有时在夜里醒来，那一刻的恍惚是彻底的。我不知道自己身在何处。身体仍在熟悉的温度中，意识却在寻找空间的轮廓。我的手指在黑暗中微微弯曲，试图通过指尖确认床的边缘，通过鼻腔里的空气流动辨别窗的方向，通过光影确认时间仍在流动。那一瞬间，我理解了普鲁斯特在《追忆似水年华》开篇的描绘：人在时间的深水[1]中醒来，周围地点、物件的在场，那些熟悉的无数细微知觉，便成为了重新确认自我的坐标。

而当这些感知逐渐安定下来，我意识到，自己身处“珈邸”。

普鲁斯特的世界里，人物总与某个“风景”[2]彼此相连，地点携带剧情、背景、音乐、物件，一同被记忆保存。“珈邸”，在老街的脉搏与屋顶的线条间，成为了老城厢的“风景”与安放自我的归属，也重新确认了上海这座城市在我生命中的位置。

Sometimes waking in the night brings a moment of utter disorientation—adrift in time, the mind gropes for the room’s contours. It is then I understand Proust’s opening: we find ourselves again through the quiet presence of things. And as the senses settle, I realize I am at “Jademus.” Like a landscape preserved in memory, it holds story, texture, and belonging, quietly reaffirming my place in Shanghai.

[1] 深水，指时间的淹没性。普鲁斯特认为时间不是一条线性的河流，而更像一片浩瀚、能淹没一切的海水，深不见底，充满了遗忘和潜意识的碎片。

[2] 风景，指将地点作为记忆的容器。在《追忆似水年华》结尾，叙事主人公马塞尔领悟到，原本分离的“斯万家那边”与“盖尔芒特家那边”最终在空间上重合，象征着他所有记忆碎片在意识中重新整合，意味着“逝去的时间”被寻回。

[3] 无知，普鲁斯特认为时间与记忆是捆绑的。《追忆似水年华》的开篇中，叙述者马塞尔在不同时间中醒来，脱离记忆，我们便无法定位自己在时间中的存在。这种令人不适的“无知”体验，正是作者开启漫长“追忆”、试图用艺术固定并超越时间的根本动力。

我渐渐意识到，空间是时间、情感、记忆的投射。时空和回忆是不连贯的、碎片化的。然而，一个充满隐喻的空间会赋予记忆整体的连贯性，让人找到归属。

法国哲学家莫里斯·哈布瓦赫曾提到，不同时代、不同时期的人们对同一段“过去”可能形成不同的想法，如何叙述“过去”很大程度上取决于当下的理念、期待。老城厢的记忆，定格着一种烟火人间的、邻里声气相闻的过往。而风貌区的更新，是在当下的我们的期待下逐渐建构的。

我们希望重拾往昔时光中闪烁的生活之美，让人物的故事、时间的印记与不朽的艺术形式在此相遇、结合，建立起上海精神的持续感与归属感，成为滋养当下、启示未来的土壤。

Space is a projection of time and memory—fragmented and discontinuous. Yet a metaphorical space can lend it coherence and belonging. As Maurice Halbwachs observed, the past is always narrated through the present. The memory of the old city quarter holds a vivid, communal past, while its renewal reflects our contemporary vision. We engage with artistic consciousness to recover the human truths and beauty of that past, merging story, time, and form to sustain the spirit of Shanghai—a source of belonging and inspiration.

[4] 力量、自由、自然和爱情的芳香，描述的是 “非自主记忆”发生时的巅峰体验状态。普鲁斯特认为，我们日常的、由智性控制的“自主记忆”是干瘪、虚假且不可靠的，它无法保存过去的真实。而只有通过 “非自主记忆” ——由某个感官印象（如气味、味道）触发，我们才能完整地捕获过去的某个瞬间。

普鲁斯特在《驳圣伯夫》中写道，“至少我知道，每一天都是这么丰富，都充满着可能，我对生活的渴望不断在增强。因为，任何一种美都是一种不同的范型，没有所谓美，美就是幸福发出的邀请，只有美才能使幸福成为现实。”

Proust writes in Against Sainte-Beuve: “At least I know that every day is so rich, so full of possibilities, my longing for life keeps growing. For every form of beauty is a different paradigm—there is no single beauty; beauty is an invitation issued by happiness, and only through beauty can happiness be realized.”

