城市化在很长一段时间里被视为背离自然的过程，在城市化进程中，城市中的人们与自然渐行渐远。在长久的认知里，获得建筑的代价是不可避免地填埋水域、砍伐树木或侵占田野，直至人们对于这样的行为已经变得麻木。然而人类本身就源于自然，对于与自然共存的渴望是身体的本能。鲁迅公园咖啡亭反映了我们关于人工与自然二元关系的思辨——作为建筑的人造物，如何与自然共存、共生与共创。咖啡亭坐落于鲁迅公园一角的商业街内，其前身是一家商铺。原有钢结构雨棚附着在主体建筑上不可拆除，五棵梧桐树随机散落在场地中。称它为咖啡亭，是因为需要满足业主复合的功能需求——首先它作为婚姻登记中心的服务配套，应在内部与其连接；其次它需要将两侧的商业街与公园广场相连，为市民提供便捷的穿越路径；最后在户外留出一处有遮蔽的多功能活动空间，让人们在这里休憩、避雨并眺望远处的景观。建筑被想象为一处连接室内与室外的庇护所，如同一片抽象的树林，生长在五颗梧桐树构成的自然环境中。在对既存树木定位后，柱阵点位经过计算，确保基础不会伤害根系，钢梁也不与树杈冲突，不必剪去一枝一叶。纤细而笔直的钢柱与遒劲弯曲的树干形成对仗，屋面之上，树冠肆意舒展。耐候钢屋架作为统一的设计语言同时塑造了室内与室外——在室内，屋面的形式并非源于视觉诉求，而是在新结构与原始雨棚之间的三角空腔内寻求可能的设备之所；在室外，屋面翻折后逐渐压低，则将人的视线引向远处的景观。红色的水磨石地面如同漂浮的船筏，成为人们活动的平台。通往室内的入口被刻意隐藏在“树林”的内部，空间层级被进一步削弱，使人完全沉浸其中。在这里，屋面之下是相对化的自然，屋面之上是原生的风景，彼此之间通过屋面的开口窥见对方，建立出平行的关联。耐候钢屋架并不做任何人工干预，而使材料追随时间发生变化，呈现出自然的锈迹。地面、墙裙与地景般的卡座则由红色水磨石打造（这也是婚登中心的主要材料），不仅在感受上实现了咖啡亭作为婚登中心附属空间的延伸，也与耐候钢的锈色相呼应。在许多项目中，耐候钢板一般是作为外饰面使用，使许多人忽视了它的结构性能，市场上也难以见到成品的型材。而我们把耐候钢板在工厂切割、焊接、打磨作为结构构件使用，这样对于基础性材料的非常规应用，我们得以延展基本建造的表现力。我们认为“自然建造”的理念是回到建筑真实、基本、不刻意的建造方式中，因此建造并不拘泥于美学预设，而是由施工条件、工程造价、受力方式与材料特性等事实因素综合决定。这样的价值取向反映在设计的诸多方面，比如室内外钢柱与钢板的不同做法——在室外，我们选择截面为50*100mm的工字钢作为受力柱，同时将窄面朝向视线， “工”形也赋予柱体更多明暗细节，让结构看上去上更加轻盈，强化了屋面漂浮的感受。钢梁截面也是与之对应的“工”形，翼缘承托起2mm厚的钢板，并以点焊固定。我们并没有选择6mm厚的钢板置于梁下满焊，试图隐蔽上方的反梁让屋面从底部看呈现出一整片平整光滑的错觉（尽管在许多项目中可以看到类似的做法），因为这样的炫技工艺会让造价翻倍；在室内，我们则选择截面为100*100mm的方钢作为受力柱，“方”是出于门五金的安装需求，使得钢梁截面同为矩形。同时，因为雨棚的原始钢结构位于新结构的上部，并不拆除且有玻璃封闭，施工条件苛刻，使得钢板安装只能从下往上抬升并点焊固定，只在应力特殊处采用满焊来增强结构的整体稳定性。建造的答案来自于具体问题本身。当你漫步于这一方庇护之地，人工与自然相互交织，边界已模糊不清。向外延伸的钢结构阵列排开，源于人为的理性控制。场地中存在的树木则是扰动秩序网格的自然之物，它们的存在赋予建筑更动人的姿态——屋面钢板在树枝出现的位置留空，结构也相应补强、变化；树枝伸出屋面之外，从洞口中人们得以望见颤动的枝叶；光线在一天内不断变化，树叶也伴随着季节而不同；一些雨水会从洞口中落下，更多的雨水则被有意排入步道两侧的种植槽，用于浇灌种下的草种。这一切使得原本僵直的建筑变得有机而柔软。作为建筑的人造物与自然和谐共存，让彼此都焕发新的生机。我们有理由相信，鲁迅公园咖啡亭提供了将人与自然的关系带入更深处的机会。正如密斯凡得罗所说：“我们应该努力使自然，房屋和人类达到更高的统一”。

