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只要一個移動終端就可以在任何地方辦公的今天，辦公室的作用是什么？

What is the role of the office today when you can work from anywhere with just a mobile terminal?

于內而言，辦公室是信息收集、合成、歸納的場所，將志趣相投的人聚集在一起；于外而言，辦公室如同人的衣帽配飾，需要清晰直觀地展示出企業的形象，同時承擔起接待功能。在此之上，中國人還講究心靈的時空，在空靈的世界中創造意義。

Internally, the office is a place where information is collected, synthesized and summarized, bringing together people with similar interests; externally, the office is like a person's clothing and accessories, needing to clearly and intuitively display the image of the company, while assuming the function of reception. On top of this, the Chinese also pay attention to the time and space of the mind, creating meaning in an ethereal world.

在BRIDGE ART OFFICE的設計之中，胡濤希望逾越“眼見為實”，讓思想的觸角無界延伸，在有限的空間實現無限的自由，給人們一個重新進入辦公室的理由。

In the design of BRIDGE ART OFFICE, Huson Hu hopes to go beyond "seeing is believing", to let the tentacles of thought extend without boundaries, to achieve unlimited freedom in a limited space, and to give people a reason to re-enter the office.

設計

遠離復雜的形式，回歸心靈的體驗

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在高原雪山之上，褚紅宣示的是令人敬畏的靜謐力量，而在BRIDGE ART OFFICE中，褚紅帶著舊時光的典雅，構建起空間的溫暖氛圍。

On top of the highland snow mountain, Chu red declares the awe-inspiring quiet power, while in BRIDGE ART OFFICE, Chu red carries the elegance of the old time and builds up the warm atmosphere of the space.

入口，是品牌自身審美和價值觀念的直接體現。作為空間序列上的起點，也承擔著引領導向的功能。胡濤通過界面、側界面與頂界面的有機結合實現多層次的空間建構，立墻開出一線作為內外空間的聯通，無形中增加立面的光影變化。品牌標識是墻面唯一的有形裝飾，同時作為隱形的視覺導向系統。

The entrance is a direct reflection of the brand's own aesthetics and values. As the starting point of the spatial sequence, it also bears the function of leading and guiding. Huson Hu realizes multi-level space construction through the organic combination of interface, side interface and top interface, and the vertical wall opens a line as a link between the inner and outer space, which invariably increases the light and shadow changes of the fa?ade. The brand logo is the only tangible decoration on the wall, and at the same time acts as an invisible visual guidance system.

空間內部多以家具組合形成隔斷，布局靈活可變。玻璃家具減輕體量感，網格結構柜子既是功能性的家具也是區域的引導。洽談區與匯報區毗鄰而設，主管辦公區外即是選材區，員工辦公區位于空間最深處，簡單的分割將辦公室從封閉的形式中解放出來，人的自由靈活度也相應增加。

The interior of the space is mostly partitioned with furniture combinations, and the layout is flexible and variable. The glass furniture reduces the sense of volume, and the grid structure cabinets are both functional furniture and a guide for the area. The negotiation area and the reporting area are located next to each other, the selection area is outside the supervisor's office, and the staff office is located in the deepest part of the space. The simple partition liberates the office from the closed form, and the freedom and flexibility of people are increased accordingly.

昂貴的材料成就昂貴的設計是圈內不成文的規則，而對于胡濤來說，材料的價值從來不是決定價值的標尺。他的標尺是：以最少的材料成本實現最大程度的空間質感；讓設計成為一種語言，體現其創造力、文化性、藝術性的精神內核；讓設計不再僅僅只為生產而服務，而是以人的存在為價值取向。

It is an unwritten rule in the circle that expensive materials make expensive designs, but for Huson Hu, the value of materials is never the yardstick to determine the value. His yardstick is: to achieve the maximum spatial texture with the least material cost; to let design become a language, reflecting its creativity, culture and artistic spiritual core; to let design no longer serve only for production, but take the existence of people as the value orientation.

藝術

紅桶

讓太陽從內心升起

讓天啟般的聲音在腦中回蕩

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現代辦公室功能性有余、展示性十足，然而缺乏生命感。胡濤將“紅桶行動”“七賢雅座”等放到空間之中，一方面是用藝術行為補充表達設計背后的思考，另一方面也試圖籍此豐富室內設計的內容。

The modern office is functional and expressive, but lacks a sense of life. Huson put "Red Barrel Action" and "Seven Sages" into the space, on the one hand, to supplement the thinking behind the design with artistic acts, and on the other hand, he also tried to enrich the content of interior design.

85后產品設計師彭鐘，拿下過近百項國際大獎。由其發起的“紅桶行為”開始于2015年，以一只尋常的紅色塑料桶覆蓋頭部，就像一個沒有面目的人行走在地球各個角落。無用之桶，無用之用，并無確切的指代與指向。在胡濤眼里，這就是自由的一種。

Peng Zhong, a post-85 product designer, has won nearly 100 international awards. The "Red Bucket Act" initiated by him started in 2015, with an unusual red plastic bucket covering his head, just like a faceless person walking around the corners of the earth. The useless bucket is useless, and there is no exact designation or direction. In Huson's eyes, this is a kind of freedom.

