这是一个需要去想象和理解“传统”的空间。想象在于，身为此时此地的中国人，在全球化和传统精神式微的的氛围中，我们是否能把握住真正意义上的传统精神。理解在于，在古籍中阐述的女性闺阁，是怎样一种精神风貌，也不是完全无迹可寻。

当然，传统意义上的女性尽管于现代人有类似的压抑特质，但另外一面呈现出来的大家闺秀气质、深沉的文化底蕴和知礼守礼的那一面，在现代讲求女性解放，自由独立的氛围中，又形成另外一面的吸引力。

How were the ancient Chinese  women’s life like ? What’s the essential beauty of them ? How were their living room look like? This is the theme we try to catch when we receive the case of Panzi Women photography organization/club/space/studio.female impressions? 

Women in Tang Dynasty were bold and bold to do, which seemed to accord with modern women's understanding of values. We use the warm and energetic "pink as the interface to link up the modern and Chinese tradition, find the cultural attribute of the female space again, combine the commercial function to radiate the new place experience.

然而，“传统”意义上的女性风貌真的遵循如此的逻辑吗？事实上，我们去翻阅中国的历史，发现唐以及唐以前，宋以及宋以后，大概可以作为女性生活风貌上的一个分水岭。 

这个分水岭的形成 ，大概可以归结于宋明理学：崇天理，禁人欲的偏重在社会文化上造成的影响。在最本源的儒家思想中，其实并没有否定人性，反而是非常尊重人性的：“饮食，男女”二事，是尊重的态度。

据《新唐书·公主传》载，唐代公主再嫁的达23人：计有高祖女四，太宗女六，中宗女二，睿宗女二，元宗女八，肃宗女一。其中三次嫁人的有四人。官僚贵族女儿改嫁的也很多，庶民的妻子，夫死后亦可改嫁。有的甚至提出离婚，还有夫妻不合可以协议离婚。再来看史料中记载的着装： 《新唐书·车服志》记载，“半袖裙襦者，东宫女史常供奉之服也。”这种穿着，在唐代考古中常有发现，在唐永泰公主墓、章怀太子墓的壁画上，都能看到着半袖装的女性。而比半袖更突破的，则是“袒胸”装。这是一种在领口上进行大胆改革的时装，一改圆领、方领、斜领、直领、鸡心领的传统开口，加大开口尺度，将之剪裁成“袒领”，近半酥胸暴露在外，丰乳半隐半现，欲隐又现，超级性感。

这一个侧面，足以表明唐代对于女性的包容和尊重，当时的唐朝，是全世界经济政治文化一个昌盛地，犹如今时之欧美。我们可以想想，当时的女性有如今日欧美女性那般的自由、开放以及独立。

Decent, steady ,constraint or even a bit of sexual inhibition are what we usually think of them . But what were exactly the ancient women like ? We browed the history :According to the "New Tang Dynasty Princess Biography", the Tang Dynasty Princess remarried as many as 23 people:  Some even filed for divorce, and couples could divorce by agreement. Take a look at the clothes recorded in the historical materials:  "New Tang Shu Che Hanzhi"  records,  women were wearing " half-sleeved cloths and near half chest were exposed. We found women in the ancient China were actually energetic or we would like to describe them as modern and self expressive and meanwhile well trained by the classic culture.

由此，对于此次“女性古典摄影”的这个命题，我们探索出了一个新的思路：重新续写“传统”女性，把她们原本极具开放、热情、活力、温暖的那一面通过空间去展现出来。也是，也对当下的“传统”女性想象进行对话：传统是古典兼具活力和生气的，她们既古典端庄，又开放不拘小节，同时充满着生命热情。

整个摄影空间区域包括大厅入口、屏风区、摄影展区、服装区、洽谈区、半开放式空间、水吧台等。 设计元素上大片的使用了中式柱廊和现代金属管，樱花形装饰片，古典灯笼，山水夹丝玻璃等。施工工艺上，我们采用不锈钢重新度色，不锈钢收口的上采用简洁的方式使空间尽量保持干净。粉色硬包布之间的布接缝处采用了5mm的金属条来做压条，同时比平面凹进去5mm，来强调墙面的方向感与立体感。

It fits our understanding towards women in the thriving era: they were educated, elegant and independent. Their life were with inspiration and yearnings. They were fresh and energetic .With classic culture reviving in China ,people get more and more interest and yearnings for old times . Redefining “classical Chinese women “in a brand new way is what we want to do for the case.

项目名称：粉中·盘子女人坊

建筑面积：1980 平方米 

项目地点：中国 杭州

空间设计：水木言设计机构

主创设计：梁宁健 

协作设计：周剑锣、金雪鹏 

项目摄影：廖鲁

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