朵云书院黄岩店
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“我不喜欢被束缚，我是一个自由的灵魂。” ——《云中漫步》
Wutopia Lab 设计的多云书店位于黄岩，于2021年6月26日正式完工并盛大开业。这是多云书店在外省的第一家店，诞生于上海。它可以被描述为一个象征理想主义的云，缓缓升起在永宁河畔。
起步
设计的开始可以基于一种情绪。白天站在永宁河边，河水平静而缓慢地向东流去，我很容易被南方中国风景的平坦和遥远的构图所吸引，心情和视线都沿着水平线放松下来。傍晚，许多人在河边聚集，享受自己的娱乐，热闹而愉快，却不喧闹。空气略显潮湿，河风轻轻拂过水滴，带来一丝清新。我羡慕这个城市的宁静与宜人，这在上海是稀缺的。突然，我决定在河上方应该有一朵云，平静而缓慢地升起。
减法即加法
云朵具有复杂而纯粹的美。与其对杂乱的商业外立面进行整容手术，我决定用一面连续的白色穿孔铝板墙将其包裹起来。连续的白色在河边创造了一个复杂而纯粹的界面 “通过控制穿孔率，外立面形成了层叠的云”，隐藏了书店。铝墙是外立面，或者可以剥离成为庭院围合，或者两者兼而有之。连续的白色铝墙作为一种附加物，创造出宁静而愉悦的视觉减法。一朵云在河边升起，书店的读者仿佛置身于云中。
传统类型
书院的场地位于永宁河边四栋建筑中的1号和3号楼。1号楼由两栋建筑在一楼连接而成。公共空间有一个地下庭院和一个疏散楼梯。这里是一个焦点分散且不集中的地方。传统上，“书院”的规模和形式是由一组有序的建筑构成的。如果我将分散的1号和3号楼及其内部空间视为传统建筑群中的亭子和阁楼类型，那么显然这样的建筑群缺乏一个作为焦点的庭院。由于我需要一个空间来控制这些分散的个体，创造一个庭院类型对我来说是自然而然的选择。
我在1号和3号楼之间的开放空间规划了一个方形庭院。然而，这个庭院被1号和2号楼之间的围栏 “他人的财产” 所隐藏。我将这个庭院变成了前院，成为书店的正式入口。
第一个区域是生活方式书籍 “区域”，东侧的咖啡 “亭子” 靠近水边。我将咖啡区到二楼的楼梯设计为一个展示 “露台”，用于展示稀有书籍的复制品与人流结合。咖啡区的二楼则是未来的城市会客室 “建筑”。
在1号楼的西侧增加了一个内部走廊。1号楼的一楼是书店区域，入口是独特的多云书架区域 “亭子”，然后向北转入主书店展示 “大厅”。经过收银台后，您将进入使用走廊设计的阅读 “居所” 区域，接着是创意 “房屋” 区域。
文化创意区域的二楼是一个展览 “博物馆”。书店的二楼是一个阶梯式讲座区域 “房间”。二楼通过屋顶露台相互连接。这些 “平台” 包括儿童游乐平台、镜面露台、带火坑的讨论露台和咖啡外出露台。
借用亭子和庭院的类型建筑的优势在于，功能与园林建筑类型之间的联系使得未受教育的观众更容易理解并支持我使用新庭院来改造公共空间，并将建筑融入一个易于解读的新庭院。这个后来被命名为白云亭的庭院及其三个侧花园 “前花园、南花园和西花园” 和围墙，将1号和3号楼整合成一个视觉上连续的综合体。由此，一个新的庭院建筑空间从历史建筑类型中诞生，重写了一组分散的商业建筑，最终创造出一种新的视觉和空间形象。
五彩云的隐喻与象征
我坚持认为建筑应该充满隐喻。我们将云提炼成易于阅读的形式符号，将其转化为门口、标志甚至用户界面，而云的白色覆盖了建筑的所有背景空间，以强化云中的象征意义，代表着云中的上海。从白云到橙云，容易构建出五彩吉祥云的故事。书店区域因此包含了文化创意区域前景中的绿色。这也是多云书店系列中的经典色彩。更重要的是，蓝色作为青色在当地台州地区具有特殊意义，不能作为主色使用，因此选择了多云书店家具系列中的经典绿色作为青云。深红色被选为二楼演讲区域的红云，粉色和紫色被选为二楼展览区域的紫云。这五种不同的颜色标识了不同的主要功能区域。这是对云隐喻的进一步解读。五彩云的故事最终取代了类型建筑的借用，成为一个突出的声明，连接功能、上海、黄岩、典故、文献、历史和地方性。云的丰富性作为隐喻和象征性使用的合法性得到了强化。因此，一个“在云中阅读的神话”得以建立。
金字塔与迷宫
在讨论空间的视觉焦点主题时，项目建筑师提供的艺术家Roelof Louw于1967年创作的《橙色金字塔》照片成为了灵感来源。在前厅创建了一个橙色金字塔书桌，上面放置着书籍。”金字塔实际上更像是一个阶梯金字塔，但中文是一样的“。它成为空间中的主导装置，而一个更大的绿色金字塔书桌则成为带有态度的书架区域 ”亭子“ 的中心。金字塔上剥离出的三角形则成为一个半透明的亚克力收银台，成为主书店区域 ”大厅“ 的视觉焦点。橙色与黄岩之间的关系在某种意义上更符合艺术家装置的官方名称“城市之魂”，该装置是在黄岩的多云书店创作的。
我一直对方向和视觉的复杂组织感到着迷，以创造时间的体验，快与慢相对。迷宫是一种优秀的建筑类型，结合光线来实现这种体验。因此，书架和家具成为书店迷宫的墙壁。透明和半透明的界面模糊了光线的清晰度，在空间中创造出一种迷失方向和好奇的不确定感。以至于时间似乎在这里稍微放慢了一点。在咖啡区 ”亭子“ 意外地，橙色家具更像是涟漪。当我懒洋洋地坐在靠窗的高台沙发上，河水的水平如卷轴般展开，一种由中国画形成的时间视角意外地复苏，恰好与我第一次站在河边时的情感相匹配。
