福大怡山文化创意园

入驻企业｜東形西見新址

文章来源：发布时间：2021-11-09 浏览次数：1452次

△建筑外观© 许晓东

在更广阔的意义上，设计扮演者隐喻的角色，要把功能利益转化为感知和认知形态。设计是一种泛音，有自己的形态和地位，有弦外之音，是技术的回音。它体现技术的特点，对应其基本脉动。设计是文化制品可见、可听、可感的外部形态，以所谓“文化肌肤”的面目出现。

德里克·德克霍夫，《文化的肌肤——半个世纪的技术变革和文化变迁》

In a broader sense, design plays the role of metaphor, transforming functional benefits into perceptual and cognitive forms.Design is a kind of overtone, has its own form and status, has overtones, is the echo of technology.It reflects the characteristics of technology and corresponds to its basic pulsation.Design is the visible, audible and perceptible external form of cultural products, appearing in the face of the so-called "cultural skin".

Derek Derkhoff, Cultural Skin: Half a Century of Technological And Cultural Change

△入口前厅© 许晓东

理论的浓烟里，散落的洞见就像几口氧气。

In the smoke of theory, insights are scattered like mouthfuls of oxygen.

在人类与在地文化之间，看到了一道裂谷：城市是精神化的具身，合理性与精神生活的辩证；寄寓于城市的礼俗社会已殆然无存，事物得以聚集的位置则被根除——城市标志着虚无主义之完成；以及，筑造-栖居扭结的断裂。

Between human and local culture, we see a rift valley: the city is spiritualized embodied, rationality and spiritual life dialectic;The custom society based in the city has almost disappeared, and the place where things gather has been eradicated -- the city marks the completion of nihilism;And,the fracture of the build-inhabitant kink.

种种在徘徊、包容和谨慎中，努力为其所认同的自由创造空间的设计，意在“历史的、文化人类学的时间轴”与当下的时间和设计决策间建立联系的企图，或许却比激动人心的设计更为奢侈，所谓矛盾并存与暧昧均衡就成了乖谬的形式游戏。企图发明新的“总体语言”的城市规划、企图重塑共同体价值的“场所精神”，作为这虚无境况的另一面，继承了空洞的灵韵。

All in the wandering, inclusive, and careful, and strive to create space for the freedom of its identity design, aimed at ", the cultural anthropology timeline of history "and the current time and attempt to establish contact between design decisions, but perhaps more luxury than exciting design, so-called contradictions co-exist with balanced ambiguous became a perverse form of the game.As the other side of this nihilistic situation, the urban planning that attempted to invent a new "overall language" and “the sprit of place” that attempted to reshape the value of the community inherited the empty spirit.

在贫乏与神话之间，栖居何以可能？

Between poverty and myth, how is habitation possible?

我们尝试将希望寄托在一个差异的尺度：正是设计绝对物化的纯粹性使得一个本真的空间成为可能；但这个空间并非是栖居，而是一个被差异持留的位置，在那里，“构成经验的生活提取物被聚集到事物中”。

We try to place our hope on a different scale: it is the absolute materialized purity of design that makes an authentic space possible;But this space is not dwelling, but a position held by difference, where "the extracts of life that constitute experience are gathered into things".

这样的绝对内在真的存在吗？

Can such an absolute inner being really exist?