項(xiàng)目案例 | 香道工作室空間設(shè)計(jì)：承載東方哲學(xué)中“天人合一”的智慧空間美學(xué)

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在喧囂浮躁的現(xiàn)代社會(huì)中，一種古老而寧?kù)o的藝術(shù)——香道，正悄然復(fù)興。這門源遠(yuǎn)流長(zhǎng)的嗅覺藝術(shù)，穿越時(shí)空的隧道，在當(dāng)代煥發(fā)出新的生機(jī)，成為人們尋求內(nèi)心寧?kù)o與精神滋養(yǎng)的獨(dú)特方式。當(dāng)代香道藝術(shù)的發(fā)展呈現(xiàn)出傳統(tǒng)與現(xiàn)代交融的多元面貌。在東京、北京、臺(tái)北等都市，香道教室與體驗(yàn)工作坊如雨后春筍般涌現(xiàn)，吸引著不同年齡層的參與者。香道不再局限于傳統(tǒng)的儀式空間，而是與茶道、花道、書法等藝術(shù)形式結(jié)合，創(chuàng)造出多維度的審美體驗(yàn)。數(shù)字化時(shí)代也為香道注入了新活力，線上香道課程、香文化應(yīng)用程序讓這門古老藝術(shù)突破了地域限制，觸達(dá)更廣泛的受眾。同時(shí)，現(xiàn)代調(diào)香技藝與傳統(tǒng)合香理念的碰撞，催生出既保留東方神韻又符合當(dāng)代審美的創(chuàng)新香方。

一、香道的藝術(shù)魅力

香道的藝術(shù)魅力，首先在于其調(diào)動(dòng)了一種最為微妙而又直達(dá)心靈的感官——嗅覺。一縷青煙，一絲幽香，能夠瞬間喚醒深藏的情感記憶，連接起內(nèi)在自我與外在世界。香道的過程本身就是一種冥想，從理灰、置香到品聞，每個(gè)動(dòng)作都要求全神貫注，使人從紛繁思緒中抽離，進(jìn)入物我兩忘的禪定境界。更深刻的是，香道承載著東方哲學(xué)中“天人合一”的智慧。不同的香料對(duì)應(yīng)著四時(shí)變化、五行運(yùn)轉(zhuǎn)，體現(xiàn)了古人對(duì)自然規(guī)律的尊重與理解。品香不僅是感官享受，更是通過與香的對(duì)話，完成對(duì)自我生命的觀照與修行。在香氣的氤氳中，人們得以暫時(shí)逃離效率至上的現(xiàn)代邏輯，回歸本真，尋得精神的棲息之地。

香道藝術(shù)以其獨(dú)特的魅力，為快節(jié)奏的現(xiàn)代生活提供了一種舒緩的平衡。它不張揚(yáng)，不炫技，只是在寂靜中散發(fā)幽香，提醒著人們?cè)谖镔|(zhì)豐裕的時(shí)代，依然需要精神的富足與內(nèi)心的安寧。這門古老而年輕的藝術(shù)，正如那縷縷清香，無形卻有質(zhì)，無聲卻有力，繼續(xù)滋養(yǎng)著尋求生命深度的現(xiàn)代靈魂。

In the noisy and impetuous modern society, an ancient and peaceful art form - the art of incense - is quietly making a comeback. This long-standing olfactory art, having traversed the tunnel of time and space, has regained new vitality in contemporary times, becoming a unique way for people to seek inner peace and spiritual nourishment. The development of contemporary incense art presents a diverse appearance of the integration of tradition and modernity. In cities like Tokyo, Beijing and Taipei, incense art classrooms and experience workshops have sprung up like mushrooms after rain, attracting participants of all ages. Incense art is no longer confined to traditional ritual Spaces but has been combined with art forms such as tea ceremony, flower arrangement and calligraphy to create multi-dimensional aesthetic experiences. The digital age has also injected new vitality into the art of incense. Online incense art courses and incense culture applications have enabled this ancient art to break through geographical limitations and reach a wider audience. Meanwhile, the collision between modern perfumery techniques and traditional scent-blending concepts has given rise to innovative fragrance formulas that retain the charm of the East while conforming to contemporary aesthetics.

