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入学后，他便与朋友一起往音乐方面发展。
2025年01月07日，然后，某些所谓的“动物保护组织”嗅到了味道，开始在网上制造舆论，指责景区在虐待动物，是非常没有“人性”的行为。相关话题讨论开始发酵。
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马苏个人微博---《马苏》
2003年，这场备受关注的审判正式开庭。法庭的气氛严肃而紧张，旁听席上坐满了各界观众，包括新闻记者和刘涌的一些受害者。中国队虽然出于劣势，但是场上的队员们丝毫没有气馁的意思，反而更加努力。
"迟补迟补颈辩颈迟辞耻，测补苍锄丑辞苍驳蝉丑补苍驳耻辞测颈蝉颈驳补苍箩颈。驳耻补苍诲颈补苍飞补苍驳虫耻苍：7测耻别12谤颈，虫颈虫颈补苍虫颈苍辩耻锄丑别苍驳蝉丑颈蹿补产耻《虫颈虫颈补苍虫颈苍辩耻锄丑颈苍别苍驳飞补苍驳濒颈补苍辩颈肠丑别诲补辞濒耻肠别蝉丑颈丑别蝉丑颈蹿补苍测颈苍驳测辞苍驳驳耻补苍濒颈蝉丑颈蝉丑颈虫颈锄别（蝉丑颈虫颈苍驳）》丑别《虫颈虫颈补苍虫颈苍辩耻驳辞苍驳苍别苍驳虫颈苍驳诲颈蝉耻锄丑颈苍别苍驳锄补颈箩耻诲补辞濒耻肠别蝉丑颈测耻蝉丑补苍驳测别蝉丑颈蹿补苍蝉丑颈蝉丑颈虫颈锄别（蝉丑颈虫颈苍驳）》，飞别颈虫颈苍辩耻辩耻补苍测耻办补颈辩颈锄丑颈苍别苍驳箩颈补蝉丑颈蝉丑补苍驳测别丑耻补蝉丑颈诲颈补苍迟颈驳辞苍驳锄丑别苍驳肠别产补辞锄丑补苍驳。锄丑别产颈补辞锄丑颈锄丑耻辞虫颈虫颈补苍虫颈苍辩耻肠丑别苍驳飞别颈虫颈产别颈蝉丑辞耻驳别辩耻补苍测耻办补颈蹿补苍驳锄丑颈苍别苍驳箩颈补蝉丑颈蝉丑补苍驳测别丑耻补诲别辩耻测耻。
加(Jia)设(She)计(Ji)新(Xin)作(Zuo)/澳(Ao)新(Xin)假(Jia)日(Ri)酒(Jiu)店(Dian)·认(Ren)知(Zhi)未(Wei)知(Zhi)2019-11-21 15:35·环(Huan)亚(Ya)室(Shi)内(Nei)布(Bu)朗(Lang)肖(Xiao)在(Zai)《无(Wu)尽(Jin)的(De)谈(Tan)话(Hua)》中(Zhong)写(Xie)道(Dao)“你(Ni)渴(Ke)望(Wang)用(Yong)哲(Zhe)学(Xue)这(Zhe)个(Ge)名(Ming)字(Zi)来(Lai)暗(An)示(Shi)的(De)任(Ren)何(He)东(Dong)西(Xi)——本(Ben)质(Zhi)上(Shang)是(Shi)对(Dui)未(Wei)知(Zhi)的(De)认(Ren)知(Zhi)，或(Huo)者(Zhe)，更(Geng)一(Yi)般(Ban)地(Di)，是(Shi)同(Tong)未(Wei)知(Zhi)的(De)关(Guan)系(Xi)。” In Endless Talk, Brownshaw wrote, What you desire to use the name of philosophy to imply - is essentially a perception of the unknown, or more generally a relationship with the unknown. Name｜项(Xiang)目(Mu)名(Ming)称(Cheng)：泸(Zuo)州(Zhou)澳(Ao)新(Xin)假(Jia)日(Ri)酒(Jiu)店(Dian)Developer｜发(Fa)展(Zhan)商(Shang)：三(San)千(Qian)加(Jia)集(Ji)团(Tuan)Type｜项(Xiang)目(Mu)类(Lei)型(Xing)：酒(Jiu)店(Dian)Location｜项(Xiang)目(Mu)地(Di)址(Zhi)：四(Si)川(Chuan)省(Sheng)泸(Zuo)州(Zhou)市(Shi)Design time｜设(She)计(Ji)时(Shi)间(Jian)：2018年(Nian)06月(Yue)Completed time｜竣(Jun)工(Gong)时(Shi)间(Jian)：2019年(Nian)08月(Yue)Interior design｜主(Zhu)案(An)设(She)计(Ji)：李(Li)想(Xiang)Design team｜方(Fang)案(An)设(She)计(Ji)：叶(Ye)欢(Huan) 吴(Wu)柏(Bai) 段(Duan)志(Zhi)强(Qiang) Design team｜深(Shen)化(Hua)设(She)计(Ji)：陈(Chen)天(Tian)勇(Yong) 邓(Deng)晓(Xiao)敏(Min) Design team｜软(Ruan)装(Zhuang)设(She)计(Ji)：朱(Zhu)神(Shen)平(Ping) 邓(Deng)惠(Hui)清(Qing) Concept design｜概(Gai)念(Nian)表(Biao)达(Da)：郑(Zheng)华(Hua)纯(Chun) 陈(Chen)博(Bo)尔(Er)Photography｜项(Xiang)目(Mu)摄(She)影(Ying)：朱(Zhu)神(Shen)平(Ping) 李(Li)想(Xiang) 在(Zai)四(Si)川(Chuan)，有(You)两(Liang)座(Zuo)城(Cheng)市(Shi)因(Yin)酒(Jiu)闻(Wen)名(Ming)，一(Yi)座(Zuo)是(Shi)酒(Jiu)都(Du)宜(Yi)宾(Bin)，另(Ling)一(Yi)座(Zuo)就(Jiu)是(Shi)酒(Jiu)城(Cheng)泸(Zuo)州(Zhou)。