凿户牖以为室，当其无，有室之用。故有之以为利，无之以为用——《道德经》 Chiseling a door of household to produce a room, when it is not, there is room for use. Therefore, it is beneficial to have it, but useful to lose it. ——- Tao Te Ching ▼办公室外观全景，overall exterior view of the office
“無界”这个名字来自《道德经》，这是“無界”设计的理论基础，也是“無界”设计的视觉界面。舍弃一切形式主义上的装点、装饰。从功能美学进行深度思考，推敲琢磨后舍弃司空见惯的中式传统符号和一些表像元素。我更多的思考如何从传统经典所承载的人文精神中提炼出新的元素，将这些元素运用至建筑空间中，试图表达出我们感受到的“当其无，有室之用”的理念。我们追本溯源，回到原点之后基本就是“無界”了。具象的形体结构是为了便利我们使用和体验空间，形体结构是一个便利的媒介，空间意境带给人的感受才是重要的无用之用。 The name “WUJE” comes from the Tao Te Ching which is the theoretical basis and the visual interface of “WUJE” design, abandoning all formalistic ornaments and decorations. From the perspective of functional aesthetics, we discard the common traditional Chinese symbols and representation elements after deliberation. I think more about how to extract new elements from the humanistic spirit carried by the traditional classics and apply these elements to the architectural space, trying to express the idea that “when it is not, there is room for use”. When we go back to the origin, we are boundless, the “WUJE”. Concrete image is an intermediate medium, to facilitate our use and experience of space while artistic space conception brings people the feeling of “the use of useless” which is the most important. ▼办公室外观局部，采用玻璃外墙，partial view of the office with the glass exterior wall
▼办公室入口，用三片钢板代替大石表达山的寓意，the entrance, replacing the meaning of the mountain with three steel plates
“無界”在传承传统文化，同时向日本、东南亚、现代西方文化学习，例如入户园景用了传统的旱景造景手法，同时吸取日式的枯山水，对流沙喻水处理，在尊重传统造景一池三山的概念后，我更偏好用三片钢板代替大石表达山的寓意。山中用一个無的球体来构建塑形，这种用無的方式表达有的形式是我喜欢的。山边喝水的小马雕塑是我和朋友共同完成，我们在塑造过程中融合了鹿的神态进行了设计，取名叫“混沌”。这个混沌是我对中式表达文化的一种诠释缩影。 While inheriting traditional culture, “WUJE” also learns from Japan, Southeast Asia and modern Western culture. For example, the landscape of the household adopts the traditional dry landscape landscaping method and the Japanese style of dry mountain water expression. The convection sand is treated with water, respecting the concept of traditional landscaping with “one pool, three mountains”, and replacing the meaning of the mountain with three steel plates. In the mountains, a shapeless sphere is used to construct the shape, expressing the form in a non-way which is my favorite artistic expression. The pony sculpture that drinks water on the mountain side is done together with my friends. We designed the manner of deer in the process of shaping and named it “chaos”. This chaos is an epitome of my interpretation for Chinese culture. ▼办公室入口局部，入户园景采用旱景和日式枯山水的造景手法，partial view of the entrance, the yard adopts the dry landscape landscaping method and the Japanese style of dry mountain water expression
我们向自然寻找美学，借助具象的建筑结构勾画出阳光的形态，试图通过空间的各个角度与四季阳光对话，捕捉出不同时间不同空间下的阳光带给我的六感体验。我试图通过植物来表达生命的美感，通过不同方式对植物的运用让植物起到人与建筑的媒介作用，追求人与自然建筑的和谐共生关系。我觉得最美莫过于自然，我们创造的人文学科只是自然中的一部分，所以尊重自然美学。通过物象表达美感，通过物象慰寄心灵。 We look for aesthetics from nature and use the concrete structure to outline the invisible form of sunlight. We try to capture the six senses of sunshine in different time and space through dialogue with the four seasons of sunlight from various angles of space. I try to use plants to express the beauty of life. Through the use of different ways of plants, plants can play the role of media between people and architecture and pursue the harmonious symbiotic relationship between human and natural architecture. I think the most beautiful is nature. The humanities created by human beings are only a part of nature. Thus, respect natural aesthetics, through the object to express the beauty, through the object to comfort the soul. ▼办公室一层局部鸟瞰图，不同时间不同空间中的阳光营造出美丽的光影效果，partial bird-eye’s view of the office, the sunshine in different time and space creates the light and shadow effect
