2025-10.15 / 16

DAC 象外设计 X DINZ X ACT STUDIO

Tonality Chart

Artist

沈敬东

陈文骥

Alberto

Giacometti

蔡志松

周春芽

黄运长

张晓刚

濑户国胜

郑崇尧

岳敏君

杉本博司

韦晓天

Jean Prouvé

KAWS

James

·简

王城

imeles Classics

In the highly visual communication context of contemporary residential design, space is often perceived as a visual object that reaches its peak upon completion. Yet within this space, design is repositioned within a temporal dimension: the home is no longer viewed as a one-time finished work, but rather as a spatial structure capable of evolving over cycles, one that can be inhabited and restored.

From the outset of the project, the client and designer reached a clear consensus: to resist being swept up by trends, embracing durability, maintainability, and adaptability as fundamental principles, and transforming uncertainty into an integral part of daily order. Under this premise, the space is conceived as a "vessel of time" rather than a vessel for stylistic expression.

The owner, long engaged in design and aesthetic communication, has accumulated extensive collections of books, artworks, and heirloom furniture and artifacts in their primary residence. Over time, the highly functional spatial structure evolved into a storage-oriented system, progressively diminishing its communal and spiritual dimensions. The establishment of the second residence represents not an expansion of area, but a restructuring of the living framework. Its core proposition lies in: how to reestablish a communal scale within limited space while preserving an environment with minimal disturbance for intellectual pursuits.

在当代住宅设计高度图像化的传播语境中，空间往往被理解为一种在完成时达到峰值的视觉对象。然而在这个空间中，设计被重新置入时间维度之中：住宅不再被视为一次性完成的作品，而是一种可跨周期生长、可被使用与修复的空间结构

项目开始，业主与设计师即达成明确共识：拒绝被潮流裹挟，以耐久、可维护、可演化为基本原则，将不确定性转化为日常秩序的一部分。在这一前提下，空间被视为一部“时间的容器”，而非风格表达的载体。

《故国 · 颂NO.7》- 蔡志松

年代：1999 / 材质：铸铜

「故国」系列是蔡志松于1999年底开始创作的作品，历时16年完成，分为风、雅、颂三个部分，融合了不同地域和历史时期的塑造技法，将具象造像与现代材料语言相结合，表达了他对历史与人性的关注。

The space thus froms two parallel stat

es：

One is an open public area for hosting guests, communication, and sharing;The other is a quiet zone enclosed by bookshelves and artwork, dedicated to reading, writing, and contemplation.

These two states are not achieved through rigid functional zoning, but remain in a switchable, negotiable relationship.

Spatial Mechanism：Interface Switchability

During the floor plan design phase, the concept of "residential living" and "entertaining guests" was treated as parallel propositions. The triple-sliding door installed between the housekeeping area and dining room became the pivotal node of this spatial mechanism.

When closed, daily functions are fully contained, swiftly transforming the space into a reception mode. When opened, the interface compresses to its minimum, clearly revealing operational and usage logic.

This "separable and combinable" interface strategy allows the space to exhibit varying degrees of order and density at different times, rather than relying on decorative or furnishing changes to create superficial distinctions.

photo-misskong

photo-misskong

photo-misskong

Green Dog is a symbol, an emblem. Green represents tranquil romance and lyricism, yet also embodies the calm before the storm. — Zhou Chunya

Zhou Chunyas artistry is not merely an intuitive expression of Western Expressionism; it is also deeply influenced by the Chinese ink painting tradition of negative space. The negative space, brushstrokes, and spatial treatment in Green Dog exhibit a distinct fusion of Eastern and Western characteristics.

After Black Root passed away, Zhou Chunya temporarily ceased painting; but later he returned to depict the green dog in an even larger format. This was not only a tribute to his beloved pet, but also a celebration of friendship and the enduring power of life.

Green Dog is not merely an "animal"; it symbolizes the instincts, warmth, and loyalty that modern humans lack within themselves—particularly in the context of urban environments where people yearn for nature and connection, making it a profoundly resonant emotional projection.

