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在清名橋古運(yùn)河之畔，因其所處地理位置，故而取名為“南禪觀水”。其原址呈現(xiàn)出典型的傳統(tǒng)三進(jìn)式院落布局，整體呈前低后高的態(tài)勢(shì)，風(fēng)格較為保守。舊有建筑四周呈封閉狀態(tài)，室內(nèi)采光不足，樓道較為狹窄，存在諸多安全隱患。

經(jīng)過(guò)改造后的建筑，依然延續(xù)了白墻黛瓦、小橋流水的特色，將這座江南小院古樸典雅的韻味保留下來(lái)，同時(shí)還增設(shè)了更多的開(kāi)放空間。其中的房間命名頗具特色，諸如“溯、泛、泊、澤、瀚、澔、潤(rùn)、漾、湛、泓、渡、湉、漪、澹、澈、澄”等，均以水字旁的字來(lái)命名。從設(shè)計(jì)風(fēng)格來(lái)看，干凈利落的線條、裸露的原色墻面以及金屬材質(zhì)的運(yùn)用，傳遞出一種克制冷艷的美感。其幾何性和構(gòu)成性的特點(diǎn)，營(yíng)造出中性、純粹的空間體驗(yàn)，在粗獷別致的風(fēng)格之中，又不乏細(xì)膩之處。鐵銹板、簡(jiǎn)約的落地玻璃以及獨(dú)特的導(dǎo)向系統(tǒng)等現(xiàn)代設(shè)計(jì)元素相互融合，為這座老宅注入了新的活力。

Beside the ancient canal of Qingming Bridge, it is named "Nanchan Guanshui" due to its geographical location. The original site presented a typical traditional three-entrance courtyard layout, with an overall trend of being lower in the front and higher in the back, and a relatively conservative style. The old building is surrounded by a closed state, with insufficient indoor lighting and relatively narrow corridors, presenting numerous safety hazards.

After renovation, the building still retains the features of white walls, black tiles, small Bridges and flowing water, preserving the ancient and elegant charm of this Jiangnan courtyard. At the same time, more open Spaces have been added. Among them, the room names are quite distinctive, such as "su, fan, bo, ze, han, 澔, run, Yang, zhan, hong, du, tian, yi, Dan, che, cheng", etc., all named after characters with the water radical. From the perspective of design style, the clean and sharp lines, the exposed original color walls and the use of metal materials convey a restrained and cold beauty. Its geometric and constructional characteristics create a neutral and pure spatial experience. Within its rugged and unique style, there are no lack of delicate details. Modern design elements such as rust plates, simple floor-to-ceiling glass and unique guidance systems blend together, infusing new vitality into this old house.

一、江蘇無(wú)錫 ·摯舍南禪觀水

RESIDENTIAL DESIGN

正門(mén)處，舊址那厚重的土墻被拆除，在布局上往后退出左右兩個(gè)空間，同時(shí)向前探出一個(gè)如同方形盒子般的落地窗，如此一來(lái)，原本較為扁平的入口處便增添了更多的層次感。原本封閉陰暗的舊窗被細(xì)木格柵窗所取代，經(jīng)過(guò)改造后的正立面與舊民居群呈現(xiàn)出對(duì)立統(tǒng)一的關(guān)系。前臺(tái)入口處是一個(gè)整體新澆筑的混凝土三通盒子，它有效地貫通了前臺(tái)、餐廳以及庭院。餐廳內(nèi)部由榻榻米區(qū)域、散座區(qū)域以及水吧共同構(gòu)成，整體視野開(kāi)闊通透，各個(gè)區(qū)域高低錯(cuò)落，富有變化。

在該項(xiàng)目中，從前臺(tái)到房間的通道設(shè)計(jì)十分巧妙，規(guī)劃了內(nèi)外兩條相互獨(dú)立的路徑。其中內(nèi)路徑起始于前臺(tái)，通向餐廳，而后從餐廳繞道抵達(dá)房間，給人一種曲徑通幽的美感；外路徑則由前臺(tái)直接通往二進(jìn)房間，此路徑下沉于水面之下，當(dāng)人行走其上時(shí)，仿佛置身于水中一般。而那漂浮在水面之上的茶室，更是營(yíng)造出一種“大隱隱于世”的低調(diào)且沉靜的氛圍。

At the main entrance, the thick earthen wall of the old site was removed. In terms of layout, two Spaces on the left and right were withdrawn to the back, while a floor-to-ceiling window resembling a square box was extended forward. As a result, the originally relatively flat entrance gained more layers. The originally closed and dark old Windows were replaced by fine wooden lattice Windows. After renovation, the main facade presents a relationship of unity in opposition with the old residential complex. At the entrance of the front desk is a newly poured concrete three-way box, which effectively connects the front desk, the dining room and the courtyard. The interior of the restaurant is composed of a tatami area, a seating area and a water bar. The overall view is open and transparent, and the various areas are arranged at different heights, presenting a rich variety.

