本体，院为心性，二者之间的相互协调，随着审美需求和精神意识的明确，由通常的附属关系转化为灵活的功能补充、叠加，而后彼此依存，最终融为一体。

使抽象思维的内心世界衍生出具象的物理形式的“一方天地”——即庭院，这是人与自然协同进化的历史局部，也是自我情感的投射与认知的外化。

The house is the essence, the courtyard is the Spiritual side. With the clarification of aesthetic needs and spiritual consciousness, the mutual coordination transforms from the usual subsidiary relationship into a flexible functional complement, then interdependent with each other, and finally integrated into one. The abstract inner world derives a concrete physical form of the world - that is,the courtyard. which is a historical part of the co-revolution of man and nature, It is also the projection of emotion and the externalization of cognition.

长期以来，庭院与住宅的结合通过门的大小、窗的高低、洞的开口，使封闭的室内拓展并外延至更广阔的天地，眼前即景、身处自然，阳光和空气鱼跃而入，正如杰弗里·巴瓦的自宅给人感官上的丰富和精神上的愉悦一样，无论是居住场所，或者公共空间，庭院在空间布局里日渐显现出主导与支配的地位。

For a long time, The existence of courtyard makes the closed interior expand and extend to a broader world through the size of the door, the height of the window and the opening of the hole. Seeing theview, the sun and air suddenly jumped in, You can feel the sense of richness and spiritual pleasure just as Jeffrey Bawa’s own house. The courtyard gradually shows its leading, even dominant position in the space, whether in residential or public spaces.

The Modernity Of Aesthetics

在东方的宅院营造观念里，进入前庭、转向后院是共识的默认路径，也成为空间情绪转换的必要前提，位于成都西郊的L宅即是如此。推门而入，由曲折回廊到达礼仪门厅，端景为光，对景为水，无论进出，入口庭院的水景与室内的采光井借光，使室内外发生一定的情感关联，晕染开生动的内部空间。

In the construction concept of Oriental residence，entering the ante-court then turning to the backyard is thecommon route, also a necessary premise for the transformation of mood, as is the case with L house in the western suburbs of Chengdu.Pushing the door and stepping in, wander from the winding corridor to the ceremonial hall，the indoor skylight becomes the end scenery and the outdoor waterscape becomes the opposite scenery，together they crate a emotional connection and halos the vivid internal space.

对称美学向来呈现出古典的韵律，客厅窗体以平面为轴线，结合建筑外立面的形态镜像出相同尺度的对位关系。转角沙发和西侧的落地绿植与非对称的电视背景形成三维空间里非均衡的视觉美感，而垂直空间的材料，以体块和盒子的方式，由一个立面流动到另一个立面，构成连续性的立面景观。

Symmetrical aesthetics always presented as classical rhythms。The windows in living room takes the plane as the axis, combined with the morphology of the building facade to mirror the counterpoint relationship of the same scale. Corner sofa and greenery on the west side, together with asymmetrical TV backgrounds forms a non-balanced visual aesthetic in this three- dimensional space. While in the vertical space, blocks and boxes flowing from one facade to another, forming a continuous landscape.

留白和写意是生活的艺术，也是一种简约的哲学观。客厅家具不以常规的布局为范本，通过当代的审美趣味组合出活泼的排布方式，主体布料的质感与素色墙体围合出雅致的氛围，此时，倾泻而下的阳光成为了空间的主角，跳跃出窗体结构的扩散面貌。

White space and freehand brushwork are the art of life and also a simple philosophy. The furniture in living room combines in a lively arrangement with contemporary aesthetic tastes instead of the conventional way. Fabric and the plain walls create an elegant atmosphere. At this time, the pouring sunlight becomes leading role in space. light and shadow spread vividly on the wall through the window.

