極致奢華：居住空間

序言 曾經(jīng)，很多朋友跟我分享過(guò)對(duì)奢華的看法，有人認(rèn)為金錢和奢華成正比，也有人認(rèn)為品牌就是奢華，只要把兩者結(jié)合在一起
就可以達(dá)到奢華的境界了。當(dāng)然，我不否定這些看法，但我并不完全贊同。因?yàn)槠渲羞€包含其他關(guān)鍵元素，對(duì)于設(shè)計(jì)師來(lái)說(shuō)
想要完成一個(gè)充滿奢華氣息的項(xiàng)目，單憑以上這兩點(diǎn)是遠(yuǎn)遠(yuǎn)不夠的。其實(shí)奢華是怎樣形成的？它的元素有哪些？為什么我們
會(huì)感受到這個(gè)空間充滿奢華的氣息？這些都是值得我們?nèi)ド钊胨伎嫉膯?wèn)題，我嘗試在我的經(jīng)驗(yàn)中找尋一些答案來(lái)同大家一起
分享。
想要達(dá)到奢華的效果可以從兩方面著手：一是要明白奢華都包含哪些元素；二是要清楚在創(chuàng)作一件奢華的作品時(shí)，創(chuàng)作者或
是設(shè)計(jì)師該擁有什么基礎(chǔ)。我希望通過(guò)對(duì)這兩點(diǎn)的探討，日后大家在欣賞或創(chuàng)作這類項(xiàng)目時(shí)會(huì)得到一些啟發(fā)，甚至是將奢華
的設(shè)計(jì)推向更髙的層次。
我認(rèn)為要了解奢華，首先要先了解“人”本身的生活和歷史。在不同的時(shí)代，人類對(duì)衣食住行的需求也在不斷地變化和演進(jìn)，
在不同的地域和文化中也產(chǎn)生了各自的生活觀，從埃及古文明到西方中世紀(jì)再到現(xiàn)在，人類無(wú)論是在穿衣服的款式上，食物
的烹調(diào)方法上，還是在交通工具及居住空間的改變上都有了明顯的演進(jìn)。不但在需求層面上越來(lái)越多元化，而且對(duì)質(zhì)量、格調(diào)、
品位等的需求也在不斷提升。但是在生活方式上無(wú)論哪個(gè)年代，哪個(gè)地方都有一個(gè)共通點(diǎn)，那就是同一時(shí)代和地域的人，在
生活需求上也會(huì)分為不同的層次，哪怕是同一需求也會(huì)產(chǎn)生不同層次的產(chǎn)品供該層次的人享用。例如當(dāng)我們需要坐下來(lái)時(shí)可
設(shè)計(jì)一把木制的椅子，有四根木腳、扶手和靠背便可，但在不同需求層次下這把椅子會(huì)有很大的變化。我們可以用一級(jí)羊皮
來(lái)造它的座墊，用南非的鉆石來(lái)鑲嵌它的靠背，用18 世紀(jì)的工藝來(lái)雕刻它的扶手。毫無(wú)疑問(wèn)后面的椅子可以達(dá)到奢華的效果。
從這個(gè)例子中可以看出：同一個(gè)需求，同一件產(chǎn)品，在不同的設(shè)計(jì)手法下，就可以達(dá)到所謂大眾化和貴族化這兩種截然不同
的效果。我們不能否認(rèn)貴族化的效果必然包含奢華的元素。
從上述的例子中也可以發(fā)現(xiàn)部分達(dá)到奢華效果的基本要素，如珍貴或高級(jí)的材料是必備的條件，樸實(shí)、原始、粗糙的材料和
風(fēng)格確實(shí)沒(méi)辦法營(yíng)造奢華的感覺(jué)。此外，文化、藝術(shù)的積淀也是提升奢華內(nèi)涵的因素。精細(xì)的做工、高貴的品位、悠久的歷
史等更能散發(fā)出奢華的味道。
在歷史的因素中，我所指的不單是歷史，也可以是歷史背后的故事。英國(guó)傳統(tǒng)的時(shí)鐘業(yè)品牌Commiti 是英國(guó)女皇御用的時(shí)鐘
制造商，在英國(guó)女皇伊利沙白二世六十大壽時(shí)設(shè)計(jì)出一個(gè)玻璃外殼，可清晰觀賞時(shí)鐘結(jié)構(gòu)和在報(bào)時(shí)時(shí)可敲打出西敏寺大本鐘
音樂(lè)的銅管，當(dāng)中每個(gè)零件都是人手精工制造，這也是Commiti 的傳統(tǒng)和理念。在這樣的歷史背景下, 再加上它的藝術(shù)設(shè)計(jì)
和價(jià)值，產(chǎn)生奢華的效果是必然的。
從產(chǎn)品中領(lǐng)略到的奢華元素，在空間設(shè)計(jì)中也是需要的，當(dāng)設(shè)計(jì)工作中需要?jiǎng)?chuàng)造一個(gè)奢華的氣氛時(shí)，這些元素也是不可或缺的。
在選擇材料時(shí)也是非常講究的，例如木材的顏色、質(zhì)感、紋理和表面處理等都影響著整體的效果，很多木材在本質(zhì)上已經(jīng)被
認(rèn)定為是高級(jí)的代表，有些是出于其珍貴性，有些是因?yàn)樗念伾图y理。我特別喜歡那些擁有自然質(zhì)感的木材，因?yàn)樗?br />天然紋理所表現(xiàn)出的獨(dú)特性最有吸引力。此外，在奢華氣氛的營(yíng)造中，文化、歷史和背景故事也是非常重要的，可以說(shuō)它是
品位的所在。我很喜歡欣賞一些用富有藝術(shù)感的手法來(lái)設(shè)計(jì)的作品，藝術(shù)是人類對(duì)美的升華，在設(shè)計(jì)時(shí)把藝術(shù)適當(dāng)?shù)厝谌肟?br />間內(nèi)，無(wú)論是掛畫、地毯，還是家具、布藝等都可以營(yíng)造出意想不到的效果。 在設(shè)計(jì)創(chuàng)作中，我特別重視設(shè)計(jì)師在這方面的修養(yǎng)和內(nèi)涵。在每一個(gè)設(shè)計(jì)作品中都可以感受到設(shè)計(jì)師的語(yǔ)言，就和從書畫中感受畫
