IEC大楼大堂,公区设计丨中国长沙丨水木言设计机构

2021/04/15 22:27:00

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百年传统融合现代设计，Vilnius 住宅公园

水墨山水灰——范宽

△ 范宽《溪山行旅图》

明代书画家董其昌评《溪山行旅图》：“宋画第一。”

范宽给了一个山水画的特别视角，对后世画家影响也很大。徐悲鸿：“中国所有之宝，故宫有其二。吾所最倾倒者，则为范中立《溪山行旅图》，大气磅礴，沉雄高古，诚辟易万人之作。此幅既系巨帧，而一山头，几占全幅面积三分之二，章法突兀，使人咋舌！”

Dong Qichang, a calligrapher and painter of the Ming Dynasty, commented on the Painting Traveling amid Mountains and Streams: This painting was the first in the Song Dynasty. Fan Kuan used a special perspective to look at landscape painting, which had a great influence on later painters. Xu Beihong said: there are two treasures of China in the Forbidden City. My favorite painting is Fan Zhonglis Traveling amid Mountains and Streams. The style of this painting is grand and majestic and even the works of 10000 people cant match it. This painting is also very detailed, a hill covers almost two-thirds of the whole area. How special and incredible it is!

对于 IEC 大楼写字楼大堂区域而言，这种进深不深两层挑高的尺度犹如观画感受：“峰峦浑厚、势壮雄强、远望不离座外”。在现有条件下，溪山行旅图给了设计构图的原点和支撑，立面线条的错落间隔处理如“岩隈林麓、干岩万壑”，如山如细流直扑眼前。空间用色用材取自画中的水墨灰、局部水墨黑收口，以灰来带动空间的意境、心里向往的远方。

For the lobby area of IEC office building, this not very deep scale is like the feeling of painting: the mountains are thick and majestic, and although people seem to be watching the distant scenery, they can feel like they are in front of their eyes. Under the existing conditions, Traveling amid Mountains and Streams gives the origin and support of the design composition. The staggered spacing of vertical lines is like dense rock forest, dry rock ravines, just like the feeling of mountains and streams in front of us. Space color and material selection painting in the ink gray and local ink black, it uses gray to show the artistic conception of space and the heart yearning for the distance.

范宽《溪山行旅图》局部

而在写字楼来来往往的人群，一如画中的行旅者，在高楼大厦钢筋丛林里奔波忙碌，鲜履负重，生生不息。大堂中高达 9 米的室内绿植，虽在室内，但依然有夏荣冬枯的变化，来来往往的人即使是匆匆一瞥，也能感受到大楼自然四季的轮回。古人对原画的评价是静中动感十足，转场至现有空间和现代人的工作节奏，犹如立体版的现代《溪山行旅图》。

The people who come and go in the office buildings are like the travelers in the paintings. They are busy in the high-rise buildings, steel bars, and the jungle. Although the 9-meter-high indoor plants in the lobby are indoors, they still have the changes of prosperity in summer and withering in winter. Even if passers-by take a glance, they can feel the natural cycle of the four seasons in the building. The ancients’ evaluation of the original painting is quiet but lively. It’s like a three-dimensional version of the modern Traveling amid Mountains and Streams.

简约的粗野主义 | 灰色诗意 | 科技的口感

△ Donald Judd,Untitled 1973 ©Judd Foundation

Donald Judd 的反向思考

△Donald Judd,15 Untitled Works in Concrete,1980-1984,©Judd Foundation

项目名称：IEC 大楼大堂、公区设计

ProjectName: Lobby and public area of IEC building

Design scope：interior design

项目地点：中国湖南省长沙市芙蓉中路三段 569 号 IEC

Location: No.569, section 3, Furong Middle Road, Changsha City, Hunan Province, China

