大师之家概念展示
2020年11月23日

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IDC国际设计家年华


34.png   扎哈·哈迪德设计 Zaha Hadid Design 


简介


Zaha Hadid Design由Zaha Hadid在2006年创立,并由Woody Yao和Maha Kutay共同带领设计团队。Zaha Hadid Design在每个新作品的设计中都延续了扎哈独具创意的方法论和研究过程,传承了她的理念和表达了它在当代艺术交流中的重要性。



Zaha Hadid Design将其40年来在照明、家具和装饰方面的研究融入前沿的设计中。ZHD的出品覆盖了设计行业的各个领域,包括时装、珠宝、限量版家具、室内设计、展览设计以及布景等等。ZHD突破了当代设计的边界,与全球最受瞩目的品牌进行合作,不断探索新技术与新材料的可能性。



NOUS | ZHD的“未来之家”理念阐述

——IDC国际设计家年华2020-2021 扎哈·哈迪德设计之家


扎哈·哈迪德设计机构(ZHD)的“未来之家”展馆是专门为2021年国际设计家年华而打造的,此家年华的主题为“生态智慧·面向未来的家”。本项目为广州海珠湖公园的翻新和改造提供支持,其目的是通过创新理念和技术拥抱未来。海珠湖公园处于优越的位置,它代表了广州人努力奋进的传统。在中国,海珠湿地是位于中心城区的最大生态湖,也是唯一的湿地公园。在我们的设计方案中,通过一个临时展馆,展示广州出色的建筑和工程能力

ZHD长期致力于高品质生活空间的设计,尤其是探索新的家庭建筑模式,以及重新定义“未来之家”理念。本届国际设计家年华为我们提供了一个难得的机会,通过这个小规模的设计项目,检验我们的理念。在设计过程中,我们以“生态智慧”为依据,在长期疫情的背景下,融合了不断演变的建筑设计理念。本项目同时考虑功能和效率,在追求美观和谐的同时,尝试以新的方式提升建筑的可持续能力,并为人们的生活创造更多便利。

n Future Home pavilion ‘Nous’, specifically designed for the International Design Carnival 2021, celebrates the theme ‘Ecological Wisdom for Future Home’. The project endorses reinvention and improvement on an urban park scale and welcomes the future with innovative ideas and technologies whilst referencing the original and unique location of Haizhu Lake Park. An integral part of Guangzhou city’s ongoing tradition of bold plans and big dreams, Haizhu Wetland is the largest ecological lake and the only wetland park in a city centre in China. Our design continues Guangzhou’s renowned tradition of cutting edge architecture and engineering, at the scale of a temporary pavilion. Zaha Hadid Design studio has a longstanding interest in the design of spaces for living, in particular in reinventing the contemporary model of the home, and revisiting the Future Home concept - IZaha Hadid DesigDC was a unique opportunity to pursue this line of work by experimenting on a smaller, more temporary scale. Embracing the ‘Ecological Wisdom’ theme, responding to the ongoing pandemic and the shift in the way people perceive housing design, the project merges form, function and construction efficiency together, creating an elegant, cohesive whole and proposes a new, more sustainable and flexible ‘way of living’.


在Nous展馆的设计中,重复使用同一个部件,对其进行镜像和旋转处理,从而形成一个雕塑外壳结构,展示生态和可持续发展主题。这种设计不仅能最大限度提高展馆的结构和材料效率,而且还可以优化制造和施工过程。这种独特的单部件设计方案,其灵感源自一个极小曲面研究项目,并采用了称为iWP的三周期极小曲面建筑构件,其特点是可以在三维空间内无限重复使用,从而营造各种各样的空间组合。

 Nous pavilion enhances the ecological and sustainability theme by defining its sculptural shell by the continuous repetition of one single component through mirror and rotation, thus maximising the pavilion’s structural and material efficiency and optimising its fabrication and construction. The unique single component is inspired by and draws from an extended minimal surfaces research project and is based on the smallest integral element of the triply periodic minimal level surface called iWP, characterised with infinite repetition in the three dimensions and unlimited spatial possibilities.


