深圳东西茶室 – 田水月 / 水平线空间设计

有水,有月,有田

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来自 水平线空间设计 对gooood的分享。更多关于:Horizontal Space Design on gooood.
Appreciation towards Horizontal Space Design for providing the following description:

田水月三字本来是徐渭给自己的名画的字谜,说白了不用组一看就知道。但我就喜欢这个意思。有田,有乡土,安稳;有水,便温婉,舒心;还有那月,无论是一弯或半圆,都很入画,像诗。“田水月”本身的有趣,属于耐读的、有趣的、淡淡的。

Tian Shui Yue was originally a crossword puzzle given by a literature giant in Ming Dynasty, Xu Wei, for his own painting. ‘Tian’means fields and land in Chinese, delivering a sense of steadiness and stability; ‘Shui’is water, which is gentle and comforting; There is also ‘Yue’, the moon, which is always as graceful as a piece of painting or poetry, whether crescent or full. ‘Tian Shui Yue’, the word itself, is thought-provoking, intriguing, as well as elegant.

▼茶室内景,interior view

单个拆分开来看,这间不足四百平米的茶室每处也本是一般,只不过有水,布局上有浓有淡,不紧、能待得住罢了。我是将整个空间当园林对待,面积小,功用目的明确,调性自然是更容易掌控些的。整个空间是同一个记忆体,连同那身在其中的自在感一起。我在平面布局上是采用了回游的动线模式,路线不限定,可能性稍微多了一点,空间也因此显得大了些。

When each part of this tea room that is less than 400 square meters is viewed individually, it could be quite common and blend. However, with a layout having both simple arrangement, abundant details, and water flowing through, the space becomes more attractive. I treated the entire space as a traditional Chinese garden: small area with clear functional spaces. In this way, the tone and style of the whole space is easier to control. When determining the moving line, I adopted the migratory pattern, which is widely used in the design of traditional Chinese gardens. With an uncertain route, there are more possibilities for guests in it to explore, and the space would become seemingly larger.

▼水是空间的主要元素,water act as the main part of this space

水只一汪,占的面积倒不小,可以解释为池塘、湖泊或胸襟,內里躺着块和进门口一样的砚台石。其实这石与普通山石之间的细微差别处一一讲出来意义也不大,但我就是觉得那更能汇集住某种气息,平衡好整个空间的重力体系。水是内循环,自然是会流动的,但流动得并不明显,倒映着上方所有的光影,很平静。在水边细看能见着因铜板阻隔而现的涟漪,不断变幻着模样层层往下溢。侧面的那一溜黑色水洗石是可以用于演出的,宽窄适中,像T台。看客可歇息在近处的木踏步上,看得清,能互动,便于入戏,然后入迷。我很喜欢这种微距离的观赏,感觉更人文更亲近些。如果是独处栖坐,想来也是不错。

The water in the tea room could be considered as a pond, a lake, or one’s breath of mind. An inkstone table lies in it, which seems to me, has the power to bring together a certain atmosphere and balance the gravity system of the entire space. The water is in the inner circulation and could flow naturally. However, the movement is not obvious, so it seems calm and serene with reflections of all the lights and shades above. Standing by the pond, one can clearly see the ripples being generated when water flows and hits the copper columns and disappear gradually. The black washstone panel by the pond could be used for performances, the width of which is proper, just like a runway. Standing on the nearby wooden steps, the spectators could rest, watch, interact, and immerse themselves in the environment. I like this kind of micro-distance viewing. It feels more humane and approachable. Even if one comes alone, this could be a memorable experience.

▼侧面的黑色水洗石可以用于演出,the black washstone panel by the pond could be used for performances

天花上几乎没有光,我的本意是尽量去解放了光,在墙角、墙上、墙面,以点、线、面的模式搭建成了整个空间的光的语言,水内的倒影再以低几个亮度的光线去补充,这样便随着整体的明暗关系生成了想要的空间意境。视线是不用向上的,人本身就不会老仰着头往上看,一来刺眼,二来总会有躲不开的阴影,现在这样更自然。光源本身就应该是空间装饰的一部分,人影绰绰,轮廓清晰,甚是美丽。其实这样设计的原因还在于此地的基本条件——没有任何的窗。没有天光的环境其实本身是有点压抑的,但借着人为的这般“水月”意象,空间的自然观感被带了出来,变得能待且能待得住了。

There is almost no light on the ceiling. My intention was to liberate the light as much as possible, so the patterns of spots, lines, and planes are applied in the corners and on the walls to construct the language of light for the whole space. The lights above the water have relatively low-illumination. People do not always look up since the light coming from above could be dazzling and have inevitable shades, so the current design is reasonable and natural. The contrast of lights and shades completes the artistic conception of the space. The adoption of this design is also due to the basic condition of the space: it has no windows. Thus, we built this artificial scenery with water and ‘moon’ in it to lessen the depressing atmosphere, remind people of nature and make them willing to stay for longer.

