The project is located in the Italian-style district of Tianjin, surrounded by a century-old Italian architectural cluster characterized by red bricks. The original site is a modern building that is detached from the surrounding classical context, and the Tianjin Zhongshuge needs to be rebuilt. This not only requires integrated consideration of individual architecture and interior design but also needs to fit into the cultural atmosphere of the neighborhood. Red brick, as an important construction material in Italian classical architecture, becomes a required design element.

The project draws inspiration from the blinds, extracting a sense of unfamiliar perception. The designer observes a cutting technique in the overlapping structure of the blinds and translates it into the construction order of the bookstore.

The gaps of the blinds are introduced into the originally dense brickwork, creating a visual effect of interpenetration between the virtual and the real. The design strategy of intervening in the stacking technique with a cutting logic is not only an artistic practice of disassembling and reassembling classical architectural elements but also emphasizes the persistence in independent thinking and the pursuit of innovation within the framework of profound traditional architectural vocabulary.

In the center of the building, layers of dark blue steel are spread out. As soon as one steps into the bookstore, the layers of steps rise, extend, and deepen. One must ascend the steps to transition into the main body of the bookstore, metaphorically representing the relentless pursuit of truth by humanity.

The entire main body of Tianjin Zhongshuge is completed solely with bricks, complemented by ironwork. Steel, with its modern industrial strength, harmonizes with the classical charm of red bricks, and the collision of warm and cool tones displays a visual tension.

The interweaving and staggering of materials not only exist as a physical structure but also give birth to the form of bookshelves. These bookshelves naturally extend with the space, smoothly guiding the layout of seats and steps. Thus, diverse functions such as exhibition, rest, and traffic flow lines are integrated through a consistent design logic, with each element being both independent and closely connected.

In the end, the entire project used about 400,000 bricks, with each type of brick finely confirmed according to different scale needs. Each shape of brick was designed specifically for this bookstore, with a customized design solution that retroactively demanded the iteration of materials. From the initial conceptual sketches to the construction of detailed 3D models, the design team conducted countless simulations and validations to ensure the perfect presentation of every detail in actual application. The production of bricks requires craftsmen to cut each one by hand to ensure the shape meets the design requirements.