由审美意象萌芽开始，⾃然的客观因素往往占据着主导的⽀配地位，模仿、学习、再现成为⽐附性意象的有效⽅法。在互为协调的运动、发展、进化过程中，探索出⾃然与社会、场域、⼈的关系也渐渐因相互渗透⽽变得模糊和难以界定，有如李泽厚所说的，“⾃然的⼈化”慢慢转向“⼈的⾃然化”的追求。

From the budding of aesthetic imagery, natural objective factors often occupy a dominant position, and imitation, learning, and reproduction have become effective methods of analogous imagery. In the process of coordinated movement, development, and evolution, the relationship between nature, society, field, and human beings has been explored and gradually become blurred and difficult to define due to mutual penetration. As Li Zehou said, "Human transformation of nature" slowly turned to "Human return to nature"pursuit.

时间的痕迹

━

历经地壳运动、⽓候与时间的作⽤叠加，“撕裂”的⼤地景观——⻤斧神⼯般的⾃然峡⾕构成⾃然的另⼀种局部。作为INAICO的节奏序厅，“峡道”以地貌的形体意象为灵感，将⾃然的启示具像化后展现于空间，随着路径的不断深⼊，斜切、起伏、转折，不规则的形体特征共同开启了⼀场趣味横⽣的探索之旅。

After the superimposition of crustal movement, climate and time, the "torn" land landscape - the natural canyon like axe-axe, constitutes another part of nature. As INAICO's rhythm preface hall, "Gap Road" is inspired by the shape and image of the landform, and the revelation of nature is visualized and displayed in the space. As the path continues to deepen, oblique cuts, ups and downs, turns, irregular The physical characteristics together start an interesting journey of exploration.

岩⽯⼭体因为⾃然的诱因，或崩陷、或侵蚀形成的⼀定内凹空间，相对于主体正形⽽⾔，这种负形空间⻅证其⾃然的形成和有机的⽣⻓。东北侧⼊⼝处餐吧通过内嵌的⽅式，在整体的构造⾥置⼊必要的功能属性，满⾜⼀定意义上的接待之外，同时为⽇常的到访参观、客户选材以及社交活动提供后勤保障。

Due to natural incentives, the rock mass has a certain concave space formed by collapse or erosion. Compared with the positive shape of the main body, this negative space witnesses its natural formation and organic growth. The dining bar at the entrance on the northeast side is embedded with necessary functional attributes in the overall structure, which not only meets a certain sense of reception, but also serves as a place for daily visits, customer selection and social interaction. Events provide logistical support.

⾃然的敬意

━

意象是⼀种具有审美意识的特殊形态，混合着主体审美评价、情感态度和⽆限创造⼒的意中之象。除了模拟⾃然的形体语⾔，随着路径的⼀步⽽下，空间的⽆序⾛向有序的陈列表达。⽅形与圆形的⼏何对⽐，凸显功能台⾯的有机性，材料样板依次排列，令序列的建⽴与⻓条吧台的协作，建构出视觉、场所和能量的中⼼。

Imagery is a special form with aesthetic consciousness, which is a mixture of subjective aesthetic evaluation, emotional attitude and infinite creativity. In addition to simulating the natural body language, as the path goes down step by step, the disorder of the space becomes an orderly expression. The geometric contrast between the square and the circle highlights the organic nature of the functional countertops, and the material samples are arranged in sequence, so that the establishment of the sequence and the collaboration of the long bar counters construct the center of vision, place and energy.

⾃然之中，常⻅峡⾕之间横亘着巨⽯，似有时刻崩塌的可能，但⼜坚硬如初。在接待区与展示区的通道，⼀块巨⽯“漂浮”其上，穿梭其中，犹如⼀个空间进⼊到另⼀种空间，意料之外、压迫感和紧张的戏剧性安排，让被忽视的通道空间因为节点的设置，从⽽被重新关注与重视，同时隐喻着对⾃然的敬意。

In nature, it is often seen that there are huge rocks lying between the canyons, which seem to collapse at any moment, but they are still as firm as ever. In the passageway between the reception area and the display area, a giant stone "floats" on it and shuttles through it, as if one space enters another. The unexpected, oppressive and tense dramatic arrangement makes the neglected Because of the setting of nodes, the channel space has been re-focused and valued, and at the same time it is a metaphor of respect for nature.

