成都蜀锦织绣博物馆，位于浣花溪畔，在具有70年历史的原成都蜀锦厂旧址上修建而成，于2009年对外开放。2024年，馆内重新翻修，意在以更当代、更具互动性的展陈方式，展现蜀锦与蜀绣的古今共融的魅力。
Situated by the Huanhua Creek, the Chengdu SHU Brocade and Embroidery Museum was built on the site of the original Chengdu SHU brocade factory, which has a 70-year history, and it opened to the public in 2009. In 2024, the museum underwent renovations with the aim of presenting the charm of the integration of ancient and modern SHU brocade and embroidery in a more contemporary and interactive manner.
The Chengdu SHU Brocade and Embroidery Museum has two floors. The lower floor, actually the basement level, is a historical museum that traces the origins of SHU brocade and embroidery as well as the evolution of techniques, patterns, and their unique historical significance. This section not only features a large number of restored brocade and embroidery patterns based on historical records but also showcases precious unearthed fragments and artifacts, bearing witness to the extraordinary past of SHU brocade.
上层，也即一层，为蜀锦蜀绣艺术展厅，是本次重点翻新的区域。这里展陈的蜀锦与蜀绣其重点不在于对历史文本的佐证与复现，而是作为艺术品被观看、欣赏、理解，并以此获得某种幽微的心灵启示。同样是观看，负一楼中历史博物馆的观看，是一种带着历史的迷思向更遥远过去的印证与探寻；而一楼艺术展厅的观看，则承载着充分的审美意义，是一次当代个体经验与传统蜀锦蜀绣技艺由眼入心的邂逅。
The upper floor, which is the ground level, serves as the SHU brocade and embroidery art gallery, and it is the main focus of the recent renovations. The exhibits here emphasize not the corroboration and reproduction of historical texts but rather the appreciation and understanding of SHU brocade and embroidery as works of art, offering subtle spiritual insights. Viewing the historical museum in the basement is an exploration and verification of the distant past, filled with historical mysteries. In contrast, viewing the art gallery on the ground floor is a highly aesthetic experience, a contemporary encounter where traditional SHU brocade and embroidery techniques resonate deeply with the observer's personal experience.
Although the museum is divided into two floors, a vertical atrium at its center interrupts the horizontal extension of both the basement and the ground floor, creating an interwoven relationship. The wandering, gazing, and communication in the space have all undergone interesting changes due to this courtyard. Symbolically, the basement historical museum and the ground-floor art gallery unfold horizontally from two different temporal dimensions—history and the present—while the atrium extends vertically, connecting the heavens and the earth, establishing an overall layout of "space as the warp and time as the weft."
Over the past two thousand years, SHU brocade has primarily been woven with warp threads, a unique characteristic of SHU brocade that emphasizes "a straight warp leads to a completed weft." Thus, the atrium, representing space as the warp, naturally assumes the core significance of "straight warp" within the Chengdu SHU Brocade and Embroidery Museum, providing the support and foundation for the "completed weft" of the upper and lower spaces.
Leveraging the vertical space of the atrium, flying eaves with roof tiles are set along the narrow sides, with shallow windowscapes and courtyard railings beneath them, aimed at evoking an impressionistic scene of the bustling streets of the ancient Jincheng. Given the theatrical approach, a degree of exaggeration enhances the narrative tension, thus the extensive use of opera curtains in bright yellow and red increases the spatial coherence and interplay of reality and illusion. Simultaneously, the ceiling features mirror-finish stainless steel, extending the layers of the market streets upward, visually imbuing the space with a sense of vastness.
Beneath the market streets are two large tower looms, one large and one small. Next to the tower looms, a gallery bridge facilitates passage, and behind it, there is a screen of equal height. This screen extends the street scene further into the depths through the interplay of reality and illusion. In this virtual theater, lanterns rise, a full moon graces the dusk, and one might stand by the railing or gaze through a window, listening to the sound of the loom like the flowing waters of the river, creating a dreamlike scene of "colorful brocade completed, washed by river waves."