I. The Artistic Charm of Incense ArtThe artistic charm of incense art lies first in its ability to engage one of the most subtle yet soul-penetrating senses - the sense of smell. A wisp of smoke and a faint fragrance can instantly awaken the deeply hidden emotional memories and connect the inner self with the external world. The process of incense art itself is a form of meditation. From arranging the ashes, placing the incense to smelling it, each action requires full concent

ration, allowing one to detaches from the complex thoughts and enter a state of meditation where the self and the object are forgotten. More profoundly, the art of incense embodies the wisdom of "harmony between man and nature" in Eastern philosophy. Different spices correspond to the changes of the four seasons and the operation of the five elements, reflecting the ancient people's respect and understanding of the laws of nature. Appreciating incense is not merely a sensory enjoyment; it is also a process of observing and cultivating one's own life through a dialogue with the fragrance. In the misty aroma, people can temporarily escape the modern logic that prioritizes efficiency, return to their true selves, and find a spiritual haven.The art of incense art, with its unique charm, offers a soothing balance to the fast-paced modern life. It is neither ostentatious nor showy. It merely exudes a delicate fragrance in silence, reminding people that even in an era of material abundance, spiritual richness and inner peace are still needed. This ancient yet young art, just like those wisps of fragrance, is formless yet substantial, silent yet powerful, continuing to nourish modern souls seeking the depth of life.

一個(gè)成功的中式美學(xué)香道工作室，最終呈現(xiàn)的應(yīng)是一種“氛圍感”和“生活方式”。它不僅是品香活動(dòng)的場(chǎng)所，更是一個(gè)強(qiáng)大的能量場(chǎng)，通過每一個(gè)設(shè)計(jì)細(xì)節(jié)——從空間的起承轉(zhuǎn)合，到光影的濃淡虛實(shí)，再到材質(zhì)的樸拙溫潤(rùn)——無聲地傳遞著東方智慧與禪意精神。當(dāng)訪客踏入其中，便能自然而然地放下塵慮，在裊裊香云中，開啟一場(chǎng)與自我對(duì)話的鼻觀修行，真正體會(huì)到“此中有真意，欲辨已忘言”的至高境界。這，正是設(shè)計(jì)所能抵達(dá)的最深層的療愈力量。

二、理念核心：從“物境”到“心境”的轉(zhuǎn)化

本設(shè)計(jì)理念的核心，超越單純的形式模仿，旨在創(chuàng)造一個(gè)能夠引導(dǎo)使用者完成從“物境”到“心境”轉(zhuǎn)化的序列性體驗(yàn)空間。它遵循中國(guó)傳統(tǒng)哲學(xué)中“天人合一”的思想，并將禪宗的“空、寂、閑”美學(xué)融入其中。

禪意療愈為核：空間的首要功能是療愈。這并非通過主動(dòng)的治療，而是通過營(yíng)造一個(gè)極致的“靜”場(chǎng)，使人自然步入觀照內(nèi)心的狀態(tài)。設(shè)計(jì)追求的是“減”與“空”，減少視覺噪音與物質(zhì)欲望，留白給心靈去充盈。在這里，品香的過程與空間的靜謐同頻，共同作用于使用者的感官，緩解焦慮，提升專注，達(dá)到深度的精神放松與內(nèi)在平衡。

中式美學(xué)為魂：美學(xué)表達(dá)上，摒棄繁復(fù)雕琢的清代風(fēng)格，直溯宋明美學(xué)的源流——簡(jiǎn)約、典雅、含蓄而富有韻味。我們追求的并非符號(hào)的堆砌，而是意境的營(yíng)造。一如中國(guó)山水畫中的“計(jì)白當(dāng)黑”，空間中的“留白”與器物、光影共同構(gòu)成一幅可游可居的立體畫卷。這是一種“低吟”的美學(xué)，不張揚(yáng)，卻深入人心。