Area: 4714㎡

设计机构：水木言设计机构

Design Company: SMY Space Interior Design Studio

Designer: liang Ningjian

Soft decoration design: Da jing

主要材料：苹果灰石材、仿木纹铝方通、深灰色不锈钢、复合碳化超白磨砂玻璃

Main Materials: gray stone, aluminume, stainless steel, glass

美学建立在现代工业秩序之上，而精准的数字关系则成为实现秩序最理性的设计基因。科学技术赋能工艺与材料后，让设计落地具备了更精准呈现的可能，更趋向于无穷的精准。由此，基于粗野体块之上的细腻研磨与勾勒，让形体倾向无性就此也更耐读。

Aesthetics is based on the modern industrial order, and the precise digital relationship becomes the most rational design factor to realize the order. Scientific technology creates exquisite technology and materials, which provides the possibility of more accurate presentation for the realization of design and makes it more accurate. Therefore, the fine grinding and sketching based on the rough block make the line tend to be more interesting.

当设计不再把自己看成视觉世界和感知真实性的创作者时，分析现实和自我存在的关系则成为新的视角——设计试验性地探索新媒体、新前景和人与环境交流的新形式，通过智能化交互作为进入场所的新触媒，人与空间之间的关系则变得充满趣味。

If design is no longer regarded as the creator of visual world and perceived authenticity, the analysis of the relationship between reality and self existence will become a new perspective design tries to explore new media, new prospects and new forms of communication between human and environment. Through intelligent interaction as a new catalyst to enter the place, the relationship between people and space becomes funny.

人们接近廊道会感受到光线的明暗变化，前厅门扇启合的力度，空间会划分出变化的结构层次，构成场景切换。这些交互触点，在人们的意识中搭建出不同场景的触发暗示与行为预设。

When people approach the corridor, they will feel the change of light and shade and the opening and closing force of the door leaves in the front hall, and the space will be divided into changing structural levels to form scene switching. And these interactive contacts in people’s consciousness to build a different scene trigger hint and behavior presupposition.

Donald Judd Untitled 1984 ©Tate

前厅区域，设计大量运用工业新材料以机械加工，保持立面光滑平整，且等距离排列；在颜色和比例中寻求微妙的互补关系，控制表面与体积、空间与空间之间的关系，以达到极致的精确。空间从而变得流畅且充满力量。

The design of the front hall area uses a lot of new industrial materials and is machined with them to keep the facade smooth and evenly arranged; subtle complementary relationship is used in color and proportion. It controls the relationship between surface and volume, space and space to achieve perfect accuracy. Space becomes fluid and powerful.

设计在空间中尽可能用较少造型，去化幻想、叙事和隐喻的内容，成为一种我们希望进入场所的人们可以把精力全部集中于眼前的实物，减少辨识空间与分析造型带来的能量消耗，进而触发内心的思考与创造力。

Space design uses less modeling as far as possible, and more fantasy, narrative and metaphorical content become an independent existence. We hope that people who enter the place can focus on the physical objects in front of them, reduce the energy consumption caused by identifying space and analyzing modeling, and then arouse their inner thinking and creativity.

Donald Judd,Untitled 1973 ©Judd Foundation

光线的透入方式与明暗，改变了人们对室内形体存在的判断；它可能是锐化或柔化的。而正因这些形体可被清晰的鉴赏与变化，它们的美则被人们深度的感知并认同。空间立面大量的采用了木纹与白色金属板，以营造墙体和门扇之间明亮与阴影的比对，产生韵律的节奏。在愉悦和安宁之间，在光的漫反射与吸收之间，立面的力量感则得到加强，进而成为场所可被感知的要素。

The way of light penetration and light and shade change peoples judgment of the existence of indoor form; it may be sharpened or softened. It is precisely because these forms can be clearly appreciated their changes that their beauty can be deeply felt and recognized by people. A large number of wood grain and white metal plate are used in the space facade to create a rhythmic rhythm by comparing the brightness and shadow between the wall and the door leaf. The sense of strength of the facade is strengthened between pleasure and tranquility, and between diffuse reflection and absorption of light, thus becoming a perceptible element of the place.

