何谓“新中式”？

新中式：创新的，中国样式。时代走至今天，什么是创新的中国样式，在我觉得是值得大家深入思考和商榷的。下面便谈谈我之一家之言，全当作序。

二十一世纪的第二个十年已快过半，当下“新中式”应与过去的“新中式”有着明显的区别：

一、不再应是简单的描摹古老的建筑表面，而应深入的体现，中国建筑的精神与风骨。比如：对传统建筑的光、空间节奏、人文情感的拆散、重构，从而延续这种传统的人文精神及情感，即“内在”。中国传统建筑室内之所以精彩，是众多综合因素集于一体的结果，远不是仅有简答的梁、柱、花窗样式，如此简单。所以简单的描摹，中国传统的花窗、柱式，或大量的书法、绘画装饰，将空洞异常，不亚于涂脂抹粉，并不会成为未来之主流。因为几千年传统留下来的东西，没有那么简答。

二、对传统中国建筑用材、工法等有序的尊重甚至膜拜式的梳理研究，从而创造出新的空间质感体验。那么这种质感体验是靠近情感，靠近人文之本真的，而不是一种表面式的装修。“材料”便是空间质感的一方面，那么中国传统的应用材料强调真实。“工法亦真实”用在这个时代，无形中又多了一层意义，“环保”、“可再生”。所以，怎样对传统材料、工法，用现代设计理念去梳理，这是让传统焕发时代精神的根本，绝不是合成建筑材料能取代的。

三、创新的中国样式，更注重情感和思想传达。这种情感思想的传达源于设计师面对原始空间时情感的有无。设计师真情流露，那么空间也是。反之，设计师的情感如果是虚伪的，不诚实的，那么，这个空间一切皆无，索然无味。换句话说，设计师的本土文化底蕴，决定了新中式空间的一切。设计这个空间的设计师的诚意，很关键。那么设计师所迸发出来的设计思想是“真诚”的、“非商业”，如纯艺术般的冲动情愫、原始本能，便赋予了空间的诚意。设计师的思想是所谓“虚伪的”，那么这个空间便一无是处，连个“清洁工”都不会感染。

四、传统文学对创新中国样式的影响，将会更加深远。如，宋词、元曲、传统宗教理论、宋元山水画论等等。那么这种影响也将是更深度精神、骨子里的真情流露。未来中国式空间，设计师的文学功底，换句话说“文化底蕴”决定了一个空间的精神和风骨，尽管当下的空间设计，是人皆会，是人皆做，是人皆准，但具中国传统精神与风骨又有几个呢？以为内传统建筑空间处理的如此精彩，如苏州园林，均具很高的文化底蕴，如李渔，如王维。换句话说，应先见文化，又现设计，但纵观当下中式设计，大多出自职业和生存使然，何谈闲情逸致，八面闻风，自然空洞无味。

我做“故园·似是而非”、“苦竹斋”皆缘起于此。只是一个盲行者的尝试，亦或叫摸索。实为无知之结果，不足观，亦不足道。但是我相信终会有他自己的结果。“新中式”便是站在故园里，回望传统，创造出一种对于传统似是而非的表达。尊重传统的土木结构，尊重传统的每一根骨头里的精神。如膜拜，如顶礼。方显这创新中国样式之精神。这是当下每一个叫做设计师的从业者，迫在眉睫的事，时不待我。

                                   What is Neo-Chinese Style?

Neo-Chinese Style: innovative, Chinese style. To this day, what is the innovative Chinese style is worth thinking and discussing. Now here are my thoughts of it. Regard it as preface of the book.

The second decade of 21 century has gone half. Neo-Chinese Style of today shall be distinct from the past.

First, in-depth reflection of Chinese architecture spirit and strength shall replace simple imitation of timed appearance of architecture. For instance, deconstruct and reconstruct the light, space rhythm, emotion of traditional architecture, therefore, to carry on this humanity spirit and emotion. The brilliance of traditional Chinese architecture and interior is the result of comprehensive integration, rather than simply the beam, column and window pattern. Reproducing these elements is no difference than putting makeup on the face, leaving an empty inside. It will not become the mainstream of future design. What’s been left from thousands of year’s history is never simple.  

Second, build up new space experiences out of respect and study on traditional material and techniques etc. Then these experiences are close to emotions and humanity, not a superficial decoration. Material is another aspect of space texture. Authenticity is stressed in traditional material usage. Techniques shall be authentic as well, which in modern context brings about a new significance of being green and renewable. How to comb through and deal with traditional material and techniques in modern design concept context is the foundation of reinterpretation of traditions. 

Third, neo-Chinese style emphasizes on emotion and spirit expression, which generates from the presence of designers’ emotion when facing the space. Designer shows real emotion, so does the space. On the other hand, designer being pretentious and dishonest decides the emptiness and dullness of the space. The sincerity of designer is essential. Ideas burst out of him/her being sincere and non-commercial, the impulse and instinct, give sincerity to the space.  

Forth, traditional literature, such as Song Ci, Yuan Qu, religion theory, Song Yuan painting theory etc, will have bigger impact on new Chinese style. This type of impact is the revealing of true deeper sentiments. In future, designers’ literature quality, in other words cultural quality, decides the spirit and strength of the space. Though currently we are packed with space designers, how many of them carry the traditional Chinese spirit and quality? Culture comes before design. But reviewing the existed Chinese style design, most are driven by occupational and survival needs. Unsurprisingly, they are dull and tasteless.  

My project Guyuan Specious Feeling and Bitter Bamboo Room are both done under such circumstances. They are the attempt, or grope, of a blind walker, the result of innocence. Nothing worth to be admired or discussed. But I do believe in its future. “Neo-Chinese style” is to stand in Guyuan and look back on the past, therefore, to form a specious expression of tradition. Respect the old civil construction; respect the spirit in each bone of the tradition. That’s the urgency for designers of our time.