中國蘇州書局
坐落於被崑曲文化環抱的書局，擁有核心文化定位的重要身份。原作為疏散走道的空間，對設計團隊而言並非一次單純的內部翻新工程，而是期望能將這個僅 65 平方公尺的空間，重新融入博物館文化生態，構築一個集文化生產與交流的當代場域。
Located within the Kunqu Opera Museum in Suzhou, Baihua Bookstore was established in 1993, dedicated to the centuries-old Kunqu opera tradition—a UNESCO Intangible Cultural Heritage. Over the decades, the original 65-square-meter space fell into disrepair and devolved into an exit corridor, detached from its cultural roots. Invited in 2024, designer saw an opportunity to reintegrate the space into the museum's living cultural ecosystem, aiming to reimagine it as a compact yet generative "bookstore-plus" model for cultural production and exchange.
博物館收藏當地傳統戲班用於街頭表演的便攜式舞台，以便於組裝與拆卸、顯露與隱藏的邏輯、輕便與可折疊的立面結構為特色。設計師以此作為設計靈感，汲取其結構邏輯後，將書局重新構想為一個內嵌式的微型劇場，打造全新的當代空間裝置，體現民間戲曲文化中的身份象征、機動性、適應性與結構組織上的巧思。
Our design begins with the Tangmindan, a lightweight, collapsible facade used by traditional opera troupes in southern China. This portable stage structure embodies the mobility, adaptability, and organizational ingenuity of folk opera culture raditional troupes would carry their Tangmingdan through neighborhoods, creating temporary venues through a logic of assembly and disassembly, visibility and concealment.. She extracted its structural logic and reinterpreted it as a contemporary spatial device—transforming the bookstore from a static display space into an embedded micro-theatre (a dynamic cultural node). The entire architectural strategy is informed by Tangmindan’s three essential spatial qualities: identity, generativity, and mobility.
書局中央的「堂名擔」不僅是象徵性門檻，亦是空間的核心裝置。儘管面積不足七平方公尺，它卻配備四個獨特立面，每個立面均由不同材質與表現形式構築。此外，牆面配有磁性安裝系統、窗簾採用可伸縮式，標牌亦為模組化設計等。這些策略為空間塑造儀式感氛圍，靈活的配置，有效適應多樣化的文化活動。
At the heart of the bookstore is a central spatial device: a new Tangmingdan hat serves as both symbolic threshold and structural core. Measuring just under 7 square meters, this element features four distinct façades—each made of different materials and expression. All display elements are mobile, walls are equipped with magnetic mounting systems; curtains are retractable; and signage is modular. These strategies allow the space to adapt quickly to changing uses and events. It physically anchors the space, introduces a sense of ceremony, and enables flexible configurations for diverse cultural programs.
北牆所設置的三輪木製展示面板不僅能沿著場地使用，還可向內移動，與中央的「堂名擔」圍合成一個臨時表演區域；西牆則設置了崑曲黑膠唱片展示區，歌劇錄音在穿孔面板後面播放，觀眾可透過部分可見的空間，瞥見「後台」樣貌，藉此模糊了日常生活與戲劇性邂逅之間的界線。
For instance, three-wheeled wooden display panels on the north wall can be used along the perimeter or moved inward to enclose a temporary performance zone in conjunction with the central Tangmingdan. The west wall features a Kunqu vinyl display, where operatic recordings play in a space partially visible through perforated panels—offering glimpses of the "backstage", and creating a blurred boundary between everyday life and theatrical encounter.
北立面覆蓋著在現場尋獲的回收舊木門，後採用炭化技術剝除舊漆，藉此顯露木材原始紋理，賦予材料新的觸感與溫暖。來自原始空間的雕花窗板被完整保留，跳脫只作為懷舊背景的功能，成為新結構中活躍的敘事片段。
The north façade of the Tangmingdan is clad in reclaimed wooden doors found on site. She stripped the paint using a carbonizing technique to reveal the wood grain, giving the material a new tactile warmth. Carved window panels from the original space were preserved—not as nostalgic backdrops, but as active narrative fragments within the new structure.
南立面則採取了對比鮮明的手法。鍍鋅穿孔鋼板構建出一層當代的表皮，表皮上的抽象穿孔圖案源自崑曲演員佩戴的月牙形頭飾，在此重構為一種「似傳統而非傳統」的圖形韻律。近距離觀察時，鋼板的幾何節奏與原始「堂名擔」書法筆觸相互呼應。
The south façade takes a contrasting approach. Here, galvanized perforated steel forms a contemporary skin. The perforation pattern is abstracted from the crescent-shaped ornament worn by Kunqu actors, restructured into a graphic rhythm that is "traditional, yet not quite." On closer inspection, the geometric cadence of the steel panels echoes the calligraphic strokes of the original Tangmindan characters.
縱觀全案，設計團隊大膽選擇不追求設計的「完整感」，而是以「微介入」作為核心策略，探索以結構再生與文化融合為目標的小型、邊緣化城市公共空間。這類空間往往有所局限，因此設計過程無法依賴單一形式的表達，也不能期待透過一次性介入就達成「項目終結」。相反地，藉由輕量化、內嵌式、具高度適應性的空間結構，使其重新被啟動、被看見、被使用，並再次編織進城市公共生活的肌理之中。
In this modest 65-square-meter space, designer chose not to emphasize a sense of design completion. In recent years, our focus has been on exploring "minimal intervention" strategies in smaller, marginal urban public spaces, where structural regeneration and cultural integration are key objectives. These spaces are characterized by limited resources, restricted budgets, and ambiguous public functions. As a result, the design process cannot rely on a singular formal expression nor achieve "project closure" through a one-off intervention. Instead, she have found potential in these interstitial spaces by employing lightweight, embedded, and adaptable spatial structures. This approach not only allows for the reactivation of these spaces but also enables them to be seen, used, and woven into the fabric of civic life.
主要設計：包理佳
空間面積：65 ㎡
主要材料：再生木材
座落位置：中國蘇州
影像：Wen 工作室
整理：何雯意
