本帖最后由 卢旖 于 2024-3-20 17:02 编辑
近期，我们将工作室迁至钱塘江边一栋建成20余年的小楼中，前业主建筑师的改造留下了大尺度的玻璃窗。至我们搬入前后，新的功能与精神置入，变化持续发生。游走其间，或可对我们的工作与生活窥见一二。
Recently, we have moved our studio to a small building that has been built beside Qiantang River for about 20 years. The renovation by the former owner as the architect has left the large glass windows. After our moving in, new functions and spirits are implanted, and changes occur continuously. Wandering in the space, people can catch a glimpse of our work and life.
设计
生活是一切探索的起点
依然从生活做起
作为设计师，工作与生活远不仅在空间上交叠。我的灵感大都源于生活，对于周遭的人、事、物的好奇与疑问，或许是我一切探索的起点。
For designers, work is not just overlappingwith life in space.Most inspirations I get are originated from my life. Mycuriosity and doubts about people, things and objects may be the starting pointof all my explorations.
当旧材料与新技术相遇、原有习惯与新的需求重合，过去人们在他们的时代发明了属于他们的生活器物，而属于我们这个时代的生活场景和器物又应该是什么样子的呢？在对当代生活场景和器物的观察与理解中，我逐渐找到了一些答案。
In the past, people invented their lifeutensils in their era. When old materials meet new technologies and originalhabits overlap with new needs, what do the life scenes and utensils of our eralook like? In my observation and understanding of contemporary life scenes andutensils, I gradually find some answers.
其一，好的设计应该是合适的、适度的设计，并能直达人心，良好使用。其二，无论是新旧，还是中西，好东西能在某种频率上共鸣。恰当混搭，及其中的秩序，会让人感到松弛自在。这是我对生活的理想与审美观照。
Firstly, good design shall be appropriateand moderate design, able to reach people’s hearts, with excellent efficiency.Secondly, good things resonate to each other in some way, no matter they areold or new, from China or the West. The proper mixture of styles and its ordercan make people feel relaxed. This is my ideal and aesthetic reflection onlife.
在地
东方精神与秩序的构建
找到一种新的秩序
“在地性”天然存在于手边的真实生活，也根植我们身上的文化基因。东方文化的特质，是对言外之意、画外之音、象外之境的感知与想象。传统美学所追求的“意境”正是这种能力的产物。
The local character naturally exists inreal life, and is also rooted in our cultural gene.The characteristic ofEastern culture is the perception and imagination of the meaning beyond words,the voice beyond pictures, and the ambience beyond scene. “Yi Jing (or theunity of imagery and conception)” that pursued by traditional aesthetics is theproduct of this ability.
西方在过去两个世纪中建立起重实物资产倾向与“实相思维”的话语权，而东方文化的内核始终是一种更轻盈的力量，或许可以称之为“灵气”，指向一种流动的、变化的、敏捷的精神力。 以中国古典园林为例，“移步易景”和“情景交融”形容人在园中游，视觉感受及情绪繁复、充满变化，而所见所感交错递进，两者相辅相成。可见园林的艺术性始于“意象”的叠加：楼台亭阁、山石花木的美作引子，游人被放大的感知力与想象力突破实相的界限，“意境”得以流转连贯。
In the past two centuries, the westernculture emphasized the preference to physical asset and the discourse power of“practical thinking”, while the core of Eastern culture is a softer power,called “Ling Qi (or spiritual energy)”, referring to the flowing, changing andagile spiritual power. Chinese classical gardens are taken as anexample. “Yi Bu Yi Jing (or changing scenery at every step)” and “Qing JingJiao Rong (or the unity of feelings and natural setting)” describe that peoplewander in the garden, and their visual perception and emotion are complicatedand full of changes. What they see and feel is intertwined and developing,complementing each other. The artistry of gardens begins with the superpositionof “Yi Xiang (or imagery)”. The beauty of towers, platforms, pavilions, mountains,stones, flowers, and trees is considered as the starting point, the magnifiedperception and imagination of visitors break through the boundary of reality,and “Yi Jing” is revealed.
而在“象”与“境”之前，“意”是观念、意图，是设计对秩序的构建。我们认为设计可以消解丰富与简洁之间的对立关系。在视觉、产品和空间等不同类别的工作中，我们都追求同一种和谐：一种兼具均衡感的复杂，或是一种拥有包容力的简约。
Before “Yi Xiang (or imagery)” and “Yi Jing(or the unity of imagery and conception)”, “Yi (or idea)” refers to the conceptand intention, and is the construction of order by the method of design. Webelieve that design can dissolve the dichotomy between richness and simplicity.For visual, product and spatial work, we pursue the same harmony which is thecomplexity that integrates a sense of balance, or the simplicity that hasinclusiveness.
