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办公空间,厦门
时间:2023-11-20 09:20:04  来源:  作者:

租下这处离家不过100米的办公空间,既是工作室发展的需要,也是想在厦门这个小尺度城市,与以往驾车上、下班的通勤劳顿,作个彻底了结。这样的距离尺度,也让工作室作为家空间的延伸有了可能。动笔的初始其实没有太多纠结,还是对实际功能需求的梳理取舍,选择材料加以物化,呈现出贴切状态的过程。建筑如此,室内亦然。

The reason for renting this working space, which is only 100m away from home, is not only for the business development but also for the desire of ending the commute by car in Xiamen, the small-scale city. Such scale of distance also makes it possible to use the studio as an extension of the home space. It is not too tangled to get started. Actually it is just the process of sorting out the actual functional needs, selecting the materials and materializing them, and presenting them in an appropriate state. This applies for the architecture design and so does for the interior one.

▼室内一瞥:落日余晖下的工作室会客区

 

过渡空间与破口
Transitional Space and Stripe Opening

工作室的初始平面呈L型,进门处是一块约20平米的方形区域。我们在这儿立起一道顺应流线的弧墙划分出了过渡空间,也隔绝了工作室内部与门外公共走廊间的相互影响。透过弧墙对门位置破开的条形洞口,可隐约窥探墙后的模型区。洞口下方悬挑出的黄铜板,在内部扩展了模型制作时的操作范围。平日制作的实体模型在此随性摆放与更换,自然成了工作室对外展示的小窗口。

▼设计生成,

The initial plan of the studio is L-shaped, with a square area of 20㎡ at the entrance. Here we erected an arch wall that guides the route to divide the transitional space and to isolate the interaction between the interior of the studio and the public corridor outside. The modeling area behind the arch wall can be vaguely seen through the stripe opening on the wall facing the door. The overhanging brass plate below the opening extends the modeling area from inside. The models are placed and replaced freely on this plate, which also displays to the public at the meantime.

▼工作室入口,

▼条形洞口与悬挑黄铜板,

我们通过吊顶适当压低了过渡空间的尺度,并采用黑色微水泥材质整体覆盖。将走道尽端自然光线的渗入与暖光源照明相结合,营造出了冷暖交迭的静谧氛围。此外,黑色的空间本身也非常适合工作模型的取景拍照。

The transitional space is scaled down by the ceiling and covered in black micro-cement. The combination of natural light penetration at the end of the corridor and warm light creates a quiet atmosphere with a mix of warm and cold. In addition, the black space is ideal for shooting models.

▼左:引导流线的弧墙与冷暖交迭的光线;右:过渡空间内的暖光,

 

开放空间与大家具
Open Space and Big Furniture

穿越入口空间来到工作室主要办公区域后,顿有开朗之感。这里平面规整,面朝东南临近海湾,上午日照充足光线明亮。团队工作区、讨论区、会客区,以及我个人的工作区一字排开、并列设置。因整体尺度不算太大,为了避免空间局促,而不再做任何分隔,开放式的办公环境也更利于团队间的交流协作。连通空间本身的灵活度也更好,得以更加便捷地应对将来可能出现的调整和变动。

After crossing the entrance space to the main working area, the wide open space appears. It has a regular floor plan, facing southeast near the bay. It is bright with plenty of sunshine in the morning. The team working area, discussion area, meeting area and my private working area are lined up and parallel. Since the overall space is not too large, there’s no any separation to avoid space constraint. The open working space is better for communication and collaboration among the team. The open space is also more flexible, making it easier to cope with the future adjustments and changes.

▼通向工作区的过渡空间

▼光线柔和的开放式工作区,

▼窗边的阅读区和休闲区,

▼讨论区和会客区,

在这里,我们稍加设计了一组环绕办公区四周的整体式大家具,即解决了日常需求,又释放了内部空间。大家具靠近落地窗一侧,变形为了通长的阅读桌,减小后的窗洞令室内光线相对柔和。长桌中嵌入种植箱,在此种下的一棵石斑木,成为了从入口空间进入后的视线焦点,也为工作室引来了花开花落的四时变换。树下设一休闲靠座,可供大家从午后的伏案中起身,伸腿侧卧、观海小憩。长桌的端头往墙面延伸,并与局部吊顶连为一体,在此布置了材料架和保洁用具收纳柜。

▼整体式大家具轴测图,

Here we designed a set of big furniture around the office area, which solves the daily needs and frees up the interior space. The big furniture near the floor-to-ceiling windows is transformed into a long reading desk. The reduced window openings soften the indoor light. A planting box is embedded in the long reading desk. The Raphiolepis Tree planted in the box becomes the sight focus when walking from the entrance space. It also brings in the changing seasons with the flowers blooming over and over again. A leisure seat is set up under the tree. It’s a leisure area for siting or side lying with a sea view during the break. The end of the long reading desk extends to the wall and is integrated into the partial ceiling, where materials shelves and storage cabinets for cleaning tools are arranged.

