As soon as be imported to China, design, a western public instruments, has been often used to expss oriental thoughts and ideas by Chinese designers.


The designers of ZWSP project, attempted to create an oriental aesthetic temperament without symbolized traditional elements. They were pursuing a recessive way for the interptation of occult oriental aesthetics, toexplore the future possibilities of the Orient. This design is pvented from over-design,and be established based on the essence of space. It is not only the harmony of history and mystery, but also the embodiment between oriental implicitness and modern comfortableness.


Two floors arevertically connected by a high ceiling living room. When sunshine slides into the space, lights and shadows would be mottled. To create a deliberate contrast effect, designers brought orange elements to dot the multi-gray space by impacting the gray marble. Green plants took in vitality and freshness.


Dueto the stresses of sitting and lying from oriental life style, the bed is designed not too high or too wide, but within a friendly scale. By tracing the low sitting posture from Tang dynasty, to take a down-to-earth attitude, the modern sofa has been designed a lower height than usual. You’ll find it is easy to feel grounded and holiday-like relaxing.


“Clear water lotus, been carved by natures.” The expssion of commending natural texture, often appears in oriental literature. Natural material had been crafted, and became utensils with original texture.


Aminimalist marble tray, a hand-made bronze storage box, a natural translucent jade bowl, matched with glazed vases and brass fruit trays, all expss the natural and comfortable space.


Like a novel or a movie, two threads weave together. The designer subtly implies a line of contemporary art ink in the space.The aesthetic spirit of ink painting is the harmony between heaven and earth, both subject and object are dissolved, people live in heaven and earth, whether weare observing quietly or enjoying ourselves, it is a transcendence of the soulin the confined space, seeking an aesthetic opportunity to integrate with the world.


The ink is divided into five colors, with less is more, with white space to see heavy and complicated, with the touch of pen and ink send feeling between landscape.In the middle of the busy market, borrow mountains and rivers to seek some peace; between the spring and the woods, with ink expss some human feelings.


Orange glaze vase and green plant jumped out of the space, make whole space eye-catching a lot of, break through thegray tone with rich administrative levels, in casual in, provoke the visual nerve of people, resist aesthetic fatigue.


The transition space between the guest restaurant is decorated with a round table carved by a piece of natural marble, holding the line of sight, just like apair of natural ink works created by nature, which embraces the Oriental feelings.


The family hall on the second floor continues the artistic conception of the first floor, the furniture is spad out around the circular carpet to divide thelocal space.


In the Orient, the idea of living advocates the beauty of seclusion, the trend of oriental thought has always left vague clues and signs. In history, fore shadow comes and goes. What is private and open is not only the space, but also the human heart.

Delicate stone material, with do not add the means that decorates to diffuse outward and form adornment to rotate alternately, spiral rise, form agroup of central tea table, on high and low corresponding, form the rich change on height difference.


With rotating screen separates the study, can form visual linkage with domestic hall.Translucency is a typical Oriental aesthetic way, asan implicit way of psentation, it is ambiguous and gray blurs the depth relationship between black and white, which is superimposed layer upon layer to form the intention of landscape.


There is no absolute pure color in nature. In the traditional color extraction, the inherent color of materials is maintained, forming a natural tone like richpaper.In the elder room, this kind of flax is tonal with respect to implicating natural breath, matchless kind.


The circular ink painting art in the corridor on the third floor forma a contrast with the hanging lamps, with a kind of potential energy, like a drawn bow, full of strength.The circle, without beginning or end, transforms space.As the opening of 3 floors, guide a master room and children room.


Master room space of a screen separated out passageway and Morpheus area, although dimensional dimension is big, but sweet and indispensable.Simple wooden door through the top cabinet, a lot of storage items, but on the surface, there is no trace.


When displaying and matching colors, elegant blue is added on the basis of grey and white, which is the development of the contemporary ideological trend on the traditional Oriental aesthetic consciousness.the gold frame ornament in detailsis low-key without losing quality.


Desk of green marble, the tumbling texture is like to belocked by founder appearance, solidified form breeds endless natural force however.


Daughter room with log metope and advocate lie coherent,different is mixed with a variety of candy colors, restrained cartoon modeling,in the lovely, not naive.



共向多次被国际知名杂志、书籍和网络媒体报道,包括Wallpaper、ELLE DÉCOR、INTERIOR DESIGN、Designwire、环球设计等,在业内受到广泛关注。











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