601號 ‧ 泰
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CASE DETA
主要設計：洪文諒
參與設計：高宸翔、柯金洋
空間性質：住宅單層
使用成員：二人
空間面積（㎡）：300㎡
主要建材：橡木地板
座落位置：深圳
主要設計：洪文諒
參與設計：高宸翔、柯金洋
空間性質：住宅單層
使用成員：二人
空間面積（㎡）：300㎡
主要建材：橡木地板
座落位置：深圳
應無所住而生其心。──金剛經 莊嚴淨土分第十
當隨緣遇境時，當保持「無動於衷、不受境遷、不隨物轉」和敬無染的態度與心情，自當清淨空寂，自在無礙。
當隨緣遇境時，當保持「無動於衷、不受境遷、不隨物轉」和敬無染的態度與心情，自當清淨空寂，自在無礙。
一塵不染，普遍有潔凈之意，泛指保持心地潔凈，不被六塵所污染。
洪文諒設計師認為居家生活裡的纖纖脈絡，多半來自於個人生命經驗，甚至帶有自我剖析的意味，於設計不過分誇飾，讓居者實質的感受著室內與建築對話，了解個體與環境的互依互賴，將有形有意的質與量弱化減少、去蕪存菁之後，簡單、純粹、俐落的隱喻了人與生活的情感關係。
洪文諒設計師認為居家生活裡的纖纖脈絡，多半來自於個人生命經驗，甚至帶有自我剖析的意味，於設計不過分誇飾，讓居者實質的感受著室內與建築對話，了解個體與環境的互依互賴，將有形有意的質與量弱化減少、去蕪存菁之後，簡單、純粹、俐落的隱喻了人與生活的情感關係。
和敬清寂
我所謂的寂寞，是隨緣偶得，無須強求，一剎間的妙悟也不嫌短，失掉了也不必悵惘。 ──梁實秋《寂寞是一種清福
我所謂的寂寞，是隨緣偶得，無須強求，一剎間的妙悟也不嫌短，失掉了也不必悵惘。 ──梁實秋《寂寞是一種清福
拒絕既有的流行語彙或潮流風格，環繞著「有」與「無」關係的轉變。設計之後所展示的是居者生活情感作用後的結果，線面之間未有太多的色彩與造型，家具也是簡化之後的陳列，卻深深蘊含著不同情緒的力量，如：和諧與靜謐、安定與舒適、承載與包容，以及生活裡可能產生的複雜難言感受，在空間當中均如實清澈的羅列，具體而微的展現屬於居者的典範與美感。
無為消遙
泰初有無 ，無有無名。──莊子天地篇。
無，並不是物質，但也不是空無所有，從無到有，再由有至無，進而臻至「天地與我並生，萬物與我齊一」的境界。洪文諒設計師自設計開始，風格裝飾到工藝美學，皆不以任何機械化的時代表徵，做多餘而過分的闡述，由著光影的行進、動線的流暢以及機能的演繹，和諧地融合風格與美學藝術型態的抽象特性，創造出充滿想像力且自在的空間樣貌。
泰初有無 ，無有無名。──莊子天地篇。
無，並不是物質，但也不是空無所有，從無到有，再由有至無，進而臻至「天地與我並生，萬物與我齊一」的境界。洪文諒設計師自設計開始，風格裝飾到工藝美學，皆不以任何機械化的時代表徵，做多餘而過分的闡述，由著光影的行進、動線的流暢以及機能的演繹，和諧地融合風格與美學藝術型態的抽象特性，創造出充滿想像力且自在的空間樣貌。
自大門甫入，由客廳、廚房及餐廳連綴迤邐成之貫通格局，少了傳統區域框線的遞次緩進，區域分野上的動線開口，除開放之外，便是隱於牆線之中，以此結構的規律性自明空間美感且擘分平面段落，勾摹出室內豁然平面，見得設計結構骨骼發乎精簡明快的規劃。在有無與清寂並列的設計思維中，轉載著居者對於生活的期許，也能達觀的表現其生活內在精神與生命進程脈絡，順性自然，當能無為消遙。
No.601 Peace and Comfort
Nihility is not manifested in any substances. It is neither the equivalence of emptiness. In fact, the idea of nihility is embedded in the repeated cycle of existence and non-existence. Stripped of trendy designs and motifs, No. 601 seeks to capture the residents’ life experiences and emotions through the transformation of existence to non-existence. The choice of color and style that constitute lines and shapes, as well as the display of furniture, all encompasses emotional engagements, such as harmony-peace, stability-comfort and tolerance-comprehensiveness. In this space, emotions hard to put into words are faithfully showcased and the residents’ aesthetic preferences and composure can be discovered through small findings.
Unlike traditional interior layouts where gradual partitions are adopted, the kitchen, dining room and living room are all linked together to facilitate an open path movement between spaces of different functions. Intricate manipulation of walls successfully fosters a rhythmic structure, divides planes and creates a more spacious interior, presenting a simple yet sophisticated designing approach. Inspired by the concept of existence, non-existence, purity and tranquility, No. 601 bears the expectation of residents and tells the story of life’s continual shifts in time. This goal of design is achieved through minimizing interference and following nature’s course.
Nihility is not manifested in any substances. It is neither the equivalence of emptiness. In fact, the idea of nihility is embedded in the repeated cycle of existence and non-existence. Stripped of trendy designs and motifs, No. 601 seeks to capture the residents’ life experiences and emotions through the transformation of existence to non-existence. The choice of color and style that constitute lines and shapes, as well as the display of furniture, all encompasses emotional engagements, such as harmony-peace, stability-comfort and tolerance-comprehensiveness. In this space, emotions hard to put into words are faithfully showcased and the residents’ aesthetic preferences and composure can be discovered through small findings.
Unlike traditional interior layouts where gradual partitions are adopted, the kitchen, dining room and living room are all linked together to facilitate an open path movement between spaces of different functions. Intricate manipulation of walls successfully fosters a rhythmic structure, divides planes and creates a more spacious interior, presenting a simple yet sophisticated designing approach. Inspired by the concept of existence, non-existence, purity and tranquility, No. 601 bears the expectation of residents and tells the story of life’s continual shifts in time. This goal of design is achieved through minimizing interference and following nature’s course.
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