泸(Zuo)州(Zhou)辖(Xia)长(Chang)江(Jiang)和(He)沱(Zuo)江(Jiang)的(De)交(Jiao)汇(Hui)处(Chu)，是(Shi)川(Chuan)滇(Dian)黔(Qian)重(Zhong)要(Yao)的(De)交(Jiao)通(Tong)要(Yao)道(Dao)，商(Shang)埠(Bu)云(Yun)集(Ji)。酿(Niang)酒(Jiu)对(Dui)泸(Zuo)州(Zhou)人(Ren)来(Lai)说(Shuo)有(You)着(Zhuo)特(Te)殊(Shu)意(Yi)义(Yi)，他(Ta)们(Men)世(Shi)代(Dai)都(Du)与(Yu)酒(Jiu)发(Fa)生(Sheng)着(Zhuo)千(Qian)丝(Si)万(Wan)缕(Lv)的(De)联(Lian)系(Xi)，整(Zheng)座(Zuo)城(Cheng)终(Zhong)日(Ri)氤(Zuo)氲(Zuo)在(Zai)香(Xiang)甜(Tian)的(De)酒(Jiu)香(Xiang)中(Zhong)。In Sichuan Province, there are two cities famous for their wine, one is Yibin called capital of wine, the other is Luzhou known as city of wine, which, as an important traffic artery of Sichuan, Yunnan, Guizhou Province, is the intersection of the Yangtze River and the Tuojiang River with numerous commercial ports. Winemaking is of great significance for Luzhou people, who connect themselves with wine inextricably generation after generation, thus making the city immersed in sweet fragrance of wine.项(Xiang)目(Mu)地(Di)理(Li)位(Wei)置(Zhi)在(Zai)泸(Zuo)州(Zhou)龙(Long)马(Ma)潭(Tan)区(Qu)蜀(Shu)泸(Zuo)大(Da)道(Dao)与(Yu)龙(Long)马(Ma)大(Da)道(Dao)交(Jiao)汇(Hui)处(Chu)，距(Ju)离(Li)国(Guo)际(Ji)会(Hui)议(Yi)中(Zhong)心(Xin)、商(Shang)务(Wu)写(Xie)字(Zi)楼(Lou)、购(Gou)物(Wu)中(Zhong)心(Xin)咫(Zuo)尺(Chi)之(Zhi)遥(Yao)，交(Jiao)通(Tong)便(Bian)捷(Jie)，是(Shi)商(Shang)务(Wu)及(Ji)休(Xiu)闲(Xian)旅(Lv)者(Zhe)的(De)理(Li)想(Xiang)下(Xia)榻(Zuo)之(Zhi)所(Suo)。Located in the intersection of Shulu Avenue and Longma Avenue in Longmatan District, Luzhou City, the hotel enjoys convenient transportation and is close to the international conference center, commercial office building and shopping center, making itself an ideal place for business and leisure travelers.2018年(Nian)6月(Yue)加(Jia)设(She)计(Ji)接(Jie)受(Shou)委(Wei)托(Tuo)负(Fu)责(Ze)澳(Ao)新(Xin)假(Jia)日(Ri)酒(Jiu)店(Dian)的(De)室(Shi)内(Nei)设(She)计(Ji)，设(She)计(Ji)的(De)灵(Ling)感(Gan)来(Lai)源(Yuan)于(Yu)泸(Zuo)州(Zhou)的(De)藏(Cang)酒(Jiu)洞(Dong)，一(Yi)个(Ge)能(Neng)唤(Huan)起(Qi)强(Qiang)烈(Lie)探(Tan)索(Suo)欲(Yu)的(De)天(Tian)然(Ran)空(Kong)间(Jian)。天(Tian)然(Ran)洞(Dong)穴(Xue)的(De)神(Shen)秘(Mi)引(Yin)发(Fa)好(Hao)奇(Qi)，山(Shan)石(Shi)贯(Guan)穿(Chuan)了(Liao)室(Shi)内(Nei)外(Wai)空(Kong)间(Jian)，入(Ru)口(Kou)处(Chu)，中(Zhong)间(Jian)断(Duan)开(Kai)的(De)缝(Feng)隙(Xi)由(You)“峡(Xia)谷(Gu)”引(Yin)申(Shen)而(Er)来(Lai)，如(Ru)同(Tong)岩(Yan)壁(Bi)上(Shang)的(De)沟(Gou)壑(Zuo)，营(Ying)造(Zao)了(Liao)从(Cong)峡(Xia)谷(Gu)走(Zou)进(Jin)洞(Dong)穴(Xue)的(De)新(Xin)奇(Qi)体(Ti)验(Yan)。在(Zai)已(Yi)知(Zhi)和(He)未(Wei)知(Zhi)的(De)两(Liang)端(Duan)，处(Chu)于(Yu)中(Zhong)间(Jian)地(Di)带(Dai)的(De)便(Bian)是(Shi)感(Gan)知(Zhi)之(Zhi)门(Men)。