“相呴以溼，相濡以沫，不如相忘於江湖。”—《庄子·大宗师》 时至今日，我们都已隐隐察觉到了一些变化。城市发展，吞噬了土地的原刻，精神文化沦陷为勾勒记忆的碎片，造成对“存在的遗忘”。尝试用新的模式和参照系去回应窘境并且改造现有空间架构，赋予空间新的理解，表达新与旧，虚与实，现实与想象，物质与空间架构的平衡关系。 By now, we are all beginning to detect some change. Urban development devours the original image of the land, and the spiritual culture falls into fragments to outline the memory, resulting in the "oblivion of existence". Try to use new models and reference frames to respond to the dilemma and transform the existing space architecture, give new understanding to the space, express the balance between the new and the old, the virtual and the real, the real and the imaginary, and the material and the space architecture.

想必都于影视剧中见过湖水清如镜，水在峦间绕，一片漫无边际的竹海中，微风轻抚而过，竹叶肆无忌惮地沙沙作响中夹杂着江湖人士刀剑相碰的嘈杂声。设计师运用现代空间思维方式，以干竹拟山峦，枯藤缠干竹，延伸出有规律的空间主体，构筑完整的空间形态。 Must have seen the lake in the film and television drama as clear as a mirror, water in the hills around, a boundless bamboo sea, breeze gently stroked, bamboo leaves unscrupulous rustle mixed with the noise of river lakes sword collision. The designer USES the modern space thinking mode, with the dry bamboo to simulate the mountains, the dry rattan entangles the dry bamboo, extends the regular space main body, constructs the complete space form.

转译后after the translation

一段段的干枯藤皮缠绕在杆件上，每条藤皮长度不一，头尾衔接处质感的差异恰到好处拟出“竹节”的节节递升，同时4mm宽的藤皮使得所有的“竹”皮上造成了丰富的材质肌理感。对于空间大面积的可视面设计师以夯土，红砖去表现空间古朴格调、荡气豪迈的质感。 The dry rattan skin of a paragraph is twined on pole piece, length of each rattan skin is differ, the difference that the head end joins place to feel feels appropriately to draw out "bamboo" one after another rise, at the same time the rattan skin of 4mm wide makes all "bamboo" skin created rich material texture feeling. For the visual surface designer of space large area to rammed earth, red brick to show the simple style of space, swing heroic texture.

入口处红砖墙与内里柔性结构造成空间的刚柔对比，The red brick wall at the entrance and the flexible structure inside create a contrast of rigor and softness in the space

复杂编制下的藤编兼具刚性和灵活性，在空间尺寸下，藤编表皮具有刚性又有灵活的抗压性和耐拉伸性，几何结构化的方式用手工编织工艺编制出片状构件，空间中用以表皮、构件、家具，藤编孔状结构属性造成光的交错穿插及视觉上的虚阻断。 Under the complex formulation of the cane makes up both rigidity and flexibility, under the space dimension, the cane makes up the epidermis is rigid and flexible compressive and tensile resistance, geometric structured way by hand weaving process of flake component, space for epidermis, artifacts, furniture, the cane makes up pore structure properties of light by which and the virtual block on the vision.

拱形结构隐匿于藤编之后，光向上照射强调了拱形结构同时透过藤编孔洞而被可视化， The arch structure is hidden behind the wicker weaving. The light shining upward emphasizes that the arch structure is visualized through the wicker weaving holes

空间中存在着多出坐标原点，似乎每一个杆件交接处都存在一个坐标轴。杆件的多重组合使得结构体本身具有足够的稳定性，上面片状金属固定，杆件与杆件之间以五金件穿透固定。 There are extra coordinate origin in the space, it seems that every bar intersection has an axis. The multiple combination of the rods ensures sufficient stability of the structure itself, which is fixed with sheet metal and fixed with hardware between the rods.

空间落成后在店内用餐，感受空间氛围，家具配饰、灯具灯光的选择都尽可能多的去满足服务于整个空间，用餐时餐具碰撞人们交流的嘈杂声正如设计师想要空间中存在的，不是静谧的无声，而是沙沙的细语。 After the completion of the space, I will have dinner in the store and feel the atmosphere of the space. The choice of furniture accessories and lamps and lanterns is to serve the whole space as much as possible. The noise of tableware colliding with people during dinner is just like what the designer wants to exist in the space.

竹子生长原本杂乱无序，化“竹”为山拱，或衔接或中断或咬合或夹持造成连续有秩的空间形态。拱形和不同形状尺度的杆件限定了被覆盖的空间，限定划分了空间而不限制任何感知上的交流。 Originally, the growth of bamboo was disorderly and disorderly, and the "bamboo" was changed into a mountain arch, which was connected or interrupted or occluded or clamped, resulting in a continuous spatial form with rank. The arch and the rods of different shapes and sizes define the space to be covered, defining and dividing the space without restricting any perceptual communication.