北京的深秋，总是很短，有时只是几天。风在一

夜之间冷下来，梧桐和银杏交替出现，呈现着独有的氛围。很多人会说那是北京最美时候，但它太短了，常常还没来得及认真记住，就已经过去了。

Beijing’s late autumn is always brief, sometimes lasting only a few days.Almost overnight, the air turns cold. Plane trees and ginkgoes take turns appearing, shaping an atmosphere unique to this moment of the year. Many people say it is Beijing at its most beautiful, yet it passes so quickly that it often slips away before it can be fully noticed or remembered.

而在这个家里，

银杏在院子一年一年地生长，叶子静静落下，却把时间铺陈得很清楚。每天的光线变化、气温的起伏、脚步踩过落叶的声音，让四季自然地成为了生活的一部分。

In this home,the ginkgo in the courtyard grows year after year. Its leaves fall quietly, laying out the passage of time with clarity. The daily shifts of light, the rise and fall of temperature, and the sound of footsteps over fallen leaves allow the seasons to become a natural part of everyday life.

当这个家落地交付后，团队并没有急着记录，而是

等到第二年北京的深秋，等到银杏在院子里悄然铺满，也等到这个家进入最接近日常的状态。因为与业主在合作过程中逐渐建立起来的信任与链接，让这次记录更像一次朋友间

自然而然

的拜访

When the home was completed and handed over, the team did not rush to document it, but waited—until the second year, when Beijing returned to late autumn, when ginkgo leaves quietly spread across the courtyard, and when the house had settled into its most everyday state. Shaped by the trust and connection gradually built through working with the homeowners, this act of recording felt less like a shoot and more like a natural visit between friends.

从院子开始

Everything begins with the courtyard

胡睿及其团队从一开始，便把院子当作整个空间构想的起点。关于建筑、室内与庭院的讨论从未被分开，而是在同一

个视角

中展开——

它们彼此关联，又互为背景。

透过院子，自然

的微妙

变化被不断带入到空间与日常。

From the beginning, Hu Rui and her team took the courtyard as the origin of the spatial imagination. Rather than separating architecture, interior, and garden, these elements were conceived together, unfolding from a shared point of view—each related to the other, each serving as a backdrop in turn. Through the courtyard, the delicate rhythms of nature quietly enter the space, becoming part of daily life.

结构与视觉

Structure and Visual Perception

原本被墙体包裹的楼梯在改造中被完全释放，成为一层空间中重要的组织轴线。新的楼梯通过悬浮结构，让踏步在空间中保持轻盈，通高玻璃参与承重，也带来了视觉上的延展。而背后是对每一个节点经过反复推敲的结果，才能在视觉与结构之间取得平衡。

与此同时，原有建筑中不可避免的梁体并未被刻意隐藏，设计通过工艺缝对其进行重新整理，使这些结构元素从原本的限制，转而参与到空间秩序之中。

The staircase, once enclosed by walls, was fully opened up during the renovation and became a key organising axis of the ground floor. Its new, floating structure keeps the steps visually light, while full-height glass contributes to load-bearing and extends the sense of space. Behind this apparent ease lies careful calculation and repeated refinement, ensuring a balance between visual clarity and structural integrity. At the same time, the unavoidable beams of the original building were not concealed. Through the use of refined construction joints, these structural elements were reorganised and allowed to shift from perceived constraints to active components of the spatial order.

灯光的设计没有采用集中的顶部照明，而是将光源放置在中下部空间，让光线更贴近材料与人的活动范围。这种处理方式有效避免了炫光，也让空间在不同时间段里保持相对稳定的感受。

The lighting design avoids centralised overhead illumination, instead placing light sources at lower and mid-levels so that light remains closer to materials and areas of daily activity. This approach reduces glare and helps the space maintain a stable, consistent atmosphere throughout different times of the day.

在空间的表达上，设计并没有刻意去强调某一种特定的风格，而是更关注比例与材料本身的关系。木材与金属在空间中彼此并置碰撞，产生未来感的同时也始终保持着克制。家具与陈设的选择同样如此，上世纪五六十年代的中古家具、Vintage 的毯子与器物穿插其中，为空间带来不同时间层次的存在感。

In its spatial expression, the design does not seek to emphasize any particular style. Instead, it focuses on the relationship between proportion and material. Wood and metal are placed in dialogue throughout the space, creating a subtle sense of futurity while remaining restrained. The same approach extends to the choice of furniture and objects: mid-century pieces from the 1950s and 60s, along with vintage rugs and everyday artifacts, are interwoven to introduce a layered sense of time.

