客餐廳以“春日溫存”為靈感，葉片狀燈具如新芽舒展，柔和光影灑落于米白色沙發(fā)與深色木飾面之間，形成冷暖交融的視覺韻律。墻面木質(zhì)藝術(shù)品以抽象年輪紋路暗喻時光沉淀，皮革材質(zhì)的大面積運用——從沙發(fā)包覆到墻面飾板——賦予空間觸覺的溫暖。設計師巧妙將金屬縫線嵌入皮革接縫，細節(jié)處折射出摩登生活的精致態(tài)度。

Inspired by "Spring Warmth", the living and dining rooms feature leaf-shaped lamps that unfold like new buds. Soft light falls between the off-white sofa and the dark wood veneer, creating a visual rhythm of warm - cool integration. The wooden artworks on the wall, with their abstract annual ring patterns, imply the precipitation of time. The extensive use of leather materials, from the sofa covering to the wall panels, gives the space a tactile warmth. The designer skillfully embeds metal stitches into the leather seams, and the details reflect the refined attitude of modern life.

角落的弧形金屬裝置兼具功能與美學：一側(cè)收納窗簾軌道，另一側(cè)以流線造型呼應窗外院落景致。落地窗將遠山綠意引入室內(nèi)，模糊了自然與居所的邊界。

The arc-shaped metal device in the corner combines functionality and aesthetics. One side houses the curtain track, and the other side, with its streamline shape, echoes the courtyard view outside the window. The floor-to-ceiling windows bring the greenery of the distant mountains into the room, blurring the boundary between nature and the residence.

正如丹麥設計大師芬·尤爾所說：“光與景，是空間最奢侈的裝飾。”在這里，每一次凝望都是一場與自然的私語，都市喧囂悄然退場，生活的溫度于靜謐中悄然升騰。

As the Danish design master Finn Juhl said, "Light and scenery are the most luxurious decorations of a space." Here, every glance is a private conversation with nature. The urban hustle and bustle fades away, and the warmth of life quietly rises in the tranquility.

“空間的功能，應如流水般自由。”地下空間被重新定義為多元社交場域，紅酒雪茄區(qū)與品茗區(qū)自然銜接切換，既保留視覺通透性，又賦予空間靈活切換的可能。

"The function of a space should be as free-flowing as water." The underground space is redefined as a multi-functional social area, where the wine and cigar area seamlessly connects and switches with the tea-tasting area, maintaining visual transparency and giving the space the possibility of flexible transformation.

設計師以“計算的浪漫”塑造挑空區(qū)域的弧形組合燈具——金屬骨架交織成云紋脈絡，LED燈帶如星軌穿梭其間，光影灑落時，空間宛如一座懸浮的“光的庭院”。

The designer creates the arc-shaped combined lamps in the void area with "calculated romance". The metal framework is interwoven into cloud-pattern veins, and the LED light strips shuttle through them like star tracks. When the light falls, the space is like a suspended "courtyard of light".

茶臺背景墻選用透光人造石材，縱向紋理模擬喀斯特地貌的溶蝕肌理，暗合南寧“山水之城”的地域特質(zhì)。設計師摒棄主燈設計，以隱藏式燈帶勾勒石材邊緣，氤氳茶香在柔光中愈發(fā)醇厚。

The background wall of the tea table is made of translucent artificial stone, and its vertical texture imitates the karst landform's dissolution texture, echoing Nanning's regional feature as a "city of mountains and waters". The designer abandons the main-light design and uses hidden light strips to outline the edge of the stone. The rich aroma of tea becomes more mellow in the soft light.

英國設計鬼才湯姆·迪克森曾說：“材質(zhì)是空間的靈魂。”此處，金屬的冷峻、石材的溫潤、木質(zhì)的樸拙，在茶與酒的香氣中達成微妙平衡，東方雅集與西式沙龍在此和諧共生。

As the British design maverick Tom Dixon said, "Materials are the soul of a space." Here, the coldness of metal, the warmth of stone, and the simplicity of wood reach a delicate balance in the aroma of tea and wine. Oriental gatherings and Western salons coexist harmoniously.