The Green Dog series has been one of Zhou Chunyas defining artistic signatures since the late 1990s, representing his exploration of color, texture, form, and personal emotional expression.

The work transcends the representational logic of naturalism, shifting toward a more primal, symbolic, and emotionally expressive approach to painting. As such, it has become one of the defining symbols of contemporary Chinese painting.

Green Dog - Zhou Chunya

Created from the 199

0s to the present

作品：绿狗

作者：周春芽

尺寸：105mm x 105mm

其他：50mm x 70mm

年代：90S-

材质：版画

“绿狗是一个符号、一种象征。绿色代表宁静的浪漫与抒情，也包含着爆发前的平静。” — 周春芽

周春芽的创作不仅仅是西方表现主义的直觉表达，也受到中国水墨留白传统的影响。绿狗画面中的留白、笔触与空间处理有显著的中西融合特质。

黑根去世后，周春芽一度停止创作；但后来他再次以更大的形式绘制绿狗，这不仅是对宠物的怀念，也是对友谊与生命力量的赞歌

绿狗不仅是一只“动物”，它象征着现代人内在缺失的本能、温暖与忠诚——尤其是在都市环境中渴望自然、渴望联结的人类情绪投射中，它显得更加深刻。

绿狗系列是周春芽自90年代后期以来的重要艺术标识之一，它代表着他对色彩、肌理、形式与个人情感表达的探索。

作品突破了自然主义的再现逻辑，转向更原始、更具象征性与情绪表达的绘画方式，因此成为中国当代绘画的重要符号之一。

photo-misskong

photo-misskong

photo-misskong

photo-misskong

photo-misskong

photo-misskong

photo-misskong

photo-misskong

photo-misskong

photo-misskong

photo-misskong

photo-misskong

photo-misskong

photo-misskong

photo-misskong

The Aesthetic System as Background

The overall color and material strategy draws inspiration from the exhibition logic of contemporary art museums. The space no longer creates visual focal points through form, but instead provides a stable backdrop for objects, artworks, and everyday activities. Wooden floors establish a foundational warmth and sense of scale; dark walls function like canvases, offering neutral viewing conditions for artworks; while gray glossy lacquered walls intervene with a concrete-like texture, serving as a contemporary cue.

Buddhist statues from Qingzhou in the Northern Qi Dynasty, Japanese lacquerware, Belgian handmade cups, and contemporary paintings are juxtaposed within a unified spatial order. They are not regarded as symbolic "collections," but rather as objects that continue to participate in daily life through their use.

photo-misskong

photo-misskong

photo-misskong

photo-misskong

photo-misskong

photo-misskong

photo-misskong

photo-misskong

一种结构性的选择

业主长期从事设计与美学传播工作，在第一居所中积累了大量书籍、艺术品、家族传承的老家具与器物。高度功能化的空间结构在长期使用中逐渐演变为以“存放”为导向的系统，公共性与精神性被不断压缩。第二居所的设立，并非面积的扩张，而是一次居住结构的重组。其核心命题在于：如何在有限空间中，重新建立公共尺度，同时为思想活动保留低干扰的环境。

空间由此形成两种并行状态：

一是面向会客、交流与分享的开放公共区；

二是由书架与艺术品围合而成的静域，用于阅读、写作与沉思。

这两种状态并非通过硬性的功能分区完成，而是保持在一种可切换、可协商的关系之中。

空间机制：界面的可切换性

平面规划阶段，设计即将“居住”与“会客”视为并行命题。家政区与餐厅之间设置的三联动移门，成为空间机制的关键节点。

移门闭合时，生活机能被完整收纳，空间迅速转化为会客模式；移门开启时，界面被压缩至最小，操作与使用逻辑清晰显现。

这种“可分可合”的界面策略，使空间在不同时间段呈现出不同的秩序密度，而非依赖装饰或陈设变化制造表象差异。

《行走的人》-

Giacometti

年代：1959-1960 / 材质：青铜

行走的人》以极度瘦削、被拉长的人体形象，呈现人在行进中的瞬间状态。贾科梅蒂刻意削减体量与细节，使人物几近抽象，却更集中地指向“存在”本身。粗粝的表面与前倾的步态，强化了行走中的不稳定感与持续性。