从中庭上来，进入艺术展厅的第一个空间，是一个以蜀锦展示为主题的穿行空间。以“引”为契机，既是穿针引线，也是引人入胜。
Ascending from the atrium, you enter the first space of the art gallery, a passageway themed around the display of SHU brocade. This space, with the theme of "guidance," serves both to thread the needle and to captivate visitors.
在手法上延续中庭的“幻境”之意：蜀锦垂挂，如瀑布高悬，如天光倾泻；动线曲而蜿蜒，人穿行其间，或游走，或绕行。镜面不锈钢材质的多维度使用，放大了空间的尺度，制造出空间的幽深之感，使得作为展品的蜀锦，经由光而在空间中被充分强调。同时，展台上的镜面不锈钢，在顶面投射出粼粼波光，水中濯锦的场景与想象力也因此得以重合。
The design continues the "illusion" concept of the atrium: SHU brocade hangs like waterfalls cascading from great heights, as if daylight is pouring down. The pathways are curved and meandering, allowing visitors to stroll or navigate around. The multidimensional use of mirror-finish stainless steel amplifies the spatial scale, creating a sense of depth, and highlights the SHU brocade exhibits with light. Additionally, the mirror-finish stainless steel on the display platforms reflects a shimmering water effect on the ceiling, merging the imagery and imagination of brocade being washed in water.
千佛堂的位置，位于以“引”为契机的迷宫幻境之后，是“引”最直接的目的地，千佛接引故此而来，名正言顺。千佛堂之后，是蜀绣在古代文人日常生活中的场景重现，如此“先出尘后入世”的做法，亦未尝不是一种保持心性纤尘不染来看待蜀绣技艺与艺术作品的明智之举。
The Hall of a Thousand Buddhas is situated after the labyrinthine illusion themed around "guidance," making it the most direct destination of the "guidance" concept, thus its name is fitting. Beyond the Hall of a Thousand Buddhas lies a reenactment of scenes from the daily lives of ancient scholars featuring SHU embroidery. This approach of "transcending the mundane before entering the world" serves as a wise means to maintain a pure perspective when appreciating the techniques and artworks of SHU embroidery.
由蜀锦工艺制成的千幅佛像于两侧整齐排列，形成守护供养之势，供案之后，是巨幅蜀绣大师匠作《西方极乐世界阿弥陀佛接引图》。
In the Hall of a Thousand Buddhas, a thousand Buddha figures made from SHU brocade are neatly arranged on either side, creating a guardian and offering presence. Behind the offering table is a massive SHU embroidery piece by a master artisan, titled "Amitabha Buddha’s Guidance to the Western Pure Land."
佛堂空间周正而对称，有着极其庄严的古典美学。在这个空间中，蜀锦与蜀绣交织：一千枚蜀锦织就的佛像供奉于两侧格式佛龛内，形成气势恢宏的矩阵，巨幅蜀绣大师匠心之作《西方极乐世界阿弥陀佛接引图》，位于空间中轴线上方，成为千佛堂最核心的视觉焦点。
The space of the Buddha hall is symmetrical and perfectly aligned, embodying a classical sense of solemnity. Here, SHU brocade and embroidery intertwine: a thousand SHU brocade Buddha figures are enshrined in ornate niches on either side, forming an impressive matrix. Above the central axis of the space, the grand SHU embroidery piece, "Amitabha Buddha’s Guidance to the Western Pure Land," becomes the focal visual point of the Hall of a Thousand Buddhas.
