印际首发 x 叶桑 | 雕刻时间-SU素材网

若论时间的意义，似乎因其抽象性而往往令人浅尝辄止。线性的时间预示着客观上的运动、意识之外的存在讨论，以及主观上的循环或消逝，所以，对于时间的探索通常会回归到日常生活的洞察和哲学性的辨析之中来。亨利·柏格森把“时间”等同于“生命的绵延”，一种流动的、不可预知的连续性由符号化语言转向具象的形式体现。

When it comes to the meaning of time, it seems that it is often superficial due to its abstract nature. Linear time presupposes objective movement, discussions of existence outside of consciousness, and subjective cycles or fades, so the exploration of time often returns to the insights of everyday life and philosophical discernment. Henri Bergson equates 'time' with the 'extension of life', a fluid, unpredictable continuity that moves from symbolic language to embodied form.

在这种连续性里，随着时间的运动，我们不由自主的参与了进去，而“记忆与过去”则构成了具体存在的明证。于是，“独体记忆中存活”的“过去”同当下的情境产生了一定关联，使时间具有了现代性。位于台州玉兰路的质会中古以“TIME”为品牌意志，从久经岁月洗礼的、有着生活温度的物件中，重新发现时间的意义，并通过多维的空间叙事方式呈现。

In this continuum, we are involuntarily involved in the movement of time, and "memory and the past" constitute explicit evidence of concrete existence. Thus, the "past", which "lives on in solitary memory", has a certain relevance to the present situation, giving time a modern dimension. Located in Yulan Road, Taizhou, the brand will of Quality Club Zhonggu is to rediscover the meaning of time in the objects that have been baptized over the years and have the temperature of life, and to present them through a multi-dimensional spatial narrative.

01 现代性时间

Time for Modernity

━

辩证的来看，“时-空”的依存和分离象征事物的转换、存在以及绝对不变的演进秩序。在裙楼的商业之间如何表达自己，外立面形体的建立有着至关重要的作用。从一侧而入，虚实结合的立面成为品牌的形象展示部分，夜幕之下，幽暗的石材底色在局部点缀的光影变幻中，体现一种别具新意、雅韵和精致的构造形态。

Dialectically, the dependence and separation of 'time-space' symbolise the transformation of things, their existence and their absolute and unchanging evolutionary order. The creation of the façade form plays a crucial role in how the podium expresses itself among the businesses. Entering from one side, the façade is a combination of reality and imagination, and at night, the dark stone base is transformed by the light and shade of the local touches, reflecting a new, elegant and refined structure.

灰空间的意义在于增加室内外的有效缓冲，由喧闹转向宁静，而坚硬的实体铜门开一圆孔，使内部引发访客的好奇。圆作为极易识别的符号，是循环的时间象征，也是贯穿空间的基本图形元素。于整体的基调里，序厅以接待台为轴线，地面不同材质的铺贴、拱形天花的置入、立面不对称的节点做法，构建了隆重的入口仪式感。

The grey space is meant to add an effective buffer between the interior and exterior, moving from noise to tranquillity, while the hard solid bronze door opens into a circular hole so that the interior provokes curiosity in the visitor. The circle, as an easily recognisable symbol, is a cyclical symbol of time and a fundamental graphic element that runs through the space. Within the overall tone, the proscenium is pivoted on the reception desk, with the flooring of different materials, the placement of the vaulted ceiling and the asymmetrical nodes on the façade, creating a grand entrance ritual.

02 身体式隐喻

Body Metaphor

━

身体除了物质性的含义，也可看作具象空间的代名词。基于场地的实际情况，西侧以封闭为主要策略，同时开放东侧的局部墙体，以便共享小区的绿植景观。由入口的紧凑到展现出更多可能性展示区，开放、流动、连续的节奏设计使有限的空间尺度被放大，同时借助材质的迥异和高低落差的地面，划分不同的功能分区。

The body, in addition to its materiality, can also be seen as a synonym for figurative space. Based on the actual situation of the site, the west side is closed as the main strategy, while opening up the partial wall on the east side in order to share the green landscape of the plot. The open, flowing and continuous rhythm of the design allows the limited spatial scale to be amplified, while the different materials and the height of the ground are used to divide the different functional zones.

时间一旦被设计动作所捕捉，则由抽象的概念走向具体的存在。展示区以半圆透光的构造通过天花镜面的反射，一个完整的、轮廓清晰的圆形浮现出来，时钟的形体语言也巧妙地呼应了空间的商业属性。盆景式的起伏山丘与产品立柜展示构成横向与纵向的交错序列，与高悬的明月共同建构了真实的自然背景，隐喻时间的无限循环。

Once captured by the design movement, time moves from an abstract concept to a concrete presence. The display area is constructed in a semi-circular light-transmitting configuration through the reflection of the ceiling mirror, a complete and clearly defined circle emerges, and the morphological language of the clock subtly echoes the commercial attributes of the space. The bonsai-like rolling hills and product stand displays form an interlocking horizontal and vertical sequence, which together with the high moon create a realistic natural backdrop and a metaphor for the infinite cycle of time.

