发源于西方的功能主义伴随资本主义对一切推倒重来，现代建筑已经模糊了城市的面目，同时也模糊了东西方的界限，一切为效率让路，高耸的钢筋巨人碾过自然，我们透过屏幕畅想自然。
Modern architecture has blurred the face of the city, and at the same time blurred the boundary between east and west. Everything is based on efficiency. The towering steel giant crushed nature, we can only imagine nature through the screen.
此后，在水泥盒子里生存了百余年，连风和光都被精密计算，度假、第二居所，成了刚需之后的刚需，我们从来没有像此刻那样渴望自然。
Since then, people lived in a cement box for more than a hundred years. Even the wind and light have been accurately calculated, now vacation and second residence have become rigid needs, we have never longed for nature so much as we do now.
回归自然、城市山林，这不仅是一个后工业语境下的城市策略问题，更是一种世界观、价值观的思考，人们在经历现代主义的短命后，与自然共生的东方千年人居文化的回归也一定是必然。
Returning to nature and urban forest is not only a problem of urban strategy in the post-industrial context, but also a reflection on world outlook and values. After experiencing the short life of modernism, the return of the Oriental human settlement culture which is symbiotic with nature for thousands of years must be inevitable.
寂 / Silent
在这个空间中，色彩和材质的运用秉承日本传统美学中对自然形态的推崇，营造澄净如洗的肃净感，设计在强调空间形态和物体单纯和抽象化的同时，更着眼于物体的相关性，每一个物件的放置都经过了严密的考量，以及在与空间发生关系的同时其物体所具有的意。
In this space, the use of colors and materials upholds the respect for natural forms in Japanese traditional aesthetics, creating a clean and clean feeling. The design emphasizes the simplicity and abstraction of space forms and objects, while focusing more on objects Relevance, the placement of each object has been rigorously considered, and the meaning of its objects while having a relationship with space.
向自然借来材料，木头是木头的肌理，只是用时间“打磨”出不同的层次，形成物与物之间的“波纹”，制造阴翳，也制造了空间的流动。在家具乃至器物的选择上，用弧度取代棱角，线条简洁而平稳，尽可能地贴近地面。
Borrowing materials from nature, wood is the texture of wood, but it uses time to "sandwich" different layers, forming "waves" between objects, creating shadows, and creating a flow of space. In the selection of furniture and even utensils, arcs are used to replace edges and corners, and the lines are simple and smooth, as close as possible to the ground.
日光半斜，透过半透的樟子纸，洒下朦胧的静谧，木材自然的清香，被光影催化，弥漫在空间之中，物件本身的美感被极致地放大，置身其中，仿佛所有潜在的怀旧、怀乡、回归自然的情绪，都得到了补偿。
The sunlight is half-slanted, and through the semi-permeable camphor paper, the misty tranquility is sprinkled. The natural fragrance of wood is catalyzed by light and shadow and diffuses in the space. The beauty of the object itself is extremely magnified, and being in it, as if all potential nostalgia, homesickness, and return to nature are compensated.
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