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崔樹|樹之宅02-竹的盒子!第1張圖片


再塑·山居場景

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在現代的別墅住宅中想要再塑山居場景,就如同中國傳統文人畫一般,并不在乎如工筆的精巧技藝描摹客觀具體的細節,而在于以物詠志,借景抒情,將原本的建筑空間當成空白畫布,隨著自己的意愿去潑墨、勾勒。

竹子是中國文人精神中的重要代表,在紫禁壹號院項目中崔樹以竹為題眼,寥寥數筆,勾勒出以竹伴居,隱逸的理想生活方式。

In modern villas and residences, if one wants to recreate a mountain dwelling scene, it is like tradi- tional Chinese literati painting. They do not care about the exquisite skills of meticulous brushwork to depict objective and specific details, but rather rely on objects to express their aspirations,borrow scenery to express emotions, treat the original architectural space as a blank canvas, and paint and outline it according to their own wishes.
Bamboo is an important representative of the spirit of Chinese literati. In the Zijin No.1 Courtyard proj- ect, Cui Shu used bamboo as his subject, and with a few strokes, outlined the ideal way of living with bamboo and living in seclusion.

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開門見“山”

兩宋以來風行的“城市山林”,是將自然山居場景意象融入城市空間的愿望。

The popular "urban mountains and forests" since the Song Dynasty is a desire to integrate natural mountain dwelling scene imagery into urban space.

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隨著明清后城市空間的急劇壓縮,想要在家里擁有一座“山”成為了居于奢侈的愿望,于是形成了“以壁為山”的手法。在這個項目中,崔樹在又再次探索了有關于“壁山”新的表達。

With the rapid compression of urban space after the Ming and Qing dynasties, the desire to have a "mountain" at home became a luxury, thus forming the technique of "using walls as mountains". In this project, Cui Shu once again explored new expressions about "Bi Shan".

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入口處中伸出半墻將廊道的入口從視覺上壓縮的更為“狹窄”,與隨后進入公共空間的“闊”形成對比。

The protruding half wall at the entrance visually compresses the entrance of the corridor to be narrower, contrasting with the subsequent "width" entering the public space.

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半墻下部又開出小窗,一塊黑色花崗巖大理石懸浮穿過其中,石材上開鑿的肌理紋路被保留,僅僅只是上面放上盆栽,就好似立刻有了山林之壁的意象蔓延開來。

A small window opened at the bottom of the half wall, and a black granite marble suspended through it. The texture patterns carved on the stone were preserved, and just placing potted plants on top immediately spread the image of a mountain forest wall.

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隨著人在空間中的流動形成不同的觀看視角,而對“山”有了不同的理解。

With the flow of people in space, different viewing angles are formed, leading to different understandings of "mountains".

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空間中也多次貫穿了對自然肌理的花崗巖在柜體中作為面板和層板的運用,與空間中的保留時間痕跡的老木板形成了對仗的關系,也為空間增添了一絲古樸的韻味。

The use of natural textured granite as panels and layers in the cabinet has also been repeatedly integrated into the space, forming a contrasting relationship with the old wooden boards that retain time traces in the space, adding a touch of antique charm to the space.

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巖取自于山又再次回歸于重巖疊嶂之意向,樹取自于林而又再次被表意為林木蔥郁的山川樹木,是崔樹這次想要在空間中極力表達東方哲學。

The intention of the rock being taken from the mountain and returning to the overlapping peaks of the heavy rocks, and the tree being taken from the forest and once again expressed as the lush mountain and river trees, is Cui Shu's strong expression of Eastern philosophy in space.

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居游之間

中國人造園造的不僅僅是一方的居所,更是一處可感悟風景變化、可在其中游走玩耍的場所。

Chinese people create gardens not only as a place of residence, but also as a place where they can perceive changes in the scenery and wander and play.

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現代住宅習慣以功能將空間切分為單個封閉的房間,為了還原這種游逛的體驗,崔樹首先將房屋相對封閉的空間打開,重新以“廊”的形式串聯起不同的但開放的空間,讓游走和觀看都充滿了多元的可能行。

Modern residential habits divide the space into individual enclosed rooms based on functionality. In order to restore this wandering experience, Cui Shu first opens up the relatively enclosed space of the house and reconnects different but open spaces in the form of "corridors", making both walking and watching full of diverse possibilities.

