留云草堂-许宏泉工作室 —京郊的另一种艺术栖居

Hall within cloud-Art studio of Xu Hongquan

---Artistic living in suburban of Beijing

许宏泉老师是位画家，也是个既会书法，又会写书，又擅长文学评论的文人。在今年夏天许老师经人介绍找到我们，给他做这个怀柔桥附近的厂房改造。改造成他的工作室，也是他未来的家：留云草堂。

Mr.XU Hongquan is painter, and a literati who is good at writing books, calligraphy, literary review as well. Mr. Xu found us through friends this summer, to make this reconstruction of the old factory building, which will be used as his studio and home in future: Hall within the Cloud.

通过和许老师的交谈，我们明晰了工作室的基本功能，无非就是工作室，茶室，卧室，书房等典型的艺术家工作室的配置。基地也是典型的条状坡屋顶砖砌厂房，之前作为工厂办公楼使用。厂房高度约6米，屋顶为三角形钢桁架结构，整体保存状况良好。对于我们来说，项目的特别之处在于，许老师是同时受过东西方教育熏陶的文人，他既在大学里和年轻的孩子们一起搞艺术评论，美术史研究。又先后师从罗积叶、黄叶村、石谷风先生研习书画和美术史。所以他不是一个“传统”的画家，因为他不仅仅画画，他的文名甚至会盖过画名。但他骨子里又是个传统文人，默默坚守着中国传统文化里的文人气质和精神世界的生活。

Through conversation with Mr. Xu, we clarify the basic function of the studio, which is studio, tea room, bedroom, study room, etc. The typical configuration of an artistic studio. The site is also a typical linear brick factory with slope roof, which was used as factory office before. The height of the building is about six meters, with the triangular steel roof truss structure, overall keep in good condition. For us, what unique about the project is, Mr. Xu is trained in eastern and western education at the same time, he is taking art comments and art history research in college together with young students,. And also had successively studied from Lou Jiye, Huang Yecun, Shi Gufeng about calligraphy, painting and art history. So he is not a "traditional" painter, because he is not only drawing, His literary achievements is even above drawing. However, he is also a traditional literati, who keeps lifestyle in spirit of Chinese traditional culture.

我们发现他在功能的需求上，点明了需要一个油画室，还需要一个国画室。两个分开的不同氛围和场景的画室。我们在这份独特的任务要求中，找到了我们的切入点：透视，这个典型的东西方绘画最大的不同点之处。

We find his demand on functions for an oil painting room, and a traditional painting room as well. Two separate studios with different atmosphere and scenario. In this unique mission requirement, we find our entry point: Perspective, the biggest difference between east and west painter art.

顺着这个透视的线索，我们设计了一种嵌套式的生活场景。通过一系列心理分析。我们提出了一个艺术家的心理空间图示。在这个图示中，我们将人最基本的睡眠，饮食等生理需要放在中心位置，中间一层为会客，展示等社交需要，最外面一层为画家最重要内心的艺术追求与需求。如果将这个心理空间关系直接投射到建筑空间的布局上，我们可以创造出一个嵌套递进的空间结构。通过房间角部的出口，人们从一个房间进入另一个房间，通过每个角部的开口，形成一条贯穿建筑的视觉通廊。因为这种嵌套式的平面布局，每一层的空间都包裹着另一层，到达一层空间需要穿越另一层空间，它们当中发生的事情都被另一层影响和观看，也同时彻底消灭了走廊的概念。

Follow this perspective clue, we designed a nested life scenario. Through a series of psychological analysis. We propose an artist's psychological space diagram. In this chart, we put sleep, diet and other most basic physical need in center position, reception, exhibition these social needs in the middle layer, the outermost layer as the painter's most important art pursuit and demand. If the psychological space relationship directly projected on the layout of architectural space, we can just create a nested progressive space structure. Through the corner of room export, people enter from one room to another, through the open of every corner, form a visual corridors through buildings. Because this kind of nested layout, space of each layer are wrapped in another layer, reach one layer space needs get through another one, Space events in each layer are affected and watched by another layer, this is also thoroughly eliminated the element of the corridor.

这种空间不免让我们联想到传统水墨画中的场景，如宋朝画家周文矩的《重屏会棋图》，四个男性围成一圈下棋或观弈，在他们后方有一扇屏风，屏风中又画着一个人在一扇屏风前的榻上被几人服侍。而第一扇屏风上的这幅场景的透视角度使人看起来就和前方会棋的几人处在一个空间内，使人难以分辨屏风到底是一幅画还是空间的一个门框。有趣的是，这幅《重屏会棋图》最初也是裱在一扇屏风上面。这样就形成了画中之画，框中之框的三层嵌套关系，无法分清那个是真实空间，哪个是再现的想象空间，形成了“重屏”的效果。

This space may let us think of traditional ink painting scenario, such as painting < play chess in multiple screen>from Zhou Wenju in Song dynasty, four men in a circle to play chess. There is a screen behind them, In the screen which shows a person in front of another screen on the couch served by a few servants. This perspective on screen makes people feel like they are in the same space with play chess in front，which makes it difficult to distinguish the screen definitely is a picture or just a real door frame in space. It is interesting to note that the< play chess in multiple interfaces > originally is also mounted on a screen. Thus formed three layers of nested relations about the painting of the painting, box in box, impossible to distinguish which is the real space, which is the reappearance imagination space, a effect " multiple screen".

