时间的步伐有三种：

未来姗姗来迟，现在像箭一般飞逝，

过去永远静立不动。

There are three types of time:The future is long, and now it is flying like an arrow,

and the past will always stand still.

——席勒（Schiller）

时间旅途

THE ORIGINOF TIME

浩瀚无垠，恒河沙数。

The vastness, the Ganges sand number.

宇宙如一个永远庞大、未知的能量场，星体彼此的相互作用，形成了星相、月相与太阳的此起彼落，人类因此拥有了对时间的概念，也有了对追赶时间、记录时间甚至超越时间的思考。

The universe is like a huge and unknown energy field. The interaction of the star body has formed the ups and downs of the star, the moon phase, and the sun. As a result, human beings have the concept of time, and they also have the time to catch up with the time, record time, and even surpass the recording time, and even surpass the recording time. Time thinking.

▲项目视频©TRD尺道设计

公元1300年以前，人类主要是利用天文现象和流动物质的连续时间来计时，再到今天的钟表，时间的表达不断被精细化。

Before 1300 AD, humans mainly used astronomical phenomena and the continuous time of mobilization to timing, and then to today's clocks, the expression of time was constantly refined.

▲艺术装置·时间之轮/Installation

步入空间的前序，时间也开始随之转动。时间无形，却能依附在一起的物质形态之上，是相对，也是绝对。

Step into the prelude to the space, and the time began to rotate. Time is invisible, but it can be attached to the material form that is relative and absolute.

设计师在设计《时间之轮》的时候，认为时间相对于空间而言，它是流动的。因此，时间的交叠更替也在时间之轮之上折射、轮转出不同的形态，令空间每个时刻都变得无可复制。

When designing "The Wheel of Time", the designer thought that time was relative to space, it was flowing. Therefore, the overlapping time of time is also refracted above the wheel and different forms of the wheel, which makes the space unsatisfactory every moment.

彼时盈缺，此时圆满。

At that time, it was full, and it was successful at this time.

▲接待区/Recaption

树影听风

HEAR THE WIND SING

时间面对城市而言，是一种效率和计算的工具，所以它变得浮躁而善变，而面对林林种种的躁动，我们希望空间的设计可以以一种“自适”的意识状态暂时逃离城市的时间裹挟，寻访遍野，捡梦山涧。

In the face of the city, it is a tool for efficiency and calculation, so it becomes impetuous and good, and in the face of various restlessness of forests, we hope that the design of the space can be in a state of "comfortable" consciousness state. Time to escape the city temporarily, visit the field, pick up the dream mountain streams.

水波涟漪的湖面，被初升的阳光沐浴着。

The ripples of the water wave were bathed by the rising sun.

而阳光也顺着丁达尔现象的轨迹悄然进入空间里，反射、散射、折射，它们试着与物交融，与时间对话，此消彼长。

The sun also quietly entered the space along the trajectory of Ding Dar, reflected, scattered, and refracted. They tried to blend with things and talk to time to disappear.

设计推导 |

Design Process

沙龙区临湖而设，全落地玻璃的设计将户外之景“借入”其中，令室内空间与户外自然的物理边界得以柔化，微妙的意蕴仿佛在氤氲中滋长起来，有一种令人忘怀于山水雅致间的感官体验。

It is set up in the lake of the Lake in Salon District. The design of the full floor glass "borrows" the outdoor scene, so that the physical boundary of the indoor space and the natural physical border of the outdoor nature can be softened. Sensory experience between elegant landscapes.

开放式的空间形态与其他功能区域有机咬合、组织，令阅读、新商业形式、社交分享等多元化的情景得到了融合和向外延展，营造出一种新社交形态的场域。

Open space form and organic occlusion and organization of other functional areas have made diversified scenes such as reading, new business forms, and social sharing have been fused and extended outward, creating a field of new social forms.

▲沙龙区/Salon

色彩分析 |

Color Analysis

软装设计主色调灵感源自于自然间的草绿色系和大地色系，琥珀焦橙与浅翠墨绿碰撞一起，呈现出一种温柔却敦厚的质感美。

The main color of the soft furnishing design comes from the grass green system and earth color system between nature. Amber Jiao Orange collided with light green dark green, showing a gentle but thick texture beauty.

