LOFT中國感謝來自B.L.U.E.建築設計事務所、建築營設計工作室、SODA Architects、近境製作的4個室內建築實驗項目案例分享：
新光大中心ArtPark9就生活方式的更多可能性提出“居住之問”，建築師青山周平、韓文強、薑元&宋晨、唐忠漢以不同維度的設計策略聯袂作答。“和院”“山居”“無界”“之間”四個人文空間和而不同，用東方哲學演繹出當代亞洲的理想人居。
Centering on the possibilities of future lifestyles, New Everbright Center invited five exceptional designers, including Shuhei Aoyama, Han Wenqiang, Jiang Yuan & Song Chen, and Tang Chung-han, to design four guest rooms in ArtPark9. Based on distinctive design strategies from different perspectives, the four human-oriented spaces feature harmony in diversity, together interpreting ideal living environments for contemporary Asian people via Oriental philosophy.
視頻鏈接：新光大中心ArtPark9
微信公眾號：ArtPark9
和院
設計師：青山周平
設計公司：B.L.U.E.建築設計事務所(www.b-l-u-e.net)
項目麵積：117㎡
完工時間：2018.11
攝影師：金偉琦、夏至
Harmony Courtyard
Designer: Shuhei Aoyama
Design company: B.L.U.E. Architecture Studio (www.b-l-u-e.net)
Project area: 117 m2
Completion time: November 2018
Photography: Jin Weiqi, Xia Zhi
城市是什麼？是容器，包藏每個人生活和工作的空間；是曆史，在嘀答聲中跨越千百載的時間；是生命，在一代一代人打磨與接續中晝夜滋長的活物，你觀城市，城市也觀你。
What’s the definition of city? It’s a container, which holds the living and working space for everyone; It’s history, which spans hundreds or thousands of years in the time river; It’s a living being, which has been growing and shaped by generations of people. When you look at the city, the city also watches you.
和院—新家族的家，是一個約120平米的室內空間，在項目中，我們思考的不僅僅是如何打造當代舒適的室內生活空間，更著重考慮在未來新時代——家的另一種可能。
“Harmony Courtyard” is an interior space covering an area of about 120 sqm, and a home for a new type of household. In this project, the designer Shuhei Aoyama thought deeply about how to create a comfortable contemporary living space, and more importantly, explored a new possibility for home in the future.
在過去，居住模式常是祖孫幾代人共同居住，幾代同堂的生活模式我們將其稱之為家庭的1.0版本。逐漸家庭模式變成了父母與一個孩子，在日本則是父母與兩個孩子，這是家庭的2.0版本。及至現在，世界各大都市，越來越多的家庭變成一個人，這是家庭3.0的版本。
The dwelling pattern of humans has been evolving with the time. At the very beginning, several generations of the family lived together, which is regarded as the version 1.0 of households. Later, the family unit gradually became smaller, usually consisting of the parents and one child (generally two kids in Japan), that is “Household 2.0”. Nowadays, more and more one-person households are emerging, especially in large cities worldwide, indicating that “Household 3.0” is coming.
城市正在逐漸變成“一個人的城市”。在東京的核心區域，獨居的老年人與年輕人占據了超過半數的比例，我們想象中的傳統家庭已經在逐漸的瓦解和消失，這也即將是北京未來所要麵對的事情。
Cities are gradually transforming into places composed of one-person households. In the core area of Tokyo, the senior and young people who live alone account for more than half of their populations. Traditional households have been disintegrating and disappearing, which is what Beijing will have to face in the future.
在家庭1.0時代，我們有四合院和土樓；
在家庭2.0時代，也有相應的兩室一廳，三室一廳的住宅樓。
到了家庭3.0時代，家應該是一個怎樣的狀態呢？
In the “Household 1.0” era, there are courtyard dwellings and earthen buildings.
During the “Household 1.0” period, there are residential apartments with one living room and two or three bedrooms.
When it comes to “Household 3.0”, what should a home look like?
帶著這樣的思考，設計師青山周平與其團隊展開了項目的研究。發現大部分的戶型都是基於婚姻和血緣關係建立的家庭居住模式，首先打破的便是戶型設計。他們把原有的隔牆全部拆掉，在房子正中間設計了一個庭院式的公共空間，並把四周的回廊抬高，使庭院下凹，高度恰好成為人們休憩的座椅。
With this question, Shuhei Aoyama and his team started the project research. He found that the layouts of most residences were based on the household pattern formed by marriage and blood relations. Therefore, to create a living space for a one-person household, the first step was to break the traditional residential interior layout.The design team dismantled all the partition walls in the original space, and created a courtyard-like public area in the middle of the space. Besides, they elevated the surrounding corridor in an appropriate height, making the yard sunken and endowing the corridor with the function for sitting.