我，一级级往下走。光，一点一点暗下去，又一点一点，从角落生长出来。

地下一层的休闲厅，以热烈的情调迎接我。两面高耸的红色百叶，被柔和的光线映照。我的眼睛需要片刻适应。然后我看清了，那红，来自记忆深处，是城厢记忆里门扉上褪色的朱漆。人们在这里聚集，轮廓在红色的背景前显得格外柔和，像旧画中的人物。我的手拂过边桌的边缘，桌面上，一只酒杯边缘还挂着一颗将坠未坠的水珠。沙发柔软地接纳我的身体。周围的谈话声很低，像远处溪流的潺潺，字句模糊，只剩下语调的起伏，成为一种舒适的背景音。

I descend step by step. The light dims, then grows again from the corners. The lounge below welcomes me in warm hues. Two tall red shutters glow softly in the low light—a red remembered, like faded lacquer on old doors. People gather here, their outlines gentle against the crimson, as in a classical painting. My hand brushes a mid-century table; a droplet clings to a glass. The sofa embraces me softly. Around me, voices murmur like a distant stream, words blurred into a soothing rhythm.

我的目光被《华灯初上》牢牢吸引，红色丝绒上是

老城厢

的记忆里，讲述花灯照亮弄堂的夜。我站得很近，近到能辨识出丝线的交错。一种奇异的通感发生了：我凝视着光，指尖却仿佛感应到丝绸的细腻与顺滑，耳畔依稀响起旧日厅堂里，唱片机那略带沙沙底噪的比尔·埃文斯三重奏。

My gaze is held captive by The Glow of Early Evening — a memory of the old city quarter where lanterns once lit up the alleyways at night. I stand so close that I can trace the interlacing threads of silk. A strange synesthesia takes hold: as I gaze at the light, my fingertips seem to feel the smoothness of silk, and my ears almost catch the faint, dusty hiss of a Bill Evans trio playing from an old gramophone in a parlor long ago.

我转身，跟随旋律，步入酒窖与私宴区。

以一个圆柱形的玉石岛台为圆心缓缓展开。那玉石在灯下泛着月华般的光泽，自然成为所有目光与交谈的焦点。

I follow the melody into the wine cellar and private dining area, where a hanging pendant of cylindrical jade paper glows with a moonlit sheen—a natural focal point.

一道金色的拱顶轻轻隆起，仿若剧院的穹宇，赋予空间仪式般的静谧。Barber-Osgerby的“HOTARU萤火虫”和纸灯，将光温柔地包裹，再吐纳成一片朦胧而富有生命感的光影。长桌上，酒杯相触，发出风铃般清脆的“叮”一声，随即沉入温暖的笑语。这声音在拱顶下盘旋、回荡，酿出微醺的亲密。

Above, a gentle golden arch rises like a theater dome, casting a ceremonial stillness. Barber - Osgerby’s Hotaru paper lamps wrap light tenderly, then release it as a hazy, living glow. Glasses touch along the long table with a wind-chime ting, soon settling into warm laughter—a sound that circles under the arch, lingers, and brews a mellow closeness.

我的视线总在尽头处那株植物上流连。它向上舒展的姿态如此自在，枝干划出遒劲的弧线，茂密叶片间，竟跳出几朵洁白的花。所有宾客投向它的目光，都不由自主地沿着那生长的轨迹向上攀爬，被一种蓬勃的生命力轻轻托举。于是，在这沉入地下的空间里，竟也因此呼吸到一丝舒展的、无拘的风。

Yet my gaze keeps returning to a plant. Reaching determinedly from the corner, its lush leaves cradle a few pure white blossoms—blooming freely, almost defiantly, with a kind of naive courage. This upward, raw vitality quietly tilts the surrounding conversations, the setting, and the very atmosphere of the space toward a looser, more relaxed state. Here, in the heart of the bustling city, it breathes in a whisper of wilderness freedom.