作品并非描绘具体个体，而是一种普遍的人之形象：孤独、脆弱，却仍在向前。它象征着人在不确定世界中的坚持与行进，体现了战后存在主义语境下对“人如何存在”的深层思考。

photo-misskong

photo-misskong

photo-misskong

photo-misskong

photo-misskong

photo-misskong

技术的退场

灯光设计采用美术馆级策略，以“准确、耐看”为原则，服务于观看与使用本身。智能系统经过长期定制化调校后，与居住动线及作息形成稳定匹配。本地化运行逻辑确保系统在断网状态下的可靠性，使技术真正退居幕后。

在此，技术不再承担展示意义，而是作为空间秩序的隐形结构存在。

时间验证

当住宅成为时间的容器，设计的终点，恰恰是不再被察觉。

photo-misskong

photo-misskong

photo-misskong

photo-misskong

photo-misskong

photo-misskong

photo-misskong

photo-misskong

photo-misskong

photo-misskong

photo-misskong

photo-misskong

photo-misskong

photo-misskong

photo-misskong

Technology Steps Back

Lighting design employs museum-grade strategies, adhering to the principles of "precision and enduring appeal" to serve both viewing and functional needs. After extensive customized calibration, the smart system achieves seamless integration with daily living patterns and routines. Localized operational logic ensures reliability even during network outages, allowing technology to truly fade into the background.

Here, technology no longer bears the burden of display; instead, it exists as the invisible framework of spatial order.

In this project, the design does not seek to assert itself through form, but rather to validate the soundness of its judgments through the passage of time. The space is not meant to be understood instantly, but to be continuously inhabited and repeatedly refined.

When a home becomes a vessel for time, the ultimate goal of design is precisely to become imperceptible.

Conceptual Floor Plan：

概念平面图

The name Xiangwai Design Office is inspired by the design philosophy of “expressing meaning through form, revealing beauty through images, and allowing realms to emerge beyond the visible image.” We believe that the transformations and interrelations of all things in the universe arise from xiang (象, images or forms), while yao (爻, lines) serve as the fundamental symbolic elements that constitute xiang within the system of the I Ching. In this sense, each design comes into being through continuous experimentation and accumulation, much like the generation of images from changing lines.

Guided by this philosophy, we are committed to exploring the relationship between people and space, creating spatial designs that are both distinctive and conceptually rich. Our practice moves beyond established frameworks and conventional modes of thinking, breaking away from traditional constraints. Through our work, we seek to convey aesthetic sensibility, to awaken a dialogue between people and space, and to offer users a deeper, more immersive spatial experience.

创始人：陈孝兴（Darcy）

象外设计事务所的名称灵感来源于“以象之形，传意之美，境生象外”的设计理念。我们相信宇宙万物的变化与交错皆因于“象”，而“爻”则是构成“象”的符号。正如每一次设计的诞生都源于不断的尝试和积累。

我们以此为理念，致力于探索人与空间的关系，创造出独特而富有内涵的空间设计。我们的工作跳脱框架，超越常规思维，打破传统束缚。我们传达美感、唤起人与空间的对话交流，并为用户带来深层次的空间体验。

Information

Photographer

misskong

Retoucher

misskong

Graphic design

misskong

Art

misskong

Design

DAC 象外设计

About

business

studio_act

wechat

15957194382

小红书

ACT STUDIO建筑空间摄影

website

www.misskong.art

studio

Hangzhou,China

Jiubao Street,Shangcheng District

30°34S,120°37’W

©ACT STUDIO

转载请联系本作者取得授权

任何未经许可的转载及使用将会被视为侵权

并保留追究法律责任权利