C.DD | 尺道设计事务所：回 | 万物归宗 立方体装置

　　回 | 万物归宗

　　设计机构：C.DD | 尺道设计事务所(www.cddesign.cn)

　　总设计师：何晓平、李星霖

　　项目团队：余国能、梁一辉、吕灼明、蔡铁磊

　　摄 影：欧阳云

　　项目地点：广东佛山

　　装置面积：9㎡

　　主要材料：冲孔钢板、镀膜钢化玻璃、竹子

　　展示时间：2015年 – 2016年

　　这是个3米×3米×3米的立方体装置。空间不大，但承载了设计师对于自己家乡广东佛山的感情和思考。设计的核心理念可以用四个字概括——“万物归宗”。

　　实际上，这个装置是设计师在广州设计周-城市表情板块的邀请下，完成的一件代表佛山的展品。由于展方有空间限制要求，设计师选择了可以拥有最大容积的立方体作为装置的载体，以呈现“城市”这个广大的主题。而立方体的运用，也让设计师得以围绕“万物归宗”这一核心理念，构筑一趟去往“佛山”也回归本心的旅程。

　　从结构上看，设计师用竹子绕着立方体的几何中心围出了一个更小的长方体空间。由此，沿着立方体的四个侧立面，一条能容纳一人通行的单向走道就被辟出。这是旅行的路。但如果自上而下俯看整个空间的横截面就会看见，竹子墙和外立面墙的两个方形实际上拼出了一个象征“归宗”的“回”字。

　　“回”的过程从在进入装置之前已经展开。观众从外面的世界由狭小的入口独身进入装置，和着带有仪式感的背景音乐缓步绕行装置一周，透过根根竹子间的缝隙，看到摆在空间正中央的南狮和牛皮鼓，就是经历了一次环境和内心都由外到内的旅行。而这样的旅程如果从空间层次上看，从外界环境，到外立面的钢板材料，到内墙使用的竹子，再到被竹子围起的南狮、牛皮鼓，还经历了由现代到古老，由新到旧的过程，会给观众以另一个维度的启迪。

　　对于设计师而言，所谓“宗”是佛山，也是怀着初心的本我。摆在空间正中央的南狮正是发源于佛山市南海县西樵地区，因此能代表佛山一部分重要的传统文化，也能象征设计师的根。而舞狮就需要击鼓，因此一张未经装饰的牛皮鼓原型被置于南狮白胚之下，二者成套出现。值得一提的是，选用南狮白胚而非已点睛装饰的南狮是因为，设计师可以利用白胚的透光性，通过在胚内放置闪烁的彩灯，来丰富南狮的意象。正如鼓声引导舞狮的情绪和动作，空间内的背景音乐可以和彩灯的闪烁形成配合。那么在观众看来，南狮时而红、时而绿，表现出的也是不同的感情。

　　代表佛山的意象还出现在了外立面上——设计师用小孔在钢板墙面上拼出了佛山市和南海县的地图以及“佛山”两个字。从功能性上说，这一方面能加强空间的透气性，使得参观者能有更好的感受。另一面，这些小洞也为空间透了光——除此之外，整个空间只有竹子隔出的长方体顶面有块玻璃为空间提供了自然照明。从意境上说，考虑到过道的天花板和地板都使用了镜子，当小孔中透入阳光，在镜子的折射下，整个空间会变得更加神秘、虚幻、多变。这正是心灵之旅所需要营造的意境。而这样的意境还会随装置本身摆放位置不一样而变化——阳光照射角度的变化，使得小孔透光造成的光影图画又会是另一番模样

　　设计师坦言，整个设计过程更像是一次重新学习和领悟家乡传统文化的过程。不过由于空间有限，能表述的也有限。她只希望通过这样精选式的设计表达，能让更多人关注佛山，感悟佛山。而在更大的层面说，她希望每个观众都能受到装置的启发，重视家乡传统文化的传承，关注自己的内心根源，不管他们来自哪里，身处何方。

　　Hui | Origin of Everything

　　Design Company: C.DD (www.cddesign.cn)

