“随方置象，各有所宜，宁古无时，宁朴无巧，宁俭无俗”作为中国文人隐士审美的共识，设计者将审美观念应用到餐厅的空间陈设、VI设计、背景音乐、服装、灯光和艺术品选择中。从意境到形式都有体现： 1.宁古无时：物料的选择上，回收老木、使用古朴的石料为空间增添时间的深度及丰富联想。就现阶段的商业环境而言，流水线式的工业化创造，无法支撑深刻的文化内涵，但与旧物一起，却能碰撞出独特的记忆点。 2. 宁朴无巧：美，不存在于物体之中，而存在于物与物产生的阴翳的波纹和明暗之中。灯光设计中，把控明暗对比的强弱，创造出一种幽微迷人的高级用餐氛围。编曲方面，邀请艺术家为《江上隐》量身定制，把握音乐对氛围的影响，大音希声，让空间沉静下来，呼应“隐”的内涵。 3.宁俭无俗：朴素的事物有直抵人心的美感，大漆作为楚文化的强符号，广泛应用在空间的器皿选择上，符合《江上隐》的在地性文化定位。服装设计中，使用“夏布”，“香云纱”等中国传统面料，裁剪大气简约，面料在幽暗的灯光下，自然散发出独特的质感和轮廓。 4.各有所宜：秋山望月、囊琴怀鹤、水竹清影、风竹水榭、清江春晓、洞庭渔隐、秋江渔父、疏林秀石。江上隐主理人设八间包房，取自元代画家吴镇作品的题词，中国古代文人的闲适隐居，变成了江城人民超然的餐饮姿态。 5.随方置象：水墨画家根据空间精神的专门创作。首先，强调极简精神，中国哲学的虚，是实的生命的养成。第二，单色之玄，中国画中的空白，使空白具有了生命的呼吸。用水墨反复在宣纸上渲染，这种渲染，既可控又不可控。水墨在宣纸上自然渗透，是不可控的，但方向、层次、浓淡又是意象的，人的主观性与水墨的自然性获得一种伟大的平衡，人和自然共呼吸， 使餐饮空间拥有独与天地精神相往来的“渔隐”精神。选择一位可以提供抽象范式的水墨艺术家，用当代理念直接宋元境界，又含极简主义和单色绘画的理法，是“隐逸”空间的重要衬托手段。 室内外，空间和自然环境的变化，餐饮空间对应着中国文化中关于“江”和“隐”的壮阔、流转，从宋元到当代，致力于使用中国传统物料和文人审美哲学，这也是我想表达的主要设计观念。
Chinese literati and hermits boast with aesthetic consensus that it is required to arrange their corresponding humanistic landscapes according to the conditions of different objective environments with principles of being classic but not fashionable, simple but not skillful and plain but not cheesy. The designer applies the aesthetic concept to the restaurant space display, VI design, background music, clothing, lights and art selection. There are embodiments from artistic conceptions to forms: 1.Classic but not fashionable: In the choice of materials, recycling old wood, using classic stone for space to add time percipitation and rich imagination. As far as the present business environment is concerned, pipeline industrialization creation can not support the profound cultural connotation, but it can collide to generate unique memory point together with classic stuff. 2.Simple but not skillful: Beauty is not present in objects, but in the ripple corrugation and light and shade of the deep shadow produced by objects. In lighting design, the control of the intensity of light and dark contrast can create a slightly charming and fancy dining atmosphere. In terms of compilation, artists have been invited to give personalized orchestration to Seclusion on the River, while grasping the impact of music on the atmosphere. The loudest and most beautiful sound is soundless. The quiet space can reflect the connotation of "seclusion". 3.Plain but not cheesy: Plain and simple things can provide a direct aesthetic sense for people’s heart。 As a strong symbol of Chu’s culture, lacquer is widely used in the choice of vessels in space, in line with the geographical culture positioning of Seclusion on the River. In clothing design, hand-woven linen, Xiangyun silk fabric and other traditional Chinese fabrics are used together with elegant and simple tailoring can naturally emit a unique texture and contour in the dim light. 4.Everything can get appropriate design: The owner of Seclusion of the Rive set eight rooms with the themes of Watching the Moon on a Mountain in Autumn, Playing the Zither with a Crane Beside, Shadow Reflection of Bamboo in the Water, Waterside Pavilion with Wind and Bamboo, Clear River in Spring Dawn, Seclusion of Fishermen in Dongting Lake, Autumn River Fisherman and Elegant Stone in Forests. All of the themes are from inscriptions by the Yuan Dynasty painter, Wu Zhen. The leisure seclusion life has become an extraordinary catering attitude for people in the River City. 5.Arranging landscapes according to environment conditions: Ink and wash painters always create works based on the spirit of space. First of all, it emphasizes the spirit of minimalism. The emptiness of Chinese philosophy is the cultivation of real life. Second, the mystery of monochrome, the blank space in Chinese painting makes the blank space breathe with life. Repeated rendering with ink on Chinese art paper is both controllable and uncontrollable. The natural penetration of ink on Chinese art paper is uncontrollable, but the direction, level, and shade are imagery. Human subjectivity and the naturalness of ink can achieve a great balance. Human and nature breathe together, providing the dining space with a unique spirit of "seclusion" that communicates with the spirit of heaven and earth. Selecting an ink artist who can provide an abstract paradigm, connecting the Song and Yuan dynasties with contemporary ideas and including the principles of minimalism and monochrome painting is an important means of setting off the “seclusion” space. With changes of indoor, outdoor, space and natural environment, catering space corresponds to the magnificence and circulation on the "River" and "Seclusion" in Chinese culture. From the Song and Yuan Dynasties to contemporary world, people have been committed to the use of traditional Chinese materials and literati aesthetic philosophy, which is also the main design concept that I want to express.