View From Tea Room

‖ 青羊宫入口 East Entrance ‖

“同谓之玄，玄之又玄，众妙之门”

项目与青羊宫仅一墙之隔，东入口作为与青羊宫的衔接，取意“众妙之门”。东入口取其幽远难辨之意，赋予原本简单直接的空间以层次，形成一条连接了历史和当代的时空隧道。一侧是底蕴深厚、举步抬眼皆是时间沉淀的青羊宫，一侧是秉承了未来东方精神、表达传统文化的当代空间，“众妙之门”则实现了时间与空间的连接。

A wall away from the Qingyang Palace is the east entrance, it serves as a link between Qingyang Palace and the project. We named it ‘the gate of multiple subtleties (Zhongmiao)’. The Qingyang Palace on one side symbolizes profound heritage and history, and a contemporary space that expresses traditional culture in a futurist twist on the other, 'the gate of multiple subtleties (Zhongmiao)' unfolds the experience of switching between spaces in an unexpected way. The passage is intended to add layers of experience to an otherwise simple and straightforward space, forming a space-time tunnel linking the past and the present.

▽ 东入口，众妙之门 East Entrance

▽ 东入口处的红色围墙 Red wall on east entrance

▽ 入口立面细节 Facade detail

‖ 结语 The End ‖

“道生一，一生二，二生三，三生万物”

道家“谷”的意象指向“实”之间的“虚”与“无”，透过这种虚空性，我们可以看到整个建筑的过去，现在和未来。它是以一个整体时间段的存在，而并非只是存在于某一个时间节点。这也正好印证了“太一、太谷“等东方哲学观，即从整体去看待和描述一个事物发展。谷本无形，空间应运相生。

While the valley is shapeless, formless, and points to the 'vacancy' and 'nothingness' within the 'real', we are able to connect architecture with the present and the future while respecting the passage of time. The existence of architecture endures a period of time instead of a single segment of history. How we look at architecture confirms the Eastern philosophical view of 'Taiyi' and 'Taigu', that we shall look at the development of things as a whole. The valley is formless per se, yet spaces are created in response.

▽ 二层平台，虚与实，轻盈与厚重，过去，现在与未来 forging the present and future with the past