ZHD“未来之家”的空间形态是基于四个重要的整体质量标准而设计的,这些标准包括:通用、健康、安静、以及内涵,它们反映了当代家居的复杂和精致。

在“未来之家”中,“通用”的含义是为学习、研究、工作和锻炼提供合适的空间。这是一种创意、开放、灵活的空间。

“健康”的含义是借助水和灯光流体美学设计,创造宽敞、愉悦、舒适的氛围。

“安静”的含义是通过创造没有噪音的环境,使人能够安心休息、沉思、入睡、或产生灵感。

“内涵”是家居的核心理念,使室内和室外的所有空间彼此融合。

Nous“未来之家”强调了多元化的建筑理念,在私人和公共要素之间,开放和封闭之间,垂直和水平之间,光与影之间达到平衡。它与外部环境融为一体,与自然保持统一。它使家成为我们可靠的保护者,给我们带来健康、活力。与此同时,借助可持续发展材料和技术,达到更好的环保效果。 

在当代社会,我们的需求越来越多,而家则可以满足我们的各种需求,这种作用比以往任何时候都更加明显,比如与家人相处、工作、学习、锻炼、补充营养,都可以在家中完成。ZHD的Nous“未来之家”通过创新、和谐的设计理念,满足我们的这种需求。

The spatial organisation of the ZHD Future Home revolves around four essential and holistic qualities defined by the intricacy and complexity of living today. These four areas are Versatility, Wellness, Serenity, and Core. Versatility in our Future Home allows a place to learn, to study, to work and to exercise. It’s a creative, open and flexible space. Wellness is defined by the fluid aesthetics of water and light. It allows for a place of comfort, mind, and wellbeing. It’s a live, fluid and spacious area. 

Serenity is described by the more spiritual aspects involving Synergy and Sensibility. It’s a relaxing and calming space to sleep, dream, meditate, recharge and be inspired. The Core Area is the central inter-connecting spine of our home, bridging all spaces together and drawing the interior outside and the exterior within. ‘Nous’ Future Home enhances and accentuates the juxtaposition and the balance between personal and public, exposure and enclosure, vertical and horizontal, shadow and light. It finds connection with the natural surroundings, inviting nature within the home. As such, our home becomes a natural haven, an oasis of health and well-being, and protects the environment, employing sustainable materials and technologies. The home, more than ever, accommodates the new, diverse and challenging demands of contemporary life, with family, work, school, exercise, relaxation and nourishment simultaneously happening in one single place, and ZHD’s ‘Nous’ Future Home acknowledges and rises to this challenge in an innovative and harmonious manner.

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   藤本.jpg          藤本壮介 Sou Fujimoto




简介

日本最有才华的建筑师之一,他在2000年创建了藤本壮介建筑师所,同时担任日本京都大学、东京理科大学、昭和女子大学的客座讲师。

曾获得(建筑评论)大奖,2008日本建筑家协会大奖,2008巴塞罗那世界建筑节一等奖,2009年(Wallpaper)大奖。

藤本壮介经常用“原始”形容他的作品。他把建筑实践看成是探索世界和人道的一种方式。


House as Forest森林之家

 ——IDC国际设计家年华2020-2021 藤本壮介之家


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在高度城市化的今天,人类的居住空间在不断地被重新定义。城市化垂直化发展,将现代都市变成了钢筋混凝土的森林,日常的生活空间被切割与压缩。同样地,在这样数字化的时代,传统的居住空间被期待去承载更多的社会意义,来创造更多的个人世界的自由。未来的人们如何去处理自然的、生态化的居住需求与社会发展中城市化背后的新时代的关系?相较于上个世纪以及二十一世纪初的城市化,建筑与自然的剥离,未来的建筑不再是仅仅提供一个坚固的、封闭的居住场所,正如森林之家所表达的一样,会以更加开放、灵活的姿态作为城市与自然的调和剂,允许环境多样性的存在。

自然的森林拥有复杂多变的环境来容纳各种各样的动植物。不具备明确的边界,生活在其中,每一种生物都能找到对应的、适合自己“密度”的地盘。换而言之,森林之家作为人类未来居住的场所探索了自然的这种规律。通过不同密度的空间变化,各种人类活动与居住功能在其中找到合适的机会,并存、相互激发。

