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今人好似總怕被認(rèn)作閑人，對(duì)于此，古人則有著全然不同的理解。蘇軾直言，“江山風(fēng)月，本無(wú)常主，閑者便是主人。”古字中“閑”為“閒”，月灑清輝，倚門而望。在此處，身份被全然忽略，無(wú)關(guān)外物，只關(guān)乎內(nèi)心。

Nowadays, people seem to be afraid of being regarded as idlers while the ancients had a totally different view. Su Shi once said, “Rivers, mountains, winds and the moon belong to no one, and idlers can enjoy them for free.” The ancient Chinese character “xian” (“idle”) means leaning against the door and watching the moonlight. At this moment, identity is completely ignored. All that matters is one’s inner heart.

苫也不愿今人囿于俗事，在感受過(guò)海的浪漫后，又轉(zhuǎn)向山間尋覓一方閑適居所；林海間的靈性滋養(yǎng)，讓蜚聲同樣感知到自然意境之美，與苫也共同為旅客打造一處安然慢生活。這便是苫也不若林一期的起源。

Sanyea wants to free modern people from their mundane affairs. After feeling the romance of the sea, Sanyea turns to the mountains for a leisurely place to stay in. The dense forest allows Fusion to feel the beauty of nature as well. Therefore, Fusion and Sanyea work together to create a paradise for tourists. This is the origin of SANYEA-Forest Retreat I.

不若林二期是于林海環(huán)繞中更加與世獨(dú)立的建筑。蜚聲延續(xù)了一期的主要設(shè)計(jì)理念，從自然中提取美學(xué)符號(hào)與元素，以設(shè)計(jì)為筆勾畫(huà)具象空間。進(jìn)一步提升了空間氛圍與質(zhì)感，從而去呈現(xiàn)一個(gè)遠(yuǎn)離城市喧囂、卻充滿“家”的閑適意境與自在雅趣的世外桃源。在這里，請(qǐng)?jiān)试S我們虛度一下光陰，把身心還給自己。

SANYEA-Forest Retreat II is a more secluded architecture in the forests. Fusion continues the main design concept of Forest Retreat I, extracting aesthetic symbols and elements from nature and decorating the space with excellent design. Fusion further emphasizes the sense of space to present a “home” of idleness and elegance far away from the hustle and bustle of the city. Here, we can spend as much time as we like to wind down.

軟風(fēng)煙雨，青瓦飛檐；建筑和室內(nèi)空間皆以黑白為主色，對(duì)比鮮明，卻又能和諧相融。猶如一幅飄逸出塵的中國(guó)水墨，輕描淡寫幾筆，卻能勾勒出大地山川、世間萬(wàn)象，越簡(jiǎn)單、越有韻味。猶如墨色的各類黑色材質(zhì)，于空間的白色中擴(kuò)散開(kāi)來(lái)，渲染出一幅令人更加安定、沉靜的氛圍。

Eaves of green tiles shelter people from gentle breezes and drizzles. The cladding and the inside decorations are mainly black and white, which contrast sharply and coexist harmoniously. It is like an ethereal Chinese ink painting, in which a few brushes can outline the earth, mountains, rivers, and everything in the world. The simpler the painting is, the more charm it shows. All kinds of ink-like black materials spread out in the white space, rendering a more stable and calmer atmosphere.

中式的意境之美是帶著畫(huà)面感的故事，它不是一眼的驚艷，而是細(xì)品后返甘的含蓄韻味，需要天、地、人三者相合而成。信步徜徉于寬敞的公區(qū)，借景于不同的轉(zhuǎn)角、間隙；一步一景之間，觀者總能收獲意想之外的絕佳視角，引人聯(lián)想。

The beauty of Chinese artistic conception is pictorial. Not amazing at first sight, it needs to be carefully tasted and demands the combination of heaven, earth and man. Strolling in the spacious public area and different corners, visitors can always enjoy an unexpected, excellent view and have infinite associations.

現(xiàn)代質(zhì)樸的沙發(fā)、硬朗隨型的茶幾，搭配了些許中式的老家具和擺件，共同營(yíng)造出一種自在融合且有意境沉淀的韻味。三四把古董官帽椅點(diǎn)綴各處、一只部分破碎的老陶罐當(dāng)做擺件、一根廢棄的舊木梁改造設(shè)計(jì)成一盞落地?zé)簟绾伪Ａ魵q月流轉(zhuǎn)帶來(lái)的故事性、時(shí)光變遷中沉淀下來(lái)的痕跡，與當(dāng)代人的居所需求相結(jié)合，這也是蜚聲在做本項(xiàng)目自始至終想傳遞出的一些思考和嘗試。

The modern plain sofas, the solid irregularly-shaped coffee tables and the old Chinese furniture and ornaments complement each other, creating a profound charm. In the house, three or four antique official’s hat armchairs are set, a partially-broken old ceramic pot is used for decoration, and an old abandoned wooden beam is transformed into a floor lamp... How to preserve the stories and traces of time and how to combine them with the needs of modern people are what Fusion intends to answer through this project.

人的視線隨著天花的黑色線條向遠(yuǎn)處延伸，從西廚這一端發(fā)散至對(duì)面，引出一個(gè)還未探索的轉(zhuǎn)折空間。黑與白、高與低，疏與密，元素的對(duì)比在設(shè)計(jì)師最初內(nèi)心世界的展現(xiàn)中，暗含了對(duì)一份空間關(guān)系劃分與構(gòu)筑的新理解。陽(yáng)光隨著時(shí)間變化在這些體塊間游走，若隱若現(xiàn)間亦給空間添上一層別樣的氛圍濾鏡。

People’s sight extends to the distance following the dark lines of the ceiling, from the western kitchen to the opposite side, and then lands on a turning space to be explored. In the designers’ conception, the contrast of elements, such as black and white, high and low, sparse and dense, implies a new understanding of the division and construction of different spaces. Sunlight moves through these rooms over time, which adds a special filter to the space.

