當(dāng)廠房被平庸所定義，那么時(shí)空留下的是尺度空曠、粗砼和充滿生產(chǎn)力的回響。

When a factory is defined by mediocrity, what time and space leave behind are echoes of vast scale, ruggedness, and full productivity.

鑫鼎樓梯展廳設(shè)計(jì)是謝天面對的不是常規(guī)室內(nèi)設(shè)計(jì)的“填充”游戲，而是一場關(guān)于“置入”與“對話”的精確手術(shù)。原有桁架、混凝土柱基、彩鋼瓦的外墻和屋頂不是需要掩蓋的瑕疵，而是必須尊重的框架底稿。在較大體積與有限預(yù)算的雙重約束下，設(shè)計(jì)策略必須鋒利，將一切非必要裝飾元素剝離，讓樓梯從垂直交通構(gòu)件升維為空間靈魂。五座形態(tài)多樣、材質(zhì)多元梯體，既是功能主軸，也是美學(xué)宣言，更是連接地面煙火與高處靜謐的精神紐帶。

The Xinding Staircase showroom design is not a conventional interior design game of “filling in,” but a precise surgical procedure of “insertion” and “dialogue.” The existing trusses, concrete column bases, and corrugated steel exterior walls and roofs are not flaws to be concealed, but a framework manuscript that must be respected.Under the dual constraints of large volume and limited budget, the design strategy must be incisive — stripping away all non-essential decorative elements and elevating the staircase from a vertical circulation component into the soul of the space. 

01

SPATIAL STRATEGY

平面博弈：減法中的空間最大化

Planar Strategy: Maximizing Space through Subtraction

原廠房的縱深是贈予也是挑戰(zhàn)。平面布局遵循“空則滿”的東方智慧，不是用隔墻填滿面積，而是用留白釋放體感。

The depth of the original factory is both a gift and a challenge. The planar layout follows the Eastern wisdom of “emptiness yields fullness” — not filling the area with partition walls, but releasing spatial sensation through deliberate void.

設(shè)計(jì)師將功能模塊分布于整個(gè)空間，東南入口強(qiáng)調(diào)“序”的開啟，刻意構(gòu)造出一個(gè)灰空間，以水和町步為媒，敘述樓梯這一獨(dú)特語言，由外而內(nèi)的節(jié)節(jié)攀升節(jié)節(jié)高樓梯元素，即有前臺接待功能，又名兼具主題的儀式感。

The designer distributes functional modules throughout the space. The southeast entrance emphasizes the opening of “order,” deliberately constructing a gray transitional space. Using water and stepping stones as medium, it narrates the unique language of the staircase — the ascending staircase elements progressing from outside to inside serve both as a reception function and a ceremonial expression of the theme.

樓梯被有意設(shè)置在不同位置，不阻視線通衢，卻成為視覺焦點(diǎn)的立體圖騰。這種非對稱平衡，既創(chuàng)造了回游動線的趣味，從入口進(jìn)入，視線先被遠(yuǎn)端的樓梯捕獲，步行過程中，兩側(cè)功能場景次第展開——更以最小建造干預(yù)換得最大空間層次。

The staircases are intentionally positioned at different locations — not obstructing sightlines, yet becoming three-dimensional totems as visual focal points. This asymmetrical balance creates the delight of a meandering circulation path: upon entering, the eye is first captured by the distant staircase, and as one walks, functional scenes on both sides unfold progressively — achieving maximum spatial layering with minimal construction intervention.

從門廳進(jìn)入展廳的“承”，即是視覺焦點(diǎn)，又給予豁然開朗一線天“一字梯”，形成長達(dá)十三米的樓梯與左右通廊，地面采用仿水泥瓷磚，既呼應(yīng)工業(yè)記憶，又降低維護(hù)成本。

The “continuation” from the foyer into the showroom serves as both a visual focal point and a sudden revelation — a “single-flight staircase” like a sliver of sky, forming a thirteen-meter-long staircase with corridors on both sides. The floor uses cement-look ceramic tiles, echoing industrial memory while reducing maintenance costs.

自然光從南側(cè)穿過，一字梯由人造天窗燈膜傾瀉，設(shè)計(jì)師僅在仿佛天窗下部加裝半透明白色張拉膜，將直射光柔化為均勻天光，避免眩光，同時(shí)讓樓梯的白色體量在漫射光下呈現(xiàn)出細(xì)膩的素描層次。

Natural light streams through from the south side, while the single-flight staircase is illuminated by an artificial skylight light membrane above. The designer merely installs a semi-transparent white tensile membrane beneath the faux skylight to soften direct light into even daylight, avoiding glare while allowing the white volume of the staircase to reveal delicate chiaroscuro gradations under diffused light.