▼沿窗观海的阅读桌与苗木,

▼洒入阳光的阅读区

大家具在工作区和模型区之间,转化为吧台的形式做适当分隔,1.2米的高度使平日在吧台上放置模型进行观察时,免受弯腰之苦。而吧台下方的储物柜刚好可以收纳午休折叠床。与吧台同侧的大面积书架、抽屉和收纳柜靠墙固定,用于存放书籍、模型和日用杂物。空调风口、灯槽和窗帘盒这些设备安装构件,亦整合进大家具藏匿。电视墙、唱片架和壁炉的位置则与会客区相对应。

The big furniture between the working area and modeling area is transformed to a bar which mildly separates these two areas. The 1.2m height makes it possible to study the model on the bar without bending down. The storage cabinets underneath the bar are perfect for storing folding beds. On the same side of the bar, large bookshelves, drawers, storage cabinets are fixed against the wall, for storing books, models and household items. The equipment components, such as AC outlets, troffers and curtain cases, etc, are hided inside the big furniture. The position of the TV wall, record shelves and electronic fireplace correspond to the meeting area.

▼模型区与工作区间的吧台,

▼沿长边布置的书架和收纳柜,

▼左:唱片架和电视墙;右:电子壁炉细部

会客区内摆进舒适的中古沙发椅,像家中的小客厅,聊天讨论不必正襟危坐,也满足了喝咖啡、听音乐等日常需求。将工作生活的零碎通过大家具分门别类规整好后,设计的动作便告一段落。而橡木本身的温润质感,也在空间中平衡了与黑色天花、灰色微水泥地面之间的冷暖关系。

The vintage chairs are placed in the meeting area, like a small living room at home, you don’t need to sit upright to discuss or chat. It also meets the daily need for coffee and music. After the bits and pieces of work and life are sorted and organized by the big furniture, the design work comes to an end. The warm texture of the oak also balances the warm and cold relationship between the black ceiling and the gray micro-cement floor.

▼会客区的中古家具,

▼会客区的观海视野,

▼艺术家吴观真画作——《乐》,

▼左:画作细部;右:摇椅细部,

 

小房子与光器
Tiny House and Light Box

在我的私人工作区一隅,大家具演变成了类似“小房子”的空间,内部不大但供自己平时午休和阅读足矣。步入时迈上一踏压低尺度以应坐姿,并可通过推拉门扇与外部区域适度划分,保有了些许私密感。

In one corner of my private working area, the big furniture is transformed into a “tiny house” like space, small but big enough for my napping and reading. By taking a step to enter it, such depressed scale is suitable for sitting on the floor. The hidden sliding door separates this tiny house from the outside area, keeping a slight sense of privacy.

▼可开关门的“小房子”

▼私人工作区,

“小房子”的墙面和屋顶在其角部内凹成盒状,像开了扇高窗,我称它为“光器”。晨间的日光穿透容器东面的洞口折入室内,随时间推移缓缓变化。早年从斯里兰卡淘回来的雕塑,也有了适宜的安放之处。夜幕降临,暗藏于容器顶部的灯光点亮,并透过其背后的亚克力板均匀向外扩散。从白昼的由外向内,到黑夜的自内而外,光线在容器中完成了自然光与人工光间的相互转换。

▼“光器”轴测图,

The wall and the ceiling recess in a box-like shape at the corner of the “tiny house”, which likes a high window. I call it a “light box”. The morning daylight penetrates through the eastern openings of the box, slightly changing over the time. It’s suitable to place the sculpture which I found in Sri Lanka in early years. As night falls, the light hidden at the top of the box is illuminated and spread evenly outwards through the acrylic panel behind it. The light penetrates from outside during the daytime, and spills from inside during the nighttime, which completes the conversion between the natural and artificial light in the box.

▼角部的“光器” ,

▼晨间日光透过“光器”的变化 

▼供阅读和休憩的小空间,

▼夜间灯光下的“光器”,

这处小小的设计发力源自我一次偶然的发现——由于工作室大楼离家距离很近,在家中卧室位置刚好得以瞥见“光器”所在的角部。于是,每个呆在工作室伏案的夜晚,这窗灯火成了与家之间的一种维系。也让我想起了19世纪美国唯美主义画家James Whistler的作品《小夜曲:蓝与银 — 切尔西》(Nocturne: Blue and Silver – Chelsea)中描绘的场景。

The inspiration for this detail comes from my accidental discovery – the proximity of the studio building to my home makes it possible to glimpse the “light box” from our bedroom at home. So, every night I spend in the studio, the light becomes the bond between me and home. It also reminds me of the scene depicted in the painting “Nocturne: Blue and Silver – Chelsea”, by James Whistler, a 19-century American aesthete.

▼“小房子”一角,

▼夜暮下的“小房子” ,

▼向外溢光的“光器”,

工作室的室内设计是一次微不足道的个人空间实践,却也浓缩了一些自己对设计粗浅的理解和认知。从繁复的理论和多余的形式中逃逸,无技可炫也并不奢华,只求舒适得体、经久实用。

The interior design of the studio is a negligible personal practice, but it condensed some of my rudimentary understanding and knowledge of design. Escaping from the complicated theory and redundant expressions, no skills to show off and not luxurious, what we seek for is to be comfortable, decent, practical and durable.

▼工作室与家的位置关系

我想,遵从内心的表达,幸许正是我们寻觅的平静日常。重新开始,从心开始。

I think following our heart is probably the exact quiet daily life we’re looking for. It’s’ all about the restart from the heart.

▼与家联系的一窗灯火

▼平面图,Plan

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