樓道間，豁然一線天光傾灑而下，不禁令人豁然開(kāi)朗；窗景外的光線作為指引的方向，引導(dǎo)人拾級(jí)而上進(jìn)入二層的空間?？p隙間灑落的光線如時(shí)間的指針，隨著日照變化在黑色木飾面上緩緩劃過(guò)光的痕跡，一切仿佛慢了半拍，暗示來(lái)者放下包袱、身心皆可閑下來(lái)。

In the corridor, light pours down, enlightening people all of a sudden. The light outside the window leads people to go upstairs to the second floor. The light casting through the gaps is like a time pointer, moving slowly on the black wood surface as the sun moves. Everything seems to slow down, suggesting the comers to load off their minds and relax.

“靜心”的門牌掛于門前，像是對(duì)來(lái)者的一個(gè)告示。何夜無(wú)月？何處無(wú)竹柏？但少閑人如吾兩人者耳。這里，是更私密于友人之間的閑暇小聚之處。

The sign “Calm Your Mind” is hung on the door, like a notice to comers. Just as Su Shi said, “The moon, bamboos and cypresses are everywhere, but there are no idle people like we two.” This is a place where friends can enjoy together a more intimate and leisurely time.

黑色木飾面圍合著四周墻面，渲染出一幅水墨般的私密氛圍；一根黑色梁橫穿白色斜頂天花，以宣告自己的特立獨(dú)行。山野林間、霧緲?biāo){天，在預(yù)先設(shè)計(jì)好的窗框里成就一幅幅山野畫(huà)卷。光與影，室內(nèi)空間與自然環(huán)境，看似是此消彼長(zhǎng)的相悖，實(shí)則是相互成就著共生。

Black wood veneers on the walls create an ink-painting-like private atmosphere, and a black beam crosses the slanted white ceiling uniquely. Outside the windows, mountains, forests and the blue sky form diverse pictures. Light and shadow and indoor space and natural environment seem to be incompatible, but in fact, they complement each other.

餐桌旁的卡座給予賓客更多閑適舒展的選擇。光影錯(cuò)落，觥籌交錯(cuò)，好一番閑情逸致。

The booths beside the dining tables offer the guests another choice. How relaxing it is to savor wine in the changing light.

步入客房，從臥室再到戶外泡池庭院、再到遠(yuǎn)處建筑和山林景觀，屏風(fēng)與窗棱轉(zhuǎn)化而來(lái)的格柵將室內(nèi)外的景致劃分成無(wú)數(shù)細(xì)微小景。隱隱綽綽、虛與實(shí)之間，完成了空間的層層遞進(jìn)、環(huán)環(huán)相扣。

In the guest rooms, gratings made up of screens and window edges divide the indoor and outdoor scenery into numerous scenes. The bedroom, the outdoor courtyard with pools, the distant buildings and the mountains are independent yet interconnected.

木色調(diào)是客房室內(nèi)的主線，串聯(lián)起柔和的墻面漆延伸至戶外。在樹(shù)影斑駁和波光粼粼的光影映襯下，將室內(nèi)的休憩體驗(yàn)無(wú)形中融合于山林間。

The guest rooms are mainly decorated with wooden furniture and soft wall paint extending to the outdoors. The dappled tree shadows and the shimmering pool strengthen guests’ refreshing feelings when they rest in the rooms.

質(zhì)樸卻又考究的家居布藝，小巧掛畫(huà)和竹燈一盞，恰到好處地展現(xiàn)著一種生活方式，讓人不禁期待來(lái)一場(chǎng)細(xì)雨，在雨落屋檐下的時(shí)候，煮一壺新茶。從城市中逃離到此，情緒從急忙、快節(jié)奏轉(zhuǎn)向沉靜和關(guān)乎具身體驗(yàn)的一切，使被忽略的、細(xì)微的感知開(kāi)始顯現(xiàn)出來(lái)；由此，一個(gè)“家”的存在意義似乎在此得到詮釋。

Plain quality furniture and fabric, delicate hanging pictures, and a bamboo lamp show the calm lifestyle. Such an environment makes people look forward to a drizzle when they can brew a pot of tea under the eaves. Escaping from the cities to this retreat, you can slow down your pace and spend time enjoying the present. Those neglected and subtle perceptions begin to emerge. Thus, you realize the significance of “home” here.

大漠孤煙中漫步，河畔殘陽(yáng)下舞蹈，樹(shù)影浮動(dòng)時(shí)賞月，我們?cè)谑謾C(jī)里驚嘆他人的生活，自己卻很難慢下腳步，甚至不愿在雨后為自己泡一杯茶。只是因?yàn)闊o(wú)所得，因此沒(méi)必要。

Scrolling on our mobile phones, we marvel at others’ lives such as walking in the desert, dancing at sunset by the river, and appreciating the moon in the tree shadows, but it is hard for us to slow down the pace, or even make a cup of tea for ourselves in rainy days. We feel unnecessary to do these things just because we cannot gain benefits from them.

周作人先生曾言，“我們于日用必需的東西以外，必須還有一點(diǎn)無(wú)用的游戲與享樂(lè)，生活才覺(jué)得有意思?！边@樣的良辰美景中，于閑適居所中為一些無(wú)用事，做一次閑人又何妨？

Mr. Zhou Zuoren once said, “Besides our daily necessities, we must have some useless recreation, so that life can be joyful.”In such beautiful scenery and such a comfortable place, why not be an idler and do something useless?