随着亚洲建筑的全球化发展，越来越多地区的建筑迷失于千篇一律的风格之中，丧失了独特的风格与固有的文化个性。也因此，人们逐渐意识到，“场所精神”赋予建筑与城市的独特意义是无法被取代的。这也是一直以来无间设计通过“摩登东方”的设计语言所倡导的——用现代的演绎手法，将东方美学转译到当下空间中。 With globalization and its effects on Asian architecture, more regions are adopting a uniform architectural design and increasingly neglecting their unique styles and inherent cultural characteristics. Therefore, people are gradually aware of the irreplaceable significance that the “spirit of locality” endows architecture and cities.

成都世豪一墅江安毗邻机场，坐拥市政公园及河景等绝佳的自然资源；同时项目本身又是极为现代化的建筑体块，在我们对项目“地域文化”与“当代结构”的空间概念进一步探索的基础上，就形式与内涵如何摆脱千篇一律的审美束缚给出了答案。 U-Villa in Chengdu is adjacent to the airport and has excellent natural resources such as the municipal park and river view. The project is an ultra-modern building block. Based on our further exploration of the spatial concept in the “regional culture” and “contemporary structure” of the project, we have answered how to break the aesthetic constraints of uniformity in form and connotation. 当代光影演绎古老神话，赋以空间时光连续的魅力 精神与场域

我们对空间“在地性”的理解，不仅仅以形式呼应在地环境，更注重体现精神层面上合理、实用、文化与艺术认同的感受。 Our understanding of spatial “locality” is to echo the local environment in form and to reflect the rational and practical function and cultural identity at the spiritual level.

项目共有两层，其中洽谈区的主要空间都是在地下，为了解决采光的问题，我们通过对四川传统历史以及地域文化特色的研究，在设计中提取当地民居的“天井元素”，将自然光引入地下的同时，也营造串联的空间节奏。同时，我们也将设计的视角由外向内引入，从传统绘画中找寻灵感，在空间中融入更多富有意趣的生活形态。这种对于传统绘画中的空间形态、成都在地文化的研究在设计中的应用，只有身临其境，视点随环境的变化去度量空间与环境，才能体会其精妙。 The project has two floors, and the main space of the meeting area is on the ground floor. To solve the problem of daylighting, we studied the traditional history and cultural characteristics of Sichuan and introduced the element of “skylight” featured in the local residences into the design. The application of the study of traditional painting and the local culture of Chengdu in design can only be appreciated when the viewer is present at the scene and shifts sight to measure the space in the changing environment.

从半通透的幕墙进入，便开始了游山探幽的空间体验。涉水缓缓而行，曲折迂回，行走间错落而置的景观院落，不仅增加了室内外景观的互动，更为行者带来充满意趣的动线关系。 Walking through a translucent curtain wall, the viewer embarks on a spatial experience of touring the mountains and rivers, wading slowly, and following the winding path in the courtyard with staggered landscapes. It increases indoor and outdoor interactions and more importantly, it is full of interest and offers a dynamic scenic route for the viewer.

除了动线上的设计，我们还从四川地区传统民居的建筑外形中转译未来大小不一的“开口”，它们不仅成为自然光“呼吸”的窗口，更在视线上形成相互窥探与空间互融的关系，同时也是对于在地精神的另一种呼应。 In addition to the dynamic design, we used the “openings” from the traditional architecture in Sichuan, to form a relationship of peeking and echo the spirit of locality.

无间设计极富代表性的旋转楼梯成为空间转化关系的交叉点，沿充满雕塑感的楼梯蜿蜒而下，来到负一层。呈现在眼前的是由我们特别打造的艺术过厅，关于传统手工艺匠人的介绍影像见于眼前，在这里，观影像、见传统、期未来……在这场流动的感官体验中，是序曲，对于探索整个空间的期待之感愈发强烈。 The sculptural staircase winds down to the lower ground floor, where an art hallway that we specially created is situated. Here you can watch the images and videos, experience the tradition, and expect the future… Here is the prelude and the emptiness.

在“摩登东方”的设计语境中，空间设计有时同水墨绘画一般，讲究经营位置、疏密对比、掩映藏露。我们通过空间中利落的白色界面的开口关系形成视线的错落——视线穿过艺术过厅，可见明亮的沙盘区，以及后方水亭，一种似离而合的趣味就此形成。 You can overlook the whole sandbox and the rear water garden through it, thus the interest of interwoven sight is formed.

