崔树：当我放弃“我的”设计，设计才刚刚开始

摘要：设计不只是一味创造和装饰，更应该是用心的发现和选择。

  设计不只是一味创造和装饰

  更应该是用心的发现和选择 

  Design is not just creation and decoration, but exploring and choosing by heart.

  随着潮流时尚的发展，传媒对影像及意识图片的要求也变的越来越高。

  With the development of trend and fashion, the media has become more and more diversified in images.

  在此背景下，一线城市里有更多方式和风格的摄影师出现，北京著名摄影师柳宗源就是这其中比较有个人风格的一位。 

  Under this background, more photographers of different styles have appeared. Liu Zongyuan, a famous Chinese photographer, is one of them.

  2019年初他找到CUN，希望为自己位于北京一个老建筑库房的摄影工作室做设计。于是一个傍晚我们聊了3个多小时，而交流之中我们都感觉到在今天，设计、影像、艺术甚至是音乐等一切能给人们带来美感的事物，都已变得边界模糊而又充满新鲜。

  In early 2019, he found CUN, hoping to design for his photography studio in an old building warehouse in Beijing. We talked for more than 3 hours in the evening, and we feel that, nowadays, everything that can bring people beauty, such as design, video, art, and even music, has become blurred and full of freshness. 

  所以我们把这次的空间性质由纯粹服务于摄影工作需要，调整成为一个集工作、美术馆、活动等为一体的复合型空间。这样反而让这个空间在任何一条路上都更加彻底而纯粹，它的名字叫做UTTER SPACE。

  We adjusted the nature of this space from purely serving the needs of photography, and adjusted it into a composite space that integrates work, art museums, and activities. This makes the space more thorough and pure on any road, and its name is UTTER SPACE.

  这个空间建筑是60年代的一个老仓库，第一次到达现场时，看到整个空间被重新做了特别混乱的分割和结构搭建。

  The space building is an old warehouse in the 1960s. When first arriving at the site, I saw that the entire space was partitioned and structured in a particularly chaotic manner. 

  由于空间以前本来的用途也是影棚，所以整个建筑的内壁做了装饰板，顶面也被全部喷黑。作为一个经验丰富的设计师，我还是可以透过俗气的装修，看到隐藏在它后面的充满历史感的建筑本体。

  The interior wall of the building was decorated with panels and the top surface was completely blackened. But through the tacky decoration, I can still see the architectural body full of history hidden behind it.

  于是我们首先开始了第一项工作，找回它自己。 

  So we started the first job, found it back--the discovery of beauty.

  经过半个月的拆除，我们把整个老建筑的原始样子还原，在这个过程中，我们发现本来的水泥墙体有着特有的历史和岁月的痕迹以及时间的美感。

  After half a month of demolition, the original appearance of the entire old building was restored. In the process, we found that the original cement wall has a unique history and traces of time and the beauty of it. 

  朝西一面，建筑的外窗也被拆出来，原来在下午会有温暖而美丽的金色夕阳投射到室内，让整个空间气质发生转化。

  On the west side, the exterior windows of the building were also demolished. It turned out that a warm and beautiful golden sunset was projected into the room in the afternoon, transforming the temperament of the entire space. 

  此外，吊顶的结构完全呈现出历史技术条件下，混凝土的预制模板，它的结构也充满了时代感，同时又有种莫名的未来性。

  In addition, the structure of the suspended ceiling completely shows the prefabricated formwork of concrete under historical technical conditions. Its structure is full of a sense of the times, and at the same time has an inexplicable future. 

  于是我们花了一个月的时间，用水洗的形式把整个顶面的原始水泥质感洗刷和重现了出来。当整个建筑被还原出来的时候，它已经安安静静的在那里，跟着光线的变化自具美感。

  So it took us a month to wash out the original cement texture of the entire top surface in the form of water washing. When the whole building was restored, it was already quietly there, following the change of light, it was aesthetically pleasing.

  所以我觉得有的时候改造以前，设计师应该懂得尊重原始和具有能发现美感的眼光。 

  So, I guess, before transforming, designers should have the insight to respect the origin and find the beauty inside.

  在建筑被挖掘出来以后我们进入到了第二个阶段的工作——设计营造。 

  After the building was excavated, we entered the second stage of work-design and construction.

  这次不同，我居然不舍得下手去处理这个本就美好的空间。于是，我通过两周的时间在思考到底用一个怎样的方式介入设计营造。 

  This time it was different, I couldn't bear to deal with this already beautiful space. So, I spent two weeks thinking about how to get involved in design and construction.

