Detachable modular fast assemble steel structure sales office

Project appearance--provided by Shanjian photography studio

• Design: Shanghai Lacime Architects
• Project location: Suzhou, Jiangsu
• The building area is 350 square meters
• Completion time: September 2020
• The text of this article is provided by the designer.
• The photos is provided by Shanjian photography studio.

缘起

理性消费主义盛行下，传统地产设计中通过重金打造豪华售楼处的模式日渐式微。作为地产设计中最为重要的设计内容之一的售楼处，如今正在走向两个极端——永久售楼处越做越好，临时售楼处越做越快。永久售楼处强调所见即所得，呈现未来生活场景，力求建筑精致，空间宜人，环境优美。临时售楼处，尽可能缩短建造周期和减少投入成本，为了节省时间和成本甚至采用集装箱拼装。而本案则基于当下趋势，对临时可拆建售楼处进行探索和实践。

As rational consumerism prevails, the traditional real estate design model of spending a lot of money to build a luxury sales office is fading away. Sales office is one of the most important design elements in real estate design, and this element is now going to two extremes - permanent sales offices are paying more attention to the pursuit of high quality, and temporary sales offices are increasingly looking for rapid efficiency. Permanent offices emphasize that what you see is what you get, and aim to present a vision of the future with exquisite architecture, pleasant spaces and beautiful environments. Temporary sales offices reduce construction cycles and invested costs as much as possible, and even adopt the construction method of container assembly to save time and cost. Based on the current trend, this project explores and practices the temporary removable sales office.

Project appearance--provided by Shanjian photography studio

场所

项目选址在苏州浒墅关地区京杭运河旁的一片平坦的草地上。东侧建筑低矮，是民国建筑改造后的蚕里文创园。西侧直面大运河，视野开阔。南北向均为草地，自然散落着几棵树。大运河上的步行双桥、民国的房子、草地、树……这些建筑和自然的景观成为一个重要的空间节点，形成特有的场所记忆。

The project is located on a flat piece of grassland beside the Beijing-Hangzhou Grand Canal in Xushuguan District of Suzhou. To the east is the CANLI Cultural and Creative Industry Park reconstructed from the buildings of the Republic of China, and the buildings here are low. The west side faces the Grand Canal with a wide view. To the south and north are meadows, with a few trees scattered naturally. The pedestrian double bridge over the Canal, the houses of the Republic of China, and the grass and trees become an important spatial node, forming a unique site memory.

Project appearance--provided by Shanjian photography studio

模数

我们取4.2米的方格网作为模数，每个模块单独的面积17.6平方米，可以满足办公、管理、卫生间等基本空间需要。四个模块拼合形成8米×8米的大空间作为沙盘展示。洽谈区作为最大的功能空间面积需要9个模块。为了保证每根横纵梁的高度一致，建筑高度也采用了4.2米高。每个平面网格变成了一个个立体的模块。

We take the square grid of 4.2m as the modulus. Each module has a separate area of 17.6㎡, which can meet the requirements of basic spaces such as office management areas and toilets. A large space of 8m*8m formed by four modules is presented as the sand table display. As the largest functional space, the negotiation area needs 9 modules. In order to ensure the same height of each cross beam and longitudinal beam, the height of the building is also 4.2m.

Structure chart--provided by Shanghai Lacime Architects

Project appearance--provided by Shanjian photography studio

每个模块被拆解成三类构件：结构构件（梁和柱）、围护构件（门、窗、外墙板）、底板和屋顶。所有的梁柱的交接均采用铆接方式，便于拆卸和安装。景观场地和装置的布置延续建筑4.2米×4.2米的模数，与建筑的立面和平面形成统一。

Each planar grid becomes a three-dimensional module. Each module is disassembled into three categories: structural members (beams and columns), maintenance members (doors, windows, and exterior wall panels), floor and roof. In order to facilitate disassembly and installation, all the joints of the beams and columns are riveted together. The layout of the landscape site and installations continues to adopt the building's 4.2m*4.2m modulus, so as to achieve unity with the building's facade and plane.

渗透

基地内有一棵树，售楼处采用“L”形向树打开，与两个样板房体块围合出院落空间，院与树成为了建筑的视觉中心，整个参观动线围绕着院子展开。洽谈区作为动线的终点面向大运河开敞。洽谈区共九个模块，我们朝向河面方向推出一个模块，面向运河形成一个凸出的三面凌空的盒子作为茶室。抽离的盒子在洽谈区中心留下一个庭院，洽谈区围绕庭院形成内外包裹于自然的流动空间。模型区与洽谈区之间增加一个庭院从而保证所有的模块都能直面景观，实现内与外的相互渗透。

There is a tree in the site, and the sales office adopts the L-shaped opening towards the tree and encloses a courtyard with two model house blocks. The courtyard and the tree become the visual focus of the building, and the whole visiting line is spread out around the courtyard. As the terminal point of the moving line, the negotiation area opens to the Grand Canal. There are nine modules in the negotiation area. We launch a module in the direction of the canal in order to form a protruding three-side suspended box facing the canal, which serves as a teahouse. The box leaves a courtyard in the center of the negotiation area, and the negotiation area surrounds the courtyard to form a flow space inside and outside that is naturally enclosed. A courtyard is added between the model area and the negotiation area to ensure that all modules can face the landscape, so as to realize the interpenetration between the inside and the outside.

