生命充滿了勞績(jī)，但還要詩意地棲居在這塊土地上。

——海德格爾 《存在與時(shí)間》

Full of merit， yet poetically，Man dwells on this earth

——Being and Time by Heidegger

和大眾相比，對(duì)于空間設(shè)計(jì)師來說，如何“詩意的棲居”不只是一個(gè)浪漫的愿景，而且是一個(gè)非常專業(yè)的課題。它涉及到空間操作中無數(shù)的技術(shù)和產(chǎn)品細(xì)節(jié)。在這個(gè)層面上，經(jīng)銷WEASPE鋁合金門窗的品牌“住藤空間”和我們?cè)趯?shí)踐中形成良好的合作關(guān)系。他們?cè)谏虾５木€下展廳注定是一個(gè)非常特別的項(xiàng)目，也促使我們思考門窗、空間、場(chǎng)地、時(shí)間等一系列概念。

For spatial designers， how to live poetically is not just a romantic vision， but a professional issue. It is associated with numerous technics and product details in the space. In this sense， Zhu Teng Space， a merchandiser specialized in aluminum alloy doors and windows， shares the same vision with us. Their showroom in Shanghai is a special project， which makes us think deep about the concepts of doors， windows， genis loci， space and time etc.

門窗，交流的渴望

Windows and Doors， the Desire for Communication

空間的第一要素是圍合邊界的建立。通過邊界，空間區(qū)分出一種顯著的內(nèi)和外。為了打破二元對(duì)立的靜態(tài)空間，我們希望空間的內(nèi)外實(shí)現(xiàn)一種動(dòng)態(tài)的互通。而這正是通過門窗洞口建立起來的?？梢哉f，門窗定義著內(nèi)與外交流的渴望。

The first thing about creating a space is to establish the boundary. Through the boundary， the space is divided as internal and external. We would like to break the static dichotomy of internal and external by creating a dynamic between the two. This is done through different kinds of windows and doors. Windows and doors define the desire for communication between the two sides.

讓我們想象憑欄遠(yuǎn)眺的窗，可見而不可及的高窗，通透的落地窗，窺視的長(zhǎng)條窗，光影如舞的百葉窗。我們也可以想象平拉開門，側(cè)身推門，倚門而立，在門前徘徊，敲門的遲疑與不安。交流的渴望化作不同的身體行為，形成有詩意的日常瞬間 – “日常的詩學(xué)”。

Let us think about a window for looking far into the distance， a high window which you cannot approach， a French window to show everything outside， a linear horizontal window for peeping inside， a louvered window with shadows on the wall. We can also imagine a door to slide horizontally， a door for leaning on， a door for pushing through， a door to lingering at， a door with hesitation to knock on. The desire for communication turns into different body actions， ordinary yet poetic.

場(chǎng)地，歷史的痕跡

Site， the Traces of History

場(chǎng)地位于上海市寶山區(qū)的半島1919創(chuàng)意產(chǎn)業(yè)園，薀藻浜和北泗塘兩條河在這里交匯。它的前身是籌建于100年前的上海第八棉紡廠。在場(chǎng)地周邊走一圈，100年間不同時(shí)期的建筑琳瑯滿目。極具年代感的裝飾紋樣、斑駁的磚墻、廢棄的傳送軌道讓人感嘆時(shí)間的力量。

The site is located in the Ban Dao 1919 Industrial Park in Baoshan District， Shanghai， where two rivers， Yunzaobang and Beisitang， meet. It was orginally Shanghai No. 8 Cotton Mill Factory， established in 1919. Wandering around the site， there are different styles of architecture through 100 years. Period decorations， mottled brick wall， abandoned tracks make people think about the power of time.

我們想，門窗不僅可以作為空間之間關(guān)聯(lián)的媒介，在這里也衍生出時(shí)間的維度 – 透過時(shí)間的門窗，我們是不是可以回溯過去，指向未來？我們希望設(shè)計(jì)以一種當(dāng)代的姿態(tài)回應(yīng)場(chǎng)地的歷史感，并把時(shí)間這個(gè)概念具象化，成為空間設(shè)計(jì)的動(dòng)機(jī)。

We think windows and doors are not just the media of spatial links， but also the time dimension – through the windows and doors， can we look back to the past， or get a glance of the future？ Through our design， we want to take a contemporary stand upon the historical awareness of the site. We try to materialize the concept of time as the motivation of the design.

空間，時(shí)間的形狀

Space， the Shape of Time

我們?cè)O(shè)想一個(gè)純白的通透的空間。在不同的門窗間，躍動(dòng)的紅色元素呈現(xiàn)出“時(shí)間的形狀”這一概念。設(shè)計(jì)致敬建筑師伯納德·屈米著名的宣言，“紅色不是一種顏色，它是建筑概念?！绷硗?，紅色的元素仿若空間中穿插的雕塑，這里設(shè)計(jì)致敬雕塑家John McCracken的極簡(jiǎn)主義雕塑作品，昭示著一種突破靜止、趨于永恒的力量，。

Imagine a pure and white space with a series of broken walls. Between different doors and windows， some red elements stand out as “shape of time”. The color refers the famous statement of Bernard Tschumi – “Red is not a color. It is Architectural Concept”. On the other hand， red elements are like minimal sculptures dancing across the space. It refers to the minimalism works by John McCracken， which indicates a power to break through status quo and achieve eternity.

