“氛围是我的风格。”

——威廉 · 特纳于1844年对约翰 · 拉斯金如是说。

Atmosphere is my style. -- So said William Turner to John Ruskin in 1844.

无论置于何种场景之中，通过与不同事物或对象的互动，我们敏锐的情感便发挥了积极作用，然后获得一种即时反馈的感知体验。凭借直觉欣赏以及依靠自发的认知反应，于是产生难以描述的模糊感，这种模糊感又被自我的主观意识反复确认。情境因场域而存在，感知由主体的不同呈现出丰富的内在形式，形式塑造美感，从而营造氛围。

By interacting with different things or objects in whatever scenario we are placed, our keen emotions play an active role and then we gain a perceptual experience with immediate feedback. With intuitive appreciation as well as relying on spontaneous cognitive reactions, an indescribable sense of ambiguity is then generated, which is in turn repeatedly confirmed by the subjective consciousness of the self. Context exists because of the field, perception is rendered by the difference of the subject in a rich inner form, and form shapes beauty and thus creates atmosphere.

氛围感知

Atmosphere Perception

“始于灵感，践于匠心”一直是乐屿家居不断践行的品牌追求，作为现有展厅的配套和升级，原本是仓库的二层被改造成服务

于接待、社交、品宣的活动场所。由首层经过雕塑般的旋转楼梯而上，体验区以流动性的平面布局贯穿始终，而实际的功能空间则依据灵活的环形动线渐次展开。

Starting from inspiration, practicing ingenuity has always been the brand pursuit of LÜ casa. As a supporting and upgrading of the existing exhibition hall, the second fl

oor of the original warehouse has been transformed into an activity place serving for reception, social interaction and product promotion. From the ground floor up by a sculptural spiral staircase, the experience area is presented with a fluid floor plan throughout, while the actual functional space unfolds gradually according to a flexible circular moving line.

意式的家具风格向来追求简约的精致，体现品味与调性的同时，往往于细微处独具匠心。尤其产品设计，它具有必要的功能性、注重细节、永恒的审美和协调的形式。以理想生活的塑造为原点，新的概念和构思作用于不同载体之上，突破单一的线性思维，一种非均衡的视觉或感知的平衡感由此被凸显。

The Italian style of furniture has always pursued simplicity and refinement, reflecting taste and tone while often being unique in its subtleties. The product design, in particular, has the necessary functionality, attention to detail, timeless aesthetics and coordinated form. With the shaping of ideal life as the origin, new concepts and ideas act on different carriers, breaking through the single linear thinking, a sense of non-equilibrium visual or perceptual balance is thus brought to the fore.

隐而无柱

Hidden Without Pillars

建筑主体由梁柱结构所支撑，借助原始纵深跨度的优势，主要的公共区域唯一可见的立柱被柜体所隐藏，消隐后的柱子成为柜体的一部分，内部展现出无柱的开阔空间。橱柜既是正常家居厨房的主要功能之一，也是满足访客接待的操作区域。洞石因为薄厚的差异，覆着于不同的面层，立面材料延展至于吊柜门板，形成统一的可视界面。

The main body of the building is supported by the beam-column structure, and with the advantage of the original longitudinal span, the only visible column in the main public area is hidden by the cabinet, and the vanished column becomes part of the cabinet, revealing an open space without columns inside. The cabinet is both one of the main functions of a normal home kitchen and an operation area to meet the reception of visitors. The travertine is overlaid on different surfaces because of the difference in thickness, and the façade material extends to the hanging cabinet door panels, forming a unified visible interface.

随意、自由、洒脱似乎是意式生活方式的另一种体现。会客区以多功能沙发为核心，家具摆放形式结合实际需求，兼顾产品展示的特征要点，高低错落，精细有致。于方正的空间之中，一条隐约的中心轴线约束着平面布局、立面构成以及视觉的均衡感，并实践于实体墙的挂画与展示立柜之间的平衡关系。

The casualness, freedom and spontaneity seem to be another embodiment of Italian lifestyle. The meeting area is centered on a multifunctional sofa, and the furniture is placed in a way that takes into account the actual needs and the characteristics of product display. In the square space, a vague central axis constrains the plan layout, façade composition and visual balance, and practices a balanced relationship between the solid wall paintings and the display cabinets.

