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在空間設計中，石材以其獨特的質地與韻味，構筑起一個充滿詩意的對話場域。當設計師將一塊粗糙的原石置于現代建筑之中，兩種時空在此相遇：一方是歷經億萬年地質運動形成的自然造物，一方是人類文明的最新結晶。這種對話超越了簡單的材質運用，成為自然與人文的深度交流。石材的肌理中鐫刻著地球的記憶，每一道紋路都是時光的印記，當光線掠過石面，仿佛能聽見遠古的回響。在現代空間設計中，石材不再只是冰冷的建筑材料，而是承載著自然靈性的媒介，將大地的呼吸帶入人造空間。

In the space design, stone with its unique texture and charm, build up a poetic dialogue field. When designers place a rough rough stone in a modern building, two kinds of time and space meet here: one is a natural creation formed over eons of geological movement, and the other is the latest crystallization of human civilization. This kind of dialogue goes beyond the simple use of materials and becomes a deep exchange between nature and humanity. The texture of the stone is engraved with the memory of the earth, each grain is the mark of time, when the light passes over the stone, as if you can hear the ancient echo. In modern space design, stone is no longer just a cold building material, but a medium carrying natural spirituality, bringing the breath of the earth into the artificial space.

石材的運用往往能喚醒空間中的精神維度。在安藤忠雄的光之教堂中，清水混凝土與石材的對話，營造出靜謐而神圣的氛圍。石材的厚重感與光線的輕盈形成鮮明對比，卻又和諧共存，創造出獨特的空間韻律。這種設計不僅是對材質的運用，更是對空間精神的詮釋。石材的永恒性與人類生命的短暫性形成強烈對比，提醒著我們在現代生活中保持對自然的敬畏之心。石材的多樣性為空間設計提供了無限可能。從粗獷的花崗巖到溫潤的大理石，每種石材都有其獨特的語言。設計師通過巧妙的搭配與切割，讓石材在空間中"說話"；在隈研吾的負建筑理念中，石材被分解成更小的單元，以消解體量的方式融入環境。這種處理手法不僅展現了石材的物質性，更凸顯了其精神性。石材不再是簡單的裝飾材料，而是連接人與自然的精神紐帶。

The use of stone often awakens the spiritual dimension of space. In Tadao Ando's Church of Light, the dialogue between raw concrete and stone creates a quiet and sacred atmosphere. The weight of the stone is in sharp contrast to the lightness of the light, but it co-exists harmoniously, creating a unique spatial rhythm. This design is not only the use of materials, but also the interpretation of the spirit of space. The impermanence of stone is in sharp contrast to the ephemeral nature of human life, reminding us to maintain a reverence for nature in modern life. The diversity of stone provides infinite possibilities for space design. From rough granite to warm marble, each stone has its own unique language. Through clever matching and cutting, the designer makes the stone "speak" in the space. In Kengo Kuma's negative building concept, the stone is broken down into smaller units to dissolve the volume into the environment. This treatment not only shows the materiality of the stone, but also highlights its spirituality. Stone is no longer a simple decorative material, but a spiritual link between people and nature.

設計師們不再追求石材的完美無瑕，而是刻意保留其天然的瑕疵與歲月痕跡。這種"不完美"的美學，恰恰體現了對自然的尊重與理解。石材的裂縫、色斑、紋理都成為設計語言的一部分，講述著獨特的故事。這種設計理念打破了傳統審美標準，創造出更具人文溫度的空間體驗。

Designers no longer pursue the perfection of stone, but deliberately retain its natural flaws and traces of time. This "imperfect" aesthetic reflects the respect and understanding of nature. The cracks, stains and textures of the stone all become part of the design language, telling a unique story. This design concept breaks the traditional aesthetic standards and creates a more humanistic space experience.

一、浙江 · 奢野既來

RESIDENTIAL DESIGN

民宿坐落在浙江溫嶺，主要運用了重塑小鎮地域文化的社區模式。通過重新梳理建筑脈絡，居住體驗得以優化，融合人文與自然、現代與傳統元素，形成自由而連貫的布局，集居住、休閑和商業功能于一體，體現了共享性社區的理念。民宿外部擁有潔凈的線條，懸掛的室外樓像極了歐式城堡，數棟稍矮的石頭別墅包圍下又很有海岸漁村的特色。奢野的每一處，都在極力地打破著傳統和視覺上的膨脹感。老木作為家具的主要材料，它本身所具有的柔和色彩、細密質感以及天然紋理，非常自然地融入到百年石塊之中，另以綠植稍作點綴，展現出一種樸素、清新的原始之美。

Located in Wenling, Zhejiang Province, the B&B mainly uses the community model to reshape the regional culture of the small town. By rearranging the architectural context, the living experience is optimized, combining human and natural, modern and traditional elements to form a free and coherent layout. It integrates residential, leisure and commercial functions and embodies the concept of a shared community. The exterior of the home has clean lines, hanging outdoor buildings like European castles, surrounded by several slightly shorter stone villas and very coastal fishing village characteristics. Every part of Sanye is trying to break the tradition and the sense of visual expansion. As the main material of furniture, the soft color, fine texture and natural texture of the old wood itself are naturally integrated into the century-old stones, and the green plants are slightly embellished, showing a simple, fresh and original beauty.

民宿空間緊鄰海岸，利用天然海砂堆疊而成，經受著海風與雨水的侵蝕。因此，建筑采用了以堅固、防風為基礎的“石屋”風格，內部裝飾也呈現出一種復古的“舊”感，墻上的線條痕跡在光影的映襯下，營造出了濃厚的故事氛圍。這里共有9幢建筑，其中8幢作為客房使用，1幢作為公共區域。目前，還有3幢建筑正在修建中。此外，民宿還配備了咖啡廳、博物館、露營基地、崖間SPA和圖書館等公共設施。房間設計融合了簡約、侘寂和復古等多種風格，打造出一種動靜結合的“柔和美”。乍一看，房間似乎很簡單；但仔細觀察，卻能發現每一處都透露出非凡的設計審美。

The accommodation space is adjacent to the coast and is stacked with natural sea sand, which is eroded by sea wind and rain. Therefore, the building adopts a solid, windproof based "stone house" style, and the interior decoration also presents a retro "old" sense, and the line traces on the walls create a strong story atmosphere against the light and shadow. There are a total of nine buildings, of which eight are used as guest rooms and one is used as a public area. Currently, three more buildings are under construction. In addition, the hostel is equipped with public facilities such as a cafe, a museum, a camping base, an inter-cliff SPA and a library. The rooms are designed with a mix of styles such as simplicity, wabi Sabi and vintage, creating a "soft beauty" that combines movement and activity. At first glance, the room seems simple; But if you look closely, you can find that every place reveals a remarkable design aesthetic.

二、室內美學

RESIDENTIAL DESIGN

20間客房隱藏在了5棟別墅樓內，無論是最小的30平到最大的90平，皆以石墻為基調，主調為大量純白和原木空間，當和原木訂制家具、復古沙發、工業風燈具、極佳采光融為一體，極簡的灰白暖色調和明朗的空間感在感官上立刻便會引起極度舒適，傳統石屋的弊端毛病全被糾正。

20 rooms are hidden in 5 villa buildings, from the smallest 30 to the largest 90 square meters, all based on the stone wall, the main theme is a lot of pure white and log space, when combined with log custom furniture, retro sofa, industrial wind lamps, excellent lighting, minimalist warm gray and bright space immediately cause extreme comfort in the sense of the senses. All the drawbacks of traditional stone houses have been corrected.

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