Zen is one of the ancient cultural essence in orient, and tea is also an component of Chinese traditional culture. Tea tasting and zen comprehending begin from ancient times. Interpreting the interior design with charm of zen, the designer does not pursue gorgeousness, aiming to reflect the communication between human and nature, to build a soul habitat for modernist. The tea house takes plain colors as the dominant. The rough blue flagstone and wood floor with living surface are thick and smooth, seemly across the time traces, bringing a grand and magnificent momentum to the whole space. The tea house interprets the beauty of Chinese style with a unique pattern.
The designer mixtures the sense of modernness with the oriental zen, making the space become an elegant tea tasting space. “Tea” is needed for the soft decoration, integrating the sense of space. In the meanwhile, the space experience is forward extended. The tea house is divided into half transparent spaces with wood grid. Sitting in the private room and tasting tea, you will feel cool if your mind is calm. Its complexity and containment endow infinite imaginary to the space, presenting delicate space atmosphere and compact space sense.
The tea house of the first floor towards the north uses floor wooden window for the wall space. The lake beside the house is almost become a part of the tea house, just like an extra large three-dimensional Chinese picture. When people taste tea, they can directly appreciate the landscape of lakes and mountains.
Su once said, “No prefer fresh meat, not habitat without bamboo.” Bamboo is usually endowed with cultural connotation of free, incorruptibility and humbling. The spectators can feel the artistic conception by appreciating the objects, so as to build a beautiful and peaceful space. The walls of the two tea house in the east and west on the first floor were knocked. Bamboo is planted on the space between the exterior wall, shaping a natural picture of Chinese bamboo.
On the second floor, the exhibition hall is designed from the starting point of “return” and “introspection”by the designer, choosing a cultural style of peaceful and simple. In the living room, there is a piece of root carving, and 6m wall is for projection.
The study on the third floor is mainly for function. Quiet, adequate lighting and attention focusing should be considered for the decoration. In order to achieve the effects, the designer uses colors, lighting and ornaments and other different ways to build.
Abandoning all frippery, we strive to be flat, respecting the original language of the ancient architecture, only retaining the basic elements of the things. The least elements (such as, cherry wood, beech, vine and bamboo) are utilized to express our worship to Su Dongpo.We try our best to collect the calligraphy and painting which are created by Su or related to Su. Using the printing process which makes the works be faithful reproduction of the original. The works are displayed on the wall indoor and outdoor, letting Dongpo Culture which occurs nearly thousand years flows in the space time. Here, we may possibly realize the scene of communications among man of letters who are headed by Su.
With the collections of tea urns and vessels, the whole space connects with teaism, and in the same time, shows the whole functions and artistic conception of the space.
What we pursue is surface texture. The comparisons among different textures are exactly as dialogues between different chunks. For warm and hard material quality, designer handles the details carefully. No matter the figures of Buddha and the dead branches which are placed randomly, or the Chinese style furniture which are well made, delicate china and the tea things placed in the exhibition cabinet, all those make the space be more full.
The color tone of the tea house is warm and natural, just like tea in amber color in a cup. Yellow color carries forward the traditional color of Buddhism, expecting to underline an artistic conception of “Zen”for some spaces.