ADDDESIGN accepted a commission and was in charge of the interior design of Aoxin Holiday Hotel in June 2018, which is inspired by the wine hiding cave in Luzhou, a place that evokes a strong desire to explore. The mysterious natural cave arouses curiosity. The stones penetrate both inner and outer space, and the cracking gap, extended from the canyon, is like a gully on the rock wall, which creates a novel experience of walking from the cave to the canyon. At the end of the known and the unknown, it is the perception that lies in the middle.打(Da)开(Kai)自(Zi)我(Wo)的(De)感(Gan)知(Zhi)之(Zhi)门(Men)，直(Zhi)到(Dao)通(Tong)过(Guo)狭(Xia)窄(Zhai)的(De)裂(Lie)缝(Feng)看(Kan)到(Dao)所(Suo)有(You)的(De)事(Shi)物(Wu)。大(Da)堂(Tang)是(Shi)天(Tian)然(Ran)洞(Dong)穴(Xue)的(De)重(Zhong)新(Xin)构(Gou)景(Jing)，在(Zai)场(Chang)域(Yu)中(Zhong)并(Bing)置(Zhi)一(Yi)系(Xi)列(Lie)不(Bu)相(Xiang)连(Lian)的(De)中(Zhong)空(Kong)石(Shi)块(Kuai)，通(Tong)过(Guo)开(Kai)凿(Zao)洞(Dong)孔(Kong)，将(Jiang)石(Shi)块(Kuai)内(Nei)部(Bu)未(Wei)知(Zhi)莫(Mo)测(Ce)的(De)空(Kong)间(Jian)释(Shi)放(Fang)，形(Xing)态(Tai)不(Bu)一(Yi)的(De)内(Nei)部(Bu)形(Xing)成(Cheng)了(Liao)相(Xiang)对(Dui)私(Si)密(Mi)的(De)半(Ban)隐(Yin)形(Xing)环(Huan)境(Jing)，穿(Chuan)过(Guo)石(Shi)块(Kuai)的(De)内(Nei)部(Bu)和(He)石(Shi)块(Kuai)之(Zhi)间(Jian)的(De)间(Jian)隙(Xi)，形(Xing)成(Cheng)开(Kai)放(Fang)和(He)围(Wei)合(He)相(Xiang)交(Jiao)替(Ti)的(De)连(Lian)续(Xu)体(Ti)验(Yan)。Open the door of self-perception until you see everything through a narrow crack. The lobby is a reconstruction of natural cave amongst which places a series of unconnected hollow stones. The unknown and unpredictable space inside the stones is released by excavating the holes, thus forming a relatively private and semi-invisible surroundings, which creates a continuous experience of opening and enclosing through the interior of the stone and the gap between the stone.马(Ma)赛(Sai)克(Ke)工(Gong)艺(Yi)起(Qi)源(Yuan)于(Yu)古(Gu)希(Xi)腊(La)，希(Xi)腊(La)文(Wen)Μωσα?κ?原(Yuan)意(Yi)是(Shi)指(Zhi)用(Yong)镶(Xiang)嵌(Qian)方(Fang)式(Shi)拼(Pin)接(Jie)而(Er)成(Cheng)的(De)细(Xi)致(Zhi)装(Zhuang)饰(Shi)，早(Zao)期(Qi)居(Ju)住(Zhu)在(Zai)洞(Dong)穴(Xue)里(Li)的(De)人(Ren)们(Men)，采(Cai)用(Yong)各(Ge)种(Zhong)大(Da)理(Li)石(Shi)铺(Pu)设(She)装(Zhuang)饰(Shi)，最(Zui)早(Zao)的(De)马(Ma)赛(Sai)克(Ke)就(Jiu)是(Shi)在(Zai)这(Zhe)一(Yi)基(Ji)础(Chu)上(Shang)衍(Yan)生(Sheng)发(Fa)展(Zhan)起(Qi)来(Lai)的(De)。The mosaic process originates from ancient Greece. The Greek Μωσα?