Buduo Teahouse, Xiamen, China

中國廈門市  不多茶室

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玩木工坊

Wanmu Gongfang

Early last year, a “Trump Buddha” statue merging the image of Donald Trump with Chinese Zen became a social media hit. The humorous and surreal statue is designed by Wanmu Shazi, a creator with diverse roles.

去年年初，一尊將美國前總統特朗普與中國傳統佛陀造型結合的“西天懂佛”橫空出世，在互聯網中引來熱議，受到了包括紐約時報、環球時報等國內外多家知名媒體的關注與報導。這尊法相莊重的“佛像”，與特朗普在現實中的形像大相徑庭，產生了有趣的反諷，而這座藝術雕塑的介紹：“讓你的公司再次偉大！”更令人忍俊不禁。在這戲謔幽默的背後，是這件藝術品亦正亦邪的創作者——玩木傻子。而在這尊“網紅佛像”的背後，傻子卻另有一番完全不同的空間故事。

#01

Undefined roles

Wanmu Shazi has multiple identities. He started his career in wooden furniture sector. He is a woodwork enthusiast, and has been actively engaging in various design fields, including but not limited to furniture, space, architecture, sculpture, and garment, etc. Several years ago, while searching for a new site for his woodwork workshop named “Wanmu Gongfang”, an abandoned cement factory in Fengnan, Xiamen caught the eye of Wanmu Shazi. Through renovating the factory, Wanmu Shazi started his exploration in spatial design. The abandoned cement factory is situated at the foot of a hill, surrounded by verdant hills in the distance. With farmland nearby, one can hear roosters crow and dogs bark on the site. Refraining from massive demolition and reconstruction, Wanmu Shazi decided to retain most of the factory’s original structures during renovation. Several giant “cement cylinders” left behind in the old factory, with their towering space, gave Wanmu Shazi design inspiration. While taking into account the core functional needs of his woodwork workshop, he also expects to attract more like-minded creatives through a variety of unique spaces.

#01

不被定義的身份，不同以往的構建

「一個什麼都沒學，什麼都不學，什麼都不會，自己又覺得什麼都會，什麼都想做的人。」這是玩木傻子對自己的介紹。

你很難定義他的身份，從木作家具起步，多年來，非科班出身的他涉足了家具設計、空間設計、建築設計、雕塑設計、服裝設計多個創意領域。他笑稱：“玩木頭為了賺錢，賺錢為了玩更多的木頭。”幾年前，在為自己的木作工坊尋找新的廠址時，廈門同安鳳南一座廢棄的水泥工廠走進了玩木傻子的視野，藉由工坊廠區的改造，他開啟了空間設計改造的嘗試。這座在小山腳下的廢棄水泥工廠，遠處青山環繞，近處田舍雞犬相聞。沒有以往廠區的大拆大建，他選擇保留大部分舊廠遺留建築進行改建。舊水泥廠所遺留下的幾根巨大的「水泥筒」，其高聳的筒式空間，給玩木傻子帶來了改造的靈感，同時，基於木作工廠的本業，他也期待通過這個獨特場域的搭建，吸引更多志同道合的創意團隊。

#02

Regenerated “cement cylinders”

Though located in the suburb with inconvenient transportation, the renovated old factory has attracted a great many visitors and unexpectedly becomes a hot destination that gains much attention on social media. Upon the completion of the factory’s basic renovations, Wanmu Shazi worked with other designers and artists to transform the interior space of several “concrete cylinders” on the site, which were successively converted into 15m-tall “Meditation Teahouse”, artist studio, woodwork exhibition hall, and the designer’s home, etc. These distinctive spaces attract a growing number of visitors. Meanwhile, after repeated renovation interventions in the former cement factory, the designer’s understanding of space design has become increasingly clear. “Space is sometimes just like people. With a good figure, complexion and temperament, there is no need for much decoration.” Wanmu Shazi explained. When he took on the renovation of the remaining six “cement cylinders” in the factory three years ago, Wanmu Shazi had a clear idea in mind. Perhaps because of such a conviction, he named this renovated space “Buduo” (means “not much” in Chinese). There is not much decoration, only pure spatial expressions and intimate material finishes. A narrow wooden bridge leads to “Buduo”, acting as a prelude that opens the journey. Passing through the door formed by rusted steel and lightweight glass, the distinct ambience in the interior quickly calms down visitors. The foyer is accented by a green tree, which blurs the boundary between interior and outside along with moss and soil underneath and daylight brought in by the skylight. Like a courtyard, the foyer connects and leads to other five round spaces through door openings. Each space is embellished with indoor landscapes, and meanwhile provides enframed view of beautiful outdoor mountain scenery through the subtly carved-out window openings, guiding visitors to step in and explore. Window openings of varied sizes not only introduce outside landscape, but also create a unique light environment in the interior. The door openings of the six round spaces echo each other, producing a sense of layering and unique rhythms in the space. Tactile wooden floor, expansive thick walls, plain textured coatings, vents hidden near skirtings and unadorned ceiling unify the spatial ambience, and accentuates the pure sense of cohesion of the circular space.

