隱匿的東方至美，中海萬寧神州半島別墅設計

設計作為西方傳來的公器，到了中國設計師手中，更多的是表達東方的思想和理念。As soon as be imported to China， design， a western public instruments， has been often used to express oriental thoughts and ideas by Chinese designers。

在中海萬寧神州半島專案中，設計師思考如何不使用直接的東方元素而表達出東方氣質美學。探索未來東方的可能性，以隱性方式表達隱匿東方審美。希望從空間的本質出發，拒絕過度設計。它既是歷史與未知的協調，也是東方含蓄與現代舒適的體現。The designers of ZWSP project， attempted to create an oriental aesthetic temperament without symbolized traditional elements。 They were pursuing a recessive way for the interpretation of occult oriental aesthetics， toexplore the future possibilities of the Orient。 This design is prevented from over-design，and be established based on the essence of space。 It is not only the harmony of history and mystery， but also the embodiment between oriental implicitness and modern comfortableness。

超拔的客廳將兩層空間豎向連線，陽光灑進來，光影斑駁。遵循對比的法則，整體空間展現出多層次的灰，插入一抹橙色和大理石的灰色碰撞，搖曳的綠色生機勃勃。Two floors arevertically connected by a high ceiling living room。 When sunshine slides into the space， lights and shadows would be mottled。 To create a deliberate contrast effect， designers brought orange elements to dot the multi-gray space by impacting the gray marble。 Green plants took in vitality and freshness。

東方人的生活方式中，行動坐臥都有講究，不設高廣床位，尺度謙遜宜人。雖是現代沙發，但高度上追尋唐代的低矮坐姿，更接地氣的姿態，讓人從內心獲得踏實感，營造放鬆自在的度假感受。Dueto the stresses of sitting and lying from oriental life style， the bed is designed not too high or too wide， but within a friendly scale。 By tracing the low sitting posture from Tang dynasty， to take a down-to-earth attitude， the modern sofa has been designed a lower height than usual。 You’ll find it is easy to feel grounded and holiday-like relaxing。

清水出芙蓉，天然去雕飾。東方美學材料語彙中，天然材質自帶的美好紋理，經由手工打造，終成器物。“Clear water lotus， been carved by natures。” The expression of commending natural texture， often appears in oriental literature。 Natural material had been crafted， and became utensils with original texture。

極簡的大理石盤，手工打造的古銅收納盒，天然半透的玉石碗，搭配琉璃花瓶和黃銅果盤表達自然舒適空間。Aminimalist marble tray， a hand-made bronze storage box， a natural translucent jade bowl， matched with glazed vases and brass fruit trays， all express the natural and comfortable space。

如同小說或電影，由兩條線索交織講述。設計師在空間中巧妙地暗含了一條當代藝術水墨線。水墨其審美精神是天地人的和諧，物我兩忘，人處天地間，無論靜觀抑或逍遙，都是對逼仄空間中的靈魂的超越，尋找與世界融合的審美契機。Like a novel or a movie， two threads weave together。 The designer subtly implies a line of contemporary art ink in the space。The aesthetic spirit of ink painting is the harmony between heaven and earth， both subject and object are dissolved， people live in heaven and earth， whether weare observing quietly or enjoying ourselves， it is a transcendence of the soulin the confined space， seeking an aesthetic opportunity to integrate with the world。

墨分五色，以少見多，以留白見繁複，以筆墨之觸寄情山水之間。處鬧市之中，借山水求一點寧靜；處泉林之間，以筆墨抒幾分人情。The ink is divided into five colors， with less is more， with white space to see heavy and complicated， with the touch of pen and ink send feeling between landscape。In the middle of the busy market， borrow mountains and rivers to seek some peace； between the spring and the woods， with ink express some human feelings。

橙色琉璃花瓶和綠植的跳脫，讓整個空間亮眼許多，突破層次豐富的灰調，在不經意中，撩撥人們的視覺神經，抵制審美疲勞。Orange glaze vase and green plant jumped out of the space， make whole space eye-catching a lot of， break through thegray tone with rich administrative levels， in casual in， provoke the visual nerve of people， resist aesthetic fatigue。

客餐廳之間的過渡空間，由一塊天然大理石雕琢而成的圓桌裝飾，收住視線，如同自然造就的一副天然水墨作品，將東方的情懷繾綣其中。The transition space between the guest restaurant is decorated with a round table carved by a piece of natural marble， holding the line of sight， just like apair of natural ink works created by nature， which embraces the Oriental feelings。