κ? refers to the delicate decoration stitched in the way of inlay originally. The people living in the cave early decorated with various marbles and the earliest mosaic was derived on this basis.洞(Dong)穴(Xue)内(Nei)壁(Bi)呈(Cheng)自(Zi)下(Xia)而(Er)上(Shang)逐(Zhu)渐(Jian)收(Shou)缩(Suo)的(De)多(Duo)维(Wei)曲(Qu)面(Mian)造(Zao)型(Xing)，在(Zai)马(Ma)赛(Sai)克(Ke)铺(Pu)贴(Tie)的(De)过(Guo)程(Cheng)中(Zhong)由(You)于(Yu)曲(Qu)面(Mian)面(Mian)积(Ji)收(Shou)缩(Suo)所(Suo)导(Dao)致(Zhi)的(De)马(Ma)赛(Sai)克(Ke)规(Gui)律(Lv)性(Xing)拼(Pin)接(Jie)受(Shou)到(Dao)挤(Ji)压(Ya)，设(She)计(Ji)师(Shi)通(Tong)过(Guo)预(Yu)留(Liu)变(Bian)形(Xing)缝(Feng)的(De)方(Fang)法(Fa)，为(Wei)多(Duo)维(Wei)曲(Qu)面(Mian)造(Zao)型(Xing)增(Zeng)加(Jia)水(Shui)平(Ping)向(Xiang)的(De)段(Duan)数(Shu)，分(Fen)别(Bie)为(Wei)每(Mei)段(Duan)单(Dan)独(Du)设(She)定(Ding)铺(Pu)贴(Tie)起(Qi)始(Shi)点(Dian)，形(Xing)成(Cheng)规(Gui)律(Lv)与(Yu)自(Zi)由(You)并(Bing)存(Cun)的(De)动(Dong)态(Tai)秩(Zhi)序(Xu)。The inner wall of the cave is in the shape of multi-dimensional curved surface that gradually shrinks from bottom to top. In the process of mosaic paving, mosaic regular stitching is squeezed caused by the shrinkage of the curved surface area. The designer increased the number of segments horizontally with the method of retaining deformation joint to shape the multi-dimensional surface and set the starting point for each segment separately, forming a dynamic order in which the law and freedom coexist.在(Zai)拉(La)图(Tu)雷(Lei)特(Te)修(Xiu)道(Dao)院(Yuan)和(He)郎(Lang)香(Xiang)教(Jiao)堂(Tang)富(Fu)有(You)厚(Hou)重(Zhong)隐(Yin)喻(Yu)意(Yi)味(Wei)的(De)光(Guang)环(Huan)境(Jing)中(Zhong)，建(Jian)筑(Zhu)师(Shi)柯(Ke)布(Bu)西(Xi)耶(Ye)的(De)目(Mu)的(De)在(Zai)于(Yu)给(Gei)予(Yu)现(Xian)代(Dai)人(Ren)最(Zui)需(Xu)要(Yao)的(De)安(An)静(Jing)与(Yu)平(Ping)和(He)：光(Guang)线(Xian)照(Zhao)进(Jin)时(Shi)某(Mou)种(Zhong)被(Bei)净(Jing)化(Hua)了(Liao)的(De)、空(Kong)灵(Ling)的(De)气(Qi)氛(Fen)便(Bian)会(Hui)产(Chan)生(Sheng)，光(Guang)线(Xian)的(De)效(Xiao)果(Guo)激(Ji)发(Fa)出(Chu)一(Yi)种(Zhong)富(Fu)于(Yu)表(Biao)现(Xian)力(Li)的(De)特(Te)质(Zhi)，这(Zhe)种(Zhong)特(Te)质(Zhi)在(Zai)暗(An)光(Guang)环(Huan)境(Jing)中(Zhong)得(De)以(Yi)倾(Qing)泻(Xie)而(Er)出(Chu)。In the light environment full of metaphorical meaning of Convent of La Tourette and La Chapelle de Ronchamp, the architect Le Corbusier aims to give modern people tranquility and peace they need most: some purified, ethereal atmosphere is created when the sun shots in, whose effect evokes an expressive trait that pours out in dark environment.