項(xiàng)目名稱：惠州·好光照明展廳設(shè)計(jì)

Project Name：Huizhou HILIGHT Lighting

項(xiàng)目地址：廣東省惠州市演達(dá)萬(wàn)飾城店

Project Location：Guangdong Huizhou Yanda Wanshi City Store

設(shè)計(jì)面積：150㎡

Cover Area：150㎡

設(shè)計(jì)年份：2022

Design Years：2022

設(shè)計(jì)公司：予美組設(shè)計(jì)工作室

Design Company：Yumei Group Design Studio

創(chuàng)意總監(jiān)：張志軍

Creative Director：Zhang Zhijun

參與設(shè)計(jì)：黃錦偉、鐘立成、彭景松、李宇婷

Design Development：Huang Jinwei, Zhong Licheng, Peng Jingsong, Li Yuting

燈光設(shè)計(jì)：好光品牌設(shè)計(jì)部

Lighting Design：HI.LIGHT Design Department

軟裝設(shè)計(jì)：予美組設(shè)計(jì)工作室

Soft Packaging Design：Yumei Group Design Studio

合作品牌：好光照明，德國(guó)Loxone樂(lè)易智能家居，Amina英國(guó)安美萊隱形音響

Cooperative Brands：HILIGHT Lighting、Loxone、Amina、

空間攝影：山外視覺(jué)

Photography：SUNWAY

視頻制作：千山影像

Video Production：Qianshan Image

線條是視覺(jué)審美的開(kāi)始，也是最具哲學(xué)性的簡(jiǎn)約形體。平面化的線條轉(zhuǎn)向立體，產(chǎn)生分明的外部輪廓，隨之建立的抽象或混沌的內(nèi)部空間也逐漸變得清晰，反之亦然，抽象是對(duì)具體事物的一種詩(shī)意解。展廳設(shè)計(jì)而抽象的概念于筱原一男而言，既是他新“建筑式樣”的出發(fā)點(diǎn)，也是他現(xiàn)代主義本地化的理論核心。

Line is the beginning of visual aesthetics, but also the most philosophical simple form. The planialized lines turn into three dimensions, producing distinct external contours, and the established abstract or chaotic internal space gradually becomes clear, and vice versa. Abstraction is a poetic solution to concrete things. The abstract concept is not only the starting point of his new "architectural style", but also the theoretical core of his localization of modernism.

筱原一男于《住宅論》的論述中給“復(fù)雜”和“混沌”劃定了明確的界限，并試圖通過(guò)單純的構(gòu)成來(lái)表現(xiàn)其復(fù)雜的空間，繼而把它引申為“極簡(jiǎn)的復(fù)雜”，展廳設(shè)計(jì)拓展了極簡(jiǎn)主義的維度和豐富性。這種巧妙的立論給了予美組設(shè)計(jì)獨(dú)特的啟發(fā)，在HI.LIGHT 好光照明展廳里，“具體的抽象”是予美組設(shè)計(jì)關(guān)于品牌屬性與場(chǎng)地空間的主要切入點(diǎn)。

Kazuo Shinohara in the discussion of "House" to "complex" and "chaos" defined a clear boundary, and tried to express its complex space through simple composition, and then extended it to "minimalist complexity", expanding the dimension and richness of minimalism. This ingenious argument gives Yumei Group a unique inspiration for its design. In the HI.LIGHT exhibition hall, "concrete abstraction" is the main entry point of Yumei Group's design on brand attributes and site space.

△項(xiàng)目地址

“橋”的象征The Symbol Of "Bridge"━

展廳設(shè)計(jì)以正方形平面或方形立體的空間結(jié)構(gòu)這種最強(qiáng)的完形為例，它在適合給定的條件時(shí)是非常令人愉悅的。而HI.LIGHT好光照明展廳接近“半扇形”，實(shí)際功能的相互關(guān)聯(lián)、組織、協(xié)調(diào)決定了布局的最終形式。展廳設(shè)計(jì)雖為展廳，但是弱化了其商業(yè)屬性而模擬真實(shí)的家居形態(tài)，展現(xiàn)出組成日常生活的不同功用空間。

Take, for example, the strongest gestalt, the spatial structure of a square plane or a square cube, which is very pleasing when it fits the given conditions. The HI.LIGHT lighting exhibition hall is close to a "half fan shape", and the interconnection, organization and coordination of actual functions determine the final form of the layout. Although it is an exhibition hall, it weakens its commercial attributes and simulates the real home form, showing different functional spaces that make up daily life.

橋，除了物理的存在，也有連接、引導(dǎo)和指向的隱喻意義。在展廳入口，作為單層的空間，“拱橋”構(gòu)件的置入并非真正連接二樓，雖然不具備實(shí)際的使用功能，但與客廳的墻體結(jié)合，藝術(shù)裝置般的“拱橋”反而引發(fā)訪客的好奇，同時(shí)創(chuàng)造了一種戲劇性的錯(cuò)覺(jué)感，展廳設(shè)計(jì)而依據(jù)站立的不同位置，亦可生成仰望與俯視的多重視角。

Bridge, in addition to physical existence, also has the metaphorical meaning of connecting, guiding and pointing. The entrance of the exhibition hall, as a single space, "arch bridge" of component placement is not really connected to the second floor, although do not have the actual use function, but combined with the wall of the sitting room, art installation of "arch bridge" has inspired the curiosity of visitors, at the same time created a dramatic illusion feeling, and on the basis of different stand location, and can also generate look up to and looking for multiple perspectives.

裸空間

Bare Space

━

功能空間、裝飾空間、象征空間常被歸納為原空間的不同表意方式，而對(duì)應(yīng)生活行為的裸空間則依據(jù)行為人或居住者的不同往往被重新定義。展廳設(shè)計(jì)在HI.LIGHT 好光照明展廳，每個(gè)功能空間彼此獨(dú)立但又互相聯(lián)系，內(nèi)部的“光通道”只是一種形式寓意，穿梭其中，暗示空間、場(chǎng)景和情緒的自然過(guò)渡與瞬間轉(zhuǎn)換。

Functional space, decorative space and symbolic space are often summarized as different ideographic ways of the original space, while the bare space corresponding to living behaviors is often redefined according to the difference of actors or occupants. In the HI.LIGHT exhibition hall, each functional space is independent of each other but connected with each other. The internal "LIGHT channel" is just a formal implication, shuttling through it, implying the natural transition and instant transformation of space, scene and mood.

開(kāi)放西廚吧和餐廳的形體組合，展示了不同群體的居住生活方式，也滿足日常的訪客接待，硬朗的堅(jiān)硬臺(tái)面與餐桌的通透形成了材料、質(zhì)感、肌理之間的巧妙沖突。展廳設(shè)計(jì)作為空間里唯一垂掛的餐廳吊燈，其仿生的有機(jī)形態(tài)利用空間“半扇形”的平面優(yōu)勢(shì)，成為各個(gè)視線聚集的焦點(diǎn)，即便從入口經(jīng)過(guò)，同樣出現(xiàn)半是朦朧的隱約身影。

The combination of open western kitchen bar and dining room shows the living way of different groups, and also meets the reception of daily visitors. The strong hard table and the transparent table form a clever conflict between materials, texture and texture. As the only hanging restaurant chandelier in the space, its bionic organic form makes use of the plane advantage of the space "half fan" to become the focus of each line of sight. Even when passing through the entrance, it also appears as a half-vague figure.