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「女王布落」国际艺展体验中心

11460 2019-12-19T15:50:20 24 [佳作]
设计机构: 深圳市千墨室内设计有限公司
作品类别:商业空间
「女王布落」国际艺展体验中心说明:

项目名称—女王布落国际艺展体验中心

中国 深圳

Project Name:The Exhibition of Queen Home International Art Exhibition

 

SHENZHEN CHINA

 

在设计的过程中,我一直在寻找与当前的设计基本原理不同的东西,虽然到现在也还是没有弄清楚这个“不同”到底是什么,但我探索的意义也正在于此,也许未来能够用语言清晰地表达,但是现在,我姑且把自己最直接的感受用“设计中的负面情绪”表达出来,但观者能够接受到何种程度,我确实不好推测,把这种无法定义的设计方式传递给他人,是投石问路的,但首先得把石头丢出去。

 

During the process of design, I have been searching for something different from the basic theory of current design. Until now, I haven’t figured out what exactly the “difference” is, but the meaning of discovery lies in here. Maybe it can be expressed clearly by language in the future, but now, for the moment, I prefer to express my feelings come straight from my heart with “the negative feelings of design”, but it’s difficult for me to speculate how much the viewer can understand it. Delivery this kind of undefined design method to others is like throw a stone to clear the road.

 

关于空间色彩,整体空间全部处理为统一色调,模糊掉时间与空间的界限,明确空间的延伸感,不论天与地,只论光与影,从一粒纯粹的色彩颗粒,到一个洋溢的彩色平面,到一个向时间和观者敞开的空间,都存在无数的光影可能。为什么只有一种颜色?颜色有鲜艳的,壮丽的,暴力的,忧郁的,但色彩本身是绝对自由的,它可以瞬间就相融于空间中,当线条还在奔跑,试图趋近极限时,色彩本身已经“成为”了无限,色彩对我而言便是感性的“物质表现”。

 

With regard to the color of space, the whole space are adjusted as a unified color to blur the boundaries between time and space and define the sense of extension for the space. Regardless of heaven and earth, if we focus on light and shadow only, from a pure color particle to a full color plane, to a space open to the viewer, there are innumerable possibilities of light and shadow. But why is there only one color? Color maybe bright, magnificent, violent, melancholy, but the color itself is absolutely free, it could integrate into a space instantly. When the line is still “running”, trying to reach the limit, at this moment, the color itself has become into infinite, as for me, the color is emotional “material expression”.

 

入口:体验一个空间,或者说在一个空间中游历,要如何让观者与空间产生互动,那就是令观者产生情绪上的变化,即便是“负面情绪”,窄而高的台阶,会有危险的意识,便愈加谨慎,这就是设计者想要传达的情绪,如同窄门的茶室,入天国的门,从来都不是宽阔平坦的,刻意压低的门头与楼梯更加深情绪。使用窥视的手法,营造出多重的框景并且相互嵌套、渗透,在纵向和横向上形成多层次的深邃空间,引导观者的视线。

 

Entrance: experience a space, or travel in a space. How to let the viewer interact with the space, namely, to evoke their emotional changes, even though it’s “negative feelings”. As the narrow and high steps, you will be aware of dangerous consciousness and more cautious. This is the emotion that the designer try to convey. Just like the narrow door of the tea room, the door head to heaven, the road has never been wider and smoother. The head of the door and staircase were lowered down deliberately to deepen viewer’s emotion. The technique of peep was applied to create multiple frames which are nested and permeated mutually and form multi-levels profound and deep space vertically and horizontally as well as guide the viewer's sight.

 

展示区:在游走展示空间过程中,以弧形拱门隔墙,形成秩序感的所在,围合一个内向型的区域,所有的活动由这个中心区域铺开,每一面墙,都不是简单的隔断,都在空间后套入了另一层莫须有的空间,透过拱形的空间开口,形成视觉上的穿透,不同的空间穿插与连结,如身处迷宫中。中央区的跳台,源自我的假想,假想这是中心,假想这下方是云海,是水域,都可以纵身跃下去。空间的中央,我将自然中的羊假做来自外部世界的生物,它们是被生产出来的,没有明显的含义。我将它们带到空间中,我之所以选择羊进行创作,并非他们的形态,而是我觉得他们强烈的暗示了无限的温暖。

 

Display area: while walking around the display space, the wall was divided by arc-shaped archway to form a sense of order and encircle an inward-looking area. All of the activities are conducted at this central area. Each wall is not simple partition, but embedded with a different layer of space behind the space. Through the arched space opening to form a visual penetration. Various spaces intersected and connected, as you were in a maze. The platform at the central area comes from my hypothesis. Suppose this is the center, below is a sea of clouds or water area, where you can jump down. At the center of the space, I took the sheep from our nature as a creature from outside world and they are produced and without obvious meaning. I brought them into this space and chose sheep to create, not because of their shape, but I feel that they strongly suggest infinite warmth.

 

选材区:巨大纵深感的穹顶下,是动态的装置,持续性的展示时间,即便是在镜头下,也很难捕捉到真的静下来的时刻,观者的目光在装置上移动,但有时候在相对的时间下,它又是非常稳定的,一件艺术品只要作为确实存在的物,以可被识别,理解的图像的方式进行展示,那么无论它是机械制造的还是复制品,无论它被归为无名称还是篡改了名称,无论它是被移动到了别的地方还是被赋予了别的含义,它始终被强行呈现一种身份的错觉。

 

Material selection Area: under the huge dome, there is a dynamic device to display time continuously. Even from the angle of photography, it is difficult to catch the real quiet moment. The viewer's eyes move on the device, but sometimes under relative time, it’s very stable. For an artwork, as long as it does exist for real and can be recognized and displayed by understandable image. Whether it’s mechanically made or reproduced, classified as nameless or falsified, moved elsewhere or given other meanings, it will always be presented forcibly under the illusion of identity.

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