Urbanization has long been seen as a process that deviates from nature. In such process, people in cities gradually drift away from nature. For a long time, the cost of acquiring buildings has inevitably involved burying water bodies, cutting down trees, or encroaching on fields until people have become numb. However, humans themselves originate from nature, and the desire to coexist with nature is instinctual. The Coffee Shed of Luxun Park reflects our contemplation on the dichotomy between artificial and natural—how man-made structures, as buildings, can coexist, symbiotically create with nature.The Coffee Shed is considered as an architectural insertion. The site is very challenging——An existing canopy with glass roof attached to the main building cannot be removed, and five plane trees are randomly scattered on the site. It is called Coffee Shed because it needs to meet the complex functional requirements of the owner—first, as a coffee space close to the Marriage Registration Office; second, it needs to connect the neighbourhood and the Luxun Park, providing a public crossing path for the citizens; finally, it builds an outdoor sheltered multifunctional activity space for people to rest, shelter from rain, and enjoy the distant views.The building is imagined as a shelter that connects the indoors and outdoors, like an abstract forest growing in a natural environment formed by five plane trees. After positioning the existing trees, the column positions were calculated to ensure that the foundation would not harm the tree roots and that the steel beams would not conflict with the branches, without the need to cut The slender and straight steel columns contrast with the sturdy and curved tree trunks, with the branches spreading freely above the roof.The weathering steel roof structure serves as a unified design language that shapes both the indoor and outdoor spaces. Indoors, the form of the roof is not driven by visual appeal but rather seeks potential equipment space within the triangular cavity between the new structure and the original canopy. Outdoors, as the roof folds and gradually descends, it directs people's gaze towards the distant landscape. The red terrazzo floor resembles a floating raft, serving as a platform for activities. The entrance to the interior is deliberately hidden within the "forest". Below the roof lies a relative nature, while above is the original scenery, with glimpses of each other through openings in the roof, establishing connections of each.The weathering steel roof structure undergoes natural oxidation over time without any artificial intervention, presenting a natural rust. The flooring, datum and landscape-like banquette are crafted from red terrazzo (the material of the marriage registration office), extending the coffee shed’s identity as an extension of the registration office and harmonizing with the rust color of the weathering steel. In many projects, weathering steel plates are typically used as exterior cladding, often overlooking their structural performance, and finished profiles are rarely seen in the market. We utilize weathering steel as the structural component, allowing for unconventional applications of fundamental materials to enhance the expressive potential of basic construction techniques.We believe that the concept of " construction with the natural way " is about returning to the real, basic, and unpretentious way of building, where construction is not confined by aesthetic considerations but determined by a combination of factors such as construction conditions, engineering costs, structural forces, and material properties. This value orientation is reflected in various aspects of the design, such as the different approaches to steel columns and steel plates indoors and outdoors. Outdoors, we chose 50*100mm I-beams as load-bearing columns, with the narrow side facing the main sightline from indoor. This special shape adds more light and shadow details to the columns, making the structure appear lighter and enhancing the feeling of the roof floating. The steel beam section also corresponds to the "I" shape, with the flanges supporting 2mm thick steel plates fixed by spot welding. Instead of using 6mm thick steel plates fully welded under the beams to conceal the upper beams and create a smooth illusion when viewed from the bottom (a common practice in many projects), we opted for a cost-effective approach to avoid doubling the construction costs. Indoors, we chose 100*100mm square steel sections as load-bearing columns to accommodate the installation requirements of door hardware, resulting in rectangular steel beam sections. Due to the original steel structure of the canopy located above the new structure, which was not removed and enclosed with glass, the construction conditions were challenging. This required the steel plates to be lifted and spot welded from bottom to top, with full welding used only in areas of high stress to enhance the overall stability of the structure. The answers to construction come from the specific problems at hand.As you stroll through this sheltered place, artificial and natural elements intertwine, blurring the boundaries between them. The outward-extending array of steel structures is a result of human rational control. The trees present on the site disrupt the orderly grid of human intervention, providing the building with a more engaging posture. Gaps are left in the roof steel plates where tree branches appear, prompting corresponding changes and reinforcements in the structure. Branches extend beyond the roof, allowing glimpses of swaying foliage through openings. Light changes throughout the day, and the leaves vary with the seasons. Some rainwater falls through the openings, while more is intentionally directed into planting troughs on either side of the pathway for watering the grasses planted there. All of these elements transform the initially rigid building into something organic and live. The artificial structures of the building coexist harmoniously with nature, revitalizing each other.We have reason to believe that the Coffee Shed of Luxun Park offers an opportunity to deepen the relationship between human and nature. Just as Mies van der Rohe said, “We should attempt to bring nature, houses, and human beings together in a higher unity”.