每一步樓梯都被賦予“被看見”的價(jià)值，而非“被填滿”的窘迫。每一件展品都與樓梯的幾何語言形成或呼應(yīng)或?qū)沟膹埩?，有時(shí)是曲線陶器靜置于圓臺面，有時(shí)是大幅水墨垂落于白色墻面，藝術(shù)不再是點(diǎn)綴，而是與建筑空間共同敘述。

Every step of the staircase is endowed with the value of “being seen,” rather than the predicament of “being filled.”Each exhibit forms a tension with the geometric language of the staircase — sometimes echoing, sometimes contrasting. At times, a curvaceous ceramic vessel rests quietly on a round platform; at other times, a large-scale ink painting cascades down a white wall. Art is no longer an embellishment, but co-narrates with the architectural space.

設(shè)計(jì)師更策劃“階梯藝?yán)取庇?jì)劃，在一字梯下，以早期“竹梯”為媒介，創(chuàng)作圍繞“守舊”與“上升”主題作品，作品直接與樓梯互動，在玻璃臺階下繪制黑白水墨畫卷，仿佛在不同踏步上粘貼臨時(shí)詩句。

The designer further curates a “Staircase Gallery” initiative: beneath the single-flight staircase, using an early “bamboo ladder” as medium, creating works centered on the themes of “preserving tradition” and “ascension.” The works interact directly with the staircase — ink wash scrolls painted beneath glass steps, as if temporary verses are pasted onto different treads.

02

LIGHT NARRATIVE

光之?dāng)⑹拢喊讜兣c暗夜的氛圍切換

Light Narrative: Ambience Shift between Day and Night

線性LED燈帶沿樓梯踏步側(cè)邊與扶手凹槽布置，色溫可調(diào)，樓梯閱心處，各有一盞懸垂的吊燈成為視覺焦點(diǎn)。

Linear LED light strips are arranged along the side edges of staircase treads and within handrail recesses, with adjustable color temperature. At the heart of the staircase, a suspended pendant light at each location becomes a visual focal point.

其有機(jī)形態(tài)與樓梯的幾何剛直形成戲劇性對照，光暈灑在踏面上，每個(gè)臺階都像漂浮的光片。這種晝夜交替的光環(huán)境，使單一空間擁有了多重表情。

Its organic form creates a dramatic contrast with the rigid geometry of the staircase. The halo of light spills across the treads, making each step appear like a floating luminous slice. This alternating day-night light environment endows a single space with multiple expressions.

午后陽光從南側(cè)高窗斜射，在階梯側(cè)面刻下鋸齒般的光影韻律，空間在白色中獲得飽滿的進(jìn)深感。這種飽滿不是物的堆滿，而是氣息的充盈，尺度在此被感知，被閱讀，被身體經(jīng)驗(yàn)。設(shè)計(jì)師甚至刻意創(chuàng)作了即是黑白水墨，又略有淺灰與暖紅對話，讓空間擁有時(shí)間的厚度。

Afternoon sunlight slants through high south-facing windows, carving a serrated rhythm of light and shadow along the staircase’s flank. Within whiteness, the space acquires a rich sense of depth.This richness is not a piling up of objects, but a fullness of atmosphere — scale is perceived here, read here, experienced bodily. The designer even deliberately created works that are at once black-and-white ink wash, yet with subtle dialogues between light gray and warm red, imbuing the space with the thickness of time.

03

STAIR AS PRODUCT

樓梯作為產(chǎn)品：結(jié)構(gòu)美學(xué)與成本克制

Stair as Product: Structural Aesthetics and Cost Restraint

五座樓梯絕非裝飾性堆砌，而是精密計(jì)算和多元化組合的結(jié)構(gòu)產(chǎn)品。采用鋼板折彎與玻璃、實(shí)木、皮革、石材等綜合工藝，有些內(nèi)側(cè)為皮，外側(cè)為鋼板，既保證結(jié)構(gòu)強(qiáng)度，又降低自重，減少對原廠房樓板的荷載。

Employing integrated craftsmanship of bent steel plates with glass, solid wood, leather, and stone — some with leather on the inner side and steel plate on the outer — this ensures structural strength while reducing self-weight and minimizing the load on the original factory floor slab.The five staircases are by no means decorative accumulations, but structural products of precise calculation and diversified composition.

