璧川设计 | 吉光片羽——融入宋代美学的侘寂住宅

当我们见到这位屋主拿出一幅花样色彩的山水画，传统墨黑被染上粉、绿、蓝的样貌，举手投足间散发翩翩气度，我们就感受到这位有着“理性”工作的屋主有着不一般的“感性”气质。

Looking at an elegant man works rationally but lives emotionally. When he took out a landscape painting with colorful patterns, I knew the owner was not ordinary when the drawing dyed pink, green, and blue instead of a traditional black tone.

一颗大脑的左右半球，各自掌控着不同功能，从讲究逻辑、追求理论的理性左脑到难以用常理解释的感性右脑，理性与感性的共存，看似天差地远却一点也不违和。

There are the left and right hemispheres of a brain control different functions. The rational-left brain pays attention to logic and pursues theory when the perceptual-right brain is difficult to explain with common sense. The coexistence of rationality and sensibility seems far apart, but it is not inconsistent.

当屋主拿出他的收藏品，一幅山水挂画、一只金属变色龙，谈论着他喜爱的仪式感，聊天之际我们就在想，他的左脑一定常常管不住右脑那时不时满溢出的感性泉水。

When taking out the collections--a landscape painting and a metal chameleon, the owner talked about his favorite sense of ritual. I was thinking that his left brain must often be unable to control the emotional spring overflowing from his right brain at that time.

看着这幅乍看古典的山水风景画，柔和的笔触、诗意的画风，却不落俗套地运用有点可爱又缤纷的鲜艳色彩，让我们霎那间了解，这或许就是屋主雀跃不已的内心世界。设计师以此为灵感为屋主构建了一个空间，于此处感受着好似一脚踏上船只、乘着一叶扁舟，让生活从「仪式」开始。

I saw this classical landscape painting with its soft brush strokes and poetic style at first glance, otherworldly using a little lovely and colorful bright colors. Let me see and understand a split second that this may be the inner world of the owner. Then why don't we only step on a boat and go to that life begins with "ceremony."

侯孝贤曾说：“生命中有许多吉光片羽，无从名之，也不能构成什么重要意义，但它们就是在我心中萦绕不去”。尽管对旁人来说多么的渺小、多么的微不足道，设计师希望在设计中，生活被赋予仪式，任何小事都瞬间有了它的意义，这些琐碎和片段，皆能成为屋主生命中的“吉光片羽”。

Hsiao-hsien Hou once said, "There are many Yoshimitsu Kataba in life, which I cannot name or constitute any significant meaning to them. However, they linger in my heart." Although small and insignificant to others, I hope to give ritual to life. Then every little thing instantly has its meaning. These trivialities and fragments can become Yoshimitsu Kataba in the owner's life.

当跃上一层、两层台阶，倾身屈膝、再跪坐双膝，心情思绪随身体的动作逐渐缓和平静，双腿感受着叠席编织而成的纹理，与肌肤交叠后逐渐暖和的温度，灯光随遥控而下的风琴帘幕渐渐亮起，一切准备就绪。不论工作阅读、发呆放空，坐着、卧着、躺着，所有的事情都因为这步步程序，而成为一种庄严仪式。

When jumping up one or two steps, bending knees, and kneeling, your mood and thoughts will gradually ease and calm with the movement of your body. Your legs feel the texture woven with the laminated mat and the slowly warm temperature after overlapping with the skin. The light gradually lights up with the organ curtain under the remote control, and everything is ready. Whether working, reading, or being absent-minded, sitting, lying, or lying down, everything becomes a solemn ceremony because of this step-by-step process.

有时候生活的态度也不需要太过庄重、严谨，我们的仪式在于一份氛围感受。

However, there is no need for solemnity or rigor. Our ceremony is a feeling of atmosphere.

