壹席设计 | Bridge Art Office 自由 - 扮家家问答频道-,室内设计问答,3dmax疑难问答-扮家家室内设计网

只要一个移动终端就可以在任何地方办公的今天，办公室的作用是什么？

What is the role of the office today when you can work from anywhere with just a mobile terminal?

于内而言，办公室是信息收集、合成、归纳的场所，将志趣相投的人聚集在一起；于外而言，办公室如同人的衣帽配饰，需要清晰直观地展示出企业的形象，同时承担起接待功能。在此之上，中国人还讲究心灵的时空，在空灵的世界中创造意义。

Internally, the office is a place where information is collected, synthesized and summarized, bringing together people with similar interests; externally, the office is like a person's clothing and accessories, needing to clearly and intuitively display the image of the company, while assuming the function of reception. On top of this, the Chinese also pay attention to the time and space of the mind, creating meaning in an ethereal world.

在BRIDGE ART OFFICE的设计之中，胡涛希望逾越“眼见为实”，让思想的触角无界延伸，在有限的空间实现无限的自由，给人们一个重新进入办公室的理由。

In the design of BRIDGE ART OFFICE, Huson Hu hopes to go beyond "seeing is believing", to let the tentacles of thought extend without boundaries, to achieve unlimited freedom in a limited space, and to give people a reason to re-enter the office.

设计

远离复杂的形式，回归心灵的体验

━

在高原雪山之上，褚红宣示的是令人敬畏的静谧力量，而在BRIDGE ART OFFICE中，褚红带着旧时光的典雅，构建起空间的温暖氛围。

On top of the highland snow mountain, Chu red declares the awe-inspiring quiet power, while in BRIDGE ART OFFICE, Chu red carries the elegance of the old time and builds up the warm atmosphere of the space.

入口，是品牌自身审美和价值观念的直接体现。作为空间序列上的起点，也承担着引领导向的功能。胡涛通过界面、侧界面与顶界面的有机结合实现多层次的空间建构，立墙开出一线作为内外空间的联通，无形中增加立面的光影变化。品牌标识是墙面唯一的有形装饰，同时作为隐形的视觉导向系统。

The entrance is a direct reflection of the brand's own aesthetics and values. As the starting point of the spatial sequence, it also bears the function of leading and guiding. Huson Hu realizes multi-level space construction through the organic combination of interface, side interface and top interface, and the vertical wall opens a line as a link between the inner and outer space, which invariably increases the light and shadow changes of the façade. The brand logo is the only tangible decoration on the wall, and at the same time acts as an invisible visual guidance system.

空间内部多以家具组合形成隔断，布局灵活可变。玻璃家具减轻体量感，网格结构柜子既是功能性的家具也是区域的引导。洽谈区与汇报区毗邻而设，主管办公区外即是选材区，员工办公区位于空间最深处，简单的分割将办公室从封闭的形式中解放出来，人的自由灵活度也相应增加。

The interior of the space is mostly partitioned with furniture combinations, and the layout is flexible and variable. The glass furniture reduces the sense of volume, and the grid structure cabinets are both functional furniture and a guide for the area. The negotiation area and the reporting area are located next to each other, the selection area is outside the supervisor's office, and the staff office is located in the deepest part of the space. The simple partition liberates the office from the closed form, and the freedom and flexibility of people are increased accordingly.

昂贵的材料成就昂贵的设计是圈内不成文的规则，而对于胡涛来说，材料的价值从来不是决定价值的标尺。他的标尺是：以最少的材料成本实现最大程度的空间质感；让设计成为一种语言，体现其创造力、文化性、艺术性的精神内核；让设计不再仅仅只为生产而服务，而是以人的存在为价值取向。

It is an unwritten rule in the circle that expensive materials make expensive designs, but for Huson Hu, the value of materials is never the yardstick to determine the value. His yardstick is: to achieve the maximum spatial texture with the least material cost; to let design become a language, reflecting its creativity, culture and artistic spiritual core; to let design no longer serve only for production, but take the existence of people as the value orientation.

艺术

红桶

让太阳从内心升起

让天启般的声音在脑中回荡

━

现代办公室功能性有余、展示性十足，然而缺乏生命感。胡涛将“红桶行动”“七贤雅座”等放到空间之中，一方面是用艺术行为补充表达设计背后的思考，另一方面也试图籍此丰富室内设计的内容。

The modern office is functional and expressive, but lacks a sense of life. Huson put "Red Barrel Action" and "Seven Sages" into the space, on the one hand, to supplement the thinking behind the design with artistic acts, and on the other hand, he also tried to enrich the content of interior design.

85后产品设计师彭钟，拿下过近百项国际大奖。由其发起的“红桶行为”开始于2015年，以一只寻常的红色塑料桶覆盖头部，就像一个没有面目的人行走在地球各个角落。无用之桶，无用之用，并无确切的指代与指向。在胡涛眼里，这就是自由的一种。

Peng Zhong, a post-85 product designer, has won nearly 100 international awards. The "Red Bucket Act" initiated by him started in 2015, with an unusual red plastic bucket covering his head, just like a faceless person walking around the corners of the earth. The useless bucket is useless, and there is no exact designation or direction. In Huson's eyes, this is a kind of freedom.

