架构师提供的文本描述。作为一种木地板品牌，Ugan的概念遇到了一个设计上有大量木材可供选择的空间：如何构建“木材质量空间”而不是“木质”空间，使“木材质量”成为一种状态和氛围，而不是“材料”和“材料的功能”？就像在森林里，我们不会以物质的方式去关心树木；相反，我们会被树木生长的环境所概括的完整性所唤醒：气味的感觉，风的触碰，灯光的斑点，声音的距离等等。这种感觉不会来自其他地方。我们可以称之为“森林质量的经验”。

Text description provided by the architects. As a wooden floor brand, Ugan Concept has met a designing aporia with huge amounts of wood available: how to construct “a space of wood quality” instead of “a wooden” space, making “the quality of wood” a state and an atmosphere rather than “a material” and “functions of the material”? It’s like being in the forest, we would not concern about trees in a materialized way; instead, we will have self-perception aroused by the integrity generalized by the surroundings in which trees grow: the sense of smells, the touch of winds, the spots of lights, the distance of sounds and so on. The perception won’t come from anywhere else. We may call it “the experience of forest-quality”.

Text description provided by the architects. As a wooden floor brand, Ugan Concept has met a designing aporia with huge amounts of wood available: how to construct “a space of wood quality” instead of “a wooden” space, making “the quality of wood” a state and an atmosphere rather than “a material” and “functions of the material”? It’s like being in the forest, we would not concern about trees in a materialized way; instead, we will have self-perception aroused by the integrity generalized by the surroundings in which trees grow: the sense of smells, the touch of winds, the spots of lights, the distance of sounds and so on. The perception won’t come from anywhere else. We may call it “the experience of forest-quality”.

 Dinning room. Image © Feng Shao

餐厅。图像(冯绍)

根据我们的空间思维习惯，森林没有其生物特征和自然特征，在地域和功能上没有明显的划分。当我们在森林中时，我们不会根据不同的植被层来确定我们所处的区域，也不会沿着特定的路径走向特定的目标。这可能就是所谓的“无边无际”.

According to our thinking habits about space, forest, without its biological characters and natural features, has no evident division in area and function. When we are in the forest, we would not identify the area we are in according to layers of different vegetation, nor walk towards a particular target along certain paths. This may be the so-called “the sense of boundarylessness.”

According to our thinking habits about space, forest, without its biological characters and natural features, has no evident division in area and function. When we are in the forest, we would not identify the area we are in according to layers of different vegetation, nor walk towards a particular target along certain paths. This may be the so-called “the sense of boundarylessness.”

 Meeting room. Image © Feng Shao

会议室。图像(冯绍)

 Plane graph of the art unit

艺术单位平面图

在入口处，为了表示它的流动性，采用抽象的亭子，而不是大门和庭院，这样就会自然地从外到内唤起感情。相比之下，我们部分地删除了窗户，这是作为建筑物半隔墙的一个重要部分，我们设计了一个新的容器-茶室，它用“由内而外”的精神模糊了内部(办公)空间和外部(庭院)空间之间的关系。

At the entrance, in order to indicate its fluxility, an abstract pavilion is used rather than a gate and a courtyard; thus, the affection will be aroused naturally from outside to inside. On contrast, we partly remove the window, which was an important part functioning as a half partition in the building, and design a new container – a tearoom, which blurred the relationships between the interior (office) space and the exterior (courtyard) space with its spirits of “from inside to outside.”

At the entrance, in order to indicate its fluxility, an abstract pavilion is used rather than a gate and a courtyard; thus, the affection will be aroused naturally from outside to inside. On contrast, we partly remove the window, which was an important part functioning as a half partition in the building, and design a new container – a tearoom, which blurred the relationships between the interior (office) space and the exterior (courtyard) space with its spirits of “from inside to outside.”

 Hallway. Image © Feng Shao

走廊。形象：冯绍

为了使它成为整个空间的一个循环，我们在交通的核心区域中拆除了浴室的隔墙，设计了一个不可见的门，走廊直接与会议室和窗户在一侧连接。这样，所有的细节可以在空间中彼此渗透。

To make it a loop in the whole space, we removed the partition walls of the bathroom in the core area of traffic and design an invisible door through which the corridor is directly linked with the meeting room with windows on one side. In this way, all the details can permeate with each other in the space.

To make it a loop in the whole space, we removed the partition walls of the bathroom in the core area of traffic and design an invisible door through which the corridor is directly linked with the meeting room with windows on one side. In this way, all the details can permeate with each other in the space.