由于屋顶面板下的额外结构次梁，我无法在收银台天花板上开天窗，使水和天空融为一色。我只能用一个发光的顶篷来替代，这略显遗憾，因为少了一种光的组合。
水面与天空
为了增加迷宫的混乱感，我使用波纹铝板作为天花板，模仿永宁河的涟漪。同时，收银区的屋顶甲板被转变为反射天空的镜面。我将水和天空凝聚在楼层的前后，创造出一个方向和时间都失去的地方。
白云园的神话
多云书院黄岩分院的庭院体现了追求园林形式背后精神的尝试。在业主的授权下，我完全有意愿成为这个庭院的主人，主观设计它。我决定创造一个符合我对场地概念的世界 ”花园“。我消除了原场地上的结构和设施，保留了原有的树木和植物，同时保留但修改了法律要求的消防楼梯和排烟庭院。我将庭院视为水面，三组树木形成的绿色岛屿构成了中国园林中池塘与三座山丘的基本范式。
树木的搭配和组织借鉴了我喜爱的伟大画家倪瓒的构图。然而，庭院中展现的白石和绿植容易让人联想到日本的枯山水庭院。但这种灵感来自于秋瑾的《园林图》中的一段关于中国死景的描绘。在画中，一丛生机勃勃的玫瑰灌木矗立在宽阔的闪闪发光的白石地面上，简单而稀疏。画中的庭院被竹帘围住，而我则用白色穿孔铝板围住了一个半透明的庭院。光线可以透过围栏洒落在庭院中，像雨一样形成斑驳的光影，为庭院增添生机。这个庭院并不追求传统园林的形式，而是传达了中国人在世界上最拥挤的地方创造生机勃勃的世外桃源的热爱，所谓的桃花源。这也是当代人真实的梦幻世界。
梦与现实
白色铝墙并没有完全遮挡旧建筑的视线。在白云庭的绝大部分区域，读者几乎完全被困在一个完整的梦幻世界中。在某些地方，旧建筑的微弱痕迹透出。这种梦幻世界背后的现实反而构建了一种魔幻现实主义，一种不真实的现实，或一种陌生的熟悉感。这是我乐于看到的意外。
惊喜
读者会在白云庭发现两个云朵凳子，一个白色，一个蓝色，这些凳子是用回收的海洋垃圾塑料制成的。利用黄岩作为模具之都的优势，制作了模具来注入和成型塑料。使用回收海洋垃圾的塑料源于我女儿对环保的教育，以及建筑师在自己设计中表达环保态度的必要性。
在咖啡区的螺旋楼梯上方有一个蓝色玻璃房，阳光将橙色楼梯与屋顶交汇的区域染成极美的紫色。但一按开关，蓝色玻璃变得无色透明，永宁河跃入视野。这种玻璃是由黄岩的一家当地公司开发的汽车玻璃技术，我首次将其应用于建筑中。我还在讲座区域使用了这种玻璃。因为我一直幻想这个场景，在春天，我坐在台阶上，蓝色褪去，盛开的樱花在我脚下绽放，宛如云彩，一切都是如此美好。
建筑就是写作。我一直相信书店应该反映城市或地区的精神。黄岩的多云书店是我对黄岩这座城市、生活在这里的人们和城市文化的理解与回应。我相信中国的小城市缺乏塑造自身精神的当代艺术形式。在互联网时代，三四线城市的人们普遍拥有自信和判断力。建筑师不必在这里追求大城市和外国的时尚，或被所谓的历史形式所束缚。完全可以使用抽象艺术语言和隐喻，创造出反映当地现状的新艺术形式和空间。这样的作品就是书店。如果中国所有的小城市都像黄岩一样满足而宁静，拥有历史和风景，同时专注于创造自己的未来，那么中国将会是一个更美丽的地方。
"I don’t like to be tied down, I am a free spirit." --《云中漫步》
Wutopia Lab designed Duoyun Bookstore in Huangyan, which was officially completed and grandly opened on June 26, 2021. This is the first store in a foreign province for Duoyun Bookstore, which was born in Shanghai. It can be described as a cloud symbolizing idealism that slowly rises on the bank of Yongning River.
Getting Up
The beginning of a design can be based on a mood. Standing by the Yongning River during the day, with the river calmly and slowly going east, I was easily brought into the flat and distant composition of the southern Chinese landscape, and my mood and sight were both relaxed along the horizontal line. In the evening, many people pile up for their own entertainment