从前厅到开放式办公区，我们用平面与弧面几何图形给与人们一个动机，这个起推作用包含着一定的意图——凭借形体和它们彼此间的联系来表达两个区域的转换关系，驱动人们领悟空间的情绪与氛围。

From the front hall to the open office area, we use the plane and arc geometry to give people a motivation. This promotion contains a certain intention - to express the transformation relationship between the two areas with the shape and their relationship, so as to guide people to understand the mood and atmosphere of the space.

而这些建立在数字模数之上，也即是秩序之上的空间体块，让开放式办公区变成一次具备精神力的建筑运动。这些粗野与坚固并行的元素，将最质朴的肌理与力量感凸显出来。当光线的细微之美精雕细刻着每一寸立面，设计行业缜密、真实的特点，则与最本质的思考联接起来。这些可以不断品味的细微之美，成就了一座可沉浸其间的设计乌托邦。

These space blocks based on digital module are the space blocks based on order. The purpose is to turn the open office area into a dynamic architectural movement. These rough and solid elements highlight the most simple texture and sense of strength. When the light carefully carves every inch of the facade, the meticulous and real characteristics of the design industry are combined with the most essential thinking. The design of the subtle beauty that can be appreciated constantly makes Utopia that everyone can enjoy in it.

Donald Judd,Untitled 1985©Corten-steel

我们用清晰的界面和分割表现方式，赋予水吧区与开放式办公区活力的统一性，通过纯粹的精神创造，融合工作与休闲之间的界限，相互依存互为补充，从而活化整个开放区域的氛围。

We give the water bar area and the open office area the unity of vitality with clear interface and segmentation. And through pure spiritual creation, they integrate the boundaries between work and leisure, and they are interdependent and complementary, so as to activate the atmosphere of the whole open area.

Donald Judd,Untitled 1991©Judd Foundation

基于办公场域所需要的深度工作与去杂乱需要，设计通过类风格派的网格形体，极简灵活的立面墙体悬挑方式，实现空间的灵活分隔。大面积金属板在日光与光源条件下反光折射不同，场所力度相应变化，物质存在的重量感和质感即建立了一种新的办公秩序——当身处其间的人建立了认知与有序的稳定感，办公环境的纯粹与品质感即得到认同。

Due to the need of deep work and clutter removal in the office area, the flexible separation of space is realized through the style like grid shape and simple and flexible vertical wall overhanging. Because of the different reflection and refraction of large area metal plate under sunlight and light source conditions, the site availability changes accordingly. The sense of weight and texture of material existence also establish a new office order. When the people in it establish a sense of stability of cognition and order, the purity and quality of the office environment can be recognized.

会议空间是人群改造自我世界的交流场所，用动态的立面切换不同交流场景，创造出一种更具趣味与技术性的美。灵活设置的落地移门，在粗野厚重形体与灵活动态的冲突下，释放出场景转换的仪式感与惊喜。

Conference space is a place for people to transform their own world, so the design concept is to use dynamic facade to switch different communication scenes, creating a more interesting and technical beauty. The flexible landing sliding door releases the ritual sense and surprise of scene transformation under the contradiction between rough and heavy body and flexible and dynamic.

开放与私密的办公场景，在理性秩序和收放之间，用和谐比例的组合关系，激发团队之间的合作智慧。这是与独立深度思考，并行协作，以取得自我价值认同与协作目标规律相一致的场景。

The open and private office scene stimulates the cooperation wisdom among teams through the combination of harmonious proportion between rational order and retraction. This is a scene consistent with independent deep thinking and cooperation, self-identity and cooperation goal.

粗野的材质当变得有序与被定义，则成为引导人们观察的韵律，它以同样的方式影响所有人。韵律就是平衡，平衡界定了场所应有的严肃与活泼。精致的粗野主义，在感性发散和理性回归之间，创造了办公场所里，人们角色化合作与自我创造力的一种结合可能。

When the defined rough material becomes orderly, it will become a rhythm to guide people to observe. It affects everyone in the same way. Rhythm is balance, which defines the seriousness and liveliness of a place. Between perceptual divergence and rational regression, the refined vulgarism creates the possibility of a combination of peoples role-based cooperation and self creativity in the workplace.