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大羽营造|深圳蛇口海上世界餐厅软装案例-万物生长

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这是一次关于中国乡土手艺的空间营造体验,一种源于中国土地的“编作”行动,产生的一个有机的类似万物生长的视觉形态。重新回望中国乡土社会过去最底层的手艺状态,是否能和一个高级的现代空间产生一种自然的对话和交融。从而在中国的现代空间里,让人性的本能手艺在这个时代重返中国大地。在中国过去的乡土生活里,存在着大量的“编作”手艺,应用于家家户户的生活。尤其是源于乡土底层社会生存状态里,他们的“编作”手艺并非是专业匠人所为。亦并不是如富贵人家所请的匠人“编作”手艺那样精美,而是完全出于一种生存的基本需要,亦或叫做“本能”。

This is an experience on creating the space for Chinese folk arts and crafts, a “weaving” activity originated from Chinese soil, and an organic visual form similar to growing of things. Look back again to grass-roots handicrafts in Chinese folk society in a bygone age, and wonder if we can seek for natural dialogue and blending with advanced modern space to re-embrace those handicrafts that sparkle humanistic instinct on the ground of modern space in China. In the past folk life of China, “weaving” was a common household handicraft offering a large number of assortments, neither made by skilled craftsmen, particularly in the light of its origin in the rural underclass, nor seen so exquisite as the “weaving” objects by craftsmen for the wealth, but absolutely out of the basic need for survival, or “instinct”.


在充满自然物料的土地里,寻找到自己需要的材料,为了生活,更严重的讲是为了“活着”,靠一双并不专业的手,来满足自己生活上的点点滴滴,这种过程自然拙劣,甚至在一个专业的匠人眼中更是微不足道,但别无选择,因为“生”和“贫”让他们只能这样,这是源自自身生活本能功能的“编作”,一切均源于本能。但恰恰就是这种“本能”,却让这些物件虽不精美但很真诚,很感人。甚至会让观者动容!手艺很低级,但他在满足使用功能的同时“情感”真诚的高级。如果从艺术创作角度来讲,这些看似不美的物件执行过程,因为匠人的不专业和不熟练产生了既可控制又不可控制的“诚意”,这恰恰是艺术创作最弥足珍贵的“因素”。现在这个空间所探寻的便是这样一种体验。

In the soil full of natural materials, they found what they needed for living, or “livelihood” even seriously.All they wanted were attained by their unskillful hands. It is unwise, and rather of little importance in the eyes of skilled craftsmen, but the only choice for the people haunted by impoverished life. The “weaving” was instinctive creature and all was like that. Their handicrafts are not delicate due to the very “instinct” but appealing for their sincerity and even strikingly moving, poor enough though, but with highly emotional intensity and practical functions. If, from the perspective of art, controllable but uncontrolled “sincerity”, arising from the making process of these seemingly unattractive objects for lack of skills and proficiency, is the most precious “element” in making artistic work. This space is where we can explore such an experience.



尽量回避任何的完美计划。创作在开工现场此时此地瞬间生成感觉体验,发动一群非专业的工人,凭着自己对他们生活的乡土关于“编作”手艺的回忆,用最笨的方法,不懈的毅力,“编作”出了这样一个空间形态,细部形态也是这些人的自由发挥,大胆的让工人,把各自留在记忆里的乡土“编作”给编出来,鼓励他们大胆的冲上去。如导演一样说戏,说得这些临时匠人们找到各自自己的感觉,不懈鼓励这些工人“你可以”“你能做到”仅此而已。

Try to avoid the interference by a perfect plan. At workshop thence creation instantaneously brings a perceptual experience. A group of unskilled workers are mobilized to “weave” such a spatial form with most native approach and unremitting efforts, all from their memory of “weaving” handicraft as they did on their native soil. The exquisite form is also freely figured out by these people, who should be actively encouraged to become bold in making the “weaving” objects that stay in their memory of their past, in spite of misgivings. Like a director’s instruction on playing the role, these temporary workers are propelled to find their own inspiration, with a continual drive only by words such as “you can” and “you can get it done”.

∇  平面图 plan



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