《奥庭》丨意大利米兰丨无间设计,创始人吴滨

无间设计创始人、设计师吴滨先生，携“游山记”艺术装置系列《奥庭》，再度受意大利知名设计杂志INTERNI主编、米兰设计周发起人、前法国文化部艺术与文学部长Gilda Bojardi女士特别邀请，亮相2026年米兰设计周。从“游山记”系列的最初呈现到持续三年的持续延展，是东方设计在当代语境中被逐步看见、被理解，直至获得认同的自然结果。吴滨始终以文化为根基，从《爿园》、《杳然庭》至今年的《奥庭》，将东方对于时间、自然与空间关系的理解转译为当代语言，让中国设计在不同文化背景下被感知、被共鸣，以更内在的方式进入国际视野。

《奥庭》，坐落于米兰设计周历史最悠久、最核心的区域——米兰大学中央庭院Cortile d’Onore，是有限之庭中，一段可被行走、被凝视、被体悟的“心象山水”。吴滨在山形般起伏的构筑体中，透过三种质地迥异的黑色材料，于统一的深色基调下铺陈出细腻而丰富的材质层次，最终呈现一个流动而可进入的空间，一段在行径中展开移步换景的、更丰盈的东方式观游体验，以此回应本次米兰设计周的主题“MATERIAE”——材料背后呈现的跨学科议题，以材料连接身体、空间与意识，引导公众重新思考人与天地的关系，于幽奥之庭，照见无穷山意。

Wu Bin, founder of W.DESIGN, has been invited again by Ms. Gilda Bojardi – Editor‑in‑Chief of INTERNI and founder of Milan Design Week – to present Ao Ting Court, a new installation from his Travelogue on Mountains series, at Milan Design Week 2026. From its first appearance to three years of evolution, this journey reflects Eastern design gradually being seen, understood, and recognized in a contemporary context. Rooted in culture, Wu Bin translates Eastern understandings of time, nature, and space into a contemporary language through works like Panyuan, Drifting Yao, and now Ao Ting Court, allowing Chinese design to resonate across cultures and enter the international arena intrinsically.

Located in the historic Cortile d’Onore at the Università degli Studi di Milano, Ao Ting Court offers a “mental shanshui” within a finite courtyard – a space to walk through, gaze upon, and contemplate. Using three black materials of distinct textures amid mountain‑like undulating structures, Wu Bin creates a fluid, accessible space that unfolds a richer Eastern wandering experience with changing scenes. This responds to the theme “MATERIAE” – using materiality to connect body, space, and consciousness, inviting reflection on humanity and nature, glimpsing infinite mountain spirit in a secluded courtyard.

《奥庭》之名， “奥”，指向物理上的幽深与意境的玄妙——空间，在遮蔽与展开之间，引导身体与意识不断向内推进；“庭”，则是人工的构筑物，是人与自然发生关系的界面。

吴滨将这个装置定义为一个融合山水意向的类庭院构筑体，于 6×6 米的尺度之内，以有限尺度承载无限意蕴，这正是园林的精髓所在。东方造园素有“螺蛳壳里做道场”的智慧，越是微小的空间，越能让身体与空间建立更紧密的对话关系，越能凝聚更高密度的情绪与感知。

The name “Ao Ting” holds layered meaning. “Ao” suggests physical depth and conceptual subtlety – space that, through concealment and revelation, guides the body and mind inward. “Ting” is a human‑built enclosure, an interface where humanity and nature engage. Wu Bin defines this installation as a courtyard-like structure that integrates mountain-and-water imagery, contained within a 6×6 meter framework – a finite space carrying infinite resonance, which is the very essence of a classical Chinese garden. Eastern garden tradition speaks of “making a vast world in a snail’s shell”: the smaller the space, the more intimately the body converses with it, and the denser the emotions and perceptions it can hold.

《奥庭》的空间构想，源自对中国传统山水画空间观的再理解。吴滨以抽象体块的进退、叠合与错位，转译中国山水画“可游、可行、可远望”的空间逻辑。体量之间形成若即若离的路径与视线关系，使行走成为一种逐步展开的过程。

The spatial concept of Ao Ting Court reinterprets the principles of traditional Chinese landscape painting. Wu Bin uses the recession, overlay, and displacement of abstract volumes to translate the spatial logic of classical painting – being “wanderable, traversable, and viewable from afar.” The relationships between volumes create paths and sightlines that are simultaneously connected and detached, making walking a gradually unfolding experience.

空间行走的动线以“入山”为核心线索展开。装置入口，通过体块之间的缝隙与转角形成半遮蔽的引导——在远处可被感知，却需靠近后才能真正辨识，从而激发主动探索的欲望。一块铜色体量被设定为登山的“第一踏”，既是入口的物理起点，也是情绪的起点。

The walking route is organised around the narrative of “entering the mountains.” The entrance is partially concealed by gaps and turns between volumes: perceptible from a distance, but only fully recognised up close, thereby inviting active exploration. A bronze‑toned volume marks the “first step” of the ascent – both a physical and emotional starting point.