along the river, lively and cheerful but not noisy. The air was slightly humid, and the river breeze gently popped through the water droplets, bursting a little refreshment around my face. I envied the tranquility and pleasantness of this city, which is scarce in Shanghai. Suddenly, I decided there should be a cloud, calmly and slowly rising over the river.
Subtraction as Addition
Clouds have a sophisticated and pure beauty. Rather than perform cosmetic surgery on a collage of cluttered commercial territorial façades, I decided to wrap them in a continuous white perforated aluminum panel wall. The continuous white creates a complex and pure interface on the riverside (by controlling the perforation rate, the façade creates a cloud of layers) hiding the bookstore. The aluminum wall is the façade, or it can be stripped away to become a courtyard enclosure or both. The continuous white aluminum wall is used as an addition to create a serene and pleasant visual subtraction. A cloud rises over the riverside, and the readers of the bookstore are in the cloud.
Traditional typology
The site of the academy is located in buildings 1 and 3 of a group of four buildings on the edge of the Yongning River. Building 1 is also composed of two buildings connected on the first floor as one. The public space site has a basement patio and an evacuation stairwell. It is a place where the focal points are scattered and unfocused. Traditionally, the "shuyuan" with scale and form are formed by a group of ordered buildings. If I consider the scattered buildings 1 and 3 and the interior space as the type of pavilions and pavilions in a traditional building group, then it is obvious that such a building group lacks a courtyard as a focal point. Since I needed a space to control these scattered individuals, creating a courtyard type was a natural choice for me.
I planned a square yard in the open space between buildings 1 and 3. However, this yard was hidden behind the fence between buildings 1 and 2 (other people's properties). I turned this courtyard into a front yard. It became the official entrance of the bookstore.