▲彭鐘《七賢之“山濤”》不銹鋼

▲葉勇《22·NO125》布上丙烯

在空間的主過道上，還放置著彭鐘設計的 “七賢雅座”之一。在這件作品中，彭鐘將球表面的點和線無規律地錯位和拉伸，形成雕塑般的造型與金屬的外觀，將七賢的容止、氣度與追求形象化。“容錯”，讓“七賢雅座”自帶張力，像生命體一樣活著。

In the main aisle of the space, one of the "Seven Sages Elegant Seats" designed by Peng Zhong is also placed. In this work, Peng Zhong dislocates and stretches the points and lines on the surface of the sphere in an irregular manner, forming a sculptural shape with a metallic appearance, visualizing the tolerance, temperament and pursuit of the seven sages. The "fault tolerance" allows the "Seven Sages" to carry its own tension and live like a living organism.

讓錯誤的延伸成為意想不到的驚喜，胡濤對此深有共鳴。他認為，未來室內設計的多元化，不止體現在設計本身的材料、工藝與結構上，還包括多種行業、多種形式的跨界融合。在此過程之中，越是生澀越有可能激發出新的效應。

Let the extension of mistakes become unexpected surprises, Huson deeply resonates with this. He believes that the diversity of future interior design is not only reflected in the materials, techniques and structures of the design itself, but also includes the cross-border integration of multiple industries and forms. In this process, the more raw the design is, the more likely it is to stimulate new effects.

游戲

把自己活成一道光

因為你不知道誰會借著你的光走出黑暗

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新冠促使線上辦公全面發酵，將信息時代的上班族緊緊裹挾。虛擬空間幫助人們實現無界溝通的同時，也消解了人與人之間的真實接觸。人的真實面目隱藏在屏幕之后，看似高效實則不利于深度的溝通與協作。

The new crown has prompted a full-scale fermentation of online office, holding office workers in the information age hostage. The virtual space helps people to achieve borderless communication, but also dissolves the real contact between people. The real face of people is hidden behind the screen, which seems to be efficient but is not conducive to deep communication and collaboration.

孤獨，是人生中最重要的命題，也有人將之視作最為嚴重的社會問題。在急速變化的社會之中，人的自我恢復尤其重要。成年人與孩子一樣存在游戲心理。游戲，不僅可以滿足人的自娛自樂，還能緩解壓力，而創意性的“道具”，還能激發人的靈感和創作的熱情。

Loneliness is the most important proposition in life, and some people regard it as the most serious social problem. In the midst of a rapidly changing society, it is especially important for people to recover themselves. Adults have the same game mentality as children. Games can not only satisfy people's self-indulgence, but also relieve stress, and creative "props" can also inspire people's inspiration and enthusiasm for creation.

在《星球大戰》中，“光劍”是一項非常重要的武器。不同顏色的“光劍”象征著不同的身份和陣營，而白色光劍的擁有者，通常不服從任何一個聯盟，只為自身的自由意識而戰。“光劍”造型的照明裝置既平衡了豎向與橫向上的視覺矛盾，也在空間肌理上增加了材質對比，制造出符合年輕人的娛樂趣味。

In "Star Wars", "lightsaber" is a very important weapon. Different colors of "lightsabers" symbolize different identities and camps, and the owner of a white lightsaber, usually does not obey any one alliance, only for their own sense of freedom to fight. The lighting installation in the shape of "lightsaber" not only balances the visual contradiction between vertical and horizontal, but also increases the material contrast in the texture of the space, creating an entertainment fun for young people.

裝置、家具、雕塑、畫作等，都是詮釋空間概念的“道具”。它們不僅可以裝飾環境，還可以彰顯品牌的主張與特質，呈現人、技術與藝術相互融合的空間。純粹為功能而設計的空間單調而冷漠，就像沒有情節的故事一樣，而通過“道具”實現情景的轉接，可以有效引起人們的情感共鳴。

Installations, furniture, sculptures, paintings, etc. are all "props" to interpret the concept of space. They can not only decorate the environment, but also show the brand's proposition and characteristics, presenting a space where people, technology and art are fused with each other. A space designed purely for function is monotonous and indifferent, just like a story without a plot, while the transfer of scenarios through "props" can effectively arouse people's emotional resonance.

結語

用思想看世界

讓設計更自由

——胡濤

BRIDGE ART OFFICE位于“溫和覺醒”展廳之上，空間的概念、尺度與色彩，與展廳一脈相承。從“覺醒”到“自由”，胡濤試圖在商業項目之中保持一份藝術家的氣質，在探索中找尋到自己的設計語言。這是一個需要底蘊、需要想象力去解讀的空間，設計簡潔而低調，然而每一步都有每一步的深趣，有心人若有興趣不妨細細體會。

BRIDGE ART OFFICE is located above the exhibition hall of "Gentle Awakening", and the concept, scale and color of the space are in line with the exhibition hall. From "awakening" to "freedom", Hu Tao tries to maintain an artist's temperament in the commercial project and find his own design language in the exploration. This is a space that requires substance and imagination to interpret. The design is simple and understated, yet each step has a deep interest, so those who are interested may wish to experience it in detail.