用工业遗产的骨架，承载东方美学的灵魂
“结庐在人境，而无车马喧。”一个由旧面粉厂改造的热闹文创园，却因材质、光影、动线与尺度的共同作用，让人生出”而无车马喧”的感受。这种静，不是隔绝，而是在繁华中守住一方清宁。陶渊明的答案是”心远地自偏”——内心远离世俗，所处之地自然偏僻安静。这是超越物理环境的精神选择。
大钱阁，就是在工业废墟的骨架上，触摸东方美学的灵魂。
A bustling cultural and creative park, converted from an old flour mill, nevertheless gives rise to that very stillness — born of the interplay of materials, light, circulation, and scale. It is not withdrawal, but serenity preserved within the everyday. Tao Yuanming gives the answer: “When the mind dwells afar, the place grows quiet of itself.”
DAQIANLOFT — upon the bones of industrial heritage, it reaches for the soul of Eastern aesthetics.
移阁入宅 The Pavilion Takes Residence
大钱阁一期 DAQIANLOFT Phase I
面粉厂的粗粝与东方服饰的柔韧形成反差——混凝土冷对夏布暖，筒仓弧对钱纹圆，旧砖墙对新纹样，凹凸地面对温润木。张力生于对比，空间本身成为可阅读的作品。 品牌所需的不只是面积，而是承载”境”的结构。衣服不再是唯一陈列，光、材质与动线共同构成体验；顾客的在场本身即是内容。”阁”由此而生——可步入、可停留、可远眺，建筑、纹样与服装共同完成一场延续与重生的叙事。
The rawness of the flour mill meets the suppleness of Eastern attire: concrete against ramie, the curved silo against the circular cash-coin motif, aged brick against new pattern, textured floor against mellow timber. Tension arises from contrast, and the space itself becomes a legible work.
What the brand required was not surface area, but a structure capable of holding a realm. Garments are no longer the sole object on display: light, material, and circulation together compose the experience. Thus the pavilion — a space to enter, to linger, to gaze afar — where architecture, motif, and garment complete a narrative of continuity and renewal.
阁在传统建筑中是登高远眺之所，置入室内，它保留了”步入”与”层次”的空间原型，园林中“曲径通幽、移步易景”融入到客流动线中，服务于当代商业的体验逻辑，成为视觉与结构的核心——视线收放皆以此为轴。 In traditional Chinese architecture, the pavilion is a place to ascend and gaze afar. Inserted into the interior, it preserves the archetypes of entry and layering, weaving the garden principles of a winding path to seclusion and shifting views at every step into the visitor circulation. It becomes the visual and structural core, the axis around which sightlines contract and expand.
彩平
未有直角，弧线遂成为空间母语，吧台、衣架、楼梯，一切转折以弧度完成。每一寸收口的隐匿，每一道工序的沉吟，每一种材质的拣选，皆经指尖与目光的反复诘问，方得落定。步入其间，不必言说的尺度、光线皆以克制相拥，克制本身，即为留白。 The curve becomes the mother tongue of the space: there are no right angles — the bar counter, garment rails, and staircase all resolve in arcs. Within, scale and light embrace in wordless restraint, and restraint becomes negative space: liubai, the Eastern art of leaving blank.
遗存之缚 · 原始空间的结构困境
The Weight of Heritage · Structural Constraints of the Existing Space
柱网森列，柱帽不可拆除，即以其为饰——以柱网为经纬织就功能布局，取古建柱头之意，将结构遗存化为古韵节点。
A forest of columns marches across the space, its capitals beyond removal. The immovable is made ornamental: the column grid becomes warp and weft, weaving the functional program into the plan, while the remnants are reimagined in the language of classical Chinese column capitals.
天然材质留其原始肌理，人工材质追摹自然粗粝，二者在触觉层面对话。黑为底，沉而不发；浅咖取自藤竹麻水洗日晒的本色。榫卯做当代转译：穿插咬合之意存于视觉，承重归于金属焊接，雀替化简后落于梁柱交角。从触感到结构，空间在秩序中成为感知的媒介。
Natural materials retaining their raw texture converse with man-made ones engineered to emulate coarseness. Black is laid as the ground — deep, never loud — with a pale coffee hue drawn from the sun-bleached tones of rattan, bamboo, and ramie. The mortise-and-tenon joint receives its contemporary translation: its interlocking logic survives as a visual motif while load passes to welded steel, and the que-ti sparrow brace, stripped to its essence, lands at the junction of beam and column.
