在建筑学界，密斯·凡·德·罗提出了“少即是多”的理论概念，而黑川雅之则把它翻译为“细微处有神灵”，这跟日本审美意识里的“微”有着极其相似的关联。以细微反衬宏观、通过细节窥见整体，对于建筑体、构筑物、设计产品、日常物件而言，细节最能体现其内在的精神力量。
In the field of architecture, Mies van der Rohe put forward the theoretical concept of "less is more", while Masayuki Kurokawa explained it as "there are gods in the details", which is closely related to the "micro" in Japanese aesthetic consciousness. Subtle contrast to macro, through details to see the whole, for architectural bodies, structures, design products, daily objects, details can best reflect their inner spiritual power.
“微”是日本思想里的基石，它与感知气场的“体感”，或者说“通过全身去感知”的能力有关。“体感”生发于即时的瞬间反应，人、时间、场地环境、情绪氛围构建了“一期一会”的深邃奥义，其精髓在于：眼下这个瞬间，跟这个人的关系，就是值得珍惜的一切。
Micro, a cornerstone of Japanese thought, is related to the "Somatosensory" of the aura, or the ability to "feel it through the whole body." "Somatosensory" is born from immediate instant reaction. People, time, site environment and emotional atmosphere construct the profound meaning of "One Period One Time". Its essence lies in: the relationship between the moment and the person at present is everything worth cherishes.
回游空间
Back to Space
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L宅为两户合拼户型，入门而进，玄关与各个空间相互串联，外置的独立衣帽间结合建筑剪力墙结构围合成布局的中心，归家、家政、通往卫生间与卧室、也可以去餐厅和厨房，从而产生丰富的回游动线，减少不必要的折返路径，以实际的功用回应形式的建构。
L Residence is a two-family house type, the entrance and entry, the entrance hall and each space in series with each other, external independent checkroom combined with the building shear wall structure into the center of the layout, home, housekeeping, access to the bathroom and bedroom, but also to the dining room and kitchen, so as to produce a rich return line, reduce unnecessary return path, with the actual function in response to the construction of the form.
门，和通道是空间的重要局部，有必然存在的意义，也具有情境营造的象征性。推拉门的开合，方便日常使用的同时，也使视线发生变化，门打开的所见和门未开的好奇，呈现丰富多样的物质面貌和心理活动。通道则因长短、宽窄、高低，衍生出了短暂、重复、节奏、折转、深远的意境联想。
Doors, and passageways are important parts of the space, and have the meaning of inevitable existence and the symbolic nature of context creation. The opening and closing of the sliding door facilitates daily use while also making the line of sight change. What is seen when the door is open and the curiosity when the door is not open present a rich and diverse material appearance and mental activity. The passages, on the other hand, derive ephemeral, repetitive, rhythmic, folding, and far-reaching mood associations because of their length, width, and height.
东西两用
East-West dual-use
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因为饮食习惯的不同，中式的烹饪方式决定了中厨的定位，而西厨作为功能补充，与餐厅和中厨形成了有机的整体。餐厅长桌可满足一日三餐，平时也是花道场，志趣相投的朋友彼此交流、分享某种喜悦和感悟。空间立面则以木作的自然纹路为肌理，平铺直述的表达一种朴实无华的底色。
Because of the different eating habits, the Chinese cooking style determines the positioning of the Chinese kitchen, while the Western kitchen, as a functional complement, forms an organic whole with the dining room and the Chinese kitchen. The long table in the dining room can satisfy three meals a day, and usually it is also a flower dojo, where like-minded friends communicate with each other and share some kind of joy and insight. The facade of the space is made of the natural grain of wood, expressing a simple and unpretentious color.
餐厅与客厅相连，创造开阔的空间视野，通过地面不同材质的划分，界定空间的功能属性，朴拙的哑面石材与开放的木地板地面构成硬朗与柔软的肌理对比。光进去室内，弥漫着柔和的细腻，生发出阴翳之美。正如谷崎润一郎所描述的：美，不存在于物体之中，而存在于物与物产生的阴翳的波纹和明暗之中。
The dining room is connected to the living room to create an open space view, and the functional properties of the space are defined through the division of different materials on the floor, with the contrast between the hard and soft texture of the simple matte-surface stone and the open wooden floor. Light enters the interior, diffusing a soft delicacy and giving birth to the beauty of shade, as Junichiro Tanizaki said, Beauty, does not exist in objects, but in the ripples and light and darkness of the shade produced by things and objects.