随着社会环境中不确定性因素的不断增加,现有的传统住宅模式所提供的生活方式将满足不了未来人类新的生活可能性的需求。与非黑即白式的传统公共与私密的关系,未来之家探讨了一种自由式的、模糊了传统边界的一种生活体验。森林之家中,树干取代了过去实体墙的围合所造成的鲜明的二元对立,空间在此刻变得更加的中立,提供了无限生活体验的可能性。

森林之家包含了一系列的生态循环系统,包括水循环、碳循环,使得建筑本身能够很好地融入周围环境之中。在融合的过程中未来之家更像自然本身,开始呼吸,开始积极地与场地周围的环境发生对话。因而,在此刻,家的概念被拓展了,不再仅仅是人类的一个居住空间,而是作为自然的一部分,与大自然共同呼吸。


Today, our human living spaces are becoming much more forest-like environment as a rapid development of technology goes. However, compared to nature forest that a lot of various species can live, urban forest provides artificial areas only for human being. Understanding this key restriction, we should deeply consider what kind of problems exist now and how our future living environment should be. Acknowledging the importance of ecological issues to make better sustainability of our society, relationships between human, nature, and architecture will become more crucial in the near future. Thus, compared to the present situation, ‘house as forest’ will not be a solid shelter anymore for only surviving, but it’ll be more flexible envelope to allow diverse environments.Forest itself has a lot of environmental conditions that allow living for almost all species. There are no clear boundaries, so only different kinds of density exist which means each species can find its own proper place. In other words, the house as forest provides full of opportunities for people to behave by finding this kind of nature’s law for themselves. Thus, various activities and programs can be created by residents.

As our society goes to more undefined environment, current lifestyles based on the present home layout will not fit well to human being’s satisfaction in the future. Rather than the black and white relationship between private and public, spaces in gray-scale will allow much more latency for people to choose what they want in each area. In House as Forest, tree trunks function as divisions between spaces, not as solid walls, so the whole space becomes neutral.House as Forest consists of three types of nature that are smoothly blending into surrounding environment. As the future home as more nature itself, the architecture will fully react to site contexts and start taking a breath within and without. Therefore, a notion of home can be expanded that it’s not just for living space to human, but it functions as a part of natural environment.

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                                  何多苓.jpg                      何多苓   HE DUOLING


HE‘S HOUSE如景廊

——IDC国际设计家年华2020-2021 何多苓之家

我和建筑的渊源始于三十多年前。90年代,我请好友建筑师刘家琨帮我设计了第一个工作室,这次合作也为我打开了一个新的世界之门。与绘画不同,建筑是一个艺术与技术结合的行业,掺杂着与天斗与地斗与人斗与自己斗的挣扎和磨砺。开始的时候,我是自己的假想业主,尝试了一些纸上建筑脑内建筑,给自己一份任务书,学习各种建筑制图,像建筑师一样思考推敲。这种思考过程和绘画看似大相径庭却又异曲同工。大概10几年前,我获得了一次真正挑战建筑的机会,设计了蓝顶工作室,再后来,又在蓝顶盖了一个美术馆放自己的画。建筑于我,终于不再是纸上谈兵。

My story with architecture traces back to over 30 years ago. In the 90s, I invited my architect friend Liu Jiakun to design my first painting studio. This project has opened the door to a whole new world in front of me. Unlike painting, architecture is an industry that combines art and technology. The designing process is mixed with struggles and challenges between nature, human society, client and designer. At the beginning, I was the hypothetical client for myself. I tried to design buildings in my head or on paper. I would put together a list of requirements, learn to make architectural drawings, and design like an architect. This kind of thinking process is different yet similar to painting. About 10 years ago, I got a chance to design a real building – my own studio in the Blue Roof Art District. Then a few years later, I designed my second project – a gallery for my own paintings. For me, architecture has finally gone beyond paper.


在接受到这次邀请后,我就一直在思考,从树丫到棚屋,从窑洞到别墅,亘古以来人类对家的思索从未停止,而我心目中理想的家到底是什么?

From trees to sheds, from caves to villas, people have never stopped thinking about the definition of a home. After being invited to join this exhibition, I keep asking myself: what is an ideal home for me? 


