予美组设计丨山了展厅，具象的浪漫

摘要：文明的特征随着时代的变迁，总能生成相异的面貌，所以，一个时代只属于一个时代。延续其间的内核则是东方所谓的“道”，遵循自然的法则、规律，顺势而为。相对于“设计”，在古时我们更愿称之为“造物”和“开物”，它是一种因循物性的创造法，进而发展成一种世界观，一种审美的追

文明的特征随着时代的变迁，总能生成相异的面貌，所以，一个时代只属于一个时代。延续其间的内核则是东方所谓的“道”，遵循自然的法则、规律，顺势而为。相对于“设计”，在古时我们更愿称之为“造物”和“开物”，它是一种因循物性的创造法，进而发展成一种世界观，一种审美的追求。

The characteristics of civilization can always produce different faces as The Times change, so an era belongs to an era. The core of the continuation is the so-called "Tao" in the East, which follows the laws and laws of nature and follows the trend. Compared with "design", we prefer to call it "creation" and "opening things" in ancient times. It is a kind of creation method that follows the nature of things, and then develops into a world view and an aesthetic pursuit.

DESIGNER

张志军 Zhang Zhijun

建立一种独属东方的、当代的
和极简的生活美学体系。
Establish a unique Oriental, contemporary
and minimalist aesthetic system of life.

METAPHOR

隐喻，当代写意

位于惠州翠竹四路一侧的山了展厅，由四间相邻的商铺打通、重组而成，从门厅进入，曲折迂回，能到达室内各处，同时沿垂直路径可上二层。原本各自独立的店招被统一归置，呼应品牌的产品属性，以红洞石为表现媒介，通过“圆”建立新的外部形象——构成窗景和虚实的对比，富有层次。

Located on the side of Huizhou Cuizhu Fourth Road, the Shanliao exhibition Hall is formed by opening up and reorganizing four adjacent shops. Entering from the foyer, it twists and turns and can reach all parts of the interior. At the same time, it can go up to the second floor along the vertical path. The original independent store was unified, echoing the brand's product attributes, with red cave stone as the medium of expression, through the "circle" to establish a new external image - a contrast between window scenery and virtual reality, rich levels.

对应每一个圆，将“灯笼”的传统形态被解构之后以方形的外观分布在上端，简洁的几何线条勾勒出基本的物理轮廓，内藏灯具，照亮局部立面，渲染氛围。在东方的语境之中，“灯笼”除了照明的功用之外，更有着美好的文化寓意，其序列的排布形成一种独特仪式，欢迎每一位访客的到来。

Corresponding to each circle, the traditional shape of the "lantern" is deconstructed and distributed on the upper end in a square appearance. The simple geometric lines outline the basic physical outline, and the lamps are hidden inside to illuminate the local facade and render the atmosphere. In the eastern context, in addition to the function of lighting, "lantern" has a better cultural meaning, and its sequence of arrangement forms a unique ceremony to welcome every visitor.

VACUUM-SOLID

流动，虚实渗透

东方造园、布景、整理空间，往往讲究意的幽雅与境的深邃，如“庭院深深”般，使静止的场景具有流动性，步移景异，鼓励我们深入其中，漫步探索。与入口对望，通道端头置入一对L型木质格栅，镂空的形态透出身后的隐约景观，前后渗透，视觉层次的增加有利于创造感知体验的丰富。

The Oriental garden, scenery, and space arrangement often pay attention to the elegance and depth of the meaning, such as "deep courtyard", so that the static scene has mobility, and the scenery is different, encouraging us to go deep in it and stroll to explore. Facing the entrance, a pair of L-shaped wooden grilles are placed at the end of the channel, and the hollow form reveals the vague landscape behind, penetrating back and forth. The increase of visual level is conducive to creating a rich perceptual experience.

借助第二级楼梯踏步，伸展出一处平台，材料和形体的延续，将内外有效地联系起来。平台上的陈设可因主题变化而灵活变化，或花艺，或器具，或不置一物。阅读区结合柱位，构建了一种“亭”的意象，立面不到顶，底部抬高，其金属的饰面赋予空间精致感，而圆洞的开口，则让彼此连通得更为紧密。

With the help of the second stair step, a platform is extended, a continuation of material and form, effectively connecting the inside and outside. The furnishings on the platform can be flexibly changed according to the theme, or flowers, or utensils, or nothing. The reading area, combined with the column position, creates an image of a "pavilion", with the facade not reaching the top and the bottom raised, its metal finish gives the space a sense of elegance, while the opening of the round hole allows for closer communication.

