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A Poem of Creating Light through Architecture
艺术家野口勇曾言：「光本身就是没有阴影的凋塑。」光本无边无体，需借物体成形表意，替捉摸不定赋予一瞬或永恒的意涵。无论是创造轮廓形式或光影纯粹直觉，都是带着诗意的创作与观看关系。Artist Isamu Noguchi once said, "Light itself is a withered sculpture without shadows." Light is boundless and formless, and it needs to be formed through objects to convey meaning, giving fleeting or eternal meanings to the elusive. Whether creating contour forms or purely intuitive light and shadow, it is a poetic relationship between creation and viewing.将建筑视为光的容器。本案利用建筑结构层次和材质特性，将光营造成不同表情形态，不仅在空间中包裹出方向，还有了质地，甚至触感。在光里游走，建筑既是光的容器，亦为艺术的表达形式。Consider architecture as a container of light. This case utilizes the hierarchical structure and material characteristics of the building to create different expression forms for the light camp, not only wrapping the direction in the space, but also adding texture and even touch. Wandering in the light, architecture is both a container of light and a form of artistic expression.在城中村再生的过程，设计师视量体为时光介质，过往具象地景转换为抽象、现代的建筑演绎。其中保留似曾相识的视觉元素，吸引人们亲近停歇，累积新的火炼树村情感。In the process of regenerating urban villages, designers view quantity as a medium of time, transforming past concrete landscapes into abstract, modern architectural interpretations. Retain familiar visual elements, attract people to get closer and rest, and accumulate new emotions of the Fire Refining Tree Village.
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空间作为容器，入口开场先隐去信息功能，塑造与具象外部环境相异的场域特质。
Space, as a container, hides the information function at the entrance, shaping the characteristics of the field that are different from the concrete external environment.
Reorganize the visual language of the old city为延续周围丘陵地景及黄旗山的象征性，空间体量虚实交叠穿插，「虚」带来轴线上不断递进的空间层次，「实」则是路径穿梭其间的体量感。To continue the symbolism of the surrounding hilly landscape and Huangqi Mountain, the spatial volume overlaps and interweaves virtual and real, with "virtual" bringing continuous spatial layers along the axis, while "real" is the sense of volume that passes through the path.
一、二层间可见挑高天井、穿堂和平台于水平垂直方向互串，行走于不同的高度参观，穿梭身影似沿黄旗山路登顶的人群，远眺、上下互望关系，化为复层空间交织的轴线。1、 On the second floor, high ceilings, corridors, and platforms can be seen intersecting horizontally and vertically. Walking at different heights, visitors can shuttle their figures like crowds climbing the Huangqi Mountain Road. From afar and looking up and down at each other, they become intertwined axes in the complex space.
Shaping the form of light through architecture三层天井顶端的屋顶结构同样相藉建筑捏塑、衬托出光线的形状，为了不让光无感无形地直接洒落，设计师利用了遮罩，阳光穿过网格、部分因斜板折射，借由天窗改变了光线的角度，柔和的映射进室内，如开始所述「空间是我们塑造光线的雕刻刀」。The roof structure at the top of the three story courtyard is also shaped by the architecture to highlight the shape of the light. In order to prevent the light from falling directly and imperceptibly, the designer used a mask. The sunlight passes through the grid and is partially refracted by the inclined plate. Through the skylight, the angle of the light is changed, and it is softly reflected into the interior. As mentioned at the beginning, "space is our carving knife for shaping light".同样以介质改变光线触感的手法，在三层应用于切分空间的隔间，放大宫灯结构并以水纹玻璃替代传统材质，光线色泽及透明性渗过造型后，化为扰动水面，粼粼晃漾打散了物的清晰轮廓，将场域隔出不同的时光流动感受。The same technique of using a medium to change the tactile sensation of light is applied to the compartments of the divided space on three levels. The palace lantern structure is enlarged and traditional materials are replaced with water patterned glass. After the color and transparency of the light penetrate through the shape, it becomes a disturbance to the water surface, scattering the clear contours of objects with shimmering ripples, and creating different feelings of time flow in the field.层层拆解灯笼的意涵，从具象地景、光影造型乃至符号语言，设计师选择以光切入，再现、转化至建筑领域，建构光与空间并存互动的多样性，而不仅是人造环境里功能的一环。Breaking down the meaning of lanterns layer by layer, from concrete landscapes, light and shadow shapes to symbolic language, designers choose to use light as a starting point to reproduce and transform them into the field of architecture, constructing a diversity of coexistence and interaction between light and space, rather than just a functional part of the artificial environment.三层开阔的场域中，透过落地与天窗大量地纳入自然光，但透过建筑控制光线方向，以及立面材质转换，自然产生区域属性之分，空间轴线与光影方向互为彼此的延伸，相互作用创造符号般的现代构图。In the open field of the three floors, a large amount of natural light is incorporated through the floor and skylight, but through the control of the building's light direction and the transformation of facade materials, the division of regional attributes is naturally generated. The spatial axis and the direction of light and shadow extend each other, creating a symbolic modern composition through mutual interaction.除了建筑立面形成的光感，光亦藉由面的折射、漫射，甚至穿透介质产生丰富质地。In addition to the light sensation formed by the building facade, light also generates rich texture through surface refraction, diffusion, and even penetration through media.光线是一种动人的元素，有时可以强烈锐利亦可以柔和温润，如同雕塑延展出立体维度，与环境建立关系。比起通透无阻的开窗，沐浴在柔和日光下的感受更为强烈。Light is a moving element, sometimes strong and sharp, but also soft and gentle, like a sculpture extending its three-dimensional dimension and establishing a relationship with the environment. Compared to unobstructed windows, the feeling of bathing in soft sunlight is stronger.