我理想中的生活是一个单纯的生活。那可以容纳这个单纯生活的家,就是所有基本需求加起来的样子,没有多余的装饰和繁杂的功能,是一个除却所有繁复、抛开全部累赘的地方;这个家应该是一个动静结合,有开有闭的场所;作为设计周的一个展览空间,这个建筑还需要承载有公众参与的功能要求,用参观动线串联了室内室外空间、串联了庭院和屋顶花园,使其成为一个容纳社交、休憩和思考的空间,让人们在建筑中可以按照线性路线依次参观各个房间、庭院,也可以在建筑和庭院中驻足停留,感受光影和时空的交替,与室外环境相交流。我还设想将今年在疫情期间创作的油画也放在这个家中,将建筑与绘画都作为展览的主体同时展出,就像远古的人类居住的岩洞那样,那里既是人们为了遮风避雨而选择的最初的建筑形态,也有人们为了记录生活日常而在岩壁上留下的壁画。因为受到疫情防控的影响,原来的施工阶段的工作暂缓,因此这个理想的家还处于“纸上建筑”阶段,作为未建成的建筑展厅中展出,通过设计图纸、多媒体动画、3D模型,把我脑海中的理想之家提前传达给大家 – 一种返璞归真的生活,一个洗净铅华的场所。

My ideal life is a simple life. A home to accommodate this simple life would be a combination of all fundamental life requirements. There will be no redundant decoration or complicated uses of spaces. It is a place free of burdens and complexities. It should be both dynamic and static, both open and enclosed. As a part of an exhibition, it should also invite people to participate in and communicate with the building. Indoor and outdoor spaces are connected by a corridor, with a courtyard, a porch and a roof garden inserted here and there, making it a place for socializing, resting and contemplating.

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liuxiaokang.jpg                刘小康    Freeman Lau Siu Hong 

 简介

1958年生于香港,刘氏曾获国内外设计及艺术奖超过300项。

2004年,刘氏为屈臣氏蒸馏水设计的水瓶,更创下他设计事业的里程碑,为他带来"瓶装水世界"全球设计大奖"(2004)及"十大杰出设计师大奖"(2006)等殊荣。 设计领域外,刘氏也致力推广艺术及设计教育,同时兼任香港设计总会秘书长、香港设计中心董事会成员及中国设计大展学术委员会成员等公职。


知竹生活馆

——IDC国际设计家年华2020-2021 刘小康之家

刘小康策划"知竹生活馆"的概念,源自2011年"北京第一届国际设计三年展"中他策划的"知竹"展,当时搜集并展出了全球二百多件竹产品及建筑设计。 自此之后,刘小康仍然一直继续研究竹文化和现代设计的关系。这次刘氏为国际设计家年华所策划的"知竹生活馆",更邀请了陈飞杰和罗成两位好朋友加入策展,共同打造一套以竹文化工艺为基础,结合崭新制造技术和生物科技的家居设计和建筑,为应对全球新常态的出现,创造一套适合中国以至全球的"匠. 智. 活. 乐"的生活方式。 

传统中国人的日常生活与竹息息相关,苏东坡於1094年写道"食者竹笋,庇者竹瓦,载者竹篾,爨者竹薪,衣者竹被,书者竹纸,履者竹鞋。 真可谓不可一日无此君也。"说明竹在一千年前开始,已经在古代中国人的日常生活中占据非常重要的地位。苏东坡更进一步赞扬竹所反映的文化精神:"宁可食无肉,不可居无竹。无肉令人瘦,无竹令人俗。人瘦尚可肥,士俗无可医。",显示出竹的悠久文化精神深入士人骨髓。 

人类的生活素质在当代发展下急速提升,但同时面对史无前例的环境破坏、资源短缺等挑战,因此竹作为一种环保与可持续发展的天然资源变得非常可贵。与木材相比,竹的成材率更高,生长周期更短,二氧化碳的排放量更低,生产成本更低,是更加可持续发展的天然原材料。而不同种类和特性的竹,可广泛应用在不同范围,如建筑材料、家具和生活用品等等。 

IDC 今年主题是未来家居生活,而"知竹生活馆"亦围绕"竹"这主题搜集和创造多个系列的生活产品与家具,突显竹制造的匠心工艺。通过工"匠"的艺术性,结合"智"能、健康家居的概念,利用崭新技术打造出面对当代新常态,时尚、健康、优雅的生"活"方式,达到知竹常"乐"的境界。


