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    玩木傻子的家丨真沒有設計

    在廈門一處廢棄的水泥廠片區,業主選擇將其中一棟三層建筑,再造為居住的家。建筑物的主體部分被保留,包括原有的筒型結構,訴說著空間和過去的牽連關系。

    The project is situated in an abandoned cement factory area, where the owner chose a three-storey building to create a residence. The main structures of the original building, including the cylindrical structure, are retained, which tell the connection between the past and present.

    ▼項目位于一處廢棄的水泥廠片區,the project is situated in an abandoned cement factory area

    簡凈,是這里最直觀也最本質的語言。摒除無謂的風格或標簽,重新思考家于人的意義。它是物理層面的固定場所,在空間里可以完全放松;它也是精神層面的特定場域,產生心靈的觸動與依歸。

    The overall space is characterized by concise and simplistic design languages. Not restricted by styles or labels, the design rethinks what home means for us. It’s a physically static place where the occupants can totally relax, and also a spiritual space which touches and accommodates the mind.

    ▼室內概覽,interior overall view ?吳永長

    兩個圓形區域分別作為開放的餐廳和客廳,以過道處的地面抬高和天花板的降低作為隱性的區隔??蛷d保留混凝土天花的粗獷,地板延展著橡木的有機紋理,墻壁則以設計師自調的土坯圍合,回歸來自中國鄉村的質樸記憶。沒有過多的設計動作,不設計反而成全更好的設計。

    Two round areas are respectively used for the open dining room and the parlour, which are implicitly separated by a passage featuring elevated floor and lowered ceiling. The parlour retains the original rough concrete ceiling, with the floor covered with textured oak wood. Its walls are finished with shell powder and earth mixed by the designer himself, which carry the past austere character of Chinese villages. The design is simplistic, perfectly demonstrating that less is more.

    ▼圓形區域作為開放客廳,living room in the?round area ?吳永長

    ▼客廳細節,living room detailed view??吳永長

    石頭、土、木、植物,完整而原始的要素容納進空間,自成一個小氣候。窗戶為這個容器注入了時間,開窗的比例、角度及欄桿的設置都經過細膩拿捏。當陽光投入屋子里面,慢慢在家具和地板上移動,光影不斷變化,身處其中,跟隨這個生態,感受不一樣的東西。

    ▼多種元素自成一個小氣候,natural elements are incorporated?to?produce a unique ambience ?吳永長

    空間不對未來做什么預想,也不對過去做太多總結,更契合當下的生活。家里的物品盡量簡化,去除多余,并盡可能地收納起來。目之所及皆中和為大自然的底色,連燈飾也化作線性燈帶,以間接光源烘托柔和的氛圍?;蜃蛱?,空間使用者總能找到最自在的尺度。

    Neither envisioning the future nor summarizing the past, the interior design more fits into current life. Objects in the home are minimized and put in storage space as much as possible. The entire space is dominated by a natural tone, with light strips complementing the soft spatial atmosphere. Either lying down or sitting, the spatial users can always find the most comfortable gesture and scale.

    ▼線性燈帶烘托柔和的氛圍,light strips complement the soft spatial atmosphere ?吳永長

    “設計有三個層次:最初是物質的堆砌,商業化干預同質的消費;其次是感官的滿足,諸如創意、文化內涵、歷史典故、貴族品味;而最好的設計指向靈魂,樸素但質感深厚,簡單卻經久不息,身體和心靈都因此進入一種很舒服的狀態?!痹O計師談及創作理念時如是說。

    “I think interior design has three levels. The first level is merely about putting items together, about homogeneous consumption intervened by commerce, while the second level is about satisfying sensory experiences, via incorporating creativity, cultural context, historical stories and classy taste. But the highest level, I mean the best design, pursues to serve the mind. It’s austere yet profound, simple yet lasting, and is able to put the body and mind in a comfortable state”, the designer said.

    ▼臥室區域,bedroom area ?吳永長

    的確,家本是一個人最親近的容納之地,無須承載外界強加的復雜期許。身心獲得解放和自由的安靜環境,足以耕作出情感扎根的一方天地。通透的自我穿越于個人的生命旅程,尋求一種自在和自覺的原動力,為生活留出更多的可能性。

    Indeed, home is the most intimate place for us, which needn’t to carry the complex expectations from the outside world. It provides a tranquil environment that liberates both the body and mind, and a place to let emotions take root. It enables the occupants to pursue free and instinct motive power, and hence creating more possibilities for life.

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