叙事抵达 · 入口序列与立面策略
Arrival as Narrative · Entry Sequence and Facade Strategy
到达不是一步完成的。石板路在前，钱纹幕墙在侧，石桌凳为邻，瑞兽衔环为界。入夜，幕墙透光，室内溢光，植物地埋灯逐层亮起，旧厂房墙体保留暗部，新旧各归其位。光从漏窗落在老石板上–不亮，不远，留一步暗。
Arrival is not achieved in a single step. A stone-slab path leads the way, the cash-coin screen wall stands to the side, and an auspicious beast holding a ring in its mouth marks the threshold. After dusk, the screen wall glows, and recessed uplights awaken tier by tier while the old mill wall holds its shadows. Light falls through the lattice window onto the aged slabs — not bright, not far, keeping one pace of shadow before it.
沿外墙分层植四时花木，高低错落。春芽、夏荫、秋果、冬疏，时间替建筑完成四季布景。
Along the exterior wall, planting rises in staggered tiers — spring buds, summer shade, autumn fruit, winter bareness — as time stages the building’s four seasons.
经年使用的老石板，磨痕与磕缺留作独有的”不完美”。石桌凳以自然姿态置于入口旁–不设边界，不专属客。店铺与街道、住宅区自然渗透，石凳让出的一步，恰好容路人落座。世界向前，而这里，向后。
The old slabs retain their wear marks as deliberate imperfections, and the benches beside the entrance are reserved for no one: shop, street, and residence bleed into one another. The world moves forward. Here, it steps back.
两侧幕墙以连钱纹为母题重复排布，立面肌理成印;日光穿纹而过，在室内投下随日影游移的光斑。大门延续幕墙纹样，门环为铺首衔环–瑞兽衔环，实用、礼序与祈愿并置。
The flanking screen walls repeat the motif across the facade, filtering daylight into dappled shadow that drifts with the sun; the entrance door is crowned by a beast-and-ring knocker, utility, ritual, and blessing in a single object.
纹样以光为墨、以地为纸。工地的脚手架与粉尘还未退场，光却开始在空间里写字: 铜钱交叠，影随日移，落成为止，这面隔断才真正完工。
Light is its ink, the floor its paper — the pattern is finished only by light.
方圆相生 · 双环嵌套与铜钱意象
Square Meets Circle: Nested Rings and the Cash-Coin Imagery
立柱定方，环套交织，动线随圆弧舒展。方立边界与秩序，圆承流动与向心——方守其正，圆致其和，两种形态自然渗透，沉淀为”阁”的东方意境。
Columns establish the square; interlocking rings weave within; circulation unfolds along the arcs. The square sets boundary and order, the circle carries flow and inward focus, and the two bleed into the Eastern aesthetic realm of the pavilion.
内环为阁，外环为陈列与游走。中心楼梯外圆内方，暗合铜钱形制。连钱纹贯穿幕墙、大门与木雕，透光间将外景切成连续图案，既是立面肌理，也是光影发生器。材质以浅米黄与黑定调，夏布、蜡绳等服装材料重构为空间饰面。筒仓的圆、钱纹的圆、楼梯的圆——工业遗产的粗粝圆弧与东方纹样的精密圆弧跨越半世纪的对话。
The inner ring is the pavilion, the outer ring display and wandering; the central stair is round without and square within, echoing the cash coin. The palette is set in pale cream and black, as garment materials — ramie and waxed cord — become spatial finishes. The silo’s arc, the coin’s arc, the stair’s arc: industrial heritage and Eastern motif in dialogue across half a century.