和室为初、挂画为始，轻舟顺水而行，流淌过后便留下涟漪痕迹，无固定靠枕的沙发，宽广了飘流的视线，让其更加畅通无阻、更能随心所欲；绕行而过，是传统太阳纹的拼花圆桌，却以两条称线利落收齐，好似它的圆与润，仅是一种假象幻影，当来访者还有点困惑，正要理清思绪之时，头顶垂挂的钢丝灯篓又再次挑起了这对立的反差感，然而，古老的图腾与利落的造型，现代的材质与编织的工法，它们通过设计师的巧思在相同的频率中，碰撞了常规，选择“叛逆的语言在与空间对话”。

The Japanese-style room is the beginning, and the painting is the starting. The light boat travels along the water, and after it flows, it leaves traces of ripples. The sofa without fixed backrests widens the drifting line of sight, making the space more unobstructed and freer to do whatever you want. Passing around is the traditional sun-patterned round table. It is neatly gathered with two lines as if its roundness and smoothness are just an illusion. When you are still confused and just about to sort out your thoughts, the wire lamp basket hanging above your head once again provokes this sense of contrast. However, ancient totems, neat shapes, modern materials, and weaving methods collide with the convention at the same frequency. Therefore, we choose to dialogue with rebellious language and space.

打开玄关，是在空间内游荡时的一处中继站，入门即见餐厨一线、迈步即往卧室私间，或者一转即来到和室那片。一块大尺寸旧木作为暂时歇脚的“浮标”，于此处的构思为：每每从世俗步入山林仙境，双手一撒，便能脱去身外之物、抛开忧扰杂念，倚着格栅墙面悬挂的裸陶艺品、望向和室摆放的花陶器皿，一阴一阳接起了天地乾坤。

The opened entryway is a relay station when wandering. You are in the entrance can see the front line of the kitchen and living room, or step forward to the private bedroom, or turn to the Japanese-style room. A giant old piece of wood serves as a buoy for a temporary rest. Every time I step into the fairyland from the secular world, I can get rid of the external things and let go of my worries and distractions with a swipe of my hands. Lean against the bare pottery artwork hanging on the grille wall and look at the flower pottery utensils placed in the Japanese-style room. One yin and one yang connect heaven and earth.

两门直竖对立，一步、两步，来到门前，一阶、两阶，双手推开门片，仪式再次围绕于空间内。

The two doors stand upright against each other. One step, two steps, come to the door. The first and second steps, push open the door with both hands, and the ceremony will expand the space again.

整个过程下来，可以隐隐感受到的纯朴氛围，是东方、似禅风、又有一点日式语汇。

You can vaguely feel the simple atmosphere is oriental, like Zen style, and a little Japanese vocabulary.

从衣柜门片、五金把手，全部转由传统工艺相互串连，让一切不仅仅是表面，而是深至骨子裡的细节，全都映衬在石粉涂抹的墙面，而矿物结晶那时闪时灭的光泽，竟是如此顺滑又柔和。

The wardrobe door piece and hardware handle are all connected by traditional technology. That makes everything, not just the surface, but the details deep down to the bones, all against the wall painted with stone powder. The gleaming luster of the mineral crystals was so smooth and soft.

美，遍布空间；美，弥漫氛围。如忽见吉光片羽，触动着澎拜的心绪。

Beauty pervades the space; beauty fills the atmosphere. It was like seeing Yoshimitsu Kataba, which touched mood in an upsurge.

△平面图

项目信息

项目名称 | 黄邸

设计单位 | 璧川设计事务所

设计总监 | 卓思齐

专案总监 | 陈明封

参与设计 | 陈靖雯

项目面积 | 134 ㎡

项目地点 | 台北市中山区

完工时间 | 2021年10月

项目摄影 | 卓思齐

设计师

卓思齐（左）陈明封（右）

璧川设计主理人

Beatrix Design璧川设计事务所在2008年的时候于台北成立，主理人为室内设计背景的陈明封Nomas及建筑背景的卓思齐Angelo两位总监，并于2019年在上海设立分公司。我们专注于高端精致的空间设计，涵盖住宅、商业空间的设计与保障施工质量的全方位项目管理。同时，我们也擅长品牌规划，注重在商业空间中设计与使用者之间的互动体验，为品牌提供最佳的空间设计方案；住宅设计中，我们以建筑语言的手法去叙述每位客户自己的故事，为其定制独特的专属空间。

—END—

监制 | Linda

编辑 | Mas

策划 | Sansan

授权公司 | 璧川设计

本文来自微信公众号“designcool设计酷”（ID：designcool18）。大作社经授权转载，该文观点仅代表作者本人，大作社平台仅提供信息存储空间服务。