展廳入口區(qū)別于周圍落地玻璃門的店面，以極具雕塑感的形體規(guī)定一種特定的進(jìn)入方式。地面的紅色雕塑，穿插的墻體裸露出的紅色墻角，以及長(zhǎng)條形窺視的窗口的紅色邊框，形成一個(gè)吸引人注意力的序列。

The entrance stands out from the surrounding big-window shop front. It indicates a particular way of entering into the space through a sculpture-like form. The red pieces on the ground， the red corners of the black wall， and the red frame of the horizontal window creates a sequence of attention， luring people to come inside.

人從狹窄的廊道進(jìn)入，在一個(gè)三角形天窗的注視下左轉(zhuǎn)，通過一個(gè)紅色的門進(jìn)入待客空間。入口的狹窄灰暗形成空間上的欲揚(yáng)先抑。

Entering through a rather cramped hallway， you turn left with a triangular window shining upon you from above. Then you walk into the main reception area through a red-framed door. The small entrance contrast sharply with the big reception area.

穿透到室外的深色長(zhǎng)墻作為主要玻璃門展示，同時(shí)形成一條“時(shí)間長(zhǎng)廊”。這個(gè)線性空間鋪滿碎石，紅色的燈盒照亮衛(wèi)士帕門窗品牌的歷史。

A dark wall breaks through the fa?ade， which is used internally as door products exhibition. It also creates a “Time Gallery” on the other side， which， covered with pebbles， is lit up by red light-box and shows the history of Weaspa Brand.

待客空間中，一橫一縱兩條工字鋼在空間中穿插，形成極具張力的組合，是一種突破白色均質(zhì)空間的宣言，仿佛一種力量要突破時(shí)間的牢籠。

Two I-beams， one horizontal， one vertical， travel through the space in reception area， creating a dramatic composition. They are a statement against the white-neutral space， creating a metaphor of something trying to break through the cage of time.

辦公空間由一顆中心的綠樹組織起一組半圍合的矮墻，紅色的線性元素在縫隙間流淌，暗示著時(shí)間的倏忽即逝。

The office area is organized around a central green tree with a group of semi-open walls. The red linear elements flow through them， indicating the drift of time.

隨著紅色樓梯到夾層中，裸露的原始結(jié)構(gòu)體、斑駁的表面和周圍潔白的墻體形成強(qiáng)烈對(duì)比，呈現(xiàn)出時(shí)間的痕跡。

From the half-red staircase， you enter the mezzanine space， where naked original structure contrast with the white walls， showing the traces of time.

后記，空間作為思考的媒介

Post-script， Space as Medium of Thinking

對(duì)于設(shè)計(jì)師，結(jié)合業(yè)主的需求完成功能的布置是一個(gè)基本問題。在這個(gè)基礎(chǔ)上，以空間為媒介，堅(jiān)持獨(dú)立而藝術(shù)性的思考是我們的追求。住藤空間的設(shè)計(jì)中，我們以他們的產(chǎn)品 – 門窗 – 為媒介，挖掘其內(nèi)涵、并衍生其概念外延，通過抽象藝術(shù)的手段處理空間設(shè)計(jì)，是商業(yè)和藝術(shù)化思維的一次有意義的探索。

For designers， functional arrangement to fulfil the needs of the client is a basic. Above that， we pursuit original thinking and artistic approach with space as the medium. In the design of Zhu Teng Space， we think through their main product – windows and doors， digging into the concepts and extend its meanings. We use abstract and conceptual approach to design the space. It is a meaningful exploration for us in combining the commercial space design with artistic thinking.

物與自然 object and nature

項(xiàng)目信息——

項(xiàng)目名稱：時(shí)間的形狀 – WEASPE門窗展廳設(shè)計(jì)

設(shè)計(jì)事務(wù)所： 樸居設(shè)計(jì)研究室（PUJU）&無研設(shè)計(jì)研究室（WUY）

項(xiàng)目地址：上海市寶山區(qū)半島1919

建筑面積：180㎡

設(shè)計(jì)團(tuán)隊(duì)：遙千 王欣 張潤(rùn)澤Renzo 佘露露 李婷婷

設(shè)計(jì)時(shí)間：2019年05月-06月

完成時(shí)間：2019-08

攝影：張大齊、Purel

施工團(tuán)隊(duì)：樸居工程

文字／翻譯：張潤(rùn)澤Renzo

工作室網(wǎng)站： www.pujudesign.com

家具品牌：尖叫

Project information——

Project Name： The Shape of Time – Windows and Doors Showroom Design

Design： PUJU & WUY

Location： Ban Dao 1919 Industrial Park， Baoshan District， Shanghai

Area： 180m2

Design Team： Yao Qian， Wang Xin， Renzo， Li Tingting， She Lulu，

Duration： May 2015 – June 2015

Photographer： Purel

Construction： PUJU

Copywriter／Translator： Renzo

Web：www.pujudesign.com

Furniture： Wow