地点：中国上海时间：2023/6-2023/10业主：长远文化集团主持设计师：撒尼夫、长山设计团队：张涵、李桐结构顾问：iStructure-杨笑天、周鹏飞灯光顾问：昇照明设计事务所-洪昇霖、刘婧怡景观顾问：上海简町景观设计工程有限公司-金寅寅施工团队：工程管理-龚月江、龚祥昌；电工-郑如康、陈传顺、俞介鑫、龚林华；泥工-贾培震、李如灿、胡士举；木工-杨新表、周建军、周志松；油漆工-喻钢兴、董国海、方中林、何青、叶祥生项目内容：建筑设计\室内设计\产品设计项目性质：改造\餐饮\景观建筑建筑面积：290㎡摄影：朱润资、撒尼夫、长山、DONG建筑影像

Location: Shanghai, ChinaDuration: 2023/6-2023/10Clients: Shanghai Changyuan Culture Communication Co.Ltd.Lead Architect: Sanif,Chang shanDesign Team: Zhang Han, Li TongEngineering Consultant: iStructure-Yang Xiaotian、Zhou PengfeiLighting Consultant: Arlit Design-Hong Shenglin、Liu JingyiLandscape Consultants: Jianting Landscape Design-JIN YinyinConstruction Team: Construction-in-charge-Gong Yuejiang、Gong Xiangchang；Electrician -Zheng Rukang、Chen Chuanshun、Yu Jiexin、Gong Linhua；Plasterer -Jia Peizhen、Li Rucan、Hu Shiju；Carpenter -Yang Xinbiao、Zhou Jianjun、Zhou Zhisong；Painter -Yu Xingang、Dong Guohai、Fang Zhonglin、He Qin、Ye XiangshengDesign Scope：Architecture\Interior\ProductProject Type：Adaptive Reuse\ CafeGross Area：290㎡Photographer: Zhu Runzi, Sanif, Chang shan，DONG image