△三层的梯厅
光虽无形，但它的整齐在九十度敞开门窗边显现，影子如对仗，回应光填进建筑的角。
Although light is intangible, its neatness appears at the ninety degree open doors and windows, and its shadows are like a battle, responding to the light filling the corners of the building.
在各空间区域，设计师应用灯笼概念但缩放成不同尺度，彷彿如光流洩穿梭于容器内外，感受光不受缚于造型，却又因各种形状材质凝结变异的实验。In various spatial areas, designers apply the lantern concept but scale it to different scales, as if light flows through the container, feeling the experiment of light not being bound by the shape, but also condensing and mutating due to various shapes and materials.别于入口及美术馆轻浅叠放的漫射光，右侧咖啡厅以矩形量体为单位，将光如同一束束、一块块叠放穿插进建筑，将户外的澄明带入室内。Unlike the diffuse light stacked lightly at the entrance and art museum, the coffee shop on the right is measured in rectangular units, interweaving light like bundles and blocks into the building, bringing outdoor clarity into the interior.
The form of extracting light and contour from landmark red lanterns除了周围丘陵地形，东莞八景之一的黄旗山上有一巨型灯笼，山脚即见制高红灯笼装置已如城市精神标的，无论潮流怎麽推移，层叠翠绿之上，总亮着那盏令人安定的灯火。In addition to the surrounding hilly terrain, there is a giant lantern on Huangqi Mountain, one of the Eight Scenic Spots of Dongguan. At the foot of the mountain, a high red lantern installation can be seen as a symbol of the city's spirit. No matter how the trend changes, on top of the layered emerald green, there is always that calming light shining.相较于当代霓虹的通亮，灯笼兜起的光辉更具留住灿烂的美意，它所象徵的温暖也诉说光的永恒与延伸。Compared to the brightness of contemporary neon lights, the radiance carried by lanterns has a more enduring beauty, and the warmth it symbolizes also speaks to the eternity and extension of light.
将灯笼薄膜构造、产生半透光效果置入咖啡厅，取传统宫灯轮廓发展成方整的视觉装置，隔着薄如蝉翼的介质替原本明朗穿透的场域添上些许朦胧，室内照明与自然光多了筛网、转折而有不同质地。The lantern film is constructed to create a semi transparent effect and placed in the coffee shop. The traditional palace lantern outline is developed into a square visual device, adding a touch of haze to the originally bright and transparent field through a thin medium like a cicada's wing. The indoor lighting is different from natural light by adding screens and turning points.人们随着建筑层次进入光的内部，体验空间、切换视角，触发新的感官边界后，开始由内向外透析，最终再流回城市日常。
People enter the interior of light with the architectural hierarchy, experience space, switch perspectives, trigger new sensory boundaries, start to analyze from the inside out, and finally flow back to urban daily life.
空间设计｜李智翔、葛祝纬、黄雅琳、黄荑、汤传亚、萧伟富 / 水相设计 业主团队｜李玮、于智超、梁倬、周力、郑元启、李传亮空间格局｜接待区、洽谈区、品牌展示区、品茗区、中庭、宴会厅、办公室、卫生区、多功能区主要材料｜墨玉、瑞士翡翠、平光青铜金属、绿色金属漆、石材、樱桃木钢琴烤漆、釉面砖![]()
水相设计主创团队 - 李智翔 、葛祝纬、郭瑞文（从左至右）
水相设计成立于2008年的水相设计跨足室内与建筑领域，秉持设计应如『水』的初衷，纯净、有机又多变，本质上保持其原有的简洁性，意念上展现无框架的可能性。致力关注于空间的故事脉络及时间光线，创造一个具有情感沉淀及讯息想象的空间。免责提示：（1）文章内图片仅供读者参考。（2）我们所转载的所有文章、图片、音频视频文件等资料版权归版权所有人所有，因非原创文章及图片等内容无法一一和版权者联系，如原作者或编辑认为作品不宜上网供大家浏览，或不应无偿使用，请及时通知我们，以迅速采取适当措施，避免给双方造成不必要的经济损失。（3）本网页如无意中侵犯了媒体或个人的知识产权，请后台私信告之，我们立即予以删除。