阁立其中 · 起构的空间锚定
The Pavilion Within: Anchoring the Rising Form
二层平地筑起，四根承重柱落定”阁”的骨架。四周窗面可开可合，整面推拉门与窗棂以非遗竹编定制，纹理细密，似隔非隔，光线与视线在缝隙间自由呼吸。楼梯围绕柱体盘旋上升，黑色肌理木地板随台阶延展，品牌钱纹以灯带勾勒，既是安全标识，也是记忆锚点。扶手取服装常用的蜡绳——衣料由此进入空间构造，成为建筑纹路。
On the second floor, the pavilion rises from the slab on four load-bearing columns. Full-height sliding lattices, custom-woven with intangible-heritage bamboo, open and close at will — dividing without enclosing, letting light and sightlines breathe. The stair spirals around the columns, black textured timber extending with each tread, while the cash-coin motif traced in LED strips serves as safety marker and memory anchor. The handrail adopts waxed cord, a staple of garment making: fabric enters the construction itself and becomes the grain of the architecture.
材质叙事 · 非遗与手工工艺的空间在场
Material Narrative: Heritage Craft Made Spatial
以衣料覆墙，以匠心承骨。夏布经纬织入时间，蜡绳弧线收束身体的记忆，编织疏影漏进风与光。非遗不是展柜里的铭牌——它在此处被使用、受力、延续。
Fabric clads the walls; craftsmanship carries the bones. Ramie’s warp and weft weave time itself, and woven bamboo casts sparse shadows. Intangible heritage is no plaque in a vitrine: here it is put to work and carried forward.
立面大面积覆以夏布，不同年代与产地的苎麻拼接成色，深浅厚薄各有来历。幕墙与柱体上，夏布横向缝缀，抽去纬线的接缝处只余经线，墙体本色隐约透出，像布料留了一段呼吸。最深处那面墙，暖光自顶部落下，纹理一寸寸醒过来。以手工艺的柔软化旧建筑的刚，以时间的旧衬托服装的新，以拼接的碎重构完整的场。空间由此超越售卖，成为可触摸、可感知的手作现场。
Large stretches of the facade are clad in ramie pieced from linen of different eras and origins, each tone and weight with its own provenance; where the weft is withdrawn and the warp remains, the wall faintly shows through — the cloth leaving itself a breath of space.
以竹篾织屏，以匠心框景。四川非遗竹编为阁楼隔断，可完全开启。栏杆压低，树冠层越过幕墙铺入室内。竹合时是墙，筛光落影;开时是框，让景为立面。
Sichuan intangible-heritage bamboo weaving forms the pavilion partition, fully openable: woven shut, it is a wall, sifting light; drawn open, it is a frame, the view becoming facade.
以涂料覆壁，以漏印成纹。墙面以粗糙肌理的浅咖色艺术涂料为底，提取窗花的辐射对称手法与铜钱纹纹样语言，重新演绎为大钱阁独有的纹样肌理。
Rough-textured warm-taupe plaster grounds the walls, where traditional window grilles and the cash-coin motif are reworked through layered stenciling into a patterned texture unique to DAQIANLOFT — faintly emerging and receding, never overpowering.
阁中秘境 · 廊下觅物的仪式转换
The Pavilion’s Hidden Realm: The Corridor as a Ritual of Discovery
楼梯是过渡叙事:蜡绳扶手在侧，海棠纹铁艺踏步灯在脚下铺开连续纹样，“绿荫”暖光自头顶倾泻，将人从公共浏览切换到二层私密。
The stair is a threshold and a choreographed ascent: a waxed-cord handrail runs alongside, crabapple-pattern step lights unfold a continuous motif underfoot, and warm timber treads edged in black steel plate float within the dark. Warm “green-shade” light pours from overhead, shifting visitors from public browsing to the intimacy of the upper floor.
VIP区色调沉为包裹感更强的暖调–白色亚麻沙发、红色波斯地毯、黑色异形茶几、直纹拼接的木隔断，内为更衣间竹编门作为隔绝外界的屏风，透光不透影。整个vip室既是更衣，试衣的功能，更承载着会客社交的作用。
The VIP area settles into deeper, enveloping warm tones, its bamboo-woven fitting-room door admitting light but not sight; it serves not only for fitting, but as a salon for receiving. Ascend, then gaze afar: the ground floor is for walking and looking, the upper floor for sitting and lingering. A window opens, and from this height the treetops draw near, their leaves stirring as if whispering.