▼在墙角、墙上、墙面,以点、线、面的模式搭建成了整个空间的光的语言,the patterns of spots, lines, and planes are applied in the corners and on the walls to construct the language of light for the whole space

▼水内的倒影再以低几个亮度的光线去补充,the lights above the water have relatively low-illumination

画和雕塑都属于一种需要场景放置的东西,说不清到底是画影响空间的气场,还是空间影响对画的感官,当然更应该是互为因果相互映衬的。我收藏的一幅中国意向的绘画不足一平方米,在未挂上墙前,只觉得不错,而放置在那位置上后,顿时气场放大了数倍,视线很难从画面上挪开,总想在其中看出个所以然来。为这个空间专门请艺术家定制的雕塑静默在璧龛里,掌管着方圆十几米的气枢。我很喜欢空间内有着艺术品的映衬,并且一直认为其是构建空间美学的一大重要组成部分,而形式自然是可以丰富多样的。例如水旁那张清末的塌,休息区的画,和音响构建在一天起的灯,大瑞的东方意向的家具,我四年前收藏的老金砖等。

Paintings and sculptures are objects that need to be placed in a scene. They and the space, have mutual influences on each other. For instance, one of my Chinese painting collections, which is less than one square meter, immediately seemed larger and gained the enchanting power that makes people want to stare at it once hung up on the wall. The sculpture specially created for the space stands still in a niche and controls the aura with a radius of ten meters. I like having art pieces in a space, and I always view them as important elements for constructing space aesthetics. The forms of the artworks can be varied, such as the couch made in Qing Dynasty lying by the water, the painting in the rest area, and the lights built together with acoustics, oriental furniture designed by Da Rui, and the old golden bricks I collected four years ago, etc.

▼饮茶区,tea room

▼空间工艺品陈列细节,the artworks

      

当然其中还有别的细节去补充,例如那没砌满借以透光令气息游走的墙,嵌入放置茶室主人找寻、定制的茶类用具的金色置物架,几处看似随意摆放的绿植,看见便有点手痒想写两笔的留墨台……还有选好但需留意才能听清的背景音乐,水前放置的本来就可以去弹的乐器,以及配好的熏香等等。这本是一个纯以照顾第六识的空间,眼耳鼻舌身的种种好感,其实只是顺带了。

Of course, there are more details to explore: the walls that are not fully covered intentionally, allowing the light to travel in the space; the embedded gold shelves with customized tea utensils collected by the owner of the tea room placed on them; plants that seem to be casually placed in the space; a calligraphy table which makes one want to sit down and write something; the background music needs to pay attention to be heard; the musical instruments that can be played by guests; and the aroma that is well selected. This is a space designed purely for spiritual satisfaction, and benefits the senses of sight, hearing, smell, taste and touch as the same time.

▼水前放置乐器,the musical instruments that can be played by guests

▼前台/走廊,reception/corridor

   

▼平面图,plan

项目名称:深圳东西茶室 | 田水月
项目类型:茶室
竣工时间:2017年12月
室内面积:320㎡
主案设计:琚宾
项目设计:潘琴超、郭达宇、胡凯、刘小琳
项目撰文:琚宾
项目摄影:夏至

Location: ShenZhen, china
Type: teahouse
Completion year: 2017.12
Site Area: 320㎡
Design Company: Horizontal Design
Lead Designer: Ju. Bin
Design group: QinChao Pan, Dayun Guo, Kai Hu, Xiaolin Liu
Article: Bin Ju
Photography: Zhi Xia

More: 水平线空间设计 / Horizontal Space Design 更多关于:Horizontal Space Design on gooood.



发表评论

7 评论

  1. 整体的调调不觉太暗了么?感觉坐在这种色调的空间里会不舒服吧。。。除了灯光,还是一个很不错的空间作品。

  2. 这相对密闭的空间里面有水,湿气会不会很重

  3. Profile photo of LEE

    为什么我的甲方没有这个层次的欣赏能力呢

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