The Oriental Hermitage

田园、东方美学以及蕴含其间的情感互动,一直出现在古人对梦想居所的描述中。 The countryside, Eastern aesthetics and the underlying emotional interaction between them, have always been the motifs in ancient descriptions of a dream dwelling.

Vantage Shanghai - - 私享家 - 作者Author:Sophia 编辑Editor:王烨昇Johnny Wang

The poetic idealism in the Imperial Palace, represented by designer Guo Ming, was supplemented by a touch of the attitude of modern living. Henceforth, at the core of a metropolis, a new residential masterpiece was born, hidden behind the buzzing streets.

The Imperial Palace is located on the “Dragon Axis” of Beijing and at the golden corner of Outer Andingmen Avenue and North Inner Hepingmen Avenue. The surrounding area is wrapped by a natural enclosure. A number of historical buildings and remains spread about the area, giving it a sense of the archaic that the capital city beholds. Inside, the design style is simultaneously naturalistic and full of oriental elements. Walking in the residence is as natural as strolling along a countryside path. Meanwhile, the structure offers a layered experience - delicate yet profound.

The effect is like living in the bustling city, yet breathing the country air. Thanks to the large green plant wall in the lobby, a green façade flows through the eyes,

这种充满意境的理想,被设计师郭明再现在盛德紫阙中,增添了摩登生活理念,于是在城市中心,又成就了一处大隐于市的居所。盛德紫阙位于北京中轴龙脉之上,安定门外大街与和平里北街交会的黄金街角。周遭静谧,自然气息浓厚,此外更有众多文化遗迹错落环绕,历史底蕴悠久,大气醇和的京城风貌昭然若现。内部设计上,风格自然且充满东方神韵,漫步其中,宛若游走于田园小径,清新舒适,其间高台楼阁有致,气韵悠长。

置身城内却宛如在乡间,这个大堂空间有大面积的绿植墙,满目绿色飞流直下,影影绰绰,穿过玻璃,映出绿色一片,更有幽幽花香自空气中暗来。恍惚间,此处仿佛成了鸟语花香的绿色丛林,在北京,这样的环境令人分外向往。

“天人合一”向来为古人所崇尚。《道德经》有云:“人法地,地法天、天法道,道法自然。”两者皆谈人与自然的应和,万事

reflecting, defusing, and finally penetrating the glass resulting in a green light cast onto the ground. Moreover, the elegant scent of flowers permeates from the wall. In a gigantic city like Beijing, living in such a place is virtually everyone’s dream.

The union of heaven and humanity has always been the central ideology of Chinese philosophy since ancient times. As the Tao Te Ching said that, “Human follows land, land follows sky, sky follows Taoism, Taoism follows nature.” The philosophies concern the concordance between human and nature, as everything should follow its natural rule to reach the harmony in between. Such concept was featured in every aspect of the study designing. In the study, the texture of furniture is natural, delicate, yet elegant and implicit. The seemingly careless organization, however, features a beauty of intangibility and flexibility.

The “intangible, subtle and quiescent” living attitude inherited in the details harmonizes the space and extends its mood into the distance, helping the dwellers leave behind the madding crowd outside.

Walk on the wooden floor and then enter the guest dining room; the spatial design of which is unsophisticated yet noble. The colours resemble the ancient style, firm but delicate, and also the spun silk correspond with the archaic folding screen, becoming the golden touch of the whole space. The wooden grates separate, but does not break the integrity, resulting in a deeper sense of space, which is exactly the essence of traditional Chinese garden style.

“Restore the reality and remold the reality” is the designer’s aim in choosing materials. The largely used wooden materials bring with original texture, which are inherited with subdued and honest simple aesthetic elements. Moreover, they also reflect the naturalistic taste of space and order.

The designer fully explored the essence of Sinology and extracted bits to use in the designs, finally created multiple layers of meaning through irregular shape of body.

The VIP room on the fourth floor is another brilliant example of using green plants in an indoor space. Wooden grates are again applied here, giving a texture of softness and naturalness, as well as a touch of comfort in the space. Moreover, such design also creates a natural and relaxing environment for its residents.

Bamboo has long been a symbol of integrity and virtue in traditional Chinese culture. It creates elegant and refined indoor environment, offers brand-new visual and mental experience for the dwellers and injects condensed classical Chinese elements to the empty space.

