青天制作所 | 百花书局，苏州 | Hi设计

青天制作所对昆曲传统可移动戏台‘堂名担’进行空间性再叙事，在中国昆曲博物馆内营造出一个多功能、可移动的书店，

激发人们对传统戏曲文化的关注与热情

Tsing-Tien Making reimagines Baihua Bookstore, inspired by Kunqu Opera’s near-lost mobile stage ‘Tangmingdan’

百花书局唤起了对苏州传统沿街商铺排门板的集体记忆

1993年，隶属于中国昆曲博物馆的百花书局，是苏州最老的一批书局之一；三十余年来，它始终与昆曲文化深度捆绑，见证过无数人捧着戏本、对着馆藏戏服驻足的模样。在接到百花书局改造的任务时，我们面临的是一个尺度极小、年久失修的附属用房。它原为中国昆曲博物馆内部的一间书屋，面积仅65平方米，常年作为博物馆出口，功能与结构已基本脱离原有文脉。但我们并未仅将它视为“空间改造”，而希望它能重新纳入博物馆的文化系统中，成为一个具有“生产能力”的“书店+”模式新节点。

Located within the China Kunqu Opera Museum in Suzhou—the birthplace of Kunqu opera—Baihua Bookstore was first established in 1993 as a specialist venue dedicated to this centuries-old theatrical tradition. Recognized by UNESCO as an Intangible Cultural Heritage, Kunqu opera remains central to this bookstore’s identity. Over the decades, however, the original space—just 65 square meters in size and formerly used as a reading room—had fallen into disrepair and gradually devolved into an exit corridor, detached from its cultural roots.

When invited to redesign the bookstore in 2024, we saw more than a simple interior renovation. Rather than treating it as a straightforward retrofit, we viewed the project as an opportunity to reintegrate the space into the museum’s living cultural ecosystem. Our goal was to reimagine Baihua Bookstore as a compact yet generative “bookstore-plus” model—a contemporary stage for cultural production and exchange.

中国昆曲博物馆昔日不起眼的出口，已蜕变为引人注目的入口

#01

“堂名担”：传统戏台的便携性逻辑

“Tangmingdan”: A Portable Stage and Its Structural Essence

我们从一个极小的元素切入：一件常被忽略的博物馆藏品 ——“堂名担”。这是我们介入设计的起点，也是整个空间改造的主轴。

“堂名担”是江南传统戏班中使用的便携式门面结构。结构轻巧、可拆可合，是一种“走着演”的舞台机制。这类构件虽然微小，却浓缩了古代戏曲文化的移动性、适应性与组织结构，也体现出舞台精神与民间社会之间紧密的互动关系。我们不复刻它，而是提取其中的逻辑，并转译为当代表达的空间语言。

Our design begins with a small, often overlooked artifact from the museum’s collection: the Tangmindan, a lightweight, collapsible facade used by traditional opera troupes in southern China.This portable stage structure, designed for street performances, embodies the mobility, adaptability, and organizational ingenuity of folk opera culture. We did not replicate the object literally, but rather extracted its structural logic and reinterpreted it as a contemporary spatial device.

中国昆曲博物馆镇馆之宝“宝和堂”堂名担

转译昆曲便携式舞台“堂名担” 的工作机制

#02

一种“可被带走”的剧场意识

A “Portable Theatre” Mindset

百花书局已成为一个动态的文化发生场所

百花书局的空间改造，围绕“堂名担”展开。它不再是单一功能的展陈场所，而是被重新定位为一个动态的文化发生地——一个“嵌入式的微型剧场”。我们把“堂名担”从昆曲语境中解构为三种空间元素：标识性、生成性、可移动性，并据此建立起书局的空间策略。

Inspired by the Tangmingdan, we reconceived the bookstore not as a static display space, but as an embedded micro-theatre—a dynamic cultural node. The design draws from the Tangmingdan’s three essential spatial qualities: identity, generativity, and mobility. These inform the entire architectural strategy.

空间的视觉与动线中心“新堂名担”

“新堂名担”在操作上支持不同活动的灵活展开

整个空间的视觉与动线中心被交由一个独立装置承担，它即是“新堂名担”。不是道具，也非纯装置，它游走于“剧场门面”与“构造核心”之间。在这个不到7平米的结构中，我们置入了四面不同材质与语意的立面，使其在物理上定义空间中心，在象征上激活仪式感，在操作上支持不同活动的灵活展开。

At the heart of the bookstore is a central spatial device: a new Tangmingdan hat serves as both symbolic threshold and structural core. Measuring just under 7 square meters, this element features four distinct façades—each made of different materials and expressions. It physically anchors the space, introduces a sense of ceremony, and enables flexible configurations for diverse cultural programs.

