項(xiàng)目名稱
《只此周莊》劇場(chǎng)立面設(shè)計(jì)
建筑事務(wù)所
中國(guó)美院風(fēng)景建筑設(shè)計(jì)研究總院 + 猜一建筑
項(xiàng)目地址
周莊鎮(zhèn),昆山市,江蘇省
項(xiàng)目年份
2024 年
項(xiàng)目面積
約 1.7萬(wàn)平方米
EPC 設(shè)計(jì)總包
中國(guó)美術(shù)學(xué)院風(fēng)景建筑設(shè)計(jì)研究總院有限公司
立面改造設(shè)計(jì)咨詢
猜一建筑（蘇州）有限公司
項(xiàng)目主持、總設(shè)計(jì)
余丁宗
立面改造設(shè)計(jì)主創(chuàng)
吳皓天,王赟,胡量,Naomi Ng
設(shè)計(jì)院總協(xié)調(diào)
杜瑞鵬
建筑、結(jié)構(gòu)團(tuán)隊(duì)
謝旭龍,吳麗妹,何泳,孫濤,楊力勛,王超俊
EPC總包牽頭單位
昆山經(jīng)濟(jì)技術(shù)開(kāi)發(fā)區(qū)建筑安裝工程有限公司
景觀
蘇州園林設(shè)計(jì)院
照明
上海尋光設(shè)計(jì)
幕墻施工
蘇州紹新思建筑科技
文化顧問(wèn)
杭州泰立文化藝術(shù)有限公司
業(yè)主
江蘇水鄉(xiāng)周莊旅游股份有限公司
攝影師
王赟
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該項(xiàng)目位于江蘇省周莊市的入口處，將一座長(zhǎng)期空置的2003年酒店建筑群改造成沉浸式劇場(chǎng)空間，上演由周莊鎮(zhèn)政府和中國(guó)東方演藝集團(tuán)聯(lián)合制作的《只此周莊》。EPC合同由中國(guó)美術(shù)學(xué)院風(fēng)景建筑設(shè)計(jì)研究總院負(fù)責(zé)，余丁宗工作室承擔(dān)項(xiàng)目總設(shè)計(jì)，而猜一建筑團(tuán)隊(duì)負(fù)責(zé)立面的設(shè)計(jì)與深化工作。
The project is located at the entrance of Zhouzhuang, Jiangsu, and transforms a long-vacant 2003 hotel complex into the immersive theater space for Zhouzhuang Odyssey, a performance jointly produced by the Zhouzhuang Town Government and the China Oriental Performing Arts Group. The China Academy of Fine Arts Landscape Architecture Design and Research Institute led the EPC contract, with Dingzong Yu Studio as the design lead, and our team responsible for fa?ade adaptation.
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主要的挑戰(zhàn)是改造這個(gè)最初設(shè)計(jì)為酒店的超大建筑，以更好地適應(yīng)這個(gè)千年水鄉(xiāng)的規(guī)模和氛圍。設(shè)計(jì)不僅需要回應(yīng)文化象征，還需要結(jié)合觀眾流通、設(shè)備進(jìn)出等實(shí)際的表演后勤。我們沒(méi)有將建筑覆蓋在傳統(tǒng)的圖案中，而是引入了“窗簾”這個(gè)概念，這是一個(gè)視覺(jué)和隱喻都有效的概念。兩塊彎曲的、像窗簾一樣的鋁板輕輕地掩蓋了原來(lái)的形式，創(chuàng)造了一個(gè)明亮、開(kāi)放的印象。抬高的入口暗示著戲劇的期待，而后面的黑暗走廊形成了一個(gè)讓人想起中國(guó)傳統(tǒng)山墻屋頂?shù)募粲?，為現(xiàn)代干預(yù)提供了一個(gè)文化錨。
The main challenge was adapting the oversized building, 900ly designed as a hotel, to better fit the scale and atmosphere of the thousand-year-old water town. The design not only needed to respond to cultural symbolism, but also incorporate practical performance logistics like audience circulation and equipment access.Rather than covering the building in traditional motifs, we introduced The Curtain—a concept that works both visually and metaphorically. Two curved, curtain-like aluminum panels gently mask the 900 form, creating a light, open impression. The lifted entrance hints at theatrical anticipation, while the dark corridor behind forms a silhouette reminiscent of traditional Chinese gabled roofs—offering a cultural anchor to the modern intervention.