家和書法家的內(nèi)涵一樣。設(shè)計(jì)師的語(yǔ)言就好像我們?nèi)粘贤ㄒ粯?，字里行間便可以覺(jué)察到對(duì)方的氣質(zhì)，從說(shuō)話的內(nèi)容和表達(dá)方式便
可感受到對(duì)方的品位和內(nèi)涵。這種從內(nèi)在發(fā)出的表達(dá)方式，需要設(shè)計(jì)師對(duì)周邊高質(zhì)量的生活、歷史和文化藝術(shù)特有獨(dú)特的認(rèn)識(shí)。我
特別欣賞一些設(shè)計(jì)師每月從自己努力工作的回報(bào)中抽出一部分時(shí)間和金錢，到不同的地方特別是髙品位的場(chǎng)所去體驗(yàn)，或是參加一
些文化藝術(shù)活動(dòng), 這樣的投資將會(huì)帶來(lái)百倍回報(bào)?；貞浺酝顣臅r(shí)候, 設(shè)計(jì)系的同學(xué)們都有個(gè)共同的心愿: 在畢業(yè)時(shí)一定要去歐洲
走一趟。因?yàn)楫?dāng)時(shí)歐洲消費(fèi)比較高，且我們是學(xué)生，經(jīng)濟(jì)條件不算太好，我們吃著面包也要到意大利的梵蒂岡看看文藝復(fù)興的藝術(shù)，
到希臘巴特農(nóng)神廟下的露天古劇場(chǎng)聽聽男高音的音樂(lè)，種種的體驗(yàn)加深了自己對(duì)歷史文化的了解，對(duì)設(shè)計(jì)工作產(chǎn)生了諸多的益處。
后來(lái)我們還到中國(guó)和其他國(guó)家進(jìn)行文化之旅，正如看中國(guó)著名作家余秋雨的作品時(shí)一樣，了解各地文化與歷史，對(duì)設(shè)計(jì)師來(lái)說(shuō)是設(shè)
計(jì)背后一個(gè)巨大的寶庫(kù)。與此同時(shí)認(rèn)識(shí)歷史文化的過(guò)程也會(huì)給設(shè)計(jì)師帶來(lái)很多啟發(fā)，特別是不同地域和不同時(shí)代的風(fēng)格。通過(guò)見聞、
閱讀和學(xué)習(xí)來(lái)認(rèn)識(shí)真正的風(fēng)格，我個(gè)人很喜歡 Art Nouveau (1888-1905) 和 Art Deco (1925-1935) 時(shí)代的設(shè)計(jì)，在參觀法國(guó)巴黎奧
賽博物館 (Mussee D’Orsay) 時(shí)，親眼見到當(dāng)時(shí)Art Nouveau 的家具和設(shè)計(jì)，其勻稱的比例，優(yōu)美的線條為我日后的設(shè)計(jì)帶來(lái)不少啟
發(fā)。甚至在美國(guó)紐約市曼哈頓的藝術(shù)館和眾多的建筑中，Art Deco 時(shí)代留下來(lái)的作品對(duì)我也產(chǎn)生了很深遠(yuǎn)的影響，這些時(shí)代的風(fēng)格
仍然不斷影響著當(dāng)今對(duì)奢華的設(shè)計(jì)。
在欣賞具有奢華氣息的設(shè)計(jì)時(shí)，我不單從外觀的顏色、用材、文化藝術(shù)方面來(lái)看，還會(huì)探討設(shè)計(jì)作品是怎樣表達(dá)人的生活的，在開
始時(shí)我提到人類生活方式的層次必須要在設(shè)計(jì)作品中體現(xiàn)出來(lái)，因?yàn)橐粋€(gè)好的空間設(shè)計(jì)作品，其最終目的亦是服務(wù)于“人”。生活方
式的層次可能會(huì)體現(xiàn)在功能布置上或擺設(shè)上，甚至是空間比例上，這方面看似只占設(shè)計(jì)的一部分，但缺乏這方面考慮的作品很難把
奢華推向至高點(diǎn)。例如，在高級(jí)紅酒窖內(nèi)，具有二三十年代風(fēng)格的室內(nèi)設(shè)計(jì)空間，柔和的燈光照射著墻上Georgia O’Keeffe 的油畫，
臺(tái)面上存放的酒無(wú)論是在年份、產(chǎn)地，還是在口感方面都達(dá)到一定的水平，且配合古巴手卷雪茄和相關(guān)工具等，聽著三腳鋼琴?gòu)椬?br />的爵士音樂(lè)，在這樣的氣氛下，奢華這兩字已不僅限于室內(nèi)的設(shè)計(jì)，還是一種生活品質(zhì)的體現(xiàn)，這體現(xiàn)的精細(xì)度已達(dá)到視覺(jué)、聽覺(jué)
以至味覺(jué)的要求了，也達(dá)到高層次生活的境界了。
非常感謝華中科技大學(xué)出版社邀請(qǐng)我為《極致奢華》作序，一方面分享了我對(duì)“奢華”的看法，另一方面也分享了設(shè)計(jì)師在設(shè)計(jì)奢華
類項(xiàng)目時(shí)應(yīng)有的心態(tài)。雖然是我個(gè)人片面的心得，但我希望讀者在欣賞《極致奢華》時(shí)，不僅從外觀、視覺(jué)的層面去欣賞，還要從
奢華的表達(dá)方式和體驗(yàn)等方面去思考，以便在日后的設(shè)計(jì)工作或自我生活中得到更多的感悟。