從上方俯瞰空間，似乎是四合院。如果將屋頂拿掉，就可以看到四周的臥室、衛生間、淋浴室、廚房等等，設計師將私人空間盡量壓縮，將更多的空間釋放到了公共區域，我們的生活便在這裏展開……
The space appears to be a traditional Chinese courtyard when looking down at it. If the roof is removed, the bedroom, toilet, shower room, and kitchen, etc. around the yard could be seen from above. The designer tried to compress the private space as much as possible, so as to leave more space for the public area, where life will be enjoyed.
新家族的家，將人們從自己私密的空間中解放，不再是一個封閉的家庭區域，而是個體時代的新家庭住宅模式：更開放的高複合空間，擁有更多的可能性。
This home, designed for a new type of household, liberates people from their private space. It is no longer a closed living space, but a dwelling mode for the emerging one-person households, which is more open, highly compound and embraces more possibilities.
∇ 平麵圖 plan
山居
設計團隊：韓文強、宋慧中
設計公司：建築營設計工作室(www.archstudio.cn)
項目麵積：80㎡
完工時間：2018.11
攝影師：金偉琦
Hillside Dwelling
Design team: Han Wenqiang, Song Huizhong
Design company: ARCHSTUDIO (www.archstudio.cn)
Area: 80 m2
Completion time: November 2018
Photography: Jin Weiqi
山居是位於北京通州新光大中心28層的一間客房。它是在都市高層建築標準單元之中實現居住樂趣的嚐試，也是一種對未來生活方式可能性的探索。
The project is a guest room situated on the 28th floor of New Everbright Center · ArtPark9, Tongzhou District, Beijing. The goal was to create pleasant living experiences in a standard unit of urban high-rise buildings and explore a possible future lifestyle.
人類最初的居所是山洞。山洞是預先存在的，並不是為人類而存在。但是人根據身體行為定義了自然環境，使其可居。古人的理想居住狀態是歸隱於山林，代表一種脫離俗世、與自然和諧的生活境界。當代城市中人們居住在鋼筋混凝土的叢林，居所變成一種標準化的空間產品。山居即是基於以上三種居住方式的再思考：回到居住的本源，激發身體行為與外部環境的互動關係。
Dwellings of mankind have been changing with time. In the primitive period, people lived in caves. Our ancestors turned to nature for shelters and defined the pre-existing caves as living spaces. As time moving on, ancient people sought to live a secluded life in mountains, representing a lifestyle of staying away from the bustling world and coexisting with nature. Nowadays, urban people inhabit concrete jungles, with residence becoming a kind of standard spatial product. Based on reflections on the evolution of human beings’ dwellings, ARCHSTUDIO tried to return to the origin and essence of living spaces and stimulate the interaction between people and the outdoor environment.
在規整的長方形室內空間之中，地麵由窗邊向內緩緩抬升成為一個山坡，讓內部人的行為與窗外景色產生立體的對應關係。生活起居的五種基本行為：入、臥、憩、浴、衛被嵌入在這片人造山坡之中。山下的洞穴是入口和衛生間，山上視野最佳的位置是睡覺和洗浴的地方，山坡則是行走、休憩的界麵。
In the rectangular space, the floor is raised from the bottom of the large French window to the ceiling gently, which forms a hillside-shaped structure and generates three-dimensional relations between people inside the space and landscape outside. Based on people’s living behaviours and body size, five basic functional areas were created within the space, including the entrance and the washroom in the caves under the hillside, areas for sleeping and bathing which are on the best place of the hillside to enjoy the outdoor view, and the area for walking and resting on the lower part of the hillside.
山的表麵材料是軟木地板，具有柔軟、溫暖的質感。洞穴可以被看作是定製的家具，由身體尺度和行為進一步定義出使用功能。一些當代生活的必要設施，包括智能設備、全屏投影等被隱藏在牆麵和天花中，滿足生活所需。
The hillside is covered with cork boards, featuring a soft and warm texture. All the caves can be taken as bespoke furniture, with their functions being defined by body size and physical behaviours. Besides, the space is equipped with some necessary modern facilities such as a mini bar and a projection screen, which are hidden on the wall and ceiling, ready for use at any time.