Project appearance--provided by Shanjian photography studio

模糊

建筑在空间、光线、透明度之间建立了一种微妙的关系，让人、建筑、活动与环境共同构成了一个丰富的背景。建筑和景观共用一套网格体系，渐变的景观方格作为第三重的空间的过渡，弱化了灰空间和基地之间的联系。内和外的边界模糊，实现了空间的交融。使用者游走在内和外之间，将得到不同的空间感受。

The building establishes a subtle relationship between space, light and transparency, allowing people, architecture, activities and environment to jointly form a rich background. The building and landscape share a grid system, and the changing landscape grid serves as the transition of the third layer of space, weakening the connection between the grey space and the site. The boundary of interior and exterior is blurred, and the blurring of boundary realizes the integration of spaces. When visitors walk between the inner space and the outer space, they can get different spatial feelings.

Project appearance--provided by Shanjian photography studio

透明

柯林罗把透明性分为物理的透明和现象学的透明。底层架空的盒子、透明的维护结构，纤细的白色柱子是物理层面的透明。建筑在场地中，以一个盒子的体量呈现，保持着一种临近“无”的状态，展示空间外环绕灰空间的廊架，在建筑与环境间形成了一层过渡，无限延展直至虚空，一方面建筑内部空间具有溢出建筑边界的迹象，另外一方面，建筑外部的自然又通过玻璃墙渗透成为内部空间的一部分，建筑被视作水平向内与外之间相互透叠的部分。

Colin Rowe divided transparency into physical transparency and phenomenological transparency. The suspending box at the bottom, transparent maintenance structures and thin white columns are physical transparency. The building is presented on the site as a volume of a box, maintaining a state of proximity to "nothing". Outside the exhibition space, there is a gallery surrounding the grey space, which forms a layer of transition between the building and the environment, extending infinitely to the void. On the one hand, the interior space of the building shows signs of overflowing the boundary of the building; on the other hand, the nature outside the building penetrates into the interior space through the glass wall and becomes part of the interior space.

Project appearance--provided by Shanjian photography studio

底层架空的盒子可以看作天地之间的空间，建筑中两个中庭可以看作大地向天空延伸，建筑主体又被视为垂直向大地与天空相互透叠的部分，建筑在空间上实现了现象学的透明。透明性不仅仅是空间上的，也是体验上的，作为展览建筑，没有单一动线的设定，使用者在不同的位置可以随意穿梭在内外之间。人们可以自由地通过在建筑中游走、触摸或建立身体上的联系来感知建筑的组织方式，实现体验上的透明性。

The building is viewed as a horizontal transparent overlapping part between the inside and the outside. The suspending box at the bottom can be thought of as the space between heaven and earth, the two courtyards in the building can be seen as the extension of the earth to the sky, and the main part of the building is regarded as a vertical transparent overlapping part of the earth and sky, realizing phenomenological transparency in space. The transparency here has not only spatial significance, but also experiential significance. As an exhibition building, the setting of no single moving line allows users to move freely between inside and outside in different positions. People can freely walk in the building, touch it or establish a physical connection to perceive the organization of the building, thus realizing the transparency in the sense of experience.

Project appearance--provided by Shanjian photography studio

建造

设计思考首先跨越框架结构体内部的力学问题，直接关注结构体之间的连接方式与空间组合。我们以空间结构体的思考方式，同一框架体又因为空间属性变化生成多种不同的空间形式，因此建筑最终所呈现的建造逻辑是不同的单元框架体的组合拼接。室内中庭空间的立柱从内部暴露了结构体单元的框架，重复出现且结构均匀的构件，揭示了整体和单元的关系。单元框架体的特性由此显现，可分解、重组，反复利用，便于运输。

The design idea first spans the mechanical issues inside the frame structure and directly focuses on the connection mode and spatial combination between the structures. The way of thinking takes into account the spatial structure, and the same frame body generates various spatial forms due to the change of spatial properties. Therefore, the final construction logic presented by the building is the combination and splicing of different unit frame bodies. The columns in the interior atrium expose the frame of the structural unit from the inside, and the repeated and uniform components reveal the relationship between the whole and the unit. Thus, the characteristics of the unit frame are revealed, which are decomposable, recombined, reusable and easy to transport.

Project appearance--provided by Shanjian photography studio

再生

环境的再生

建筑所在的场所本身是一片再生之地。原本衰败的地区，通过改造和整饬后形成了一片汇聚了城市活力的文创中心。通过建筑的改造和空间重塑，旧有的场所获得了新的生命，场地的活力得以再次激发。

The place where the building is located is itself a land of regeneration. Through renovation and reconstruction, the old area has become a cultural and creative center full of urban vitality. The old place has gained new life and the vitality of the site is renewed based on the renovation of the building and the remodeling of the space.

Project appearance--provided by Shanjian photography studio

建筑的再生

建筑从设计之初便被赋予了装配和可拆卸的特性，由此建筑便拥有了生命。流动的液态金属与流动的空间对比是再生最好的注解。空间流动，可以适应不同的场地；形态透明，又可以与各种不同的环境融合。

From the beginning of the design, the building has been endowed with some features, such as being able to be assembled and dismantled, thus the building has a life. The contrast between flowing liquid metal and flowing space is the best annotation for regeneration. The flowing space can adapt to different sites, and the transparent form can be integrated with a variety of different environments.

Site view--provided by Shanjian photography studio

Copyright notice: This article is reproduced from Shanghai Lacime Architects.

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