The first area is the lifestyle book (area), and the coffee (pavilion) on the east side is near the water. I designed the staircase from the coffee to the second floor as a display (terrace) for reproductions of rare books combined with traffic. The second floor of the coffee is then the future urban parlor room (building).
An interior aisle has been added on the west side to Building 1. The first floor of Building 1 is the bookstore area, with the entrance being the unique Duoyun shelving area (kiosk) with attitude, and then turning north into the main bookstore display (hall). After passing through the cashier's desk, you will enter the reading (dwelling) designed using the aisle, followed by the creative (house).
The upstairs of the cultural and creative area is an exhibition (museum). The upstairs of the bookstore is a stepped lecture area (room). The second floors are all connected to each other by roof terraces. These (platforms) are a children's play platform, a mirror terrace, a discussion terrace with a fire pit and a labyrinth terrace as a coffee outing.
The advantage of borrowing the typological architecture of pavilions and courtyards is that the connection between the function and the architectural type of the garden makes it easier for an uneducated audience to understand and support my use of the new courtyard to transform the public space and integrate the buildings into an easily interpretable new courtyard. The courtyard, later named Baiyunting, and its three side gardens (the front garden, the south garden, and the west garden) and the wall, integrate buildings 1 and 3 into a visually continuous complex. Thus a new courtyard architectural space is born out of the historical building type and rewrites a group of scattered commercial buildings, finally creating a new visual and spatial image.
Metaphors and Symbols of Colorful Clouds
I insist that architecture should be full of metaphors. We distilled the clouds into an easy-to-read formal symbol, turning them into doorways, logos and even UIs, while the white of the clouds covers all the background spaces of the building to reinforce the symbolic meaning in the clouds and represent the Shanghai of the clouds. The orange color extracted from Huangyan's most famous orange not only represents the Huangyan of Duoyun, but also becomes the main color in the foreground of the entrance book and coffee area. From white clouds to orange clouds, it is easy to build a story about five-color auspicious clouds. The bookstore area thus includes the green color in the foreground of the cultural and creative area. This is also the classic color in the Duoyun Bookstore series. More importantly, the blue as cyan has a special meaning in the local Taizhou area and cannot be used as the main color, so the classic green in the Duoyun Bookstore furniture series was chosen as the cyan cloud. Crimson was chosen as the red cloud for the speech area on the second floor, and pink and purple was chosen as the purple cloud for the exhibition area on the second floor. The five different colors identify the different main functional areas. This is a further interpretation of the metaphor of clouds. The story of the five colored clouds finally replaces the typological architectural borrowing as a prominent statement linking function, Shanghai, Huangyan, allusion, documentation, history and locality. The richness of the clouds as a metaphor and the legitimacy of the symbolic use are reinforced. Thus, a "myth" of reading in the clouds is established.
Pyramids and Labyrinths
In discussing the topic of the visual focus of the space, a photograph of the Pyramid of Oranges, created by artist Roelof Louw in 1967, provided by the project architect, served as inspiration. An orange pyramid book table with books was created in the foyer. (The Pyramid is actually more like a Ziggurat, but the Chinese is the same). It becomes the dominant device in the space, and a larger green pyramid book table becomes the centerpiece of the shelf area (kiosk) with attitude. And the triangle stripped from the pyramid becomes a translucent acrylic cashier's desk that becomes the controlling visual focal point of the main bookstore area (hall). The relationship between the color orange and Huangyan is in a sense more in line with the official name of the artist's installation, Soul of City, which was created in Duoyun Bookstore in Huangyan.
I have always been fascinated by the complex organization of direction and vision in places to create the experience of time, relative fast and slow. A labyrinth is an excellent architectural type combined with light to achieve this experience. So the bookshelves and furniture become the walls of the bookstore maze. Transparent and translucent interfaces blur the clarity of light, creating a disorienting and curious uncertainty in the space. So much so that time seems to slow down a bit here. Unexpectedly in the coffee area (pavilions), the orange-colored furniture is more like ripples. And when I laze on the sofa on the raised platform near the window, the river level unfolds like a scroll, a kind of time view formed by Chinese painting unexpectedly comes back to life, matching that emotion I felt when I stood by the river for the first time.
