崔树&柳宗源
故事的开始
是从设计的结束时
开始的
设计结束的那天
柳宗源为崔树拍摄了这张照片
自此
也拉开了此次作品展示的序幕
......
ABOUT 柳宗源
*此标题内以下图片均来自UTTER SPACE
柳宗源，中国一线明星摄影师，长期与国内一线艺人和一线时尚杂志合作。与柳宗源合作的艺人，无论柔美、俏皮还是精灵般的表情和动作，都能被他快速用镜头捕捉，通过独特的光影与创意视角，展示出人物最独特的味道。
当这个空间设计完成的时候，柳宗源开始了他在这个空间的第一次展览，本次展览邀请到了超模何穗。
ABOUT UTTER SPACE
这是一个平时当影棚使用，偶尔变身为美术馆或施工现场，深入其中又是极具暗黑买手店气质的全方位复合型为创作而生的空间
UTTER的项目构思与Virgil Abloh的看法不谋而合:
“我从包豪斯里学到的是，媒介之间没有边界，只有人为感知的世界。”
神秘的办公室里不仅珍藏着大量画册和随处可见的质感物件，而且逐渐将装置、新媒体艺术、家居设计纳入空间和创作范围。
UTTER除了主营照相，还不定期开办各式线下活动与展览，除摄影之外，各种超乎想象的书展、发布会、POP-UP、SHOW，甚至还有影棚蹦迪。
UTTER未来即会成为与访客在互动中实现独版创作，因此特向志在创作的同好、各界艺术家、手工匠人、奇人异事，敞开怀抱、隆重发出爱的召唤。
PROJECT BACKGROUND
设计不只是一味创造和装饰
更应该是用心的发现和选择
随着潮流时尚的发展，传媒对影像及意识图片的要求也变的越来越高。
在此背景下，一线城市里有更多方式和风格的摄影师出现，北京著名摄影师柳宗源就是这其中比较有个人风格的一位。
2019年初他找到CUN，希望为自己位于北京一个老建筑库房的摄影工作室做设计。
于是一个傍晚我们聊了3个多小时，而交流之中我们都感觉到在今天，设计、影像、艺术甚至是音乐等一切能给人们带来美感的事物，都已变得边界模糊而又充满新鲜。
所以我们把这次的空间性质由纯粹服务于摄影工作需要，调整成为一个集工作、美术馆、活动等为一体的复合型空间。这样反而让这个空间在任何一条路上都更加彻底而纯粹，它的名字叫做UTTER SPACE。
这个空间建筑是60年代的一个老仓库，第一次到达现场时，看到整个空间被重新做了特别混乱的分割和结构搭建。
由于空间以前本来的用途也是影棚，所以整个建筑的内壁做了装饰板，顶面也被全部喷黑。作为一个经验丰富的设计师，我还是可以透过俗气的装修，看到隐藏在它后面的充满历史感的建筑本体。
FIND ITSELF BACK
于是我们首先开始了第一项工作，找回它自己。
经过半个月的拆除，我们把整个老建筑的原始样子还原，在这个过程中，我们发现本来的水泥墙体有着特有的历史和岁月的痕迹以及时间的美感。
朝西一面，建筑的外窗也被拆出来，原来在下午会有温暖而美丽的金色夕阳投射到室内，让整个空间气质发生转化。
此外，吊顶的结构完全呈现出历史技术条件下，混凝土的预制模板，它的结构也充满了时代感，同时又有种莫名的未来性。
于是我们花了一个月的时间，用水洗的形式把整个顶面的原始水泥质感洗刷和重现了出来。当整个建筑被还原出来的时候，它已经安安静静的在那里，跟着光线的变化自具美感。
所以我觉得有的时候改造以前，设计师应该懂得尊重原始和具有能发现美感的眼光。
DESIGN CONSTRUCTION
在建筑被挖掘出来以后我们进入到了第二个阶段的工作——设计营造。
这次不同，我居然不舍得下手去处理这个本就美好的空间。于是，我通过两周的时间在思考到底用一个怎样的方式介入设计营造。
中国智慧里有一个词叫做“舍得”，意思是只有舍去一些贪婪才能得到意想不到的结果，换成西方的设计语言可能等同于“less is more”。
因此对于设计师来说，如何控制自己的介入和动作的选择就变的尤为重要！
我们首先按照接待、拍摄工作、后台工作、展览等的动线把一个空大的空间设置出两条动线，其中一条属于平面动线，另外一条属于立面垂直动线。
首先这两条动线形成环状闭合动线，其次就是它们链接而不交叉。接下来我们围绕这两条动线，分配了面积及功能分区，使整个结果更有依据而理性。
所以无论是一楼的接待厅、大影棚，还是二楼的小影棚及工作室，再或者到三楼的独立空间，都是循序渐进的递进，非常的合理和有节奏感。
利用空间本来就有的结构，我们把二楼、三楼分别做了递进退台的处理，这样三个空间之间又产生了丰富的关系。
Design is not just creation and decoration, but exploring and choosing by heart.
With the development of trend and fashion, the media has become more and more diversified in images. Under this background, more photographers of different styles have appeared. Liu Zongyuan, a famous Chinese photographer, is one of them.
