“在一个匮乏的时代，人们专注于吸收和同化。而在过剩的时代，问题是如何排斥和拒绝”。江南，作为绵延千年赓续至今的文脉，体现着自然与文化、混沌与秩序、本能与理性的一种复合。

In an age of scarcity, people are focused on assimilation and assimilation. In an era of excess, the problem is how to exclude and reject. Jiangnan, as a continuous cultural context for thousands of years, embodies a combination of nature and culture, chaos and order, instinct and rationality.

抛开地域、文化或传统上的清晰语义，春山秋水以全然新异的空间语言和全新造物的奇思妙想，解构现成江南定义而探索设计关联于生活的更多可能。

Regardless of the clear semantics of region, culture or tradition, Chunshan qiushui deconstructs the existing definition of Jiangnan and explores more possibilities of design related to life with a completely different spatial language and creative ideas of new creations.

潮汕“黑珍珠一钻”潮林府进驻杭州，坐落钱江新城CBD核心区的来福士中心40层，定位于奢享云端江景的高空私宴。

Chaoshan Black Pearl drill Chaolin Mansion is stationed in Hangzhou, located on the 40th floor of Raffles Center in the core CBD area of Qianjiang New Town, positioned as a high-altitude private banquet enjoying the cloud-covered river scenery.

这一新语境下的生活方式载体，映射着地域性亚文化的渐进融合，在新与旧、传统与当代、本土与外来的碰撞糅合间，设计思考穿越惯性而以一种游离状态和反传统语法重新诠释文化符号的深层隐义。

The life style carrier in this new context reflects the gradual integration of regional subcultures. In the collision and mixing of new and old, traditional and contemporary, local and foreign, design thinking crosses inertia and reinterprets the deep meanings of cultural symbols in a kind of dissociation state and anti-traditional grammar.

项目涵盖入口通道、接待茶区、用餐大厅以及不同主题基调的包房系列，以环形的动线贯穿整层的体验闭环。

The project covers the entrance passage, reception tea area, dining hall and private room series of different themes, with the circular moving line running through the experience loop of the whole floor.

茶，作为潮汕与江南文化的连接点，浓淡之间浸润关联着生活习性乃至精神情感。水，更是岭东门户与鱼米之乡共通的根脉。电梯通道的一端为品茗区，粗粝的原石落点于直线切割的简劲空间形制，雅朴的山石肌理与远眺的山景静默对话。

Tea, as the connection point between Chaoshan and Jiangnan culture, the shade is associated with life habits and even spiritual emotions. Water is the common root of lingdong gateway and the land of fish and rice. At one end of the elevator passage is the tea tasting area, where the rough raw stone falls on the simple and strong space shape of the straight line cutting, and the elegant stone texture has a silent dialogue with the distant mountain scenery.

“这是一条永恒的法则：最美的应该最有力量”。当下的时代需要新的生活形式和生命状态，赋予人们一种特殊的闲适、放松的无为，艺术则是审美体验得以实现的最佳形式。

It is an eternal law that the fairest shall be the mightiest. The current era needs new life forms and life conditions, which entrusts people with a special leisure and relaxation. Art is the best form for aesthetic experience to be realized.

七个包房或温柔含蓄或浓烈灼热，以包罗万象的感觉主义将理性价值与浪漫情感重合同一，连接各个空间的廊道则由柔和的灯光和微景观装置引路，恰到好处地激发着审美体验与自由境界在设计思维下的生成。

The seven private rooms are gentle and reserved or intense and glowing, combining rational values and romantic feelings with an all-embracing sensationalism. The corridor connecting each space is guided by soft lighting and micro-landscape installation, which properly inspires aesthetic experience and free realm under the design thinking.

在“江南意象”的空间表现中，利用线条、色彩、形态、肌理等要素，对具有鲜明文化符号意义的雪、水、桥、栏等景致与风物，进行拆解集合并加以当代艺术的注脚，依循包间各自的结构与采光条件，营造动态更迭的“剧幕”场景和丰富层次的心境感知。

Performance in the images of jiangnan space, use elements such as line, color, shape, texture, with distinct cultural symbol meaning of the snow scenery and custom, water, bridge, column, etc, to disassemble and contemporary art collection of footnotes, their structure and daylighting condition following compartment, build the tent of play the dynamic change of scene and rich level of awareness of mind.

藏于江南诗与水墨画中的物象在虚实有无之间缠绕穿插，原发境域与悖谬想象基于异质矛盾却又相反相成，终究进入崭新意境而“成其所是”。

The images hidden in Jiangnan poetry and ink painting intertwine between the virtual, the real and the existent, and the original context and the paradoxical imagination complement each other based on the heterogeneous contradiction, eventually entering a new artistic conception and becoming what it is.