当(Dang)确(Que)定(Ding)了(Liao)项(Xiang)目(Mu)的(De)氛(Fen)围(Wei)基(Ji)调(Diao)，空(Kong)间(Jian)的(De)基(Ji)本(Ben)轮(Lun)廓(Kuo)表(Biao)达(Da)也(Ye)就(Jiu)逐(Zhu)渐(Jian)明(Ming)晰(Xi)起(Qi)来(Lai)：这(Zhe)个(Ge)项(Xiang)目(Mu)营(Ying)造(Zao)的(De)空(Kong)间(Jian)氛(Fen)围(Wei)不(Bu)是(Shi)春(Chun)光(Guang)明(Ming)媚(Mei)，而(Er)是(Shi)另(Ling)一(Yi)种(Zhong)阴(Yin)翳(Zuo)、神(Shen)秘(Mi)和(He)厚(Hou)重(Zhong)的(De)美(Mei)感(Gan)。After the tone of the atmosphere is determined, the basic outline of the space is gradually clarified: the atmosphere created by the hotel is not spring of brightness, but another kind of hazy, mystery and massive beauty.封(Feng)闭(Bi)空(Kong)间(Jian)带(Dai)来(Lai)的(De)安(An)全(Quan)感(Gan)催(Cui)生(Sheng)交(Jiao)流(Liu)的(De)欲(Yu)望(Wang)，所(Suo)处(Chu)其(Qi)中(Zhong)，感(Gan)受(Shou)情(Qing)绪(Xu)与(Yu)空(Kong)间(Jian)的(De)动(Dong)态(Tai)关(Guan)联(Lian)。借(Jie)由(You)泸(Zuo)州(Zhou)酒(Jiu)文(Wen)化(Hua)，以(Yi)酒(Jiu)为(Wei)线(Xian)索(Suo)创(Chuang)造(Zao)一(Yi)种(Zhong)媒(Mei)介(Jie)，传(Chuan)达(Da)美(Mei)感(Gan)、传(Chuan)递(Di)情(Qing)感(Gan)与(Yu)意(Yi)识(Shi)。这(Zhe)种(Zhong)媒(Mei)介(Jie)等(Deng)同(Tong)艺(Yi)术(Shu)本(Ben)体(Ti)。The sense of security brought by the enclosed space stimulates the desire for communication, among which the dynamic connection between emotion and space is perceived. The wine is performed as a clue to create a medium to convey beauty, emotion and consciousness by Luzhous wine culture. The medium is equivalent to the art itself.同(Tong)一(Yi)矿(Kuang)山(Shan)的(De)石(Shi)头(Tou)经(Jing)由(You)不(Bu)同(Tong)工(Gong)艺(Yi)加(Jia)工(Gong)后(Hou)，形(Xing)成(Cheng)拉(La)丝(Si)纹(Wen)理(Li)、30%哑(Ya)光(Guang)和(He)60%哑(Ya)光(Guang)三(San)种(Zhong)表(Biao)面(Mian)质(Zhi)感(Gan)，由(You)于(Yu)相(Xiang)异(Yi)界(Jie)面(Mian)对(Dui)光(Guang)线(Xian)反(Fan)射(She)属(Shu)性(Xing)的(De)差(Cha)异(Yi)，带(Dai)来(Lai)同(Tong)一(Yi)立(Li)面(Mian)上(Shang)深(Shen)浅(Qian)不(Bu)一(Yi)的(De)明(Ming)暗(An)关(Guan)系(Xi)，主(Zhu)动(Dong)丰(Feng)富(Fu)空(Kong)间(Jian)表(Biao)达(Da)而(Er)不(Bu)破(Po)坏(Huai)整(Zheng)体(Ti)纯(Chun)粹(Cui)性(Xing)。The stones of the same mine are processed differently to form such three kinds of surface textures as drawing texture, 30% matte and 60% matte. Due to the difference of light reflection of different interfaces, the shades of the same fa?ade are different, enriching spatial expression without undermining overall purity.空(Kong)间(Jian)与(Yu)空(Kong)间(Jian)之(Zhi)间(Jian)的(De)界(Jie)面(Mian)模(Mo)糊(Hu)，使(Shi)其(Qi)既(Ji)相(Xiang)隔(Ge)又(You)渗(Shen)透(Tou)，界(Jie)面(Mian)在(Zai)生(Sheng)成(Cheng)的(De)过(Guo)程(Cheng)中(Zhong)消(Xiao)逝(Shi)，带(Dai)来(Lai)一(Yi)种(Zhong)文(Wen)学(Xue)性(Xing)的(De)抒(Shu)情(Qing)。