原创居然顶层设计中心·琚宾之家施工图下载【ID:532979525

盲匠設計
2019-01-10
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发布平台:知末图纸方案

居然顶层设计中心·琚宾之家

琚宾之家由传统的卧室、浴室、客厅、餐厅兼书房以及琚宾先生最为钟情的茶室与禅修室组成。卧室用到的家具是卢志荣先生的作品,整体氛围宁静而充满禅意,平直简洁的线条巧妙地组成了一个朴拙而智慧的空间。 

设计说明:在此借助绢,这一具有文化属性认知的材料,和绢上绘制出的抽象悠远的山水图像及其意境,来围合出承载东方精神的半开放空间——茶室与禅室。这个围合设计的运用,更多是为了打破居住空间同质化倾向的理解,同时也能避免自己的重复性思维,以确保这个空间表情的唯一性。

基于这个空间的主体的出现,顺势而成的开敞的客、餐厅空间,以及厨房的开放式设置,都具有开阔的视野,呈现面向窗迎接光的态势。卧室空间功能的必要性界定,推理出入口处的多情景关系,生动且细致地将“可观可望可行”的园林精神置入其中,形成多重复趣味性空间。   

住宅是主人身体乃至精神的外延,也是主人审美的全面立体的呈现,借阐述主人的生活方式,进而得知其生活态度,更是了解其生活品质的最直观的窗口。 以空间中家具和器物本身的美,及自身所表达的文化气质与空间本身高度的一致,让空间的表情更生动,触感更强,与空间本身一起共融,凝练出只属于这个空间自己的独特表情。   

其中选取了朋友们的一些家具和器物,如:吕永中的半木,宋涛的自造社,卢志荣的acf等。希望借助他们的这些作品与空间产生关系,以获取一种东方美学的不确定的答案,更希望能找寻出传统生活方式在当代的运用结果。   

当然,在设计的过程中,考量更多的是避免进入到当下为文化而设计的舆论怪圈。想通过设计中的复杂性思维,多元共生地解决二元模式中的传统与当代间的关系。在一个华丽与简朴,精致与朴素,神性与俗性等多种关系共生的生活空间里,在气韵生动的绘画语境中找到自己。  

Oriental Domesticity A half-enclosed space, a tea house and a meditation room,  indulged by oriental spirit, is framed by silk, a material with cultural meaning, and abstract landscape images drawn on the silk.             This enclosed space is to challenge a conventional understanding of living and creates a sense of subjectivity. Centered on this space, living, dinning and kitchen are all open and with views towards light and windows. Bedroom spacekeeps privacy, while maintains multiple scenic relationships with the entrance to vividly depict a spiritual garden for seeing and moving. House is an extension for its owner’s  body and mind. It is as well a full embodiment of owner’s  aesthetics and life attitude. House, as such, is the most explicit index of owner’s  morality and accomplishment. Furniture and objects are consistent with the spirit of the space to add on the tactility. In this space, I chose a few furniture and objects from my friends collection, such as: Lv Yongzhong’s Banmu, Song Tao’s Zizhaoshe, Lu Zhirong’s ACF, among others. I hope to establish a relation between the works and the production of the space for an uncertainty and exploration of a sense of traditional life. The design process itself, however, is also a critique to a current trend of design to appropriate cultural motif. B


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