摘要：关于美，三岛由纪夫将其具象化为一尊金阁寺，在内心中焚其百次；痴迷与挣扎最终将自身推入一种虚无，蝉鸣袅袅，院落的流水掀起涟漪，自然的侧面闪烁着瞬间的金鳞。
当虚伪的幻影被毁灭，美便得以永生。
When the phantom of falsehood is destroyed, beauty is immortalized.
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《金阁寺》三岛由纪夫
Yukio Mishima, Kinkakuji
关于美，三岛由纪夫将其具象化为一尊金阁寺，在内心中焚其百次；痴迷与挣扎最终将自身推入一种虚无，蝉鸣袅袅，院落的流水掀起涟漪，自然的侧面闪烁着瞬间的金鳞。
Regarding beauty, Mishima Yukio visualizes it as a kinkakuji, burning it a hundred times in his heart; obsessing and struggling with it, he eventually pushes himself into a kind of nothingness, with cicadas curling up, the flowing water in the courtyard rippling, and the side of nature shimmering with momentary golden scales.
向内的重逢，向外的冲动
Inward Reunion, Outward Impulse
亚洲美学，是一种人与自然探索平衡关系中的副产物，也是冥想中创造出的阈限空间。其中对美的探索更是陷入痴狂的境地，宛如一艘航行在大洋上的巨船，撞碎一道有一道海浪。掀起的浪花有的名为简约有的名为极繁。在一阵精疲力竭后拾起海面上最后一层破碎不堪的涟漪，在其中却发觉了短暂又敏锐的美，这就是“物哀“。
Asian aesthetics is a by-product of the search for a balanced relationship between man and nature, and the creation of a threshold space in meditation. The exploration of beauty is in a state of obsession, like a huge ship sailing on the ocean, crashing a wave. Some of the waves are called minimalist and some are called extreme. After a period of exhaustion, picking up the last layer of broken ripples on the surface of the sea, in which a fleeting but sharp beauty is found, this is "the sorrow of things".
designER
罗琛 Luo Chen
澍田，不止于设计
美，超越十全十美
澍田设计由罗琛女士创立，倡导创新、融合、匠意的空间美学，
我们坚信美不停留于外在，更是精神和文化的融合。
项目硬装空间以大面积的木质材料作为主要基材，辅以金属线条进行平立面上的构图与分割，加上绿色石材的点缀，空间呈现出宁静大气的温润气质。
The project hardcover space with a large area of wood materials as the main substrate, supplemented by metal lines on the flat surface of the composition and division, coupled with the embellishment of green stone, the space presents a tranquil atmosphere of warm temperament.
这种气质在空间中塑造出一个场域，恰巧躲入自然的侧影之中。
This aura shapes a field in the space that happens to hide in the sidelights of nature.
“我们生活在花园时代，而非建筑时代。”日本建筑师隈研吾认为，人并非随时需要建筑，但花园总是必要的。
"We live in the age of gardens, not architecture." According to Japanese architect Kengo Kuma, one does not always need a building, but a garden is always necessary.
过去几年，人们感受到了室内空间和封闭空间的风险， 户外体验因而显得更加重要。混凝土封闭盒子不再适合当代的生活需求，从这点出发，结合硬装条件。我们希望将自然元素进行当代转译，把整个空间当作一个花园的概念进行思考，将自然形态与材质运用到软装设计中，从而让室内的单体变为花园内部的景观。
Past few years, the risks of indoor and enclosed spaces were felt, and the outdoor experience thus became more important. The concrete closed box is no longer suitable for contemporary living needs, and from this point of view, combined with the conditions of the hard furnishings. We want to translate the natural elements into a contemporary way, think of the whole space as a garden concept, and apply natural forms and materials to the soft furnishings design, so that the indoor monoliths can be turned into landscapes within the gardens.
软装材质的选择遵循功能与搭配的和谐共处，充满质感的沙发屏风木饰面形成了整体的画面感，整个空间流畅的布局与简洁的线条相组合，使原本就敞阔的空间变得更加的轻盈通透。两把深色的木制中古椅让整个空间格调平衡和谐，并运用简约、返璞归真的设计手法，让生活回归最初的纯粹。
The choice of soft furnishing materials follow the harmonious coexistence of function and collocation, full of texture of the sofa screen wood finishes to form an overall sense of the picture, the whole space smooth layout and clean lines are combined, so that the original open the wide space becomes more light and transparent. Two dark-colored wooden antique chairs make the whole space tone balanced and harmonious, and the use of simple, back to basics design techniques, so that life returns to the original pure.
此款扶手椅为原版的中古椅，是丹麦的一款经典 设计。由设计师 Kristian Solmer Vedel 于 1963 年为橱柜制造商 Soren Willadsen 设计了“Modus” 系列家具。此款座椅采用巴西脏红木制成，搭配 黑色皮革内饰，设计和结构非常独特，因此是一 把非常舒适的椅子，并且非常适合阅读。
This armchair is the original version of the antique chair, a classic Danish design. The designer Kristian Solmer Vedel designed the "Modus" series of furniture for the cabinet maker Soren Willadsen in 1963. Made of dirty Brazilian mahogany with black leather upholstery, this chair has a unique design and structure, making it a very comfortable chair and ideal for reading.
