作为文旅项目的精品民宿，坐落于繁华的清代京城景区，民俗“入世”的戏曲文化做为空间主题，和被市场过度“出世”描述的民宿客栈结合，注定“西厢”的设计不应当和古老纯粹的中式街区过度表里如一。我们早已习惯的“宋”式审美，清减干净，禅意孤清，也不是清末京剧盛行时的时代语境。 “西厢”客栈在保证了舒适和品质的体验之外，应该有一种撞入眼帘的惊

喜，有足够的戏剧冲突，来支撑整个项目的主题。

京剧艺术融汇于清中晚，盛于民初，近代西方的殖民化色彩、新民主思潮、东方封建传统，都在这个时期碰撞、交融并五彩斑斓。在古老的清代建筑里，制造新与旧、结构与装饰、东西方文化冲突。用碎片的、解构的方式来回应那个时代和诠释戏剧冲突的主题，不是形式化具体的一个个只供瞻仰的戏曲元素，而是把印象分解重构，形成逻辑的关联，重塑事物的印象，让过去和现在对话，重组一个适合当下的住宿空间。以“附生”的方式，用“盒子”构成，把新的功能和组织嵌入古建结构中，装饰依托功能，被装置式的置入，营造“共生”关系，而不是拆移式的“重塑”。传统的斗拱结构，结合寓意京剧凤冠上的云珠及剧院后台化妆灯的灯具，形成串联所有不同空间的装饰线索，并成为空间结构的一部分。戏曲的场景、人物、色彩被抽象化，运用到家具、陈设、灯具、导视系统之中。塑造一个“暧昧”，而主题不具体具象的空间，一如案名《西厢和中国传统曲目《西厢记》的多重解读。

As part of the cultural tourism project, this boutique guest house is located at the prosperous Qing Capital scenic area. The integration of “mundane” opera culture theme and the “secluded” guest houses packaged by the market requires the design of “West Chamber” not to strictly follow the style of the traditional ancient Chinese streets. The “Song Dynasty” aesthetics we have been accustomed to featuring simplicity, cleanness, Zen, and solidarity also does not fit the era context of late Qing Dynasty when Beijing Opera was in vogue. Apart from offering a comfortable and high-quality experience, “West Chamber” guest house shall also provide an eyeful of surprises and sufficient dramatic conflicts to realize the theme.

“Beijing Opera” originated from mid to late Qing dynasty and thrived in early Republic of China, a time when colonization from Modern West, New Democracy ideology, and the feudal traditions from the East coexisted and produced unique chemistry. In the ancient building of Qing Dynasty style, conflicts between the new and the old, structure and decoration, and the East and the West are introduced. The epoch features and the theme of dramatic conflicts are represented through fragmentation and deconstruction. Instead of directly introducing formalised and specific opera elements for people to observe, the design disintegrates and reconstructs people’s impression of the objects, which forms new logical links and reshapes people’s impression. It also establishes a conversation between the past and present and creates a living space fit for now. New functions and organization are added to the ancient building structure in the form of “attached” “boxes”, so decorations can undertake functions as well. Such installation-like insertion develops a “symbiont” relationship instead of a “reshaping” based on removal. Traditional bucket arches structure, together with the lamps representing cloud beads on Beijing opera phoenix crown and backstage makeup light bulbs constitute decoration clues that run through all the space, serving as part of the spatial structure. The scenes, characters and colours of opera are translated into abstract symbols and applied to furniture, furnishings, light fixtures and signage system. Such treatment creates “ambiguous” space free of specific and concrete representation of the theme, similar to the fact that the project’s name “West Chamber” and the opera Romance of West Chamber can be interpreted in multiple ways.