#02

二次重生的「水泥筒」

如果在周末來到玩木工坊園區，你會訝異於這個位於城郊，交通並不便利的“廠區”竟也吸引了不少前來一探的年輕人。 「起初並未想過對外開放參觀，但來的朋友多了，大家口口相傳加上社交媒體的助力，莫名其妙地變成了網紅打卡地。」在完成廠區基礎建設後，玩木傻子與設計師、藝術家一同合作將廠區原址上的這些「水泥筒」作為探索空間表達的載體進行創作改造——從早期改造完成 15 米通高的“冥想茶室”、藝術家工作室、木藝作品展廳，再到玩木傻子位於「水泥筒」之上的家。這些各具特色的空間吸引了越來越多的訪客，與此同時通過廠區建設的一次次改造探索，玩木傻子對空間設計的理解也越發清晰：「空間有時就像人，好身材、好皮膚、好氣質，就無需過多的裝飾。」在 3 年前啟動廠區最後 6 個「水泥筒」的改造時，傻子有了明確的方向。或許正基於這樣的理念，他為這個空間取名為“不多”。沒有太多的裝飾，只有純粹的空間表達與親近感官的材質鋪陳。到達「不多」，要通過一架窄窄的木橋，如同開啟一場旅程的序幕，而當跨過鏽鐵與玻璃構建的輕盈門框，與外截然不同的空間氣場，會讓你不自覺的安靜下來。入口處一顆灌木植立其中，天窗灑下的天光，樹下青苔混合著泥土的芬芳，讓空間內外模糊起來，灌木所在的門廳，通向其餘5個串聯在一起的圓形空間，視線穿過綠植，透過門洞看到的是下一空間內的巧妙開窗──以框景手法，設計巧妙地將建築正對面的美麗山景引入空間，引導訪客自然地由此步入其中。而這些大小不一的開窗如同空間的眼睛，通過不同的窗洞大小，在引入室外風景的同時，營造空間中獨具一格的光環境。層層相望的門洞也讓 6 個相互串聯的圓形空間互為藉景，形成了環環延展的獨特空間節奏。親膚溫潤的木質地板，有意擴寬的厚實牆體，樸拙的質感塗料、藏於牆腳線處的出風口、沒有裝飾與燈具的天花，讓空間渾然一體，還原圓形空間純粹的聚攏感與向心力。

#03

Physical scale-friendly design

The designer takes users’ physical comfort as the key criterion for a good space. “As renovating the space, I repeatedly walked in the space, to find the most comfortable scale and the most appropriate positions for window openings. Stepping into this place, you’ll feel being ‘wrapped’ by the space and be healed both physically and mentally.” Wanmu Shazi explained. Though the spatial scale is not large, this project took more than two years. The designer continuously adjusted and refined the design, and eventually created a unique spatial ambience that can be perceived upon entering it. Wanmu Shazi describes the spatial ambience as “Qi”. He believes that quality design needs to focus on “Qi” rather than form, as the spatial atmosphere can not only stimulate sensory experience and but also evoke emotions. In this space, people cannot help slowing down the pace, to feel its inclusive “Qi”. The soft sofa placed at the corner invites visitors to sit down and relax. The space seems to have the magic of relaxing both the body and mind, encouraging visitors to enjoy the outdoor scenery, dance or interact. Humor and serenity are fused in the space, which makes time seem to stop here.

