邱德光一位来自台湾的设计师，他用自身多年深厚的美学素养把时尚装饰元素结合当代空间设计，赋予生活新奢华的内涵，成功的塑造了当代东方都会美学；他是被国际设计界公认的新巴洛克装饰主义的代表人物，他曾经主持设计的项目无不在业内和消费者中备受推崇。
独特的审美角度
从小就对绘画艺术钟情的邱德光，在大学的素描课上总是显得很特别。每当别人已经开始画起来时，邱德光总会不自觉的先围着雕像绕一阵，一定要找出一个他最满意的角度和构图来才开始着手画画。这种天生对美感的敏锐直觉及良好的掌控能力，很自然的成为他步入设计领域的原因。在台湾从事设计三十年，从最初开始一些建筑设计工作，到后来开始从事室内设计，还有近些年因全球房产市场持续火爆，邱德光亲自成功的包装打造了一系列的高档项目。2003年邱德光进入北京，在北京设计了NAGA上院、北京瑞士公寓、北京首府官邸和我们耳熟能详的星河湾二、三期等杰作。
缪斯的启示
邱德光一向觉得女人是他作品最好的鉴赏者，因为女人心思细密、情感细腻、注视细节、在乎感受……。也正因如此，女性自然成为了他的灵感缪斯。女人天生就懂得追求优雅、骨子里就存在着这种精致的心理需求，设计的元素必须与她们的生活协调一致，让她们在生活显得美丽而优雅。
时尚有时候是昙花一现，但也是一种追求审美的表达。唐朝的时候人们以胖为美，而现在女人们都在追求骨感；邱德光了解这种时尚的心态，也十分享受时尚变革。作为一位设计师的他总是能精准的提炼时尚元素，并把它注入到我们的生活里。他总是说：“我们每个人最怕自己不了解自己的身材，穿出怪异的样子。时尚也是从人们生活里演变出来的，因此观察人们的一举一动，还有他们的生活，更是灵感的来源。”
厨房里的思考
邱德光家的后面有一个院子，和厨房正对着。许多时候，他不喜欢去客厅，却喜欢留在厨房里想事情，无论清晨或是黄昏，都是他每日最惬意的时光。想象一下，空间随着四季的更迭而变化，也许是一抹阳光的倒影恰巧停留在空间内那个你经常忽略的角落，也许是窗台上一只麻雀恰巧经过觅食或冬季里的枯枝再度长出嫩芽……有那么几分钟，邱德光突然体会到家是如此美好。
关于T.K.CHU的设计理念
“空间”是创意与生活连接的区域，而“装饰”则是运作“设计”构思过程最后呈现的一种媒介，也是赋予空间独特审美的展示权利。“装饰”应该说是设计与生活连结的最后一层肌肤。无论“装饰”是否意味着潮流、时尚、或仅仅是风格，都是紧密连结着当代人所展示的审美与生活态度的。而属于东方以及中国的现代生活与审美态度则更是身为亚洲设计师所关心、并深切感受的社会责任。
邱德光T.K.Chu设计的核心理念以“现代东方”为灵感，重新诠释与创造，将生活型态和美学意识转化成一种无声的却可以感知享受的设计语言，更是表达东方审美精神的自我态度。
关于邱徳光设计事务所
一向致力于推展崭新设计理念，具前瞻性的空间质量，同时整合空间设计与布置服务。其设计专业与国际经验的整合，在每个设计作品中，合理的动线安排及完美的机能处理，并藉由国际风格与中式审美的相互演绎，达到最良好的成果。
07-08年邱德光T.K.Chu擘画风格迥异的三件代表作：
一、东直门内大街“李宅名邸”
【基本数据】
案 名：李宅名邸
设计公司：邱徳光设计有限公司
设 计 师：邱德光先生T.K.Chu
设计团队：陈蕙婷、刘琼文、陈惠君
装饰摆设：邱徳光设计有限公司
业 主：北京御嘉置地有限公司
主要建材：不锈钢、图腾玻璃、石材、墙纸、清镜
面 积：1600平方米
座落位罝：北京
设计时间：2007年1月——2007年3月
施工时间：2008年2月——2008年5月
“李宅名邸”位于北京东城区东直门内大街，座落于最顶楼挑高楼层，1600坪米的宽阔尺度，远可眺望整个北京城邸，近可饱览故宫皇城之姿。设计师邱德光T.K.Chu将其视为勾勒中国上流阶层生活形貌的显要之居，既是京城内一颗最耀眼的珍珠、更是现代都会内一处文化汇聚、视野丰盈的绿洲！既是揉合了东方古典美学、天人合一的居住理念，也是融合欧洲贵族血统的现代巴洛克(Modern Baroque)设计风格，以汇聚东西文化的宽阔气度，打造崭新位居东方，放眼国际的都会顶居。
设计师邱德光T.K.Chu依据本宅李姓主人的生活起居和对外的宴客需求将平面配置一分为二──“私密性的起居空间”与“开放性的私人会所”，再依照需求，规划两个出入动线──“私人动线”与“宴客动线”，自一楼入口便将两种入口动线分离，各自经由不同电梯直接进入私宅之内，互不侵犯。邱德光T.K.Chu所设计的私人会所接近于一个招待会所或艺术展厅的概念，由宾客动线进入私人会所之后，首先来到500多坪米的宴会厅，270度的环景视野，邱德光T.K.Chu以三个空间层次，铺陈宴会厅的宽阔尺度，首先以宫廷巴洛克式的穹顶天花板突显主宴会厅挑高5.6米的高耸格局。两旁则衔接另一起居室与圆形中餐厅，旁边还有一个附属的小型可独立的会客区，可作为书房、品酒抽雪茄等用途多功能。整体而言，私人会所区域包括一道艺术廊道(Art Gallery)、独立宴客室暨雪茄室、主餐厅、家庭影院/剧场、休憩室、午茶区等……，从传统大而无当的制式排场概念跳脱出来。全面性的生活配套，配备齐全的招待会所及人文气息浓郁的交流氛围，除了符合国际习惯的社交场合之外，更重视屋主个性嗜好的表现与艺术品味的彰显。
整个私密起居空间与私人招待会所，从平面格局上看起就像左右颠倒的“ㄈ”字，框住中间口字型的廊道空间，以廊道作为串联、界定与区隔两种性质迥异的空间。所有服务动线与出入口，则设计在这口字型的过渡空间上，如厨房空间等则隐匿在廊道之后，串联两者空间的廊道规划大小型的陈列与展示区。
