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重庆很特别，有很多的山，山上也住人，这个城市的各个角落，都有茂盛高大的树，由此形成了各种被光影包裹的城市山林。有很多光怪陆离的词被用来描述这座城市的肌理——“山城”“魔幻”“江湖”“雾都”，在这些充满传播力的词汇背后，应该存在某种更直击生活本质的东西——而设计需要思考的就是本质。设计的本质往往离不开对生活的叩问，当我们越来越迷失在“魔幻都市”鳞次栉比的钢筋丛林中时，不禁要问，真正理想的生活究竟在何处？
潜庐 LAKEHOUSE
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“移竹渐添窗影绿，飞花时映彩霞明”。民国时期，冰心先生移居重庆歌乐山腰，名“潜庐”，意在“静伏于此”，彼时老舍特作词相赠。文人墨客的理想居所，大抵追求的是内心的宁静——凭窗会友，望江创作，冰心先生离开重庆时，特意嘱咐“留下潜庐，一切依旧，说不定我还会回来。”令其念念不忘的，是战火动荡下，歌乐山间小屋的那份安宁清淡，这是一种对现实节拍的变奏，也是一种停顿。
During
the period of the Republic of China,
Bing Xin
moved to the side of the Gele Mountain
in Chongqing, known as "Lakehouse".
The ideal residence for literati is probably a pursuit of inner peace --
meeting friends and composing poetry.
重庆华润中央公园位于重庆中央公园北侧，这里湖泊相邻，绿树环绕，地形亦朝着湖泊的位置，向心型整体下凹，带着重庆地形特有的高低起伏，当身体被引入其中，便自然依势生出下山戏水的趣味。颇有明代张宏所绘《止园图》中的情趣：依水而居，郁郁葱葱。
The Central
Manor is located in the north of Chongqing Central Park, surrounded by lakes
and green trees. With the undulating topography, the terrain is concave towards
the lake. When entering the building, the viewer can experience the fun of
splashing in the mountain.
这一切都令我们对项目之外多了一份思考，将关于生活本质的思考带入设计中——在围湖而居的地方，有这样的一个气口，可以让生活的节拍停顿一下，很多故事都可以在此发生。
All these make us consider beyond the project -- in such a place with an abundant natural landscape, the rhythm of life could
be suspended and plenty of anecdotes happened here.
行游 WALKING AROUND
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结合场地特征，人们需要穿过一片密林才能抵达建筑，建筑师利用原始地形条件采用覆土建筑的方式呈现出依山傍水的趣味，整个会所拥有一个巨大倾斜的屋顶，仿佛漂在水面上一般。远观，它极富辨识度，赋予人极佳的视觉景观；靠近，它又别有洞天——我们将功能空间转换为错落的“盒子”，散落在巨大的屋檐下，“盒子”间有间隙，自然的风与植物的气息穿透进来，人在其中，充分打开五感，接收到设计赋予的巨大能量。
Due to the site characterization, one has to walk
through a dense forest to reach the building. The architect took advantage of
the original terrain conditions and adopted the way of earth-sheltered
architecture to present the charm of nature.
建筑选择涂山窑的陶板作为立面的表情，在室内设计中我们希望将建筑本身的物质在地性延续进来：一方面，确保空间逻辑的完整；另一方面，我们也希望空间的表情是相互对话的，陶板于建筑表面，只可隔水远观，无法触碰，人一旦进入室内，这种物质本身的极性，便能够被触碰到。
The ceramic plate of Tushan Kiln is chosen as the
decoration of the facade. We hope to continue the locality of architecture in interior
design: on the one hand, to ensure the integrity of the spatial logic; On the
other hand, the spatial narrative is a mutual dialogue. The ceramic plate on
the surface of the building can only be seen across the water, but cannot be
touched. Once the viewer enters the room, the polarity of the substance can be
felt.
一座城，与山林相伴，闲时树下乘荫漫谈，有避世之感，我们希望将这种氛围延续至空间。因此在室内材质上选择深灰色的沉积岩——它横跨时间，在流行之外，表面的工艺稚拙，带有硬度较高的浅色沉积层，形成类似泼墨的斑纹，我们希望将其与涂山窑的陶板做结合，由物质性的本身出发，推导出空间的形态。
A city, accompanied by mountains and forests, brings a
sense of retreat when chatting under the shade of trees in leisure time.
Correspondingly, we applied it to the space where dark gray sedimentary rock is
selected as the material.
在空间设计上，我们通过隐性的模数关系进行管理，“盒子”本身的尺度与间隙的尺度都被精准地管理。我们需要确保这样的尺度是适宜的，所谓精于体宜，讲的是尺度本身，空间的大小以及构建的尺度，都基于此，这是空间的底子。
The scale of the "box" and the gap are
precisely managed through an implicit modular relationship. We need to make
sure the scale is appropriate, which means the scale itself -- the size of the
space and the scale of the construction.
最终，盒子的分布被精准落位，我们在间隙之间碍木删桠，泉流石柱，形成或近或远或高或低的不同景致，人们穿行其间、漫谈、凝视，这是巧于因借，也是眼前有景。
Ultimately, the distribution of boxes is precisely placed. We also added trees, stream and stones into the gaps, forming unconventional landscapes where viewer can walk through, gossip and gaze.