如王国维先生所说：“自然中之物，相互关系，相互限制……故虽写实家，亦理想家也。”没有清晰语义的模糊设计，充满技术、艺术和自然的不同而和之美，与传统样态的就餐空间形成异样反差，有形的功能、形式、结构与无形的内涵、意境、价值，在这同一集合体渗透内化为从容的奢华和独特体验。

As Mr. Wang Guowei said, Things in nature are interrelated and mutually restricted... So though a realist, he is also an idealist. The fuzzy design without clear semantics is full of the beauty of technology, art and nature, which forms a strange contrast with the traditional dining space. The tangible function, form and structure and the intangible connotation, artistic conception and value are infiltrated into the same collection into a leisurely luxury and unique experience.

《释名》说“青，生也，象物生时色也”。作为东方正色的“青”，蕴涵着万物萌发的无限生机。不同明度和色阶的青色如水彩般濡湿、浸透、调和于空间体块和家具系统中，由外及里构成天成地接的阶梯式递进氛围。动线中视觉落点的装置器物，则以抽象重叠的褶皱与纹理勾勒细部精微之美，镜面的穿插运用亦带来视错观照的多重意趣。

The name said, green, born also, the elephant born color also. As the Oriental color green, contains the infinite vitality of the germination of all things. The cyan of different lightness and color level is wet, soaked and harmonized in the space block and furniture system, forming a stepped progressive atmosphere from the outside to the inside. The device of visual landing point in the moving line Outlines the beauty of details and subtleties with abstract overlapping folds and textures, and the interspersed application of mirrors also brings multiple interests of misperception and observation.

“黄”，既是传统阴阳五色学系中最为尊贵的色彩，也是顶级奢侈品牌衷睐的金色时尚经典。借助视觉语言与朝向属性、光影变化、角度关系的整合考量，空间随时间的推移而变换生动的表情，被夕阳似晕轮浸染时尤佳。洋溢的色彩与几何模块式结构连贯为极简语言序列，潮汕匠人纯手工创作的金漆木雕则与之重组文化密码。

Yellow is not only the most noble color in the traditional Department of Yin and Yang color, but also the golden fashion classic favored by top luxury brands. With integrated consideration of visual language and orientation attributes, light and shadow changes, and Angle relations, the space changes vivid expressions over time, especially when it is dyed by a halo like sunset. The flow of color and geometric modular structure is a minimalist language sequence, and chaoshan artisans pure hand-created gold lacquered wood carvings recombine their cultural codes.

延续赤中带黄的西窗余晖意象，与“黄”相邻的空间提取茶汤的色泽并调和为低饱和的粉系，融会在介于真实呈现与诗意渲染之间的折中主义环境中，最大限度兼纳多元化的客群偏好。

Continuing the image of the west window with red, yellow and lingering light, the space adjacent to yellow extracts the color of tea soup and blends it into low saturation powder system, which is integrated in the eclectic environment between real presentation and poetic rendering, and maximizes the diversified customer group preference.

招式简净的界面体块穿插错位剪裁的嵌入式背景墙，在纵深层次的结构中塑造无限度的沉潜空间。而以色彩为线索并置串联的包间体系，皆纳入景观与天光作为空间参照，以一种相互包容渗透的关联组合回应这座城市开放复合的性格。

The simple and clean interface block is interspersed with the embedded background wall which is cut out in a wrong position, creating unlimited diving space in the deep structure. The system of rooms juxtaposed and connected by color, with landscape and skylight as spatial reference, responds to the open and complex character of the city with a combination of mutual tolerance and penetration.

平面图/floor plan

项目名称｜潮林府 · 杭州

Project Name | Chaolin Mansion · Hangzhou

项目地点｜中国 浙江 杭州 来福士中心 L40

Location | L40 Raffles Center, Hangzhou, Zhejiang, China

Type of project | Commercial catering

Interior design | Spring hills and autumn waters

Creative Director | Wei Jinjing

Hard installation team | Wei Yaocheng

软装团队｜张慧超、林雨诗

Soft outfit Team | Zhang Huichao, Lin Yushi

施工团队｜逸成工程 / 劳兆钦、林君如

Construction team | Yicheng Engineering/Lao Zhaoqin, Lin Junru

灯光顾问｜启迪时光 / 丁洁

Construction team | Yicheng Engineering/Lao Zhaoqin, Lin Junru Lighting Consultant | Enlightening Time/Ding Jie

标识设计｜淳一设计 / 周滨

Logo Design | Chunyi Design/Zhou Bin

空间摄影｜无形筑觉 / 吴鉴泉

Space photography | Invisible creation/Wu Jianquan

视频摄影｜DD 向蜀程

Video photography | DD To Shu Cheng

“春山秋水”四字蕴含着四季更迭万物循环的自然哲学，试图从时光流逝中寻求亘古不变的设计真理，从时间、空间、以及自然三个维度达成和谐统一。这份持之以恒的坚韧往往需要漫长过程的涤荡洗练。我们希望通过品牌传达出温润内敛的情感，以及熔铸于作品之中，对于设计精益求精的追求。