光，由此照⼊

━

基于场地的考虑，朝向内部卖场的实墙在⼀定程度上界定了空间的从属关系，但封闭的实体⼜阻绝了视觉通透的可能，所以“窥”由“裂缝”的形式出现，使看与被看的⼆者之间彼此转换，主体同客体发⽣微妙的变化。光，⼀泻⽽下，为V型的裂缝赋予明暗阴影、清晰边界、⾃然意象和契合品牌定位的符号语⾔。

Based on site considerations, the solid wall facing the inner store defines the subordination of the space to a certain extent, but the closed entity also blocks the possibility of visual transparency, so "peeking" appears in the form of "cracks", making the Subtle changes occur between the subject and the object to be seen. The light pours down, endowing the V-shaped cracks with light and dark shadows, clear boundaries, natural imagery and a symbolic language that fits the brand positioning.

有别于常规的展陈⽅式，实物板材通过内嵌、抽拉的形式保证了空间的纯粹性、整体性。作为展示区重要的⻆⾊，地⾯突起的⼀块荒⽯，似乎⻅证了地表运动、时间流转，以缄默、厚重、原始的⾯貌匍匐于地。虽其不语，但，意有万千。⽽⼀侧的楼梯装置，摒弃了实际功能，借助另⼀种艺术形式呈现空间建构的可能。

Different from conventional display methods, the physical panels ensure the purity and integrity of the space through embedded and drawn forms. As an important part of the exhibition area, a piece of barren protruding from the ground seems to have witnessed the movement of the surface and the passage of time, crawling on the ground with a silent, thick and primitive appearance. Although he doesn't speak a word, there are thousands of meanings. The staircase device on one side abandons the actual function and presents the possibility of space construction with the help of another art form.

镜像与投射

━

对于⻄侧和南侧的阳⻆⽽⾔，如何使内部通道的⼈流视⻆得以缓和，界⾯与界⾯之间建⽴丰富的层次关系。“院”作为⾃然的镜像与物质的投射，以景观节点的式样嵌⼊其中，创造了具有节奏感的视界动作。有机、⽆序，是⾃然的内在法则；⽆机、有序却是⼈造物的魅⼒所在。岩板作为⼤理⽯的“第⼆身份”，随着技术的进步⽽趋于“超越⾃然（Beyond Nature）”。

For the balconies on the west and south sides, how to ease the view of the flow of people in the internal passage and establish a rich hierarchical relationship between the interfaces. As a mirror image of nature and a projection of matter, the "courtyard" is embedded in it in the form of landscape nodes, creating a rhythmic visual movement. Organic and disordered are the inherent laws of nature; inorganic and orderly are the charm of man-made things. As the "second identity" of marble, slate tends to "beyond nature" with the advancement of technology.

杜夫海纳认为，“想象”⼤抵有两种，即“先验的想象”和“经验的想象”，前者是认知的可能，后者是依赖的前提。所以，对于“⾃然意象”的探索，除了物质的表象形态，更应该达到其中意义的深刻。主体与客体因为观照对象不同，从平⾯视觉上论，有着正形和负形之别。但⾃然的正形和负形，转换之间，相互构成了⾃然的不可分割的整体。

Mikel Dufrenne believes that there are roughly two types of "imagination", namely "transcendental imagination" and "experiential imagination". The former is the possibility of cognition, while the latter is the premise of dependence. Therefore, the exploration of "natural imagery" should reach the profound meaning in addition to the appearance of the material. The subject and the object have different positive and negative shapes from the perspective of two-dimensional vision because of the different observation objects. But the positive and negative shapes of nature, between transformations, constitute an inseparable whole of nature.

Interiors:叶设计

Photos:单行线摄影/朴言

Words:无远文字/月球