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     梁志天.png             梁志天    STEVE LEUNG


简介

国际著名建筑、室内及产品设计师

梁志天设计集团有限公司创始人

国际室内建筑师/设计师团体联盟(IFI)华人主席(2017-2019)

国际著名建筑、室内及产品设计师梁志天于香港出生,是室内设计奥斯卡 Andrew Martin International Interior Design Awards 2015 年“全球年度设计师”的得奖者。他以现代风格见称,善于 把亚洲文化及艺术元素融入设计,诉说每个作品背后的思路及故事,并重申设计提升生活素质的本义。


TIEN HOUSE天舍

——IDC国际设计家年华2020-2021 梁志天之家

“天人合一,与大自然共生” 是建设可持续发展环境的共同愿景。设计师既有着引领生活、改变社会的使命,梁志天及设计团队遂以“天舍” 作为其未来之家的体验馆,带领大众透过设计,共同反思人、生活与大自然的关系,以感官探索结合自然与科技的无限可能。

 

“天舍”坐落于全球第一大的城市湿地公园——广州海珠湖公园的内核,面朝湖泊,是候鸟栖息之地。设计师以简洁线条、纯净的白色,一横一直勾勒出天舍的轮廓,犹如白色悬浮的盒子置于花海之中。白色的房子设有三面巨幅落地玻璃窗,把自然光与景致迎入室内,模糊了室内外的界线,让人与自然于日夜之间展开更多的对话。

 

房子入口靠近家年华的人流路线,室内空间布局主要分为两大区域。从入口经过过渡区到达以涵盖生活的四大范畴 —— “衣、食、住、行” 为主题的首区。贯彻整体的设计风格,此区沿用白色为主调,并以天然、环保或再造物料制造的简约装饰或艺术装置作为每个范畴的焦点,让废物重生,同时让到访者以多感官感受融入自然的环保生活,探索大自然的可塑性与无限可能。第二区域为智能家居体验厅,备有多功能、可因应需要切换不同模式的现代科技,呈现节能减废的低碳智能居家生活。天舍出口处设有台阶连接户外,成为多功能的户外互动区,让到访者于日与夜的光影流转间,细赏花开花落,倦鸟知还的景致。

设计师考虑到活动周期和地理条件,因地制宜,致力做到绿色设计。在建筑设计方面,采用可全数回收的钢结构系统,安装简便快捷,能缩短施工周期,减低对生态造成的影响;外墙选用可多次拆卸重组的主要建材,避免浪费;墙身采用备有隔热功能的纳米涂料,能自行调节室内外的温度,达至节能环保的效果。室内设计方面,运用对流窗与屋顶的天窗,形成天然通风系统,加强室内外的空气流动,有效降低耗电量,同时提高舒适度。

我们以设计实践,表达对的未来生活理念、构想与期许,让我们一起谦卑地聆听、感受大自然的呼吸脉搏,学习与自然,互相滋养,共融共生。


“Future Home”, the highlight of the debut edition of “International Design Carnival”, in which eight globally acclaimed architecture and design masters are invited to craft eight different houses with the purpose of embodying the event’s main theme of “Ecological Wisdom for Future Home”. 

 

“Harmony between man and nature, co-living with the surrounding environment” is our mutual vision for building a sustainable environment. Designers have the mission of leading life and bringing positive changes to society. In this context, Steve Leung and his design team created “Tien House” as a modern experience centre where visitors can explore the endless design possibilities of nature and technology integration through their senses, re-thinking our symbiotic relationship with Mother Nature. 

 

Nestled in the world’s biggest urban wetland park, “Tien House” faces an immense lake where migratory birds find their natural habitat; defined by clean lines and stark white, it appears like a luminous floating box embraced by a sea of flowers. Three of four sides of its architecture feature unobstructed full-length glass doors that blur the indoor and outdoor boundaries, allowing natural light and scenery to generously flow into the space, igniting more interactions between man and nature. 

