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,




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



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.





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。



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.




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.



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。




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

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 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

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