进入后，路径以单向推进为主，通过高低变化与转折节点串联起停留、穿行与远眺的不同段落。借由构图、层叠与留白，在有限的画面中展开近乎无限的空间感与精神深度。

Once inside, the path moves predominantly in one direction. Through changes in elevation and turning points, it links moments of pause, passage, and distant views. Through composition, layering, and intentional voids, a near‑infinite sense of spatial depth and spiritual resonance unfolds within a limited picture plane.

最终在视线上不断指向另一块被打亮的黄铜体量——“山顶”。这里的山顶并非抵达的终点，而是一种持续被指认的精神坐标，以此回应传统山水中“只可远观”的哲思。

The sightline continuously leads toward another illuminated brass volume – the “mountain peak.” This peak is not a final destination, but a persistent spiritual reference, echoing the philosophical idea in traditional landscape painting of being “observable only from afar.”

本届米兰设计周主题拉丁语词汇" MATERIAE "既泛指物质材料，也暗含材料即学科、即主题的多重意蕴，强调当代设计与建筑中不可或缺的多学科协同。所以，《奥庭》的设计起点其实并非具体材料本身，而是材料所承载的感知属性与哲学意涵。

从“物”的角度，材料本身便是一种东方诠释，材料并非恒定不变，而是随时间的变化被侵蚀、被包浆，是一种时间赋予的浪漫。由此，通过对物质材料的深度体悟，抵达对世界与自我的认知。

《奥庭》的材料选择遵循两条线索：对东方山石意境的转译，以及对当代工艺极致的探索。三种黑色材料在山形构筑体的表达上形成统一：户外板材的秩序感源自山石层叠中蕴含的自然节律，肌理板材的笔触感留存了手工制作中可被感知的温度，石材表面的细微拉丝则如同岁月在山体上留下的痕迹。

The Latin term “MATERIAE,” the theme of this year’s Milan Design Week, refers both to physical materials and to the discipline of materiality as a subject in itself – emphasising the indispensable multidisciplinary synergy in contemporary design and architecture. Thus, the starting point of Ao Ting Court was never specific materials as such, but rather the perceptual qualities and philosophical significance they carry. From the perspective of “the object,” material itself is an Eastern interpretation. Material is not immutable; rather, it is eroded and develops a patina over time – a romance endowed by time. Through a deep attunement to the nature of materials, we arrive at a deeper understanding of the world and the self.

The material choices for Ao Ting Court follow two paths: translating Eastern mountain-stone imagery and pursuing refined craftsmanship. Three black materials form a unified expression: outdoor panels capture the rhythm of layered stone; textured panels retain the warmth of handcraft; brushed stone echoes time’s traces on mountain faces.

装置的整体立面主要采用YARDCOM院半户外板材，作为空间中最重要的体量与基底以克制沉稳的肌理承载山石的时间厚度，其内敛的质感更接近东方语境中对自然的理解——沉稳、内敛、带有时间的重量。其采用的再生材料与可持续工艺，亦让材料的表达与“山石”的自然隐喻更为贴合。

M77肌理板材，以手工感极强的表面层次模拟山水画中的皴法笔触，作为“点睛”分布于在入口及入口端景的位置，在行进路径的关键节点强化空间记忆。

在入口与出口的地面部分，我们选用UMGG环球石材的塞尚灰石材，通过拉丝工艺模拟斧劈皴质感，使脚下触感从理性转向温润，建立起身体与空间亲密对话的可能。

而Moorgen摩根智能系统整合灯光与结构，以智能光影完成了对山水意境的当代表达，让光成为空间的第二层体量——随时间与人的移动而呈现出不同的情绪，如山间月色般静而不止。

YARDCOM’s outdoor panels serve as the installation’s primary mass and base. Their restrained texture carries the weight of mountain stone, embodying an Eastern understanding of nature—calm, introverted, timeless. Recycled materials and sustainable processes deepen the natural metaphor. M77’s textured panels simulate cunfa brushstrokes, placed as accents at the entrance and key points to reinforce spatial memory. For the ground at entry and exit, UMGG’s brushed stone evokes axe-cut texture, shifting the tactile experience from rational to warm, enabling an intimate dialogue between body and space. The Moorgen smart system integrates lighting and structure, making light a second spatial layer—shifting with time and movement, as still and alive as moonlight over mountains.