“Tien House” spatial layout radiates around two main zones: located just next to IDC main route, the entrance leads visitors to the first area themed as “Clothing, Food, Housing & Transportation”. Aligning with the overall design style, the interior is predominately in sheer white, adorned with minimalistic décor and art pieces made with natural or upcycled materials: ordinary waste is brought to a new life, revealing the limitless possibilities of Mother Nature through a multi-sensory and eco-friendly lifestyle approach. The other area conveys a smart home experience showcasing how to achieve a low-carbon life with energy saving and waste reduction by employing flexible and multi-functional technology solutions. Connected with the exit, the staircase gradually reveals an outdoor interactive area that immerses visitors in a beautiful dance of lights, shadows and everchanging natural scenery. 

Considered the geographical location and the exhibition period, the designer strived to realize a green design by minimizing the destruction impact against the natural environment. A recyclable steel system easy to install and dismantle has been adopted, reducing the construction time and waste; eco-friendly and reusable materials have been featured in the exterior, helping to avoid unnecessary waste; nano paint with heat insulation functions has been utilized in the interior to save energy by regulating the indoor and outdoor temperature; the overall air circulation has been further enhanced by employing roof and cross-ventilating windows to create a natural and comfortable aeration system that little relies on electricity. 

“Tien House” conveys our design vision and desire for a more sustainable lifestyle in the future; it inspires to listen humbly to Mother Nature and to learn new, inclusive ways of co-living seamlessly with the surrounding environment.

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 梁建国.png               梁建国    JIANGGUO LIANG


简介

国际著名设计师,当代东方美学的引领者。秉持中国建筑艺术设计国际化理念。一直致力于为客户解决建筑装修全流程问题。善于提供艺术设计的最优方案。由于他提出的253理论,专为新兴贵族量身打造。既包含了中国传统文化的精髓,又与前沿国际接轨,极大融合了中西方设计理念。目前为中国陈设专业委员会理事/创基金理事。获得多项荣誉,包括连续三年获得安德鲁·马丁奖、IIDA举办的第39届和40届IDC大奖、以及美国INTERESIGN杂志最佳评选等国际大奖。


Go Home回家

——IDC国际设计家年华2020-2021 梁建国之家


从中国传统住所中探寻方向

纵观中国几千年的居住形态不难发现,我们的先祖对居住条件至少有一下几点要求:安全感、围合感、独属空间;同时又希望亲近自然有充足的采光。所以,能够同时满足对外防御和对内开放的各式各样的“合院”就应运而生。而“院”这种居住形态就成为了东方哲学在建筑层面的一种集中体现形式。

Exploring from the traditional Chinese residence

We can discover from the multitudinous inhabitation form throughout history that our ancestors required at least one condition from security, surrounding, privacy, as well as being intimate to nature and getting enough sunshine. Therefore, the Courtyard which can be satisfied for both external defense and the internal opening emerged and became more and more sophisticated as time goes by. The residential form of Courtyard has become a comprehensive embodiment of eastern philosophy on the architectural level.


画圆为院,落方成房

承古是为了拓今。为最小化的介入场地,最大程度的保留现场原始草地的自然状态,我们采用“画圆为院,落方成房”的策略。院子被抽离为一种封闭、匀质、连续的围合空间,这种圆形的围合空间内部保留了现有地形及植被。而最小的介入也体现在北侧邻水的房屋上,在满足未来生活方式所必须的空间需求上,房屋的面积被压缩到最小。同时,圆形庭院与长方形房屋交叉处,恰好形成檐下灰空间,该处同时满足了入口、露台、等候等复合性的半私密空间。

Drawing the circle to be courtyard and setting the rectangle to be a house

Inherit the past is to explore the currency. In order to minimize the impact to site itself and keep the nature state of the original grassland as maximally as possible, we adopt the strategy of Drawing the circle to be courtyard and setting the rectangle to be a house. The courtyard is created to be a closed, uniform and continuous enclosed space which maintains the existing terrain and vegetation from the inside. On the other hand, the house next to the water on the north side embodies the less interference of construction, since the area of the house is reduced to the minimum on the basis of meeting the space requirements necessary for future life. Meanwhile, the intersection of the round courtyard and the rectangular house coincidently forms a gray space under the eaves, which become a complex semi-private area that satisfies the function for entrance, terrace and waiting. 