 In-between area. Image © Feng Shao

在区域之间。形象：冯绍

除了物理边界之外，由于其功能或在视觉褪色区的位置而经常被忽视的区域也可能成为一种很难通过的边界，使我们保持距离。在这个空间里，这样的区域随处可见-入口左边的拐角处，柱子和横梁，隔墙的高低边，角落等等。因此，我们将它们具体化，并赋予它们一些节奏，使那些毫无意义的形状成为空间中的“象征性的建设性元素”。

Besides physical boundaries, areas that are often neglected because of their functions or their positions in the visual fade zone can also become a kind of boundaries that are difficult to pass, keeping us in distance. In this space, such areas are everywhere – at the corner on the left of the entrance, the pillars and beams, the high and low edges of the partition walls, corners, etc. Therefore, we materialize them and give them some rhythm, making those meaningless shapes into “symbolic constructive elements” of the space.

Besides physical boundaries, areas that are often neglected because of their functions or their positions in the visual fade zone can also become a kind of boundaries that are difficult to pass, keeping us in distance. In this space, such areas are everywhere – at the corner on the left of the entrance, the pillars and beams, the high and low edges of the partition walls, corners, etc. Therefore, we materialize them and give them some rhythm, making those meaningless shapes into “symbolic constructive elements” of the space.

 Tea house. Image © Feng Shao

茶馆。形象：冯绍

在城市生活方式中，我们对事物甚至我们自己的精神观念正在逐渐退化。然后，设计的重点是如何尝试利用几个“设计点”来唤起一定的经验，以巩固自我意识，同时保证它们的功能。挂在亭子上的木灯会把你带到茶室，而不是你所期待的其他地方，你会感到失望和兴奋吗？这个小水景与洗脸盆的排水口相连，当有人在…内洗手时，会从外面呈现出“用过的水”的场景。旋转水箱、立体幕布、水龙头水桶、毛巾镜吊梁、凳子箱、木承重景观桌、工作台景等，这些“设计点”就像我们生活过程中的几个令人印象深刻的“事件”，我们可以记住它的“体验”，但我们不能重塑它的真相。有时，我们需要独处“它”。我们把记忆的碎片堆放在空间里，让人们利用它与之对话。

In urban lifestyle, our spiritual perception about things and even ourselves are gradually degenerating. Then, the emphasis of the design is how to attempt to use the several “designing points” to arouse certain experiences in order to consolidate self-awareness while ensuring their functions. The wooden light hanging on the pavilion will lead you to the tearoom rather than other places that you are expecting, will you be disappointed and excited? The small waterscape linked to the outfall of the washbasin in the bath room will present the scene of “used water” from the outside when someone is washing hands inside… the revolving water tank, the three-dimension curtain, the bucket inlaid with tap, the hanging beam of towel and mirror, the case of stool, the wood bearing landscape desk, the staff desk-scape, etc., all those “designing points” are like those several impressive “events” in our life course, which we can remember its “experience”, but we cannot reshape its truth. Sometimes, we need to be left alone with “it”. We pile up all the fragments of memories in the space for people who will use it to have dialogue with.

In urban lifestyle, our spiritual perception about things and even ourselves are gradually degenerating. Then, the emphasis of the design is how to attempt to use the several “designing points” to arouse certain experiences in order to consolidate self-awareness while ensuring their functions. The wooden light hanging on the pavilion will lead you to the tearoom rather than other places that you are expecting, will you be disappointed and excited? The small waterscape linked to the outfall of the washbasin in the bath room will present the scene of “used water” from the outside when someone is washing hands inside… the revolving water tank, the three-dimension curtain, the bucket inlaid with tap, the hanging beam of towel and mirror, the case of stool, the wood bearing landscape desk, the staff desk-scape, etc., all those “designing points” are like those several impressive “events” in our life course, which we can remember its “experience”, but we cannot reshape its truth. Sometimes, we need to be left alone with “it”. We pile up all the fragments of memories in the space for people who will use it to have dialogue with.

 Component. Image © Feng Shao

组件。形象：冯绍

设计是以人的存在为基础的。只有当我们与空间和空间中的物体“相关”时，它才能以其功能存在并带给人们各种各样的体验。在这里和现在，我们更关心的是人们的经历，无论是身体上的还是精神上的。

Design makes significance on the basis of people’s existence. Only when we are “relating” to the space and objects in the space, could it exist and bring various experiences to people with its function. Here and now, we concern more about people’s experience, both physically and mentally.

Design makes significance on the basis of people’s existence. Only when we are “relating” to the space and objects in the space, could it exist and bring various experiences to people with its function. Here and now, we concern more about people’s experience, both physically and mentally.

 Dinning room. Image © Feng Shao

餐厅。图像(冯绍)