“生活所需的一切不貴豪華，貴簡(jiǎn)潔；不貴富麗，貴高雅；不貴昂貴，貴合適。”?

——林語(yǔ)堂

項(xiàng)目背景

現(xiàn)代社會(huì)在物質(zhì)生活上得到了極大的發(fā)展，，每天的生活節(jié)奏都在不斷加快，雖然讓人們的生活得到極大的充裕，但也給人們帶來(lái)了極大的精神疲勞。

Modern society has made great progress in material life, and the daily rhythm of life is constantly accelerating. Although people's lives are greatly enriched, it also brings people a lot of mental fatigue.

設(shè)計(jì)師洞察到了這種苦惱，在融僑疊墅的規(guī)劃上，便以東方意蘊(yùn)爲(wèi)內(nèi)核，以現(xiàn)代設(shè)計(jì)爲(wèi)手段，滲透進(jìn)文人情懷與寄情山水的胸襟，營(yíng)造一片靜雅甯和的棲身地。

The designer has insight into this kind of distress. In the planning of Rongqiao Dieshu, he takes oriental connotation as the core and modern design as a means to infiltrate the feelings of literati and the mind of mountains and rivers to create a peaceful and peaceful habitat.

# 01

玄 關(guān)

Entrance

玄關(guān)是從日常生活到新空間的象征性過(guò)渡，決定了家居的第一印象。設(shè)計(jì)師借鑒了園林中的障景、借景手法，綴以一尊後現(xiàn)代風(fēng)格擺件，對(duì)外限定出室內(nèi)室外的距離感，對(duì)內(nèi)則掀開(kāi)了清雅生活的一角。

The entrance is a symbolic transition from daily life to a new space, which determines the first impression of the home. The designer draws on the techniques of obstructing and borrowing scenery in the garden, and embellished it with a post-modern style ornament, which limits the distance between indoor and outdoor, and opens a corner of elegant life inside.

# 02

客 廳

Living Room

轉(zhuǎn)過(guò)鏤空隔斷屏風(fēng)，直抵客廳。空間布局上開(kāi)敞流通，層次富于變化，體量和尺度都掌握得恰到好處。在家具和色彩的選用上，沒(méi)有過(guò)多的繁雜裝飾，越簡(jiǎn)潔素雅，越能適意地展現(xiàn)整體格調(diào)的自然靈秀之美。

Turn around the hollow partition screen and go straight to the living room. The spatial layout is open and circulating, the levels are full of changes, and the volume and scale are well mastered. In the selection of furniture and colors, there are no too many complicated decorations. The more concise and elegant, the better the natural beauty of the overall style.

# 03

餐 廳

Dining Room

餐廳與客廳有序相聯(lián)，動(dòng)線輕快簡(jiǎn)潔。每一個(gè)細(xì)節(jié)都被處理得分寸得宜，色調(diào)幹淨(jìng)簡(jiǎn)約，細(xì)膩而具有內(nèi)涵，插花是是強(qiáng)化美學(xué)表達(dá)的重要手段，增加了空間的生態(tài)屬性，更顯用餐環(huán)境的溫馨浪漫，讓人工作之余對(duì)家更有強(qiáng)烈的歸屬感。

The dining room and the living room are connected in an orderly manner, and the movement is brisk and simple. Every detail is handled appropriately, the color is clean and simple, delicate and connotative. Flower arrangement is an important means to strengthen the expression of aesthetics. It increases the ecological attributes of the space and shows the warmth and romance of the dining environment. Home has a stronger sense of belonging.

# 04

夾 層

Mezzanine

循著階梯徑直往上，可達(dá)夾層。設(shè)計(jì)師憑借對(duì)東方神髓的精準(zhǔn)把握，融入了禪宗美學(xué)中的“幽玄之妙”，即將美的事物隱藏起來(lái)，給予觀者一段距離，去揣測(cè)和想象它的美。

Follow the stairs and go straight up to the mezzanine. The designer relies on the precise grasp of the oriental essence and integrates the "secret and mysterious" in Zen aesthetics, which hides the beautiful things and gives the viewer a distance to speculate and imagine its beauty.

