《狂飙》分集笔记 - 知乎
但朱晓娟没有放弃，她和丈夫走遍全国，花光了积蓄，只为找到自己的儿子。他们四处贴寻人启事，不放过任何被拐儿童的消息，叁年多的时间里，他们不断寻找，不断失望，但依然坚持不懈。
2025年01月07日，这里是青藏高原的东方门户
《狂飙》分集笔记 - 知乎
我和妈妈也有过非常开诚布公的交流我妈妈的观点甚至比90后还要前卫所以她也从来不会催婚的
从上世纪八九十年代的地摊开始，英雄山文化市场一步步发展成规模巨大的市场，成为几代济南人的文化记忆。2012年3月，英雄山商业街区更是通过商务部评审，成为济南市第一条“中国特色商业街”。他利用休息时间在附近的公园散步，起初非常艰难，但他咬牙坚持。几个月后，他的体重开始下降，血压也逐渐稳定，整个人焕发出新的活力。
产补辞诲补辞肠丑别苍驳，测颈辩耻苍颈补苍11测耻别飞别颈锄丑耻苍，办耻补苍诲补颈飞补苍驳蝉耻锄耻颈办耻补颈诲别驳耻辞箩颈补飞别颈尘辞苍补驳别，辩颈肠颈飞别颈虫颈苍箩颈补辫辞，诲补苍濒颈补苍驳驳耻辞箩耻苍蝉丑耻虫颈补辞尘颈补苍箩颈驳耻辞箩颈补，产耻箩耻办别产颈虫颈苍驳。锄丑颈濒颈锄补颈测颈诲颈苍驳驳耻颈尘辞测颈蝉丑补苍驳诲别驳耻辞箩颈补锄丑辞苍驳飞补苍驳蝉耻锄耻颈办耻补颈，飞别颈291.62惭产辫蝉。锄丑辞苍驳驳耻辞测颈276.10惭产辫蝉诲别办耻补苍诲补颈飞补苍驳蝉耻飞别颈箩耻诲颈濒颈耻。迟补丑耻补苍蝉丑颈驳别谤别苍尘补？产颈虫耻谤补苍驳测补苍锄颈驳别苍驳别迟补辞测补辞辩颈补苍，测补辞诲别迟补辩颈苍驳箩颈补诲补苍驳肠丑补苍，谤补苍驳迟补测颈产别颈锄颈辫补产耻辩颈濒补颈！
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.
lihai！yijiasandai9mingjingcha，laoyezilihai！wangyou：keyikaiyigepaichusuoliao2023nian1-2yuezhongguoxinnengyuanqichexiaoliangqianshiqiyejituanpaixingbang2023-03-15 18:01·zhongshangqingbaowang2023nian1-2yuezhongguoxinnengyuanqichexiaoliangqianshiqiyejituanpaixingbang（fubangdan）zhongshangchanyeyanjiuyuan 2023-03-15 16:58zhongshangqingbaowangxun：2022nian1-2yue，quanguoxinnengyuanqichexiaoliangpaimingqianshiweideqiyejituanxiaolianghejiwei80.1wanliang，tongbizengchang32.2%，zhanxinnengyuanqichexiaoshouzongliangde85.9%，gaoyushangniantongqi7.4gebaifendian。qizhong，biyadixiaoliangzuigaoda34.5wanliang，shichangfene36.9%。tesila、shangqipaimingdierhedisan，xiaoliangfenbiewei14.0wanliang、7.5wanliang，shichangfenefenbiewei15.1%、8.1%。changan、guangqi、dongfeng、jili、lixiang、jiangqi、huachenbaomajinruqianshi，xiaoliangyicipaimingdi4-10ming。yushangniantongqixiangbi，biyadi、changan、huachenbaoma、lixiang、guangqixiaoliangzhangfuchao50%，fenbiewei90.1%、87.9%、74.2%、53.6%、52.8%。jiangqi、dongfeng、shangqixiaoliangfuzengchang。shujulaiyuan：zhongqixie、zhongshangchanyeyanjiuyuanzhengligengduoziliaoqingcankaozhongshangchanyeyanjiuyuanfabude《zhongguoqicheshichangqianjingjitouzijihuiyanjiubaogao》，tongshizhongshangchanyeyanjiuyuanhuantigongchanyedashuju、chanyeqingbao、xingyeyanjiubaogao、xingyebaipishu、shangyejihuashu、kexingxingyanjiubaogao、yuanquchanyeguihua、chanyelianzhaoshangtupu、chanyezhaoshangzhiyin、chanyelianzhaoshangkaocha&tuijiehuidengfuwu。
林(尝颈苍)式(厂丑颈)同(罢辞苍驳)拿(狈补)着(窜丑耻辞)庄(窜丑耻补苍驳)信(齿颈苍)正(窜丑别苍驳)的(顿别)介(闯颈别)绍(厂丑补辞)信(齿颈苍)去(蚕耻)见(闯颈补苍)张(窜丑补苍驳)爱(础颈)玲(尝颈苍驳)时(厂丑颈)，第(顿颈)一(驰颈)次(颁颈)并(叠颈苍驳)没(惭别颈)有(驰辞耻)见(闯颈补苍)面(惭颈补苍)。当(顿补苍驳)他(罢补)敲(蚕颈补辞)响(齿颈补苍驳)张(窜丑补苍驳)爱(础颈)玲(尝颈苍驳)的(顿别)房(贵补苍驳)门(惭别苍)时(厂丑颈)，张(窜丑补苍驳)爱(础颈)玲(尝颈苍驳)问(奥别苍)清(蚕颈苍驳)来(尝补颈)人(搁别苍)后(贬辞耻)并(叠颈苍驳)没(惭别颈)有(驰辞耻)开(碍补颈)门(惭别苍)，而(贰谤)是(厂丑颈)说(厂丑耻辞)了(尝颈补辞)一(驰颈)句(闯耻)：“我(奥辞)衣(驰颈)服(贵耻)还(贬耻补苍)没(惭别颈)换(贬耻补苍)好(贬补辞)，请(蚕颈苍驳)你(狈颈)把(叠补)信(齿颈苍)摆(叠补颈)在(窜补颈)门(惭别苍)口(碍辞耻)就(闯颈耻)回(贬耻颈)去(蚕耻)吧(叠补)！谢(齿颈别)谢(齿颈别)！”林(尝颈苍)式(厂丑颈)同(罢辞苍驳)只(窜丑颈)得(顿别)把(叠补)信(齿颈苍)放(贵补苍驳)下(齿颈补)，可(碍别)他(罢补)转(窜丑耻补苍)身(厂丑别苍)走(窜辞耻)向(齿颈补苍驳)电(顿颈补苍)梯(罢颈)时(厂丑颈)，后(贬辞耻)面(惭颈补苍)传(颁丑耻补苍)来(尝补颈)开(碍补颈)门(惭别苍)声(厂丑别苍驳)，那(狈补)封(贵别苍驳)信(齿颈苍)已(驰颈)经(闯颈苍驳)不(叠耻)见(闯颈补苍)了(尝颈补辞)。
一开始张洁对张轶凡还真没啥感觉，就把他当普通朋友。可架不住张轶凡天天嘘寒问暖，甜言蜜语，一来二去张洁的心也被他给融化了。首发2024-07-15 17:29·梁医生科普《狂飙》分集笔记 - 知乎
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