In this project, the passage design from the front desk to the room is very ingenious, with two independent paths planned inside and outside. The inner path starts from the front desk, leads to the dining room, and then detour from the dining room to the room, giving people a sense of beauty as if a winding path leads to a secluded place. The outer path leads directly from the front desk to the second entrance room. This path sinks beneath the water surface, and when people walk on it, it feels as if they are in the water. The tea room floating on the water creates a low-key and serene atmosphere of "great seclusion in the world".

改造后的后院呈現(xiàn)出一種別樣的意趣，枯山水所營(yíng)造出的禪意，顯得淡泊而寧?kù)o。新打造的混凝土墻體以及樓梯，與原有的山墻相互銜接，給人一種赤裸冷冽的感覺(jué)。沿著樓梯緩緩而上，陽(yáng)光透過(guò)圓孔灑下，將光與影的虛實(shí)之美展現(xiàn)到了極致。摯舍·南禪觀水，其根源可追溯至歷史，最終又回歸于自然，使得建筑、人與自然能夠達(dá)到和諧共通的境界。

The renovated backyard exudes a unique charm. The Zen-like atmosphere created by the dry landscape appears serene and peaceful. The newly built concrete walls and stairs connect with the original gable walls, giving people a raw and cold feeling. Climbing up the stairs slowly, sunlight filters through the round holes, presenting the beauty of the interplay between light and shadow to the fullest. Zhi She Nan Chan Guan Shui, whose roots can be traced back to history, ultimately returns to nature, enabling architecture, human beings and nature to achieve a harmonious and common state.

二、空間美學(xué)

RESIDENTIAL DESIGN

從二進(jìn)起始，便步入了酒店的房間區(qū)域。庭院之中，依舊保留著舊宅原有的荷花池，走道經(jīng)過(guò)拓寬處理，池邊由此營(yíng)造出了充足的空間，可供人們嬉戲玩耍，也能讓人悠然地觀賞池中魚(yú)兒。該民宿總計(jì)設(shè)有十六間房，每一間的風(fēng)格都各不相同。它們宛如十六顆熠熠生輝的璀璨珍珠，環(huán)繞鑲嵌在這片充滿迷人魅力的水上庭院之中。

觀水，亦觀心。其中，“溯”與“渡”這兩個(gè)房間呈現(xiàn)出復(fù)古懷舊的風(fēng)格。素凈的白巖墻，搭配深棕色的原木，再加上基克拉迪風(fēng)格的拱門(mén)，為整個(gè)空間賦予了獨(dú)特而鮮明的印記?！皾?rùn)”和“漾”是酒店打造的兩間loft大躍層，磨砂不銹鋼及原木與原始的裸露墻面相碰撞，節(jié)奏性的空間排序，體現(xiàn)出解構(gòu)主義的秩序感。“漾”別具匠心地打造了一張懸空的網(wǎng)狀休息區(qū)，標(biāo)新立異，住宿體驗(yàn)更有趣味。房間“泛”和“泓”以工業(yè)風(fēng)為基底，干凈利落的線條，裸露的原色墻面和金屬，傳達(dá)克制冷艷的美感，幾何性和構(gòu)成性創(chuàng)造出中性、純粹的空間體驗(yàn)，粗獷別致之中不乏細(xì)膩的筆觸。

From the second entrance, one enters the hotel's room area. In the courtyard, the original lotus pond of the old house is still preserved. The walkway has been widened, creating ample space around the pond for people to play and enjoy, as well as to leisurely watch the fish in the pond. This homestay has a total of sixteen rooms, each with a unique style. They are like sixteen brilliant pearls shining brightly, encircling and inlaid in this charming water courtyard.

Observing water is also observing one's heart. Among them, the rooms "Su" and "Du" present a retro and nostalgic style. The plain white rock walls, paired with dark brown logs and Cycladic arches, give the entire space a unique and distinct mark. "Run" and "Yang" are two loft large split-level units created by the hotel. The frosted stainless steel and raw wood collide with the original exposed walls, and the rhythmic spatial arrangement reflects the sense of order of deconstructionism. "Yang" has ingeniously created a suspended net-like rest area, which is unconventional and makes the accommodation experience more interesting. The rooms "Pan" and "Hong" are based on an industrial style. The clean and sharp lines, exposed original color walls and metals convey a restrained and cold beauty. The geometric and constructional elements create a neutral and pure spatial experience. Amidst the rugged and unique style, there are no lack of delicate brushstrokes.

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