邱德光T.K.Chu的设计理念所要传达的不仅是一个金字塔层峰的居住住所，更是一种定位东方的生活态度。它是一种个人品味的象征，不仅朝向人文化、品味化、艺术化的态势发展，居住空间更讲求舒适气派的空间格局，并强调私密性。邱德光T.K.Chu以整合“空间格局”、“用料讲究”、“ 东方点睛”创造了极致精致的生活图像，更置入中国人的情感归属，让此案再度体现了北京新时代富人的生活样版。
一、Lee apartment on the top floor
Lee apartment locates on No. 9, Dongzhimen Neida Street, Dongcheng District of Beijing, China. With 1600 square meters of space, you can see the whole skyline of the Beijing city and enjoy the majestic view of the Palace and the Imperial City. Designer T.K.Chu regards it as a powerful and influential residence which portrays the lifestyles of China’s upper class. It is a most dazzling pearl in the capital, an oasis with panoramic views along with a mixture of rich cultures within the modern metropolis. The design integrates the eastern classical aesthetics and the inhabitancy idea of the harmony between man and nature. This is the design style of Modern Baroque merged with European royal lineage. It also integrates the wide taste of rich eastern and western cultures. It is the top metropolitan residence, occupying a new status in the east with a broad view of the world.
Regarding the humongous space arrangements, this home’s floor plan has divided the penthouse space into two parts. One is the “private living space” and the other is the “guest banquet open area”. The floor plan is further divided into a “private path” and a “guest banquet path”. The design is to separate two entry paths starting from the first floor. Different entry paths will lead to different elevators, with both elevators leading directly into the penthouse while preventing mutual interruptions.
What deserves to be mentioned is that the concept of the Guest banquet open area designed by T.K.Chu is much more like a reception room or an art exhibition room. After the guests entered the guest banquet space through the guest path, they will arrive at a banquet hall of about 500 square meters with a round view of 270 degrees. T.K.Chu uses three space sections, displaying the broad dimensions of the guest banquet hall. He first uses Baroque-type domed ceilings to enlarge the height of the 5.6 meters guest banquet hall. Both sides connect to another living room and a round Chinese dining room. There is also a subsidiary and independent small-size guest room, which can also be used as a study room or a multi-function room for wine or cigars.
