自然，有自然的和非自然的形式，自然也有類自然的形式，不同形式的混合，呈現(xiàn)出了一種真實存在的或虛構的、模擬的、含糊不清的有機立體，形態(tài)各異又十分確切，進而被身體所感知、被語言所描述、被認知所定義。
Nature has natural and unnatural forms, naturally it also has forms similar to nature. The mixing of different forms presents a real or fictional, simulated and ambiguous organic three-dimensional, with different and very accurate forms, which are then perceived by the body, described by words and defined by cognition.
把廣義自然的宏觀進行拆解，引向生活的日常細微，構成內心深處平和的、自我修正的自然狀態(tài)，成為空間積極探索的意義。“自然是上帝的藝術”，也是場所和品牌成長、發(fā)展、進化的藝術。
The macro of nature in a broad sense is disassembled, leading to the daily nuances of life, forming a peaceful and self correcting natural state deep in the heart, which has become the significance of active exploration of space. "Nature is the art of God" is also the art of the growth, development and evolution of places and brands.
臨街界面
Frontage Interface
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并排而立的臨街歐式建筑里，作為“自然生活方式”的倡導者，光益地板體驗店迎來了新的蛻變。與周圍裝飾主義的繁復樣式相對照，簡潔有力的現(xiàn)代建筑外立面成為不言而喻的顯性品牌店招。
In the European style buildings facing the street side by side, as the advocate of "natural lifestyle", KUANGYI flooring experience store has ushered in a new transformation. In contrast to the complicated styles of the surrounding decorationism, the simple and powerful facade of modern buildings has become an obvious brand store move.
門頭以三層結構的比例約束了建筑的體量，上部幾何斜角開口回應了二層、三層的實際采光問題；下部獨立出柱網(wǎng)，以木作格柵相連。基于外立面視覺整體性，格柵的隱約形成了虛實尺度的對比，含蓄朦朧之中，功能的本質建構流露出東方的自然美學。
The door head constrains the volume of the building in the proportion of the three-story structure, and the upper geometric bevel opening responds to the actual lighting problems of the second and third floors; The lower part is separated from the column grid and connected with a wooden grid. Based on the visual integrity of the facade, the grid vaguely forms a contrast between the virtual and the real scales. In the obscurity, the essential construction of the function reveals the Oriental natural aesthetics.
有異傳統(tǒng)空間中關于依次排布的等級秩序和中心軸對稱的布局，入口由一側而入。外立面非對稱的均衡感使空間室內外有效流動，吸引顧客拾級而上，轉身、然后立定，推門而進，建立節(jié)奏有趣的情緒變化。
Different from the hierarchical order and central axisymmetric layout in the traditional space, the entrance enters from one side. The asymmetrical sense of balance on the facade makes the space flow effectively indoors and outdoors, attracting customers to step up, turn around, then stand, push the door and enter, and establish rhythmic and interesting emotional changes.
自然寓意
Natural Implication
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“走廊的出現(xiàn)本來旨在促進交流，卻也削減了人和人的接觸。這其中真正的意圖是要促進有目的和必要的交流，而同時減少偶然性的交流。”羅賓·埃文斯在《人物、門和通道》里提出“走廊”的思考。而門廊折返回復的路徑設計，除了引導顧客循序漸進，也增加灰空間即時的互動。
"The corridor was originally designed to promote communication, but it also reduced human contact. The real intention is to promote purposeful and necessary communication, while reducing accidental communication." Robin Evans put forward the thinking of "corridor" in 'Figures, Doors and Passages'. The path design of the vestibule turn back reply not only guides customers to step by step, but also increases the real-time interaction of the gray space.
由小及大，接洽區(qū)借助長桌與立面懸吊的展示柜構成軸線的關系，從走廊延續(xù)而來的及膝臺面，自啞面平滑過渡到漣漪的石材水面，其間穿插以盆栽綠植和進口原木面材的展示，連續(xù)性和自然寓意給空間注入新鮮活力。
From small to large, the contact area forms an axis relationship with the long table and the display cabinet suspended on the facade. The knee high table from the corridor smoothly transits from the dumb surface to the rippling stone water surface, interspersed with the display of potted green plants and imported log surface materials. Continuity and natural meaning inject fresh vitality into the space.
觀看之道
Way Of Seeing
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“觀看先于言語。”約翰·伯格論述視覺的優(yōu)先性，強調“正是觀看確立了我們在周圍世界的地位；我們用語言解釋這個世界，可是語言并不能掩蓋我們處于該世界包圍之中這一事實。”當完全解構的“混沌空間”被重新有序建立，身處其境，可見的縱橫交錯、大小開口、粗糲與細膩，展現(xiàn)有限空間的豐富趣味性。
"Look before words." John Berg discusses the priority of vision, emphasizing that "it is viewing that establishes our position in the world around us; we use language to explain the world, but language can not cover up the fact that we are surrounded by the world." When the completely deconstructed "chaos space" is re established in an orderly manner, the crisscross, large and small openings, coarseness and delicacy can be seen in its environment, showing the rich interest of the limited space.