客厅沙发选用 DE SEDE 的 DS-600，是诞生于 1970 年代的经典设计，以模块化结构回应长期使用与生活变化；

客厅电视一角放着 PK22，是来自大师保罗·基尔霍姆 Poul Kjærholm 1955 年的设计作品

让光漫进整个空间

Let light drift through the space

空间原有的传统美式风格，在采光与布局上都存在局限：虽然有挑高，但却难以真正参与空间组织。此次改造并未试图通过用装饰来弥补这些问题，而是从结构本身入手，重新组织空间秩序。多余的墙体被拆除，视线被释放，挑高不再只是形式上的高度，而成为引入自然光的重要通道。也让进入空间的第一步，视线便自然展开，既向上，也向内。

The home’s original traditional American style carried inherent limitations in both daylight and layout. While a double-height volume existed, it struggled to meaningfully participate in the organization of space. Rather than compensating through added decoration, the renovation began at a structural level, reorganizing the spatial order itself. Unnecessary walls were removed, sightlines released, and the double-height space was reactivated—not as a formal gesture, but as a vital passage for light to enter the interior. As a result, the very first step into the home allows the view to unfold naturally, reaching both upward and inward.

躺椅选用经典的 LC4 Chaise Lounge，由勒·柯布西耶、皮埃尔·让纳雷与夏尔·皮埃罗在 1928–1929 年共同设计，中心组合

选用 Lange Production 的 HB 咖啡桌与 Trix 餐椅，精确构造与克制比例，使家具在空间中以低存在高质感参与日常

细节，给了时间的质感

Details lend the space its sense of time

在这个家里，厨房与周围空间保持着一种松弛的关系。没有刻意的隔断，更像是生活流动中的一个节点。橱柜与岛台来自团队原创研发，作为同一套体系被反复推敲与打磨。整体材质以实木附以手工锤纹、液态金属漆与不锈钢为主，在不同触感与光泽之间取得平衡。岛台的转角并未采用惯常的直角收边，而是通过细微的切割与退让处理，让体量在保持力量感的同时显得更加轻盈，也更贴近日常使用的安全与舒适。

In this home, the kitchen maintains a relaxed relationship with the surrounding spaces. Without deliberate partitions, it functions more as a node within the flow of daily life. Both the cabinetry and the island are original developments by the team, conceived and refined as a single, cohesive system.The material palette centers on solid wood with hand-hammered textures, liquid metal paint, and stainless steel, achieving a careful balance between differing tactilities and finishes. The corners of the island avoid conventional right-angle edges; instead, subtle cuts and setbacks soften the volume, allowing it to retain a sense of strength while appearing lighter and offering greater safety and comfort in everyday use.

与岛台相邻的墙面，设计选择了带有金属釉面的瓷砖，而非同样的金属材料。瓷砖的比例被刻意细化，成品砖经过再次裁切，在不同角度的光线下呈现出更丰富的层次，这是一个需要走近去感受的空间。

On the wall adjacent to the island, the design opts for ceramic tiles with a metallic glaze rather than the same metal material. The proportions of the tiles are deliberately refined, and the finished pieces are further cut down, allowing richer layers to emerge under shifting light. It is a space that asks to be approached, where its nuances reveal themselves up close.

餐椅选

用 PK9 Chair，由波尔·凯耶（Poul Kjærh

olm）设计。以简洁的几何结构支撑，既实用又具有极简美学感

在大、小窗之间的自然互动

Between the large and small windows

顺着楼梯向上，空间的气质开始发生变化。从一层的清晰与稳定，逐渐过渡到更私密、更缓慢的状态。二层的儿童房中，嵌入墙体的大、小两组结构窗成为了一个自然且有趣的停留点。孩子坐在窗台上，可以向下看见一层的空间，也可以在这里阅读、停留。这个位置并没有刻意强调功能，却在公共与私人之间保留了一种适度的联系，让亲子间的互动在不经意间发生。

Moving upward along the staircase, the character of the space begins to shift. The clarity and stability of the ground floor gradually give way to a more private, slower rhythm.On the second floor, within the children’s bedroom, two sets of structural windows—one large and one small—are embedded into the wall, forming a natural and engaging place to pause. A child can sit on the window ledge, look down into the space below, or stay here to read and linger. The spot does not insist on a specific function, yet it maintains a gentle connection between the public and the private, allowing moments of parent-child interaction to unfold naturally.

儿童房内的柜子为团队原创设计，从尺度到高度，都围绕着孩子的日常使用反复推敲。收纳被自然地嵌入墙面，避免占用活动空间，让房间在保持秩序的同时，依然留有足够的自由度。

The cabinetry in the children’s room is an original design by the team. From scale to height, every detail has been carefully refined around the child’s everyday use. Storage is naturally integrated into the walls, avoiding any encroachment on the active area, allowing the room to remain orderly while still offering a generous sense of freedom.

