作品名稱：水桌

　　材質(zhì)：胡桃木、水曲柳。

　　時(shí)間：2017-2018.

　　設(shè)計(jì)者：李曉明

　　設(shè)計(jì)公司：建筑營(yíng)設(shè)計(jì)工作室(www.archstudio.cn)

　　攝影師：金偉琦

　　自然、生命、與人的違和，一直是我關(guān)注的主題，自然與人的關(guān)系，人與自然如何對(duì)話時(shí)常是我思考的問題。當(dāng)我身處自然中，有時(shí)會(huì)被自然界中的靈動(dòng)感動(dòng)，自然吸引著人與其親近，人與自然融為一體，人成為自然的一部分。

　　我時(shí)常盯著運(yùn)動(dòng)的水的軌跡，讓我感受到時(shí)間、空間、與生命，水桌緣起于我對(duì)運(yùn)動(dòng)中的水紋的重新闡述，同時(shí)介于在二維平面的維度里重現(xiàn)漩渦水紋而達(dá)到三維的視錯(cuò)感與運(yùn)動(dòng)感，桌面是平整的，不存在真正的垂直的漩渦變化。

　　橢圓的桌面邊界界定了漩渦水紋運(yùn)動(dòng)的基本輪廓，桌的基本功能定義為幾，供使用者盤坐休閑而用，桌的高度考慮到人的視覺尺度與角度變化，在距離變化的閾值之間，視錯(cuò)原理使得水漩渦產(chǎn)生運(yùn)動(dòng)的視覺變化，有時(shí)急湍、有時(shí)孱緩，就似一潭靈動(dòng)的水，讓我們感受其生命，與水互動(dòng)、與自然對(duì)話。人的使用行為人在水桌的設(shè)計(jì)中成為重要的元素，人的運(yùn)動(dòng)帶動(dòng)水桌的“運(yùn)動(dòng)”，人與產(chǎn)品的互動(dòng)正介于此。

　　桌幾選擇胡桃木、水曲柳兩種不同肌理的木質(zhì)，深淺木紋交錯(cuò)構(gòu)成桌面紋理，水紋方向?yàn)轫槙r(shí)針漩渦，胡桃木與水曲柳木紋方向?yàn)椴灰?guī)則橫向山紋，不同方向的木紋肌理變化構(gòu)成交替的運(yùn)動(dòng)感，當(dāng)我們距離桌面越近感受越為真切。而當(dāng)我們一旦靜止，水紋也會(huì)靜止，我們會(huì)聚焦于天然的木質(zhì)紋理的細(xì)節(jié)變化，我們也需要紋理的觸感，如同觸及平靜的水面。

　　Name: Water Table

　　Materials: Walnut, Manchurian Ash

　　Time: 2017-2018

　　Designer：Li Xiaoming

　　Design company：ARCHSTUDIO (www.archstudio.cn)

　　Photographer：Jin Weiqi

　　I have been focusing on the inharmony among nature, life and human beings, and I often think about the relationship between nature and man, and how people and nature can have dialogue with each other. When I am in the nature, I am sometimes touched by the spirit of nature, which attracts people to be close to it, people and nature are combined into one, and people become a part of nature.

　　By staring at the tracks of flowing water frequently, I feel the time, space, and life. The water table comes from my reinterpretation of the water waves. A 3d visual sense and a moving feeling are achieved through showing the vortex water waves in a 2d plane. The table top is flat, and there is no real change of the vertical vortex.

　　The elliptical table edge defines the basic outline of moving water. The table is used when people are sitting aside, so that its height considers the changes of people's visual dimension and angle. Between the sensory threshold of distance change, the principle of pseudoblepsia causes the visual changes by flowing water vortex, rapidly or slowly, just like a pond of dynamic water that lets us feel it, interact with it and dialogue with nature. Man is an important element in the design of the water table since people's movement drives the water table's "movement", and the interaction between people and product is in the middle of this.

　　Two different woods, namely, walnut and Manchurian ash were selected for the table. The deep and light lines constitute the texture of the top. The water waves are flowing clockwise, while the grains of walnut and manchurian ash are moving irregularly and transversely, and it is such wooden lines in different directions that creates the alternant feeling of movement, the closer we are, the stronger it is. And when we are still, the lines are still. We focus on the subtle changes of the natural wood texture, and we also need the sense of texture, it's just like touching the calm water.