隈研吾先生在其著作《負(fù)建筑》中寫到：“ 去掉一切雕飾后的，人類真正需要的建筑，并不是一個(gè)四四方方的水泥盒子，因?yàn)槿藗儾粌H僅需要遮風(fēng)擋雨，還需要心靈的安寧和詩意……”


唯一與永恒
The only and eternal
-

永恒和唯一是兩種極致，但也只是一種存在形式。
石與自然、空間自由組合，成為一種空間探索的連接器，帶給到訪者視覺與心靈的震撼，圍繞TASSANI藝術(shù)涂料品牌擴(kuò)散，于此，開啟一個(gè)不被定義的詩意空間。

The free combination of stone and nature and space becomes a connector of space exploration, bringing visitors visual and spiritual shock, and spreading around the TASSANI art paint brand, which opens a poetic space that is not defined.

變化是唯一的永恒。空間中無限的拉伸與延展，產(chǎn)生視線錯(cuò)覺，簡(jiǎn)潔的體塊，簡(jiǎn)練的線條，在不斷的變化與重組中產(chǎn)生抒情詩般的感染力。

Change is the only eternity. The infinite stretching and extension in the space produce the illusion of sight, concise body, concise lines, and produce the lyric appeal in the constant change and reorganization.


秩序與儀式
Order and ceremony
-

拾階而上，空間不是一覽縱觀全貌的，而是線條與空間的過度，引發(fā)好奇與探索。線條結(jié)構(gòu)、形態(tài)的穿插與互動(dòng)，構(gòu)成內(nèi)建筑語言，極具秩序感和儀式感，同時(shí)也帶來更多視覺美與趣味性，呈現(xiàn)空間協(xié)調(diào)、張力以及當(dāng)代美學(xué)。

迂回的路徑、豐富的材質(zhì)、變化的光線，讓行走變成一種有趣的體驗(yàn)，而這個(gè)過程中，到訪者不時(shí)地凝視、回眸、跟隨、打趣，建立起人與人、人與空間的聯(lián)系。

Pick up the steps, the space is not a glance at the whole picture, but the excess of lines and space, causing curiosity and exploration. The interweaving and interaction of line structure and form constitute the internal architectural language, which has a sense of order and ritual, and also brings more visual beauty and interest, presenting spatial coordination, tension and contemporary aesthetics.
The circuitous path, rich materials and changing light make walking become an interesting experience. In this process, visitors stare, look back, follow and joke from time to time, establishing the connection between people, people and space.



體塊與結(jié)構(gòu)
Body mass and structure
-

體塊結(jié)構(gòu)邏輯簡(jiǎn)單，構(gòu)成關(guān)系清晰可見，具有統(tǒng)一和完整性。通過切割、堆疊的組合形式，向上或向下的延伸，將抽象元素轉(zhuǎn)化成具象造型，縱橫交錯(cuò)的體塊相互影響、自由和諧，衍生出豐富的錯(cuò)落與層次感，給予到訪者穿梭于“框景”之中的體驗(yàn)。

The block structure logic is simple, the composition relationship is clear and visible, with unity and integrity. Through the combination of cutting and stacking, extending upward or downward, abstract elements are transformed into figurative shapes. The crisscross bodies influence each other and are freely harmonious, generating a rich sense of patchwork and hierarchy, giving visitors the experience of shuttling in the "frame scene".

體塊之間沒有緊密壓實(shí)在一起，張弛之間，給空間更多的呼吸感。

There is no close pressure between the body, relaxation, give space more sense of breathing.


光與影
Light and shade?
-

空間是光的容器，光是空間的靈魂。

Space is the vessel of light, and light is the soul of space.

以光為舞臺(tái)，時(shí)間于此起舞。光影成詩，或氤氳滿射，或傾瀉而下，空間借助光達(dá)到時(shí)間之外的某種永恒，成長(zhǎng)、重生。

With the light as the stage, the time dances here. Light and shadow into poetry, or dense full shot, or pouring down, space with the help of light to reach some eternity beyond time, growth, rebirth.

