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止建筑：重庆多雾，南山更甚，其景观常年在视觉上处于不断的消解而重构之中，魔幻而令人沉迷。原址建筑位于南山山腰，是一个由三个不同时期的建造体量拼贴而成的“怪房子”，其内部体验亦是曲折幽闭，峰回路转。
Zhi Architects : Chongqing is foggy, and the southern mountain is even more. Its landscape is constantly disintegrating and reconstructing visually all year round, which is magical and addictive. The original building is located on the mountainside of the southern mountain. It is a “weird house” composed of three different periods of construction. Its internal experience is also tortuous and claustrophobic, with twists and turns.
▽雾天的重庆南山 Nanshan Mountain in Chongqing on foggy day
山、雾、房子 MOUNTAIN FOG,BUILDING
在此地，山，雾，房子三者共筑了某种含混而不可言说的场所精神，颇有一种“塔可夫斯基”式的电影体验。这一切都预示着常规改造手法已无法回应区域要素提供给人的所有感官知觉。
Here, mountains, fog, and houses create a vague and unspeakable spirit of place, a kind of “Tarkovsky” movie experience. All of this indicates that conventional renovation methods have been unable to respond to all the sensory perceptions provided by regional elements.
▽建筑原址外观 The original appearance of the building
▽塔科夫斯基电影截图 A screenshot of the Tarkowski film
桥 BRIDGE
“含混和不可言并不意味着没有清晰的图像，这是一种由梦的逻辑产生特殊印象，是由完全现实的因素组合在一起并相互冲突造成的异常与意外。” – 安德烈.塔科夫斯基
我们选择在雾中架起一座没有尽端的桥梁。“桥”是一个意味明确的构筑：在空间上，其指向一种架接性的通过行为；叙事上，则往往与“互视”“相遇”等“事件”相联系。其稳定而明确的符号性，与飘忽的景观在场共筑了某种奇妙的幻境式体验。
“Vague and ineffable does not mean that there are no clear images, it is a special impression produced by the logic of dreams, anomalies and surprises caused by the combination and conflict of perfectly realistic elements.” – Andrei Tarkovsky
We chose to build an endless bridge in the fog. “Bridge” is a construction with a clear meaning: in space, it points to a bridge-like passing behavior; in narrative, it is often connected with “events” such as “mutual viewing” and “encounter”. Its stable and clear symbolic nature, together with the presence of the erratic landscape, creates a wonderful fantasy experience.
▽桥作为明确的符号与雾天形成张力 The bridge acts as a clear symbol to form tension with foggy days
▽雾天的桥 A bridge in foggy weather
▽雾天的平台 The platform on a foggy day
桥的平台顶棚采用了四面拱的几何原型，亦旨在强化其作为“物”的稳定性。其与桥，柱子，和首层加建圆柱体，形成了一个自恰的几何体系，以一个轻量化的姿态并置于原建筑的形体之上，主导了建筑整体的形式表情。
The platform roof of the bridge adopts the geometric prototype of the four-sided arch, which also aims to strengthen its presence. It forms a self-consistent geometric system with bridges, pillars, and cylinders on the first floor. It is placed on top of the original building in a lightweight posture, and dominates the overall outlook of the building.
▽加建部分图示 Add part diagram
▽正立面航拍图 Aerial view of the front elevation
▽鸟瞰航拍图 Aerial view
桥最终也作为某种“标识”对原先孤立的露台空间进行了叙事性的连接：三楼北部露台初见，桥与桥上之人构成了一个戏剧性的前景；四楼东侧露台上桥，拱形画框和雾中弥散的桥梁达成了某种宗教式的崇高感；四楼西侧露台守望，平台与桥端之人相视而无法相遇。
The bridge finally acts as a kind of “sign” to connect the originally isolated terrace space in a narrative way: At first sight on the northern terrace of the third floor,the bridge and the people on the bridge form a dramatic foreground;On the east terrace of the fourth floor, the arched picture frame and the bridge diffused in the fog achieve a certain sense of religious sublime; On the west side of the fourth floor, the people on the platform and the people at the end of the bridge can see each other yet cannot meet.