To Borrow, And Extension

“一日三餐”虽然是简单的字眼，但对家庭来说却有着重要意义，可以互相品尝对方的厨艺手法、感受彼此的心意，杯碟碗筷之间，更是家庭的情感纽带。圆桌的出现，迎来送往，深刻地诠释了其乐融融、欢聚一堂的意象表达。

Three meals a day is a simple word, it is of great significance to the family. You can taste each others cooking and feel the delicate emotion. Dishes means the emotional bonds of the family. The appearance of the round table, profoundly express the image of happiness and joy.

与餐厅轴线对称的厨房，兼作中西厨之用，移门推开，同餐厅互为功能补充；移门闭合，宽敞的尺度令空间拥有足够的操作余地，而帮厨在某种概念上，衍生出“协助、分担”的客观含义，积极互动从而增进感情的交流。

The kitchen doubles as a Chinese and Western kitchen, which is symmetrical with the restaurant. When the sliding door is opened, it complements the functions of the restaurant, when it’s closed, the spacious size allows the space to have enough room for operation. Kitchen help means assisting and sharing, positively interaction,and approach relationship.

及至二楼，家庭厅与楼梯区和采光井形成了共享的开放区域。因为尺度有限，凭着“它借”的策略，借中空客厅的一部分，拓宽家庭厅的面积。由客厅看去，有如内置了一个具有东方属性的艺术构件，呼应内置庭院的手法；对家庭厅而言，木地板、木栏杆却组合成了一致的外延，半高的木作形成围合、保护的形式语言。

Up to the second floor, the family hall, the staircase area and the light well form a shared open area. Due to the limited scale, it becomes a possibility to borrow a part of the hollow living room to expand the area of the family hall. Viewed from the living room, it looks like a built-in art structure with oriental attributes, echoing the method of the courtyard.For the family hall, the wooden components is a consistent extension, and forms a language of enclosure and protection.

Axis And Geometric Mountain Shape

女儿房的形体构思简而言之，即为抽象的、单一的山形几何线条，定制床具结合柜体收纳，凭借明确的界限，上下进行材质分色，建构出稳定的、但又具有积木搭接性质的视觉结构。床头探进去的深度，又如躺在帐篷里，置身于户外，充满与自然比邻而居的童趣。

The idea of the daughters room is based on the abstract, mountain shaped geometric line. The customized bed is combined with the storage of the cabinet. With a clear boundary, the upper and lower materials are separated in color to construct a stable visual structure with the nature of building block overlapping. The depth of the bed just like lying in a tent and being in nature, full of childlike fun and imagination.

依据不同的空间，木作的颜色发生着变化，在光线充足的公区和卧室，天、地浅色进而通过深色强调立面。主卧山纹的木作起伏着“山的形态”与背景丝绢的山水画产生巧妙地呼应，此刻，轴线的出现成为主人身份的一种象征，也暗示了空间由非均衡走向了对称结构。

The selection of woodwork is carefully considered according to different spaces. Public areas and bedrooms are well lit, light colors are used for ceilings and floors, and dark colors are used to emphasize the facade. In the master bedroom, the woodwork’s pattern fluctuates with the shape of the mountain, echoing the silk landscape painting in the background. At this moment, the emergence of the axis has become a symbol of the owners identity, and it also suggests that the space has changed from unbalanced to a symmetrical structure.

作为主卧精心设计的部分，主卫的深思熟虑在于深浅比例的把控以及产品的配置，独立淋浴间和马桶间显示了其顶级配置的标准。浴缸区黑白根石材极富艺术的表现力，犹如动态的山水画，纵横交织的白线勾勒出抽象的概念和具有方向性的指向。

As part of the master bedrooms elaborate design, the master bathrooms careful considered the control of the depth ratio and the choice of products. The independent shower and toilet show the standard of its top configuration. The Black Marquina stone in the bathtub area is very artistic, just like a dynamic landscape painting. The crisscross lines outline abstract graphics and directions.