對于裸露的梁柱結構、功能樓梯，從里到外，原木薄板的木地板以飾面材料本身同時又作為展品被展示的特性貫穿著整體空間。原建筑5m的層高，正常配置兩跑樓梯，來回轉折過于局促，于是介于二者之間的、起到緩沖的眺望平臺應運而生。
For the exposed beam column structure and functional stairs, from the inside to the outside, the wood floor of the log sheet runs through the whole space with the characteristics of the decorative material itself and being displayed as an exhibit. The original building is 5m high, and the two running stairs normally configured are too cramped to turn back and forth, so a buffer viewing platform between the two came into being.
交叉的體塊通過剖面的相互作用，空間彼此滲透，創(chuàng)造了垂直層面的視覺聯(lián)動。“看與被看”隨著步移景異而發(fā)生“主觀和客觀”的身份變化，深淺的光影渲染于此，使空間趨向于產品發(fā)布會的秀場，更具有戲劇性和體驗感。
The intersecting blocks penetrate into each other through the interaction of sections, creating a visual linkage at the vertical level. "Seeing" and "being seen" have a "subjective and objective" identity change with the change of scenery. The deep and shallow light and shadow render here, making the space tend to the show of product launch, which is more dramatic and experiential.
紋理突出的木作和涂料的粗糙肌理，以及不為目之所見，但確實存在的風、空氣、意韻流動于重構的錯位空間，創(chuàng)造“雖然感覺不到風，但水中月卻碎成了千萬片”的巧妙意境。同時木地板樓梯結構和下沉式展示區(qū)，展現(xiàn)了實木地板與拼花產品的更多可能。
The rough texture of wood and paint with prominent texture, as well as the invisible but real wind, air and charm flow in the reconstructed dislocation space, creating a clever artistic conception of "although the wind is not felt, the moon in the water is broken into thousands of pieces". At the same time, the wooden floor stair structure and the sunken exhibition area show more possibilities for solid wood flooring and parquet products.
高朋宴會
Gaopeng Banquet
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及至二樓，水平的平面布局展開了雙動線推進的路線。木格柵和紙屏風圍合出隔而不斷的獨立樓梯區(qū)和二樓茶室，橫向瘦長線條具有明顯的方向性和踴躍動勢，牽引著自下而上的身體和場所的情境轉化。
Up to the second floor, the horizontal plane layout has launched the route of double moving line promotion. The wooden grille and paper screen enclose the separated and continuous independent stair area and the tea room on the second floor. The horizontal thin and long wind lines have obvious directionality and enthusiasm, leading to the situation transformation of the body and place from bottom to top.
承擔著主要功能的服務島臺兼作聚會吧，滿足日常的大型講座會，或作新品發(fā)布酒會之用，觥籌交錯，各種“聲音的紋理”變得清晰、飽滿起來。靈活閉合的轉軸門，成為公區(qū)和私密區(qū)需要的可控開關，由喧鬧轉向靜謐的所在。
The service island, which bears the main functions, is also used as a gathering bar to meet the daily large-scale lectures or new product release cocktail parties. The "texture of sound" becomes clear and full. The flexible closed revolving shaft door becomes a controllable switch for public and private areas, turning from noisy to quiet.
時間意義
Temporal Meaning
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在光益地板體驗店里，除了“自然性”的探索之外，“時間性”表現(xiàn)的同樣重要，歷經(jīng)歲月的木作、石材、古銅、肌理漆，表面發(fā)生著物理的細微反應，累積了時間的遺留和痕跡，散發(fā)情感溫度與獨特韻味。
In the KUANGYI flooring experience store, in addition to the exploration of "naturalness", the expression of "timeliness" is equally important. After years of woodwork, stone, bronze and textural paint, the surface has a physical subtle reaction, accumulating the legacy and traces of time, emitting emotional temperature and unique charm.
“自然的生活方式”是一種隱喻，也是一種品牌追求，于設計而言，空間只是產品的載體，避免多余的人為干預，使其真實的還原，裸露出原始的、未經(jīng)過度修飾的、飽含真情的自然材料本身。我們感知自然，因為相互的作用力，反過來，同樣被自然所感知。
"Natural lifestyle" is a metaphor and a brand pursuit. In terms of design, space is only the carrier of products, avoiding unnecessary human intervention and making it true, exposing the original, unmodified and full of true natural materials. We perceive nature because the mutual forces, in turn, are also perceived by nature.
項目信息
Information
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項目名稱：光益地板體驗店
Project Name：KUANGYI Flooring
項目地點：廣東東莞
Project Location：Dongguan, China
建筑規(guī)模：500平米
Construction Scale：500㎡
設計機構: 圣奢設計
Design Company：SSD
主創(chuàng)設計師：文治國
Chief Designer：Wen Zhiguo
參與設計：星圖計劃、楊柳
Participatory Design：Xingtu Plan, Yang Liu
執(zhí)行深化：香港怡筑
Execution Deepening：Hong Kong East Joint Limited
完成時間: 2021.10
Completion Date：October, 2021
項目撰文：無遠文字/月球
Project Writing: Off-words/Moon
項目攝影：歐陽云
Photography：Ouyang Yun
文治國
圣奢設計創(chuàng)始人
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圣奢設計2014年創(chuàng)立于北京，設計主張“反潮流、反模式化”，堅持每一個設計都是對自己的反省和批判，突出“矛盾”形成的美學宗旨，表達作品的獨立性，注入強烈的個人情感使設計更具生命力。