  中国智慧里有一个词叫做“舍得”，意思是只有舍去一些贪婪才能得到意想不到的结果，换成西方的设计语言可能等同于“less is more”。

  There is a word in Chinese wisdom called "SHEDE", which means that you can only get rid of some greed to get unexpected results. Changing to a western design language may be equivalent to "less is more". 

  因此对于设计师来说，如何控制自己的介入和动作的选择就变的尤为重要！

  Therefore, for the designer, how to control his own intervention and action choice becomes even more important!

  我们首先按照接待、拍摄工作、后台工作、展览等的动线把一个空大的空间设置出两条动线，其中一条属于平面动线，另外一条属于立面垂直动线。

  We first set up an empty space with two moving lines according to the moving lines of reception, filming, backstage work, and exhibition, one of which belongs to the plane line and the other to the vertical line of elevation.

  首先这两条动线都成环状闭合动线，其次就是它们链接而不交叉。 

  First of all, these two moving lines are looped closed moving lines, and secondly they are linked without crossing.

  接下来我们围绕这两条动线，分配了面积及功能分区，使整个结果更有依据而理性。所以无论是一楼的接待厅、大影棚，还是二楼的小影棚及工作室，再或者到三楼的独立空间，都是循序渐进的递进，非常的合理和有节奏感。 

  Next, we allocated area and functional division around these two moving lines  make the whole result more rational. Therefore, whether it is the reception hall on the first floor, the large studio, the small studio and studio on the second floor, or the independent space on the third floor, it is step by step, very reasonable and rhythmic.

  利用空间本来就有的结构，我们把二楼、三楼分别做了递进退台的处理，这样三个空间之间又产生了丰富的关系。 

  Using the existing structure of the space, we have processed the second and third floors progressively and retreat, respectively, so that the three spaces have a rich relationship.

  当把结构、功能，以及空间节奏都安排妥当以后，我们进入到了装饰阶段的工作。 

  After the structure, function, and spatial rhythm were arranged properly, we entered the work of decoration.

  这个时候我选择了极度的克制自己，让最原始的建筑尺度、材质关系去做表演者。 

  At this time I chose to exercise extreme restraint and let the most primitive architectural scales and material relationships be the performers.

首先我们在前厅的空间，利用层高安排了一个峡谷的造型，使得这个接待空间变得充满幻想和冲击力。值得一提的是，利用整块石材自有的质地感，去表达和表现设计的美。

First of all, we arranged a canyon shape in the front lobby space, making this reception space full of fantasy and impact. It is worth mentioning that the beauty of the design is expressed by using the texture of the entire stone. 

  设计的力量就来自我们选择让灯来穿过吊顶上的小石块儿，一直到达直穿整体的石头前台，用这样的手法来表达石头透光的绚丽和本来的重量之美。 

  The strength of the design comes from our choice of letting the light pass through the small stones on the ceiling, and reaching the stone front desk that directly penetrates the whole. This method is used to express the beauty of the light transmission of the stone and the beauty of its original weight.

  到了大影棚，建筑本来的魅力和张力征服了一切。我们保留了所有的老建筑与时间的痕迹，让东西方向与一天的阳光光线对话，让南北方向加入石材的质感语言，与几何体窗户构成语言。如此即会感觉质朴有力，又会体会到我们加入的处理，所以这个部分是设计力度的控制。

  At the big studio, the original charm and tension of the building conquered everything. We keep all the traces of the old building and time, let the east-west direction talk with the sunlight of the day, let the north-south direction add the texture language of the stone, and form the language with the geometric windows. 

  最后到二层与三层，我们做了递进的处理，让每一层都能望向大厅。二层给人更加包容和衔接的感受，你可以说它是消失的存在感，因为它的两面主墙面，同时属于一层空间和三层空间。 

  In this way, you will feel simple and powerful, and you will appreciate the treatment we have added, so this part is the control of design strength.

  三层我们做了加强的表达。在一个充满力量感的建筑顶梁空间里，我们加入了石材与金属两位朋友，在结构与材质上与这个秘密的空间来进行对话，你可以理解成妥协的存在，也可以理解成合作的相互依存，更可以理解成破坏对抗和不相融合。所以它充满了力量而又没有标准答案，可能这就是我筹建它的魅力所在。 

  On the third floor, we made enhanced expressions. In a building with a sense of strength in the top beam space, we added two friends, stone and metal, to talk with this secret space through structure and material. You can understand it as a compromise, ascooperation interdependence or even as destroying confrontation and disharmony. So it's full of power and there is no standard answer. Maybe that's the charm of building it.