向上的空间与生活尺度

Upward Space and Everyday Scale

三层是完全属于休息的区域。原本被业主形容为“像迷宫一样”的空间被重新梳理，转向了更舒缓、自然的状态。原本复杂的梁体关系没有被掩盖，斜面吊顶顺着结构展开，空间的高度依然存在，却不再显得压迫。床头家具大多都是定制设计，处理方式克制而直接。脚下是带有手工痕迹的木地板，触感真实而温和，墙面材料同样避免过度修饰，让时间能够自然介入。

The third floor is dedicated entirely to rest. What the owners once described as a space “like a maze” has been carefully restructured, shifting toward a calmer and more natural state. The previously complex beam conditions were not concealed; instead, sloped ceilings follow the structure, allowing the height to remain while relieving any sense of pressure. Most of the bedside furniture is custom-made, treated with restraint and clarity. Underfoot, hand-finished wooden flooring offers a warm, tactile presence, while the wall surfaces avoid excessive treatment, allowing time to settle naturally into the space.

卧室中选用 Phantom Hands 的 Upholstered Armless Chair 以克制的结构与温和的包覆感，回应卧室中更内向、缓慢的使用节奏

浴室同样回到对使用本身的关注，是这个家庭在日常中被频繁使用的空间之一。孩子在浴缸里玩水，亲子相处的时间被自然拉长。莱姆石墙面与带有手工感的洁具，双台盆与充足储物空间的设计，都是为了高频而真实的生活节奏。一侧的折镜将室外的光线与变化轻轻带入，让空间在不经意间保持与自然的联系。

The bathroom likewise returns to a focus on use itself, becoming one of the most frequently occupied spaces in the family’s daily life. As children play in the bathtub, moments of parent-child time naturally extend. Material choices are guided by long-term use: limestone walls, hand-finished fixtures, double basins, and generous storage are all designed to support a high-frequency, lived-in rhythm. A folding mirror along one side gently draws in light and subtle changes from outside, allowing the space to remain quietly connected to nature.

浴室选用 Antonio Lupi 的卫浴系统，以简化的形式与精确的细节处理，回应日常使用中对秩序与触感的基本需求；镜面选用 GUBI 的 Vanity 系列，折叠的形式与镜面比例细节被控制在恰当的尺度之内

天光顺着斜屋面进入，落在书桌一侧。阅读、停留都不需要额外的照明，时间在这里被拉长，空间也随之慢了下来。独处在这里，也变得很自然。

Daylight enters along the sloped roof, settling beside the desk. Reading and lingering require no additional light; time stretches here, and the space slows with it. Solitude comes naturally.

衣帽间选用 Vitra 的 Wiggle Stool 与 Viabizzuno Roy Lettera 落地灯，以低调的方式支撑日常使用节奏

光线在一天之中不断变化，窗外的树影随着季节推移而更替。与这个家的日常一起，自然而然地发生。

Light shifts throughout the day, while the shadows of trees outside change with the seasons. Together with the rhythms of daily life, it unfolds naturally.

项目信息

Information

项目名称：

长岛澜桥

Project Name: Lane Bridge

项目地址：

北京朝阳

Project Location: Chaoyang

Beijing

设计面积：

520㎡

Floor Area: 520㎡

设计年份：

2022

Design Period: 2022

完工年份：

2024

Completion: 2024

设计公司：

睿知空间设计事务所

Design Company: Ray Design Studio

设计内容：

室内设计

Design Scope: Interior Design

创意总监：

胡睿

Creative Director: Hu Rui

项目品牌：

图森整体木作

安小姐的厨房、

ArLiFe（STP地板）、

色语壁材集成、

Le Corbusier瓷砖、

GIG ACER岩板

Project Brand:

TUCSON、

Miss An’s Kitchen、

ArLiFe、

Seyu Wall Materials Integration、

Le Corbusier、

GIG ACER

智能灯光设计：

洸泉科技

Intelligent Lighting Design: LightSpring Technologies

景观设计：

TLA特里亚

Landscape Design

TLA Landscape Design Associates

部分品牌：

DE SEDE、Cassina、Lange Production、Phantom Hands、Viabizzuno、Fritz Hansen、livingdivani、Dornbracht、Vitra、GUBI、CEA、Antonio Lupi

Selected Brands

DE SEDE、Cassina、Lange Production、Phantom Hands、Viabizzuno、Fritz Hansen、livingdivani、Dornbracht、Vitra、GUBI、CEA、Antonio Lupi

空间摄影：

边界人

Photography: Bijispace

文字：

王冰意

Copywriting: Wang Bingyi