A successful Chinese aesthetic incense art studio should ultimately present a sense of "atmosphere" and "lifestyle". It is not only a place for incense appreciation activities, but also a powerful energy field. Through every design detail - from the beginning, development, transition and conclusion of the space, to the gradation and interplay of light and shadow, and then to the simplicity and warmth of the materials - it silently conveys the wisdom of the East and the spirit of Zen. When visitors step into it, they can naturally let go of their worries and, in the wisp of fragrant clouds, embark on a spiritual practice of self-dialogue through the nose, truly experiencing the supreme state of "there is true meaning within, and when one wants to distinguish, words are forgotten." This is precisely the deepest healing power that design can reach.Ii. Core Concept: Transformation from "Object Realm" to "State of Mind" The core of this design concept goes beyond simple form imitation, aiming to create a sequential experience space that can guide users to complete the transformation from "object realm" to "state of mind". It adheres to the idea of "harmony between man and nature" in traditional Chinese philosophy and integrates the aesthetics of "emptiness, stillness and leisure" of Zen Buddhism into it. Zen healing at the core: The primary function of space is healing. This is not achieved through active treatment, but by creating an ultimate "quiet" environment, allowing people to naturally enter a state of observing their inner selves. Design pursues "subtraction" and "emptiness", reducing visual noise and material desires, and leaving blank space for the soul to fill. Here, the process of savoring incense is in harmony with the tranquility of the space, jointly acting on the user's senses, alleviating anxiety, enhancing concentration, and achieving profound mental relaxation and inner balance.

三、空間序列與動(dòng)線：一場(chǎng)漸入佳境的修行之旅，工作室的空間布局應(yīng)如一首起承轉(zhuǎn)合的古曲，引導(dǎo)使用者逐步脫離塵世，步入禪境。

啟：過渡與凈化（入口玄關(guān)），入口處不宜直白敞開，應(yīng)設(shè)置一處幽暗的玄關(guān)。這是一道心理屏障，隔絕外界的紛擾。地面可采用老石板或青磚，墻面留白，僅以一盞低矮的石燈籠或壁龕內(nèi)的一枝枯山水微景觀提供指引。或許設(shè)有一方淺池，內(nèi)置卵石，滴水之聲隱約可聞，在視覺與聽覺上先行完成一次凈化禮序。

承：醞釀與期待（茶歇過渡區(qū)），穿過玄關(guān)，進(jìn)入一個(gè)相對(duì)明亮的過渡區(qū)。這里可作為簡(jiǎn)單的茶歇等待區(qū)，設(shè)置一組低矮的明式茶桌與官帽椅。材質(zhì)以溫潤(rùn)的原木（如胡桃木、榆木）為主，墻面可懸掛一幅水墨書法作品，內(nèi)容或?yàn)椤奥勏恪薄ⅰ办o心”等禪語(yǔ)。此區(qū)域的光線柔和，為接下來的核心體驗(yàn)做好情緒鋪墊。

轉(zhuǎn)：核心與沉浸（品香主空間），這是工作室的靈魂所在。空間需絕對(duì)方正、開闊、高挑，以營(yíng)造“空寂”之感。地面通鋪淺灰調(diào)啞光水泥或橡木地板，反射率低，吸光吸音。中央?yún)^(qū)域不設(shè)高大家具，而是采用榻榻米或低矮的地臺(tái)設(shè)計(jì)，參與者需脫鞋進(jìn)入，身體重心的降低，象征著謙卑與回歸。主墻面：可做一整面夯土墻或硅藻泥肌理墻，樸拙的質(zhì)感與溫暖的色調(diào)，如同大地母親的懷抱，給人以安定感。焦點(diǎn)：墻面中央設(shè)一壁龕，稱為“床之間”，這是日式茶道與香道精神的借鑒與融合。壁龕內(nèi)懸掛一幅單色水墨山水軸畫，下方放置一件宋代影青瓷瓶，隨季節(jié)插一枝花、一段枯枝或僅留白。這里是一切視覺與精神的焦點(diǎn)。操作區(qū)：主位前方，一張巨大的原木大板桌作為香席操作臺(tái)，其天然的紋理與疤痕本身就是時(shí)間的藝術(shù)。

合：回味與延伸（冥想靜思區(qū)），在主空間的一側(cè)，可隔出一處更為私密的冥想角。通過一扇月洞門或一組木質(zhì)格柵移門進(jìn)行軟性分隔。內(nèi)置一個(gè)蒲團(tuán)，面對(duì)一扇巨大的落地窗。窗外并非繁華街景，而是精心營(yíng)造的枯山水庭院或竹籬，將自然之景“借”入室內(nèi)，形成無限延伸的靜思畫面。

Iii. Spatial Sequence and Circulation: A journey of gradual refinement in spiritual practice. The spatial layout of the studio should be like an ancient melody of beginning, development, transition and conclusion, guiding users to gradually escape the mundane world and enter the realm of Zen.