　　Chief Designer: HE Xiao-Ping, LI Xing-Lin

　　Project Team: YU Guo-Neng, LIANG Yi-Hui, LV Zhuo-Ming, CAI Tie-Lei

　　Location: Foshan, Guangdong, China

　　Area: 9㎡

　　Main Materials: perforated steel plate, LOW-E, bamboo

　　Photographer: OUYANG Yun

　　Display Time: 2015 - 2016

　　It is a cubic architectural installation of 3m*3m*3m. This is not a large space; however, it carries the designers’ great affection and thinking for their hometown Foshan. The core concept of the design could be summed up in one phrase” Origin of everything”.

　　Actually, this architectural installation is an exhibit represents Foshan designed by the designers when invited by Expressions of The City during Guangzhou Design Week. Because the organizer sets limitations to the size of exhibition work, so the designers choose a cube which has the largest volume as the carrier of the architectural installation to express the vast theme “city”. The use of the cube allows the designers to present a journey back to “Foshan” and their original minds around the core concept of “Origin of everything”.

　　For the structure, the designers use bamboos to form a smaller rectangular space around the geometric center of the cube. A one-way path which allows passage of only one person is thus built along the four lateral facades of the cube. This is the road for the journey. However, when look at the cross section of the whole space from above, the two squares created by the bamboo wall and exterior wall together form the Chinese character “Hui”, which symbolizes “return to the origin”

　　The process of “Hui”has begun before visitors enter into the architectural installation. Visitors could come into this space alone through a narrow entrance, walk slowly and circle the space with the playing of background music which has a sense of ritual. While looking through the gaps between the bamboos, semi-finished Chinese Southern lion and Chinese leather drum placed in the centre could be seen; it is like a journey from outside to inside of both your inner self and the environment. In respect of spatial level , this journey , from external environment, the steel plate material of the façade, to the bamboo of the inner wall, and then to the traditional prototypes which enclosed by bamboo, allows visitors to experience the process from modern to ancient and from new to old, and offers visitors enlightenment from a different angle.

　　For the designers, “Origin” means Foshan and the original selves. The Chinese Southern lion placed at the right centre of the space is originated from Xiqiao district, Nanhai county, Foshan. Thus it represents part of Foshan’s important traditional culture and it represents the root of the designers as well. Beatings of drum is necessary when performing a lion dance, so a primitive leather drum prototype is placed under the white body of the Chinese Southern lion, they appear as one set. What is worth mentioning is that, the designers choose semi-finished Chinese Southern lion instead of a completed Chinese Southern lion with eyes is because that they could take use of the light permeability of the white body; they could make the image of the Chinese Southern lion more rich through placing flashing lights inside the white body. As the beatings of the drum leads the emotions and actions of the lion dance, the background music in this space matches with the flashing colorful lights. So visitors would see the lion in red or in green from time to time, and the colors express different emotions.

　　The imagery which represents Foshan also appeared on the façade – the designers piece together the maps of Foshan city and Nanhai county and the words “Foshan”on the steel plate wall with small holes. Functionally, it strengthens the ventilation of the space and gives visitors a better feeling on the one hand; on the other hand, these small holes bring light to the space – apart from that, only the rectangular roof which is partitioned off by bamboos that could provide natural light for the space. From the aspect of artistic conception, considering that mirrors are used in both the ceiling and floor of the corridor, when sunlight enters into the space through the holes, under the reflection of the mirror, the whole space will become more mysterious, fantasy and changeable. This is the artistic conception needed to be created for the journey of our mind. And such artistic conception will change according to the position that the installation is placed— when the angle of the sunshine changed, the picture create by light through the holes will change accordingly.

　　The whole design process is more like a process of re-learning and understanding of the traditional culture of their hometown, said the designers. But due to the limit of space, so what could be expressed is limited as well. What they hope is that through this well-chosen design expression, more and more people could pay attention to Foshan and try to understand Foshan. From higher level, the designers hope every visitor could be inspired by the architectural installation so as to pay more attention to their hometown’s traditional culture and the original self, no matter where they come from and where they are.