繁花书房（中金家弄改造），苏州 / 上海思域设计

2026-01-04 17:17:52建筑设计,既有建筑改造与更新,居住建筑 , 现代风格

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黎里|中金家弄Lili | zhongJin lane

苏州黎里古镇坐落于吴头越尾之地，地处太湖之滨。形成于南宋，自唐末名为梨花村起，历经宋之集市、明清之繁华，沉淀下千年的历史底蕴。小桥流水旁，深巷幽弄中，是一座典型江南水乡文化古镇。

Suzhou’s Lili Ancient Town is located at the convergence of the Wu and Yue regions, nestled along the shores of Taihu Lake. Its origins trace back to the Southern Song Dynasty, evolving from a village known as Pear Blossom Village since the late Tang Dynasty. Through its development as a marketplace in the Song era and its flourishing during the Ming and Qing dynasties, it has accumulated millennia of historical heritage. With small bridges spanning flowing streams and deep lanes winding through quiet alleyways, it stands as a quintessential cultural water town of Jiangnan.

▼场地鸟瞰，Aerial-view of the site

中金家弄位于古镇中部，黎川市河南岸（俗称下岸），为小说《繁花》作者金宇澄先生曾祖辈购置翻建，属于典型的“明基清建”，在经历各种历史变故后成为公有大杂院，多年空置，踏勘时已是颓室残垣，日渐圮废。

▼清末黎里，Lili Town in the Late Qing Dynasty

Zhongjin Lane lies in the heart of the ancient town, on the southern bank of the Lichuan River. Originally acquired and renovated by the ancestors of Mr. Jin Yucheng, author of the novel Blossoms, the lane embodies a classic “Ming-era foundation with Qing-era construction.” After undergoing various historical transformations, it became a publicly owned mixed-use compound and stood vacant for many years. By the time of the initial survey, the site had already fallen into disrepair, with dilapidated rooms and crumbling walls gradually succumbing to decay.

▼沿河外观，Riverside Facade

设计原点 Design Origin

繁花书房作为当地政府出资打造的公共文化场所，原有空间功能由私人居住空间转向对公众开放的主题性公共空间，这种功能属性的转化要求建筑做出空间契合与身份主题双重锚固的回应。

▼场地建筑原貌，The Original Architectural State of the Site

As a publicly funded cultural venue commissioned by the local government, Blossoms Study was transformed from a private residential space into a themed public space open to all. This shift in functional identity required the architecture to respond through a dual anchoring of spatial adaptation and thematic embodiment.

▼沿老街入口，Along the Entrance of the Old Street

隐没 Blend into

建筑外观尊重古镇风貌，保留老街民居一门一窗一弄的传统制式。建筑隐身于河岸之侧群落之中，不事张扬，如同父子两代人的身份标签：一位前中共地下情报工作者，一位小说界的“潜伏者”。入口挂有作家手刻的木质门牌。

The exterior of the building respects the style of the ancient town and retains the traditional pattern of one door, one window and one lane of the old street dwellings. The building blends into the community by the riverbank, unassuming, just like the identity labels of two generations of father and son: one was a former underground intelligence worker, and the other is a “lurker” in the literary world. A wooden doorplate hand-carved by the writer hangs at the entrance.

▼窗景内外，Within and Beyond the Window

开放立体 Open and Three-Dimensional

原有一进为两层低矮狭小空间，设计通过局部钢结构置换，挑空中部，在二层形成展览环廊，沿河阅读空间设玻璃观景长窗，面窗景拾阶而上，步移景异。南向增加天窗将光线引至一层，与暗弄之间开设洞口增加采光互动，将原本阴暗压抑的封闭扁平空间转化成开放明亮的立体空间。

▼轴侧解析图，Axonometric Analysis

The original first courtyard was a low, narrow two-story space. Through partial steel structure replacement, the central area was opened up to create an exhibition gallery corridor on the second floor. A long glass viewing window was installed along the riverside reading area, allowing the scenery outside to unfold step by step as one ascends along the window-facing stairs, with the view changing at every turn. A south-facing skylight was added to draw natural light down to the first floor, and openings were introduced between the dark passageways to enhance lighting interaction. This transformed the originally dim, oppressive, and confined flat space into an open, bright, and three-dimensional environment.

▼一进空间整体，Self-Contained Courtyard Unit

▼新旧空间结构嵌套，Nested Integration of New and Existing Spatial Structures

化零为整 consolidate fragmented spaces

一二进整体采用化零为整的策略，后部暗弄并入，将原本封闭的一进与二进完全打开，形成以新建阳光厅为核心的整体大空间，包含阅读、展览、画廊、文学讲堂、艺术沙龙、咖啡等复合功能，同时通过增加一进二层挑台、二进画廊长窗和廊桥建立空间关系，构建上下两层三面围合的立体舞台式场所，为阳光厅举办文学讲堂和艺术沙龙等公共活动创造了生动的空间条件。

▼“化零为整”设计策略，Holistic Integration Strategy

The entire first and second courtyards adopt a strategy of consolidating fragmented spaces, incorporating the back passage discreetly. This approach completely opens up the originally enclosed first and second courtyards, forming a unified grand space centered around the newly constructed Sunlight Hall. The integrated area encompasses multiple functions such as reading, exhibitions, gallery displays, literary salons, art forums, and a café. Additionally, spatial connections are enhanced by introducing a second-floor overhanging platform in the first courtyard, elongated gallery windows in the second courtyard, and connecting bridges. These elements create a three-dimensional, stage-like venue enclosed on three sides across two levels, providing a dynamic spatial environment for hosting public activities like literary salons and art forums in the Sunlight Hall.

