非常感谢 东仓建设 予gooood分享以下内容。更多关于他们：DOMANI on gooood.
Appreciations towards DOMANI for providing the following description:

MEUNIER科技美容旗舰概念店【乌有山水】位于中国深圳福田区皇庭中心大厦34层，西南面深南大道，由国内著名设计机构DOMANI东仓建设执笔。该项目为继深圳宝安区时代广场MEUNIER概念店【亮如白昼的夜及温和的肢解】之后DOMANI为深圳市场贡献的第二家艺术馆级医美概念店。同时亦是MEUNIER品牌内持有设备等级最高，服务内容最为完备的白金店。

MEUNIER Technology Beauty Concept Flagship Store“Landscape in Fantasy”is situated on the 34th floor of Wongtee Plaza in Futian CBD, Shenzhen, China, with one of the city’s main road to the southwest. It is the second art museum-level medical beauty concept store that DOMANI has contributed to Shenzhen after the brand’s first concept store themed as ‘Bright night and gentle dismemberment’. It is also the platinum store with the highest level of equipment and service under the MEUNIER brand.

▼项目概览，Preview © 吴鉴泉

逻辑：以点达面
Logic: proceeding from point to plane

美院大致有两种素描系统，轮廓先行和由点至面。第一种方法往往在大部分基础美院教育中，教师会鼓励学生用6B铅笔进行比例遥测扫描和放样，此方法的好处是形态上有大致的准确和平衡。但后来的高手常不屑这种规则，在熟练掌握了各种动静物态的比例和放样关系以及笔感后，通常在面对特定‘素材’时，他们善捉住最敏感的点，于纸面，落笔即华彩，其余周遭徐徐通铺开来——这种做法，需要极强的经验和预判，好处在于层次清晰，画意精彩。

▼素描稿，Sketch © 吴鉴泉

There are roughly two sketching approaches in Fine Arts Academies, outline drawing and point-to-plane. The first approach is often used in basic art school education. Teachers encourage students to use a 6B pencil as benchmark to scan and estimate certain object from a far distance, in order to achieve approximate accuracy and balance in its shape and proportion. However, this method was gradually eliminated by skilled people who have mastered the proportions and setting out method of various objects, still or moving, as well as the sense of brushwork. While facing certain ‘materials’, they can easily sense the key points and get the essence once they start sketching, with the rest of the picture spreads out accordingly. This approach, which requires great experience and foregone judgement, could create better works with clear intention and rich meaning.

▼徐徐铺展的空间 © 吴鉴泉
The space spreads out accordingly

设计逻辑如上，并无而致。该项目设计逻辑是由点及面进行铺展。始于使用者在一张美容床上的具体行为尺度，空间体感与周边功能配置进行分析和延展。这种设计方法在有限的面积条件下提供了客房极高的空间功能适用性和体验感的平衡，并通过紧凑式的鱼贯型空间构造，创造出内部动线的导向性及延展性和空间体感的戏剧性。

▼空间设计示意
Spatial deign analysis © 东仓建设

Design logic is as above without much difference. The project design logic is proceeded from point to plane, starting from analyzing the specific behavior scale of user in a operating bed, the sensation of being in the room, and the supporting equipments around, then extended. This design method archives a balance between the functionality and the user-experience in the guest room under limited area conditions. Through the compact and consecutive layout of the rooms, circulation pattern grows accordingly to lead the customer’s wander direction and creates an experience of dramatic in the space.

▼美容室，Beauty room © 吴鉴泉

纯白色性配以智能化可控的漫反射光源皆有效的提供了使用者可自由选择的柔和光效，令使用体验更自由及浑然沉浸，同时也提供仪器操作者更安全的皮肤检审光效。而高效率的客房布局释放了大面积的空间予以公区形成更优越的公共体验令‘概念’，有了更充裕的演绎区间。

Inside the rooms, pure white environment features an intelligent, adjustable light system that provides soft diffused light source, to create an immersive free experience, and also a professional light condition for skin examination. And the efficient room layout also frees up a sufficient space for building the public area experience, giving more space to design for concept communication.

▼房间内部细节，Room interior details © 吴鉴泉

概念：乌有山水
Concept: Landscape in Fantasy

《庄子·秋水》讲：非我非鱼。《列子·汤问》对：在山在水。

Happiness lies in the mountains and waters. – Inspired by “Zhuangzi: The Autumn Waters” and “Liezi, The questions of Tang”.