Start: Transition and Purification (Entrance Foyer). The entrance should not be directly open; a dark foyer should be set up instead. This is a psychological barrier that isolates the disturbances from the outside world. The ground can be paved with old stone slabs or blue bricks, and the walls should be left blank, with only a low stone lantern or a dry landscape micro-landscape in a niche providing guidance. Perhaps there is a shallow pool with pebbles inside, and the sound of dripping water can be faintly heard, completing a purification ritual in the visual and auditory senses first.

Cheng: Brewing and Anticipation (Tea break transition area), passing through the entrance hall, enter a relatively bright transition area. This place can be used as a simple tea break waiting area, with a set of low Ming-style tea tables and official hat chairs set up. The materials are mainly warm and moist logs (such as walnut and elm). A calligraphy work in ink wash painting can be hung on the wall, with the content being Zen sayings like "Smell the fragrance" and "calm the mind". The light in this area is soft, setting an emotional foundation for the core experience that follows.

Repost: Core and Immersion (Main Space of Fragrance Tasting), this is the soul of the studio. The space must be absolutely square, spacious and tall to create a sense of "emptiness and stillness". The floor is fully covered with light gray-toned matte cement or oak flooring, which has a low reflectivity and can absorb light and sound. The central area does not feature tall furniture. Instead, it adopts a tatami or low platform design. Participants need to take off their shoes. The lowering of the body's center of gravity symbolizes humility and return. The main wall: It can be made into a whole rammed earth wall or a diatom mud texture wall. The simple texture and warm tones are like the embrace of Mother Earth, giving people a sense of stability. The focus: In the center of the wall, there is a niche called "Between the Beds", which is an inspiration and integration of the spirit of Japanese tea ceremony and incense ceremony. In the niche, a monochrome ink-wash landscape scroll painting is hung, and below it is a Song Dynasty shadow celadon vase. Depending on the season, a flower, a withered branch or just a blank space is inserted. This is the focal point of all vision and spirit. Operation area: In front of the main seat, there is a huge wooden board tableAs an incense mat operation table, its natural texture and scars themselves are the art of time. All: Aftertaste and Extension (Meditation and Reflection Area), on one side of the main space, a more private meditation corner can be partitioned out. Soft separation is achieved through a moon-shaped door or a set of wooden lattice sliding doors. It has a cushion inside and faces a huge floor-to-ceiling window. Outside the window is not a bustling street scene but a carefully crafted dry landscape garden

Or bamboo fences can be used to "borrow" the natural scenery into the interior, creating an infinitely extending scene of meditation.

四、設(shè)計(jì)元素與材料：東方美學(xué)的當(dāng)代詮釋

光影敘事：光是空間的魔術(shù)師。拒絕均質(zhì)明亮的泛光照明，全面采用見光不見燈的設(shè)計(jì)。大量使用紙燈籠、竹編燈罩、深藏射燈與壁燈。光線角度經(jīng)過精心計(jì)算，重點(diǎn)照亮畫作、茶席與香席，其余區(qū)域則漸隱于昏暗之中。隨著日升月落，自然光通過障子紙門或木質(zhì)百葉窗篩入室內(nèi)，形成隨時(shí)間流動(dòng)的光影畫卷，靜謐而富有禪意。

材質(zhì)觸感：材料的選擇以天然、質(zhì)樸、富有歲月感為原則。木：大量使用原木，保留其天然的木紋與色差，不上亮光漆，只做木蠟油處理，強(qiáng)調(diào)觸感的溫潤(rùn)。石：青石板、鵝卵石、啞光水泥，這些冰冷的材質(zhì)與木材形成對(duì)比，帶來沉穩(wěn)與清涼之感。土：夯土墻、硅藻泥，其微孔結(jié)構(gòu)能調(diào)節(jié)濕度，帶來呼吸感，其質(zhì)樸的肌理直指本源。布：棉、麻、絲是唯一的軟裝材料。素色的麻質(zhì)窗簾、棉質(zhì)坐墊、絲綢抱枕，以其柔軟的質(zhì)感平衡空間的硬朗，且色系統(tǒng)一于米白、灰、靛藍(lán)等大地色系。

色彩哲學(xué)：整體色彩體系源于中國(guó)畫的黑白灰與自然的大地色。白墻為紙，木構(gòu)為墨。主色調(diào)為不同明度的米白、灰咖、赭石，營(yíng)造包容平和的基底。點(diǎn)綴色來自綠植的青翠、銅器經(jīng)年使用的幽光、以及香粉本身的赭石、沉香色。這是一個(gè)低飽和度、高級(jí)感的色彩場(chǎng)域，極盡克制，方能容納萬(wàn)千想象。