在阐述时间之于当下意义的时候，亨利·柏格森试图将“身体”定义为“是过去和未来之间前进的界限”。“中古”之名虽是舶来的概念，但是与先存之物的对话，并重新认识、理解、阐释它，是对过去的尊重，从而予当下或未来以启示。悬墙之隔，幽静的休闲区同相邻区域彼此联系，机械式茶几支座与陈列产品的内在结构遥相呼应。

In describing the meaning of time in the present, Henri Bergson attempts to define the 'body' as 'the boundary between the past and the future'. The name "Middle Ages" is an imported concept, but the dialogue with the pre-existing, and the reawakening, understanding and reinterpretation of it, is a respect for the past, and thus an inspiration for the present or the future. A quiet lounge area, separated by a wall, is linked to the adjacent area, with a mechanical coffee table support echoing the inner structure of the products on display.

03 寂静与欢愉

Silence and Delight

━

作为内部的主要活动区域，结合原始的结构立柱，石材形体的水吧台塑造了隆重的空间气氛，满足接待、社交、小酌的不同场景需要。L型的深色木作柜体一侧封闭，修整不同的阳角墙体，同时暗藏实际的功用；而背面开放的柜体于暗黑之中隐约而出，成为入口处的对视端景，也是觥筹交错时重要的功能补充。

The L-shaped dark woodwork cabinetry is closed on one side to modify the different sunny corners of the wall, while concealing the actual function; while the open cabinetry at the back, hidden in the darkness, serves as a view of the entrance and is also an important functional complement when mingling. It is also an important functional addition to the dining room.

虽然在平面布局上各个功能区域明显，但是三维空间里却相互串联，不同形体的穿插、元素的重复，使细部得到重视，进而明晰地再现整理的设计构思。复层的空间之中，楼梯是主要的垂直动线，外扩的踏步平台和展示台柜结合，碎片式的不同体块以连续的关联互为一体，有如独立的结构置入，连接着一层和二层。

Although each functional area is distinct in the layout, the three dimensional space is interconnected, with the interplay of different forms and the repetition of elements, so that the finer details are emphasized and the design concept of the finishing is clearly reproduced. In the duplex space, the staircase is the main vertical route, and the extended stepping platform and display cabinets are combined, with the different fragmented blocks interlinked in a continuous manner, as if they were independent structures placed to connect the first and first floors.

04 抒情的光影

Lyrical Light and Shadow

━

西侧一楼以实体封闭为主，但考虑到二楼办公区的日常使用，采光的需要显然成为不可回避的问题。玻璃砖的引入令室内外立面呈现不同的表皮肌理，既满足了功能，又与形式相结合，凭借切实可行的解决方案诠释了“功能指向形式”的客观性。午后的阳光穿透而入，矩形的透光口随着光线的移动投射出扩散的、隐约的、灵动的光影。

The ground floor on the west side is predominantly solidly enclosed, but the need for light is clearly an unavoidable issue given the daily use of the office areas on the first floor. The introduction of glass blocks has resulted in a different skin texture on the interior and exterior facades, satisfying both function and form, illustrating the objectivity of 'function to form' with a practical solution. As the afternoon sunlight penetrates, the rectangular light-transmitting openings cast a diffuse, vague and animated light as the light moves through.

与一楼开放式的社交空间不同，二楼茶室更是静寂之地，可以喫茶、小食、谈心，也可以一览东侧的窗外风景。清风拂处，无论晴日阴天，或是行人匆忙，只有此处流淌的、自由的时间尤为珍贵。“生命的绵延”是对无具体生命特征却有着无限生命力的“时间”的一种绝妙借喻，时间似乎被雕刻进了每个跳动的脉搏之中。

Unlike the open plan social space on the ground floor, the first floor tea room is a quiet place to have tea, a snack, a chat and a view out the east window. The breeze is a welcome relief, and the free flow of time is especially precious here, whether it is sunny or cloudy, or when pedestrians are in a hurry. The "extension of life" is a wonderful metaphor for "time", which has no specific life characteristics but has infinite vitality, and seems to be carved into every beating pulse.

Plan @ 1F

Plan @ 2F

项目信息

Information

━

项目名称：質會中古

Project Name：Time And Texture

项目地址：浙江台州椒江

Project Name：Jiaojiang, Taizhou, Zhejiang

项目面积：165平方

Project area：165㎡

设计出品：观诺设计