Yuxiang Tea House, Jiande City, Hangzhou

In the typical rural landscape environment in the south of the Yangtze River, through the elimination of volume, rethinking of materials, and in-depth intervention in construction, the relationship between the building and the environment presents an intriguing and intimate relationship. Tradition and modernity, heavyness and lightness, dissolution and uprightness, seem to be several pairs of opposite and contradictory words, but they are presented in the same building.

Yuxiang Tea House is located in Jiande City, Hangzhou, Zhejiang Province. Jiande was an ancient land of Baiyue, with a long history, beautiful mountains and rivers, and rich tourism resources. The Jiande government put forward the "Global Tourism Development Strategy" and plans to invest in the creation of a secret scenic spot in the south of the Yangtze River. The Yuxiang Tea House is one of the first public buildings to be launched, carrying the functional requirements of reception and leisure. The name "Fishing Village Tea House", as the name suggests, is to create a place to drink tea in a fishing village with mountains, water and misty rain.

The site is located at the confluence of Fuchun River, Lanjiang River and Xin'an River. The river is open; it has three rivers, views Wulong Mountain, looks at the twin towers, and mirrors each other. There are some small villages scattered around. The typical feature of the building is the blue brick and white wall, which gives people a simple and fresh feeling. Whether it is plane, facade or indoor and outdoor decoration, the shape of the residential buildings is obviously similar to the residential buildings in southern Anhui and northern Jiangxi.

The base is located in a mountain col, directly facing the river. The two basic starting points of the design are the maximization of the landscape interface and the integration of the volume into the environment. The plan does not pursue a focused visual image, but is presented in the form of disintegrated layers, and the ingenious movement line design introduces the taste of visiting the mountains into the interior space of the building.

The design uses the topographical height difference to divide the tea house and reception into two main and secondary terraced buildings that conform to the extension of the terrain, and step by step, which not only weakens the building volume visually, but also produces a large number of first-line river views. Terrace place. The main building is actually three floors. In order to ensure a better view of the landscape, the entire building volume is hung from high to low. The ground level of the top floor is level with the back mountain and is connected to the village. The bottom floor is connected with the waterfront road through a gray space built with two layers of rubble stones, which effectively reduces the interference of pedestrians to the use of space.

The cedar trees by the river and the camphor trees on the slope respectively serve as entrance reminders. A circular yard is formed around the cedar trees under the slope. The entrance is extended through a wall, spreading the space to the surroundings, blurring the boundary between the building and the nature. Such a "dual entrance" design is also a coping strategy for architects to ensure flexibility in future use when the owner's function is not clear.

Along the rubble masonry slope protection, the building volume is hidden in the mountain col. There are several layers of wide viewing platforms displayed along the river. Visitors have turned several times under the far-reaching overhangs, and their sights are on the river and the mountains. The stairwell changes, and the space is sometimes open and sometimes narrow.

Traditional sloping roofs, scattered layouts, rural materials, and wooden craftsmanship are habitual choices for architectural creation in the current rural environment. However, most domestic construction teams are more familiar with industrialized construction procedures and technologies. The lack of craftsmen in traditional handicrafts makes it difficult to control the construction cost and time period.

Line+'s thinking on materials and forms are synchronized. There are multiple considerations when choosing concrete to construct such a public building in a rural environment. First of all, the concrete material is most consistent with the designer’s overall design strategy. As a material with a strong sense of involvement in the natural environment, it can achieve a balance with the overall modest massing strategy of the building; and the unique texture of the wooden formwork gives The special scale and texture of concrete materials can make up for the lack of interest in a single material.

The architect envisioned that when the construction activity is over, in a warm and humid environment, lush vegetation will gradually cling to the concrete wall and roof. To make the building truly become a part of the landscape, the long-term fit with the site must rely on the power of time. This may be another possibility of the architectural style in the Jiangnan landscape environment under the background of constantly calling for "local materials", "traditional symbols", and "orientality".

Choosing concrete, a one-time forming material, is also a test of the depth of building design and construction cooperation. The architect hopes to strengthen the purity of the space through careful treatment of structural equipment. Because there is no ceiling, in order to hide the ducts and air-conditioning vents, three different thickness concrete sandwich wall systems of 400mm, 600mm and 1000mm are designed for different parts of the building, corresponding to the three functions of insulation layer, pipe well, and equipment cavity. In order to ensure the continuity of the concept, the architect integrated the interior and landscape design. The lamps, switch panels, and wires were pre-buried in advance. The landscape seats at the entrance, embedded armrests, and drainage ports were also designed as a whole.

The project began construction in September 2017, and the overall mold removal in August 2018 took nearly a year. The design work runs through the entire construction process. The architect hopes to highlight the relatively strong texture of the material in the large-scale landscape environment. Previously, after many experiments, a carbonized wood board with clear texture but not high cost was selected as the template. In order to control the construction effect, a compromise formwork scheme with the same modulus and staggered assembly is adopted. After the construction was completed, the architect deliberately retained some flaws, hoping that the traces of hand-built construction could be perceived.

From the perspective of form creation techniques, Yuxiang Tea House is always concise, concise to the point that only slabs, columns, and shear walls are the essential elements of the building, but from the point of view of technical details, it is also complicated. , It has realized the integrated design of equipment, interior and landscape. By borrowing the topography, the nearly completed Yuxiang Tea House is nestled in the colts on the banks of the Fuchun River. Under the reconciliation, people who came to the scene have been frequently impressed.



















































Tags: Architecture design

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