人工與自然，原始與精致，確定與模糊共存於這個空間之中。這可能不是一個傳統意義上“舒適”的空間，但也許那些習慣了城市舒適生活的人們置身其中時，可以被激發一些感官的本能，回歸身體體驗，重拾居住生活的樂趣。
This space creates a co-existing relationship between the artificial and the natural, the primitive and the exquisite, and the clear and the ambiguous. Though not a “comfortable” space in the traditional sense, it provides people who are used to cosy urban life with unique sensory and physical experience, and enables them to recapture the joy of living.
∇ 平麵圖&立麵圖 plan&elevation
無界
設計師：薑元、 宋晨
設計公司：SODA建築師事務所(www.soda.archi)
項目麵積：80㎡
完工時間：2018.11
攝影師：金偉琦
Borderless Space
Designers: Jiang Yuan, Song Chen
Design company: SODA Architects (www.soda.archi)
Area: 80 m2
Completion time: November 2018
Photography: Jin Weiqi
於幾何學來說，邊界或是一條沒有厚度的線；於建造來說，邊界或是牆壁存在縫隙，而對於此空間來說，打破物理邊界，以影像作為連結方式，成為SODA建築師事務所設計探索的出發點。
In geometry, boundary is a line without thickness, while it may be the seam between walls in terms of construction. For this project approached by SODA Architects, breaking the physical boundary and making use of video images as the way of connecting different dimensions is the starting point for the spatial design.
空間的邊界通常是由其物理位置限定的，而此次，設計師使用數字化材質打破物理邊界，從而達到“屏幕牆”與“透視牆”的優雅融合。
In general, the boundary of space is defined by its location and site. The designers used digital materials to break the physical boundary, with a view to achieving the elegant fusion of the “screen wall” and “transparent wall”.
室內空間和外界聯結最直接的媒介就是窗戶，設計師重新選擇開窗區域，並將矩形的幾何肌理延伸到單元兩側封閉的實體牆上。
The most direct medium connecting the indoor space and the outside world is the window. Therefore, the designers rearranged the window areas and extended the geometric texture of the rectangle to the closed solid walls on two sides of the space unit.
四麵大小不一的屏幕隱形嵌入三麵牆體，通過網絡，屏幕中可顯示不同主題的內容。比如，巴黎實況、NASA的24小時直播和北京當地的電視直播，使居住者感受到不同的時間狀態。
Four screens of different sizes are respectively embedded into three walls, which are set to play contents of distinctive themes, such as Paris Live, NASA’s 24-hour live broadcast, and live local TV channel in Beijing, so that people can feel and see diversified situations of different time zones.
三麵牆上的屏幕、顯示器和燈箱混合排列布置在一起，虛化了傳統的實體空間邊界所具有的固定感，形成了不規則排列的“屏幕牆”。當人們透過真實的窗戶看到北京日落的時候，虛擬窗口中，巴黎還是豔陽高照；而當清晨夢醒，轉眼可看到NASA傳回的黑暗的無邊宇宙。
The screens, displayers and light boxes on the three walls are arranged in a mixed way, which breaks the fixed feeling of traditional solid space boundary and forms an irregular “screen wall”. When people see the sunset in Beijing through real windows, Paris is still sunny in the virtual window inside the house. And when they wake up in the morning, the view of boundless dark universe sent back by NASA is just on the screen beside the bed.
時間的概念被模糊，它通過不同的屏幕被拉伸、擴展，使人產生不同的觀感，豐富情緒體驗。
In such a space, the concept of time is blurred. It is stretched and expanded through all the screens, enabling people to enjoy different visual impressions and have various emotional experiences.
設計師通過設計和科技的結合，旨在打破傳統居住單元的硬界限，牆麵透亮得仿佛可穿透，削弱了其厚重的感覺。屏幕不再是冰冷的機器，其顯示內容既可以是與窗外風景合二為一的動態風景影像，也可以作為信息時代的數字化窗口，呈現不同時間和維度內容影像。
Through the combination of interior design and technology, the designers hope to break the hard boundaries of traditional residential units. The walls are as transparent as if they could be penetrated, weakening their solidness and massiveness. As multimedia equipment, the screens are not bound by forms. They can display dynamic landscape images which are integrated with the outside scenery as a whole, and also function as digital windows to present video images of varying time zones and dimensions.