Over the years, many friends and I have always discussed the meaning of luxury. General consensus associates luxury with money
and name brands. If we were to combine the two together, this will ensure the definition of luxury. I do not deny this logic,
however, there are also other elements. From a designer's perspective, one cannot simply rely on name brand and money to
achieve the objective of luxurious design. How does one create a luxurious atmosphere? What are the contributing factors? When
one enters a so-called luxurious environment, how can one feel the luxurious surroundings? This is well worth considering from
different perspectives, and I like to share with you from my experience.
To achieve a luxurious effect, we shall do from these two aspects;Firstly,we must understand the luxury contain what
elements;Secondly,we to be clear what background should the designer possess in order for him or her to achieve this luxurious
objective? I want to through the discuss about these two points to bring the design to a higher level for future creation and
appreciation on projects.
In order to understand luxury better, we have to first understand the evolution and history of human beings. Over the centuries,
mankind has changed progressively. These changes are derived from a geographical and cultural backgrounds. From the ancient
Egyptians to the European Middle Ages and to present day, mankind has changed from their basic apparels to cuisines radically.
Daily transport means, and habitats have improved substantially. From simple every day need, to the quality of life. There is
however, one common factor, regardless of time and different culture, there always lie different product designs to satisfy different
consumers’ needs. e.g. when one wish to rest or sit, one simply design a chair with four legs with armrest and back built from wood.
From this simple design, we could then add a lamb pelt to the cushion, embed diamonds to the back, and even use the eighteenth
century European workmanship design on the armrests. Without a doubt, this will create a luxury effect. From this simple example,
using a simple chair, add different optional material, this will achieve the so-called massification and aristocratic effect, we do not
deny the noble feel with some elements of luxury.
