夜来徐汊伴鸥眠,
西径晨炊小泊船。
芦荻渐多人渐少,
鄱阳湖尾水如天。
——《舟次西径》【宋】杨万里
思创合设计从南昌在地文化记忆中提取元素特征—水与城相依、人与水共生,天人合一,以“水”“光”这两种元素为主题,用留白及光影制造的设计手法,实现一个富有张力的空间。
Si Chuanghe Design extracts element characteristics from the local cultural memory of Nanchang—water and city are interdependent, human and water coexist, nature and human are united, with the two elements of "water" and "light" as the themes, it is made with white space and light and shadow. The design method of the design achieves a space full of tension.
沙盘上空,空中悬浮的山形艺术吊灯,似云卷云舒,又似含苞待放的花瓣,是蓬勃的朝气。
Above the sand table, the mountain-shaped artistic chandelier suspended in the air, resembling the clouds, and like petals in bud, is vigorous and vigorous.
以水为题,光为引,留白的随意,依稀水的线条,行走在斑驳的光影之下。
With water as the subject, light as the guide, the blank space is random, the faint water lines, walking under the mottled light and shadow.
老子说:“上善若水,水善利万物而不争。水穿万物,阳光下粼粼波光,一眼望去,像条缀着鱼鳞的银带,曲线而上,光影相伴。
Lao Tzu said: "The highest good is like water, and water is good for all things without fighting. The water penetrates all things, sparkling in the sun, and at a glance, it looks like a silver belt studded with fish scales.
借用诗意的光,让空间中的浅灰、素白与亮棕的交织,清简雅致,也有了恰当的温度。纯粹的设计,愈能呈现人的灵性与诗意。
Borrowing the poetic light, the interweaving of light gray, plain white and bright brown in the space is simple and elegant, and also has the right temperature. The pure design, the more it can present the spirituality and poetry of people
“为人若水,而不是山”,让繁忙都市的精英人群回归到住所本身,闲时静坐其中,茗茶一杯,将时光定格,与空间对话。
"Being like water, not mountain" allows the elites of the busy city to return to the residence itself, sit in it during leisure time, have a cup of tea, freeze time and talk to space.
“结构是光的创造者,自然光是唯一能使建筑成为艺术的光线”阅读区氤氲的暖色灯光,光与影,随处可捕捉的静,尽收于这一方天地间。
"Structure is the creator of light, and natural light is the only light that can turn architecture into art." The warm-colored lights, light and shadow in the reading area, can capture the quietness everywhere, in this space.
直线延展的色彩碰撞,与镜面的亲吻,光影在此间流溢、沉浸,重塑成一个时间交互的空间。光介入其中,镜面媒介,产生情绪。
The collision of colors in a straight line and the kiss of the mirror surface, the light and shadow overflow and immerse here, and reshape it into a space of time interaction. Light intervenes in it, the medium of the mirror, produces emotions.
因为将美感投射于如此单纯简朴的环境上,那妙不可言的灵光始能现身于现实之中而所谓的永恒,唯有在这种精神世界中,才有可能追寻。
——近代日本美术先驱 冈仓天心