Along with infusing the space with historical air, the modern residents’ pursuit of comfort, convenience, and relaxation is also

应顺乎自然规律,达到人与自然的和谐。这种理念在书吧的设计中可见一斑,家具材质自然柔和而高雅,内敛而含蓄,看似漫不经心的排布之中,却尽显空灵韵动之美。细节设计中所包含的“空灵、淡远、清寂”的生活思想将空间寂化,同时从中抽出意蕴之丝延伸到远方,令客人摆脱浮躁的喧闹市井,拂去心灵的尘土,重新追求健康自然的生活方式。这种情致不止为主人所享受,即便是到访客人,亦有此感。《论语》有云:“有朋自远方来,不亦乐乎”,红木家具上置舒适软榻,燃香一片,沏香茗一杯,宾主案前对坐,或谈玄论道,或话说家常,偷得浮生半日闲。踏着木地板,辗转进入会客餐室。这里空间设计整体古朴高贵,色彩上追慕古风,厚重雅致,更有绢丝垂下与古屏风相映成趣,成为空间点睛的一笔。木质格栅“隔而不断”,令空间层次感更为深邃,乃是中国传统造园艺术之精妙所在。“还原真实、塑造真实”是设计师选材的宗旨。大量使用的木材带来原始材料质感的特别之处,蕴有淡雅、浑厚的朴素美学理念,也反映出空间自然质朴的审美理念。设计师充分挖掘东方国学文化,提取元素用于设计中,用有变化不规则的形体,产生丰富的意味。形成了一种洗尽铅华,历经沧桑沉淀后的东方意境。

四层VIP室又是一处出色运用绿色植物的范例。空间同样搭配木质的格栅,柔软自然的质感,令空间更为自然宜人。增添一抹自然灵雅的清幽之趣以外,更令人心旷神怡,悠然自得。

meet here. Beams of sunshine cast through the glass roof, resembling waterfall flowing through a wooden gallery. Amid the green the optical wonder plays, resulting in creating varied rhythms of light and shade, bright and dim, and the endless charm of space.

Sparks of light are left on the ground, highlighting the coffee table. Choose a comfy seat, with a book at hand and sips of tea or a glass of wine, nothing could be more relaxing and heavenly than that.

The resting area is mainly furnished with warm colors. With the penetration of natural light, the space and colours reach a harmonious balance.

The visual experience, which highlights the originality of nature, put space and people closer than ever.

A great space is deemed to be a living space. Multiple elements must share a common goal in defining the overall motif of work, as well as the fruit of the designer’s full devotion. Located in the ancient emperor city of Beijing, the Imperial Palace is a cultural symbol accumulated with thousands of years of wisdom through countless shifts of seasons.

Every single piece of stone, wood, painting, or vase here, tells about the oriental mood through the light and shade in this hermitage in Beijing.

“竹”自古以来就是高风亮节的象征,清雅幽远,创造出的室内氛围,给人以不同的视觉和心灵感受,为空间注入凝练的中国古典意趣。

设计师从传统文化中挖掘有关绿色植物的意趣,从中汲取多样的设计灵感,令植物元素在空间中不仅产生装饰效果,更打造出富有人文艺术感的美妙意境。

在令空间充满史韵的同时,现代人追求的舒适、便利与放松在这里也尽得满足。缕缕阳光透玻璃屋顶而入,如长练穿过木质长廊,这般一片绿色之中的影影绰绰,赋予了空间光影、明暗的不同节奏,不经意间营造出空间的无尽意趣。

地面上留下斑驳光影,应和着沐浴在阳光下的布艺茶几,成为午后休憩放松的好去处。选一舒适座位,捧一本闲书,偶尔品几口浓茶或是一杯红酒,最是畅舒幽情、自在坦然。

休息区以稳重的暖色调为主,配合以自然光线的映入,空间色彩达到和谐统一、舒适协调。以本性自然的视觉体验让空 间与人之间的关系更加紧密。

著名的建筑师密斯·凡 · 德罗说过“Less is more”,提倡设计要简单,少即是多。设计师研习前人智慧,主张物质上的“少”,追求精神上的“多”,去除不必要的装饰品,简素软装搭配,柔和自然元素。其宛如一首凝练的诗歌,也表现出人们对简素、随性情怀的流露。

有道是:“海纳百川,有容乃大”,“海阔凭鱼跃,天高任鸟飞”,“空”亦是一种胸怀和度量。用“空”的视觉感受,凸显“有”的心灵体验,给空间无限延伸性。

一个好的空间必是一个有生命的空间,各种设计元素的推敲应用也必然围绕某一主题阐释渲染,是设计师深思熟虑的结果。坐落在古旧皇城的盛德紫阙,不仅是对北京自然生态的奋力抗衡,更是无数个四季变幻中,沉淀并凝聚千年智慧的文化旗帜。这里的一石、一木、一画、一瓶,都在讲述着光影里的东方情韵。

Song Zhaoqing once made the remark that architecture is an occupation that takes longer than others to blossom. Most architect candidates must endure the difficulties and adversaries all the way along, and only after countless setbacks and attempts can they produce satisfactory pieces of work.

