苏州苏素明式非遗传承馆展厅设计 | 尤格设计商业展厅案例解析-展集网

苏州苏素明式非遗传承馆展厅设计 | 尤格设计商业展厅案例解析: 11-11

尤格设计作为在商业展厅领域近年来崛起的新生代设计事务所，过去几年为众多优秀的苏作品牌设计了展厅空间。本次应“苏素”家具邀请，在原展厅的基础上为其打造新的展厅拓展设计。
As a rising new generation design firm in the field of commercial exhibition halls in recent years, Yuge Design has designed exhibition spaces for numerous excellent Suzhou brands in the past few years. At the invitation of "Su Su" Furniture, we will create a new exhibition hall expansion design based on the original exhibition hall.

苏州▪苏素明式非遗传承馆

Suzhou ▪ SuSu Ming style Intangible Cultural Heritage Inheritance Hall

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设计面临着几大挑战，首先是新的展厅必须与原展厅在动线上合二为一，其次是新旧展厅必须保持内部基调一致，最大的挑战是如何在有限的控价范围内，实现数量庞大的套系产品及椅类单品的陈列诉求。设计师以赤红、再造、线构、隔物四个主题对应色彩、结构、形式、意境四个维度，以实现整体设计目标。
The design faces several major challenges. Firstly, the new exhibition hall must be integrated with the original exhibition hall on the flow line. Secondly, the new and old exhibition halls must maintain a consistent internal tone. The biggest challenge is how to meet the display demands of a large number of sets of products and chair items within a limited price range. The designer uses the four themes of red, reconstruction, line structure, and separation to correspond to the four dimensions of color, structure, form, and artistic conception, in order to achieve the overall design goal.

01 赤红 | Crimson
赤色在传统五色观色彩理论中属正色；在五行观中属南方。被纳入赤色系列的红色则象征着吉祥、喜庆、热闹与热情。红色贯穿了整个华夏历史，是中华文化的深厚底色。选用赤红作为点睛之色亦是响应苏作红木的文化底蕴。
Red is considered a positive color in the traditional five color theory; In the Five Elements view, it belongs to the south. The red color included in the red series symbolizes auspiciousness, celebration, liveliness, and enthusiasm. Red runs through the entire history of China and is the profound foundation of Chinese culture. Choosing red as the finishing touch color is also in response to the cultural heritage of Su made rosewood.

“素材之中，凝聚着人与素材的悠久历史。或许可以说，有关素材的记忆在人体积蓄”，红木家具的魅力与价值在便在于“材质”本身，加上其独特的榫卯工艺，“形、色、质”，每一个产品都是匠人与自然的结合。
In the materials, there is a long history of people and materials. Perhaps it can be said that memories related to materials are accumulated in the human body. The charm and value of mahogany furniture lies in the "material" itself, coupled with its unique mortise and tenon craftsmanship, "shape, color, quality". Every product is a combination of craftsmen and nature.

在设计中本着空间服务产品的出发点，整体营造以白色为主，以突出家具本身。赤红作为的跳色被用在主要的空间转折处作为点睛之笔。
In the design, based on the concept of spatial service products, white is the main color used to highlight the furniture itself. The jumping color of red is used as the finishing touch at the main spatial turning points.

02 再造 | Reconstruction
再造，有重建复兴之意，选用再造二字作为主题之一，蕴含两层深意。一是空间的内建构，二是展厅的更新拓展。
Reconstruction, with the meaning of rebuilding and revival, chooses the word "reconstruction" as one of the themes, which contains two layers of deep meaning. One is the internal construction of the space, and the other is the renewal and expansion of the exhibition hall.

通过内部再建构，搭建的夹层空间使得展陈面积在原有的基础上增加了65%，设计将夹层部分用来陈列单品系列的产品，解决了原先因为空间局促而造成产品堆叠无序的状态。
Through internal reconstruction, the mezzanine space has been built to increase the exhibition area by 65% on the original basis. The design uses the mezzanine part to display single product series products, solving the problem of disorderly stacking of products caused by limited space.

