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CUN寸DESIGN
www.cunchina.cn
路易·康说过“如果你脑中装满了那些不属于你的东西，你会忘掉它们，它们永远不会留在你脑中，而且你会丧失对于自我价值的意识。”他的建筑精髓曾经被约翰·罗贝尔总结于《静谧与光明》。
Louis Kahn has said that if you fill your mind with something that does not belongs to you, they would never stay in your brain; you would forget them, and you would lose the awareness of defining your self-worth. His spirit in the architecture has been summarized by John Lobell in the book Between Silence and Light.
在我看来，路易·康为自己找了一个很清晰的问题，所以他的每份建筑的答卷有着沉着冷静的答案。我想他更多的是在对自已与对设计进行思考，设计师最重要的是打破墙壁而去创造新的可能，而不是不断复制自己，更不能是复制别人。
In my point of view, Louis Kahn has found a calm answer for each question he asked in architecture. He never went with the flow but thought more about design and himself. As a designer, the most important thing is to think beyond the box and create new possibility, not always stay stereotyped or even duplicate work from others.
一直以来，每个空间的意义对于我来说都是一次全新的开始，这种“打破”是指空间更像是创意者不断突破的一个状态和这个状态后面所呈现出来的故事。而使用在其中的设计对我们而言，就是传递情绪与故事的一个窗口。
Every time I met a space, for me, it always means a start of breaking boundaries, which appears more as a status of keeping self-breakthrough and the story created behind the status. The design method applied on this space, however, acts as the medium conveying mood and narrative.
项目位于北京一处创意产业园区内，当我们进入这座原本通透的建筑中，其实就明白了，这里应该是简单而干净的。作为一处被要求成为聚会、发布会和艺术品展出的空间，它不该属于瞬间的艺术，而是需要在限定的范围内营造出让受众过目难忘、回味无穷的视觉效果。这里不该属于第一区面的界面空间，也不属于第二区面的精神与语言，这里更像是在不同时间、不同身份、不同故事交汇的第三区，而在“三区”打破的是：
This project is located in a creative park in Beijing. When we stepped into this bright building, we understood that this area belongs to simple and clean. As a space used for meeting, conference and art exhibition, it should not just be a shining moment, but built up a memorable visual impression to audience in this space defined by our architects. This area does not belong to the interface space in ‘Area One’, or the spirit and language in ‘Area Two’, but the intersection of time, identity and narrative in ‘Area Three’ where we start our breakthrough.
甲方是三名女孩，每一位的身份几乎都是多重职业，拥有各自的行为张性与人格特点，她们既是这个时代的PE（投资人）又是时尚行业的行走者。三区也是她们共同为彼此友谊而设定的领域。而空间只有一个，如何设计这个需要多性格的空间？
Our clients are three girls with diverse characters and personality. Almost all of them have multiple occupations: they are not only the ‘PE’ (Private Equity) of this era but also the leader in the fashion industry; and Area Three is an area they set up together for their friendship. However, it became our question to design this space with multiple personal tastes involved.
于是，我们来到这个空间，大开敞的建筑让原有的空间安静、纯粹。就是这样的安静才可以展现性格多变的活动氛围，更是不限风格，如同一张白纸可以随意写画。对于美，她必定是大众所去追求的。
We came to the space and experienced the silence and purity brought by the existing building.It is silence that fuishes the space with multiple personality; and it has no boundaries, where there is no limitation to develop our design method. We believe that people need something beautiful, and beauty is something that people are all endlessly chasing.
三位不同女孩，生活风格和审美趣味与他们所处的社会地位来决定她们对空间的喜好有着对应的关系。而空间设计在其中建立的则是：某一阶层或同一群体成员共性的达成，来设计出她们都相互认同的符号语言。往往最简单的即是最通俗的也应该是最高级的，抹去她们身份的多层重叠，在一张干净的空间里突破彼此的身份，这里只有参加聚会的人和与人沟通的人。
Three girls’ lifestyle, aesthetic taste and social status determine their individual taste and interest for the space, while spatial design has built up a system to carry on a conversation according to the achievement of common language. Simplicity is always something ordinary, but also something most advanced. When we take off all the identity icons from girls, they are just people attending a party, talking with each other in such a clean and bright room.