As a whole, the guest banquet area includes an art gallery, a separate guest room/ cigar room, a main dining room, a home movie theater/ theater, a rest area, an afternoon tea area, etc. The design has taken off from the traditional concept of large but impractical ostentation and extravagance. The design of the penthouse manifests an all-rounded living environment. The fully equipped reception room filled with a rich atmosphere of cultural exchange. The design is not only fit for international social occasions, but also places emphasis on the homeowner's individual personality and hobby while displaying the homeowner’s artistic taste.
From the graphic design point of view, both the private living space and the guest banquet area are like the Chinese character “ㄈ” reversed from side to side. The center of it becomes a square shaped area. The corridor is a transition space connecting, separating and also defining two different kinds of areas.
All services paths, entrances and exits are designed on the transition space of this square shaped area. The kitchen space is hidden behind the corridor which connects two different areas. The corridor is designed as a display and exhibition section.
二、PekingHouse首府别墅
【基本数据】
案 名：首府‧别墅PekingHouse
设计公司：邱徳光设计有限公司
设 计 师：邱德光先生T.K.Chu
设计团队：陈蕙婷、杨尹赢、陈惠君
装饰摆设：邱徳光设计有限公司
业 主：复地（集团）股份有限公司
主要建材：图腾玻璃、黑檀木、石材、不锈钢
面 积：600平方米
座落位罝：北京
设计时间：2007年9月——2007年11月
施工时间：2008年3月——2008年7月
“首府‧官邸PekingHouse”600平米的别墅座落CBD这块寸土寸金的绝版地段，以其1.3的低容积率，独户独栋的别墅格局，在北京高密度的CBD区显得不凡，傲视群英。
在空间规划方面，乃以满足现代生活作为基本结构，三个楼层空间以一道中轴线串联所有空间。其中，公共空间位于1楼与B1，2楼则属于私密空间。自入口进入，以2.5米宽的中轴线廊道衔接左右两边的主要起居间与餐厅厨房。B1则延续中轴廊道概念，串联影音娱乐室以及利用挑空引入极佳采光的书房阅读室、品茗冥想区以及活动健身区。B1层起居阅读室是适合全家人打发时间的地方，外面天井式的阳台使地下一层能享受良好的日照，外面露台设有小水池，由地面延伸下的设计一水帘墙面，古人说“智者乐水”指的是近水的地方养心，适合思考，因此以木质平台延伸进入室内品茗冥想区与活动舒展区，并且达到内外通透，再以高低差台阶逐渐将平台由外导入室内的各类型步不同功能的区域。
整个中轴线，邱德光T.K.Chu运用框景与拖开天花墙面，将廊道视为一道动态的Gallery，在面应每一空间入口的端景，墙面退缩，展示品坎入，对应了另一个空间的入口，利用布置陈列，切割空间，随着步履进移，变动视觉焦点，增添趣味。廊道上透过光线投射，以家具或是独特饰品花卉，使原本单调枯燥的过渡转折空间变得生动和精致，为进入下一个空间预留下伏笔。
邱德光T.K.Chu的家居品味，是要中西兼容，舒适为重。因此他选择了线条简洁的家具，搭配中式简化版窗棂与有细节的饰物。邱德光T.K.Chu认为中国人的审美思维是一种对应关系，因为中国人长期从自然中观察，体验出来的一种相对事物的观念与现象。而这种观念作用在创造人为空间时，采取与大自然相呼应、相对话的关系，而不是一种征服的方式。因此在空间序列安排、外界的环境的呼应，以及细节布置的陈设，都采用相互呼应、以现代烘托中式典雅、以简约衬出细腻繁美，用此来表达现代中国人文化意识的特点。
二、Peking House Villa
Regarding the spacing design, the basic structure was to satisfy the modern lifestyle, using one central pivot to connect all the spacing of three floors. The 1st floor and the basement are planned as the public space when the 2nd floor is designed to be the private space. When you enter the door, you will see a central pivot corridor which is 2.5 meters wide connecting the living room and the dining room/kitchen on both sides. The basement extends the concept of pivot corridor, connecting the audio-visual room, tea and meditation area, gym and work-out area, and the study room where the designer uses the idea of atrium to bring in bright daylight. The reading room in the basement is a place suitable for the whole family to spend their leisure time. On the outside is a patio-style balcony, which allows the basement to get plenty of sunshine. There is a little pond outside the balcony, and there is a curtain-like water wall extending into the ground. The ancient elders say, “The wise enjoy the waters.” That means a place near the water is the most suitable place to relax and meditate. Therefore, the idea is to construct a wooden platform that extends into the indoor tea meditation area and the work-out area, in order to penetrate the inner and outer space. Then, the steps gradually lead the platform into the multi-function area inside the house.
