DCDSAA淀川建筑事务所 | 东方意境之美：正山堂茶室-室内设计师平台 -室内设计论坛-扮家家室内设计网

▲骏眉茶空间

美，不存在与物体之中

而存在于物与物产生的阴翳的波纹和明暗之中

——谷崎润一郎《阴翳礼赞》

Beauty does not exist within objects,

but rather in the shadows and contrasts that arise between objects.

——Junichirô Tanizaki In Praise of Shadow

▲建筑门头外景

该项目是DCDSAA为正山堂品牌打造的茶室空间，希望营造一个品茶和放空的精神之所，让喝茶体验变得更加寂静，可以享受纯粹由喝茶带来的质朴体验。

This project is a tea room space created by DCDSAA for the Zhengshantang brand, with the hope of creating a spiritual place to sip tea and let go, so that the experience of drinking tea can become more silent, and one can enjoy the pristine experience brought about purely by drinking tea.

▲接待区与陈列展示

▲展柜细节

此地有崇山峻岭，茂林修竹

又有清流激湍，映带左右

引以为流水曲觞，列坐其次

——王羲之《兰亭集序》

一首《兰亭集序》道出古人凭栏而坐，曲水流觞，畅叙幽情之雅兴，今有观韵以茶空间效之，这不是一间传统的茶室。过道迂回辗转，在“曲径通幽”的氛围中捕捉空间与内心之间的微妙气场，涤除杂念，享受独有的清幽和雅致。

A poem from Preface to the Anthology of Orchid Pavilion expresses the refined sentiments of ancient people who sat by the railing, enjoying the flowing water and wine, and expressing their innermost feelings. Today, we observe the charm of tea space, which is not a traditional tea room. The winding corridor captures the subtle atmosphere between space and inner thoughts in the ambiance of “a winding path leading to a secluded place,” purging distracting thoughts and enjoying the unique tranquility and elegance.

▲多功能茶空间

▲多功能茶室局部

我们试图深度挖掘茶文化的时代性表达，用年轻化的设计语言，通过提炼和呈现中国茶道美学中现代禅意精神中的“东方意境之美”，营造一个品茶和放空的精神之所。

We attempt to deeply explore the contemporary expression of tea culture, using a youthful design language to extract and present the beauty of “Oriental artistic conception” in the modern Zen spirit of Chinese tea aesthetics, creating a space for tea tasting and relaxation.

▲品茶会客厅

▲休闲会客厅

▲展柜与廊道

步入大厅，空间简洁柔和的线条层次分明，开放的空间给予空间更多可能性。设计师打造空间的初心是退设计化，尽可能的去弱化空间本身存在的结构落差，让整个空间更连贯、自然，成为正山堂品牌印象的一个全新维度——具有东方美学意境的新派茶空间。

Upon entering the lobby, the space is characterized by simple and soft lines, with distinct levels, and an open layout that allows for more possibilities. The designer’s initial intention in creating the space was to minimize the design and weaken the structural differences inherent in the space, making the entire space more coherent and natural, and creating a new dimension of the Positive Mountain Hall brand impression - a new-style tea space with Oriental aesthetic conception.

▲灯光装饰隔断

▲茶台局部

稍加留意会发现墙面的肌理，是通过传统手工技艺的精彩呈现，柔和而素雅，让空间增添一丝文人气息。即使外表粗糙、斑驳、有纹路的墙面在空间中也不会显得突兀，正是这种精致的粗狂对比，呈现了一个极具时代气质的空间体验。

Upon closer inspection, one will notice the texture of the walls, which is presented through traditional handcraft techniques, soft and elegant, adding a touch of literati atmosphere to the space. Even rough, mottled, and textured walls do not appear abrupt in the space, thanks to the exquisite contrast between roughness and delicacy, presenting a space experience with a strong contemporary vibe.

▲林飞应茶空间

▲茶台细节

东方推崇风雅与韵味，岁月在器物与空间上烙下的痕迹都会让人觉得无比的安心与亲密。它承载着一种记忆，一段情绪，这正是我们所理解的茶道美学。

The East values elegance and charm, and the traces left by time on objects and spaces can make people feel incredibly at ease and intimate. It carries memories and emotions, which is precisely what we understand as the aesthetics of tea culture.

▲空间局部细节

▲靠窗灯光隔断

茶为意，空间为境。一束插花，一方茶席，品茶之余，传递着人与自然、人与人、人与艺术的美感。独饮细品，或者与好友对饮，给琐碎的日常生活一段留白，才能理解无声之处造就的精彩。

Tea represents intention, while space represents environment. A flower arrangement, a tea table - while enjoying tea, we convey the beauty of the relationship between people and nature, people and people, and people and art. Whether savoring tea alone or drinking with friends, leaving a blank space in our mundane daily lives allows us to appreciate the wonders created in silence.

▲正红茶空间

▲璞龙茶空间

▲茶室一角

▲细节局部

光的出现，让建筑室内有了明暗关系。从灯光的设置，到材质的纹理，再到建筑空间分布，处理了空间与光的关系，便形成空间自身独特的气质。

The presence of light creates a relationship between light and shadow within the interior of a building. From the arrangement of lighting, to the texture of materials, and the distribution of architectural space, the relationship between space and light is handled to form the unique temperament of the space.

▲岩语茶空间

新与旧是一对辩证关系，新素研的设计也大多都是在寻找“老物新用，古法新作“之道，让传统与现代产生对话，传承并创新。

New and old are a dialectical relationship, and many of Xin Su Yan’s designs are also seeking the way of "using old things in new ways and creating new works with ancient methods", allowing tradition and modernity to engage in dialogue, inherit and innovate.