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    時間的容器丨楊躍文 FILL STUDIO?

     

    FILLSTUDIO楊躍文|時間的容器

    人的存在,除了具體可識別的社會形象之外,當你創作時,在思考過程中,一個看不見的你已然游離于軀體之外試圖延展你的另一種存在方式??臻g會講述關于它的設計者的一切。

    Human existence?goes beyond the concrete identifiable social forms known to man. During the creative thinking process, it is as if an invisible version of yourself floats from your body in an attempt to extend your existence. A space can tell you everything about its designer.

    我們嘗試將Studio空間塑造的如空氣般的感覺:客觀、同質化、具體又抽象。它不述說什么,身在其中猶抽離至勻質時空之感。

    We have attempted to make the studio space feel like air: objective, homogeneous, concrete and yet abstract. It?doesn’t?say anything, but when you immerse yourself in it, it?is as if?time and space?are homogeneous.

    一樓是一個集接待活動、產品研究、藝廊空間為一體的多功能空間。Studio兩層的空間狀態存在明顯的差異性:一樓在空間體量上趨向于古典性和對稱性,空間作為背景,要有足夠干凈利索的框架和客觀性來支撐未來所有可能性的陳列變化,這對設計者至關重要。

    The first floor is a multifunctional space that covers reception, product research, and an art gallery. There are obvious differences in the space of the two floors of the studio. The first floor tends to be classical and symmetrical in terms of its spatial dimensions. Space acts as the background to all else, and a clean framework and objectivity are required to support all possible changes to the display in the future. This is crucial for designers.

    設計者通過對空間比例的控制及對自然光線(作為至關重要的材料)的絕對遵從與把握,為Studio賦予了一種身在其中,人與物同質化的氛圍。人與物品各得其所,無主從關系,被喚醒的物品每天都散發著新鮮的感覺,人在空間里對物的感知得到了充分的開發。

    Through control of the spatial?proportions?and the absolute submission to and grasp of natural light (a vital material), the designer has provided the studio?with?an immersive atmosphere in which people and objects are homogenized. People and objects have their own place, and there is no principal-subordinate?relationship?between the two.?Objects seem to adopt a fresh and new look every day, and people have a greater awareness of the objects in the space.

    托友人尋物,偶得雷州石狗,笨拙而當代,仰頭張開嘴巴并露出兩顆大板牙,安坐在那里,可愛又生動。這是一個“未完成的”,可以與時間抗衡的角兒。

    In the search for objects, the designer stumbled across a Leizhou stone dog. Clumsy yet modern, with its head tilted up and its mouth exposing two large teeth, the stone dog is both cute and lifelike. It sits peacefully as an “infinite” artwork that contends with time.

    空間里的物品會經常發生一些變化。一件物品添加進來,或是某些時段自然光的驟然變化,亦或是友人的拜訪也可能使得設計者重新去統籌空間里的狀態。Studio的空間狀態在某種程度上暗示了設計團隊的空間觀念及嘗試以跨學科的工作方式去實踐當代生活與美學的強烈愿景。

    Objects in space are often subject to changes. The addition of an item, the sudden change of natural light at certain times, or even visits from friends may also make the designer re-consider the spatial state.To some extent, the spatial state of the studio indicates the design team’s concept of space?as well as their?strong vision of trying to practice contemporary life?and aesthetics in an interdisciplinary way.

    半通透的簾子,它整體或局部開啟會給空間尺度和行走動線帶來不同的感知體驗。設計者會時不時地改變開啟方式,并且跟進由簾子的開啟位置的變動所帶來的對空間陳列的調整。
    The semi-tranparent curtain creates different perceptions of the spatial dimensions and the circuitous line depending on if it is partially or fully opened. From time to time, the designer will change the way it is opened and make adjustments based on the new space arrangement.

    二樓的空間氛圍相對活躍,其中分布有辦公,會議,及書吧休閑功能。陣列分布,高低錯落的造型天花(低的天花造型為封掉不規律分布的建筑梁而設)與兩側靠墻的柜體在虛實節奏上形成對應,這是場地結構與功能需求共同達成的結果。導軌射燈安排在天花造型側面使得在某些空間盡端視點上有“見光不見燈”的效果。

    The space on the second floor is relatively dynamic, incorporating?office, conference,?and?lounge?and leisure facilities. Arranged in an array, the randomly staggered high and low ceilings (the sections of low ceiling are designed to hide?the irregularly distributed beams)?and the wall cabinets on both sides find an effortless balance between virtual and solid design elements. This is the outcome of combining?site structure and functional requirements. ?The track spotlights are arranged on the side of the?ceiling?blocks, producing an effect of “invisible lighting” in some spaces.

    墻體轉角位置掛著一個透明人裝置,部分身體懸在空中,與陣列天花造型平行:一是強調空間的水平方向上的拉升感;其次如設計者所愿,它在“游戲”空間重力的同時,帶來了一些趣味性與藝術性。

    In the corner of the space hangs a transparent image of a human with part of its body suspended in the air parallel to the ceiling. This design serves two purposes. First, it emphasizes the horizontal pull of space. Second, just as desired, it brings fun and artistry while “playing” with the gravity of space.

