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无之设计：站在施工围挡前，我拿着设计方案正在与这个空间展开博弈。当甲方提出”在科技森林里造个世外桃源”的命题时，我意识到这次设计本质上是在探索都市人的精神出口。
WUZHI Design: Standing before the construction hoarding, design blueprints in hand, I was engaged in a subtle dialogue with the space. When the client proposed the concept of “creating a utopia within a technological forest,” I realized that this design was, at its core, an exploration of a spiritual escape for urban dwellers.
▽这次设计本质上是在探索都市人的精神出口 ©谭啸
面对原始场地一楼入口仅1.8米宽的先天局限，我选择将缺陷转化为叙事工具。特意保留的狭窄门厅如同时光胶囊，那部每次仅容4人的狭窄电梯，实则是精心设计的情绪转换器。
当电梯门在二层开启的瞬间，故意压低的廊道开始施展空间叙事——倾斜的屋檐缓缓内收，顶部线性光带将狭长通道切割成明暗交替的节奏，当客人绕过最后一道折墙，天井神秘的光柱倾泻而下，仿佛飞流直下的瀑布滋润着久旱的村庄。
Faced with the inherent constraint of a mere 1.8-meter-wide entrance on the ground floor of the original site, I chose to transform this flaw into a narrative device. The intentionally preserved narrow foyer functions as a “threshold space”, akin to a time capsule, while the elevator, accommodating only four people at a time, serves as a meticulously designed “transitional zone”.
The moment the elevator doors open on the second floor, the deliberately lowered corridor begins to unfold its spatial narrative – the sloping eaves gradually taper inward, and the linear light strips on the ceiling slice the elongated passage into a rhythm of alternating light and shadow, creating a “processional experience”. As guests round the final corner, a mysterious beam of light from the atrium cascades down like a waterfall nourishing a long-parched village.
▽我选择将缺陷转化为叙事工具，特意保留的狭窄门厅如同时光胶囊 ©谭啸
▽二层故意压低的廊道，倾斜的屋檐，顶部线性光带将狭长通道切割成明暗交替的节奏 ©谭啸
▽古朴的观水景观 ©谭啸
在二层核心区，我们把四合院的游廊体系解构成环形动线，卡座如山水盆景般错落生长，老木桌面与青苔微景观的参差高差构建出”移步异景”的观演关系。特别设计的L型夯土墙既是空间分隔器，又暗合着”曲水流觞”的意象。当发现建筑原有的结构柱会破坏空间完整性时，我将其包裹成展示层板，水池镶嵌鹅卵石，在射灯下竟泛出金石碑拓的质感。
In the core area of the second floor, I deconstructed the cloister system of a traditional courtyard house into a circular circulation path. The booths are arranged like a landscape of potted plants, with the uneven heights of the old wooden tables and the moss micro-landscapes creating a “scenery that changes with every step” viewing experience. The specially designed L-shaped rammed earth wall serves not only as a spatial partition but also subtly echoes the imagery of a “winding watercourse”. When I discovered that the building’s original structural columns would disrupt the spatial integrity, I encased them into display shelves, embedding a pool with pebbles that, under the spotlights, surprisingly exudes the texture of stone rubbings.
▽我们把四合院的游廊体系解构成环形动线，卡座如山水盆景般错落生长 ©谭啸
▽老木桌面与青苔微景观的参差高差构建出”移步异景”的观演关系 ©谭啸
材质选择上，我刻意推翻元古系列惯用的精致禅风。墙面斧凿痕迹保留着施工时的力度记忆，特意从福建收来的风化石板，每块边缘都用麻绳手工打磨出时间包浆。这种”未完成”的状态，恰与窗外流动的霓虹形成奇妙对话——某日黄昏，我看见穿着赛博朋克外套的年轻人，正用手机拍摄夯土墙上的光影涟漪，那一帧画面突然让我确信：粗粝肌理里藏着的温度，或许比大理石更能抚慰这座城的孤独。
In terms of material selection, I deliberately overturned the refined Zen aesthetic typically associated with the Yuangu series. The chisel marks on the walls preserve the memory of the construction’s force, and the weathered stone slabs specially sourced from Fujian have each edge hand-polished with hemp rope to achieve a temporal patina. This “unfinished” state engages in a fascinating dialogue with the flowing neon lights outside the window – one dusk, I saw a young man in a cyberpunk jacket using his phone to capture the rippling light and shadow on the rammed earth wall. That frame suddenly convinced me: the warmth hidden within the rough texture might offer more solace to the city’s loneliness than marble ever could.
▽材质选择上，我刻意推翻元古系列惯用的精致禅风 ©谭啸
▽墙面斧凿痕迹保留着施工时的力度记忆，特意从福建收来的风化石板，每块边缘都用麻绳手工打磨出时间包浆 ©谭啸
项目落成后，有客人问我为何要在黄金地段做”浪费空间”的设计。我会带他们走到西北角的冥想区，指向前方：4米长的落地窗外，春笋大厦的LED幕墙正在滚动数据洪流，而室内墙缝里的一株狼尾草正在逆光中轻轻摇曳这个刻意保留的视觉夹角，正是我想说的答案——真正的生活或许不在于追逐未来，而在于为每个当下找到诗意的容器。
After the project’s completion, some guests asked me why I would design such a “waste of space” in a prime location. I would take them to the meditation area in the northwest corner and point ahead: beyond the 4-meter-long floor-to-ceiling window, the LED facade of the Spring Bamboo Building is scrolling with data streams, while indoors, a strand of foxtail grass sways gently in the backlight within a wall crevice. This deliberately preserved visual axis is the answer I wish to convey – perhaps true life lies not in chasing the future, but in finding a poetic vessel for each present moment.
▽真正的生活或许不在于追逐未来，而在于为每个当下找到诗意的容器 ©谭啸
▽设计岁月的痕迹 ©谭啸
▽项目设计图 ©无之设计
“ 真正的生活或许不在于追逐未来，而在于为每个当下找到诗意的容器。”
审稿编辑：junjun
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