在中国，设计市场的设计师被强制冠以一些以领域冠名的名词如“家装设计师／工装设计师”，之前我也会有这样的认知，但在合作三区项目的过程中，才发现我的判断是错误的。
In China, designers in the industry are always labeled and bound with the category such as ‘Residential Designer’ and ‘Commercial Designer’. I thought residential designers can just do decoration work and some simple spatial layout for clients while commercial designers can do more. This stereotype has been kept in my mind for a long time until we process this project with Wu Wei. I found my idea totally wrong and the fact is about sense and sensibility.
家装设计师给空间带来的是，设计师对“人”的服务体系，整个过程中给到甲方的是设计服务舒适度与信任关系的处理；而工装设计师更多是针对“空间”，其中的逻辑与关系之间的处理。
What residential designers bring to the space is the service system for human. It is more about the relationship between human and space. They provide clients more with design service comfort and establish trust and confidence with clients; while commercial designers think more about space and architecture, which involve more logical thinking.
如果说设计师都是带着镣铐在跳舞，当做得越来越深，越来越透彻的时候，自然就会带上这样的镣铐。但是好的设计师，他不应该拒绝镣铐，而是心甘情愿地带上它，以设计者的身份面对空间，擦掉别人定义的边界，然后一点一点地去突破它，这才是设计师该做的事。
Designers are always dancing with shackles: They are always seeking a way to get rid of fetters but things could not be changed at all. However, an outstanding designer should not reject shackles. He should be willing to carry them on, facing the space as a professional, pushing the boundaries step by step, and then start to break the boundaries. This is the thing our designers should do.
人会存在精神分裂，每一个多重的性格好像是完全不同的人，人格有他个别的姓名、记忆、特质及行为方式。而空间也存在它的精神分裂，在三区空间中空间没有定义的框架来约束它，这里就是空间，可以是会所、餐厅、也可以是聚会的聚集地、是美术馆，所有的场景只需在这个纯粹的空间无限转换替代，故事不断在发生，三区还是三区。
Each individual has multiple personalities, and each character is a different person, which has his own identity, memory, feature and behavior. Space also has its multiple characters. However, in Area Three, there is no constraint to define its function. It is just a room, which could be a club, a restaurant, or a space where people gather together; it could also be an art museum. It is a pure room where all the scenes could be endlessly conversed. Stories and narratives continue to happen, while Area Three is the origin.
黑与白也是整个空间的一种特质。两者的关系同世界上其他事物一样，既是矛盾的又是统一的。世界正是在这种矛盾与统一中不断变化发展，同时相应产生了各种美。
In the entire space, black and white is also a kind of character. The relationship between each other is the same as the universe, which is conflict and unity where the universe is growing and creating a variety of beauty.
这两种色调的无穷延伸感与强烈感召力的视觉表现形式，向来到空间的每一位传达一种气氛，留下一种印象，把在空间的“人”“物”推向更安静的审美界面。这也符合空间它本身的商业运用价值，使这个简单又时尚的空间成为新贵们的聚集。
The unlimited extension and strong visual charisma of these two tones clearly and fully create an atmosphere for each person in the space. They leave a strong impression to people, and push people and things in the room to an aesthetic level that is more silent, which meets its commercial application value and thus attracts people to gather in such a simple and fashion space.
其实我们对建筑空间的认识，不应局限于长宽高的体系，而是透过“物”“人”“秩序”“特质”“环境”和“时间”来理解，场所不仅具有建筑／景观／室内／平面等视觉空间的形式，而且还有精神上的意义。
The scope of how we interpret architecture space should not just be limited in length, height and width. It should be interpreted via things, human, order, feature and time. A space should not only has visual spatial forms of architecture/landscape/interior/graphic, but also spiritual meaning.
