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“時(shí)間永遠(yuǎn)分叉，空間異次延伸，通向無(wú)數(shù)的將來(lái)?！?/p>

“Time always forks, space extends in different directions, leading to countless futures“

入夢(mèng)的前奏

Prelude To Dream

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故事設(shè)定在遙遠(yuǎn)的未來(lái)，殖民地心時(shí)期，一個(gè)人類(lèi)生存在新的逆向世界。人們住在挖掘出來(lái)的地下宮殿，隧道和洞穴之中。人們可藉由盜夢(mèng)來(lái)操控他人的行為和心智，繼而爆發(fā)族群間的戰(zhàn)爭(zhēng)，在地下逆世界，空間層層深入遞進(jìn)，一不小心就會(huì)落入迷宮般的迷失域之中。

The story is set in the distant future, during the colonial period, where humans exist in a new and opposite world. People live in excavated underground palaces, tunnels, and caves. People can manipulate the behavior and mind of others through dreams of theft, leading to the outbreak of inter ethnic wars. In the underground world, the space deepens and progresses layer by layer, and accidentally falls into a maze like lost territory.

本案構(gòu)建了一個(gè)如同電影盜夢(mèng)空間的筑夢(mèng)概念，通過(guò)柯布西耶的粗野主義和超現(xiàn)實(shí)美學(xué)，在虛實(shí)之間。光影之途里，構(gòu)建一個(gè)令人嘆為觀止的科幻視覺(jué)場(chǎng)景，從包豪斯建筑，野獸派風(fēng)格，巨大的規(guī)模感和陣列形式感中，體現(xiàn)一個(gè)完全非現(xiàn)實(shí)的奇觀——盜夢(mèng)空間。

This case has constructed a dream building concept similar to the movie dream stealing space, which is between the virtual and the real through Corbusier's brutalism and surreal aesthetics. On the way of light and shadow, build an amazing science fiction visual scene. From Bauhaus architecture, fauvism style, huge sense of scale and array sense of form, reflect a completely unreal spectacle - Inception Space.

接下來(lái)，請(qǐng)入夢(mèng)。

Next, please dream.

第一層夢(mèng)境：古典的宮殿

Classical Palace

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本項(xiàng)目通過(guò)盜夢(mèng)的概念，將大牛的空間理解為一個(gè)超現(xiàn)實(shí)的精神世界。將具有象征意義的塊狀結(jié)構(gòu)搭建成序列場(chǎng)景，營(yíng)造出強(qiáng)烈的古典儀式感。雕塑般的墻體割裂內(nèi)外世界；橘黃色光影從磚縫中蔓延，把思緒抽離至另一個(gè)維度，這一幕像是電影《沙丘》的厄拉科斯外星球?qū)m殿入口。

This project uses the concept of Inception to understand Daniel's space as a surreal spiritual world. Build symbolic block structures into sequence scenes, creating a strong sense of classical ritual. Sculpture like walls cut apart the inner and outer worlds; The orange light and shadow spread through the cracks of the bricks, pulling thoughts away to another dimension. This scene is like the entrance of the palace on the outer planet of Erlacus in the movie "Dunes".

粗野主義的厚重建造的建筑感，與簡(jiǎn)約美學(xué)的室內(nèi)空間形成鮮明的對(duì)比。在這荒蕪且巨大的空間尺度之下，人游走其中，不僅凸顯野獸派建筑風(fēng)格的氣勢(shì)，地下城市的烏托邦風(fēng)格。又反襯人類(lèi)的渺小。這就是經(jīng)典的中心對(duì)稱(chēng)宮殿式布局。代表盜夢(mèng)空間第一層夢(mèng)境——地心逆世界的古典宮殿。

The architectural sense of brutalism's heavy construction forms a sharp contrast with the interior space of simple aesthetics. In this desolate and huge space scale, people walking in it not only highlights the momentum of the fauvism architectural style, but also the Utopian style of the underground city. Against the insignificance of humanity. This is the classic central symmetric palace layout. The classical palace representing the first level dream of Inception - the Earth's Heart Reverse World.