酒窖的幽深之后，是雪茄室。白色的皮质屏风以柔和的曲线分割着视线。与之相对的，是线条硬朗、表面经过处理的金色雪茄保湿柜，金属的冷静光泽与皮质的温润，形成一种无声的、充满张力的平衡。

我打开一扇柜门，铰链发出顺滑低沉的“咔哒”一声。随即，一股复杂而醇厚的香气悄然溢出——首先是雪松木那干燥而清甜的木质香，紧接着，是不同产区雪茄烟草叶深发酵后带来的，近乎于巧克力、皮革、泥土与干果混合的、深厚而迷人的气息。这香气有体积，有重量，它缓慢地充盈鼻腔，甚至让舌根泛起一丝隐约的甘甜。

Beyond the wine cellar lies the cigar room. Curved white leather screens face a clean-lined golden humidor—its cool metallic finish and the soft leather held in quiet tension. I open a door; the hinge gives a smooth click. A deep, layered aroma unfolds: first the dry sweetness of Spanish cedar, then the fermented richness of cigar leaves—hints of chocolate, leather, earth, and dried fruit. The scent feels tangible, dense, lingering on the tongue with a subtle, woody sweetness.

当那厚重的、酒红色的帷幔从影音室四周垂落。幕布升起，光与影成为主宰。我们交出自己，任感官被席卷。灯光渐暗，如潮汐退去，沉入比天鹅绒更柔软的黑暗。

When the heavy, burgundy curtains descend around the screening room, the screen rises. Light and shadow take over; we surrender, letting our senses be swept away. The lights dim like a receding tide, sinking into a darkness softer than velvet.

《剧院》杉本博司

墙上，杉本博司的《剧院》静静地挂着。他那标志性的、长时间曝光下空无一人的影院内部景象，充满了肃穆的仪式感。我坐在这红色的黑暗里，凝视那片白色的寂静。常常恍惚：当无人观看时，光影的故事是否依然存在？而我们在 “剧院”里经历的悲喜，是否也构成了某种永恒影像的一部分？

On the wall hangs Hiroshi Sugimoto’s Theaters—his signature long‑exposure image of an empty cinema interior, filled with solemn ceremony. Here in this red‑tinged dark, I gaze into that white silence. I often wonder: when no one is watching, do the stories of light and shadow still exist? And do the joys and sorrows we live through in this “theater” also become part of some enduring image?

拾级而上，指尖划过金色扶手，能感到细微的、手工打磨的起伏。细密的金属网围挡仿佛一层薄雾，朦胧地透出内里镶嵌着铜条的白玉台阶。墙面涂抹着特殊的金属漆，光线落在上面，被吸收、再漫射出来，形成一种斑驳的、如同老照片或记忆底片般的质感。

普鲁斯特所追索的——那包含了力量、自由、自然与爱情所有的“芳香”，在此时此刻此地，我用全部的感官，真切地呼吸到了它。

Ascending the stairs, my fingers trace the golden brass handrail, feeling the subtle, hand-polished undulations. A fine metal mesh encloses the side like a thin haze, softly revealing the white jade steps inlaid with brass strips within. The walls are finished with a special metallic paint—light falls upon it, is absorbed, then diffuses outward, creating a mottled texture reminiscent of old photographs or the grained surface of memory itself.

Here, now, I breathe it in fully—the very essence Proust sought, that fragrance woven from strength, freedom, nature, and love.

“我就是一个地方的魅力形成的，那种魅力所寄居的地方，就是我所爱的那个地方。它帮助我生活，它让我找到快乐并与我分享，那个地方是形成一种魅力、形成生存希望的要素之一，它就寄寓在爱的欲愿之中。”——普鲁斯特

I am formed by the charm of a place—that charm dwells within the place I love. It helps me live, leads me to joy and shares it with me. Such a place is one of the elements that compose a charm, that shape a hope for existence, and it resides in the very longing to love. — Proust

《起伏的呼吸》邵磊

四组特别设计的落地玉石灯具界定了客厅的一方天地。玉石的灯罩将光线过滤成一片温润的、羊脂般的晕泽，柔和地铺洒在柔灰的大理石地面，框取着前后庭院生机勃勃的景致。我能感觉到光线带着温度的变化在室内缓慢移动，风携带庭院植物的清气自由穿梭，人的活动与自然的生息之间，形成了一种无声的、绵长的渗透与对话。

Four specially designed floor lamps with jade shades delineate the living space. The jade filters the light into a soft, mutton‑fat glow that spills gently across the floor, framing the vibrant views of both the front and rear gardens. I can sense the light shifting slowly with its own warmth, while breezes carry the fresh scent of garden plants drifting freely through the room. Between human activity and the breath of nature, a quiet, lingering dialogue seeps in—an unspoken exchange that permeates the air.