人工与自然-鲁迅公园咖啡亭

The Coffee Shed of Luxun Park

沙美大楼始建于1921年，位于外滩历史文化风貌区内，具有典型的折衷主义建筑特征，是当时盛名的通和洋行（Atkinson &amp; Dallas Co.ltd）在近代上海的重要作品之一。是所受业主委托为沙美大楼的部分空间进行修缮与改造。改造范围涵盖位于首层的建筑入口、展厅，位于二层的多功能厅，位于三层的通高中庭及附属空间，开敞楼梯与电梯厅则实现了这些空间之间的连结与转换。基于历史文献的研究、场地现状及功能诉求，是所对它们制定了与之相应的设计策略。在首层入口门厅中，是所对破损严重的地面进行修复与延展，并将其面向街道打开；弧形墙面围合出一处遮蔽的场所，材料沿用残墙遗留的水洗石，力求设计动作微小却精确，让新的部分归隐与历史氛围与场地环境中；门扇的形式源于对外滩建筑群Art-Deco风格的转译与简化；顶部放射状的混凝土梁架被故意向公众揭露，原始而粗粝，而新置入的黄铜吊灯则照亮这个向城市开放的遗迹般的空间。在首层展厅中，是所以现场留存的遗物与历史图档为依据，对内部墙裙进行恢复；带有古典柱式的柱头被细致的复原并呈现出新与旧的材质差别；柱身则在保留了水泥剥落后粗犷质感；尽管为满足功能不得不新做吊顶，是所依然保留了原始梁架的特征，以确保其作为历史线索的可读性；黄铜材质的旋转楼梯连接了首层展厅与二层酒店，二层顶部被刻意打开——自然光进入室内，视野则通向天空。三楼的光庭与暗室是沙美大楼最重要的精神空间，是所通过运用恰如其分的形式、材质、氛围的对比与并置，塑造历史空间的场所精神：在光庭中，壁柱被恢复并简化，灰泥使其呈现出朴素的气质；拱窗则给予光庭一个“身份”（这一特征来自于建筑外部），在客人运动的过程中产生多样的窥视关系；黑色金属包裹的暗室被塑造成一处神秘角落，通过对光庭与暗室的并置，揭示出不同空间的历史顺序与鲜明姿态，并强化各自的感知。是所发现，在通和洋行原始的图纸中这里曾设计有一处玻璃穹顶，不知何种原因未被建成。于是打开楼板，以圆窗对这一历史往事的进行回应，它的形式来自于未建成拱顶的俯视图。同时，这一处“回声”般的策略也依次连接了二层的接待大堂与首层的旋转楼梯，产生出一种奇妙的视觉体验，人们得以望见通和洋行曾经的笔触，是所也在百年之后回应了彼时的呼唤。是所认为，历史建筑的改造绝非单纯复刻，也不是对历史的忽视与粗暴干涉，而是在留存与更新、修复与解构、记忆与当下之间呈现出一种清晰可辨的平衡。新空间为历史遗存提供了补充并成为了密不可分的部分，它们的协作不仅保留了建筑遗迹的完整性，甚至将其唤醒。在这里，我们得以同时看见过去，现在与未来。