光的构建

Light Construction

一次演讲中，彼得 · 卒姆托讲到“万物之光”时，印象深刻并为之感动的是沃尔特 · 德 · 马利亚曾带他去看自己为日本做的新作品。在一个只是前部开敞区有采光而后部则黢黑一片的巨型厅堂，他唯一的艺术动作就是在后部安装了一排木质格栅，表面涂上了金箔。在深邃的黑暗之中，金箔闪耀着，这意味着金制品似乎有能力攒集哪怕最微小的光亮，并使光在黑暗中反射出来。

In one of his lectures on The Light of Everything, Peter Pacto was struck and moved by the fact that Walter de Maria had taken him to see a new work he had done for Japan. In a huge hall with light in the front open area and darkness in the back, his only artistic gesture was to install a row of wooden grilles at the back, coated with gold leaf. The gold leaf shines in the deep darkness, which means that the goldwork seems to have the ability to gather even the smallest amount of light and make it reflect in the darkness.

在条形水吧区，顺着台面的方向，天花上两条单色面光于暗黑的空间之中显然出现，一定倾斜的角度使光照更好的照射，同时通过弧面的协调，模拟出更真实的自然光线。对于并无自然采光的二层来说，光的构建激发了场所的活力，同时天花白光与室内暖光形成一定的视觉对比，丰富了空间的层次和形式语言。

In the bar area, along the direction of the table, two monochrome surface lights on the ceiling appear obviously in the dark space. A certain Angle of tilt makes the light shine better. Meanwhile, through the coordination of the curved surface, more real natural light is simulated. For the second floor without natural lighting, the construction of light stimulates the vitality of the place. Meanwhile, the white light of the ceiling forms a certain visual contrast with the warm light of the interior, enriching the level and formal language of the space.

流动时间

Flow Time

除了自由的平面布局之外，立面也是自由的。面与面之间互相流动，并通过材料的差异来界定空间。有虚与实的彼此转换，也有柔软与硬朗的密切结合，开放、融洽、晕染在没有明确风格和调性的整体氛围之中。日常居家场景中所构成的组件，都被展示于空间，接受审美需要的高定，也可依据现有模块随机组合、拆解、重新拼装。

In addition to the free plan layout, the elevations are also free. The facades flow with each other and define the space through the difference of materials. There is the transformation of the virtual and the real into each other, and the close combination of the soft and the hard, open, harmonious, and haloed in an overall atmosphere without a clear style or tone. The components composed in the daily home scene are displayed in the space, accepting the high definition of aesthetic needs, or randomly combined, disassembled and reassembled according to the existing modules.

“流动”是一种设计语言的表达，或者场域意识的行为路径，也是空间的具体感受；“时间”的释意则指向更加虚无的概念，因为时间并非相对静止或者绝对运动的状态，而是静止与运动的相互作用下，使三维立体的空间具有了时间性。但更直接的所指，“时间”也可以理解为品牌不断的自我更新、迭代，进而由始创走向经典的初衷。

Flow is an expression of design language, or a path of behavior of field consciousness, and a specific feeling of space; the interpretation of time points to a more vain concept, because time is not a state of relative stillness or absolute movement, but rather a state of stillness and movement. It is the interaction of stillness and motion that gives the three-dimensional space its temporality. But more directly, time can also be interpreted as the brands continuous self-renewal and iteration, and thus the original intention of moving from the original to the classic.

项目信息

Information

项目名称：

乐屿家居丨卡翡亚徐州体验店

Project Name: LÜ casa | KAVIAR Xuzhou Experience Store

设计机构：

上海织恩空间设计

Design Institute: Shanghai ZhenDesign

设计总监：

李振

Design Director: Li Zhen

参与设计：

王乾

Participating Designers: Wang Qian

软装陈列：

上海织恩空间设计

Soft Furnishing Display: Shanghai ZhenDesign

项目地点：

江苏徐州

Project Location: Xuzhou, Jiangsu

设计面积：

355平方米

Design Area: 355 ㎡

设计时间：

2022年2月

Design Time: February 2022

竣工时间：

2022年8月

Completion Date: August 2022

项目摄影：

单行线摄影/朴言

Project Photographer: Single Line Photography/Puyan

项目撰文：

无远文字/月球

Writing：off-words/Moon

李振

上海织恩空间设计创始人-设计总监

织恩设计（Zhen Design）由李振先生成立于2015年，涉及私人住宅、办公、精品商业等空间设计。以业主的客观诉求和审美需要为核心宗旨，主张基于场地的、自然的、原始的风貌呈现，借由事物的内在逻辑、设计思考与价值观念的正向选择来组织材质、色彩、灯光、艺术植入，塑造具有独特性的空间情绪与场景氛围。