我的目光，落在那张极具雕塑感的黑白花桌之上。花艺艺术家二十一的作品《不思议》，一株枝条以充满生命力的姿态向上伸展，以一种简约而绝对的力量感，撑起了这一角空间的体量与气质。

My gaze rests upon that sculptural black‑and‑white flower table. The Inconceivable, a floral work by artist Er Shi Yi, reaches skyward with vital energy—its branches, in a gesture of lean, essential force, hold the volume and presence of the corner.

有时，我会静立片刻，望向另一侧的花园咖啡。偶尔，一丝混合着书本的油墨香、新鲜研磨的咖啡豆以及精心养护的绿植的香气，会乘着微风，带着彩云飞大理石壁炉中火光的温暖，幽幽地飘荡过来，将我带回到上海梧桐区一个闲散的午后——漫无目的的阅读、咖啡杯里升腾的热气、阳光透过梧桐叶洒下的光斑。

Occasionally pausing, I gaze toward the garden café. A breeze carries the scent of book ink, freshly ground coffee, and tended greenery, quietly returning me to an afternoon in Shanghai—leisurely reading, steam rising from a cup, dappled light through plane leaves.

我留恋的，是庭院的午后。择一处坐下，什么也不做。

阳光，将那株羽毛枫的枝桠影子，投射在以错拼工艺铺陈的素白墙上，一旁的水景，发出琤琮的细响。我会不由自主地抬起头，望向被飞檐优雅切割出的那一方蓝天。

What lingers in me is the courtyard afternoon. I choose a spot and sit, doing nothing. Sunlight casts the shadow of a black pine’s branches onto the plain white wall, while the water feature nearby murmurs softly. Unconsciously, I lift my gaze toward that square of blue sky elegantly framed by the upturned eaves.

二楼的起居室，是关于家庭记忆的。不仅是孩子们，在如此一个阳光饱满的午后，我也会喜欢在此处消磨。这里与其说是一个房间，不如说是一片被知识和美浸润的土壤。

The living room on the second floor holds family memory. It’s not just for the children—even I love to linger here on a sun‑filled afternoon. This feels less like a room than a ground steeped in knowledge and beauty.

我常会走到那面书墙前，随手抽出一本书翻开，作为父母，我们总怀有一种期盼，渴望将那些凝聚在旧物与文字中关于“美”的感知，那些“黄金时代”的精神气质传递下去。

I often walk over to the wall of books, pull out an old volume, and open it at random. As parents, we carry a quiet hope: to pass on that perception of “beauty” preserved in old objects and words, to transmit the spiritual ethos of a “golden age.”

Davide Groppi的壁灯，自己进行任意组合，照亮了墙体内嵌的胶片装置。我常常在夜晚，端一杯温水，独自在此驻足。胶片里是这个家庭最真实、最柔软的切片：可能是女儿三岁时在草地上追逐泡泡的模糊身影，阳光在她发梢跳跃；儿子第一次组装好复杂乐高模型后，那混合着骄傲与疲惫的专注侧脸；节日餐桌上的温暖烛光。这些胶片可以被随时取出、更换、增加，这意味着记忆的载体是流动的、生长的，如同生活本身，让人沉醉于故事经历的甜蜜与怅惘。

Davide Groppi’s wall lamps, grouped freely, light the film strips embedded in the wall. Often at night, I pause here alone. The frames hold the truest, softest slices of family life: a blurry silhouette of my daughter chasing bubbles at three, sunlight in her hair; my son’s focused profile after assembling a complex Lego model, pride mixed with fatigue; the warm glow of a holiday table. These strips can be taken out, replaced, or added to—meaning memory, like life itself, is fluid and growing, immersing one in the sweet wistfulness of lived stories.