设(She)计(Ji)将(Jiang)空(Kong)间(Jian)的(De)内(Nei)外(Wai)瓦(Wa)解(Jie)并(Bing)融(Rong)合(He)，使(Shi)得(De)空(Kong)间(Jian)与(Yu)时(Shi)间(Jian)得(De)以(Yi)持(Chi)续(Xu)地(Di)安(An)详(Xiang)对(Dui)视(Shi)。The interface between space and space is blurred, making it separated and infiltrated, and the interface disappears in the process of generation, bringing a literary sensation. The design disintegrates and fuses the interior and exterior of the space, allowing space and time to be continuously and peacefully viewed.以(Yi)“模(Mo)糊(Hu)界(Jie)面(Mian)”为(Wei)限(Xian)的(De)屏(Ping)风(Feng)将(Jiang)空(Kong)间(Jian)功(Gong)能(Neng)分(Fen)划(Hua)开(Kai)来(Lai)，以(Yi)一(Yi)种(Zhong)轻(Qing)的(De)体(Ti)量(Liang)介(Jie)入(Ru)，在(Zai)一(Yi)片(Pian)场(Chang)域(Yu)中(Zhong)建(Jian)立(Li)起(Qi)人(Ren)、环(Huan)境(Jing)、建(Jian)筑(Zhu)与(Yu)氛(Fen)围(Wei)之(Zhi)间(Jian)的(De)连(Lian)结(Jie)。恰(Qia)如(Ru)其(Qi)分(Fen)的(De)“消(Xiao)融(Rong)”将(Jiang)休(Xiu)憩(Zuo)区(Qu)稍(Shao)稍(Shao)隐(Yin)匿(Ni)起(Qi)来(Lai)，克(Ke)制(Zhi)处(Chu)置(Zhi)开(Kai)放(Fang)与(Yu)内(Nei)敛(Lian)之(Zhi)间(Jian)的(De)关(Guan)系(Xi)。The screens limited by the fuzzy interface divide the spatial functions, involving in as a light volume to establish a connection between people, environment, architecture and atmosphere. The appropriate ablation hides the rest area a little, restraining the relationship between openness and introversion.将(Jiang)不(Bu)同(Tong)质(Zhi)地(Di)、温(Wen)度(Du)、颜(Yan)色(Se)的(De)软(Ruan)饰(Shi)以(Yi)对(Dui)比(Bi)式(Shi)呈(Cheng)现(Xian)，刚(Gang)柔(Rou)同(Tong)构(Gou)，表(Biao)达(Da)空(Kong)间(Jian)关(Guan)系(Xi)的(De)更(Geng)替(Ti)演(Yan)进(Jin)。在(Zai)暖(Nuan)色(Se)调(Diao)的(De)调(Diao)和(He)下(Xia)，减(Jian)少(Shao)因(Yin)并(Bing)峙(Zhi)产(Chan)生(Sheng)的(De)反(Fan)差(Cha)和(He)界(Jie)限(Xian)感(Gan)，形(Xing)成(Cheng)舒(Shu)适(Shi)柔(Rou)和(He)的(De)视(Shi)觉(Jue)属(Shu)性(Xing)。从(Cong)设(She)计(Ji)到(Dao)落(Luo)地(Di)，这(Zhe)是(Shi)一(Yi)个(Ge)显(Xian)影(Ying)的(De)物(Wu)理(Li)过(Guo)程(Cheng)，逐(Zhu)一(Yi)显(Xian)现(Xian)空(Kong)间(Jian)的(De)视(Shi)觉(Jue)肌(Ji)理(Li)和(He)象(Xiang)征(Zheng)脉(Mai)络(Luo)。The soft textures of different textures, temperatures and colors are presented in contrast, rigidly and softly isomorphic, expressing the evolution of spatial relationships. The contrast and sense of boundary caused by the ambiguity are reduced to form a comfortable and soft vision under the coordination of warm colors. It is a physical process of development from design to implement, revealing the visual texture and symbolic context of the space one by one.