Somekh Building was built in1921 and is located in the historical and cultural area of the Bund. It is one of the most important works of the renowned Atkinson &amp; Dallas Co. Ltd in modern Shanghai. In 2021, SHISUO was commissioned by the owner to do a renovation of Somekh Building.The renovation scope covers the entrance foyer, the exhibition space on the first floor, an event space on the second floor, the atrium on the third floor, last but not least, the open staircase and lift lobby that connect all these public spaces. Based on a historical research, site conditions and functional requirements, corresponding design strategies have been developed by architect.In the entrance foyer on the first floor, the severely damaged floor has been repaired. Architect extends the wall in aggregate concrete to enclose a sheltered space which faces the street corner. The design aims to be precise and subtle, allowing the new works to blend in with the historical context and surroundings.The form of entrance door is inspired by the Art-Deco style buildings on the Bund, but a modern version. The star-shape concrete beams on the ceiling, primitive and rough, are deliberately exposed to the public, while the newly installed brass chandelier illuminates this relic-like space that is open to the city. In the exhibition space, the teak datum was restored based on the remaining relics and historical documents. The column cap of classical style was carefully restored and presented with the differences between new and old. The columns retain their rough texture after years. Although a new ceiling had to be installed for functional reasons, the characteristics of the original beam structure were retained to ensure the readability of its historical clues. A brass spiral staircase connects the first-floor exhibition space with the hotel lounge on second-floor, the ceiling is deliberately opened by SHISUO to allow natural light coming in and provide a view of the sky.Due to changes in later operations, the three adjacent rooms on the second floor were demolished and transformed into an event space. The randomly arranged pipes and equipment made the site more complicated. Facing with such a chaotic condition , SHISUO once again use the language of beam structure as a historical clue to create a well-organized and ceremonial space.The atrium and the dark room on the third floor are the most important spiritual spaces of Somekh Building. SHISUO create a monumental space through the comparison and juxtaposition of appropriate forms, materials and atmosphere. In the atrium, the pilaster are restored and simplified, with plaster giving it a modest and authentic feeling. The arch windows give it an "identity" (a feature taken from the exterior facade). At the same time, it creates a complex and interesting visual connection as guests move through the space. The dark room, wrapped in black metal, is shaped into a mysterious corner. By juxtaposing the light court and the dark room, the historical order and distinctiveness of each space is revealed, and their perception is strengthened. SHISUO find out that there was a glass dome designed in the original drawings of Tonghe &amp; Co., but for some unknown reason, it was not built. Therefore, the floor was opened up to respond to this historical action .An octopus window, which took its form from the drawings of the unbuilt dome, is created by architect. At the same time, this "echo" strategy also connected the hotel lounge on the second floor and the spiral staircase on the first floor, creating a memorable experience. People can see the sketch of Tonghe &amp; Co. from the past, and the building is responding to its call a hundred years later.It is believed that the renovation of historic buildings is by no means a simple replication, nor is it a neglect or rough interference with history. Instead, it presents a clear and identifiable balance between preservation and renewal, repair and deconstruction, memory and the present. The new space not only provides a supplement to the historical remains, but also becomes an inseparable part of them. Their collaboration not only preserves the integrity of the historical remains, but even awakens and sublimates them. Here, we are able to see the past, present and future simultaneously.

地点：中国上海时间：2021-2022年业主：沙美大楼设计师：是所设计施工方：上海住总建设集团项目内容：室内设计，产品设计项目性质：改造\综合\展示建筑面积：650平方米摄影：朱润资

Site：Shanghai, ChinaTime：2021-2022Client：the Somekh BuildingArchitect：SHISUO designContractor:Shanghai Zhuzong Group Construction Development Co. LtdProject scope：interior design，product designProject type：renovation \complex\exhibitionGross area：650 sqmPhoto：Zhu Runzi