我们的这种空间布局也是意欲再现这种“重屏”之境。

Our this kind of space layout is also intended to reproduce the " multiple screen".

由于厂房的周围被大量林地包围，许老师希望能把卧室和书房搬到二层，这样就能欣赏到窗外美景。于是我们原本希望在厂房内部解决改造的希望就被打破了。在这个改变之下，我们希望在加高的部分植入新的秩序来回应新的需求，我们采取了变坡的处理方式。一方面是因为高起的二层没必要再采用坡屋顶，这样会让高度过高，显得突兀。同时无法让加建部分和原有厂房历史形成某种区分和对话关系。透视的主题也由这个外在的形式暗示扩展到了二层。另一方面，我们也觉得通过变坡的方式是对传统意境的一种转译，我们想象着在雨中，雨水落在由缓及陡的屋顶上，自由落水的洒向院子。借由着这个坡屋顶，搭建出一个水与重力表演的舞台。这个坡顶，一开始我们打算做成一个纯粹的双曲面，但是限于厂家工艺和造价的限制，最终我们选择了分段折面的屋顶形式，期间为了保证工艺还做了一次一比一的构造试验，最终完成了这次有意义的从理想到现实的建构“翻译”。

Due to the site is surrounded by a lot of forest land, Mr. Xu hopes to move the bedroom and study to second floor, so that the beautiful scenario outside the window can be caught. So our plan which only do the modification inside the factory has been changed. Under this change, we hope to implant new orders to respond new needs, We took the gradient type slope roof as the treatment. On one hand, because of there is no need to use the slope roof, it will let the height too high and abrupt. Meanwhile this can't connect new added parts and the original factory history form into some kinds of distinction and dialogue relations. The perspective theme from the external form which hints that theme extends to the second floor. On the other hand, We also think by changing slope is a translation of traditional artistic conception, we imagine in the rain, raindrops fall on the slow and steep roof, and then gently sprinkled on the yard. Make the slope roof as a water and gravity acting stage. At first we are going to make the top a purely hyperboloid, but as the limitation of manufacturers craft level and cost, we chose the segmented folding roof form finally. In order to ensure construction quality , we also made an 1:1 scale structure test sample before the construction. Finally this meaningful construction from ideal to reality "translation" complete.

最后，我们在“透视化的平面布局”和“变坡屋顶”之外，就没再做更多设计上的大动作了，屋外的园林，屋内的大量陈设，墙上的画作等都是按许老师自己的意愿进行的布置。这种大胆的设计上的取舍幸运的完成了一次很好的设计师和甲方意愿的和谐融合。就像是我们搭好了一个戏台，又或者说就像是传统水墨画的“留白”手法，让中国传统文化元素在这里充分的展示。许老师带着他的学生和朋友们在设计的整个过程中都深度参与，在工作室建成以后，还要陆续的办昆曲的游园惊梦等艺术活动。就在刚刚竣工完的一次试唱过程中，我们就领略到了昆曲的歌声在整个高敞的工作室空间里回荡的震撼场面。

Finally, In addition to "the perspective of layout" and "changing slope roof", We didn't do more big actions during the design, how to treat the outdoor garden, a large number of display interior, the painting on the wall, they all according to Mr. Xu’s wishes. This bold design decision finally make a good harmonious fusion from designers and customer’s will luckily. Our design is like a stage set, or like "white space" of traditional ink painting technique, make the Chinese traditional culture elements in full display here. Mr. Xu with his students and friends involved in the whole process deeply, after completion of the construction, they will start to do art activities such as kunqu opera the Pony Pavilion. In a demo perform finished complete, we appreciated the shocking scenario of kunqu opera song in the high open studio space.

走进刚刚完成的工作室里，我们都能想象出接下来冬夜的雪中看湖；明年的夏日暖阳下，许老师和朋友们在茶室品茶听琴；在大画室摇椅上摇曳，蛐蛐鸣叫的一系列动人场景了。

Walking Into the studio which has just completed, We can imagine to watch the lake and snow in next winter; and Mr. Xu and his friends listen to zither in a teahouse next summer under the warmsun; and in the big studio rocking chair with Cricket chirping, a series of touching scene.