基(Ji)于(Yu)真(Zhen)实(Shi)世(Shi)界(Jie)中(Zhong)多(Duo)重(Zhong)维(Wei)度(Du)的(De)思(Si)考(Kao)，坚(Jian)硬(Ying)与(Yu)柔(Rou)软(Ruan)，细(Xi)腻(Ni)与(Yu)粗(Cu)糙(Cao)，冰(Bing)冷(Leng)与(Yu)温(Wen)暖(Nuan)，自(Zi)由(You)与(Yu)秩(Zhi)序(Xu)，在(Zai)矛(Mao)盾(Dun)中(Zhong)寻(Xun)求(Qiu)统(Tong)一(Yi)，冲(Chong)突(Tu)中(Zhong)寻(Xun)找(Zhao)共(Gong)识(Shi)。运(Yun)用(Yong)材(Cai)料(Liao)质(Zhi)感(Gan)与(Yu)构(Gou)建(Jian)工(Gong)艺(Yi)描(Miao)述(Shu)物(Wu)质(Zhi)与(Yu)意(Yi)识(Shi)之(Zhi)间(Jian)的(De)张(Zhang)力(Li)平(Ping)衡(Heng)。Based on the multi-dimensional thinking in the real world, hard and soft, delicate and rough, cold and warm, freedom and order, the design trys to seek unity in contradiction, consensus in conflict and describe the balance between substance and consciousness with the use of material texture and construction process.以(Yi)天(Tian)然(Ran)石(Shi)材(Cai)再(Zai)造(Zao)自(Zi)然(Ran)，为(Wei)整(Zheng)个(Ge)空(Kong)间(Jian)建(Jian)立(Li)了(Liao)基(Ji)本(Ben)界(Jie)面(Mian)，新(Xin)奇(Qi)环(Huan)境(Jing)在(Zai)引(Yin)发(Fa)记(Ji)忆(Yi)的(De)同(Tong)时(Shi)，会(Hui)产(Chan)生(Sheng)以(Yi)记(Ji)忆(Yi)重(Zhong)组(Zu)形(Xing)式(Shi)出(Chu)现(Xian)的(De)经(Jing)验(Yan)。这(Zhe)些(Xie)视(Shi)觉(Jue)联(Lian)系(Xi)将(Jiang)洞(Dong)穴(Xue)的(De)概(Gai)念(Nian)和(He)当(Dang)地(Di)城(Cheng)市(Shi)肌(Ji)理(Li)引(Yin)申(Shen)到(Dao)酒(Jiu)店(Dian)的(De)内(Nei)部(Bu)空(Kong)间(Jian)，在(Zai)泸(Zuo)州(Zhou)形(Xing)成(Cheng)一(Yi)个(Ge)独(Du)特(Te)的(De)文(Wen)化(Hua)载(Zai)体(Ti)。The hotel recreates nature by natural stone and establishes a basic interface for the whole space, whose novel environment will generate experience in the form of memory recombination while evoking memory, thus making the relationship between people and space, space and space independent and interinfiltrated. These visual connections extend the concept of cave and local urban texture to the interior of the hotel, forming a unique cultural carrier in Luzhou.藉(Jie)由(You)这(Zhe)个(Ge)项(Xiang)目(Mu)，我(Wo)们(Men)试(Shi)图(Tu)在(Zai)一(Yi)种(Zhong)更(Geng)深(Shen)的(De)层(Ceng)次(Ci)中(Zhong)，带(Dai)着(Zhuo)物(Wu)质(Zhi)本(Ben)来(Lai)的(De)所(Suo)有(You)属(Shu)性(Xing)，寻(Xun)找(Zhao)其(Qi)中(Zhong)已(Yi)存(Cun)在(Zai)的(De)关(Guan)联(Lian)，诸(Zhu)如(Ru)质(Zhi)感(Gan)与(Yu)情(Qing)绪(Xu)一(Yi)起(Qi)被(Bei)看(Kan)到(Dao)。通(Tong)过(Guo)各(Ge)种(Zhong)元(Yuan)素(Su)的(De)组(Zu)合(He)，不(Bu)仅(Jin)是(Shi)通(Tong)过(Guo)我(Wo)们(Men)的(De)视(Shi)觉(Jue)，更(Geng)是(Shi)通(Tong)过(Guo)我(Wo)们(Men)的(De)所(Suo)有(You)感(Gan)官(Guan)去(Qu)理(Li)解(Jie)这(Zhe)个(Ge)场(Chang)域(Yu)的(De)气(Qi)质(Zhi)。With this project we try to find the existing connection with all the nature of the substance in a deeper level such as texture and emotion. Also we try to understand the temperament of the project through the combination of various elements, not only through our vision, but also through all of the senses. 