论美 BEAUTY THEORY
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谷崎润一郎在《阴翳礼赞》中写道：“美，不存在于物体之中，而存在于物与物产生的阴翳的波纹和明暗之中。”
Tanizaki wrote in Praise of Shade: "Beauty does not exist in objects, but in the ripples and the shade produced by objects."
相比在空间中创造更为具象的视觉效果，我们更希望通过建立丰富的氛围体验，充分调动人的感知，引人遐想。因此，我们将空间做了“去售楼化”处理，它更像是一个生活美学馆，让每一个进入的人都产生情感共鸣及精神归属感。
W.DESIGN fully mobilized viewers' perception and imagination by creating a rich atmosphere rather than simply making concrete visual effects. Therefore, the space is more like a living arts center that endows people with emotional resonance and spiritual belonging.
从进入会所开始，我们就营造了一种松弛的度假氛围：酒店式的接待台、拙朴的沉积岩空间肌理、松弛的脚感、幽弱的暖光，空间被压在一个温暖的阴翳的调子里，转身进入主空间后，豁然开朗，空间轴线特意做了偏转，以松动的状态长在水面上，巨大的纸面顶棚装置静置在上空，似高古的风筝，静谧，却当风。
We constructed a leisure vacation atmosphere: A hotel-style reception desk, plain sedimentary rock space texture and faint warm light. The space is set in a warm shade of the tone. After turning into the main space, it’s suddenly enlightened. The spatial axis is deflected to loose on the water, with a large paper-ceiling device overhead.
艺廊展区、休闲区、茶寮区等不同的区域被蜿蜒的小径串连起来，展览空间像是一块沉淀已久的琥珀，如此轻柔地摆放在度假感十足的无边泳池旁。让人们松弛地感受艺术，在这里，仿佛连空气都成了艺术，渗进身体里的每一个孔隙。
The different areas, such as the art gallery, the recreational area and the Tea Pavilion, are connected by winding paths. The exhibition space is like a piece of long-settled amber, gently placed beside the resort infinity pool.
无间设计所倡导的东方美学更强调在颜色、光线和对比之中营造的自省与调和之美，通过物与物之间、人与物之间的和谐来打造建筑和生态之间的共生。
The Oriental aesthetics advocated by W.DESIGN
emphasizes the beauty of introspection created in color, light and contrast,
and the symbiosis between architecture and ecology through the harmony between
man and objects.
游山 MOUNTAIN CLIMBING
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利用倾斜的屋面高差，我们设置了一处登高，穿过蜿蜒的石阶即可抵达，此处须打开天窗，形成一个自然光的体积，光能够让空间安静，让时间停顿，坐在此处，喝茶、会友、“且共儿童争饼饵”，这不就是潜庐吗？
Utilizing the slanted height difference, we set up a space that can be reached through the winding stone steps. The skylight could be opened to form a volume of natural light, which makes the space quiet, and lets time stop.
蜿蜒的小汀步带领我们靜靜地走到静谧空间——“琉璃光院”，在这里体验光影婆娑之美。我们利用巧妙的倒影和透视方法，让观者通过地板上的倒影、窗棂的线条充分感受不断延伸的景色。
By ingenious scenography, the audience will fully feel the ever-extending scenery through the reflection on the floor and the lines of the window lattice.
室外景观顺着空间合为一体，在一杯清茶之间体验对神秘自然的思索和感悟，于生命的单纯间把握生命本身，连古玩器物和姿态肆意的的小盆景也在与琉璃般的如镜面的桌上的倒影对话。
Moreover, the outdoor landscape is integrated with the space. And one can perceive the mysterious nature and grasp the essence of life in a cup of tea, even the antiques and small bonsai greet the reflection of the mirror-like table.
四周绿植环绕，风景宜人，我们通过阔落的大漆质感的茶桌的倒影，取自然之境，低头便能看见浓密绿意映在黑漆光亮的茶桌之上，营造静谧、庄严高古之感。
Surrounded by green plants, the scenery is pleasant. We take the natural environment through the reflection of the tea table in broad lacquer texture. One can feel the dense green on the table, creating a quiet and solemn atmosphere.
拾阶而下，是一处咖啡馆，咖啡馆与室外连通，可以凭水而坐，可以檐下闲谈，往西侧走，再上几踏，穿过巨大的石板墙，是一处正方形的水亭，水亭的门常开不闭，水声悠悠，有着气韵流动的趣味，一路往西走，可行至动静内外之间、可望至山丘湖水之境、可居于艺廊臻品之间、可游于诗书逸趣之内，生活的节拍在自己的脚下，行至此处，则不必在远。
Down the stairs is a cafe that connects to the outdoor
space where people can sit by the water and chat under the eaves. Passing
through the huge flagstone wall to the west, you can see a square water
pavilion whose door is normally open, presenting an interest of lively artistic
conception. The rhythm of life is close at hand.
当下 NOWHERE
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重庆这座城很特别，这里的人大多无意去远方，这里面是有一些原因的，半城烟水半城山，居住于此的人，可以掌握生活的节拍，那自然是不必去远方的，当下即是远方。
Chongqing is a unique city. Most people have no intention to go far away, and there are some reasons for this. People living here can master the rhythm of life. Nowhere is in the distance.
设计总监&无间创始人：吴滨
项目主创团队
本文图文版权归W.DESIGN无间设计所有
未经授权，禁止转载