▼（宋）萧照山腰楼观图 / 范宽溪山行旅图
Building on a Mountainside and Traveling on Xi Mountainin, Song Dynasty

以宋萧照山腰楼观图/ 范宽溪山行旅图为例，在宋画山水中多见的留白之水留给后代园景造艺源源不绝的想象。我们拟态图中复现的留白水域及汀型作为室内公区主体，鱼贯式客房设做岛姿，再立石诸样，虚构乌有山水。

Let’s take two famous painting of Song Dynasty for examples, one is Xiao Zhao’s work “Building on a Mountainside” and the other is Fan Kuan’s “Traveling on Xi Mountain”. In the Song Dynasty landscape paintings, waters are always left to be ‘empty’, giving endless space for the imagination of modern gardening. As for this project, blank space in the public area in the store is as waters and shores in ancient paintings, and the guest rooms spread in the pattern of swimming fish crowd are set up as islands, then the rocks appear in between so as to create a landscape in fantasy.

▼平面模型，Layout model © 东仓建设

古篇圣贤讲究哲论，取其些许道理放置进空间逻辑中倒有不少妙趣如添味增。如同东方的空间重在隐喻和含糊，总在无山无水处见山见水，又在小中天处做大循环，其有无间的遐想和大小中的转换是空间越阶形式和时间之上的情志所向。

中国古典园林对这种隐喻和含糊的表达可谓巅峰，古人将黄石做山，洞石做云，自比做仙，池比四海，咫尺间洞天福地。后平安时代的日本人将这种隐喻学习发挥的亦是狠决，取唐宋园林中微末不见的枯山水发展出大海样大河样山河样沼池样苇手样，做汀立岛玩的不亦乐乎。乃至今天区区我等只知枯山水，不知唐宋。

▼拟态留白水域及汀型作为室内公区主体 © 吴鉴泉
Blank space in the public area in the store is as waters and shores in ancient paintings

Ancient articles state philosophical theory of scholars, and we pick up some of the ideas and practice them as we design. Eastern space construction has great interest in metaphors and ambiguities. To create endless reverie and the transformation between big and small space scales are the spiritual intention beyond form and time.

Chinese classical gardens have fully displayed this kind of metaphor and ambiguity. The ancients used yellow stones as mountains and travertine as clouds, and regarded themselves as gods and ponds as the universe, so as to create a fantasy world even in a compact space. The Japanese in the post-Heian period were inspired by certain ideas of metaphor and imitated the Tang and Song style of garden, to develop their representations of sea, river, mountain, marsh and reed that earned greater reputations in the later history. As a result, modern people know more about Japanese dry landscapes rather than the philosophy and techniques of the original Tang and Song gardens.

▼立石诸样，虚构乌有山水 © 吴鉴泉
The rocks appear in between so as to create a landscape in fantasy

诚然园林的风华在如今的土地政策和社会结构下已然不可复现，但其内核的设计观要或可取之一二并置进相关的空间领域。我们在深圳中心上空选择这个有趣的机会和题材来尝试将古典园林概念剥离至仅剩骨架再着以当代极简技法的外衣，试图表现出一个具备游离感，浮动感，‘园林感’的当代室内空间。因抽山抽水，取名，乌有山水。

Under today’s land policy and urban social structure, Chinese traditional garden style is barely exist, yet its core design methodology could be applied in certain space. We have the opportunity to practice the theme over the skyline of the city center to try to combine the essence of the classical garden concept with contemporary minimalist approaches, aiming to build a ‘floating’ garden-like space of freedom and transcendence named ‘landscape of fantasy’.

▼留白之水 © 吴鉴泉
Referring to the empty water area in ancient paintings

礁岛，散落，莫名，几何弧形，有明确的轴角，人作何必比天开。

Scattered islands, inexplicit, geometrical arcs, and explicit interaxial angles. Artificially shaped, ambiguous and abstract, yet realistic is never what we pursue.

▼礁岛
Scattered islands © 吴鉴泉

▼坐望处 © 吴鉴泉
Scenes in eyes when one sits and sees

▼小池，咖啡，看云，照红妆 © 吴鉴泉
Pond, coffee to sip, admiring clouds and enjoying makeup

技法：隐蔽的斟酌
Techniques: second thought of hiddening

从设计技法角度，‘极简’意味着从设计初期即对于可能性的材料与工艺有高度系统性驾驭感。我们常把这种驾驭感粗糙的理解为‘收口’，以至于‘创作’‘材料’‘工艺’这原本相辅相成的系统性三点之间被片段式的斩裂。

人们总乐衷于赞颂‘要去倾听每一颗石头自己的声音’这种低智化的呓语，却避免通过复杂深刻的洞悉去触碰当材料更趋近一种学科时的“系统性”。

As a design approach, Minimalism means a high sense of systematic management over materials and techniques from the very beginning of a design project. This sense of management is often roughly understood as a well-perform of construction in details, yet design, material and technics should not be considered separately.

People always admire the phrase of ‘Listen to each stone’s own voice’ to emphasize the characteristics of each independent materials, not seeing the systematic of material construction as an mature discipline.