陳設(shè)美學(xué)：器物即修行。所有陳列遵循“少即是多”的原則。家具：選擇線條極簡(jiǎn)的明式家具，其流暢的線條與精準(zhǔn)的比例，本身就是功能與美學(xué)的完美結(jié)合。器物：香具、茶器優(yōu)選陶、瓷、銅、竹等天然材質(zhì)。器型追求拙樸、內(nèi)斂，如建水紫陶壺、龍泉青瓷杯、手工錘目紋銅器等，每一件器物都應(yīng)是藝術(shù)品，值得在手中靜靜玩味。植栽：綠化不以繁花取勝，而以姿態(tài)入畫。一盆文竹、一株羅漢松、幾枝南天竹，或僅是水中供養(yǎng)的一葉睡蓮，以極簡(jiǎn)的綠意點(diǎn)亮空間，寓意生命在靜寂中勃發(fā)。

Iv. Design Elements and Materials: Contemporary Interpretation of Eastern Aesthetics: Light and Shadow Narrative: The Magician of Space. Reject homogeneous and bright floodlighting and fully adopt a design where the light is visible but the lamp is not. A large number of paper lanterns, bamboo lampshades, hidden spotlights and wall lamps were used. The Angle of the light has been carefully calculated, with a focus on illuminating the paintings, the tea table and the incense table, while the rest of the areas gradually fade into darkness. As the sun rises and the moon sets, natural light

Sifting through the shoji paper door or wooden blinds into the room creates a flowing light and shadow scroll over time, quiet and full of Zen. Material touch: The selection of materials adheres to the principles of being natural, simple and full of the sense of time. Wood: A large amount of raw wood is used, preserving its natural wood grain and color differences. No high-gloss varnish is applied, only wood wax oil treatment is done, emphasizing a warm and smooth touch. Stone: bluestone slabs, pebbles, matte cement, these cold materials contrast with wood, bringing a sense of stability and coolness. Soil: rammed earth walls and diatom mud, their micro-porous structure can regulate humidity and bring a breathing sensation, and their simple texture directly points to the source. Cotton, linen and silk are the only materials for soft furnishings. The plain-colored linen curtains, cotton cushions and silk cushions balance the hardness of the space with their soft texture, and the color scheme is unified in earth tones such as off-white, gray and indigo. Color philosophy: The overall color system originates from the black, white and gray in Chinese painting and the earth tones of nature. The white walls are paper and the wooden structures are ink. The main colors are different shades of off-white, gray coffee, the emerald green of ochre green plants, the faint glow of bronze wares that have been used for years, and the ochre and agarwood colors of the perfume powder itself. This is a low-saturation, high-end color field that is extremely restrained to accommodate countless imaginations. Furnishing aesthetics: Objects are spiritual practice. All displays follow the principle that "less is more". Furniture: Choose Ming-style furniture with minimalist lines. Its smooth lines and precise proportions are a perfect combination of functionality and aesthetics in themselves. Utensils: Incense and tea sets are preferably made of pottery, porcelain, copper or bamboo

Such as natural materials. The shapes of the vessels pursue simplicity and restraint, such as Jianshui purple clay teapots, Longquan celadon cups, and hand-hammered copperware with eye patterns. Each piece should be a work of art, worthy of quiet appreciation in the hand. Planting: Greening does not win by its profusion of flowers, but by its postures. A pot of asparagus fern, a podocarpus, a few branches of Nandina domestica, or simply a water lily kept in the water, all illuminate the space with minimalist greenery, symbolizing the vigorous growth of life in the stillness.

項(xiàng)目信息

項(xiàng)目名稱：香道藝術(shù)工作室

項(xiàng)目類型：空間設(shè)計(jì)、中式美學(xué)空間

項(xiàng)目地點(diǎn)：山西太原

建成狀態(tài)：建設(shè)中（施工落地中）

設(shè)計(jì)時(shí)間：2025年10月

設(shè)計(jì)單位：AYS愛易設(shè)規(guī)劃設(shè)計(jì)事務(wù)所、AYS咨詢平臺(tái)

主創(chuàng)人員：張璇、郭森

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