女儿远在伦敦圣马丁研习时装，我希望她的房间，是她个性与梦想的延伸。空间以米白丝绸质感为底色，粉、暗紫、番茄红，这些色彩鲜明而和谐地碰撞，呈现她那鲜明、敏锐的时尚直觉。一侧的艺术装置，灵感源自儿时的击掌游戏。它以类似书页翻开的造型呈现，似一册立体的记忆相册。我将手掌轻轻放上去，与那凝固的掌印相合，一瞬间，无数个与家人击掌庆贺的温暖瞬间，如同潮水般涌回心头。

My daughter studies fashion at Central Saint Martins. Her room extends her spirit: against a soft beige ground, pink, plum, and tomato red meet in vivid, intuitive harmony. Beside her desk, an artwork shaped like open pages—inspired by childhood high-fives—holds a palm imprint. I press my hand to it, and a tide of family memories returns.

《空中的手》薛照新

阁楼，是作为时尚品牌主理人的女主人的创作空间。空间保留了老建筑的坡屋顶结构。空间如戏剧般分三幕展开。首幕是灵感的序曲，一个由米色粗粝质感石材打造的摆台上，陈列着艺术家薛照新的雕塑《空中的手》。那双手的姿态被捕捉、拉伸、变形，达到一种极度舒展、自由甚至充满渴望的状态。它静止于空中，却仿佛在持续地抓取、感受着无形的气流与灵感，恰是女主人创作灵魂的具象化。

The attic, a fashion director’s studio, retains the old sloping roof and unfolds like a play in three acts. The first is an overture of inspiration: on a raw stone platform sits Xue Zhaoxin’s sculpture Hands in the Air. The hands are stretched, transformed—reaching a state of free, yearning suspension. Still, they seem to grasp the unseen currents of air and ideas, giving form to the creative soul within.

尽头处，浅金色的壁炉镶嵌在墙体中，下方是一块拥有自然触感的黑色石材。一扇老虎窗，漏进的天光，从清晨清冷的青灰，到正午灿烂的金黄，再到傍晚温柔的玫瑰紫，缓慢地移动，描摹出长短不一、形状变幻的光影——生活在此，本就是最动人的收藏。

At the far end, a pale golden brass fireplace is set into the wall, resting upon a slab of black stone with a natural, textured touch. A dormer window lets in daylight that shifts slowly—from the cool blue‑grey of morning, to the brilliant gold of noon, then to the soft rose‑purple of dusk—tracing ever‑changing shapes and lengths of light and shadow. To live here is to collect, day by day, the most moving kind of beauty.

空间与时间，它自身没有情绪，却像一片海绵，持续吸收着无数个被我们身体与记忆所铭刻的、关于“在场”的瞬间。赋予空间只有沉浸其中才能领会的“情绪”。这情绪，反过来浸染我们，我们既活在感受无垠的“无限大”之中，也活在每个动作、每次触碰这些“无限小”之中。

Space and time possess no inherent emotion, yet like a sponge they continuously absorb the countless moments of “presence” imprinted by our bodies and memories. They imbue a space with an “emotion” only felt through immersion. And this emotion, in turn, permeates us—we dwell both within the boundless expanse of feeling, and within each gesture, each touch, those infinitely small details.

我记得一个闷热的夏夜，电梯的声响似乎还粘在耳膜上。我推开门，没有走向任何一盏开关，只是习惯性地走向那把Jindřich Halabala的中古扶手椅。黑暗中，只有对面织物上掺着的线，相互垂直交叉的条纹，就像窗外永不彻底熄灭的车水马龙。看不见，却听见露台里，风吹过树梢的 “嘶嘶”声，反而衬得室内更加寂静。

一段空白，一次必要的停顿，让我在进入卧室前，完成与外界的剥离。

我就那样坐着，任由汗水在冷气的凉意中慢慢干涸，感到白日的嘈杂，正从四肢一点点被这片宁静抽离。

On a close summer night, the elevators hum still clung to my ears. I opened the door, didnt reach for a switch, just went to the Jindřich Halabala armchair. In the dark, only the crosshatched threads in the fabric were faintly visible, like the unending flow of traffic outside. I heard the hiss of wind in the terrace trees—it deepened the quiet. A necessary pause to shed the world before bed. I sat, sweat drying in the chill, feeling the days noise drawn out by the stillness.

