Buduo Teahouse | Wanmu Shazi

Buduo Teahouse by Wanmu Shazi

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.

#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.

#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.

#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.

#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.

Project information

Project name: Buduo Teahouse

Client: Wanmu Shazi

Location: Nanshan Village, Fengnan Farm, Xinmin Town, Xiamen, China

Area: 300 sqm

Chief designer: Wanmu Shazi

Contact email: [email protected]

Lighting design: Wanmu Shazi

Photography: 1988 Photography Studio / A Qi (except as noted)

Main materials: furniture (Wanmu Gongfang), self-made interior coating, wooden flooring (Wanmu Gongfang)

Video: https://youtu.be/oTgTgbEjQzA

玩木傻子 | 二次重生的“水泥筒”，多元视角下的设计实践

去年年初，一尊将美国前总统特朗普与中国传统佛陀造型结合的“西天懂佛”横空出世，在互联网中引来热议，受到了包括纽约时报、环球时报等国内外多家知名媒体的关注与报道。

这尊法相庄重的“佛像”，与特朗普在现实中的形象大相径庭，产生了有趣的反讽，而这座艺术雕塑的介绍：“让你的公司再次伟大！”更令人忍俊不禁。在这戏谑幽默的背后，是这件艺术品亦正亦邪的创作者——玩木傻子。而在这尊“网红佛像”的背后，傻子却另有一番完全不同的空间故事。

#01

不被定义的身份

不同以往的构建

“一个什么都没学，什么都不学，什么都不会，自己又觉得什么都会，什么都想做的人。”这是玩木傻子对自己的介绍。

你很难定义他的身份，从木作家具起步，多年来，非科班出身的他涉足了家具设计、空间设计、建筑设计、雕塑设计、服装设计多个创意领域。他笑称：“玩木头为了赚钱，赚钱为了玩更多的木头。”

几年前，在为自己的木作工坊寻找新的厂址时，厦门同安凤南一座废弃的水泥工厂走进了玩木傻子的视野，藉由工坊厂区的改造，他开启了空间设计改造的尝试。

这座在小山脚下的废弃水泥工厂，远处青山环绕，近处田舍鸡犬相闻。没有以往厂区的大拆大建，他选择保留大部分旧厂遗留建筑进行改建。

旧水泥厂所遗留下的几根巨大的“水泥筒”，其高耸的筒式空间，给玩木傻子带来了改造的灵感，同时，基于木作工厂的本业，他也期待通过这个独特场域的搭建，吸引更多志同道合的创意团队。

#02

二次重生的“水泥筒”

如果在周末来到玩木工坊园区，你会讶异于这个位于城郊，交通并不便利的“厂区”竟也吸引了不少前来一探的年轻人。“起初并未想过对外开放参观，但来的朋友多了，大家口口相传加上社交媒体的助力，莫名其妙地变成了网红打卡地。”

在完成厂区基础建设后，玩木傻子与设计师、艺术家一同合作将厂区原址上的这些“水泥筒”作为探索空间表达的载体进行创作改造——从早期改造完成15米通高的“冥想茶室”、艺术家工作室、木艺作品展厅，再到玩木傻子位于“水泥筒”之上的家。

这些各具特色的空间吸引了越来越多的访客，与此同时通过厂区建设的一次次改造探索，玩木傻子对空间设计的理解也越发清晰：“空间有时就像人，好身材、好皮肤、好气质，就无需过多的装饰。”

在3年前启动厂区最后6个“水泥筒”的改造时，傻子有了明确的方向。或许正基于这样的理念，他为这个空间取名为“不多”。没有太多的装饰，只有纯粹的空间表达与亲近感官的材质铺陈。

到达“不多”，要通过一架窄窄的木桥，如同开启一场旅程的序幕，而当跨过锈铁与玻璃构建的轻盈门框，与外截然不同的空间气场，会让你不自觉的安静下来。

入口处一颗灌木植立其中，天窗洒下的天光，树下青苔混合着泥土的芬芳，让空间内外模糊起来，灌木所在的门厅，通向其余5个串联在一起的圆形空间，视线穿过绿植，透过门洞看到的是下一空间内的巧妙开窗——以框景手法，设计巧妙地将建筑正对面的美丽山景引入空间，引导访客自然地由此步入其中。

而这些大小不一的开窗如同空间的眼睛，通过不同的窗洞大小，在引入室外风景的同时，营造空间中独具一格的光环境。

层层相望的门洞也让6个相互串联的圆形空间互为借景，形成了环环延展的独特空间节奏。

亲肤温润的木质地板，有意扩宽的厚实墙体，朴拙的质感涂料、藏于墙脚线处的出风口、没有装饰与灯具的天花，让空间浑然一体，还原圆形空间纯粹的聚拢感与向心力。

#03

用身体做设计

“不是科班出身，也不懂理论和大道理，但我知道什么是让身体舒服的空间，这是判断一个好空间的最重要标准，一个空间如果让人呆在里面都是难受的，那它肯定是失败的。”

实践中，傻子也不断地总结着自己的感受：“我用身体做设计，当一个改造开启，我常反复地在空间中行走，寻找最舒适的尺度，最好的开窗处。步入这里，你会感觉空间将你包裹起来，让身心都得到治愈。”

这也就不怪乎这个面积并不大的空间，傻子花费了2年多的时间来打造，在设计建造的过程中，一点点地构建，再一点点地调整。好的空间无需语言解释，当你走进的那一刻，就能感受得到。

而傻子将这种感受，描述为一种“气”——“初级的设计做形，高级的设计做气。”空间形成的气场，激发感官的同时亦呼唤情感。

“气”也是包罗万象的，在这里，人们忍不住放慢脚步，甚至“懒散”起来，散落在空间里的柔暖沙发，呼唤着你放松坐卧，或静观云卷云舒，或翩翩起舞，或相聚交流，空间似乎有了释放身心的魔力，戏谑与沉静同处一室，时间在这里似乎按下了暂停键。

#04

多重身份下的视角，延展更多可能

设计完成后的经营无疑是更为重要的。厂区成功的改造实践，吸引了业内诸多创意、艺术青年的目光，纷纷前来参访，在行业耕耘多年的玩木傻子也乐于广结善缘。

园区内除了用于玩木工坊自身主业的厂房车间、展厅与办公，包括“不多”空间在内的特色空间，都用于接待来自各地的创意人，在此开展工作坊、展览与交流活动，同时也为一些优秀的独立艺术家，提供了专业的木作工坊与创作空间、乃至食宿。

从前端工作坊的研发、展出，到后端厂区的落地制作，玩木工坊园区逐渐形成了一个从创意研发到制作落地乃至批量生产的完整链条。那座在线上引起广泛讨论的“西天懂佛”，正是玩木傻子的创意与手作艺人的精彩还原共同铸就。 

“这些年轻的创意人、手艺人，需要更好的创作平台。”玩木傻子以其多重身份下的不同视角，在“玩”中探索出一条创意孵化链。以空间为媒，吸引普通的市民前来参访，关注前沿的文创艺术产业与产品，同时也为青年创意人提供创作扶植与专业发展的机会，在未来，玩木傻子出于“玩”心构建的这片场域，或将成为本土艺术家的创作平台，成为更多青年人的创意基地。

项目信息

项目名称：不多茶室

项目业主：玩木傻子

项目地点：厦门市同安区新民镇凤南农场南山村265-8号

项目面积：300平方米

主创设计：玩木傻子

灯光设计：玩木傻子

项目摄影：1988摄影工坊/阿奇

主要材料：家具-玩木工坊、室内涂料-自制天然涂料、木地板-玩木工坊