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找回内心深处的“诗和远方”

本次设计的初衷亦是如此,构成、序列、材质、美感等建筑要素并非我们关注的要点,生命、自然、情怀、诗意等精神层面的感受才是我们想重点表达的部分。

寻一处庭院,

与绿水青山为邻,

和光影雨雾为伴,

尽享大自然的恩赐,

这里,有一段至美的邂逅,

一场盛大的清欢,一种韵致,一堂禅修。

溶入纷繁尘世,不染不争,

温润而从容地迎接瞬息万变的每一天。



To find the Poem and Future deep down 

Just as the original intention of this design, we don’t focus on architectural elements such as composition, sequence, texture, aesthetic feeling, as the matter of fact, what we really want to express is the spiritual experience such as life, nature, feeling and poetry. The point is to try a simple way.

To find a peaceful courtyard,

To get close to the blue hills and green water,

To company with light, shadow, rain and fog,

To cherish the gift from nature ,

Where there is a romantic encounter,

There is a spectacular feast, an aesthetic charm, and a meditation for oneself.

To join the impetuous world,With pure and harmonious spirit,

With gentle and generous heart for the changing life. 

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 琚兵.png                琚兵   JU BIN


简介

设计师、创基金理事、水平线设计品牌创始人兼首席创意总监


THE YARD IN THE GARDEN园中院

——IDC国际设计家年华2020-2021 琚兵之家


这是一个与自然对话,与艺术共存的空间。

在公园游览的路线上,你会看到一处当代的建筑隐匿在树丛中。绕过草坪,踏着青石板缓缓向前,入一小口,在前序的廊道中感受婆娑树影、清爽微风,放缓心绪,再入会客、休息、餐饮的空间,延展的院子大而舒朗。茶室是悬浮的玻璃盒子,茗茶观春日朦胧细雨、听夏日吱吱蝉鸣、触秋日凋零落叶,享冬日静谧暖阳。从茶室出来,右转直行便入书房。书房方正宁静,阅读的桌面延伸至自然的光影之中,光自案旁高墙的框内洒落,没有摇曳的树影,只有偶然抬头可见的翠绿青苔。入睡的房间在建筑端头,视角因地面被抬高而更广阔。晨起时,东向的卧室与客厅被阳光唤醒。日暮时,西向的茶室与书房被晚霞拂照。

园中院的名字因园中有院,院中有景而来,当生活回归原本,美好自然而来。

The Yard in the Garden

This is a space for dialogue with nature and coexistence with art.

On the route of the park tour, you will see a contemporary building hidden among the trees. By passing the lawn, stepping on the bluestone slabs and slowly moving forward and through a small entry, you would feel the shadow of the whirling trees, the refreshing breeze, and relax yourself in the front corridor before entering the space for meeting, resting, and dining. The yard is spacious and open. The tea room is a suspended glass box, where you can watch the misty drizzle in spring, listen to the squeak of cicadas in summer, touch the fallen leaves in autumn, and enjoy the serenity and warmth of the sun in winter. Turn right and go straight into the library from the tea room. The library is square and quiet, and the reading table extends into the natural light and shadow. The light spills from the frame of the high wall next to the desk. There is no swaying shadow of the tree, only the emerald green moss that can be seen occasionally. The bedroom is at the end of the building, and the viewing angle is wider due to the raised ground. In the morning, the east-facing bedroom and living room will be awakened by sunlight. At sunset, the tea room and the library to the west are illuminated by the evening glow.

The name of the project comes from the scenery in the yard within the garden as the beauty of life comes from the return to the nature.


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   江欣宜.png                     江欣宜   IDAN CHIANG


简介

缤纷设计L’atelier Fantasia创办人暨董事长 中央美术学院陈设艺术工作室 课题老师


JADE HEAVEN天玉

——IDC国际设计家年华2020-2021 江欣宜之家


透过独有的「发散式美学」理念以及新古典主义与当代融合的设计手笔,将陈设与艺术设计完美结合,备受国际品牌以及高端地产客户推崇。其设计理念由优雅、舒适与幸福三要素贯穿,主修社会学的背景使其作品皆保有浓厚的人文思维。拥有设计师、艺术收藏家、教育投入者的多元身分使江欣宜成为生活美学领域的重要代表人物。


艺术即是生活,过得好,活得美,就是一种艺术。


江宜的图 拷贝.jpg






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