沙盘区之后、洽谈区、私宴空间以及后方的健身房与泳池一进一进呈现。身处空间中，视点从平远到深远到高远发生游动变化，得益于空间单元的串联，层层递进，渐入佳境，表现出强烈的节奏韵律。 Along the upstream of the water garden, you can find the sandbox area, the meeting area, the private banquet space, the gym, and the swimming pool in order. 形制与意境

我们从传统文化、工艺中提取相关元素，通过解构与演变，在当代艺术与当代设计的共通、碰撞中寻找设计的灵感，同时也对推动传统文化与艺术融入当代生活给出了新的方向。 We extracted relevant elements from traditional culture and craftsmanship, found design inspiration in the commonality and interaction between contemporary art and design, and provided a new direction to promote the integration of traditional culture and art in contemporary life.

序曲之后，高潮迭起——超大尺幅的皮影艺术装置在阔落的洽谈空间中央屹立，静静诉说成都这座千年古都的历史，透过天窗的光影构造了空间中的虚实，投射出朦胧的东方美学记忆。 After the prelude comes to the climax. In a horizontal format, layers of shadow puppetry installations are displayed like a dream, suspending in the air and changing postures against light and shadow. 作为古代民间艺术的代表之一——皮影有着重要的文化传承意义。无间的软装团队与创始人吴滨经过多番考量后，选择皮影作为艺术载体，无论是在空间氛围表达上还是当地的文化传承与情感寄托，都具有很大的意义。一方面皮影艺术装置赋予空间独特的生命力与文化共鸣；另一方面，无间的团队始终肩负着使命感，将中国的传统民艺以全新的方式传承发扬。 This unique artwork is placed in the skylight as if it were a super lantern in an unconventional shape, thus changing the dimension of the entire space. The underground space which is originally dim is contrasted with the glowing shadow puppetry installation, which creates a strong visual impact. 为了更好地实现艺术效果，我们找到了非遗传承人、中国顶尖手工艺匠人汪天稳与女儿汪海燕共同打造。作为非物质文化遗产的代表作，汪氏皮影精细的刀工，雕镂缜密，流畅明快。“推皮走刀”的古法工序，更是达到了传统技艺的巅峰。 That’s why we invited Wang Tianwen, an inheritor of intangible cultural heritage and one of China’s top craftsmen to work with his daughter Wang Haiyan to create this masterpiece.

“汤谷上有扶木，一日方至，一日方出，皆载于乌。” ——《山海经·大荒东经》

▲山海经的图案赋予了它当地文化的深层意义，每一张构图中陆地中神兽与山水中神兽与自然的关系融合，数个神兽眼神互相交流，又运用近大远小的传统中国画表现手段在平面中交代空间远近关系，形成一幅完整且具故事性图像

我们将《山海经》与古蜀文化的隐秘联系用当代化的处理记述下来：将山、水等自然风貌进行平面化处理后再与《山海经》中的神话形象进行结合，最终所呈现的，并不是一个完全承载着传统文化印记的皮影作品，而是一件去迂腐化的、拥有历史文脉印记的当代艺术作品。人进入空间时，仿佛进入了多维的时光容器，承载着东方美学的朦胧载体触动着神经，刺激着视觉……远看，它如梦似幻；近看，它精美异常。

With the purpose of making the whole shadow puppetry installation abstract and de-symbolized and embody a hazy and poetic aesthetic, we de-concretized the work by transforming the natural landscape such as mountains and rivers into graphic form and then combining it with the mythological images from The Classic of Mountains and Seas.

自此，以皮影艺术装置为中心，整个洽谈区形成了一种明暗的强烈对比，呼应蜀绣蜀锦的面料被应用到后方区域的沙发设计中，点缀以温暖的棕橘色为空间增添亮色。 In the narrow aisle, the furniture including the sofa is smaller and slender, and the tone is grayer. The two paintings on the wall are distinguished in different colors, creating a weak contrast to the wall.

空间、艺术、传统、技艺、时空……种种元素集于一体。目之所及，皆成景。行迹所至，皆有趣。这是一席光影的盛宴，一出古老的神话，一场蜿蜒回转的当代栖居。 Everywhere you look, there is a scene and everywhere you go, there is interest. We embeds the new with the old, endowing space and time with consistent charm.

设计总监-无间创始人：吴滨