作为东方文化中成长的中国设计师，吴滨希望透过《奥庭》让观众感受东方哲思下的自然观与生命秩序，重新思考人与天地、人与空间的关系。

在技术加速扩张、社会日益纷乱的当下，吴滨与无间设计所追寻的方向始终落在物质背后承载的文化厚度与精神维度。因此，吴滨与四个中国行业领先品牌YARDCOM院半、M77、UMGG环球石材、Moorgen摩根智能携手，一同在国际舞台上呈现一处可以静观的庇护所，以此回应人们对静谧、秩序与归属感的本能需求。这是中国设计带给米兰的一份心意，也是MATERIAE所指向的未来图景——物质与精神、人与世界在更高维度上的重新相遇。

As a Chinese designer nurtured by Eastern culture, Wu Bin hopes that through Ao Ting Court, viewers can experience the Eastern philosophical view of nature and cosmic order, and reconsider the relationship between humanity, heaven, and space.

In an age of rapid technological change and social unrest, Wu Bin and W.DESIGN remain focused on the cultural and spiritual depth behind materials. Together with four leading Chinese brands—YARDCOM, M77, UMGG, and Moorgen—they present a quiet sanctuary on the international stage, responding to our fundamental need for stillness, order, and belonging. This is Chinese design’s gift to Milan, and the future that MATERIAE envisions—matter and spirit, humanity and the world, reunited at a higher dimension.

设计总监&无间创始人 吴滨

设计团队

Gilda Bojardi自1994年开始担任《INTERNI》杂志总编辑，并负责管理旗下所有刊物。该杂志由Mondadori出版社发行，于1954年创刊，是意大利最早的室内设计杂志。至今，它已成为全球设计、建筑和室内装饰界权威的出版系列。

Gilda Bojardi还是一名策展人，在全球各地策划文化活动和展览。1990年，她创办了试验性质的“FuoriSalone”。该项目后来演变成一年一度的设计周，每年四月在米兰市内呈现超过500项活动。自1998年起，她为《INTERNI》策划每年米兰设计周的展览和活动，探讨国际设计界最热门的话题。同时，展览还收集了世界各地顶尖建筑师和设计师的作品。

M77始于1991年，前期专注于高端酒店及工程项目的整体配套服务，积累了深厚经验。2014年M77正式进军高端住宅定制木作领域，将东方美学与西方工艺技术融合，打造个性化的空间解决方案。M77在意大利米兰，中国上海、南京设立研发与设计中心，目前已在全国80多个城市设立场景体验中心，为高端客户提供一对一的全屋木作定制服务。旗下子品牌“近山林”，由知名设计师吴滨亲自主持设计，深度诠释“下一代日常”，进一步拓展品牌在高端家居领域的美学边界与文化内涵。

MOORGEN 集团 2016 年成立，是全球领先的智能家居制造商，拥有 1100 余名员工与 65000 平方米专业设施。集团深耕总线 / 无线控制、云计算独立研发，自研 MIA 技术赋能产品学习用户习惯，打造 AI 驱动的全屋智能系统；坐拥 550 余项专利，推出 1200 余款支持本地与远程视觉控制的智能产品。携手全球顶尖建筑师、设计师打造人性化产品，斩获红点至尊奖、iF、IDEA、日本优秀设计奖等国际大奖。以创新技术与优质方案提供全场景物联网智能产品，凭卓越品质与尖端技术稳居全球智能家居领先地位。

环球石材 1986 年创立于中国香港，为央企入股企业、行业领军企业，拥有中国驰名商标、国家高新技术企业等资质。集团拥有山东莱州、河北承德等优质矿山，福建、天津、东莞、山东四大天然石加工基地，以及东莞常平、广西来宾两大自动化人造石生产基地。40 年深耕行业，专注石材全产业链发展，业务覆盖矿山经营、材料贸易、设计研发、生产加工、石材工程、精装及幕墙安装等，服务网络遍及全球，承接国内外经典工程3500+，是国际领先的装饰石材系统解决方案提供商。公司是业内众多先进设备、工艺与产品标准的首倡者，拥有 200 余项专利，参与起草数十项国家及行业标准，持续推动行业高质量发展。

YARDCOM院半是一个全球户外生活方式品牌，提供从户外生活空间设计、硬装、软装产品定制，到营造落地一体化的全场景解决方案，致力于为全球菁英圈层打造户外理想家，创造集功能、情感、社交多重价值于一体的户外野奢生活体验，在户外场景洞察、空间美学设计、可持续、耐候材料研发上居于行业领先地位。旗下产品涵盖社交聚会、茶饮休憩、自然园艺、运动健身等户外多重场景，并持续携手全球设计力量，探索户外美好生活的更多可能。

以上品牌按首字母排序

谨此致谢每一位合作伙伴的携手同行

策划：Bobo Zhou

撰文：Ricardo

摄影：SHIDAI

部分照片来自INTERNI