清晨，醒来，天色是介于夜与昼之间那种模糊的钢青，房间里的一切都褪去了色彩的属性，只剩下深浅不一的、安稳的轮廓。身旁的呼吸声均匀悠长，我没有起身，只是望着天花板，任目光在皮质与真丝叠合的屏风上游移。

艺术家翁纪军的大漆作品《无题》，悬挂在一侧的墙面，在将明未明的光线里，它的漆黑，吸纳了夜的残余。大理石床头柜上，那副摘下的眼镜，金属镜腿恰好接住了从帘隙渗入的第一线微明，凝结成一个几乎不可见、却又异常锐利的光点。漆黑，光点，描绘这片黎明时分的安宁。

Waking at dawn, the room lay in steel-blue gloom between night and day. Colors softened to shapes and outlines. With even breathing beside me, I lay still, gazing at the leather and silk screen. On the wall hung Weng Jijuns lacquer Untitled, its darkness holding the night; on the marble nightstand, a glasses metal arm caught the first light—a sharp point in the quiet.

我起身，赤足离开床榻。踏在皮质地板上的暖意，在几步之后，便被浴室门口那木纹石材的恒常微凉所取代。一温一凉，一步之遥。青玉台盆在开启主灯前，色泽如深潭。水流冲击其表面的声音，在清晨的绝对寂静中，显得格外清亮与圆润。

Barefoot, I rose from the bed. The warmth of the leather floor gave way, after a few steps, to the constant cool of wood-veined stone at the bathroom entrance—warmth and cool, a single stride apart. Before the main light was on, the celadon basin held color like a deep pool. The sound of water striking its surface seemed especially bright and full in the absolute quiet of morning.

俯身准备掬水时，我的视线越过了台面上的枝条。一束从侧窗涌入的晨光，正正地落在我面前的地板上，照亮了木纹石地面上，漫长形成过程中留下的、蛛网般细密的纹路。

在无数个匆忙的清晨里，我路过，洗漱，离去，从不会停留片刻。而在这偶然俯身的安静里，在这束恰好落下的晨光中，我被它深深吸引。我看见了生命浩瀚无垠的“无限大”，恰恰是由无数个这样被精心安置、又需某种偶然才能照亮的“无限小”所构筑。

Leaning down to wash, my gaze passed over the branches. Morning light from the side window fell on the floor, revealing the fine, web-like veins in the wood-veined stone. In countless rushed mornings, I never paused—but in this quiet bend of the body, under this accidental light, I was held. I saw how life’s boundless immensity is built from these infinitely small details, placed with care and lit only by chance.

车缓缓驶过老城厢的边缘，汇入清晨稀疏的车流。阳光恰好在这一刻穿过高楼间隙，将整条街道染成一片流动的金色。梧桐树叶在头顶沙沙作响，光影透过枝叶，在挡风玻璃上投下明明灭灭的斑驳。昨夜离开时，也是这样穿过这条街道——只是那时街灯昏黄，树影是深蓝色的。

普鲁斯特是对的。

在一片风景的深处，总有某一存在的魅力在那里闪动，需要一位注视过去的人来追寻，让那些被爱过的地点、被浸润的时光，成为未来寻找精神的支点与情感的坐标。

我知道，当暮色降临时，我仍会归来。前方的道路，在晨光中发亮，每一段即将书写的新故事，都已从那些无限小的时光里，获得无限大的灵感与勇气。

风景向后流逝，未来迎面而来，而我正从容行驶在这两者之间。

Drifting through the old city quarter in the morning light, the street turned to flowing gold—a contrast to last night’s deep blue shadows. Proust understood that certain landscapes hold a lingering charm, transforming beloved places into anchors for the heart. At dusk I will return, but now the road ahead glows, every future story already inspired by those infinitely small moments. Scenery slips past, the future draws near, and I move steadily between them.

设计总监-无间创始人

吴滨

项目主创团队

本文图文版权归W.DESIGN无间设计所有

部分素材来自外滩TheBund

未经授权，禁止转载

室内设计：W.DESIGN 无间设计

软装设计：W.DESIGN 无间软装

项目名称：上海壹号院

开发商：上海亚龙古城房地产开发有限公司

设计面积：1102㎡

项目地址：中国上海

完工时间：2025年10月

策划：Bobo Zhou

摄影：朱迪、Howie Zheng；视频：Z Wang Studio 走走

撰文/编辑：Ricardo