悬挑的夹层和带有尖顶的内建筑，这些通过再造而形成的建筑结构，新与旧交替后形成的光影或者穿插横挑等建筑关系。
并由此而产生的人与空间的远观亦或是上下的仰望与俯视，都给空间增添了另一种由建筑而产生的情绪。
Suspended mezzanines and interior buildings with pointed roofs, these architectural structures formed through reconstruction, the interplay of light and shadow between old and new, or the interweaving of horizontal overhangs and other architectural relationships.
And the resulting distant view of people and space, as well as the upward and downward gaze, add another emotion to the space generated by architecture.

03 线构 | Line Structure
“线构”是设计师为展厅定下的第三个主题。红木家具采用榫卯斗合，在结构方面不用钉，不用胶，自成一体。每一件都像是一组精典的建筑组合。
Line structure "is the third theme set by the designer for the exhibition hall. Redwood furniture adopts mortise and tenon joint, which does not require nails or glue in terms of structure, and is self-contained. Each piece is like a set of classic architectural combinations.

以家具结构为灵感，在空间中以线为载体，将“线”的元素变成体块，通过穿插，凹凸等建筑手法，以实现空间的建构趣味和光影变化。
Taking inspiration from furniture structures and using lines as carriers in the space, the elements of "lines" are transformed into blocks. Through architectural techniques such as interweaving and unevenness, the fun of space construction and changes in light and shadow are achieved.

十字架构，虽是最简洁与直白的搭接方式，增加内凹和材质的拼接则赋予了这种简单架构的别样演绎。
The cross architecture, although the simplest and most straightforward way of overlapping, adds a unique interpretation of this simple architecture by adding concave and material splicing.

04 见影 | See Shadow
见与不见，藏与漏，是空间中人与场景的另一道对话。
Seeing and not seeing, hiding and leaking, is another dialogue between people and scenes in space.

闭合的建筑空间就像一个个方盒子一样，一个紧挨着一个，迂回的动线，则是场景化陈列无法避免的一个缺点，再加上搭建夹层带来空间层高的退让，这些都给我们造成了困扰。
The closed architectural space is like square boxes, closely adjacent to each other, and the winding flow is an unavoidable drawback of scene based display. In addition, the construction of mezzanines brings about a reduction in the height of the space, which has caused us trouble.

“庭院深深深几许，杨柳堆烟，帘幕无重数。”设计寄希望于通过框景，窗洞等方式打破这种闭合空间里带来的局促与压迫感。
The courtyard is deep, with willows and smoke piled up, and curtains without weight. The design hopes to break the sense of confinement and oppression brought by this closed space through framing, window openings, and other means.

窗外有景，景内有物，空间的结构能使人的视线从某一个点向另一个点延伸。当我们的视线在不同的空间中试图去探索或者是寻求设计的意义时，设计的目的便也就达到了。
There is scenery outside the window, objects inside the scenery, and the structure of the space can extend one's gaze from one point to another. When our gaze attempts to explore or seek the meaning of design in different spaces, the purpose of design is achieved.

禅的问答中关于人生有这样一句名言：“长河中的你，随波逐流亦好，逆流而上亦佳。”尽量让自身顺应自然的想法，实际上也是一种积极的生活方式，不应否定。
顺应空间，尊重产品，在有限的预算下，用更优化的方式解决设计诉求，不去抗拒，达成更好的结果，这何尝不是一种顺势而为的美。
There is a famous saying about life in Zen Q&A: "You in the long river, it's good to follow the flow, and it's good to go against the current." The idea of trying to conform to nature is actually a positive way of life and should not be denied.
Adapting to space, respecting products, and solving design demands in a more optimized way within a limited budget, without resistance, to achieve better results, is this also a beauty of following the trend.