两宋以来风行的“城市山林”，是将自然山居场景意象融入城市空间的愿望。

随着明清后城市空间的急剧压缩，想要在家里拥有一座“山”成为了居于奢侈的愿望，于是形成了“以壁为山”的手法。在这个项目中，崔树在又再次探索了有关于“壁山”新的表达。

With the rapid compression of urban space after the Ming and Qing dynasties, the desire to have a mountain at home became a luxury, thus forming the technique of using walls as mountains. In this project, Cui Shu once again explored new expressions about Bi Shan.

入口处中伸出半墙将廊道的入口从视觉上压缩的更为“狭窄”，与随后进入公共空间的“阔”形成对比。

The protruding half wall at the entrance visually compresses the entrance of the corridor to be narrower, contrasting with the subsequent width entering the public space.

半墙下部又开出小窗，一块黑色花岗岩大理石悬浮穿过其中，石材上开凿的肌理纹路被保留，仅仅只是上面放上盆栽，就好似立刻有了山林之壁的意象蔓延开来。

A small window opened at the bottom of the half wall, and a black granite marble suspended through it. The texture patterns carved on the stone were preserved, and just placing potted plants on top immediately spread the image of a mountain forest wall.

随着人在空间中的流动形成不同的观看视角，而对“山”有了不同的理解。

With the flow of people in space, different viewing angles are formed, leading to different understandings of mountains.

空间中也多次贯穿了对自然肌理的花岗岩在柜体中作为面板和层板的运用，与空间中的保留时间痕迹的老木板形成了对仗的关系，也为空间增添了一丝古朴的韵味。

The use of natural textured granite as panels and layers in the cabinet has also been repeatedly integrated into the space, forming a contrasting relationship with the old wooden boards that retain time traces in the space, adding a touch of antique charm to the space.

岩取自于山又再次回归于重岩叠嶂之意向，树取自于林而又再次被表意为林木葱郁的山川树木，是崔树这次想要在空间中极力表达东方哲学。

The intention of the rock being taken from the mountain and returning to the overlapping peaks of the heavy rocks, and the tree being taken from the forest and once again expressed as the lush mountain and river trees, is Cui Shus strong expression of Eastern philosophy in space.

中国人造园造的不仅仅是一方的居所，更是一处可感悟风景变化、可在其中游走玩耍的场所。

Chinese people create gardens not only as a place of residence, but also as a place where they can perceive changes in the scenery and wander and play.

现代住宅习惯以功能将空间切分为单个封闭的房间，为了还原这种游逛的体验，崔树首先将房屋相对封闭的空间打开，重新以“廊”的形式串联起不同的但开放的空间，让游走和观看都充满了多元的可能行。

Modern residential habits divide the space into individual enclosed rooms based on functionality. In order to restore this wandering experience, Cui Shu first opens up the relatively enclosed space of the house and reconnects different but open spaces in the form of corridors, making both walking and watching full of diverse possibilities.

玄关与餐厨客厅空间平行并置，“柱”的形态在此刻既是结构，也是空间中的疆界。

The foyer is parallel and juxtaposed with the dining and living room space, and the form of columns is both a structure and a boundary in the space at this moment.

玄关顶部以细竹排列为吊顶，刻意制造出体量感仿佛穿插搭接在客厅的墙面之上，加强了两个区域的关联，而也与清透的材质之间形成了微妙的平衡，灯光从顶上打下，在玄关处留下暧昧的明暗阴影。

The top of the entrance is arranged with fine bamboo as the ceiling, deliberately creating a sense of volume as if interspersed and overlapped on the wall of the living room, strengthening the connection between the two areas, and also forming a subtle balance with the clear material. The light falls from the top, leaving ambiguous shadows in the entrance.

客厅窗边也以“柱”的形态与之对仗，在保证视线通透的前提下，重构了立面的节奏，半透明的百叶帘与微微伸出的竹子盆景，仿佛一抹水墨写意之景从纸间跃然眼前。

The living room window also contrasts with it in the form of pillars, reconstructing the rhythm of the facade while ensuring clear visibility. The semi transparent blinds and slightly protruding bamboo bonsai seem like a brush of ink and wash freehand scenery leaping from the paper.

拾阶而上，来到二楼处可窥见一处席地而坐品茗的茶室，竹影茶香于一室之中，在此处复现的是唐人与好友“竹下忘言对紫茶”的畅快与惬意。

Climbing up the stairs, one can glimpse a tea room sitting on the ground and sipping tea on the second floor. The fragrance of bamboo tea permeates the room, where the Tang Dynasty and his friend forget to speak under the bamboo and enjoy purple tea are recreated.

主卧之内的长虹玻璃为半墙隔断，在纵向的纬度上打开新的视界，流动中形成影影绰绰的观看趣味，而房间中的斜檐、天圆吊顶、博古架节奏的开放储物分割亦是也是某种形式对古建与传统居住空间中设计语言的提取与转译。

The Changhong glass in the master bedroom is a half wall partition, opening up a new perspective in the vertical dimension, creating a flowing and shadowy viewing experience. The open storage division of the slanted eaves, round ceiling, and Bo Gu shelf rhythm in the room is also a form of extraction and translation of design language in ancient architecture and traditional residential spaces.

紫禁壹号院项目在设计师崔树的匠心独运下，成功地将山林竹居的意境融入现代别墅生活之中，成就了一处融合古典情致与现代舒适的居住典范。

The Purple Forbidden No.1 Courtyard project, with the ingenuity of designer Cui Shu, has successfully integrated the artistic conception of mountain forests and bamboo residences into modern villa life, achieving a living model that combines classical sentiment and modern comfort.

空间、光影、材料，每一处细节都透露着设计者对自然的向往和对东方哲学的全新诠释。在这样的居所里，不仅能体验到空间流转间的游观之乐，也真正为现代人实现了居游一体，滋养身心的居住理想。

Space, light and shadow, materials, every detail reveals the designers yearning for nature and a new interpretation of Eastern philosophy. In such a residence, not only can one experience the pleasure of sightseeing in the flow of space, but it also truly realizes the ideal of integrating living and leisure, nourishing the body and mind for modern people.