Text description provided by the architects. This project is located in the village of Dorfes Dorf in Malu, Jiagitting District in Shanghai a area, which is known for wine production. This project is located in a former factory location in Township, which was shut down for ecological reasons. In 2008, the local government initiated a program for the revitalization of rural areas by introducing such an industrial country for artist studios in the country and cultural elements. The artist Yue Minjun's studio was such an initiative. Although the building was structurally equipped in 2011, it remained free for years due to unforeseen circumstances. It was recently taken over by the local fashion brand Dazzle, which converted it into an integrated cultural center.
The architectural concept came from early conversations with the artist and was inspired by him labyrinth Series and its cultural connections to Jiangnan Gardens. This led to the idea of Qujing Miyuan (Curved paths and labyrinth gardens). A spiral -shaped broken line was used Jin (Progression) – A direction movement that leads you to the inside through layered threshold values.
At a square area of 50 meters per side, the spiral unfolds in a continuous order, with the end of the spatial path back to its origin. In this process of turning and folding, new spatial overlaps and visual lines appear.
Earth excavated from the swimming pool was redistributed on site to create a small hill that was deliberately shaped to improve the embodied spatial experience. While the spiral path through the interaction of architecture and terrain and continuous “rockery” and therefore arises, the body arises to drive up and down and live in a room that is also expansive and profound. In this way the vision of Qujing Miyuan Form takes.
Based on the original spatial configuration, SU Yuan is now integrating several programs, including art exhibitions, a library, yoga room, a tea house and guest accommodation. These functions correspond closely with the initial arrangement of a living room, a study, a tea tree and the guest rooms through the studio – and, like the spatial typology of traditional Jiangnan apartments, have a kind of inherent adaptability.
This continuity shows how traditional space also maintains flexibility in general use through diagram -fans. At the same time, the hierarchical structure, which can often be found in local residences, was dissolved by the spiral logic, which led to a new feeling of spatial freedom – something that was confirmed by Su Yuan's contemporary use.
When visitors fluently move between rooms and courtyards, they can be led unexpectedly to the roof, where a large view of the surrounding vineyards unfolds. On clear evenings, the line of sight can extend continuously on the horizon until the sunset. In the central courtyard, thirteen slim trees developed into a single organism fifteen years ago – which adapted with the building up and its rooms over time. They remain the most constant residents of Su Yuan.