二層家庭廳延續首層的意境，傢俱圍繞圓形地毯展開，劃分出局部空間。半通透水墨屏風區分開書房和休閒區，在虛實之間若隱若現。The family hall on the second floor continues the artistic conception of the first floor， the furniture is spread out around the circular carpet to divide thelocal space。

在東方，居住思想上倡導隱逸之美，這種東方思潮一直如草蛇灰線，伏延在歷史中，時隱時現。私密與開放的不止是空間，還有人的內心。In the Orient， the idea of living advocates the beauty of seclusion， the trend of oriental thought has always left vague clues and signs。 In history， fore shadow comes and goes。 What is private and open is not only the space， but also the human heart。

精緻的石材，“樸散則為器”的方式旋轉交疊，螺旋上升，形成一組中心茶几，高低相應，形成高差上豐富的變化。 Delicate stone material， with do not add the means that decorates to diffuse outward and form adornment to rotate alternately， spiral rise， form agroup of central tea table， on high and low corresponding， form the rich change on height difference。

以旋轉屏風相隔的書房，可與家庭廳形成視覺聯動。半透明是東方典型的審美方式，作為一種含蓄的呈現方式，曖昧不清，灰色模糊了黑白之間的深淺關係，層層疊加成山水意象。With rotating screen separates the study， can form visual linkage with domestic hall。Translucency is a typical Oriental aesthetic way， asan implicit way of presentation， it is ambiguous and gray blurs the depth relationship between black and white， which is superimposed layer upon layer to form the intention of landscape。

自然中沒有絕對的純色，在傳統的色彩提取中，保持了物料的固有色，形成了如宣紙一般的自然色調。在長輩房，這種亞麻色調就暗含著自然的氣息，無比親切。There is no absolute pure color in nature。 In the traditional color extraction， the inherent color of materials is maintained， forming a natural tone like richpaper。In the elder room， this kind of flax is tonal with respect to implicating natural breath， matchless kind。

三層走廊的圓形水墨藝術與懸掛的燈具形成對比，自帶一種勢能，如同拉開的弓，充滿力度。圓，無始無終，轉換著空間。作為三層的開篇，引匯出主人房及兒童房。The circular ink painting art in the corridor on the third floor forma a contrast with the hanging lamps， with a kind of potential energy， like a drawn bow， full of strength。The circle， without beginning or end， transforms space。As the opening of 3 floors， guide a master room and children room。

主人房一架屏風分隔出通道與睡眠區，空間尺度雖大，但溫馨必不可少。樸素的木質通頂櫃門，大量收納物品，但在表面上，卻不著一絲痕跡。Master room space of a screen separated out passageway and Morpheus area， although dimensional dimension is big， but sweet and indispensable。Simple wooden door through the top cabinet， a lot of storage items， but on the surface， there is no trace。

陳設配色時，在灰白的基礎上，加入雅緻的藍色，是當代思潮對傳統東方審美意識的發展，細微處的金色框架點綴，低調不失品質。When displaying and matching colors， elegant blue is added on the basis of grey and white， which is the development of the contemporary ideological trend on the traditional Oriental aesthetic consciousness。the gold frame ornament in detailsis low-key without losing quality。

綠色大理石書桌，翻滾的紋理如同被方正的外形鎖住，固化的形式卻孕育無盡的自然力量。Desk of green marble， the tumbling texture is like to belocked by founder appearance， solidified form breeds endless natural force however。

女兒房以原木牆面與主臥連貫，不同的是混合著各種糖果色，有節制的卡通造型，在可愛之餘，絕不幼稚。Daughter room with log metope and advocate lie coherent，different is mixed with a variety of candy colors， restrained cartoon modeling，in the lovely， not naive。

共向美學於2015年創立於深圳。共向美學是詩意的當代軟裝設計，美學正是透過自身的解讀指導著我們認識世界，並使其成為文化和生活方式的代表。東方意境，自然藝術，人文品質，返璞歸真是我們一直追求的核心。共向美學是共向設計的獨立軟裝機構，為高階地產提供軟裝設計及定製服務。依託豐富的家居用品及藝術品採購渠道，滿足多元化的專案需求。共向多次被國際知名雜誌、書籍和網路媒體報道，包括Wallpaper、ELLE DCOR、INTERIOR DESIGN、Designwire、環球設計等，在業內受到廣泛關注。