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玄關與餐廚客廳空間平行并置,“柱”的形態在此刻既是結構,也是空間中的疆界。

The foyer is parallel and juxtaposed with the dining and living room space, and the form of "columns" is both a structure and a boundary in the space at this moment.

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玄關頂部以細竹排列為吊頂,刻意制造出體量感仿佛穿插搭接在客廳的墻面之上,加強了兩個區域的關聯,而也與清透的材質之間形成了微妙的平衡,燈光從頂上打下,在玄關處留下曖昧的明暗陰影。

The top of the entrance is arranged with fine bamboo as the ceiling, deliberately creating a sense of volume as if interspersed and overlapped on the wall of the living room, strengthening the connection between the two areas, and also forming a subtle balance with the clear material. The light falls from the top, leaving ambiguous shadows in the entrance.

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客廳窗邊也以“柱”的形態與之對仗,在保證視線通透的前提下,重構了立面的節奏,半透明的百葉簾與微微伸出的竹子盆景,仿佛一抹水墨寫意之景從紙間躍然眼前。

The living room window also contrasts with it in the form of "pillars", reconstructing the rhythm of the facade while ensuring clear visibility. The semi transparent blinds and slightly protruding bamboo bonsai seem like a brush of ink and wash freehand scenery leaping from the paper.

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拾階而上,來到二樓處可窺見一處席地而坐品茗的茶室,竹影茶香于一室之中,在此處復現的是唐人與好友“竹下忘言對紫茶”的暢快與愜意。

Climbing up the stairs, one can glimpse a tea room sitting on the ground and sipping tea on the second floor. The fragrance of bamboo tea permeates the room, where the Tang Dynasty and his friend "forget to speak under the bamboo and enjoy purple tea" are recreated.

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主臥之內的長虹玻璃為半墻隔斷,在縱向的緯度上打開新的視界,流動中形成影影綽綽的觀看趣味,而房間中的斜檐、天圓吊頂、博古架節奏的開放儲物分割亦是也是某種形式對古建與傳統居住空間中設計語言的提取與轉譯。

The Changhong glass in the master bedroom is a half wall partition, opening up a new perspective in the vertical dimension, creating a flowing and shadowy viewing experience. The open storage division of the slanted eaves, round ceiling, and Bo Gu shelf rhythm in the room is also a form of extraction and translation of design language in ancient architecture and traditional residential spaces.

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紫禁壹號院項目在設計師崔樹的匠心獨運下,成功地將山林竹居的意境融入現代別墅生活之中,成就了一處融合古典情致與現代舒適的居住典范。

The Purple Forbidden No.1 Courtyard project, with the ingenuity of designer Cui Shu, has successfully integrated the artistic conception of mountain forests and bamboo residences into modern villa life, achieving a living model that combines classical sentiment and modern comfort.

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空間、光影、材料,每一處細節都透露著設計者對自然的向往和對東方哲學的全新詮釋。在這樣的居所里,不僅能體驗到空間流轉間的游觀之樂,也真正為現代人實現了居游一體,滋養身心的居住理想。

Space, light and shadow, materials, every detail reveals the designer's yearning for nature and a new interpretation of Eastern philosophy. In such a residence, not only can one experience the pleasure of sightseeing in the flow of space, but it also truly realizes the ideal of integrating living and leisure, nourishing the body and mind for modern people.

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項目信息

項目名稱:紫禁壹號院
項目地點:中國·北京
設計單位:CUN寸DESIGN
主案設計:崔樹
坐落地點:北京市大興區
建筑面積:450平方米
設計時間:2021.2月
完工時間:2023.9月

Information
Project Name: Forbidden No.1 Courtyard
Project Location: Beijing,China
Design Unit: CUN DESIGN
Chief Designer: Cui Shu
Location: Daxing District, Beijing
Building Area: 450 ㎡
Design Time: February 2021
Completion Time: September 2023


來源:本文由CUN寸DESIGN提供稿件,所有著作權歸屬CUN寸DESIGN所有。

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