▽屋顶平台 Roof deck
▽从一楼入口看桥 View of the bridge from the ground floor entrance
▽从三楼平台看桥 View of the bridge from the third floor landing
▽从四楼平台看桥 View of the bridge from the fourth floor landing
▽四楼平台 Fourth floor landing
▽三楼平台 Third-floor landing
记忆 MEMORY
“城市不会泄露自己的过去，只会把它像手纹一样藏起来，它被写在街巷的角落，窗格的护栏，楼梯的扶手…每一道印记都是抓绕、锯锉、刻凿、猛击留下的痕迹。”- 卡尔维诺
原建筑内部空间秩序始于一种自下而上的野蛮生长,其在有限的的尺度内呈现了某种混沌而戏剧性的叙事感：首层不到200平方的面积里，并置着3个不同位置与形制的楼梯；内部充斥着各种始料未及的高差与不知通往何处的门洞；水洗石与饰面砖等室外材料会突然出现在室内，模糊了边界的感知。原建筑也由此成为某种记忆的载体，有着独立自洽的叙述结构。
“The city doesn’t reveal its past, it just hides it like a handprint, it’s written in the corners of the streets, the guardrails of the panes, the handrails of the stairs… Every mark is a trace left by scratching, sawing, chiseling, and punching. ” – Calvino
The internal spatial order of the original building begins with a savage growth from the bottom up, which presents a chaotic and dramatic narrative within a limited scale: the first floor is less than 200 square meters, and there are three stairs with different positions and shapes; the interior is full of unexpected height differences and door openings that lead to nowhere; outdoor materials such as washed stone and veneer bricks suddenly appear indoors, blurring the perception of boundaries. The original building has thus become a carrier of memory, with an independent and self-consistent narrative structure.
▽原建筑图解示意 Schematic diagram of the original building
▽原建筑节点照片 Original building node photo
剪辑 EDITING
我们将建筑内部的整体性改造定义为“剪辑”，基于原有建筑的叙事结构与记忆节点，进行“梳理”“整合”与“调度”。
首层的开放院落被室内化并辅以水景反射远山，顾客在入口处需先进入西侧较为封闭的接待室，转折之后会直面扑面而来的山景；原建筑边缘围绕角柱做了一个圆形的空间的放大，将方形角柱变为一个向心性的中心柱，隐晦的暗示了其所支撑的作为体验高潮的顶楼构筑：原位于首层主入口的主门洞被封上，将住客往东面引导，西侧旋转楼梯则被按原状保留下来同时作为上二楼的快速通道。
We define the overall renovation of interior as “editing”, and based on the narrative structure and memory nodes of the original building, we carry out methods such as “combing”, “integration” and “scheduling”.
The open courtyard on the first floor is indoorized and supplemented by water features to reflect the distant mountains. At the entrance, customers need to enter the relatively closed reception room,after which they will face the mountain. The enlargement of the circular space turns the square corner column into a centripetal central column, which implicitly hints at the top-floor structure: the main doorway originally located at the main entrance on the first floor is sealed, allowing the residents to Leading to the east, the spiral staircase on the west side is kept as it is and serves as a fast passage to the second floor.
▽改造前后流线对比 Comparison of streamline before and after transformation
▽一楼大厅看向室外 The ground floor lobby looks out onto the outside
▽一楼画室看向室外 The studio on the first floor looks out onto the outside
▽一楼画室看向大厅&原建筑楼梯 The first floor studio looks towards the hall & the original building staircase
东侧体块较为特殊，上下层8个房间中有6个为黑房间，一部形制特殊的老楼梯占据了区域的中心。为了回避黑房间的使用弊端，我们将“画室”功能置入其中，以一条明确的观展动线强化了原建筑中灵活的游走体验。“展厅”由人造光源所营造出的稳定和人工感与“遗址”（老楼梯）所呈现的粗野与原始亦形成了某种对仗。
The east side block is special, 6 of the 8 rooms are black, with an old staircase with a occupies the center of the area. In order to avoid the disadvantages of using the dark room, we put the “gallery” function in it, and emphasized the flexible walking experience in the original building with a clear viewing and moving line. The stability and artificiality created by the manmade light source in the “gallery” and the roughness and primitiveness presented by the “relics” (old stairs) also form a certain counterpoint.