空間形式上有開(kāi)合、有層次、有斷續(xù)，繼而顧盼呼應(yīng)，神氣相聚，正是“別有天地非人間”。

In the form of space, there are openings and closings, layers, and discontinuities, and then echoes with expectation and spirit, which is exactly "there is no heaven and earth and inhumanity."

# 05

枯 山 水

Karesansui

“于無(wú)池?zé)o遣水處立石，名曰枯山水。”用石做山，以白砂做水，以高度理性、抽象與寫(xiě)意的手法展現(xiàn)空間氣質(zhì)，清幽而恬靜，凝練而素雅。它能夠喚起隱藏在人們內(nèi)心深處的安定，一種渴望最本真的、永恒的甯靜。

"The place where there is no pond and no water is standing stone, and the name is dry landscape." The mountain is made of stone and the water is made of white sand, showing the spatial temperament with a highly rational, abstract and freehand approach. It is quiet and quiet, condensed and elegant. It can evoke the stability hidden deep in people's hearts, a kind of longing for the most authentic and eternal peace.

枯山水在用色方面去除了多余的色彩，大量使用黑白灰中性色組合，有一種繁華後歸于平淡的悠遠(yuǎn)意趣，正如老莊哲學(xué)中的“無(wú)”，看似“空無(wú)一物”，卻以無(wú)爲(wèi)有，氣象萬(wàn)千。

In the use of colors, Kushanshui removes excess colors and uses a large number of black, white and gray neutral color combinations. There is a long-distance interest that returns to the plain after the prosperity, just like the "nothing" in Lao Zhuang's philosophy, which seems to be "empty", but Do nothing for something, there are many things.

# 06

臥 室

Bedroom

主臥取意自“接天蓮葉無(wú)窮碧”，營(yíng)造出靜中有動(dòng)的視覺(jué)效果，將一種平和的感覺(jué)引入到生活之中，讓那顆因無(wú)數(shù)外界分神之事困擾的心有所放松。

The master bedroom is inspired by "the lotus leaves infinite green", creating a static and dynamic visual effect, introducing a sense of peace into life, and making the heart troubled by countless external distractions Relaxed.

次臥大膽求變，整體的氛圍造型簡(jiǎn)潔清爽而充滿趣味，暗藏凸顯現(xiàn)代裝飾法則中的節(jié)奏與韻律，同樣是恬淡舒適的寢居佳境。

The second bedroom is bold and changeable. The overall atmosphere is simple, refreshing and full of fun. It hides and highlights the rhythm and rhythm of modern decoration rules. It is also a tranquil and comfortable sleeping environment.

# 07

茶 室

Tea Room

拾級(jí)而下，欣然邂逅負(fù)一層的茶室。設(shè)計(jì)師致力于將建築打造成一處可行、可望、可居、可遊的場(chǎng)所。在這簡(jiǎn)潔的休憩空間中，以人的“實(shí)”，來(lái)填充場(chǎng)域的“空”。提一壺茶，翻幾頁(yè)書(shū)，蔥蘢綠意作伴，淡泊閑雲(yún)相隨，自得于一世散逸。

Stepping down, I happily encountered the tea room on the ground floor. The designer is committed to making the building a viable, promising, living and traveling place. In this simple rest space, the "emptiness" of the field is filled with the "realness" of people. Carry a pot of tea, turn a few pages of books, lush greenery as companions, indifferent and idle with clouds, and get away in a lifetime.

在現(xiàn)代都市的快節(jié)奏生活中，融僑疊墅將人文美與自然美巧妙融合，雲(yún)在青天水在瓶，身居其間，沈浸于一種省悟的狀態(tài)，油然生出“雖由人作，宛自天開(kāi)”的雅趣與況味。

In the fast-paced life of modern cities, Rongqiao Dieshu cleverly blends the beauty of humanity and the beauty of nature. The clouds are in the blue sky and the water is in the bottle, in the middle, immersed in a state of self-consciousness. "The taste and taste of elegance."

/項(xiàng)目信息/

項(xiàng)目地址丨融僑觀邸

項(xiàng)目面積丨310㎡

項(xiàng)目設(shè)計(jì)丨易?儒空間DESIGN

施工單位丨易?儒空間DESIGN

攝像制作丨1988攝影工坊

材質(zhì)應(yīng)用丨進(jìn)口乳膠漆 實(shí)木護(hù)墻板 巖板 不銹鋼