來(lái)源：設(shè)計(jì)先鋒隊(duì)（ID:toot8448）

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In Gurgaon, India, Envisage Architecture's Advaita Residence isn't a product of a rigid blueprint, but rather a living vessel that naturally emerges from the philosophy of "non-duality" (the original meaning of Advaita). This 2,385-square-meter private residence, rooted in wabi-sabi aesthetics and steeped in Indian craftsmanship, weaves traces of time and warmth into its spatial fabric, creating a tangible and palpable sanctuary.

在印度古爾岡的土地上，Envisage 建筑事務(wù)所打造的 Advaita 住宅，并非遵循刻板藍(lán)圖的產(chǎn)物，而是從 “非二元性”（Advaita 本意）的哲思中自然生長(zhǎng)的生活容器。這座 2385 平方米的私宅，以侘寂美學(xué)為骨、印度匠藝為魂，將時(shí)光痕跡與人文溫度編織進(jìn)空間肌理，成為一處可觸摸、可感知的心靈庇護(hù)所。

Upon opening the door, a reclaimed Chettinadu pillar stands quietly at the entrance. Its rough stone surface bears the marks of time, like an elder stepping out from the depths of history, silently welcoming each returning resident. It is no longer a cold architectural component, but a link between the past and the present—every pattern bears the meticulous care and effort of traditional Indian architects, creating a profound resonance with local culture the moment one enters the space. Turning to the living room, Venkat Raman Shyam's Gond painting hangs on the wall. Its rich colors and dynamic lines imbue the space with vibrant vitality. More than a mere decoration, it acts as a silent storyteller, using a raw and passionate artistic language to recount Indian folk stories and beliefs, transforming the living room into an emotional space that carries cultural memories.

推開家門，一根回收重塑的 Chettinadu 立柱靜靜佇立在入口處，粗糙的石面帶著歲月摩挲的痕跡，仿佛是從歷史深處走來(lái)的老者，默默迎接著每一位歸人。它不再是冰冷的建筑構(gòu)件，而是連接過(guò)去與當(dāng)下的紐帶 —— 每一道紋路里，都藏著印度傳統(tǒng)建筑的匠人心血，讓踏入空間的瞬間，便與本土文化產(chǎn)生深刻共鳴。轉(zhuǎn)身望向客廳，Venkat Raman Shyam 的 Gond 畫作懸掛于墻面，濃烈的色彩與靈動(dòng)的線條賦予空間鮮活的生命力，它并非單純的裝飾，更像是一位無(wú)聲的講述者，用原始而熱烈的藝術(shù)語(yǔ)言，訴說(shuō)著印度民間的故事與信仰，讓客廳成為承載文化記憶的情感場(chǎng)域。

The terrazzo floor beneath your feet perfectly blends the concept of "zero waste" with the art of craftsmanship. Inspired by Kalamkari art, the designer hand-painted the delicate patterns onto the floor. Every line and every block of color is unique, free from the regularity of mechanical reproduction, yet imbued with the warmth of handmade creation. Walking across it, the occasional touch of your fingertips reveals the subtle texture of the terrazzo particles, as if you can sense the artisan's dedication and care in their application. This respect for the material and craftsmanship transforms the floor into more than a simple support surface, but rather an unfolding artistic canvas, quietly integrating nature and craftsmanship into everyday walks.

腳下的水磨石地面，是 “零浪費(fèi)” 理念與手工藝術(shù)的完美融合。設(shè)計(jì)師以 Kalamkari 藝術(shù)為靈感，將細(xì)膩的紋樣手工繪制于地面，每一道線條、每一塊色塊都獨(dú)一無(wú)二，沒有機(jī)械復(fù)制的規(guī)整，卻有著手工創(chuàng)作的溫度。行走其上，指尖偶爾觸碰地面，能感受到水磨石顆粒的細(xì)微質(zhì)感，仿佛能觸摸到工匠繪制時(shí)的專注與用心。這種對(duì)材質(zhì)與工藝的尊重，讓地面不再是簡(jiǎn)單的承載面，而是一幅鋪展開的藝術(shù)畫卷，將自然與匠心悄然融入日常步履。

Every corner of Advaita hides a narrative of time, waiting to be discovered. Black pottery from the Khasi Mountains, with its irregular, hand-kneaded patterns on its surface, has once held mountain springs and endured the hustle and bustle of everyday life. Now, nestled on a shelf, it becomes a timepiece within the space. A piece of wood carved with sacred motifs, perhaps once a component of an ancient temple, is now a side table, gently integrating the imprint of faith into everyday life. A vintage window sourced from Jaipur, its frame still bearing the marks of oxidation, no longer separates inside and outside, but rather weaves the light from outside with the light and shadow from within. Through the lattice, the light seems to be imbued with form, each ray carrying the warmth of memory.