Circumstances And Artistic Conception

L宅虽为双拼别墅，但房间面积都比较局促，这种情况反而促使了家庭成员走出来，一个公共的、互动的空间建立起来显得尤为重，于是影音室、茶室、健身房、棋牌及水吧区组成庞大的服务体系，使激活后的地下室成为家庭的中心，可以聚会、交流、招待朋友。

Although L house is a semi-detached villa, the room area is a little limited. This situation has prompted family members to come out, so the establishment of a public and interactive space is particularly important. Therefore, the video room, tea room, gym, chess and card and water bar area form a huge service system, active basement to be the center of the family, allows to gathering, communication and having fun with friends.

地下室公共区域朝向庭院的立面最大限度地采用通透玻璃，减少遮挡，同时围绕庭院展开的布局使人行走其间，步移景异，一幅幅动态的框景展示了庭院的立体性和丰富性。在地下室起居室，“山的形态”以石材对纹的形式再次出现，相同的符号呈现不同的材料肌理。

The facade of the public area adopts transparent glass to the greatest extent to reduce the obstruction. At the same time, thearrangement around the courtyard let people walk through, and see the different scenery. The dynamic frame scenery shows the three-dimensional and richness of the courtyard.In the living room of the basement, shape of the mountain reappears again in the form of stone pattern, and the same symbol presents different material textures.

The Spiritual Corner

在原始的建筑结构里，地下室和一层各成一体，如何解决地下室采光、通风、潮湿等实际问题从而被激活、同时相互打通产生更丰富的动线连接和空间互动成为设计的关键，在两层的立体框架之中，内置一处天井庭院，地下室的主要功能空间依据其一字排开，室内与室外之间“巧于因借”，使庭院成为家庭活动区的主要核心。

In the original building structure, the basement and first floor were integrated. How to solve practical problems such as lighting, ventilation, and humidity , then active the basement to create a smooth traffic flow and spatial interaction has become the key to the design.In this three-dimensional space, a patio courtyard was built in, according it lined up the main functional spaces of basement. The indoor and outdoor spaces are smartly borrowed, Making the courtyard the main core of the family activity area.

园林历来为造型艺术，也是模仿自然、亲近自然和写意自然的场所体现，黑松、碎石、苔藓因地就势，构成起伏、连绵的山丘。在日式造园里，“草”踏脚石是重要的表现元素，千层石的原始形态置于庭院之中，凸显几分自然的野趣。在园林的境界追求里，心境、语境、意境、情境虽一字之差，但相互递进和转换的关系，构成了居住者理想的、丰沛的精神角落。

The garden has always been a plastic art, and it is also a place for imitating nature, getting close to nature and freehand nature. Black pine, gravel, and moss form rolling hills due to the terrain. In Japanese-style gardening,natural stepping stones are an important element of expression. The original form of Melaleuca stone is placed in the courtyard, highlighting a bit of natural wildness. In the pursuit of garden realm,the mood, context, artistic conception and situation together interrelated and transformed，constitutes an ideal and rich spiritual corner for residents.

Information

Project Name：The Image Of Spirit

Project Location：Chen Du

Interior Design：Designer Office Luo Gang

Chief Design：Luo Gang

Design Team:：Zhang Yong Zhu Siyi

成都寅午空间设计有限公司

Executive Team：YinWu Space Design Co., Ltd

Project Area：920㎡

Completion Date：December 2021

Photography：Pian Fang Photo Studio/Xiang Shu Xing

Project Writing：off-words/Moon

寅午空间设计-罗刚设计事务所创始人

所感知的物质空间被赋予了人文式的表达，生发出特定的场所精神，这关乎场地环境、形式语言、时间和美学。如何积累与分享、倾听与表达、融合与创新，这是我们团队不断思考以及探索的方向。

罗刚设计事务所专注于高端私宅设计，20多年来，我们尊重项目及客户的个体差异，以定制化的设计与最终服务落地为行为准则，并追求真实的情感叙事和诗意的境界呈现。

图片版权 Copyright ：寅午空间设计