向古典园林中借两方月洞门，圆润饱满，平底包边，一前一后，相映成趣。前有中庭挑灯飞檐、造就街巷市井之热闹，后有室内开洞纳景、屏绣虚掩，勾勒园林之雅趣。只不过在这里，空间小景皆由古典的桌案榻椅与蜀绣作品来完成，不事夸张，只为还原一种往昔的灵韵。
Borrowing two moon gates from classical gardens, they are round and full, with flat edges, positioned one in front and one behind, creating a charming interplay. The front moon gate reflects the lively street scene with its illuminated flying eaves, while the rear moon gate frames the view with indoor openings and embroidered screens, evoking the elegance of a garden.In this space, the small scenes are completed by classical tables, couches, and chairs, along with SHU embroidery works. There is no exaggeration here—only an effort to restore the spiritual essence of bygone days.
中央区域，设置绣架两台，尽管不可避免有表演的成分，但更多是为形成一种对蜀绣最为直观的互动体验。
In the central area, two embroidery frames are set up. While there is an element of performance, the primary goal is to create a direct and interactive experience with SHU embroidery.
因为刺绣对于光线的要求极高，展厅内多以局部灯光为主，因此在绣架区域上方搭建一个刚好覆盖两台绣架的屋檐式顶灯，既不破坏整体展厅的古典气质，又解决了刺绣时光线不足的问题。
Since embroidery requires very precise lighting, the exhibition hall predominantly uses localized lighting. Therefore, a canopy-style ceiling light is installed above the embroidery frames, covering both frames. This design maintains the classical aesthetic of the exhibition hall while addressing the issue of insufficient lighting for embroidery.
蜀绣，除了出现在古代服饰上之外，还常以屏的方式成为古代文人生活中极为常见的家居什物。
SHU embroidery, beyond its historical use in ancient garments, also frequently appeared as decorative screens in the homes of scholars.
在对蜀绣的展示布局上，以屏绣构建的小景为主，场景之间自然衔接并连续展开，形成一个可观、可游、可坐、可把玩的连续性体验空间。在这里，展厅中呈现的信息可以在人与物、人与空间的互动中持续发酵，从历史与空间的双重维度构建古今叙事，达成空间文化共识的同时，也赋予蜀绣以强烈的人文精神内涵。
In the display layout for SHU embroidery, the focus is on creating small scenes using embroidered screens. These scenes naturally connect and unfold continuously, forming an immersive space that allows for observation, exploration, sitting, and interaction. Here, the information presented in the exhibition hall can evolve through the interaction between people and objects, as well as between people and space. This approach constructs a narrative that spans both historical and spatial dimensions, fostering a cultural consensus while imbuing SHU embroidery with a profound humanistic spirit.
离开园林式蜀绣展厅，进入画廊，进入当代艺术的语境之中。
长廊内，左右两侧分别设立若干隔屏，将长廊等比而分，形成两个连续的隔屏阵列，只留出一个整齐的通道，赋予空间以古典的对称感与秩序感。
为了使人在进入长廊第一时间关注到前端那件以《五星出东方利中国》织锦图案为元素而创作的巨幅匠作，设计上巧妙利用两侧隔屏的双面性，让正面空置，形成一个相对干净且呈阶梯状向中心处指引的背景，完成视觉对作品的锚定。
To ensure that visitors immediately notice the large, masterful piece at the front of the corridor, which features the "Five Stars Rising in the East Benefit China" brocade pattern, the design cleverly utilizes the dual-sided nature of the partitions. The front faces of the partitions are left empty, creating a relatively clean and step-like background that directs attention towards the center and anchors the visual focus on the artwork.
将蜀绣作品完全抽离于纷繁复杂的历史背景之中，仅以背景墙上的描金山水为依托，独立、开放地展现于展厅的聚光灯之下。看似简单，却不仅仅只是一次作品的当代性展陈，更重要的是帮助蜀绣完成了一次身份上的彻底转变：从一个为物赋形的装饰物，成为物的主体与物的全部内容。
The SHU embroidery works are completely removed from their complex historical context and are independently and openly displayed under the spotlight of the exhibition hall, relying solely on the gilded landscape on the background wall. This seemingly simple presentation is not just a showcase of the artwork's contemporary aspect but, more importantly, facilitates a profound transformation of SHU embroidery's identity: from a decorative element that shapes objects to the primary subject and entirety of the object itself.