光影留驻 · 天井、树影与时间性
Light Held Still: The Light Well, Tree Shadows, and Temporality
天花取”天井”意象，叠入”夏日绿荫”。踏上级阶，暖光自头顶倾下，如同日晷。光斑从墙面爬上木雕吧台，再爬上夏布柱的经纬，上下两层由此贯通仰观处，绿荫如户外树冠延入室内，天井向上收束，化解层高的压迫感。方圆之间，空间视觉与品牌语言自成闭环。 The ceiling evokes the tianjing, a courtyard light well layered with summer green shade. Like a sundial, the space keeps time: pools of light climb from the carved-timber bar up the warp and weft of the ramie-clad columns, binding the two floors. Green shade spills in as though treetops had reached indoors, while the well converges upward, lifting away the weight of the ceiling.
构造语汇 · 传统建筑的结构转译
Tectonic Vocabulary: The Structural Translation of Traditional Chinese Architecture
1 柱子材料与天花的伸缩缝转化为装饰节点，暗藏灯带向下打光灯带，结构成为光的起点。
2 榫卯做现代转译: 视觉延续穿插咬合之意，构造以金属焊接加固。
3 栏杆设计参考了古代雀替形式与结构,同时用现代设计手法将柱帽转化为栌斗形式。
4 挂架与龙骨焊接并预埋应力五金件。
The expansion joint between column and ceiling is recast as a luminous detail, a concealed LED strip washing light downward so structure becomes the origin of light. The mortise-and-tenon joint survives visually while welded steel bears the load; the railing draws on the que-ti sparrow brace, and the column capital is reimagined as a ludou bearing block. Hanging racks are welded to the framing with pre-embedded hardware.
蔓生之序 大钱阁二期
The Grammar of Unfurling
DAQIANLOFT Phase II
大钱阁二期，是品牌从”境”向”业”的功能需求生长。一层酒吧是品牌生活方式的线下延展——不止于饮，更是社交场域的自然外溢。直播间、摄影棚与二层办公，则为内容生产与品牌运营提供了落地点。
Phase II grows out of the brand’s functional needs: from jing — realm — into ye — vocation. The ground-floor bar extends the brand’s social world into the physical; the livestream studio, photo studio, and upper-floor office anchor content production and operations.
拱顶压低两侧层高，空间如酒窖般包裹下来，落座即放松。
The vaulted ceiling drops low at the sides, wrapping the space like a wine cellar.
柚木的温润、黄铜的沉敛、钢琴漆的深邃、橘色石材的暖意，在间接光中彼此映照，粗粝与精致各得其所。
The warmth of teak, the reserve of brass, the depth of piano lacquer, and the glow of orange-toned stone reflect one another in indirect light. As day turns to night, the body slips unawares from the rhythm of the street into the rhythm of the space — a state calibrated by light, material, and scale in concert.
拱瓦为骨·交叠与系统隐光
Arched Tiles as Bone: Overlapping Layers and Integrated Concealed Lighting
天花取葡萄酒地窖拱顶原型，瓦片自入口向两侧展开如羽翼，分两层交错——结构层向下拱起矩阵排列，灯具层向上拱起嵌于其下，光在弧面与平面间反复折射。
The ceiling takes the vault of a wine cellar: tiles spread wing-like in two staggered layers, the structural arching downward in a matrix, the lighting arching upward and nested beneath, light refracting between curved and flat surfaces.
地面橘色长条砖铺出温暖基调，衔接处以微晶金刚石过渡，微光间断闪烁。
墙面深棕柚木贴皮，接缝处木条与金色扣件排列如皮革钉。吧台以橘色云纹奢石与钢琴漆对位，底部黄铜收束。
Orange long-format bricks lay a warm floor base, bridged at transitions by micro-crystalline stone. Deep-brown teak veneer lines the walls, its seams studded with timber strips and brass fasteners like nail heads on leather; the bar sets cloud-veined orange onyx against piano lacquer, capped in brass.