剖面图

考究的堂名担还装有玻璃彩灯。“新堂名担”的灯具兼具装饰性与功能性

#03

拆与合：从演出逻辑生成空间逻辑

From Theatrical Gesture to Spatial Syntax

我们没有追求空间形式上的“像舞台”，而是更专注于舞台如何生成。传统戏班带着“堂名担”走街串巷，其空间逻辑是拆—合、开—聚、现—隐。这种方式启发我们建立起空间的基础机制：所有展陈结构都可移动；墙面为磁吸系统；帘幕可收合；导视为模块化——这是为了让空间可以轻装上阵、快速转场，支持多样的文化活动从日常中生成。

Rather than designing a space that looks like a stage, we focused on how a stage functions. Traditional troupes would carry their Tangmingdan through neighborhoods, creating temporary venues through a logic of assembly and disassembly, visibility and concealment. This inspired our own design mechanisms: all display elements are mobile; walls are equipped with magnetic mounting systems; curtains are retractable; and signage is modular. These strategies allow the space to adapt quickly to changing uses and events.

“堂名担”的所有零件

例如北侧墙面设有三组带轮装置的木展墙，既可贴墙展陈，也可推动至中央围合空间，与“堂名担”协同形成临时剧场。西侧为戏曲黑胶展区，借由“堂名担”西面可开启门板与镂空窗，观者可透视另一空间中的播放装置，强化“台前台后”的视觉联系，形成文化事件可预见、可延展的临界状态。

For instance, three-wheeled wooden display panels on the north wall can be used along the perimeter or moved inward to enclose a temporary performance zone in conjunction with the central Tangmingdan. The west wall features a Kunqu vinyl display, where operatic recordings play in a space partially visible through perforated panels—offering glimpses of the “backstage,” and creating a blurred boundary between everyday life and theatrical encounter.

所有展陈结构都可移动

木展墙围合形成临时剧场

墙面为磁吸系统

空间逻辑是拆—合、开—聚、现—隐

#04

材料转译：从旧门板到穿孔钢板

From Material to Meaning

炭烧工艺过程

回收于现场的旧木门板，经炭烧工艺转化，再度融入原址

“堂名担”的北面使用了现场回收的旧木门板，我们以炭烧工艺将其脱漆显纹，使其转化为温润的木肌底色。镂空的花窗被保留，作为来自前身空间的“文化残件”，它不是背景，而是成为新的叙事接口。

The north façade of the Tangmingdan is clad in reclaimed wooden doors found on site. We stripped the paint using a carbonizing technique to reveal the wood grain, giving the material a new tactile warmth. Carved window panels from the original space were preserved—not as nostalgic backdrops, but as active narrative fragments within the new structure.

从“堂名担”出发，推演出新的花窗语言

南面则反向使用当代语言。我们以工业材料——穿孔镀锌钢板构成其立面，打孔图案脱胎于昆曲演员头面上的“一弯”结构，通过抽象提炼与图案重组，形成一种“像传统又不是传统”的模糊秩序。细看每一块钢板，它的几何节奏实则源自“堂名”书法的线性笔触。

The south façade takes a contrasting approach. Here, galvanized perforated steel forms a contemporary skin. The perforation pattern is abstracted from the crescent-shaped ornament worn by Kunqu actors, restructured into a graphic rhythm that is “traditional, yet not quite.” On closer inspection, the geometric cadence of the steel panels echoes the calligraphic strokes of the original Tangmindan characters.

#05

以叙事书写空间构造

Narrative-Driven Spatial Composition

平面图

此次65平米的小空间里，我们希望并非强调“设计完成”，而是像传统的“堂名担”，强调其可再书写性：空间可以被反复使用、被不同使用者接管、被新叙事重新嵌入。

In this modest 65-square-meter space, we chose not to emphasize a sense of design completion. Like the Tangmingdan, this space is meant to be rewritten. It is designed for reuse, for appropriation by different users, and for insertion into ever-evolving narratives.

具有“生产能力”的“书店+”

在空间叙事中激发人们对昆曲文化的兴趣

近两年我们持续尝试在一些尺度较小、处于边缘状态的城市公共空间中，探索“最小介入”下的结构再生与文化嵌入。它们的共同特点是条件受限、预算有限、公共性模糊，设计无法依赖单一形式的表达，也难以通过一次性完成来实现“项目闭合”。但正是在这些缝隙空间中，我们反而找到了可能：通过一种轻量、嵌入式、可再书写的空间结构，使它们重新被公众看见、使用，并参与到新的叙事当中。

In recent years, our focus has been on exploring “minimal intervention” strategies in smaller, marginal urban public spaces, where structural regeneration and cultural integration are key objectives. These spaces are characterized by limited resources, restricted budgets, and ambiguous public functions. As a result, the design process cannot rely on a singular formal expression nor achieve “project closure” through a one-off intervention. Instead, we have found potential in these interstitial spaces by employing lightweight, embedded, and adaptable spatial structures. This approach not only allows for the reactivation of these spaces but also enables them to be seen, used, and woven into the fabric of civic life.