▽一楼画室间形成互相窥视与游走的关系 The studio on the first floor forms a relationship of mutual peeping and walking
▽从一楼画室看原址楼梯，原楼梯扶手以某种“遗址”的状态保留下来 Looking at the original staircase from the studio on the first floor, the handrail of the original staircase has been preserved in a “relic” state
▽原建筑楼梯 Original building staircase
推手 PUSH HANDS
在单一空间改造操作上，我们借用了“推手”的概念，希望在把握空间原有形制结构的基础上，顺势而为。具体而言，我们总结了3种手法类型：留白，原址保留空间内重要的构建节点或强化突出窗外景观，其他部分以刷白整平为主；增补，基于原有空间的高差和洞口，做适量加减以适应人的行为尺度；置换，拆除部分临时性构筑，以更稳定的几何秩序构建提供锚定的空间体验。
In the renovation of a independent space, we borrowed the concept of “push hands”, hoping to follow the trend on the basis of grasping the original shape and structure of the space. Specifically, we summarize 3 types of techniques: leave blank, retain important construction nodes in the original space or highlight the landscape outside the window, leaving other parts whitewashed and flattened; supplementary, based on the height difference and opening of the original space, Appropriate additions and subtractions are made to adapt to the scale of human behavior; replacement ,replace some temporary structures with a more stable geometric order to provide an anchored spatial experience .
▽改造手法图解 Reconstruction method diagram
▽增补改造后的一楼大厅 The addition and renovation of the first floor lobby
▽置换改造后的客房 Replace the renovated guest room
洞口 HOLE
受限于成本控制，所有内部墙体的改造操作仅限于开凿一个80公分的门洞和去掉窗下墙。这使得公区和客房内部充满“洞口”，其作为媒介将流动的小空间串联起来，会在不经意间形成一些暗示性的对望关系。客房设计的核心亦是在处理各类洞口和床铺的对位关系。
Restricted by budget, all interior wall renovation operations are limited to digging an 80-centimeter door opening and removing the lower wall of the window. This makes the interior of the public area and guest rooms full of “holes”, which as a medium connect the small flowing spaces in series, serving as a hint. The core of the guest room design is to deal with the counterpoint relationship between various openings and beds’ position.
▽客房床位与洞口关系 Relationship between guest room bed and entrance
▽暗示性的洞口 Suggestive hole
▽客房内的洞口 The hole in the guest room
▽二楼餐厅的洞口 The entrance to the dining room on the second floor
舞台 STAGE
建筑正式运营后，我很乐于在各类平台上刷看来访者的体验视频。有在桥头作画的少女，有在屋顶压腿的芭蕾舞团，亦有在桥上喜结连理的眷侣。所有的这些人，以一种微妙的方式与素不相识的“我”完成了某种连接。我并不知道他们如何评价这个设计，但我确信他们都曾由衷地欣赏着那个在“舞台”上表演着的自己。
After the official operation of the building, I enjoy watching the experience videos of visitors on various platforms. There are young girls painting on the bridge, the ballet troupe pressing their legs on the roof, and the couples tying the knot on the bridge. All of these people, in a subtle way, made a connection with the “I” whom they had never met. I don’t know how they rated the design, but I’m sure they all genuinely admired themselves on that “stage”.
▽图片截自城外星光桥舍短视频账号 The picture is taken from the short video account of Starlight Bridge House outside the city
▽一层平面图 Ground floor plan
▽二层平面图 Two-floor plan
▽三层平面图 Three-level plan
▽四层平面图 Four-floor plan
▽正立面图 Elevation
项目名称：桥舍
完成年份：2020
项目面积：910㎡
项目地点：重庆南山
设计公司：止建筑（武汉止已建筑设计咨询有限公司）
公司网址：www.zhi-architects.com
联系邮箱：c@zarch.cn
主创设计师：余凯
设计团队：贵溥健 王志铮 钱曼 刘晨阳 肖磊 刘沛桐 迟悦 寇宗捷 黄尤佳 臻真 小筑
客户：城外有星光文旅集团
摄影师：此间建筑摄影（赵奕龙 万勇波） 止建筑
Project name: Bridge House
Year completed: 2020
Project area: 910 square meters
Project location: Nanshan, Chongqing
Design Company: Zhi Architects
Company website: www.zhi-architects.com
Contact email: c@zarch.cn
Chief Designer: Kai Yu
Design Team: GUI Pujian Wang Zhizheng Qian Man Liu Chenyang Xiao Lei Liu Peitong Chi Yuekou Zong Jie Huang You Jia Zhen Zhen Xiao Zhu
Guest: There is Starlight Travel Group outside the city
Photographer: This architectural photography (Zhao Yilong Wan Yongbo) stop architecture
“ 一个由三个不同时期建造体量拼贴而成的“怪房子”的改造与更新。”
审稿编辑 Maggie
更多 Read more about: 止建筑
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