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    27255 2017-08-27T09:40:00 12 [精品]
    设计师: 葛亚曦 ( LSDCASA )


    The loss and finding of the cultural identity



    China has to realize the urbanization within a short time, however, the Western world once took a century to finish it. This kind of rapid development or even called alienation makes many people hard to adapt to and also makes them feel a sense of loss with regard to the traditional and cultural identity.


    “Returning to the ancient” and “Back to the ancient” arising from it have turned into a trend and filled with us in the “moving” manner that we have accustomed to. It seems like the rise of the confidence in Chinese culture, but, in fact, it may only a concentrated outbreak of the lack of self-confidence in their own culture among the public.



    Break the shackles of obsessing Chinese culture only in form



    Taking the landscape pattern, the auspicious clouds, the dragon pattern, the bamboo and other elements as the components of designing “China characteristics”, this kind of absurdity can compare to the placing of Roman column in people’s home in ten years ago. It is just a different representation of wealth tag in different times.



    However, in our opinion, we live in the moment, so our experience and cognition are both derived from the moment. To this end, there is no need to go back to history to express “China” . Everything that is happening is China.



    We imagine: if there is no cultural fault or Western worship, what will the Chinese aesthetics be in this day? Based on this assumption, we determine to use a “parallel” existence to split tradition, and to dismantle and reorganize it in the method and material level, so as to demonstrate the oriental image and to build the “China” belonging to the contemporary Chinese.



    This is our understanding of the contemporary China, and it is also the concept that we used to design the One Majesty:


    Image of a parallel China.



    Space deduction part:



    Therefore, in terms of the first vision of the hall, we use a whole piece of metal, which is designed by artists by hand, and, through the density of texture and the changing of color, it can also show the features endowed in a landscape painting. Then, we create a landscape with “mountains and rivers” by combining the boulders made of pure copper with the marble water platform. The motion and stillness, as well as the softness and rigidity are blended with each other. Although the materials and methods are very modern, the effect presented is very elegant. As you step into the door, you can feel the bottom color of the entire design at right.


    以水吧台为界,将放松的休闲区分为西式与中式,在西式片区中,设计最初的意图是打造一个美式的咖啡馆。用横向6米长的沙发,化解了墙面“高岩耸立”的压迫感,意大利品牌STELLAR WORKS单椅,严谨的架构,神合中国传统的榫卯技艺。

    The water bar is functioned as a boundary. We divide the leisure area into Western style and Chinese style. In the former area, the original intention is to build an American-style coffee shop. We neutralize the sense of oppression formed by the “rock” wall by placing a 6-meter-long sofa. Furthermore, in terms of the Italian STELLAR WORKS brand chair, its rigorous architecture  accords with the traditional Chinese tenon skill.



    In addition to some ornaments, the design of the LSDCASA is always wary of emphasizing the Chinese signs too much. If you see some wire-loaded books, brass forged pines, small jades or copper vessels, you don’t have to be surprised, because they are just used for softening the “split”.



    In Chinese style project, the book bar is very easy to fall into the stack of traditional elements. We move towards the opposite. Through combination and connection, we make the line and the nails present in different densities and structures, like the change of ink color in a “splash-ink painting”. However, this “painting” is a modern one.


    The rounded ink-color line and the rice white back of the rattan chair, in both sides of the communication area, are fully harmonious. From its color or its shape, people are easy to think of the hardness and softness of the Tai Chi, but, in fact, it comes from Italy HERITAGE. In its design process, there is no intention to communicate with oriental culture, even if it looks like East, looks like China.


    Or, we have done a contemporary design, a design that is not related to “China”, but the China image has been interpreted from it. In fact, this is exactly what we want to design.

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  • 葛亚曦 (LSDCASA)
  • 广东-深圳
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