▼多功能阳光厅，Multi-Function Solarium

▼一进挑空，Double-Height Space of the First Courtyard

结构嵌套空间 Structure-Nested Spaces

二进西侧原有墙体倾斜严重，嵌入新建混凝土结构盒子在加固同时用结构形成独立的画廊空间。由于当地无清水混凝土施工经验带来的瑕疵粗粝反而使得新旧关系变得融合。画廊大玻璃因整块无法搬入用金属条做了十字形压缝，让人想起卡斯帕·大卫·弗里德里希（Caspar David Friedrich）的绘画与路易斯·巴拉甘（Luis Barragán）自宅。

▼二进院改造前，Before the Renovation of the Second Courtyard

The original western wall of the second courtyard was severely tilted. A new concrete structural box was embedded to reinforce it while also creating an independent gallery space defined by the structure itself. The imperfections and roughness resulting from the lack of experience in fair-faced concrete construction unexpectedly enhanced the integration between the old and the new. The large gallery glass panel, too big to be moved in as a whole, was fitted with a cross-shaped metal joint—a detail reminiscent of the works of Caspar David Friedrich and the residence of Luis Barragán.

▼二进一层，Second Courtyard 1F

▼二进外观，Facade of the Second Courtyard

痕迹 Trace

二进院内新植柿树一颗，院落西侧架设连廊，连廊下设树院咖啡，三进北向二层退让出内阳台与树院画廊互动，损毁木构采用建筑拆下旧木修复，利旧产生的规格形式不统一在热轧钢板和玻璃门的协同下进行对称性分组。在江南潮湿的环境下，新水景与旧墙很快融为一体。

A persimmon tree is planted in the second courtyard, while a covered corridor is installed along the western side of the yard. Beneath the corridor, a tree courtyard café is arranged. On the northern side of the third courtyard, the second level recedes to form an interior balcony that interacts with the tree courtyard gallery. Damaged wooden structures are repaired using salvaged timber from the building itself. The resulting inconsistencies in size and form from repurposing old materials are organized into symmetrical groupings with the help of hot-rolled steel plates and glass doors. In the humid environment of Jiangnan, the new water feature and the old wall quickly blend into one.

▼三进外观， Facade of the Third Courtyard

▼三进二层，Third Courtyard 2F

▼水景，Water Feature

三进与三进院合并为扩大三进的阅读展览空间，留出芭蕉天井为两侧空间提供自然采光与景观。利用屋面形成两层室外露台，首层露台与整体空间形成游园式的参观洄游动线，第二层露台与屋顶相连，回应《繁花》中的片段：“两个人从假三层爬上屋顶，瓦片温热”。

The third courtyard is merged with its adjacent yard to expand into a reading and exhibition space. A plantain courtyard is preserved to provide natural light and views for the spaces on both sides. The roof design forms two outdoor terraces—the first-floor terrace integrates with the overall space to create a garden-like, circulating visitor path, while the second-floor terrace connects directly to the roof, echoing a scene from Blossoms: “The two climbed from the attic up to the roof, where the tiles were still warm.”

▼繁花画廊，Blossom Gallery

▼扩大后的三进空间，Augment the Third Courtyard

月亮与六便士 The Moon and Sixpence

四进修缮时为避让院内新发现的夏鹭井，将围墙门窗做了平移互换。院东侧围墙垮塌大半，设计未按常规方式补砌完整，于背面重新做了新墙加固映衬残墙，镂空月亮造型是当地传统花窗透景的另一种独特表达方式，更是与对面围墙顶部高高在上的铜钱瓦窗形成了文学的隐喻。

▼夏鹭井院改造前,Before the Renovation of Xialu Well Courtyard

During the restoration of the fourth courtyard, the positions of the doors and windows along the wall were shifted and exchanged to preserve the newly discovered Xialu Well within the yard. Most of the eastern wall had collapsed. Instead of following conventional repair methods to fully rebuild it, a new wall was constructed behind the remaining ruins to reinforce and complement them. The hollow moon-shaped motif offers a unique interpretation of the traditional framed-view lattice window, while also creating a poetic juxtaposition with the elevated coin-shaped tile window atop the opposite wall—a literary metaphor woven into the architecture.

▼四进阅读空间，Reading Space in the Fourth Courtyard

▼露台，Terrace

▼夏鹭井院，Xialu Well Courtyard

后记 Epilogue

从来多古意，可以赋新诗，于设计者与使用者而言，繁花书房不是物的场所，也不是人的场所，是物与人纽带的情感场所。

Amidst timeless grace, new verses find their place. To both the designer and the user, Blossoms Study is neither merely a space of objects nor solely a space for people—it is an emotional realm where objects and individuals intertwine.

▼材料与细部，Materials and Details