李(Li)想(Xiang)先(Xian)生(Sheng)，加(Jia)设(She)计(Ji)有(You)限(Xian)公(Gong)司(Si)创(Chuang)始(Shi)人(Ren)及(Ji)设(She)计(Ji)总(Zong)监(Jian)。擅(Shan)长(Chang)将(Jiang)物(Wu)理(Li)环(Huan)境(Jing)转(Zhuan)变(Bian)为(Wei)感(Gan)官(Guan)体(Ti)验(Yan)，在(Zai)人(Ren)、空(Kong)间(Jian)、物(Wu)质(Zhi)之(Zhi)间(Jian)建(Jian)立(Li)情(Qing)感(Gan)联(Lian)系(Xi)。对(Dui)每(Mei)个(Ge)项(Xiang)目(Mu)都(Du)保(Bao)持(Chi)好(Hao)奇(Qi)心(Xin)，在(Zai)文(Wen)化(Hua)、艺(Yi)术(Shu)、美(Mei)学(Xue)之(Zhi)间(Jian)寻(Xun)找(Zhao)可(Ke)能(Neng)性(Xing)，突(Tu)破(Po)固(Gu)有(You)格(Ge)局(Ju)，打(Da)造(Zao)完(Wan)整(Zheng)、永(Yong)恒(Heng)的(De)空(Kong)间(Jian)。李(Li)想(Xiang)先(Xian)生(Sheng)先(Xian)后(Hou)为(Wei)希(Xi)尔(Er)顿(Dun)，文(Wen)华(Hua)东(Dong)方(Fang)，洲(Zhou)际(Ji)，温(Wen)德(De)姆(Mu)，丽(Li)笙(Zuo)，锦(Jin)江(Jiang)等(Deng)10多(Duo)个(Ge)国(Guo)际(Ji)酒(Jiu)店(Dian)管(Guan)理(Li)集(Ji)团(Tuan)旗(Qi)下(Xia)的(De)20多(Duo)个(Ge)国(Guo)际(Ji)品(Pin)牌(Pai)提(Ti)供(Gong)设(She)计(Ji)服(Fu)务(Wu)，帮(Bang)助(Zhu)众(Zhong)多(Duo)项(Xiang)目(Mu)获(Huo)得(De)独(Du)一(Yi)无(Wu)二(Er)的(De)空(Kong)间(Jian)体(Ti)验(Yan)。并(Bing)带(Dai)领(Ling)团(Tuan)队(Dui)在(Zai)众(Zhong)多(Duo)国(Guo)际(Ji)奖(Jiang)项(Xiang)中(Zhong)屡(Lv)获(Huo)殊(Shu)荣(Rong)，享(Xiang)有(You)盛(Sheng)誉(Yu)。Shaun Lee, founder and design director of ADDDESIGN, is good at transforming physical environment into a sensory experience and establishing emotional connections between people, space and substance. He maintains high curiosity for each project, seeks for possibility between culture, art, and aesthetics, breaking through the inherent patterns and creating a complete and eternal space. Shaun Lee has provided design services for more than 20 international brands under the umbrella of more than 10 international hotel management groups like Hilton, Mandarin Oriental, InterContinental, Wyndham, Radisson, Jinjiang, etc., helping many projects to achieve a unique space experience. He has won numerous international awards with the team led by himself and enjoyed high reputation.
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这(窜丑别)个(骋别)画(贬耻补)面(惭颈补苍)终(窜丑辞苍驳)于(驰耻)等(顿别苍驳)到(顿补辞)了(尝颈补辞)，妈(惭补)妈(惭补)好(贬补辞)幸(齿颈苍驳)福(贵耻)啊(础)，亲(蚕颈苍)自(窜颈)给(骋别颈)怀(贬耻补颈)远(驰耻补苍)挑(罢颈补辞)衣(驰颈)服(贵耻)！看(碍补苍)到(顿补辞)的(顿别)是(厂丑颈)妈(惭补)妈(惭补)满(惭补苍)眼(驰补苍)的(顿别)爱(础颈)！怀(贬耻补颈)远(驰耻补苍)现(齿颈补苍)在(窜补颈)被(叠别颈)妈(惭补)妈(惭补)的(顿别)爱(础颈)滋(窜颈)润(搁耻苍)得(顿别)开(碍补颈)开(碍补颈)心(齿颈苍)心(齿颈苍)，自(窜颈)信(齿颈苍)满(惭补苍)满(惭补苍)。
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