光源隐于物件之后：瓦灯如星，酒柜光穿瓶折射，壁灯如火炬，灯带缓亮缓灭，却将时间重新校准。
The light sources withdraw behind objects — tile lights like stars, wall sconces like torches — yet it is light that recalibrates time.
门庭之间·沿街景观与入口形制
Between Threshold and Forecourt: Streetscape and the Architecture of Arrival
植物配置延续以果树为主的策略，原母店外档移至酒吧外墙，与新增绿植共同构成沿街界面。大门延续幕墙花纹与铺首衔环的组合形式，开启方式改为远程遥控，兼顾形制与日常管理。
The planting scheme stays fruit-tree-led: the exterior display from the original shop is relocated to the bar’s outer wall, joining new greenery to form the street frontage. The gate reprises the screen wall’s cash-coin motif and beast-and-ring knocker, its opening mechanism now remote-controlled, balancing formal language with day-to-day operation.
时间刻度· 功能主义个体突围
Measures of Time: The Individual Breaks Free of Functionalism
「致敬CRUSH Collection 2024早秋大片的70年代复古办公美学」
A tribute to the 1970s retro-office aesthetic of the CRUSH Collection 2024 early-autumn campaign.
色彩同源: 暖橙木饰面、鹅黄家具、做旧橄榄绿地毯，同属70年代暖大地色系，拒绝冷白工业风;
布局同源: 连续一体化长条操作台加低矮储物柜，延续七八十年代美式模块化办公逻辑–开放式平面、弱化隔断;
符号呼应: 1960-70年代设计语言，圆润有机曲线、金属细杆、柔光漫射，是复古氛围的核心载体。
Warm-orange veneer, mustard-yellow furniture, and aged olive-green carpet are drawn from the era’s warm earth tones, a deliberate turn away from the cold-white industrial look. One continuous integrated workbench carries on the American modular office logic of the 1970s and 80s — open plan, partitions dissolved — while the mushroom glass floor lamp and the fixed cylinder chair speak the rounded organic curves of the period.
藏光于构
Concealed Light, Revealed Form
钱纹为灯·幕墙背光与新旧明暗 二级
When the Cash-Coin Becomes Light: Backlit Screen Walls and the Chiaroscuro of Old and New
两侧金属钱纹漏窗以内侧背光透照，光源隐于格栅之后，自纹样孔洞向外漫射——使纹样自身发光，成通透之夜景立面。后方旧厂房混凝土筒仓不补人工光，保留工业建筑沉暗粗粝之本相。一明一暗，温润与厚重彼此映照，新旧以光完成对话。
The flanking metal cash-coin screens are backlit from within: light hides behind the grille, diffusing through the perforations until the motif itself glows — a luminous night facade. Behind them, the old mill’s concrete silos receive no artificial light, left in their somber industrial truth. One luminous, one in shadow: warmth and weight answer each other as old and new complete their dialogue in light.
画框内外·玻璃溢光与沿街层次
Within and Beyond the Frame: Light Spilling Through Glazing and the Layers of the Street
通高玻璃如画框裁切室内，暖光外溢，阁楼、旋梯、柱廊自成画幅，街道向室内的过渡由此获得仪式。前景绿化以低位地埋灯洗亮叶片，树冠隐入暗处，建筑、植物、街道三层景深自现。不设刺眼路灯，夜的沉静完整保留。
Full-height glazing crops the interior like a picture frame: warm light spills out, and the mezzanine, stair, and colonnade compose a painting within. Recessed uplights wash the foliage while the treetops recede into shadow, settling building, greenery, and street into three layers of depth. No harsh streetlamps intrude; the stillness of the night is kept whole.
隐光造境·室内照明系统
Concealed Light, Constructed Realm: The Interior Lighting System
一期防眩嵌入式筒灯均布天花，柔和漫射提供基础照度，不破坏夏布与涂料肌理。柱顶暗藏灯带，光沿柱面漫射再经天花反射，将结构构件转化为发光界面，柔化钢阁楼压迫。拱瓦内嵌筒灯如星点散落。
Anti-glare recessed downlights carry an even ambient base, while concealed LED strips at the column tops turn structural members into luminous surfaces.