BOUNDED

自由，以屏为界

一楼客厅跟水吧区互为补充，满足日常的接待、洽谈，同实体墙相对的是三面可移动的障子纸屏风，开合之间，不仅控制光量，也能依据布局需要，改变动线，赋予空间更多的可能。光，穿过屏风，氤氲出一片温润与素净，经典家具的“繁”和立面的“简”协调一处，巧妙融合。

The living room on the first floor and the water bar area complement each other to meet the daily reception and negotiation. Opposite the solid wall is the movable shoji paper screen on three sides. Between opening and closing, not only the amount of light is controlled, but also the moving line can be changed according to the layout needs, giving the space more possibilities. Light, through the screen, dense out of a warm and quiet, classic furniture "complex" and "simple" facade coordination, clever integration.

任何的细节并不单独存在，它们都具有实际的意义和服务的目的。客厅的背景一侧，顺应木作收口，内凹出一定深度，一个传统建筑的构件被安置其中，成为立面上重要的趣味性节点。静默的深色吧台，宛如一座石材雕塑，半高的尺度由水平向延展开来，为空间注入一种稳定的平衡。

Each detail does not stand alone; it has a practical meaning and serves a purpose. On one side of the background of the living room, following the wood closure, the interior is concave to a certain depth, and a traditional architectural component is placed in it, becoming an important interesting node on the facade. The silent dark bar, like a stone sculpture, is extended from the horizontal to the half-height scale, injecting a stable balance into the space.

在客厅与品茶室之间，通过挑空连结一二层，仰望的视角令空间有了垂直向的节奏起伏，而模拟的天光则增添了几分自然灵动。一根石础立柱自上而下的矗立于一侧，令人联想出传统屋宇的完整意象，修长的身形，暗示着结构的宏伟。一旁具有当代性的透明亚克力柜，则展示了制作传统家具时的多种榫卯结构。

Between the living room and the tea tasting room, the first and second floors are connected by lifting the space. The looking Angle makes the space have a vertical rhythm, and the simulated sky light adds a bit of natural vitality. A stone foundation column stands on one side from top to bottom, evoking the complete image of a traditional house, and the slender figure suggests the grandeur of the structure. A contemporary transparent acrylic cabinet displays a variety of mortise and tenon structures used to make traditional furniture.

FIGURATIVE

山了，具象的浪漫

庄周有言：物物而不物于物，是为“物”的智慧。楼梯处一层至二层的柱体、梁皆为裸露形式，粗粝与细腻的对比，正如传统与当代的对话，记录场地历史的同时，演绎古今的故事。一盏巨大的陀螺形灯具悬吊而下，柔和的光照同一侧整排的障子纸屏风隔断相呼应，晕染出克制而温馨的情境。

Chuang—tzu once said: to have things but not to have things is the wisdom of "things". The columns and beams from the first floor to the second floor of the staircase are all exposed, the contrast of rough and delicate, just like the dialogue between tradition and contemporary, records the history of the site, and interprets the story of ancient and modern. A huge gyro-shaped lamp hangs down, and the soft light echoes the shoji paper screen partition on one side, infusing a restrained and warm situation.

空间作为一种容器，自然有着不同的面向与广泛的包容性。在一个当代的场域之中如何恰当地承载其所应当具备的功能、美学价值和精神内涵，是我们积极探索的意义所在。在山了展厅，希望用具象的方式，让访客体会到东方五千年文明沉淀下的生活美学的浪漫、诗意与其足以穿透时光的生命力。

As a container, space naturally has different aspects and wide inclusivity. How to properly carry its function, aesthetic value and spiritual connotation in a contemporary field is the significance of our active exploration.In Shanliao Exhibition Hall, we hope to let visitors experience the romance and poetry of life aesthetics and the vitality that can penetrate the time under the precipitation of 5000 years of Oriental civilization in a concrete way.