▼意外的虹光，魔幻二氧化硅
Unexpected reflexion, fantastic silica © 吴鉴泉

空间创作中‘材料’属性的拿捏约近于空间质感的裱涂，它表达‘创作’并决定‘工艺’。在材料属性中，平滑细腻不带肌理的黑，白，镜，透明四类材质在空间应用中都属‘虚无’，诚然有不同态度倾向，但基本都在‘无语’或‘沈默’中。而四种材料的应用工艺体系都最为精难。难在一旦抛去材料肌理色相看点，则注意力被全然集中于空间结构和物理工艺精度。

Material in space design is the texture of its tone, expressing design concept while deciding technique. There are four types of material refer to ‘nothingness’ with smooth finishing, black, white, mirror and transparency. Even though they represent various attitudes, they are telling the same story of ‘silence’. Also, the relevant construction techniques are the most difficult. With the absence of color and texture, structure and workmanship in the space becomes the only focus-point.

▼材质细节，Materials © 吴鉴泉

一个要塑造强沉静感的异弧型空间中，‘无语’之材料无疑是上选，但其代价是深化过程和开版精度中成倍提高的精确性和材料损耗的可能性。虽然在空间基础弧度上有一定的模数可依，但具体的排产精度和运输安装的可能性损耗控制则对项目工程方的能力是一个不小的考验。不论横平竖直的基础精度也不论不同材质间沉缝沉槽的普遍内向型收口，不论超薄墙体的隔声技术与隐蔽工程难度，只看在客房内供人仰望的鱼型半光膜天花的精度，便可知在该项目中，空间设计疏朗通达与工艺落地之精道磨合到了一个相当平衡的状态。

There is no doubt that a material of ‘wordless’ is preferred in a irregular curve space to shape a strong sense of silence, but at the cost of the raising accuracy requirement of developing, molding and the possibility of material loss. Although there is certain modulus of the fundamental radians of space, the virtual production process and the of potential loss of transportation and installation is still a big test for the construction team. Not mentioning the precision of fundamental horizontal works and the general embedded type of the finishing between different materials, or the sound-proof requirement and hiding constructural structures against the ultra-thin wall, only by the well-finished fish-shape light film could see the advanced balance between design and construction in the project.

▼鱼型半光膜天花 © 吴鉴泉
The well-finished fish-shape light film

极致设计意味的不仅仅是概念上的张弛华丽，还意味着落地技法上的冷静斟酌。从资本前测准备，设计概念，到工艺系统的定型，工程资源匹配，造价控制，但凡出色之作，无论大小，必然闭环井致。

Ultimate design means more than extraordinary and imaginative concept. It also relies on a rational consideration of implementation, starting from funding and design concept, to systemic technical planning, construction resources matching and budget control. An outstanding work regardless of scale must be the outcome of a serious of procedures.

▼窗景，Bay window © 吴鉴泉

青山绿水世外桃源处何必园林？园林之妙在乎身处闹市。于周遭市井噪杂处或城市井然间一回转进入某宅，旁门偏出骤然间山水扑面。这是戏剧性。而业内近年常谈及热闹的‘城市山林’本质上亦是如此。不可逆的城市化进程中唯‘山林’可以稍事幻觉已。

There is no need for garden in a natural landscape. The meaningful spot for a garden hides in the middle of a prosperous city, which provide a sense of drama. And that is the reason why the industry is obsessed with the concept of ‘urban forests’ in recent days. It is the only way to build a fantasy in the endless process of city development, even if it is a fragile one.

▼休息区，Seating area © 吴鉴泉

如你驱车半响到达拥堵闹市中心某著名的写字楼，在森然华丽的智控电梯中来到城市半空，徐徐间入，迎面一席白色山水，缓缓在狭缝中绕行于礁岛，慢，踱步向不那么直白的城市宏阔远景，或可进入鱼腹小室略作栖息酣梦后旋即再杀回远处地平线内的日常汹涌……这还是戏剧性。

我们匮乏的‘园林’其实是一种人生必要戏剧性，它的重点在于可选择的阶境跨越。好在，我们总因匮乏而热衷。

Imagine, as you drive through the traffic jam to a renowned building in the city center, ride in a gorgeous, intelligent elevator then slowly walk in to the sky. A white landscape greets you. As you wandering around the islands, an ambiguous scene of the stretching city gradually unfold. Or you can enjoy a piece of rest and peace in one of the fish-shape rooms before falling back to the ground of realist routine in the city. This is drama we create.

The gardens we lack of and therefore we seek, is actually the drama in life, a chance to be descendent. However, the passion we have, fortunately, grows in the certain lack.

▼展示区
Showcase © 吴鉴泉

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