踏面懸挑而出，無梁無柱，輕盈如折紙懸浮于空。從一樓到二層，N級踏步每級都經(jīng)過人體工學(xué)推敲，踏高踏寬比精確至善，上下從容，讓樓梯本體純粹的幾何輪廓得以凸顯。

The treads cantilever outward, beamless and columnless, as light as folded paper suspended in air. From the first floor to the second, each of the N steps has undergone ergonomic refinement, with riser-to-tread ratios calibrated to perfection, enabling effortless ascent and descent, allowing the pure geometric silhouette of the staircase itself to stand out.

全部構(gòu)件工廠預(yù)制，現(xiàn)場裝配，工期壓縮至四十天，減少人工與腳手架成本。在造價(jià)控制的原則上，獲得了雕塑般的品質(zhì)感，這是產(chǎn)品設(shè)計(jì)與空間塑造的真正價(jià)值。用構(gòu)造邏輯替代材料堆砌，讓受力之美成為裝飾本身。

All components are factory-prefabricated and assembled on site, compressing the construction period to forty days while reducing labor and scaffolding costs. Within the principle of cost control, a sculptural sense of quality is achieved — this is the true value of product design and spatial shaping. Structural logic replaces material accumulation, allowing the beauty of load-bearing to become ornament itself.

04

VOLUME INTERLACE

尺度穿插：白色體積的飽滿敘事

Volume Interlace: The Rich Narrative of White Mass

潔白，不是廉價(jià)的白墻涂刷，而是對光線與體積的虔誠禮贊。所有墻體均覆以GRG（玻璃纖維增強(qiáng)石膏）定制面板，表面經(jīng)納米自潔涂層處理，啞光質(zhì)感柔化空間的工業(yè)生硬，同時(shí)具備吸音功能，改善大空間的混響問題。

Whiteness here is not cheap white wall paint, but a reverent homage to light and volume. All walls are clad in custom GRG (Glass Reinforced Gypsum) panels, surface-treated with a nano self-cleaning coating. The matte texture softens the industrial harshness of the space while providing acoustic absorption to improve reverberation issues in the large volume.

大面積立面石膏板之間預(yù)留6mm精細(xì)凹縫，以線性節(jié)奏勾勒體積邊界，避免單調(diào)。樓梯體塊在二層處扭轉(zhuǎn)，四步樓梯各不相同，與下方矩形基座形成微妙的錯位穿插，打破白色體量的單調(diào)，產(chǎn)生光影縫隙。

Between the large-area gypsum board facades, 6mm fine recessed joints are reserved, delineating volumetric boundaries with a linear rhythm to avoid monotony. The staircase massing twists at the second floor, with four stair flight segments each different from the next, forming subtle staggered intersections with the rectangular base below, breaking the monotony of the white volume and generating gaps of light and shadow.

二層只覆蓋樓梯所在的后部區(qū)域，面積控制在總占地四分之一內(nèi)，既滿足參觀動線需求，又保持主空間高挑的氣韻流通，和廳廊相連的展廳氛圍。

The second floor only covers the rear area where the staircase is located, with its area controlled within one-quarter of the total footprint — satisfying circulation requirements while maintaining the lofty spatial flow of the main volume and the gallery-like atmosphere connected to the halls.

05

ART INFUSION

藝術(shù)注入：生活的美學(xué)轉(zhuǎn)譯

Art Infusion: The Aesthetic Translation of Life

白色空間的克制，恰為藝術(shù)預(yù)留了呼吸的孔隙。樓梯轉(zhuǎn)角平臺被設(shè)計(jì)為微型展陳節(jié)點(diǎn)，預(yù)埋了可調(diào)角度射燈與懸掛系統(tǒng)，不定期更換當(dāng)代陶藝、紙本作品或小型雕塑。

The restraint of the white space precisely reserves breathing pores for art. The staircase landing platforms are designed as micro-exhibition nodes, pre-embedded with adjustable-angle spotlights and hanging systems, periodically rotating contemporary ceramics, paper-based works, or small sculptures.

這些輕盈的介入，讓展廳從生活容器轉(zhuǎn)變?yōu)樯蠲缹W(xué)的發(fā)生器。最終，展廳不僅是展廳，樓梯不僅是樓梯，它們是生活美學(xué)的物質(zhì)載體，在每一級抬升中，完成從工業(yè)實(shí)用到精神棲居的詩意蛻變。

These light interventions transform the showroom from a vessel of living into a generator of life aesthetics. Ultimately, the showroom is not merely a showroom, and the staircase is not merely a staircase — they are the material carriers of life aesthetics, completing, with each step of ascent, a poetic metamorphosis from industrial utility to spiritual dwelling.

文章來自平臺：LJ看設(shè)計(jì)

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