三層主臥以“整層奢適”為概念，打破傳統(tǒng)隔墻束縛，通過短距空間轉(zhuǎn)折與端景玄關(guān)營造儀式感。墻面延續(xù)客餐廳的皮革與木飾面材質(zhì)，吊頂采用斜切金屬圍邊設計，既削弱結(jié)構(gòu)厚重感，又以幾何線條提升空間精致度。

The master bedroom on the third floor is designed with the concept of "full-floor luxury". It breaks the traditional partition wall constraints and creates a sense of ceremony through short-distance spatial turns and end-view entrances. The walls continue the leather and wood veneer materials of the living and dining rooms, and the ceiling adopts a bevel-cut metal border design, which not only reduces the structural heaviness but also enhances the space's refinement with geometric lines.

設計師將窗簾軌道完全隱入立面造型，純色布藝垂落如瀑，晨光濾過紗簾，為空間蒙上一層柔和的濾鏡。

The designer completely hides the curtain track in the facade design. The solid-color fabric falls like a waterfall, and the morning light filters through the sheer curtain, casting a soft filter over the space.

衣帽間以深胡桃木飾面為基調(diào)，柜體表面采用啞光處理，消弭了深色調(diào)的壓迫感，轉(zhuǎn)而釋放出沉穩(wěn)內(nèi)斂的氣質(zhì)。設計師巧妙利用鏡面柜門拓展視覺縱深，配合嵌入式燈帶，讓每一件衣物的紋理都在光影中娓娓道來。設計師將智能化妝鏡與隱藏式首飾收納格整合于一體，在此，晨間的梳妝儀式被升華為一場私密的美學獨白。

The cloakroom takes dark walnut wood veneer as its base tone. The surface of the cabinet body is treated with a matte finish, which eliminates the oppressive feeling of the dark color tone and instead exudes a calm and reserved temperament. The designer cleverly uses the mirrored cabinet doors to expand the visual depth. Paired with the embedded light strips, the texture of each piece of clothing is vividly presented in the play of light and shadow. The designer integrates the intelligent makeup mirror with the hidden jewelry storage compartments. Here, the morning dressing ritual is elevated to an intimate aesthetic monologue.

步入女孩房，色彩與形態(tài)的狂歡即刻上演：皮革波浪板墻面如粉色海浪翻涌，編織皮革床背板以繩結(jié)工藝重現(xiàn)傳統(tǒng)織錦紋樣。

As soon as you enter the girl's room, a carnival of colors and forms unfolds. The leather wavy-board wall rolls like pink waves, and the woven leather headboard reproduces traditional brocade patterns through knot - tying techniques.

復古床頭柜與復古相框以現(xiàn)代手法的表達激發(fā)出兒童無窮的想象力。正如意大利設計師埃托雷·索特薩斯所言：“設計應擁有幽默感。”在這里，每一個細節(jié)都是對想象力的溫柔邀請。

The retro bedside tables and photo frames, expressed in a modern way, stimulate children's boundless imagination. As the Italian designer Ettore Sottsass said, "Design should have a sense of humor." Here, every detail is a gentle invitation to imagination.

本次項目作品既是一場都市摩登美學的實踐，更是一封寫給南寧的情書。從喀斯特地貌的抽象演繹到壯族織錦的現(xiàn)代轉(zhuǎn)譯，從茶酒共融的社交哲學到童趣空間的科技賦能，我們的設計始終在傳統(tǒng)與創(chuàng)新、自然與都市、功能與情感之間尋找平衡點。

This project is not only a practice of urban modern aesthetics but also a love letter to Nanning. From the abstract interpretation of the karst landform to the modern translation of Zhuang brocade, from the social philosophy of tea - wine integration to the technological empowerment of children's spaces, the design always seeks a balance between tradition and innovation, nature and the city, function and emotion.

正如建筑理論家肯尼斯·弗蘭姆普敦所強調(diào)的“批判性地域主義”——真正的當代設計，應植根于土地的記憶，卻以全球化的語言訴說。在錦官府合院，我們看到的不僅是一個家，更是一種生活態(tài)度的宣言：在飛速變遷的時代，以設計之力，讓文化基因與未來愿景詩意共存。

As the architectural theorist Kenneth Frampton emphasized in "Critical Regionalism", true contemporary design should be rooted in the memory of the land and yet speak in a global language. In Jinguan Courtyard, what we see is not just a home but also a declaration of a lifestyle: in an era of rapid change, with the power of design, let the cultural genes and future visions coexist poetically.

項目名稱丨新希望南寧錦官府合院樣板房

項目地點丨廣西?南寧

業(yè)主單位丨新希望地產(chǎn)

硬裝設計丨AUDG艾迪格設計

軟裝設計丨AUDG艾迪格設計

設計面積丨418㎡

攝影團隊丨一千度視覺