陈列区以轨道射灯定向勾勒服装面料，与环境光形成明暗层次。旋梯踏步内嵌灯光，随阶流动，兼护通行与仪式。
Aimed track spots trace the garments in layered light and shadow, and lights embedded in the spiral stair treads serve both safe passage and ritual.
二期
吧台上方独立控光，兼顾氛围与操作。壁灯半嵌于墙，黑金灯托如火炬扣住光向，为立面投下一层深影。酒柜层板向上投光，穿过玻璃瓶身折射漫射，光影随瓶微动。
In Phase II, the bar is independently zoned: wall sconces cup the beam like torches, and the cabinet shelves uplight through glass bottles.
昼夜相生·自然光与光的媒
Day and Night in Dialogue: Light as Medium
白昼，大面积落地玻璃引入自然光，钱纹漏窗投影随日影移动入室内，纹样在墙面与地面上缓缓游走。灯带沿卡座与天花边缘缓亮缓灭，昼夜交替之间无瞬时开关的刺激。
By day, natural light pours through the glazing and cash-coin shadows drift with the sun; LED strips fade gently along banquette and ceiling, so day and night hand over without the jolt of a switch.
全天采用统一暖白光4000K，间接照明为主、重点照明为辅。
光不直视眼睛，只在被照物表面显现——夏布的褶皱、涂料的凹凸、老木的纹理，皆在漫射中自然浮现。昼夜更迭，纹样一为日影投射，一为夜间自亮。
A consistent warm-white 4000K holds throughout, indirect light carrying the base and accent light layered on top. Light never meets the eye head-on; it appears only on the surfaces it touches — the folds of ramie, the relief of plaster, the grain of old timber.
As day and night turn, the motif leads two lives: cast as shadow by sunlight, glowing on its own after dark.
结语
工业骨架不被包裹，东方意境不依附符号。混凝土与夏布、旧砖墙与钱纹、黑地板与浅咖墙面、明与暗，各自成立又彼此定义。”宁精毋苟，宁少毋杂”——每处收口反复打样，最终表达克制留白。它不喧哗，但每一步都有可看之物；它不解释，但每处细节都有来路。旧与新、刚与柔、圆与方在同一具骨架上相依相生。推门离开时，铺首衔环在身后轻轻合拢，光从漏窗透出来落在老石板上。结庐在人境，心远地自偏。
Epilogue
The industrial bones are not clad away; the Eastern realm does not hang on symbols. Concrete against ramie, old brick against cash-coin, dark flooring against warm-taupe walls, light against dark — each stands its ground yet defines the other.
“Precision over carelessness, scarcity over clutter.” Every edge detail is sampled again and again; the final expression rests in restraint and negative space. It makes no clamor, yet at every turn there is something worth seeing; it offers no explanation, yet every detail has its provenance. Old and new, hard and soft, circle and square grow from one skeleton and live by one another.
As the door swings shut behind you, the beast-and-ring knocker settles gently into place, and light through the lattice falls on the old stone slabs.
I dwell among the world of men, yet no clamor of horse and chariot reaches me. When the mind dwells afar, the place grows quiet.
项目信息
项目名称 | 大钱阁
项目地址 | 中国浙江省温州市鹿城区滨江街道瓯江路5255号
空间设计 | 晓欧设计事务所
项目拍摄 | 十聿空间摄影
一期:
设计时间 | 2025.08 – 2025.10
完成时间 | 2025.12
设计面积 | 583m²
二期:
设计时间 | 2026.02 – 2026.03
完成时间 | 2026.06
设计面积 | 264m²
Project Name: DAQIANLOFT
Location: Wenzhou, Zhejiang, China
Space Design: XIAOOU OFFICE
Branding: Snowball Tribe
Photography: TEN YU STUDIO
Phase I
DESIGN PERIOD | AUG 2025 – OCT 2025
COMPLETED DATE | DEC 2025
DESIGN AREA | 583 m²
Phase II
DESIGN PERIOD | FEB 2026 – MAR 2026
COMPLETED DATE | JUN 2026
DESIGN AREA | 264 m²