這個項目即是我們所倡導的“媒體空間”的實踐，用數字化內容為空間帶來功能的完善以及體驗的優化，使空間充滿動態的靈活性與趣味性，同時又是溫暖的優雅的具有探索未來精神的居住環境。
This project embodies the practice of “media space” that SODA Architects advocates — utilizing digital content to realize the perfection of functions and the optimization of experiences in the space, make it full of dynamic flexibility and interest, and thereby to create a warm, comfortable elegant living environment with the spirit of exploring the future.
∇ 平麵圖 plan
之間
設計師：唐忠漢
設計公司：近境製作(www.da-interior.com)
項目麵積：117㎡
完工時間：2018.11
攝影師：金偉琦、鍾崴至
In Between
Designer: Tang Chung-han
Design company: DESIGN APARTMENT (www.da-interior.com)
Area: 117 m2
Completion time: November 2018
Photography: Jin Weiqi, Zhong Weizhi
兩點一線，三點一線，走了又回，回了又走，你說天地為家。家的意義又是什麼呢？於設計師而言，是接納，它接納你的情緒、狀態、離別、相聚，也讓你接納真實的自己。
Living a routine life commuting between home, work and other commitments, some people may take wherever they go as home. However, what is the real meaning of home? For the designer, home is about inclusiveness. It can accept your emotion, departure, gathering, and let you embrace your true self.
空間以“之間”命名，是往來之間。如灰空間一般，將內外轉換，心境轉換，自我轉換。
The space is aptly named “In Between”, which is written as “之間” (pronunciation: Zhi Jian) in Chinese characters. It is like a “gray space”, which enables the transition between exterior and interior, mood changeover and self-conversion.
於唐忠漢而言，“之間”有著更加獨特的用意，它經由離合、肌理、包覆、層次，去達到空間體驗的感受。同時，「之」字型是路徑、連結的型體表現，兩者互相貫穿，共同述說層層遞進的「連結的空間」。
For Tang Chung-han, the designer, the project name has a more special meaning. Through separation and unity, textures, envelopes and layers, he intended to create continuous spatial experiences. The Chinese character “之” is zigzag, resembling the form of a path or a kind of connection, which narrates the story about a sequence of interconnected spaces.
白色包裹下的空間，通透明亮。它柔軟包容，任何顏色可與之相搭，又果斷堅挺，將陽光最大限度的反射。
The entire space is finished in white, transparent and bright. White, which is symbolic of softness and inclusiveness, can be matched with any colours. And it can also reflect the maximum amount of sunlight.
不定義空間界限，而是以不同的線條將其分隔，或寬或窄，或朦朧或清晰，每個細節的設計都如一曲蜿蜒起伏的讚曲，以節奏引發思考。
Without physical boundaries, the space is partitioned by a variety of lines, which are either wide or narrow, either blurry or clear. Every design detail is an undulating paean, with the rhythm provoking people into reflection.
如太陽冉冉升起泛起的魚白，大地萬物勃然生動；又如夜幕低垂，潔白月光帶來了寧靜與安穩，驅散暗夜的陰沉。
The space is like the fish-belly-like white sun rising gradually at dawn, which adds vigour to creatures in the earth, and also like the bright moonlight at night, bringing peace and calmness and dispersing the darkness.
藝術畫將視覺焦點聚焦，充滿張力，似是衝破的空間的束縛，白色的間隙又像是極力融於整個牆麵，將衝突與和諧之美展現的淋漓盡致。
The artistic painting forms a visual focus, which is full of tension and seems to break through the constraint of space. The white gaps on it seem to try to integrate into the wall, fully displaying the beauty of conflict and harmony.
臥室休憩的周圍，設計師有意將首尾兩端作出鏤空的窗格，一方麵保證空間的通透性，另一方麵減少空間過大帶來的的孤寂之感，於心理層麵加深安全感，並增加趣味性。光線自天花灑下，層層包裹之下，不覺繁複，尤顯輕盈，與柔和的光線共同塑造空間讚曲。
Around the bed, several openings are carved out, which not only ensure the permeability and transparency of the space, but also reduce the feeling of loneliness caused by the size of space, thus making people feel more secure and increasing enjoyment.Light flows downwards from the ceiling and penetrates the space layer by layer, thereby adds lightness and rhythm to it.
“我想要的空間是一種儀式感，一種家的概念，進而是一種獨特的空間體驗”。設計師說道。
“I want a space with a sense of formality, a concept of home, and more importantly, a unique spatial experience”, the designer said.
∇ 平麵圖 plan