本案的设计始终重视人与空间的交互关系以及设计的在地型。沙龙区整体空间线条既明朗开豁，并将“可观、可感、可寻”的动线贯穿始终，令空间的活性得以重塑，与大自然、光影之间达到了一种自适的平衡感和延伸感。

The design of this case always attaches importance to the interaction relationship between people and space and the local type of design. The overall space line of the salon area is clear and open, and the dynamic line of "considerable, sensible, and finding" is always through, so that the activity of the space can be reshaped, and the sense of balance between nature and light and shadow has reached a sense of balance. And the sense of extension.

▲洽谈区/Negotiation Area

微观场景

LIFE ORIEN TED SCENE

设计团队希望除了通过放大原生场地环境优势、扩展衍生自然的边界之外，更希望在设计过程中将生活方式具象情景化。

The design team hopes that in addition to amplifying the environmental advantages of the native venue and expanding the natural border, it also hopes to fix the lifestyle of lifestyle during the design process.

并对空间的情境化进行有意识地运营，从而让客户在从进入空间的第一刻就能感知到品牌的产品力，并与品牌的价值观念产生共情。

And consciously operate the situation of space, so that customers can perceive the brand's product power at the first moment of entering the space, and have an empathy with the brand's value concept.

▲咖啡吧/Cafe

新型零售空间和新消费场景的加入，令空间拥有更多情绪表达的场景，触达到客户最真实的感官末梢，从潜意识上增强对场所情感的认定，与品牌理念发生共鸣的同时，精神内核也在发生趋同。

The addition of the new retail space and new consumption scenarios makes the space with more emotional expression, which can reach the customer's most authentic sensory ending, which consciously enhances the identification of the emotion of the venue. Convergence.

设计推导 |

Design Process

设计，应该是一种可续性的生长。空间，也应该是一种“有效式”的营造。每个有效的空间，既可以被独立使用，也可以与其他空间产生多种可能性的组合。

Design should be a kind of continuity growth. Space should also be a "effective" creation. Each effective space can be used independently and can produce multiple possibilities with other spaces.

沙龙区与咖啡吧空间则承担最重要的“整合”任务，它可以成为展厅、手作工坊，也可以成为一个糅合多元文化语境和社交场景的复合空间。

The Salon District and Coffee Bar Space undertake the most important "integration" task. It can become a exhibition hall, a handicraft workshop, and a composite space that combines multiple cultural context and social scenes.

时序无痕

TIME BRINGS LIFE

建筑以一种谦虚、克制的设计姿态柔和地嵌入自然生态系统之中。

The building is softly embedded in the natural ecosystem with a modest and restrained design posture.

空间的设计语言“以相入景”，与自然的吐纳同频，于翠意盎然的林间营造出空间对于城市喧嚣的“疏离感”，弥漫着富有余韵的“留白”诗性。

The design language of the space "enters the scene with each other", the same frequency as the natural vomiting, and the "alienation" of the space in the forest in the forest in the forest, and the poetry of the "whitening" full of rhyme.

▲户外·四时变化/Outdoor

晨曦与日照，落日与余晖。

Chen Xi and Rizhao, sunset and afterglow.

四时的变化，仿佛刻进了空间的肌理之中。时间于此，被无形分解着，也在阐释着关于空间对时间的弥留与呼应。

The change of four o'clock seems to be engraved in the texture of the space. Time is here, and it is invisibly decomposed, and it is also explaining the dying and echo of space and time.

▲户外·四时变化/Outdoor

时间，仿佛不再是客观存在的意志和物像形态。

Time, as if it is no longer an objective will and the image form.

它变成了一种可以被感知的真实体验，它变成了眼前的风景，接受着外界对它的观察。

It has become a real experience that can be perceived, it becomes a scenery in front of you, and accepts the outside world's observation.

它游走各处，但又无迹可寻，它形成着只属于这个时空里的一个个“本我”，改变着原本不被改变的事情。

It wandered everywhere, but there was no trace to find. It formed a "ego" that belonged to this space and space, changing things that were not changed.