As to the whole central pivot, T.K.Chu uses frames and tactics of magnifying the ceilings and walls, thus the corridor becomes a dynamic gallery. As to the scene of every entry, the design was to make the wall shrink back, inlaying the exhibitions. Using the tactic of displaying ornaments and separating the spacing, you will find it more and more interesting when your visual focus changes with every step. The corridor, which was originally a dull transition space, is now displaying fine furnitures and the unique ornaments of flowers. Under the refection light, everything becomes vivid and exquisite, leaving a foreshadowing of what is come in the next spacing.
T.K.Chu's home lifestyle taste is to be compatible with eastern and western cultures, with an emphasis on comfort. Therefore, he chose furnitures with succinct lines, with matching simplified Chinese window lattices and detailed ornaments. T.K.Chu believes that Chinese aesthetic thinking is a series of corresponding relationships. Because the Chinese have observed nature for ages while experiencing many ideas and natural phenomena; when this kind of idea was applied to the creation of home living space, we sought to be in harmony with nature instead of attempting to conquer it. Therefore, the space array arrangement was a reply to the external environment, with every detailed display and furnishing echoing each other during the usage of this concept. The idea was to use modernism to emanate the Chinese style refinement by contrast, using simplicity to exhibit the delicate beauty, thus expressing the characteristics and richness of the modern Chinese culture.
三、广州星河湾酒店
【基本数据】
案 名：广州星河湾酒店
设计公司：邱徳光设计有限公司
设 计 师：邱德光先生T.K.Chu
设计团队：陈蕙婷、杨尹赢、刘琼文、陈惠君
装饰摆设：邱徳光设计有限公司
业 主：广州星河湾地产集团股份有限公司
主要建材：玻璃喷砂、石材、木皮染色、银泊、不锈钢
面 积：酒店大堂1413平方米
酒店套房1：18平方米
酒店套房2：17平方米
座落位罝：广州
设计时间：2007年5月——2007年11月
施工时间：2008年1月——2008年7月
广州星河湾酒店属于目前广州市最高档的顶级酒店，坐落于番禺大桥畔，饱览珠江的迷人景致，能轻松往返于广州的展览会场及各交通枢纽。酒店楼高20层，共有329套各式豪华客房。邱德光T.K.Chu再次展现他擅长的装饰设计手法，为其规划大堂、餐厅茶座与红酒雪茄吧，以及标准房，并以“生活时尚的精致奢华”为星河湾酒店主要设计内涵，在室内空间与布置上体现了“现代、时尚、精致”的艺术风格。
设计师邱德光T.K.Chu表示，他期待将一种充满现代气息的酒店精品文化带入了顶级城市酒店中。透过融合Artdeco与现代巴洛克风格，更转化了中式的元素，强调酒店既现代又带中式审美的概念，细致的设计手法，贯彻整个酒店公共空间、餐厅与套房之中，以典雅又现代的装饰风格打造奢华的新典范。
酒店的大堂长约64米，宽约27米，可容纳上千人，宏伟大堂中央被八根柱列环绕出环形挑高的大厅。大堂中央创造了如罗马万神殿的半圆穹顶及藻井天花，穹顶檐缘以金属圆饰环绕，对应着由高耸的穹顶天花垂钓而下的巨型水晶灯。两个楼层高的花岗石之柱环列，营造空间开扬的视感，更助长大器四方的感觉。
大厅里错落的浅棕色点缀橙色的沙发座簇拥围绕，搭配黑色茶几和植栽花卉分享空间里一种温馨私密感，一楼左侧设有花园茶座，其宽阔的天花板以穹顶的中央为圆心作弧形的放射状层层展开来，茶座里的座椅与天花相映成趣，天花层板间有着由计算机控制的LED灯沿着天花放射状的弧形形成一条条的光带，并随着音乐不段变换着绚丽多彩的颜色。
当视线被楼梯扶手造型灯饰牵引，两侧弧形阶梯开展而上，精致的雕花金属杆件延伸上到二楼层成环绕二楼层的扶手。圆形的中心大地面以许多大涡卷做成重迭的弧形图腾呼应着天花。
为了创造精致个性的都会居所，针对二楼义式餐厅与红酒雪茄吧，邱德光T.K.Chu在设计雪茄屋以现代机能为主体，满足多样化品味与时尚生活态度。当满室飘荡着雪茄阳性十足的味道，已经标明了这是一处私密的客室。雪茄屋不大，然而，有雪茄的地方必然有红酒。在有限的空间里，以一圆形玻璃酒柜为焦点，布满古典图腾纹饰的喷砂玻璃，以若隐若现的姿态，外围以半圆形凹凿的实木璧面、优雅奇特的实木柜、华贵内敛，泛着柔光的丝质沙发，皆呼应雪茄屋一种内敛稳重的特质。
另外，义式餐厅的设计主轴则以表现华丽与冲突的双重美学，让整体空间布局不局限于硬件设计与色彩视觉，主要的精神意涵，在于透过特色相异的组件形塑出特殊氛围。透过多元材质与创意发想，重新开启古典华丽的当代样貌对话的可能性。整个空间利用大量古典图腾纹饰作用于喷砂玻璃与马赛克璧面，透过整间餐厅的局部镜面不锈钢的反射与框景，反复建构着时尚、现代、新古典的三项主题。透过这三项主题在空间中编织切适合意的元素，并使之协调并存，同时又制造出刻意反差的冲突美感，进而为空间延展出耐人寻味的深邃效果。
Chateau Star River Guangzhou