▲彭钟《七贤之“山涛”》不锈钢

▲叶勇《22·NO125》布上丙烯

在空间的主过道上，还放置着彭钟设计的 “七贤雅座”之一。在这件作品中，彭钟将球表面的点和线无规律地错位和拉伸，形成雕塑般的造型与金属的外观，将七贤的容止、气度与追求形象化。“容错”，让“七贤雅座”自带张力，像生命体一样活着。

In the main aisle of the space, one of the "Seven Sages Elegant Seats" designed by Peng Zhong is also placed. In this work, Peng Zhong dislocates and stretches the points and lines on the surface of the sphere in an irregular manner, forming a sculptural shape with a metallic appearance, visualizing the tolerance, temperament and pursuit of the seven sages. The "fault tolerance" allows the "Seven Sages" to carry its own tension and live like a living organism.

让错误的延伸成为意想不到的惊喜，胡涛对此深有共鸣。他认为，未来室内设计的多元化，不止体现在设计本身的材料、工艺与结构上，还包括多种行业、多种形式的跨界融合。在此过程之中，越是生涩越有可能激发出新的效应。

Let the extension of mistakes become unexpected surprises, Huson deeply resonates with this. He believes that the diversity of future interior design is not only reflected in the materials, techniques and structures of the design itself, but also includes the cross-border integration of multiple industries and forms. In this process, the more raw the design is, the more likely it is to stimulate new effects.

游戏

把自己活成一道光

因为你不知道谁会借着你的光走出黑暗

━

新冠促使线上办公全面发酵，将信息时代的上班族紧紧裹挟。虚拟空间帮助人们实现无界沟通的同时，也消解了人与人之间的真实接触。人的真实面目隐藏在屏幕之后，看似高效实则不利于深度的沟通与协作。

The new crown has prompted a full-scale fermentation of online office, holding office workers in the information age hostage. The virtual space helps people to achieve borderless communication, but also dissolves the real contact between people. The real face of people is hidden behind the screen, which seems to be efficient but is not conducive to deep communication and collaboration.

孤独，是人生中最重要的命题，也有人将之视作最为严重的社会问题。在急速变化的社会之中，人的自我恢复尤其重要。成年人与孩子一样存在游戏心理。游戏，不仅可以满足人的自娱自乐，还能缓解压力，而创意性的“道具”，还能激发人的灵感和创作的热情。

Loneliness is the most important proposition in life, and some people regard it as the most serious social problem. In the midst of a rapidly changing society, it is especially important for people to recover themselves. Adults have the same game mentality as children. Games can not only satisfy people's self-indulgence, but also relieve stress, and creative "props" can also inspire people's inspiration and enthusiasm for creation.

在《星球大战》中，“光剑”是一项非常重要的武器。不同颜色的“光剑”象征着不同的身份和阵营，而白色光剑的拥有者，通常不服从任何一个联盟，只为自身的自由意识而战。“光剑”造型的照明装置既平衡了竖向与横向上的视觉矛盾，也在空间肌理上增加了材质对比，制造出符合年轻人的娱乐趣味。

In "Star Wars", "lightsaber" is a very important weapon. Different colors of "lightsabers" symbolize different identities and camps, and the owner of a white lightsaber, usually does not obey any one alliance, only for their own sense of freedom to fight. The lighting installation in the shape of "lightsaber" not only balances the visual contradiction between vertical and horizontal, but also increases the material contrast in the texture of the space, creating an entertainment fun for young people.

装置、家具、雕塑、画作等，都是诠释空间概念的“道具”。它们不仅可以装饰环境，还可以彰显品牌的主张与特质，呈现人、技术与艺术相互融合的空间。纯粹为功能而设计的空间单调而冷漠，就像没有情节的故事一样，而通过“道具”实现情景的转接，可以有效引起人们的情感共鸣。

Installations, furniture, sculptures, paintings, etc. are all "props" to interpret the concept of space. They can not only decorate the environment, but also show the brand's proposition and characteristics, presenting a space where people, technology and art are fused with each other. A space designed purely for function is monotonous and indifferent, just like a story without a plot, while the transfer of scenarios through "props" can effectively arouse people's emotional resonance.

结语

用思想看世界

让设计更自由

——胡涛

BRIDGE ART OFFICE位于“温和觉醒”展厅之上，空间的概念、尺度与色彩，与展厅一脉相承。从“觉醒”到“自由”，胡涛试图在商业项目之中保持一份艺术家的气质，在探索中找寻到自己的设计语言。这是一个需要底蕴、需要想象力去解读的空间，设计简洁而低调，然而每一步都有每一步的深趣，有心人若有兴趣不妨细细体会。

BRIDGE ART OFFICE is located above the exhibition hall of "Gentle Awakening", and the concept, scale and color of the space are in line with the exhibition hall. From "awakening" to "freedom", Hu Tao tries to maintain an artist's temperament in the commercial project and find his own design language in the exploration. This is a space that requires substance and imagination to interpret. The design is simple and understated, yet each step has a deep interest, so those who are interested may wish to experience it in detail.