Water Table and Framed Mirror, China by ARCHSTUDIO

Reinterpretation of table and mirror

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水桌
Water Table

自然、生命、与人的违和,一直是我关注的主题,自然与人的关系,人与自然如何对话时常是我思考的问题。当我身处自然中,有时会被自然界中的灵动感动,自然吸引着人与其亲近,人与自然融为一体,人成为自然的一部分。我时常盯着运动的水的轨迹,让我感受到时间、空间、与生命,水桌缘起于我对运动中的水纹的重新阐述,同时介于在二维平面的维度里重现漩涡水纹而达到三维的视错感与运动感,桌面是平整的,不存在真正的垂直的漩涡变化。

I have been focusing on the inharmony among nature, life and human beings, and I often think about the relationship between nature and man, and how people and nature can have dialogue with each other. When I am in the nature, I am sometimes touched by the spirit of nature, which attracts people to be close to it, people and nature are combined into one, and people become a part of nature. By staring at the tracks of flowing water frequently, I feel the time, space, and life. The water table comes from my reinterpretation of the water waves. A 3d visual sense and a moving feeling are achieved through showing the vortex water waves in a 2d plane. The table top is flat, and there is no real change of the vertical vortex.

▼水桌一览,overview of the water table

椭圆的桌面边界界定了漩涡水纹运动的基本轮廓,桌的基本功能定义为几,供使用者盘坐休闲而用,桌的高度考虑到人的视觉尺度与角度变化,在距离变化的阈值之间,视错原理使得水漩涡产生运动的视觉变化,有时急湍、有时孱缓,就似一潭灵动的水,让我们感受其生命,与水互动、与自然对话。人的使用行为人在水桌的设计中成为重要的元素,人的运动带动水桌的“运动”,人与产品的互动正介于此。

The elliptical table edge defines the basic outline of moving water. The table is used when people are sitting aside, so that its height considers the changes of people’s visual dimension and angle. Between the sensory threshold of distance change, the principle of pseudoblepsia causes the visual changes by flowing water vortex, rapidly or slowly, just like a pond of dynamic water that lets us feel it, interact with it and dialogue with nature. Human is an important element in the design of the water table since people’s movement drives the water table’s “movement”, and the interaction between people and product is in the middle of this.

▼人的使用行为人在水桌的设计中成为重要的元素,human is an important element in the design of the water table

桌几选择胡桃木、水曲柳两种不同肌理的木质,深浅木纹交错构成桌面纹理,水纹方向为顺时针漩涡,胡桃木与水曲柳木纹方向为不规则横向山纹,不同方向的木纹肌理变化构成交替的运动感,当我们距离桌面越近感受越为真切。而当我们一旦静止,水纹也会静止,我们会聚焦于天然的木质纹理的细节变化,我们也需要纹理的触感,如同触及平静的水面。

Two different woods, namely, walnut and Manchurian ash were selected for the table. The deep and light lines constitute the texture of the top. The water waves are flowing clockwise, while the grains of walnut and manchurian ash are moving irregularly and transversely, and it is such wooden lines in different directions that creates the alternant feeling of movement, the closer we are, the stronger it is. And when we are still, the lines are still. We focus on the subtle changes of the natural wood texture, and we also need the sense of texture, it’s just like touching the calm water.

▼桌几选择胡桃木、水曲柳两种不同肌理的木质,深浅木纹交错构成桌面纹理,水纹方向为顺时针漩涡;two different woods, namely, walnut and Manchurian ash were selected for the table, and the deep and light lines constitute the texture of the top, while the water waves are flowing clockwise

▼桌面细节,detail of the table surface

 

框镜
Framed Mirror

人与空间的游戏关系在这个作品中成为关键。空间借由立方体与六个面的关系建立起来,同样借助于二维框镜与三维空间的视错转换,框镜时而平面时而立体。

The relationship between man and space is the key in this work. This space is created by the relation between the cube and its six sides, as well as the visual change between the 2d framed mirror and 3d space. Sometimes the framed mirror is 2d and sometimes it’s 3d.

▼框镜其中的一种排布方式,one way of layout

   

参与其中的人的行为成为构成空间运动的元素,框镜由框与镜面组成,框的轮廓内可以为空也可以为镜,工艺上提供自由组装,当人像处于框和镜内,空间相对静止,而当人运动,框的分界线同时剥离了人像的完整性,同时由于框镜模块的组合角度不同,人像在框的边界中产生运动的片段,在变化的视觉映像中构成蒙太奇的镜头切换,映像与映像之间连续而又断续,人在空间游戏中很难准确捕捉到自己想要的映像,需要寻找角度与方向,空间游戏的规则就在于此。

The action of people who involved in it becomes the element of the movement in space. The framed mirror consists of frames and mirrors, whose inside can be empty or inserted with mirror. The frame can be assembled freely, and when people are inside the frame and mirror, the space is relatively static, but when people are moving, the boundaries of the frame divide their portrait at the same time, and as the angles of the combined modules are different, the moving fragments of the portrait create changes of montage images visually, one image connects or breaks with another. It’s difficult for people to accurately capture the image they want in the space game, they need to look for angles and directions, and this is the rule of the game.

▼框镜的另一种排布方式,二维镜框产生了三维效果;the other way of layout, in which the two-dimensional mirror frames become a three-dimensional object

   

框镜有三部分结构构成,三个独立的结构可以自由组合、拼接,空间可以由二维转换为三维,由三个部分组合的形式决定,使用者可以根据使用空间的性质与氛围随时切换框镜的形式构成。框的部分为梨木,梨木质硬、纹理细腻,选择木质框,是为了提升产品的自然归属。同时框镜截面采用等边棱形代替方形,线条扭转面因此增强,加强视错。镜面部分由镜面亚克力代替普通镜面,为减轻镜框重量,同时方便随时变化组装。

The framed mirror is composed of three parts, which can be freely combined and connected. The space can switch from 2d to 3d. Based on the combination of the three parts, the user can change their form according to the nature and of atmosphere the space at any time. The frame is made of pear wood, which is hard and has exquisite texture. Choosing a wooden frame is to improve the product’s natural quality. Meanwhile, the sections of the mirror are prismatic instead of square, so that the torsional feeling of the lines is enhanced and the pseudoblepsia is increased. The mirror is made of mirror acrylic instead of ordinary mirror, so as to reduce the weight of the frame and make it easy to be assembled at any time.

▼框镜截面采用等边棱形代替方形,线条扭转面因此增强,加强视错;meanwhile, the sections of the mirror are prismatic instead of square, so that the torsional feeling of the lines is enhanced and the pseudoblepsia is increased

   

设计者:李晓明
摄影师:金伟琦
Designer:Li Xiaoming
Photographer:Jin Weiqi

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