与一般的客厅与景观阳台配套不同，L宅把原本的庭园阳台打造成视觉的重点，营造了寂静的“一方天地”。“草”铺汀步、高低错落的小青竹、栀子树、五角枫等绿植构成画框内的动态景观、起伏苔藓的山丘、屏息静听的流水潺潺，无不渲染于朦胧的背景之上，展现出立体的、多维的、生动的场景。
Different from the general living room and landscape balcony, the L Residence makes the original landscape balcony a visual focus, creating a quiet "one world". The "grass" pavement, the high and low greenery forming a dynamic landscape within the picture frame, the undulating mossy hills, and the breathless water gurgling are all rendered on top of the hazy background, showing a three-dimensional, multi-dimensional and vivid scene.
在京都的琉璃光院，一张高光的大漆桌面，映射了室外四季的景致和光影变化，人静立或者端坐期间，眼前的一切让你不能言语，自然的力量直击内心深处。这种灵感的借用，通过客厅的圆形高光茶几实现，把阳台的精心经营和意境造景如实的反映出来。而抬高的凭窗坐台，日积月累，沉淀出岁月的情感痕迹。
In Kyoto's Rurikouin, a large high-gloss lacquer tabletop maps the scenery and changes in light and shadow of the four seasons outside. During the period when one stands still or sits, what is in front of you leaves you speechless and the power of nature strikes straight to the heart. This kind of inspiration is realized through the round high-gloss coffee table in the living room, which reflects the elaborate management and mood of the balcony. The elevated window sill, which has accumulated over time, has precipitated the emotional traces of the years.
Concealment is the flower
世阿弥曾写道：“隐秘是花。”释意为“不要表现全部，而要通过部分的隐秘来驱动对方的想象力。”正是因为被隐去，所以看的人才会参与到表现方的共创之中，“花”成为内心壮丽世界的绝妙隐喻。王维说的“蝉噪林逾静，鸟鸣山更幽”是一种感觉的反衬，“寂”不是万籁俱寂，而是细微的声响反衬“寂”的幽远、深邃。
Zeami once wrote: "Concealment is the flower." This means "not to show the whole, but to drive the imagination of the other through partial concealment." It is because it is hidden that the person who sees it participates in the co-creation of the expressive party, and the "flower" becomes a wonderful metaphor for the magnificent world within. Wang Wei said, "The cicadas are noisy and the birds are singing in the mountains" is a kind of counterpoint of feeling.
茶室是“寂”的场所，一级而上，榻榻米的铺设暗示了空间的情绪转变，也由动区步入静区。与书房形成对景的“松风座外心”茶挂和一尊北魏佛像，借由物件本身体现着业主的审美志趣。室外几株竹影，风动而影动，光线的强弱使立面拥有丰富的隐约而朦胧神情。
The tea house is a place of "silence", and the tatami mats are laid out on the first level, suggesting a change of mood in the space, as well as a step from the moving area to the quiet area. The tea room hanging paintings "Song Feng Zuo Wai Xin" and a Buddha statues from the Northern Wei Dynasty, which form a counterpoint to the study, reflect the owner's aesthetic interests through the objects themselves. A few bamboo shadows outside, the wind moving and the shadow moving, the intensity of light makes the façade have a rich vague and hazy look.
长谷川等伯的《松林图》没有具体的树形轮廓，以动感、有力的笔法勾勒出雾凇、水汽的氤氲迷濛。这种空或者留白的建构，作为一种重要的沟通载体存在于我们已有认知的理想状态之中。于是，我们凭借身体力行，以隐秘的、细微的物质性行为，而实现某种切身的内心关照。
Hasegawa Tōhaku's "Pine Forest" has no specific outline of trees, and uses dynamic, powerful brushwork to outline the dense misty mist of freezing fog and water vapor. This construction of empty or white space exists as an important vehicle of communication within the ideal state of our existing perception. Thus, we realize a certain kind of personal inner care through the hidden and subtle material act of physical action.
Project Name：Foshan L Residence
Project Location：Foshan, Guangdong
Design Director: Wang Huahan
Participate in Design：Liang Chunlan, Li Yongkang, Huang Xin, Chen Lijie
Garden Design: INZO WORKSHOP
Implements Accessories: Moodshop
Photographer：Huang Miangui
Project Writing：off-words/Moon
万物土中生，“土”为事物的物质性根本，“禾”则泛指植物群体。土禾设计(THD)，作为新生代的设计团队，致力于不同项目的独特创意表达，讲究场所的在地性、自然性和功能指向性的探索、以自由生长的意志减少设计的过度干预，注重细节的构建以及追求朴素、纯碎与恰如其分的立意深远。
内容策划 / Presented
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策划 Producer ：W.Yinji
排版 Editor：Lu JY 校对 Proof： Xran
图片版权 Copyright ：土禾设计
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