建筑本身–建于20世纪50年代的店面，以其独特的中世纪现代建筑特征激发了建筑师的灵感，创造了一个混合用途的商业空间，作为咖啡馆、旅馆和联合办公空间，重新发现和欣赏建筑的遗产。

The building itself—a shophouse built in the 1950s with its distinctive characteristics of mid-century modern architecture has inspired the architects to create a mixed-use commercial space that functions as a café, a hostel, and a co-working space that rediscovers and appreciates the building’s heritage.

建筑师尊重建筑的原始设计特征，在外部保持主要特征的同时，增加了其他的特征，以提高它们的地位，但在内部的工作更加自由。材料、家具、饰面之间的平衡、建筑方案之间的关系以及室内设计的基调，通过为该项目创造新的氛围而被完全重新定义。这座有60年历史的半钢筋混凝土半木质结构的建筑被保存、修复和重新配置，以放置新的项目。虽然，生活在当地商店的感觉仍然存在。楼下已经变成了一个咖啡馆，而楼上则是一个宿舍，其独特的公共空间将所有的房间连接在一起。

Architects respected the original design features of the building by maintaining the main features on the outside adding others to exalt them but working more freely on the inside. The materials, the furniture, the balance between finishes, the relation between the architectonic solutions, and the mood tone of the interior design, were completely redefined by creating new ambiances for the project. This 60-years-old half-reinforced concrete half wooden structure building has been preserved, restored and reconfigured to place the new programs. Though, the sense of living in a local shophouse is persisted. Downstairs has turned into a café while upstairs functioned as a hostel with unique communal space interconnecting all rooms together.

为了统一空间，店面原有的各种材料和质地都被涂成了单一的颜色–白色为主。随着玻璃围墙和木质地板的并置，喷涂的石膏与砖石墙的纹理以及木质和混凝土的建筑结构相结合，既有序又有价值。芥末黄、橄榄绿、浅鲑鱼粉等明显的中世纪现代色彩被应用在选定的建筑元素上，并遵循60：30：10的规则。这些元素包括墙面、地板、柱子和装饰性的天花板，帮助创造了视觉刺激给观众。

With the aim of unifying the space, the very diverse pre-existing materials and textures of the shophouse were painted with a single color—dominant in white. With the juxtaposition of the glass enclosures and the wooden flooring, the sprayed plaster combined with the textures of the masonry walls as well as the building structure both wood and concrete is ordered and yet valued. Yellow mustard, olive green, light salmon pink hues, noticeable in mid-century modern colors are applied on selected architectural elements with the 60:30:10 rule. These include walls, flooring, pillars, and accented ceiling help creating visual stimulation for beholders.

设计策略是在质量、简单、关注细节和对当地和手工工艺的品味的参数下组成的。这个地方的主要视觉焦点是黄色的平原，它从建筑的前面一直延伸到内部的墙壁和地板，与白色的 “L “形浓缩咖啡和咖啡馆里的冲泡吧形成对比，使顾客和咖啡师之间能够进行互动。

The design strategy was composed under the parameters of quality, simplicity, attention to detail and taste for the local and artisanal processes. The key visual focus of the place is the yellow plains that continuously run from the front of the building through its interior wall and floor in contrast with the white “L” shaped espresso and a brew bar in the café that allows the interaction between customers and baristas.

一些现有的开孔被保留下来，作为过去的痕迹，成为建筑的叙述性故事。一些建筑特征采用了其原有的形式，但被现代材料所取代，如一个双扇门，其中的木框被保留，但其木板被修改为夹层玻璃。雪松木代表了一种真实性和与结构的过去相联系的情绪。多个窗户和开口是一个孔隙，可以从内向外窥视风景，鼓励与自然融合，激发情感、想象力和好奇心，在内部用户和生活中不断变化的外部环境之间建立直接关系。

Some existent apertures were kept for being traces of the past and becoming a narrative story of the building. Some architectural features were used with its originated form but were replaced by modern materials such as a double casement door in which wooden frames were kept but its wooden panels were modified to laminated glass. The cedar wood represents a mood of authenticity and connectivity to the structure’s past. Multiple windows and openings are apertures that peer the view from inside-out to outside-in, encouraging the integration with nature, stimulating emotion, imagination and curiosity, establishing a direct relationship between the users inside and the living, ever-changing external environment.

中世纪现代建筑的元素被重新引入；例如，最小的装饰，三角形、圆形或直线等形状的几何图案，实际上是中世纪现代设计的代名词，这些图案被应用在建筑的选定部分，如强调的天花板、上层阳台的木地板单元。中世纪的家具可以很容易地被发现，通过干净的直线与弯曲的、光滑的角形腿的点缀来识别。

Elements of mid-century modern architecture were reintroduced; for example, minimal decoration, geometric patterns with shapes like triangles, circles, or straight lines. are practically synonymous with mid-century modern design, these patterns were applied on a selected part of the building such as accented ceilings, wooden flooring units on the upper floor’s balcony. Mid-century furniture can be easily found identified by clean, straight lines accented with curved, smooth angles legs.

此外，新的结构是为综合体的第三个项目–工作空间而建造的，新的体量模仿了先前存在的建筑的屋顶形式。金属板和半透明的材料被应用。阴影和阴影效果在 “时间 “和 “建筑身份 “之间提供了一个联系。无论是坐着还是站着，分组还是单独，每个人都能找到最舒适的姿势。这是一个与身体密切相关的室内建筑设计。以尺寸、形式、色彩和光线为指导，而空间影响着身体的感受，进而影响着情感体验。

In addition, the new structure has been built for the third program of the complex—co-working space the new volume imitates the roof form of the pre-existing building. Metal sheets and translucent materials are applied. The shade and shadow effects give a connection between the ‘time’ and the ‘building identity’. Either sitting or standing, grouping or being alone, everyone can find the most comfortable posture. This is an interior architecture design that is closely related to the body. With dimensions, form, color, and light as the guide, and the space affects the body’s feelings and then affects the emotional experience.

原有的后院位于旧建筑和新建筑之间。它有意提供了一个从一个到另一个的过渡空间，同时也是居住者的一个放松区。总的来说，概念院建筑作为一个能够保持本世纪中叶建筑的内在价值的作品呈现给城市，给它一个新的和优化的程序和存在。

The pre-existing backyard lies between the old building and the new. It intentionally provides a transitional space from one to another as well as a relaxation area for dwellers. Altogether, the Concept Yard building is presented to the city as a piece capable of maintaining the intrinsic value of a building of the mid-century, gives it a new and optimized program and presence.

Architects: Plang Guy
Area: 360 m²
Year: 2020
Photographs: DOF Sky|Ground
Manufacturers: COTTO, Gyproc, Fórmica, PDM Precast, TOA
Architectural Design: Kannanat Bumrungtham
Interior Designer:Chanapai Bumrungtham
City:Mueang Chiang Rai
Country:Thailand