  最后，这次设计我们并没有去制作更多的造型，或者材质，而只是在这场遇见中做了挖掘和选择，然而所有的工作反而非常极具挑战性而又有创造力。因此UTTER SPACE揭幕的那天，我依然会不断遇见它更多的面孔，是质朴、未来、艺术、还是科技或者暗黑金属？或许打动我的，正是它的包容和可能性。

  In the end, we didn’t make more shapes or materials in this design, but we just made excavations and choices in this encounter. However, all the work was very challenging and creative. So the day when UTTER SPACE is unveiled, I will still meet more aspects of it. Is it rustic, future, art, technology or dark metal? Perhaps it is its tolerance and possibility that struck me. 

设计有的时候，

成功于思考而不是干预！

Sometimes design succeeds in thinking instead of intervening!

Project Name | 项目名称：柳宗源工作室北京UTTER SPACE

Design company | 设计单位：CUN寸DESIGN

Area | 项目面积：1000㎡

Chief designer | 主设计师：崔树

Coordination designer | 协同设计师：马川、赵阳、焦云奇、王旭

Furniture art | 家居艺术品：回到二十世纪

Main material | 主要材料：大理石、乳胶漆、木饰面、铁板、水泥自流平

Photography artwork | 摄影作品：柳宗源

Space photography | 空间摄影师：王厅

  崔树

  CUN DESIGN 寸品牌创始人

  中国80后空间设计代表人物

  作为一位80年代出生的设计师身上充满了这个时代的符号，集叛逆，个性，细致，严谨于一身与当下最时尚的元素紧密相连“不做经验设计的奴隶，不是审美趋势的附庸者；不断超越自己！”是他的信条，代表着亚洲年轻设计师在世界范围内不断发声。

  2015年中国设计星全国总冠军

  2016 年INTERIOR DESIGN 中文版封面人物

  台湾两岸设计封面人物

  2016年受邀请米兰设计周于意大利进行“Young/Design/Chinese”主题分享

  2016年受邀英国伦敦Inchbald设计学院进行“从中国审美到世界设计”主题演讲

  2016年作为最年轻的设计分享嘉宾于北大百年讲堂进行 《格调》主题分享

  2016年成为最年轻获得Andrew Martin大奖的亚洲新面孔

  2016年获得美国IIDA全球卓越设计大奖

  2016年成为40 UNDER 40 中国设计杰出青年

  2017年同时获得红点与IF双项德国设计大奖

  2017年获得全球Architizer A+设计奖

  2017年获得意大利A‘ Design奖

  2017-2019年获得台湾TID空间设计大奖

  2018 年获得第十四届中国设计业十大杰出青年-光华龙腾奖

  2018 年获得Architecture Press Release（APR）国际可持续建筑商业室内类别一等奖

       2019 年获得第十二届佛罗伦萨双年展【达芬奇2019室内设计:金奖】

  CUN寸DESIGN提出企业运营空间的名词概念，是国内首家结合艺术创意、科技办公、绿色办公等理念，完成企业办公效率最大化的空间设计团队，我们更是办公领域倡导趋势发展的先行者，每年都会发布对办公空间思考的最新趋势。 

  随着公司的发展，CUN寸DESIGN的设计作品从对空间设计的关注，逐渐延生到更广域的设计领域，近年CUN寸DESIGN关注和着力在帮助地产企业从产业布局根源上解决实际问题，以此来放大地产项目的商业价值。 

  因此，CUN寸DESIGN特别提出地产企业设计解决方法-【解法设计】，在设计前期，需要洞悉相关政策导向，结合自身发展诉求以及对标项目的运营特点，精准定位项目设计目的与任务。分析受众群体的消费趋势，构想搭建恰当的供需关系，打造引领行业发展动向的核心竞争力。 

  实施于设计当中，一方面，是贴合运营管理所需的空间规划，这是提升运管效率、降低运管成本的有效途径；同时，衡量受众的接受能力，有针对性的让空间视觉形式做先导，结合多维度相关设计艺术门类做出系统化的思考判断，在可控的建设成本中，重新定义惊艳的空间体验，放大项目核心特点，为行业发展树立标杆。

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