Due to the extra structural secondary beams under the roof panels, I could not open the sky light on the cashier ceiling to make the water and sky into one color. I could only replace it with a luminous canopy, which is slightly regrettable as there is one less light combination.
Water Surface and Sky
To increase the confusion of the maze, I used corrugated aluminum panels as the ceiling to resemble the rippling water of the Yongning River. At the same time, the roof deck of the cashier area was turned into a mirror reflecting the sky. I condensed the water and sky on the front and back of the floor to create a place where direction and time are lost.
The Myth of the White Cloud Garden
The courtyard of the Huangyan branch of Duoyun Shuyuan embodies an attempt to pursue the spirit behind the form of the garden. With the authorization of the owner, I had full will to be the owner of this courtyard to design it subjectively. I decided to create a world (garden) that fits my own concept of the site. I eliminated the structures and facilities on the original site. I kept the original trees and plants, and also kept but modified the fire stairwell and smoke extraction courtyard required by code. I viewed the courtyard as a water surface, and the three groups of trees forming a green island formed the basic paradigm of a pond and three hills in a Chinese garden.
The matching and organization of the trees is borrowed from the composition of Ni Zan, the great painter I love. However, the white stones and greenery shown in the courtyard are easily associated with Japanese dry landscape gardens. But this inspiration comes from a fragment of Qiu Ying's "Garden Views" about Chinese dead landscapes. In the painting a vibrant rosebush stands on a wide mock sparkling white stone work ground, simple and sparse. The courtyard in the painting is enclosed by a bamboo curtain, while I have enclosed a translucent courtyard with white perforated aluminum panels, as well. The light can be sifted through the fence and sprinkle the courtyard like rain to form dappled light and shadows, adding vividness to the courtyard. The courtyard does not seek the form of a traditional garden, but conveys the Chinese love of creating a vibrant earthly wonderland in the most crowded place in the world, the so-called Peach Blossom Garden. It is also a real dream world for contemporary people.
Dream and Reality
The white aluminum walls do not hide all the old buildings from view. In most parts of White Cloud Court, the reader is almost completely trapped in a complete dream world. In some places, there are slight traces of the old buildings showing through. This reality behind the dream world instead builds a magical realism, an unreal reality, or an unfamiliar familiarity. This is about the accident that I am happy to see.
Surprises
Readers will find two cloud stools, one white and one blue, in the White Cloud Court. These are made of plastic from recycled marine garbage. Taking advantage of Huangyan being the capital of molds, molds were made to infuse and mold the plastic. The use of plastic from recycled marine garbage comes from my daughter's education on environmental protection and the need for architects to express an environmentally friendly attitude in their own designs.
There is a blue glass house up the spiral staircase of the cafe, and the daylight tints the area where the orange staircase and the roof meet an extremely beautiful purple. But as soon as you press a switch, the blue glass becomes colorless and transparent, and the Yongning River leaps into view. This glass is a car glass technology developed by a local company in Huangyan. I brought it for the first time to use it in architecture. I also used this glass in the lecture area. Because I always fantasize this scene, in spring, I sit on the steps, the blue color fades, the blooming cherry blossoms bloom like clouds under my feet, it's all, so nice.
Architecture is writing. I have always believed that a bookstore should reflect the spirit of the city or region. Duoyun Bookstore in Huangyan is my understanding of and response to the city of Huangyan, the people who live there and the culture of the city. I believe that small cities in China lack a contemporary art form that shapes their own spirit. In the age of the internet, people in third and fourth tier cities generally have a sense of confidence and judgment. Architects do not have to pursue the fashion of big cities and foreign countries or be stuck in so-called historical forms in their work here. It is entirely possible to use abstract art language and metaphors to create new art forms and spaces that reflect the local present. One such work is the bookstore. If all small cities in China were as content and peaceful as Huangyan, with its history and scenery, and at the same time focused on creating its own future, then China would be a more beautiful place.