In early 2019, he found CUN, hoping to design for his photography studio in an old building warehouse in Beijing. We talked for more than 3 hours in the evening, and we feel that, nowadays, everything that can bring people beauty, such as design, video, art, and even music, has become blurred and full of freshness. We adjusted the nature of this space from purely serving the needs of photography, and adjusted it into a composite space that integrates work, art museums, and activities. This makes the space more thorough and pure on any road, and its name is UTTER SPACE.
The space building is an old warehouse in the 1960s. When first arriving at the site, I saw that the entire space was partitioned and structured in a particularly chaotic manner. The interior wall of the building was decorated with panels and the top surface was completely blackened. But through the tacky decoration, I can still see the architectural body full of history hidden behind it.
So we started the first job, found it back--the discovery of beauty
After half a month of demolition, the original appearance of the entire old building was restored. In the process, we found that the original cement wall has a unique history and traces of time and the beauty of it. On the west side, the exterior windows of the building were also demolished. It turned out that a warm and beautiful golden sunset was projected into the room in the afternoon, transforming the temperament of the entire space. In addition, the structure of the suspended ceiling completely shows the prefabricated formwork of concrete under historical technical conditions. Its structure is full of a sense of the times, and at the same time has an inexplicable future. So it took us a month to wash out the original cement texture of the entire top surface in the form of water washing. When the whole building was restored, it was already quietly there, following the change of light, it was aesthetically pleasing.
So, I guess, before transforming, designers should have the insight to respect the origin and find the beauty inside.
After the building was excavated, we entered the second stage of work-design and construction.
This time it was different, I couldn't bear to deal with this already beautiful space. So, I spent two weeks thinking about how to get involved in design and construction.
There is a word in Chinese wisdom called "SHEDE", which means that you can only get rid of some greed to get unexpected results. Changing to a western design language may be equivalent to "less is more". Therefore, for the designer, how to control his own intervention and action choice becomes even more important!
We first set up an empty space with two moving lines according to the moving lines of reception, filming, backstage work, and exhibition, one of which belongs to the plane line and the other to the vertical line of elevation. First of all, these two moving lines are looped closed moving lines, and secondly they are linked without crossing.
Next, we allocated area and functional division around these two moving lines to make the whole result more rational. Therefore, whether it is the reception hall on the first floor, the large studio, the small studio and studio on the second floor, or the independent space on the third floor, it is step by step, very reasonable and rhythmic.
Using the existing structure of the space, we have processed the second and third floors progressively and retreat, respectively, so that the three spaces have a rich relationship.
After the structure, function, and spatial rhythm were arranged properly, we entered the work of decoration.
At this time I chose to exercise extreme restraint and let the most primitive architectural scales and material relationships be the performers.
First of all, we arranged a canyon shape in the front lobby space, making this reception space full of fantasy and impact. It is worth mentioning that the beauty of the design is expressed by using the texture of the entire stone. The strength of the design comes from our choice of letting the light pass through the small stones on the ceiling, and reaching the stone front desk that directly penetrates the whole. This method is used to express the beauty of the light transmission of the stone and the beauty of its original weight.
At the big studio, the original charm and tension of the building conquered everything. We keep all the traces of the old building and time, let the east-west direction talk with the sunlight of the day, let the north-south direction add the texture language of the stone, and form the language with the geometric windows. In this way, you will feel simple and powerful, and you will appreciate the treatment we have added, so this part is the control of design strength.
Finally, to the second and third floors, we did a progressive process so that each floor can look into the hall. The second floor gives a more inclusive and connected feeling. You can say that it is a disappearing sense of existence, because its two main walls belong to the first floor space and the third floor space at the same time.
On the third floor, we made enhanced expressions. In a building with a sense of strength in the top beam space, we added two friends, stone and metal, to talk with this secret space through structure and material. You can understand it as a compromise, ascooperation interdependence or even as destroying confrontation and disharmony. So it's full of power and there is no standard answer. Maybe that's the charm of building it.
In the end, we didn’t make more shapes or materials in this design, but we just made excavations and choices in this encounter. However, all the work was very challenging and creative. So the day when UTTER SPACE is unveiled, I will still meet more aspects of it. Is it rustic, future, art, technology or dark metal? Perhaps it is its tolerance and possibility that struck me. Sometimes design succeeds in thinking instead of intervening!
Project Name | 项目名称
柳宗源工作室北京UTTER SPACE
Design company | 设计单位
CUN寸DESIGN
Area | 项目面积
1000㎡
Chief designer | 主设计师
崔树
Coordination designer | 协同设计师
马川、赵阳、焦云奇、王旭
Furniture art | 家居艺术品
回到二十世纪
Main material | 主要材料
大理石、乳胶漆、木饰面、铁板、水泥自流平
Photography artwork | 摄影作品
柳宗源
Space photography | 空间摄影师
王厅
文字/图片：寸匠、UTTER SPACE
图片调整编辑/排版：寸匠
来源：本文由CUN寸DESIGN提供稿件，所有著作权归属CUN寸DESIGN所有。
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