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“The Curtain”必須對(duì)多種因素做出反應(yīng)：結(jié)構(gòu)加固、走廊寬度和制造復(fù)雜性。早期采用了參數(shù)化設(shè)計(jì)策略來(lái)有效地管理設(shè)計(jì)變更，允許在整個(gè)開(kāi)發(fā)過(guò)程中進(jìn)行調(diào)整。選擇陽(yáng)極氧化鋁板，因?yàn)樗鼈兡軇?dòng)態(tài)反射自然光。最終設(shè)計(jì)采用了20mm厚的蜂窩板，平衡了材料成本和可施工性。通過(guò)離散化最小化雙曲面面板的使用，在高曲率區(qū)域使用較小的面板-讓人想起傳統(tǒng)屋頂瓦片的規(guī)模。
"The Curtain" had to respond to multiple factors: structure reinforcement, corridor widths, and fabrication complexity. A parametric design strategy was adopted early on to manage design changes efficiently, allowing for ongoing adjustments throughout development. Anodized aluminum panels were chosen for their dynamic reflection of natural light. The final design used 20mm-thick honeycomb panels, balancing material cost and constructability. Double-curved panel use was minimized through discretization, with smaller panels used in high-curvature areas—recalling the scale of traditional roof tiling.
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由于場(chǎng)地條件的限制，通常的大面板吊裝方法是不可行的。相反，安裝依賴于全站輔助的布局、鋼定位板和經(jīng)驗(yàn)豐富的承包商的現(xiàn)場(chǎng)微調(diào)。這個(gè)過(guò)程通過(guò)一個(gè)完整的基于bim的工作流程實(shí)現(xiàn)了1060個(gè)獨(dú)特面板的精確放置。為了將劇院的多王朝美學(xué)與當(dāng)?shù)剡z產(chǎn)結(jié)合起來(lái)，團(tuán)隊(duì)與導(dǎo)演、客戶和周莊居民進(jìn)行了廣泛的磋商。前廊和入口走廊被設(shè)計(jì)成一個(gè)系統(tǒng)——既能引導(dǎo)觀眾，又能體現(xiàn)當(dāng)?shù)氐目臻g肌理。
Due to tight site constraints, the usual large-panel hoisting method was not feasible. Instead, installation relied on Total Station-assisted layout, steel positioning plates, and on-site fine-tuning by experienced contractors. This process enabled the accurate placement of 1,060 unique panels through a complete BIM-based workflow. To align the theater's multi-dynastic aesthetic with local heritage, the team engaged in extensive consultations with directors, clients, and Zhouzhuang residents. The fa?ade and entrance corridor were designed as one system—both functionally guiding audiences and embodying local spatial textures.
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走廊使用50×100網(wǎng)格模塊組織所有可見(jiàn)的建筑元素，包括墻壁、天花板、雙柱和屋檐。模塊化的重復(fù)和輕微的變化在窗簾下創(chuàng)造了分層和輕量級(jí)的行人體驗(yàn)。雨水被視為一個(gè)設(shè)計(jì)機(jī)會(huì)。一個(gè)隱藏的排水系統(tǒng)將水從表面接縫引導(dǎo)到屋檐排水溝和雨鏈，流入下面的水池。在雨天，街面顯得陰沉而有質(zhì)感；在陽(yáng)光下，它閃爍著明亮的藍(lán)色，這是對(duì)周莊自然氣候的詩(shī)意回應(yīng)。
The corridor uses a 50×100 grid module that organizes all visible architectural elements, including walls, ceilings, twin columns, and eaves. Modular repetition and slight variation create a layered and lightweight pedestrian experience beneath the curtain. Rain was treated as a design opportunity. A hidden drainage system channels water from surface seams to eaves gutters and rain chains, feeding into pools below. On rainy days, the fa?ade appears somber and textured; under sunlight, it shimmers in bright blue—a poetic material response to Zhouzhuang's natural climate.
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劇院橫跨三個(gè)相鄰的建筑，每個(gè)建筑都有不同的立面條件。窗簾的概念在空間上得到了擴(kuò)展，在面板后面形成了一個(gè)連續(xù)的樓梯，為未來(lái)的戶外表演和觀眾互動(dòng)提供了空間。四個(gè)穿孔鋁板類型的組合用于在表面上創(chuàng)造柔軟的織物效果，將傳統(tǒng)參考與現(xiàn)代性能需求相結(jié)合。
The theater spans three adjacent buildings, each with distinct fa?ade conditions. The concept of the curtain was extended spatially, forming walkable areas like a continuous staircase behind the panels—offering room for future outdoor performances and audience interaction. A combination of four perforated aluminum panel types was used to create a soft, fabric-like effect across the surface, blending traditional reference with modern performance needs.
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項(xiàng)目圖紙
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▲立面圖
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▲大樣圖
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▲流線分析
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▲概念分析圖
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▲模型圖