知白设计 | 有间茶室

恒常之美

The Beauty of Permanence

“流动之时间，恒常之美。”

侘寂【wabi sabi】不过就是

枯树、落叶、顽石、青苔、黄昏、阴雨

水墨色、烟熏色、复古色、大地色、莫兰迪色

磨损感、陈旧感、黯淡感、朴素感、清瘦感

Wabi-sabi is just that

Dead trees, fallen leaves, stone, moss, dusk, rain

Ink, smoke, vintage, earth, Morandi

Wear sense, old sense, dull sense, simple sense, thin sense.

茶室，望文生义且又名副其实，不过就是一间小房间，甚至只是一座小草屋，体现的是一种简单、一种真正的平静。本质上，茶道是对一种“残缺”的崇拜，是在我们都明白不可能完美的生命中，为了成就某种可能的完美，所进行的温柔试探。

The teahouse, worthy of the word and true to its name, is just a small room, or even just a small grass hut, reflecting a simple, a real calm. At its core, the tea ceremony is a worship of “imperfection,” a tender attempt to achieve some

我们在高楼大厦眺望庭院与周围自然风景的时候，由于直接地感受到了室内和室外的区别与对立，反而会感到自身与大自然的疏离感，至少是难以摆脱自己不在自然中的那种感觉。利休以后的草庵风格的茶室中，虽然看不见外界自然，但我们可以通过想象作用去感受自然，庭院的打造应追求清纯、自然的风格，精巧细腻，含而不露，着重体现和象征自然界的景观，避免人工斧凿的痕迹，创造出一种简朴、清宁的致美境界。

When we look at the courtyard and the surrounding natural scenery in tall buildings, because we directly feel the difference and opposition between indoor and outdoor, we will feel the sense of alienation between ourselves and nature, at least it is difficult to get rid of the feeling that we are not in nature. In the teahouse of the Chao-an style after Lixiu, although we can’t see the outside nature, we can feel the nature through imagination. The building of the courtyard should pursue a pure and natural style, exquisite and delicate, containing but not revealing, focusing on reflecting and symbolizing the natural landscape, avoiding the traces of artificial carving, and creating a simple, clean and beautiful realm.

大隐隐与市，小隐隐与野。早年许由洗耳，却遭到巢父的奚落，大约因为真正的隐士，从来无需刻意依附于山林野趣，只要有一颗自在纯净的心，即使身处营营闹市，也能找到属于自己的宁静。

Big dim and city, small dim and wild. In the early years, Xu You washed his ears, but was ridiculed by his nest father, probably because the real hermit, never need to deliberately attach to the forest and wild interest, as long as there is a free and pure heart, even in the busy city, you can find your own peace.

茶室，就它在满足当下所追求的美感之外，便完全不做多余的装饰摆设而言，茶室确实是间“虚空之所”就它刻意留下一些未竞之处，交由想象力来加以补足而言，正足以做为一处崇拜“缺陷”的圣地。

The teahouse, in so far as it does not make any superfluous decoration in addition to satisfying the aesthetic feeling pursued at the moment, is indeed a “empty place”. In so far as it deliberately leaves some unchallenged places for imagination to fill, it is enough to serve as a sacred place to worship “defects”.

在茶室的构造中，却又将直接的自然景观加以遮断，故而不让人注意茶室以外的世界，遮断了都市中的那些人工自然光景，却更有利于想象大自然的深处流动着的无限寂静性，重森三玲在《茶道全集》中，对茶席部分作了这样的解说，“茶室的生命在于窗户，明暗都是由窗户来决定，而且窗户的大小，多少以及安装的位置，都与景致相关。

In the structure of the teahouse, the direct natural landscape is blocked, so people do not pay attention to the world outside the teahouse, and the artificial natural scene in the city is blocked, but it is more conducive to imagine the infinite silence flowing in the deep depths of nature. In the Complete Tea Ceremony, Sanrei Shigemori explained the tea table part like this, “The life of the teahouse lies in the window. Light and dark are determined by the Windows, and the size, number and location of the Windows are related to the view.

产品展示区售卖的茶叶、器皿等整齐陈列于展台上，以环境烘托产品，营造品质生活的氛围。保持商品的独立性，又不失空间服务于人的本质。展示的产品以序列的形式分布于空间，与空间动线彼此关联。

The tea, utensils, etc. sold in the product exhibition area are neatly displayed on the booth, which sets off the products with the environment and creates an atmosphere of quality life. Maintain the independence of commodities, without losing space to serve the essence of people. The products displayed are distributed in the space in the form of a sequence and are associated with the spatial moving lines.

让空间这个容器，与将来进驻的古典质朴、富有年代感的器物之间的关系更加融洽，空间的调性应该是器物气质的延伸。墙面、顶面采用大面积暖黄色手刮艺术肌理，色调轻重分配随意，表面粗糙质感是空间对人的触觉的迎合，为具有年代感的器物定下的氛围基调，也是对“侘”的隐性表达。

Let the relationship between the container of space and the classical, simple and time-rich artifacts stationed in the future be more harmonious, and the tonality of space should be an extension of the temperament of the artifacts. The wall and the top surface use a large area of warm yellow hand-scratched artistic texture, the color weight distribution is random, the surface rough texture is the space to meet the human touch, the atmosphere tone set for the artifacts with a sense of time, but also the recessive expression of “wabi”.