과거의 역사적인 시간은 현재의 생활을 담는 그릇이다. 자금성 남동쪽 황실사당을 구획하는 붉은벽돌 벽에 맞다있는 오래된, 버려진 두개의 창고는 이제 리노베이션을 통해 주변지역의 문화밴드를 형성하는 노드포인트, 티하우스로 재구축된다. 이전 계급사회의 신분을 구분짓던 붉은 벽은 이제 단순히 황실정원을 구획하는 물리적인 바운더리로 여기 티하우스를 구성하는 역사적인 상징물로 개입된다. 그리고 그 공간 사이에; 역사적인 벽과 버려진 창고 사이에 다음 세계(새로운 세계)를 상징적으로 의미하는 셀구조 지붕 (세포분열을 통해 성장하는 이미지를 내포한다. 자립형 철골구조로 글래스 클러스터로 구축된다.)을 디자인하며 링크된 7개의 셀타입의 룸을 연결, 확장한다. 황실의 전통은 티하우스를 재구성하는 건축적 제스처로 각종 문화활동을; 미술전시회, 자선경매, 지역축제, 그룹 모임을 지원하며 문화와 공간을 단일화 한다.
reviewed by SJ,오사
The Red-Wall Teahouse is situated inside the People's Cultural Palace
which used to be the Ancestral Temple – a royal memorial temple for
ancestors south-east to the Forbidden City. The palace wall on the east
side of the temple wrapped around the Forbidden City as the second ring
wall in which Tian'an Men functioned as the main gate. The wall had long
been a symbol of social class division in old China, now nothing but a
spatial threshold separating the imperial garden from the Hutong houses
to the east. During modern authority transitions, undocumented damage
took down northern half of the wall.
Location: the Ancestral Temple, the Forbidden City, Beijing, China
Floor Area: 280m2
Architect: Hong Zhang, Hetian Zhang
Design Team: Cheng Zhang, Hongbin Pan, Cheng Lian, Ziyue Liu, Penghao An, Jihua Sun, Jie Jing, Xiaowei Han
Suppliers: Dasso, Huili, HLLH
The renovation project took place right at the breakage of the wall. Two
shabby warehouses were left on site unattended, one attached to the red
imperial wall and the other one set around three meters away north to
the first one. As an immediate design reaction, the roof of the first
warehouse was tipped down to reveal the body of the palace wall on the
Hutong side. Then a cluster of freestanding steel-frame tearooms were
inserted into the middle of the 'unroofed garden' introducing courtyards
in between the old and the new structures.
The exterior of the north teahouse which had been kept in better shape
was insulated with new cover material. Its interior was opened up to
match modern program needs. It is, then, through such interplay of old
and new, volume and void, tradition and modern, solemnity and absurdness
that unprecedented readings on local environment start to emerge.
The teahouse consists of seven unique rooms snapping to each other
exhibiting a form of cell division. Visitors must enter those rooms
through existing doorways and window openings in the brick wall. New
structures grow back in like bio-cells metabolising on urban scale.
At the threshold where the sublime royal garden meets the austere Hutong
daily lives, architectural gesture is unstable, ever-changing always on
a status of readjusting and adapting. Tea ceremony is only the basic
type of activity. Occasional social events, such as art exhibition,
charity auction, festival ceremonies etc. will be able to bring local
residents closer to the traditional built environment while inject
modern values to the dysfunctional ancient temple.
As major facade material, brushed stainless steel sheets and glass panel
are placed in different angles to the red palace wall reflecting its
raw conditions. When one enters the courtyard, one sees the over height
of the solid brick palace wall reflected on the teahouse exterior on
human scale as if many pieces of the palace wall standing on freewill.
Modern materials do not seek to establish autonomy but to engage
cultural heritage with respect.
Interior of the tearooms is finished differently with bamboo sheets, white marble, copper and acrylic tubes. Each room adapts a unique character dissolving architecture into smaller pieces. The experience of rambling inside the teahouse becomes effectively walking across a village as if the overall size of the space is enlarged.
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