迪士尼彩乐园彩票首页 石材语言 · 浙江一处隐世海边石头别墅 | HIDDEN WORLD SEASIDE STONE VILLA
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在空间筹算中，石材以其独到的质量与韵味，构筑起一个充满诗意的对话场域。当筹算师将一块粗陋的原石置于当代建造之中，两种时空在此再会：一方是历经亿万年地质指引酿成的当然造物，一方是东谈主类端淑的最新结晶。这种对话超越了浅近的材质哄骗，成为当然与东谈主文的深度相易。石材的肌理中镌刻着地球的操心，每一齐纹路都是时光的印章，当精炼掠过石面，仿佛能听见旷古的回响。在当代空间筹算中，石材不再仅仅冰冷的建造材料，而是承载着当然灵性的前言，将地面的呼吸带入东谈主造空间。
In the space design, stone with its unique texture and charm, build up a poetic dialogue field. When designers place a rough rough stone in a modern building, two kinds of time and space meet here: one is a natural creation formed over eons of geological movement, and the other is the latest crystallization of human civilization. This kind of dialogue goes beyond the simple use of materials and becomes a deep exchange between nature and humanity. The texture of the stone is engraved with the memory of the earth, each grain is the mark of time, when the light passes over the stone, as if you can hear the ancient echo. In modern space design, stone is no longer just a cold building material, but a medium carrying natural spirituality, bringing the breath of the earth into the artificial space.
伸开剩余86%石材的哄骗经常能叫醒空间中的精神维度。在安藤忠雄的光之教堂中，净水混凝土与石材的对话，营造出静谧而鲜明的氛围。石材的安然感与精炼的狭窄酿成显明对比，却又协调共存，创造出独到的空间韵律。这种筹算不仅是对材质的哄骗，更是对空间精神的解释。石材的不灭性与东谈主类生命的顷然性酿成热烈对比，提醒着咱们在当代糊口中保合手对当然的敬畏之心。石材的千般性为空间筹算提供了无尽可能。从粗野的花岗岩到温润的大理石，每种石材都有其独到的语言。筹算师通过奥密的搭配与切割，让石材在空间中"话语"；在隈研吾的负建造理念中，石材被证实成更小的单位，以消解体量的步地融入环境。这种处置手法不仅展现了石材的物资性，更突显了其精神性。石材不再是浅近的讳饰材料，而是结合东谈主与当然的精神纽带。
The use of stone often awakens the spiritual dimension of space. In Tadao Ando's Church of Light, the dialogue between raw concrete and stone creates a quiet and sacred atmosphere. The weight of the stone is in sharp contrast to the lightness of the light, but it co-exists harmoniously, creating a unique spatial rhythm. This design is not only the use of materials, but also the interpretation of the spirit of space. The impermanence of stone is in sharp contrast to the ephemeral nature of human life, reminding us to maintain a reverence for nature in modern life. The diversity of stone provides infinite possibilities for space design. From rough granite to warm marble, each stone has its own unique language. Through clever matching and cutting, the designer makes the stone "speak" in the space. In Kengo Kuma's negative building concept, the stone is broken down into smaller units to dissolve the volume into the environment. This treatment not only shows the materiality of the stone, but also highlights its spirituality. Stone is no longer a simple decorative material, but a spiritual link between people and nature.
筹算师们不再追求石材的齐备无瑕，而是刻意保留其自然的瑕玷与岁月陈迹。这种"不齐备"的好意思学，刚巧体现了对当然的尊重与贯穿。石材的过失、色斑、纹理都成为筹算语言的一部分，叙述着独到的故事。这种筹算理念龙套了传统审好意思圭臬，创造出更具东谈主文温度的空间体验。
Designers no longer pursue the perfection of stone, but deliberately retain its natural flaws and traces of time. This "imperfect" aesthetic reflects the respect and understanding of nature. The cracks, stains and textures of the stone all become part of the design language, telling a unique story. This design concept breaks the traditional aesthetic standards and creates a more humanistic space experience.