重构室内感官体验，并坚持以人与自然共生的设计哲学，将地域人文融入日常空间中，构筑人与自然的和谐关系，使住户能在现代化的城市语境中享受“出则繁华，入则悠然”的自然诗意生活。
Reconstructing the indoor sensory experience and adhering to the design philosophy of symbiosis between man and nature, integrating regional humanities into the daily space, constructing a harmonious relationship between man and nature, so that residents can enjoy the "out of the city" in the modern urban context. The natural poetic life of "prosperous and leisurely".
物哀并不是悲观的去审视美，而是报以对一切的允许，在拙略的泥泞中捧走一束荷花。楼梯延绵上下两个空间，巨型的龙鳞装置在素色中泛出光芒，宛如你一座金阁停在夜晚漆黑的水面上。
Object sorrow is not pessimistic to scrutinize the beauty, but to report the permission to everything, holding a bouquet of lotus flowers in the clumsy mud. Staircase stretches up and down two spaces, giant dragon scale device in the plain color of the light, like you a golden pavilion resting on the dark water at night.
此款装置是由金属制成，安装在螺旋楼梯附近从 二楼通过中央空隙垂下，其金属鳞片是通过颜料 的堆积与自然的流动而形成，将这些鳞片以类似 于龙鳞的方式串联在一起排列在金属链的表面上 从而组合成的龙形雕塑。
The installation is made of metal, mounted near a spiral staircase that descends from the second floor through a central void. The metal scales are formed through the accumulation of pigments and natural flows, and are arranged on the surface of the metal chain in a series of scales that resemble dragon scales, resulting in a dragon-like sculpture.
无论是在众多东亚文化里，还是在各种古代图像描绘中，以隐喻回归及永恒，也是文化与智慧的象征。
Both in numerous East Asian cultures and in various ancient iconographic depictions of metaphorical return and eternity, and a symbol of culture and wisdom.
发现美、看到美、让美永恒。
Discover beauty, see beauty, make beauty last.
整个餐厅与开放式的西厨连成整体，缩小内外的界限，相互融合却又各自承载不同的功能，两者之间好像相互独立，却又相依。方形格栅的餐桌腿与客厅的屏风与之相互呼应，既特别又形成一致性，餐厅顶部悬挂的艺术吊灯造型简洁且充满层次感在餐桌上方相映成辉，厚重的体量感使其呈现雕塑般的美感，细腻的肌理表达空间的宁静与悠远 ，自然的艺术在此发挥的淋漓尽致。
The entire dining room and the open kitchen are connected as a whole, narrowing the boundaries between inside and outside, integrating with each other but carrying different functions, as if they were independent of each other, but also dependent on each other. Dining table legs with square grill screen with the living room and echo each other, both special and form consistency, the top of the dining room hanging art chandelier modeling simple and full of layered sense of reflection above the table, the heavy sense of volume so that the presentation of the sculpture-like beauty, delicate texture to express the tranquility of the space and remote, the art of nature in this play to the fullest.
此款悬挂在天花板上精心制作的金色装置是一款 吊灯，吊灯采用金属制成，并利用特殊的工艺和 材料高度的敏感性将纸张转化为精致且薄如蝉翼 的纸浆覆盖其金属表面，其自然的纹理赋予了古 色古香的韵味，仿佛唤起了一种宁静空灵的氛围， 并与金属形成了鲜明的对比。同时在吊灯的最下端设计了一块石头的装置在上面贯穿了整个空间。
This elaborate golden fixture suspended from the ceiling is a chandelier made of metal, with a special process and a high degree of sensitivity of the material that transforms paper into a delicate and thin pulp covering the metal surface, whose natural texture gives it an antique flavor, as if to evoke an ethereal and serene atmosphere, and contrasts with the metal. At the bottom of the chandelier, a stone device is designed to run through the entire space.
卧室本质是精神和意志的归属，在木色的基调下融入简约清爽的软装陈设，艺术家的作品将优雅文艺的和谐氛围表现得更加明显，在赋予空间无限想象得同时，让人感受到家的温度与美好，轻围出一种治愈、宁静、内敛的氛围感，富含张力的设计手法轻易调动居者对生活丰富立体的感知，达至功能和美学的平衡。
The essence of the bedroom is the spirit and will belong to the wooden tone into the simple and refreshing soft furnishings, the artist's work will be elegant literary harmony of the atmosphere more obvious, in giving the space unlimited imagination at the same time, people feel the temperature of the home and the beauty of the light surrounded by a kind of healing, serenity, introspective sense of the atmosphere, rich in tension of the design approach to mobilize the residents of the life of the rich and three-dimensional perception of a balance between functionality and aesthetics. Functional and aesthetic balance.
山峦叠嶂，浴室延续了对自然与居住空间的合作课题，在保证私密性的前提下引入自然光线。暖色调硬装与软装艺术品渲染除了破晓时分的光泽，粼粼波光下是松弛入骨的享受。
The mountains and mountains, the bathroom continues the theme of collaboration between nature and living space, introducing natural light while ensuring privacy. Warm-toned hard and soft artwork renders in addition to the sheen of the break of dawn, the shimmering light is relaxing into the enjoyment of the bones.
我们从未忘记自己真正想寻求的事物，风雨吹打着，却淋不湿心中乐游园的引力。物美并非亘久不变，物美美于飘渺金鳞点醒涟漪。
We have never forgotten what we really want to seek, the wind and rain blowing, but not wet in the heart of the gravitational pull of the paradise. The beauty of things is not unchanging for a long time, the beauty of things in the misty golden scales wake up ripples.
来源：火车头美学