明代造园学家计成在《园冶》中写：“轩楹高爽，窗户虚邻，纳千顷之汪洋，收四时之烂漫。”窗与景、收与纳、象与境，就是丰富与简洁的调和。
In Art of Garden-Building, Ji Cheng, thelandscaper of the Ming Dynasty, wrote: “The pillar is high, with exquisitewindows, showing the vastness of seas and the romance of four seasons that theycollect.” The talk of windows and landscapes, collecting and showing, andimagery and conception are also signifying the harmony between richness andsimplicity.
材料
在地传统随时间汇流
材料有时间性
在地材料的研究和应用实践是我一直在做的事情。竹、木、石材、陶瓷、金属、大漆、织物之类，在我们的文明中有很长的使用历史，其用法和呈现的效果因具体地域与时代的不同，呈现出丰富多样的特性。这些自然的、未经深度加工、保有手工感的传统材料或工艺，随时间汇流当下，经由新的使用获得当代性，并聚合为一种超然的在场感。
The research and practical application oflocal materials are what I have been doing. Bamboos, timbers, stones, ceramics,metals, Chinese lacquers, and fabrics have a long history of use in ourcivilization. Their use and presentation effects show diversifiedcharacteristics due to different regions and eras. These natural, unprocessed,and handmade traditional materials or techniques acquire modernity through newapproaches over time, and together aggregating into a transcendent sense ofpresence.
在更大的时空尺度中，材料的在地性和历史性就成为锚点。我们在流觞中取饮，借以定位自身的坐标。
In a larger spatial-temporal scale, thelocality and historicity of materials become anchor points, with the help ofwhich we could define our own coordinates.
家具
可触摸及可存续的观念
“触感空间”的家具
家具品牌“触感空间”在创立之初仅仅是我的一些关于设计的思考，旨在探索“使用之美”与“可见的具体功能”之间的关系。 在其后的岁月里，“触感空间”作为副线配合主要设计项目的进展，与此同时，它持续地扩充与成长，逐渐成为一条独立的家具研究路线。
At the beginning of its establishment,“Touch Feeling”, a brand of furniture, was just an interpretation of mythinking about design, aiming to explore the relationship between the beauty ofuse and the specific expected function. In the following years, “Touch Feeling”serves as a secondary line to support the progress of our main design projects.In addition, it also continues to grow, gradually becoming the independentfurniture research and product line.
“触感空间”提出问题，也作出假设，是我在探索当下生活方式与潮流变化过程中的重要输出形式，也将是我面向未来的一个重要课题。
“Touch Feeling” puts forward questions andmakes assumptions, which is the significant output for me in the process ofexploring the current lifestyles and trends, and is also an important programfor me when facing the future.
空间
动态、延展性与生命力
让空间得以延展
三层小楼中，一层用作“触感空间”的集中展示，同时兼顾不同时段、不同使用者的生活与接待场景；二层是私人办公室与茶室，三楼空间则供团队内部协作共享。 家具、器物、材料实验或私人藏品的布置随使用轨迹自然变化。以生活场景为单位的“样板”提供了真实、良好的使用体验及反馈。
In the three-storey building, the firstfloor is mainly used for the display of “Touch Feeling”, while serving livingand reception needs in terms of different time periods and users; the secondfloor is composed of private offices and tea rooms; the third floor is sharingoffice for design team collaboration. The arrangement of furniture, utensils andmaterial experiments or personal collections naturally changes with the traceof use. The “sample rooms” based on real lives provide a good user experiencewhile giving us feedbacks on furniture design.
功能组合的自由度让这里成为实验场。持续测试和调整的生活现场可以延展至商业项目中，适配餐饮、酒店、休憩等不同业态的空间。
The flexibility of functional combinationmakes here an experimental field. The continuous test and adjustment of livingspace can be extended to commercial projects, adapting to different spaces forcatering, hotels, and recreation.
通过实际使用去推敲和研究，可以获得更好的体量和比例。无论是家具版型还是软装材质，甚至可以说空间设计的种种，都可以围绕一个基本的概念构成雏形，再通过细节进行调整。
Through the research and refining inpractical use, better volume and proportion can be obtained, no matter the formof furniture, decoration material, and even spatial design itself can form theprototype with a basic concept, and the adjustment can be made through details.
设计的延展性意味着张弛与变化。基于开放的目的、精简的硬件、灵活的功能，空间将自然生长，逐渐适配使用者的生活。 生长是一种热烈和沉静共存的状态， 是时间的具象表达，也是面向未来的展望。
The extensibility of design impliesflexibility and variation. Based on open purpose, minimized hardware, andflexible function, the space will naturally grow and gradually adapt to theuser’s life. Growing is a state of coexistence betweenenthusiasm and tranquility, the visualization of time, and the prospect for thefuture.
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