一个项目一定是一个整体，它不需要界限，将视觉间的边界模糊化，用几何的建筑体块在整体空间中再次进行空间组合。经过组合的空间中留出一定的空白，营造一定的含蓄，让受众去体会、感受才有趣味，能够给受众一个足够广阔的思维空间，使受众能有感受、想象和喘息的余地。
A project should have its unity, where boundary doesn’t exist. The boundary between vision should be ambiguous, and the geometric architectural pieces should be re-organized to engage audience into this space and allow them to have more scope for self- reinvention. Thus the audiences have more room to experience, imagine and relax.
三区靠一个白色走廊贯穿了整个空间的每一层出口、入口、坡道与楼梯，就像一个神经中枢穿越时空：它时而进入通高的中庭，时而进入狭小半私密的开敞空间，同时又连接着楼层之间的流线转换。漫步式的体系不仅是交通的内核，更创造了一个丰富而富有身体节奏感的漫步秩序。融为一体的连廊则弱化了固化的空间感，形成活跃的交通聚集空间，诱导人们通过这些路径在不同的空间内交流与互动。
It is the white corridor that connects every entrance, exit, ramp and stair system. It sometimes enters a void atrium, sometimes goes through a narrow and semi-private space, and connects circulation conversion between storeys. The flowing system is not just a core of traffic, but creates a flowing order with great sense of body rhythm. The corridor weakened the sense of solid space, and forms different busy gathering space, thus guides people to communicate and interact with each other through these pathways.
寸DESIGN设置了两个主入口，也是空间中两条主要行为动线的起点。因为一层的场域需要一个可以容纳设备与展示道具的出入口，活动前期进场与后期清场在这里进出都会很方便快捷；另一个入口则是连接着通往二层之上的玻璃廊道，同时两个入口也是互通的。中间的区域则是三区的主场地，高挑通透的环境。
CUN Design has set up two main entrances. They are the starting point of two circulations. The equipment, props and device need to access from one entrance on ground floor, which makes the bump-in and bump-out more sufficient during the event. Another entrance is the access to the glass corridor on the second floor. These two entrances can also interchange with each other. The atrium is the main area of Area Three, which creates dazzling displays of sunlight and a transparent environment.
与展厅相连的则是服务于整个展会的餐饮吧，穿过狭长的过道，这里色调的差异就可区分功能区域。整个项目中，餐饮区域更像是垂直的轴，不断运转着制作美食与饮品，可以同时服务于会展区、二层之上的私密空间与后院的露台区域。顾客也可以与好友在此进行攀谈与小憩。
The dining area serving the event is the connection to the exhibition area(atrium). The design method of different tones is applied according to functional area through the narrow pathway. In the whole project, this dining area acts more as a confluence of pivot, which keeps operation to provide food and beverage. It can serve the exhibition area, private room on the second floor and the courtyard in the back at the same time. Customers can also relax and chat with friends here in the dining area.
虽然在使用功能上过渡空间是配角，但在传递空间的情感上却是整个三区空间的主角。它既不割裂相邻区域，也不独立于相邻区域，更像是从封闭转向开放、由确定转向模糊、由单一转向综合，在一定程度上抹去了边界，使整个空间形成连贯体。
Although the transition space plays a minor role in function, it is the leading role in expressing emotion. It doesn’t isolate or separate the neighbor, but more transfer from close to open, certain to fuzzy, single to complex. It breaks the boundaries in some degree and allows the whole space to form a sense of unity.
通过餐吧到达的是三区展厅的后院，这里可以将室内的活动延伸至此，同一天空下可以分享各自的生活态度、分享美味佳肴、也分享着喜怒哀乐。
The courtyard on the back could be accessed via dining area and the indoor events could be extended to this space. Here people share lifestyle, great delicacy, sorrow and joy.
对于餐厅，寸DESIGN不再沿用主空间大面积的白色，而是将四周的墙壁压黑，当门闭合时，整个空间的墙体仿佛被无限延伸，在金属顶面与桌上蜡烛的漫反射光源下，置身于美术馆来享用美食，四个角落安置着各个雕塑，反而有些趣味儿。
CUN Design no longer applied a huge amount of white in the restaurant as what they did in the main area, but darkens the walls around. When the door is closed, the walls around seems to be extended infinitely. It is kind of interesting to enjoy delicacy under candle light diffused by the metal ceiling and with sculptures in four coers "staring".
