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Drunk N' Jump Du Fu Pavilion
Drunk N' Jump Du Fu Pavilion
Changsha, China
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Drunk N' Jump Du Fu Pavilion
Changsha, China
Firm
Type
STATUS
Built
YEAR
2025
SIZE
0 sqft - 1000 sqft
BUDGET
$10K - 50K
At dawn I drive my cab, oh! by riverside;
At dusk on northern isle, oh! I stop my ride.
Under the eaves, oh! the birds repose;
Around the house, oh! the water flows.
— 'To the Lord of River Hunan, The Nine Songs', Elegies of the South
Perched upon the bank of the Hunan River at Wenmiaoping in Changsha, Drunk N' Jump (TIAOHAI) Du Fu Pavilion seeks to serve the burgeoning youth community while the city undergoes an economic structural reform into a tourism-centric destination — offering not only F&B amenities but also building a multicultural boundary-transcending space for this old residential neighbourhood.
Wenmiaoping is a historic cultural block in Changsha, named after the prefectural Confucian temple from the Qing Dynasty. In the wake of World War II, the urban fabric of Changsha, Hunan's capital, was all but consumed by the Wenxi Fire, leading to its industrialised reconstruction throughout the socialist era. R-BAS was again commissioned to design Drunk N' Jump. Here the brand aspired to craft an interior that responds to the vernacular culture of Chu-Hunan region — equipping the space with programmatic necessities while distinguishing it from the prevailing wave of ephemeral 'internet-famous' F&B style.
The design draws inspiration from the collective memory of 20th-century local modernist architecture, referencing the horizontal façade, vertical curtain wall framing, and modular grid organisation of Changsha Railway Station. The north-facing entrance and expansive eaves embody the residential archetype documented in the ancient Elegies of the South. R-BAS then lifted the floor slabs to create a multi-level landscape of steps, fixed planters with native ferns and seating of varied heights — an interplay of solid and void. Floating tabletops were introduced into the interior and exterior for different using scenarios. The triangular downpipe forges a multi-functional furniture along with the building’s envelope, evoking the poetic imagery of 'around the house, oh! the water flows'.
Partially exposed original structures, together with chromatic blue cross-shaped columns and beam made of angle bars, accentuate a continuing dialogue between history and the contemporary moment. The cross-shaped column-beam system also provides structural support for integrated lighting fixtures. Guided by the brand's philosophy, Drunk N' Jump Changsha has been conceived as a 'gallery of folks'. Thus throughout the project, the designer sought to depict the concept of 'reflective nostalgia'. The primary materials selected for the construction — glazed mosaic tiles, heavy-exposed aggregate concrete with continuous wet-grinding finish and cobalt-blue glass, all prevalent in the 1980s — were the result of deliberate consideration. This intentional materiality allows the bar to blend seamlessly into the unpretentious, everyday cityscape of the neighbourhood, rather than establishing itself as a 'check-in' spot for social media only.
In pursuit of echoing the city's industrialised lineage, the interior incorporates a large number of stainless steel elements. Steels with varying carbon contents are employed to fulfil distinct roles — from attracting magnetic posters/boards to forming decorations themselves. Through meticulous study and reinterpretation of classical steel window joints, R-BAS developed a consolidated trilayered opening system, merging with partition walls, ceilings, and built-in furniture. In doing so, the architectural recollection of Changsha's past is articulated with a voguish lightness.
At dusk on northern isle, oh! I stop my ride.
Under the eaves, oh! the birds repose;
Around the house, oh! the water flows.
— 'To the Lord of River Hunan, The Nine Songs', Elegies of the South
Perched upon the bank of the Hunan River at Wenmiaoping in Changsha, Drunk N' Jump (TIAOHAI) Du Fu Pavilion seeks to serve the burgeoning youth community while the city undergoes an economic structural reform into a tourism-centric destination — offering not only F&B amenities but also building a multicultural boundary-transcending space for this old residential neighbourhood.
Wenmiaoping is a historic cultural block in Changsha, named after the prefectural Confucian temple from the Qing Dynasty. In the wake of World War II, the urban fabric of Changsha, Hunan's capital, was all but consumed by the Wenxi Fire, leading to its industrialised reconstruction throughout the socialist era. R-BAS was again commissioned to design Drunk N' Jump. Here the brand aspired to craft an interior that responds to the vernacular culture of Chu-Hunan region — equipping the space with programmatic necessities while distinguishing it from the prevailing wave of ephemeral 'internet-famous' F&B style.
The design draws inspiration from the collective memory of 20th-century local modernist architecture, referencing the horizontal façade, vertical curtain wall framing, and modular grid organisation of Changsha Railway Station. The north-facing entrance and expansive eaves embody the residential archetype documented in the ancient Elegies of the South. R-BAS then lifted the floor slabs to create a multi-level landscape of steps, fixed planters with native ferns and seating of varied heights — an interplay of solid and void. Floating tabletops were introduced into the interior and exterior for different using scenarios. The triangular downpipe forges a multi-functional furniture along with the building’s envelope, evoking the poetic imagery of 'around the house, oh! the water flows'.
Partially exposed original structures, together with chromatic blue cross-shaped columns and beam made of angle bars, accentuate a continuing dialogue between history and the contemporary moment. The cross-shaped column-beam system also provides structural support for integrated lighting fixtures. Guided by the brand's philosophy, Drunk N' Jump Changsha has been conceived as a 'gallery of folks'. Thus throughout the project, the designer sought to depict the concept of 'reflective nostalgia'. The primary materials selected for the construction — glazed mosaic tiles, heavy-exposed aggregate concrete with continuous wet-grinding finish and cobalt-blue glass, all prevalent in the 1980s — were the result of deliberate consideration. This intentional materiality allows the bar to blend seamlessly into the unpretentious, everyday cityscape of the neighbourhood, rather than establishing itself as a 'check-in' spot for social media only.
In pursuit of echoing the city's industrialised lineage, the interior incorporates a large number of stainless steel elements. Steels with varying carbon contents are employed to fulfil distinct roles — from attracting magnetic posters/boards to forming decorations themselves. Through meticulous study and reinterpretation of classical steel window joints, R-BAS developed a consolidated trilayered opening system, merging with partition walls, ceilings, and built-in furniture. In doing so, the architectural recollection of Changsha's past is articulated with a voguish lightness.
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