As one of the birthplaces of Wu Culture, Changshu is known as " the Blessed Land in the South of the Yangtze River". Because of the decoration of Qin Lake, Changshu has the temperament of "warm and moist like jade, and humanistic beauty".
In the soft decoration design of this case, the designer tries to learn from the modern design techniques of the art gallery, and substitutes a modernist cultural carrier and design language for Changshu, a city where modernity and humanities coexist. The designer expresses the natural form of the space through the orderly composition, interleaving and arrangement of arcs and spaces, thus interpreting the elements and forms of modern aesthetics.
In the design of material selection, the designer pays attention to low-carbon environmental protection, beauty, and practicality. At the main entrance, the designer extends the first-level eaves and aluminum curtain wall of the building into the interior, emphasizing the integration of architecture, landscape and interior. The blue-gray stone wall with "bubble" texture, like the light and shadow of the water surface refracting to the wall, contrasts with the scenery of the foyer. At the same time, the transparent materials such as glass are also used to create a natural artistic conception that seems like a shadow, so that the viewer is in a trance and immerses in the beauty of nature.
The central area of the first floor forms a triangular spiral internal space from the outer contour of the building, where the circular sand table and related cultural exhibitions in the Qinhu area are placed. A large cone is designed above the sand table. The cone is enlarged from small to correspond to the sand table, which is in the shape of an oblique cone to balance the dislocation relationship between the top and bottom spaces of the area. The crystal device surrounding the cone, the spiral rising ramp and the inclined top surface, under the background of the lighting atmosphere, form a flowing and diffused form centered on the sand table, which makes the interior of the space, the architectural form and the outdoor stacked landscape related, integrated and reflected.
In the choice of interior furniture, decorations, etc., this case focuses on echoing the natural form. In the negotiation area, the furniture design combines traditional and modern elements. The solid wood annual ring shaped tea table is low-key and exquisite. Matching with high-quality sofa seats, it enhances the sense of refinement and layering of the space.
In this space with artistic aesthetics and concise texture as its connotations, the interesting interaction between man and nature begins to occur. Large-scale water sculptures bloom in the space, and the stainless steel material shines brightly. The designer uses glass and other transparent materials to create a natural artistic conception that seems like a shadow, leaving the viewer in a trance, immersed in the beauty of nature, without knowing it. Outside the floor-to-ceiling windows, you can have a glimpse of the beauty of Qin Lake. Indoor and outdoor take care of each other and live in symbiosis with the lake.
The geometric layout of the interior is dynamic and casual. The colorful and childlike books on the wall perfectly transition the relationship between the spaces to form a bookshelf-like rest area and a children’s activity area for viewers to rest and read. The design of the children's space combines the roundness of the building to form an independent existence. At the same time, it incorporates childlike furniture, shapes and colors, leaving a simpler and more inclusive space imagination to the children.
The private banquet hall was defined as a scene-oriented space at the beginning of the design, which not only has the high-quality sense of modern elements, but also integrates with the future. The huge floor-to-ceiling windows allow light to spill into the room, and the light makes the space. Through the expression of virtual and real, the combination of chandeliers and furniture, gives the space a dramatic light and shadow atmosphere. It is a kind of interaction between soft decoration and architecture. In the daytime, it gives the effect of soft decoration outside, and in the evening, it gives light and shadow to the building.
E0, E1, and E2 all refer to the environmental standard of formaldehyde emission limit level. Initially, the two standards E1 and E2 were produced in Germany and formulated by "EGGER", and later cited as European standards. The E0 standards claimed by many domestic companies are actually not in Europe, and the European standards are only E1 and E2. E0 was produced in China, symbolizing strict environmental protection standards. China's environmental protection standard is 10-30mg/100g, which is equivalent to the E2 standard. E1 level is completely harmless to humans and animals without treatment. The soft furnishings we purchase and produce have fully reached the E1 level.