From the above, luxurious elements, precious material are essential in creating this luxurious feel. The raw and rough material will
not be able to achieve the same effect. Besides,culture and art accumulation also can promote the luxurious feel.Together with the
fine craftsmanship, impeccable taste and cultural historical background further enhance the overall flavor of luxury.
Under the history element, I do not mean only a long history, but the story behind the history. When Queen Elizabeth II celebrated
her sixtieth year birthday as the longest ruling emperor in the United Kingdom, the crown commissioned Commiti, the royal clock
maker, to design and build a time piece with an exterior glass shell. Everyone can see clearly the working of the Westminster clock
with the chimes where the clock hammer strike and the organ chime. Every piece of the clock is handmade. The tradition and the
idea of fine workmanship form an incredible art piece that cannot be duplicated. In this case, coupled with its artistic design and
monetary value, luxury effect comes naturally.
Similarly luxurious space design is similar to that of a luxurious product design. In creating a luxurious environment, these
requirements are a must. Starting from the selection of material is an art. In choosing a piece of wood, its colour, substance, grain
and the finish will all contribute to the final result. Many types of wood, because of its substance, color and grain automatically have
been classified as high standard and quality. Personally, I like wood with a refined natural grain. Where the taste lies, culture, history
and the story behind also play an important role. In creating an artistic feel, a tasteful painting on the wall, a careful chosen throw
rug, some casual but well thought out matching process combining furniture, fine wall covering and draperies combined together
may form an unexpected effect. When one sees a fine design, one can almost imagine what the designer is speaking. It is very much like a calligrapher expressing himself
through his penmanship. I place particular emphasis on the designer’s culture background. A designer’s language is just like our daily
communication. At times it is what is not said or between the lines that establishes the speaker’s intellectual level and taste. Designers
with taste are not born, they are cultivated thru experience, appreciation of art and history, quality of life and mature thru time. I
appreciate designers with foresight to invest their time and resources in participation of culture events on a regular basis and to visit
venues of taste and culture. This type of investment will be rewarded thousand times over. When I was a student, within the same
discipline all classmates have the same goal. We all want to visit Europe after graduation. European spending is substantially higher than
that of China. With limited resources, During the trip, we only spent money on bread and espresso to enable us bare minimum funds
to visit the Vatican in Rome, to be absolved in the great arts of Renaissance Age, attend the operatic performance in Parthenon Athens,
Greece. All these invaluable experience enriched my understanding over an array of European culture and provided me with immense
benefits for my future design work. As time passes, I explored more in China and other countries paying special attention on their various
cultures. It is like the famous author Mr. Yu Qiuyu’s books that describes his understanding of various cultures. For a designer, history is like
a wealth of treasures waiting to be tapped. Through understanding of various cultural historical backgrounds, provides the elements for
luxurious design especially from different geographical areas, at different periods and styles. Thru travel and reading, I enjoy Art Nouveau
(1888 – 1905) and the Art Deco (1925 – 1935) periods’ design. When I was at the Mussee D’Orsay in Paris, I saw the Art Nouveau furniture
and interior design. This provided me with more insight on my future design. While during the Art Deco period, as evidenced in New York
Manhattan, there are many buildings with that particular signature. The Art Deco design continues to be present in today architecture,
luxurious interior design and furniture.
Whenever I study any design, I will go deeper from the exterior colours, use of materials, and artistic values to determine how the design
can be incorporated in everyday living. In the beginning, I mentioned that space design must be applied to everyday living. After all, the
ultimate interior design is to provide better service to mankind. Different level of life style could be displayed thru its functional needs.
This is only a partial design. Unfortunately, without it, one cannot raise the level of luxury either. For example, in a fine wine cellar with a
retro 1920’s to 30’s design, with an ambient lighting targeting at a Georgia O’Keeffe Oil , and an insurmountable quantities of fine vintage
wines, coupled with the tools of hand roll cigars from Cuba, enjoying jazz from a grand piano, how sweet is that? Under these environment,
luxury is no longer limited to interior design, but is extended beyond as a form of living quality. This has reached to the senses of sight,
taste and hearing, reach the high levels of life realm.
May I take this opportunity to thank the Huazhong University of Science and Technology Press Co.,Ltd. for inviting me to write the preface
of Extreme Luxury , to share my views on the meaning of ‘Luxury’ and to allow me from a designer’s point of view, share my experience
in the design of a luxurious project. I hope you readers when enjoying reading this book to see beyond the book’s beautiful visual effect,
but to explore and experience the process of luxury design, in future whether working as a designer or simply enjoying life, take on a new
perspective.