The luxurious, top of the class Galaxy Bay Hotel of Guangzhou is located near Fanyu Bridge with a magnificent view of Zhujiang River. Its convenience location easily connects patrons with Guangzhou Exhibition and all major transportation hobs. The 20 story building hosts 329 opulent suites. Once again, T.K. Chu expressed his decorative designing method by planning its grand hall, diner seating, red wine cigar bar, and standard suite. Identified with a "Fashion life and fine luxury" interior, the Galaxy Bay Hotel is a perfect illustration of the art of "Modern, Trendy, and Splendor".
Designer Chu's intension is to introduce a contemporary culture into superior urban hotels. This process includes blending of Art Decco, Baroque, and Chinese elements. It emphasize a progressive, yet traditional Chinese aesthetic concept. This detail oriented approach showcase a lavish standard with a classic yet avant-gard approach throughout all public facilities of the hotel.
Grand hall is measured 46m X 27m, with a capacity to hold over 1000 guests. Eight columns embrace and elevate the center of the grand hall. Capped by a Pantheon-isc dome of Rome, the ceiling space features a majestic chandelier complemented with metallic circular ornaments. The two story granite columns create a voluminous vision and a statuesque atmosphere.
An arrangement of couches in light sienna and orange occupy the grand hall space. In order to recreate a sense of coziness, they were complemented with an assortment of ebony coffee tables and plants. Garden tea booths are situated in the ground level and radiate outwards mirroring the patterns of the dome ceiling. A computer programmed LED system is installed into the ceiling and exhibits vibrant dances of lights.
A pair of curved staircases guides our focus towards the grand chandelier. These metallic hand railings of the staircases were carefully hand crafted and surround the entire second level. The central spiral designs on the floor echoes the designs of the ceiling.
As an effort to create an urban resident with personality, T.K. Chu chose to concentrate his efforts with the functions of our red wine and cigar bar while complemented with the Italian diner to satisfy the multiplicity of client taste and contemporary attitude. The thin aroma of cigar in the air clearly indicates this is a masculine and private quarter. Though the cigar quarter isn't spacious, it also hosts red wine. A circular wine cabinet becomes the focal point of this limited space. Opaque glass combined with solid wood surface, elegant cabinet, and silk sofa combined to reflect the stable and introvert nature of a cigar house.
Furthermore, designs on the Italian restaurant feature a mix of exquisite and incongruous characters. This opens up the space from architectural, visual, and color limitations. The intent is to create a unique atmosphere through incongruous objects; and to establish a conversation between classical grace and contemporary imagery through. This quarter is decorated with classical patterns on fogged glass and mosaic surface. The restaurants chrome stainless steel reflection and framed art constructs a fashionable, contemporary, neo-classical taste. Together, these three elements weave an intriguing balance with the deliberate conflicts among colors, styles, and expressions into infinite possibilities.
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发表于 2011-9-4 11:08:09
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