Behind his neat cotton suit hides a humble heart that has an air of elegance. Under the black-framed glasses are eyes that reveal wisdom. Some people say an architect’s brain is unstoppable. For Song Zhaoqing, the first half of his life was accompanied by continuous deep thought. During the decades of his professional career, challenges and chances have always been his companion.

After graduate study at Tsinghua University, Song did not choose to further his study abroad. Instead, he headed for Japan and joined one of the most famous architecture firms – Nikken Sekkei Ltd, hoping to get acquainted with the practical procedures of architectural as well as the most advanced and cutting edge ideas and management methods. Song started his career at Nikken as an ordinary draftsman and gradually took on all the processes of project designing. In 1998, Song was dispatched by Nikken to Shanghai to chair the Xintiandi Reconstruction Project. It took him three years to complete this massive commercial complex but also gave him the chance to witness the bright future and great opportunities of Chinese architecture. Since 2001, after Song finished his professional training at Nikken, he established his own business.

“Creating Architect” is an early concept proposed by Song. He even wrote an essay to elaborate on this idea. In his eyes, an architect should not put the focus of design on drafting paper, but onto the issue of how to reach the perfection of the works themselves. One should know every material’s features by heart, as well as the in’s and out’s of construction details and the coordination of different disciplines. As of the core issue – how to design, he argues that a mature architect should combine the current need, technologies, craftsmanship and above all, the feasibility of the works together, to implement his ideas.

Among Song’s recent works, Diamond of Wenzhou (China Resources) is the most prominent one. The project originated from the idea of a diamond. The design strengthens the avant garde of architecture and the creativity of space and materials, as well as the combination of indoor and outdoor environments. On an arcshaped open space, multiple axes stretch, interweave and construct walls in different directions. Though seemingly cluttered, the structure nonetheless abides by its inner rule and centers with a diamond born from the earth. The entrance hall is steel-frame structured and hanged with printed glass wall. The glass wall reflects the silhouette of trees, giving you a sense of greatness and mysteriousness.

宋照青曾感叹建筑师是一个“大器晚成”的职业,毕竟如天才般的人少之又少,大部分立志要成为建筑师的人,都要经受得住人生路上的艰难和坎坷,千锤百炼之后才能真正缔造出满意的作品。

他将低调谦逊的气韵凝练于心,着一身朴素而舒适的棉麻衣裳,黑边圆镜之下一双睿智深邃的眼睛,似隐藏着万千的思绪,有人说建筑师的大脑是停不下来的,而在宋照青身上,持续的深入思考便伴随着他的前半生。在他几十年的职业生涯当中,挑战和机遇同他一路前行,每一步都走得十分扎实,而一步登天则是他从未想过的谬谈。

从清华大学研究生毕业后,宋照青没有选择继续出国深造,而是前往日本加入了当时世界上最知名的建筑设计公司之一“日本株式会社日建设计”(以下简称日建),希望通过实际工作的历练来了解项目具体的操作过程,以及最先进的设计理念与管理。宋照青在日建的工作是从普通的绘图员开始的,此后逐步过渡到负责项目设计的全过程。1998年,受日建派遣回上海开始主持设计上海新天地项目,这个庞大的商业综合体花费了他三年的心血,但同时也让他看到了中国建筑勃然迸发的生机与前景。自2001年开始,宋照青结束了在日建的基础培训和专业提升,走上了自己独立发展的创业之路。

The exterior design extends its core idea – streamline design, to the indoor space, which features the fashionable, abundant and international lifestyle.

While the CIFI headquarters aims to present the conflict of “heavy” and “light”, it also succeeds in drawing out a harmony from it. As Steven Holl once said, the essence of a work of architecture is an organic link between concept and form. The form of architecture, moreover, need to explain the philosophical attitude of insouciance and tranquility. Hence, under the disguise of heaviness and dullness hides a light and delicate form to extend the corporate culture. And this is exactly the lightness and simplicity that modern architecture and aesthetics pursue.