他们的会议室也同样设计了两种性格，同一个大会议室中，一分为二一半纯白，一半纯黑，代表着她们本身的个性风格。
As our clients are three girls with distinctive characters, we divided the big meeting room into pure white and pure black to represent two different characters of them.
三层各个区域的入口，都设置成为通顶的黑色旋转木门，空间序列感也赋予了建筑更多的情感,使之承载艺术、通透性，影响体验者的视知觉体验等。这是建筑设计中表达时间性的一种方式,是一种设计理念，同样也是一种营造空间的设计手法。
Black ceiling to floor revolving wood doors are used in all entrances on the third floor, the sense of sequence of the space endows the architecture more emotion, makes it more artistic and transparent, so as to influence the visual perception experience of visitors. This is an approach to express time, a design concept, as well as a very important design method in space design.
同时，三层是这个空间可以进行接待会客的区域，设置有餐吧与会议功能，让到来的客人资源在这里达到一定机率的价值置换，是属于整个空间最为核心的区域。
Meanwhile, the third floor is the reception area equipped with dining area and meeting room. It is the core area of the whole space as a certain commercial value could be created here from visitors.
在互联网代替现实交流的现代生活中，与三四十年前相比，孤独的现代人在现实生活中更加明显，我们在虚拟的世界里过得很欢畅，但是在现实的世界里却越来越隔阂。而三区这样的空间则是可以让人与人在现实的场景中找到可以一起分享的伙伴。当你看到一个非常高兴的聚会或者活动场景时，当你的笑声融入空间时，在潜意识里你会获得另外一种感受，这种感受就是：我是一个人，我和我的同类有着共同的情感。这就是在现代社会里我们所渴望的一种身份认同感。
In mode life where inteet communication has taken the place of real communication, though we had a great time in virtual world, we are more lonely and isolated then we were thirty or forty years ago. Area Three is a place where you could find a real fellow in the real scene. In a great party or event, when your laughter penetrates into this space, there will be a feeling in your heart which reminds you that: you are a human beings, you share the same emotions with your own kind. This is what we long for in mode society, a sense of identity.
同时三区也体现了服务者与使用者之间的关系，设计师在服务每个项目的同时，也是一个与甲方相识-相知-相熟的递增关系的过程，好项目需要好设计，更需要好处理。这种“关系”所构建的身份认同的一致性和差异性是需要不断沟通的，在设计进行的过程中，也引导了大家某种审美趣味的同一性。设计师在其中承载着创意象征及身份认同的关键符号。在三区结束后，我们与甲方时常聚在这个空间，成为使用者的一员来更深地体验这个结束的空间。
Area Three presents the relationship between service provider and user as well. The process that a designer delivering a project is the process of getting on with the client; a good project needs good design as well as skillful handling. The consistency and difference of the identity generated by above "relationship" requires to be constantly communicated; and this kind of identity will lead to the unity of aesthetic in the process of designing. In every space, designer is the symbol of creativity and identity. Even after the completion of Area Three, we often get together with our clients in this space to have better perception of this space as a user.
固步自封是让人的创造力死去的最快方式。
破壁之创-静谧地等待那一束突破自己的光明。
"Get boxed in" is the fastest way to kill our creativity.
Breakthrough - wait silently for the beam of light that make ourselves more than what we were.
设计公司名称：CUN寸DESIGN
建筑设计：崔树&大周
室内设计：崔树&吴巍
参与设计：刘孝宇，马仕佳
位置：北京市朝阳区甲壹号创意园
功能：展示空间
项目名称：三区美术馆
面积：2300平方米
摄影师：王厅，王瑾
Design Company: CUN Design
Architects: Cui Shu & Wang Jizhou
Interior Architects: Cui Shu & Wu Wei
Project Designers: Liu Xiaoyu & Ma Shijia
Location: A No.1 Creative Park, Chaoyang District, Beijing, China
Project Type: Exhibition
Project Name: Area Three Art Museum
Area: 2300㎡
Photographs: Wang Ting & Wang Jin
版权声明：本文由CUN寸DESIGN授权有方空间发表，欢迎转发，禁止转载。
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