一、浙江 · 奢野既来
RESIDENTIAL DESIGN
民宿坐落在浙江温岭，主要哄骗了重塑小镇地域文化的社区模式。通过再行梳理建造条理，居住体验得以优化，交融东谈主文与当然、当代与传统元素，酿成目田而连贯的布局，集居住、安静和交易功能于一体，体现了分享性社区的理念。民宿外部领有洁净的线条，吊挂的室外楼像极了欧式城堡，数栋稍矮的石头别墅包围下又很有海岸渔村的特质。奢野的每一处，都在费力于地龙套着传统和视觉上的彭胀感。老木四肢产品的主要材料，迪士尼彩乐园它自己所具有的柔柔色调、良好质感以及自然纹理，相等当然地融入到百年石块之中，另以绿植稍作点缀，展现出一种朴素、极新的原始之好意思。
Located in Wenling, Zhejiang Province, the B&B mainly uses the community model to reshape the regional culture of the small town. By rearranging the architectural context, the living experience is optimized, combining human and natural, modern and traditional elements to form a free and coherent layout. It integrates residential, leisure and commercial functions and embodies the concept of a shared community. The exterior of the home has clean lines, hanging outdoor buildings like European castles, surrounded by several slightly shorter stone villas and very coastal fishing village characteristics. Every part of Sanye is trying to break the tradition and the sense of visual expansion. As the main material of furniture, the soft color, fine texture and natural texture of the old wood itself are naturally integrated into the century-old stones, and the green plants are slightly embellished, showing a simple, fresh and original beauty.
民宿空间紧邻海岸，利用自然海砂堆叠而成，收受着海风与雨水的侵蚀。因此，建造接收了以坚固、防风为基础的“石屋”作风，里面讳饰也呈现出一种相沿的“旧”感，墙上的线条陈迹在光影的衬托下，营造出了浓厚的故事氛围。这里共有9幢建造，其中8幢四肢客房使用，1幢四肢人人区域。现在，还有3幢建造正在修建中。此外，民宿还配备了咖啡厅、博物馆、露营基地、崖间SPA和藏书楼等人人姿首。房间筹算交融了节约、侘寂和相沿等多种作风，打造出一种动静结合的“柔柔好意思”。乍一看，房间似乎很浅近；但仔细不雅察，却能发现每一处都流露出卓著的筹算审好意思。
The accommodation space is adjacent to the coast and is stacked with natural sea sand, which is eroded by sea wind and rain. Therefore, the building adopts a solid, windproof based "stone house" style, and the interior decoration also presents a retro "old" sense, and the line traces on the walls create a strong story atmosphere against the light and shadow. There are a total of nine buildings, of which eight are used as guest rooms and one is used as a public area. Currently, three more buildings are under construction. In addition, the hostel is equipped with public facilities such as a cafe, a museum, a camping base, an inter-cliff SPA and a library. The rooms are designed with a mix of styles such as simplicity, wabi Sabi and vintage, creating a "soft beauty" that combines movement and activity. At first glance, the room seems simple; But if you look closely, you can find that every place reveals a remarkable design aesthetic.
二、室内好意思学
RESIDENTIAL DESIGN
20间客房藏匿在了5栋别墅楼内，不管是最小的30平到最大的90平，齐以石墙为基调，主调为盛大纯白和原木空间，当和原木订制产品、相沿沙发、工业风灯具、极佳采光游刃有余，极简的灰白暖色解除生动的空间感在感官上坐窝便会引起迥殊惬意，传统石屋的瑕玷误差全被创新。
20 rooms are hidden in 5 villa buildings, from the smallest 30 to the largest 90 square meters, all based on the stone wall, the main theme is a lot of pure white and log space, when combined with log custom furniture, retro sofa, industrial wind lamps, excellent lighting, minimalist warm gray and bright space immediately cause extreme comfort in the sense of the senses. All the drawbacks of traditional stone houses have been corrected.
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发布于：北京市