#03

用身體做設計

“不是科班出身，也不懂理論和大道理，但我知道什麼是讓身體舒服的空間，這是判斷一個好空間的最重要標準，一個空間如果讓人呆在裡面都是難受的，那它肯定是失敗的。”

實踐中，傻子也不斷地總結著自己的感受：“我用身體做設計，當一個改造開啟，我常反复地在空間中行走，尋找最舒適的尺度，最好的開窗處。步入這裡，你會感覺空間將你包裹起來，讓身心都得到治愈。”這也就不怪乎這個面積並不大的空間，傻子花費了2年多的時間來打造，在設計建造的過程中，一點點地構建，再一點點地調整。好的空間無需語言解釋，當你走進的那一刻，就能感受得到。而傻子將這種感受，描述為一種“氣”——“初級的設計做形，高級的設計做氣。”空間形成的氣場，激發感官的同時亦呼喚情感。

“氣”也是包羅萬象的，在這裡，人們忍不住放慢腳步，甚至“懶散”起來，散落在空間裡的柔暖沙發，呼喚著你放鬆坐臥，或靜觀雲卷雲舒，或翩翩起舞，或相聚交流，空間似乎有了釋放身心的魔力，戲謔與沈靜同處一室，時間在這裡似乎按下了暫停鍵。

#04

Diverse possibilities

Operation of space is essential. After the successful transformation of the old cement factory, it has attracted numerous visitors such as creators and young artists. The renovated and repurposed factory offers enough manufacturing, exhibition and office spaces for the designer’s woodwork workshop Wanmu Gongfang. More importantly, various distinctive spaces such as “Buduo” are created for receiving creative professional across the world, and offering venues for exhibitions and exchanges. Furthermore, accommodation and woodwork creation spaces are provided to excellent artists. The renewed spaces help form a complete chain from R&D to execution and mass production for Wanmu Gongfang. “Young creatives and craftsmen need a better platform for creation.” With a mindset of having fun and exploring diverse roles, Wanmu Shazi has established a chain for creativity incubation. The various unique spaces he created in the former old factory have attracted the public to know about cultural and creative industry and products, and meanwhile offers a platform for supporting art creation and growth of young creatives.

#04

多重身份下的視角，延展更多可能

設計完成後的經營無疑是更為重要的。廠區成功的改造實踐，吸引了業內諸多創意、藝術青年的目光，紛紛前來參訪，在行業耕耘多年的玩木傻子也樂於廣結善緣。園區內除了用於玩木工坊自身主業的廠房車間、展廳與辦公，包括「不多」空間在內的特色空間，都用於接待來自各地的創意人，在此開展工作坊、展覽與交流活動，同時也為一些優秀的獨立藝術家，提供了專業的木作工坊與創作空間、乃至食宿。從前端工作坊的研發、展出，到後端廠區的落地製作，玩木工坊園區逐漸形成了一個從創意研發到製作落地乃至批量生產的完整鏈條。那座在線上引起廣泛討論的「西天懂佛」，正是玩木傻子的創意與手作藝人的精彩還原共同鑄就。“這些年輕的創意人、手藝人，需要更好的創作平台。”玩木傻子以其多重身份下的不同視角，在“玩”中探索出一條創意孵化鏈。以空間為媒，吸引普通的市民前來參訪，關注前沿的文創藝術產業與產品，同時也為青年創意人提供創作扶植與專業發展的機會，在未來，玩木傻子出於「玩」心構建的這片場域，或將成為本土藝術家的創作平台，成為更多青年人的創意基地。

Principal Architects：Wanmu Shazi

Character of Space：work shop．residential

Client：Wanmu Shazi

Building Area：300㎡

Location：Chengde, Hebei Province, China

Photos：1988 Photography Workshop/ArChie

Text：Wanmu Shazi

主要設計：玩木傻子

空間性質：工作室．住宅

業主：玩木傻子

空間面積：300㎡

主要建材：家具－玩木工坊．室内涂料．自制天然涂料．木地板－玩木工坊

座落位置：厦门市同安区新民镇

攝影：1988摄影工坊/阿奇

文字：玩木傻子

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