当我闲坐于下沉式沙发池发呆一个下午的时候，通过这样的角度体验观察才领会到书中所描述的古人寄情于山水的心境。我们追求美学，减去没有理由的装饰，让建筑和人自然三者之间没有隔阂，建筑放弃伪装，放弃多余的遮丑收口和装饰，当一个没有掩饰的建筑与我们共存时，我在这样的空间里很舒适自然，心情很放松，感觉我是建筑的使用者，是建筑的主人，亦是建筑的一部分。 When I sat idly in the sinking sofa pool and stayed in a daze for an afternoon, I observed and experienced from this angle before I realized the mood of the ancients in the book. We pursue aesthetics, subtract redundant decoration, so that there is no barrier between architecture, people and nature. Architecture abandons camouflage and gives up superfluous cover-up and decoration. When an undisguised building coexists with us, I feel comfortable and relaxed in such a space feeling I am the user of the building, the owner of the building and a part of the building. ▼办公室一层空间，设有下沉式沙发池空间和岛台式办公休闲空间，the first floor with the sinking sofa pool and island-like space
▼办公室一层的下沉式沙发池，通过这样的角度领会寄情于山水的心境，the sinking sofa pool at the first floor, observing and experiencing from this angle to realize the mood of the ancients
▼从一层的岛台式空间看向室外，viewing the exterior space from the island-like space at the first floor
▼一层的岛台式空间，上方的天花板极具特色，the island-like space at the first floor, the ceiling above is distinct
▼一层空间局部，partial view of the first floor
▼办公空间，采用独特的天花板和灯具，the working space with the unique ceiling and lightings
▼一层空间中的室内绿植空间，the green plant space at the first floor
我们做减法向内寻找美学，建筑犹如我们的个性一样，试图放下过去的事情和过去的成绩，我们更加充分的理解当下，拿起当下的事物，每件事是一个新起点。我们做了一个光影logo，试图不刻意不具体的表达美学，让自然设计，随着天气阳光和人造光线的自然变化而出现，虽然名字是具象的传达，但是我们把它的形式交给它本身，尊重他。这样它不会打扰我，我也不会打扰它，偶尔相见似曾相识。我们团队也喜欢这种状态相处，没有体制没有区域，任何时间都能找到一个地方自处进行日常工作、交流、生活、休闲。 We do subtraction looking inward for aesthetics. Architecture, like our personality, tries to put past things achievements aside. We understand the present more fully and pick up the present things. Everything is a new starting point. We have made a light and shadow logo and try not to deliberately and specifically express aesthetics, making natural design appears with the natural changes of weather, sunshine and artificial light. Although the name is a concrete transmission, we give it its form to itself and respect it. In this way, it will not disturb me, nor will I disturb it. Meet occasionally-déjà vu. Our team also likes this kind of living condition, which is no system and no area. We can find a place to do our daily work, communication, life and leisure at any time. ▼室内楼梯空间，interior stairs
▼从二层俯瞰一层空间和室外，overlooking the first floor and the exterior space from the second floor
▼办公室入口庭院夜景，设置在山边喝水的小马雕塑，the night view of the entrance yard with the pony sculpture that drinks water on the mountain side
设计机构：WUJE-無界设计
项目名称：無界办公室
设计范围：建筑，室内，品牌
主案设计：WUJE-刘进才
设计团队：林宗凤 陈涉
摄影：肖恩
项目地点：福建福州
项目面积：260m2
设计时间：2018年4月
装置：青骑士装置艺术
客户：無界设计
品牌：本杰明，杜拉维特，BENALY贝奈利
Translated by Meng
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