Name | Private Mansion
項(xiàng)目名稱 | 南京中海鐘山印
Area | 400㎡
項(xiàng)目面積 | 400㎡
Location | Nanjing, China
項(xiàng)目地址 | 中國 南京
Client | China Overseas Property
開發(fā)單位 | 中海地產(chǎn)
When will you go back and be an idle man? To a zither, a pot of wine and a stream of clouds.
幾時(shí)歸去，作個(gè)閑人 對一張琴，一壺酒，一溪云
The ancient capital of the Six Dynasties and the Qinhuai breeze and moon have left Nanjingers not only with a thick cultural and historical heritage, but also with a rough and leisurely bone, and a calm and light-hearted temperament. The people of Nanjing's knowledge of life, the transformation of their way of life in the context of the times, and the humanistic sentiments of the city itself have become the bones and blood of Nanjing, growing together with the land. In the ripples of the water, the green shadows of Zijinshan flowing for a thousand years are reflected in them.
六朝古都，秦淮風(fēng)月，留給南京人的不僅是厚厚的文脈史學(xué)，也有骨子里的粗放閑散，性情中的平和淡定。從紛沓的歷史中走來，向平和、寧靜的生活日常中走去，南京人對生活的認(rèn)知，與時(shí)代背景下生活方式的轉(zhuǎn)化，與城市本身的人文情懷一并，成為了南京的筋骨與氣血，與這片土地共同生長。水波蕩漾的紋路里，紫金山流轉(zhuǎn)千年的綠影映照其間。
Growing naturally with water, stone and wood
與水、石、木 自然生長
"In Zhangyuan, the hall is wide and deep, the paths bend, the rocks are followed, and the soft light between the greenery and the forest is dense, and naturally, we meet a teahouse at the foot of the Purple Mountain. After abandoning the grand and dazzling visual language constructed by symbols and labels, we turn to the interior of nature and the contemporary lifestyle of Nanjingers to find the path of design entry. Quiet, airy, and light, this is a place where people can simply feel and be empowered by the quiet moments they spend with themselves.
“瞻園里，堂闊宇深”，小徑彎彎，循著山石踏步，綠林掩映之間柔和的燈光，氤氳而出，自然之間，遇見紫金山腳下的一廬茶舍。與山石比鄰，與水色共生，摒棄了由符號、標(biāo)簽構(gòu)建的，宏大的炫目式視覺語言后，我們轉(zhuǎn)而向自然內(nèi)部，與當(dāng)代南京人閑適的生活方式中尋找設(shè)計(jì)切入的路徑。幽謐、通透、而淡淡然，在這里，人們只需要感受，即可在與自己相處的安靜時(shí)刻，獲得力量。
Extending, interacting and exchanging the boundaries of perception.
延伸、交互 交換感知的邊界
Drawing on the natural meditation of water, stone and wood in the courtyard landscape, the design constructs an interactive, fluid relationship between the interior and exterior of the space to deepen the diverse experience of the site itself in terms of access to the five senses, and in so doing forms the narrative logic within the space. The art vestibule area is made up of a thin silken linen and wood enclosure. Through a constructed blurring and linking of the internal and external interfaces, the designer has loosened up this area, creating a sense of arrival and emotional transformation for the visitor.
借助于庭院景觀中水、石、木景的自然禪意在前，設(shè)計(jì)以構(gòu)造交互、流動(dòng)的空間內(nèi)外部關(guān)系，來加深場地本身給予人通達(dá)五感的多樣體驗(yàn)，并以此形成了空間內(nèi)部的敘事邏輯。藝術(shù)前廳區(qū)，由薄透的絹布絲麻與木料圍合而成。設(shè)計(jì)師通過一種構(gòu)造的內(nèi)外界面的模糊與關(guān)聯(lián)，將這一隅松弛地放開，為來者營造了“到達(dá)感”與情緒轉(zhuǎn)換的余地。
In order to avoid the tediousness of the horizontal and vertical arrangement of functions in courtyard-style flat buildings, we have tried to create a hierarchical logic of the "rise and fall" of the space through the differentiation of the structure of each functional area as far as possible, and in this way arrange the dynamic lines to guide people's behaviour. The art vestibule is vertically connected to the art sandbox, while in the horizontal plane, a straight corridor runs through the whole plane. Occasionally, there is the possibility of vertical interaction with the outdoor landscape. Within the regular square, there are curved paths leading to the four sides. People are constantly moving through the space, merging, connecting and dispersing, making the space truly dynamic with the flow of an exhibition centre.
為規(guī)避院落式平層建筑在功能排布方面橫平豎直的乏味，我們盡可能的在空間內(nèi)部，通過各功能區(qū)構(gòu)造的差異化，來打造空間“起承轉(zhuǎn)合”的層次邏輯，并以此排布動(dòng)線，引導(dǎo)人們行為的發(fā)生。藝術(shù)前廳豎向連通藝術(shù)沙盤，而在橫向面，則通過一條筆直的過廊，貫通整個(gè)平面。間或中，又有豎向與室外景觀交互的可能。規(guī)整方圓之中，又有曲徑通達(dá)四處。人們在空間不斷的行進(jìn)中，匯合、連通又散開，使空間真正具備了體驗(yàn)展示中心的流轉(zhuǎn)靈動(dòng)。