第二層夢(mèng)境：無(wú)盡的天梯

Endless Ladder

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盜夢(mèng)空間的“奠基工具手冊(cè)”中重要的一條——夢(mèng)境設(shè)計(jì)務(wù)必在夢(mèng)境中打造悖論建筑。彭羅斯階梯（Penrose stairs）就是著名的幾何學(xué)悖論，大牛的空間設(shè)計(jì)因此試圖營(yíng)造一種無(wú)盡的時(shí)空感，無(wú)論是從頂?shù)貕€是借用走廊，通過(guò)解構(gòu)重組、序列疊級(jí)，所有的局限性視角利用天花做了無(wú)盡的階梯感，既致敬了斯卡帕的設(shè)計(jì)哲學(xué)，人的潛意識(shí)也隨著空間的無(wú)盡感發(fā)散和放松。

One important aspect of Inception's "Founding Tools Handbook" is that dream design must create paradoxical buildings in dreams. The Penrose stairs are a famous geometric paradox, and Daniel's spatial design attempts to create an endless sense of time and space. Whether from the ceiling wall or the corridor, through deconstruction, reorganization and sequence stacking, all the limited perspectives make use of the ceiling to create an endless sense of ladder, which not only pays tribute to the design philosophy of Scarpa, but also diverges and relaxes people's subconscious along with the endless sense of space.

裝置打卡點(diǎn)的設(shè)計(jì)借鑒了盜夢(mèng)空間的悖論建筑，設(shè)計(jì)了莫比烏斯環(huán)式的樓梯。利用有限的色彩，富有層次的肌理，以及層層洗光的氛圍，打造出未來(lái)主義的視覺(jué)風(fēng)格，配合獨(dú)特的故事主線，達(dá)到了感官、心理與設(shè)計(jì)故事上的平衡，一個(gè)無(wú)限夢(mèng)境的循環(huán)虛擬，夢(mèng)幻與現(xiàn)實(shí)中的往來(lái)同存。代表著盜夢(mèng)空間的夢(mèng)境第二層——無(wú)盡的天梯。

The design of the check-in point for the device drew inspiration from the paradoxical architecture of Inception, and designed a Mobius ring style staircase. By utilizing limited colors, layered textures, and a layered atmosphere of light washing, a futuristic visual style is created. Coupled with a unique storyline, it achieves a balance between sensory, psychological, and design stories, creating an infinite virtual cycle of dreams, where dreams and reality coexist. Representing the second layer of dreams in Inception - the endless ladder of heaven.

第三層夢(mèng)境：光輝的城市

Glorious City

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電影男主在潛意識(shí)中建造了一座烏托邦式的“光輝城市”。隨著夢(mèng)的指引，空間進(jìn)入到一個(gè)新的烏托邦城市。對(duì)稱(chēng)折疊的階梯造型，結(jié)構(gòu)切割的力量延伸，節(jié)奏陣列的建筑輪廓，鏡面層疊的燈光閃爍，最終形成城市面貌的感受力。無(wú)盡衍生的城市體積展現(xiàn)著科幻片中烏托邦般建筑層層拔地而起的雄渾力量。

The male protagonist of the movie subconsciously builds a utopian "shining city". With the guidance of dreams, space enters a new utopian city. The symmetrical folding staircase shape, the extension of structural cutting power, the rhythmic array of architectural contours, and the flickering of mirror layered lights ultimately form a sense of urban appearance. The endless derivative urban volume showcases the powerful power of utopian buildings rising from the ground in science fiction films.

第四層夢(mèng)境：失重的迷失域

The Lost Domain of Weightlessness

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迷失域在盜夢(mèng)空間中指的是夢(mèng)境的邊緣，只有原始和無(wú)限的潛意識(shí)，是所有人共享的一個(gè)最深層夢(mèng)境，時(shí)間空間無(wú)窮盡，通過(guò)利用鏡面和光影，相互折射形成視覺(jué)錯(cuò)位，產(chǎn)生了無(wú)數(shù)的鏡中鏡，無(wú)限延伸，沒(méi)有盡頭。打造成為感知宇宙下的失重懸浮體。最終在這個(gè)空間最內(nèi)部構(gòu)筑成第四層夢(mèng)境——失重的迷失域。

The Lost Domain in Inception refers to the edge of a dream, with only primitive and infinite subconscious consciousness. It is the deepest dream shared by all, with endless time and space. By utilizing the mirror surface and light and shadow to refract each other, visual misalignment is formed, resulting in countless mirrors within the mirror, extending infinitely without an end. Create a weightless suspended object that perceives the universe. Finally, the fourth layer of dream - the lost realm of weightlessness - is constructed in the innermost part of this space.

通過(guò)柯布西耶的粗野主義和超現(xiàn)實(shí)美學(xué)，在虛實(shí)之間。光影之途里，衍生出了一曲幾何建構(gòu)下的盜夢(mèng)逆空間狂想。以鏡面空間，以模糊空間，以氛圍洗光，在極端受限的三維空間里締造第四維度，探索空間的更多維度可能性。

Through Corbusier's brutalism and surreal aesthetics, between the false and the real. In the path of light and shadow, a geometric construction of the Inception Inverse Space Fantasy has emerged. Create a fourth dimension in the extremely limited three-dimensional space by using mirror space, blurry space, and atmosphere to wash light, exploring more dimensional possibilities of space.