光影清晰地記錄著時(shí)間的痕跡，不刻意奪目，卻有讓人過目不忘的力量。拂過材質(zhì)的紋理、地面、墻壁……賦予空間特有的詩哲學(xué)與詩意，空間更為自然、愜意。

光的引入和材料肌理的運(yùn)用，還原藝術(shù)涂料最真實(shí)的質(zhì)感與色彩，予空間節(jié)奏和韻律，創(chuàng)造豐富、有趣的觀展體驗(yàn)。

Light and shadow clearly record the traces of time, not deliberately dazzling, but there is the power of photographic memory. Brush the material texture, ground, walls... give the space unique poetic philosophy and poetry, the space more natural and comfortable.?
The introduction of light and the application of material texture, restore the most real texture and color of the paint, to the space rhythm and rhythm, to create a rich and interesting exhibition experience.


感官與沉浸
Sensory and immersion

抽離現(xiàn)實(shí)的詩意氛圍，顛覆藝術(shù)涂料展廳模式，富有層次的布局規(guī)劃，材質(zhì)與色彩都變得優(yōu)雅，喚起到訪者的感官與情感，如進(jìn)入一場(chǎng)戲劇般的沉浸體驗(yàn)。

With the poetic atmosphere of reality, subverting the art paint exhibition hall mode, the hierarchical layout planning, the material and color become elegant, evoking the senses and emotions of the visitors, such as entering an immersive experience like a drama.

人的物質(zhì)本性，是內(nèi)在實(shí)相在物質(zhì)層面上的模擬和顯化。深入空間，無論是自由的線條還是藝術(shù)且合理的色彩搭配，讓所有感官都得以放松。

沉浸式體驗(yàn)不是自我身份感的短暫缺失，是自發(fā)性的、自由的靈性釋放，感官沉浸，意味著暫時(shí)放下自我和自我享受之間的屏障。

The material nature of man is the simulation and manifestation of the inner reality at the material level. Going deep into the space, whether it is free lines or artistic and reasonable color collocation, allows all senses to be relaxed.
Immersive experience is not a temporary lack of a sense of self-identity, but a spontaneous and free spiritual release. Sensory immersion means temporarily putting down the barrier between oneself and the object of self-enjoyment.

空間的流暢性與藝術(shù)涂料的展現(xiàn)相輔相成，光影、材質(zhì)、香氛……都刺激著人的五官，每一處視角都有自己獨(dú)特的姿態(tài)，自由的穿梭在各個(gè)場(chǎng)景中，或動(dòng)或靜，都令到訪者感受到驚喜與好奇。

The fluency of the space and the display of artistic paint complement each other, light and shadow, material, fragrance... all stimulate the person's facial features, each perspective has its own unique posture, free shuttle in each scene, or moving or static, make the visitors feel surprised and curious.


內(nèi)核與形態(tài)
Kernel and morphology
-

自然界總是會(huì)帶給人“無限”的向往，通過現(xiàn)代設(shè)計(jì)手法，充分考慮空間的材質(zhì)、質(zhì)感與形態(tài)，用三維語言讓空間接近“無限”，有意識(shí)地將點(diǎn)、線、面，在有限的空間里尋求結(jié)構(gòu)與比例的變化與統(tǒng)一。

一顆充滿生機(jī)的樹激活空間的內(nèi)在價(jià)值，一束充滿希望的光是治愈人心的力量?？臻g與人，人與自然，以及哲學(xué)中的「空」與自然「光」，相融、共生。

Nature will always bring people the "infinite" yearning, with three-dimensional language to make the space close to the "infinite". Through the modern design language, the material, texture and form of the space are fully considered, and consciously the points, lines and surfaces seek the change and unity of structure and proportion in the limited space.?
A vibrant tree activates the inner value of the space, and a light full of hope is the power to heal the people. Space and man, man and nature, as well as the "empty" and nature "light" in philosophy, blend and symbiosis.