Greentown Taolichunfen Community Center is in a scenic corner amidst the deep forests of Yunlong Town, Haikou City. As a boutique hotel enriched with local characteristics, the architecture faces a natural lake and is surrounded by primordial forest. The local residences are mainly structured by stone and wood while the “new-comer” is hybrid wood-steel structure in which sense the design not only secures the stability of the building but also shortens the distance between manmade and the natural. Henceforth, the structure is more relaxed and free. The architecture doesn’t need to cover for its structural frame and boldly exposes its steel framework and other details to the air. Before one starts designing, he should think over what this place needs. Since after completion, the building must fit into its surrounding environment, just as if it’s “born” from the very earth it stands on.

Architecture should be the visual image language that touches people and echoes the deepest part of human beings. While whether the environmental quality the architecture creates could construct the beauty of space and order, is the critical parameter in deciding how the world would judge and react to the piece of work. As of this point, architecture design is no different than painting, music, sculpture and other art forms.

“营造建筑师”是宋照青早年提出来的理论,为此他还亲自撰写过文章来阐述这个说法。在他看来,建筑师不应该将创作的重心放在绘制图纸,更多的是要将精力集中到如何推进设计作品的完美实现这个问题上来。对于材料特性要熟记于心,对于施工细节和各相关专业的协调要胸有成竹,而对于设计创作的尺度,则因结合现有的生活需求、技术、工艺,把自身作品的可行性放在首位去思考,如此才能成为一个有着成熟作品的建筑师。

在宋照青近期完成的作品中,华润温州之钻最是耀眼。该项目立意为一颗钻石,设计实现了建筑的前卫性和空间、材料的创新性,注重建筑体与室内、外部环境的融合。在一片半弧形的空地之上,多条轴线渐次而生,相互交错,衍生出不同方向角度的片墙,看似繁多,却围绕在其内在的规律中,捧出从大地中生出的钻石。入口大堂为钢框架结构,外挂印花玻璃幕墙。玻璃上透印出树影,显得大气而又让人不自觉地想去了解其中的深意。室内设计将建筑的流线造型风格延入室内,体现了时尚、丰富、国际化的生活理念。

旭辉企业总部大楼的设计致力于表达“重”和“轻”这对矛盾,尝试通过这对矛盾来物化出一种有趣的和谐。美国当代建筑师代表人物之一的斯蒂文· 霍尔(1947-)说过,建筑作品的本质是观念与形态间的有机联系。建筑形态还需阐述“云淡风轻”般举重若轻的气度,所以在“重”和“拙”的表现下蕴藏着一种“轻”和“巧”的形态,丰富着企业文化的外延,这种状态也是现代建筑结构和节点美学审美趋势追求轻和简的必然。

海口绿城桃李春风邻里中心位于海口市云龙镇,是一个密林深处的世外桃源。作为一个富有地域特色的精品酒店,该建筑面朝天然湖水,被原始森林所包围。当地民居大多为石木结构,而这个建筑主体为钢包木结构,既保证了建筑的稳定性,又拉近了人与自然的距离感,这样的结构形式也相对更自由,更轻松。建筑本身也对结构形式毫不掩饰,钢结构的构架、节点等一些构造细节都暴露在视野中。做设计前,想想这块土地需要什么,一个作品建成后,它必定要融于其所处的环境中,就如同从这片土地上“生长”出来一般。

建筑应该是感动人的视觉图像语言,应能引发出人内心的共鸣,而其所营造的环境品质能否缔造出空间与秩序之美,则直接影响着世人对于设计作品的评价和好感度。在这一点上,建筑设计和绘画、音乐、雕塑等其他艺术形式是相通的。

建筑应该是感动人的视觉图像语言,应能引发出人内心的共鸣

从左图起

FROM LEFT光影绰绰的墙壁

Shadows on wall;经过木质栅栏过滤的阳光更加柔和

The sunshine through wooden barrier becomes more tender

左页起顺时针CLOCKWISE FROM LEFT PAGE

卧室的水墨意蕴

The poetic bedroom;充满东方色彩的细节Chinese colorful details;

从窗间穿过的阳光留下窗格的形状,洒在植物上

The rhythm of light and shadow inside

从左图起FROM LEFT客房内壁充满自然肌理The natural texture of the walls;极具延伸感的空间布局

The design makes the space extend

左页起顺时针CLOCKWISE FROM LEFT PAGE华润温州万象城:日间的外观Vientiane City: view in daytime;华润温州万象城:光线通透的内部Vientiane City: light reflection inside;华润温州万象城:一隅Vientiane City: a corner;海口绿城桃李春风邻里中心:世外桃源般的景色The Community Center in Haikou

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