    橡木材質的燈柱,其設置的出發點并非在其造型語言本身,電腦設備的運作其實是靠它從天花接下來的電,設計者順勢在柱體上增加一組等間距的純銅壁燈,用裝置感去模糊柱體作為“電線桿”的實際身份。被工作臺圍繞的裝置燈柱穿插到天花陣列形體之中,它的定位與平面動線有關,設計者希望在有限的空間尺度里制造一個圍繞工作區的迂回動線,方便伙伴們之間的互動。

    The oak lighting pillar is not simply defined by its shape. In fact, the computer equipment rely on it to obtain power from the ceiling. The designer has also added a set of pure copper wall lamps at equal spacing on the side, aiming to disguise its true purpose as a utility pillar.Surrounded by worktables, the lighting pillar pierces the sections of ceiling. Its positioning is related to the plane line. The designer hopes to create a circuitous line around the working area within the limited space available, so as to facilitate the interaction between workers.

    在自然光線,導軌射燈,壁燈的作用下,工作區的照明氛圍會產生微妙的變化。甚至在某些瞬間,燈柱似乎已超越其物質性,為空間賦予了些許儀式感和神秘感。至此,照明方式與空間氛圍達成了有效的協作。

    The natural light, track spotlights, and wall lamps help produce subtle changes in the?lighting atmosphere in the work area.?At certain moments, the lighting pillar?seems to transcend its material nature, endowing a sense of ritual and mystery into the space. In this respect, the lighting and spatial design collaborate as one effective team.

    早在讀書期間,設計者就開始對“未完成”感興趣并且嘗試以畢業論文的方式對其進行淺顯的探討。首先,對設計者來說,“未完成”是一種看不見的,不斷生長的認知觀念,它與設計者作為生命個體有關;其次,“未完成”可以具體是一個空間,一個畫面或一件物品中帶有的“未完成”感。

    設計者關注空間的“未完成”狀態?!拔赐瓿伞辈⒉灰馕吨锢淼目臻g沒有被完成,而是空間被投入使用后的時間里,基于被概念性的語言抽空的空間里所激發的一些可能性:這其中包括主觀和客觀的,計劃性的和偶然性的,可見的及非可見的。

    As early as in school, the designer became interested in the concept of “infinity”, attempting to touch on it?in his graduation thesis.?Firstly, for the designer, “infinity”?is an invisible and ever growing perception that is related to the designer as a living being. Secondly, “infinity”?could refer to an “infinite”?feeling created in a space, an image, or an object.

    The designer is concerned with the “infinity”?of space. “Infinity”?does not mean that the physical space is not complete, but rather it signifies the possibilities in the space inspired by the design concept in the time after the space is put into use. This includes subjective and objective, planned and accidental, and visible and invisible possibilities.

    設計者嘗試通過對場地的干預,順勢,抑或強勢,與原初的空間結構達成某種交易,取得平衡。這是一個關于“物”的能量場,設計者對空間的打理樂此不疲,這是一場在內外之間,宏觀和微觀之間尋求平衡的,無休止的游戲。

    The designer has tried to interact?and strike a balance with the original spatial structure by adapting the site, leveraging its advantages, or simply by implementing the desired effects. This is an energy field related to “objects”. The designer never tires of managing the space. It’s an endless game of seeking a balance between internal and external, the macro and the micro.

    空間,是有關時間的藝術。置身其中,自由暢想,潛心前行……

    Space is the art of time. Immerse in it, think freely, and progress forward……

    Name?|?項目名稱:FILL STUDIO楊躍文|時間的容器

    Interior Design?|?主案設計:楊躍文? | FILL STUDIO

    Assistant design?|?助理設計:吳瑾、林千植、曾春眉、孫國棟?|?FILL STUDIO

    Construction execution |?施工執行:洪海湛?|?廣州正點裝飾

    Installation|藝術裝置:FILL – ART

    Photographer?|?攝影師:花覺攝影?|?FEAST?VISION

    Editor?|?編輯:梁健苗?| FILL STUDIO

    Location?|?項目地點:廣州

    Area?|?項目面積:200㎡

    Brands of lamps and lanterns?|燈具品牌:SIKI石客、PZEN品相、&Tradition

    Furniture brand |家具品牌:MAGIS、MASTER?大師薈、DRIADE?、?KARTELL、瀾德家居、MOUSTACHE、MUUSA慕薩、FEMO灃茂設計、FLOETOTTO

     

    關于?|?FILLSTUDIO

    楊躍文

    廣州美術學院碩士??

    FILLSTUDIO創辦人

    ?Fillstudio是一家新銳跨學科設計工作室,由楊躍文先生于2015年創立,業務涵蓋室內設計,產品設計與咨詢及藝術指導。藝術與技術,亦即想象與現實本體之間的高度契合是工作室在日常事務中踐行的首要原則。設計師嘗試以當代的視角,結合嚴謹的工作方式去踐行空間設計美學,最終賦予項目以舒適感,藝術性及永恒性。

    Fillstudio is a cutting-edge interdisciplinary design studio founded in 2015 by Mr. Yang Yuewen, specialized in interior design, product design and consulting and art direction. It is the primary principle of the studio to reconcile art and technology, imagination and reality to the highest standard in its daily practices. Designers try to manifest the aesthetics of space design with a contemporary perspective and a rigorous way of working, ultimately giving the project a sense of comfort, artistry and timelessness.

    團隊曾獲得意大利A-DESIGN設計獎,美國IDA國際設計獎,APDC亞太室內設計獎, IAI全球設計大獎,艾特獎,40UNDER40(廣東)設計杰出青年(2019-2020)等殊榮。

    The?team?has?won?the?Italian?A-DESIGN?Design?Award,America?IDA?International?Design?Awards,APDC?Asia?Pacific?Interior?Design?Award,IAI?Global Design?Award,IDEA-TOPS?Award,Finalist?of GuangDong?lnterior Design 40Under40?(2019-2020),and Other?Awards.

     

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