这些有着历史传承的作品，在观看与被观看的互动中，在视觉的焦点与视线的来回摩挲间，它们的光芒被重新点燃，它们的生命被赋予新的时代特征。古今共融，当是蜀锦蜀绣艺术最灿烂的姿态。
These works, with their historical heritage, have their brilliance reignited and their lives endowed with new characteristics of the era through the interaction between viewing and being viewed, and the visual focus and gaze. The integration of ancient and modern represents the most radiant form of SHU brocade and embroidery art.
总平面图
项目名称｜成都蜀锦织绣博物馆
项目地点｜四川成都
项目面积｜800㎡
完工时间｜2024.06
设计公司｜季意空间设计
设计统筹｜李佳
设计团队｜周莹、林楚穹、王秋菊、尹蔚瑾
合作方式｜设计&施工
业主单位｜成都蜀锦织绣博物馆
施工单位｜成都汇典装饰工程设计有限公司
照明设计｜歌美照明科技（成都）有限公司
李佳
GE：STUDIO 季意设计公司
创始人/设计总监
有态度的设计师，环境工程专业出身，专注于环保空间设计，不喜欢过度装饰，更注重让居住者回归生活的本身，用最基本的形式， 展现空间对使用者的表述
。代表作
《City of Sky》《MEDISN RESET》
《THE TASTING ROOM》
《猫狗星球》《隐》《复地金融岛》
获奖介绍
2023 第十一届筑巢奖 专业类公共文化空间 金奖
2023 第十一届TINTA金邸奖商业空间餐饮类提名奖
2023 iF DESIGN AWARD德国iF设计奖
2023 MUSE 缪斯设计奖 Restaurants & Bars类 银奖
2022 Ariston国际室内设计大赛 年度空间设计杰出奖
2022 Ariston国际室内设计大赛 年度最佳空间设计金奖
2022 GRP中意国际设计金指奖 年度白金奖
2022 安德马丁发现中国好设计 年度推荐设计师
2022-2023 40UNDER40中国（四川）设计杰出青年
2022 金堂奖年度最佳展示空间设计
2022 金堂奖年度杰出餐饮空间设计
2022 金堂奖年度杰出休闲娱乐空间设计
可持续发展设计奖 2022年度优胜奖
老宅新生设计奖2022 优秀商业空间设计奖
4040中国（成都）设计杰出青年
2022 营造家奖年度设计百强 品质住宅类
2022 雅生室内设计大奖
2021 PChouse私宅设计大奖 年度TOP10作品奖
2021 金堂奖年度杰出酒店空间设计
2020-2021 筑巢奖公众类别墅设计金奖
2020-2021 筑巢奖专业类商业空间金奖提名
2021 百度馨居奖-年度特别推荐奖
2021 亚洲设计大奖——优胜奖
2020 PChouse私宅设计大奖 全国TOP100杰出设计师/设计机构奖
2020 PChouse私宅设计大奖 年度TOP100作品奖
季意空间设计
GE space design
“性格与习惯才是构成空间尺度的最佳参照。"GE认为不论是人还是品牌，都应该从真正的“自我”出发。更强调内部的“自我个性”而非外部影响；更强调空间中从品牌性格与文化内核出发的功能性，而非刻意形成某种风格。
季意空间设计机构 GE space design，2015 年创立于成都。服务领域包含酒店、民宿、高品质私宅及个性商业空间。尊重自我的表达、自然的生长；重视团队与效率、创意和可靠；坚信设计最本质的目的是解决问题及带来价值。更重要的是，我们始终乐意与不同的委托者一起创造环保、新睿、别致、可持续的美学生活体验。不盲目跟从权威、主义、榜样，New Generation & New Experience。
季意空间设计 x 薇园
季意空间设计 x MEDISN·RESET