唤醒废墟 | 沙美大楼改造

Revive the Ruins | Somekh Building Renovation

在弄堂林立的上海，梧桐树的深处，不同于车水马龙的繁华景象，居住空间却是狭小逼仄。上海人常常利用老虎窗与斜屋顶的建筑特征，在二层与屋顶之间加建阁楼，这种阁楼被称为“三层阁”。有人将它比喻为“建筑物的一段阑尾”。附加在石库门住宅之上的一处小小阁楼，再往上就是屋顶。除屋脊以下的空间可以使用，其余部分人仅能勉强直立，而随着屋顶的坡度往两边下落，空间只能供人坐下或躺卧。在疫情之前，是所在静安寺旁租下这样一处阁楼并对其进行改造。设计面对的挑战是如何在不到20平方的面积里，仍然容纳日常生活所需，而在随后疫情的重压之下，如何缩短工期、节约造价，并创造出一处体面而从容的居所。在拆除多余隔断后，是所保留了原有的屋盖、青砖墙与木柱，将其作为历史的线索。高耸的屋顶为平凡生活赋予圣歌般的崇高感受，斑驳砖墙与木屋架则具有原始的张力。新置入的空间在梁下展开，旋转楼梯将阁楼划分为十字对称的平面：卧室临近南侧老虎窗从而获得采光，楼梯两侧是淋浴、洗漱与厕所间，北侧窗下则是一处可供阅读与眺望的角落。墙面采用白色防水涂料与白板玻璃，与厚重而久远的历史产生对话。阁楼被视为休憩的圣所，下层的厨房则是世俗的写照。是所保留了原有厨房地面的拼花马赛克（这种工艺常见于老上海里弄民居中），重新制作白色柜体以放置冰箱、洗衣及厨房用品。铁制楼梯则被喷涂为黑色，有意将上下层的体验脱开、剥离，使人对于日常或仪式的切换保持长久的期待。这是一个小到不能再小的项目，几张照片就可以把所有的角落一一揭露，可我们仍然将其看作一次微小而有力的宣言。这里曾是我们在特殊时期的临时居所，它极其简单却深刻——生活是日常与仪式，世俗与神圣的并存。我们在这里沉思独处，眺望夕阳与灯火，期待崭新的开始。

In the local residence of shanghai which is known as Lilong ,living spaces are often cramped and confined.Residents often take advantage of the Dormant Window and Sloping Roofs, to add a small attic space between the second floor and the roof.Some people have likened it to the "appendix of a building." It is usually represents the worst and most crowded living condition. During lockdown of shanghai because of Covid 19 , architect renovated it as a temporary dwelling.In this case, a minimise but effective intervention was made to transfer it into a poetic dwelling space.It was a period of Covid 19, architect rented such an attic near Jing'an Temple (Shanghai) as a temporary dwelling. The challenge of the design was how to accommodate daily needs in a traditional and extremly tiny attic space in Lilong Housing of Shanghai, and how to shorten the construction time and save costs under the heavy pressure of the continuously lockdown, while creating a dignified and comfortable living space. Therefore, design strategy is to balance the demolishment and construction within a time and cost constraints, as well as the creation of spiritual space within daily function needs.After removing unnecessary decorations, architect retained the original roof, old brick walls, and wooden columns as historical trace. The high-raised roof gives a sense of grandeur towards daily life, while the mottled brick walls and wooden frames have a primitive tension. The new space is unfolded under the beams, and the spiral staircase divides the attic into a cross-symmetrical plane: the bedroom is located near the Dormant Window for more natural light, while the shower and toilet are on either side of the staircase. A corner for reading and viewing is located under the northern window. The walls are covered in white waterproof paint and white glass as the partition, which creates a dialogue between old and new. It encourages people to rethink the essence of dwelling, especially during the sudden lockdown. A place to meet daily function is not enough to be called “home”, it should be also curing for the broken souls, helping people to recover from daily life. The attic is considered a sacred place for self-treatment, while the kitchen downstairs is a reflection of the secular world. The original mosaic floor of the kitchen was preserved (a common feature in old Shanghai Lilong houses), and white cabinets were installed to store the refrigerator, washing machine, and kitchen things. A staircase was painted black, intentionally separating the experiences of the upper and lower levels and creating a sense of anticipation for the transition between daily life and spiritual life.For this case, architect sees it as a small but powerful declaration, extremely simple but profound - life is duality of the secular and the sacred. We meditated here in solitude, gazing at the sunset and the lights, and looking forward to a new beginning.

地点：中国上海时间：2021年业主：是所设计项目内容：室内设计项目性质：改造\住宅建筑面积：20㎡摄影：是所设计

Location: Shanghai, ChinaYear: 2021Designer: Shi-Suo DesignProject Scope: Interior DesignProject Type: Renovation/ResidentialBuilding Area: 20 square metersPhotography Copyright: Shi-Suo Design (unless otherwise indicated)