在 Advaita 的每一個(gè)角落，都藏著等待被發(fā)現(xiàn)的 “時(shí)光敘事”。來(lái)自 Khasi 山區(qū)的黑陶器皿，表面帶著手工捏制的不規(guī)則紋路，盛放過(guò)山間清泉，也承載過(guò)生活煙火，如今靜置在置物架上，成為空間里的 “時(shí)光標(biāo)本”；一截雕刻著神圣圖案的原木，或許曾是古老寺廟的構(gòu)件，如今化身為邊幾，讓信仰的印記以更溫和的方式融入生活；從齋浦爾淘來(lái)的復(fù)古窗戶，框架上還留著歲月氧化的痕跡，它不再分隔內(nèi)外，而是將窗外的天光與室內(nèi)的光影編織在一起，透過(guò)窗欞望去，光線仿佛被賦予了形狀，每一縷都帶著記憶的溫度。

The functional layout of the space also prioritizes the emotional aspect. The dedicated pooja space isn't limited to a single purpose; it serves as a place for worship, quiet music, and reflection. In the morning, sunlight filters through the gauze curtains, accompanied by gentle chanting of mantras, soothing the soul. At dusk, a ghee lamp is lit, allowing for a meditative dialogue with the self, transforming the space into a haven for spiritual respite. The master bedroom's design perfectly embodies the non-duality of tradition and modernity: The Patachitra murals, delicately depicting mythological stories in rich yet understated colors, complement the exquisitely carved four-poster bed. Lying in bed, gazing across the murals, one feels as if transported through time and space, conversing with ancient legends. Touching the carved bedposts with fingertips, one feels the warmth of the wood and the craftsman's ingenuity, transforming the sleeping space into a gentle connection between culture and life.

空間的功能布局，同樣遵循 “情感優(yōu)先” 的原則。專屬的禮拜空間（pooja space）并未被局限于單一功能，這里既可以供奉信仰，也能成為靜心聆聽音樂、沉淀思緒的角落 —— 清晨，陽(yáng)光透過(guò)紗簾灑入，伴著輕柔的梵音，心靈在此得到撫慰；黃昏，點(diǎn)一盞酥油燈，在冥想中與自我對(duì)話，讓空間成為精神休憩的港灣。主臥的設(shè)計(jì)更是將傳統(tǒng)與現(xiàn)代的 “非二元性” 詮釋得淋漓盡致：Patachitra 壁畫以細(xì)膩的筆觸描繪著神話故事，色彩濃郁卻不張揚(yáng)，與雕刻精美的四柱床相得益彰。躺在床上，目光掠過(guò)壁畫，仿佛能穿越時(shí)空，與古老的傳說(shuō)對(duì)話；指尖輕撫床柱的雕花，能感受到木材的溫潤(rùn)與工匠的巧思，讓睡眠空間成為連接文化與生活的溫柔載體。

Even the walls evoke a sense of "imperfect beauty." The lime coating doesn't strive for absolute smoothness; subtle undulations and mottled marks on the surface resemble the gentle marks left by time. As light and shadow play, the walls take on different textures—the soft morning light gives them a warm and gentle appearance, the afternoon sun sharpens the textures, and the evening light casts a tranquil filter. This "non-pursuit of perfection" design perfectly embodies the core of wabi-sabi aesthetics, freeing the space from a cold, refined feel and imbuing it with a sense of everyday life and the weight of time.

就連墻面也在訴說(shuō)著 “不完美的美感”。石灰涂層并未追求絕對(duì)的平整，表面的細(xì)微起伏與斑駁痕跡，像是時(shí)光留下的溫柔印記。隨著光影變化，墻面會(huì)呈現(xiàn)出不同的質(zhì)感 —— 清晨的柔光讓它顯得溫潤(rùn)柔和，午后的陽(yáng)光則讓紋理更加清晰，夜晚的燈光又為其蒙上一層靜謐的濾鏡。這種 “不刻意追求完美” 的設(shè)計(jì)，恰恰呼應(yīng)了侘寂美學(xué)的核心，讓空間擺脫了冰冷的精致感，多了幾分生活的煙火氣與歲月的厚重感。

Advaita was never meant to be stunning; it's more a collaborative exploration of the essence of life by designers and residents. From its inception, the Envisage team abandoned a linear design process, guided by instinct and emotion. Their love for Indian culture, respect for natural materials, and cherishment of life's stories were meticulously integrated into every detail of the space. Here, tradition and modernity are no longer in opposition, perfection and imperfection coexist, and every object and design is imbued with emotion and memory. Advaita is not a static building, but a slowly evolving organism, constantly evolving with the lives of its residents, cultivating new stories and becoming a truly "belonging" place for life—a place where the soul can breathe freely and time flows gently. In this tranquil and profound space, the meaning of "home" is authentically interpreted.

Advaita 從來(lái)不是為了 “驚艷” 而存在，它更像是設(shè)計(jì)師與居住者對(duì)生活本質(zhì)的共同探索。從構(gòu)思之初，Envisage 團(tuán)隊(duì)便摒棄了線性的設(shè)計(jì)流程，以本能與情感為指引，將對(duì)印度文化的熱愛、對(duì)自然材質(zhì)的尊重、對(duì)生活故事的珍視，一點(diǎn)點(diǎn)融入空間的每一處細(xì)節(jié)。在這里，傳統(tǒng)與現(xiàn)代不再對(duì)立，完美與瑕疵得以共存，每一件物品、每一處設(shè)計(jì)都承載著情感與記憶。它不是一座靜止的建筑，而是一個(gè) “緩慢生長(zhǎng)” 的生命體，隨著居住者的生活軌跡，不斷沉淀新的故事，成為真正 “屬于” 生活的居所 —— 在這里，靈魂可以自由呼吸，時(shí)光能夠溫柔流淌，而 “家” 的意義，也在這份寧?kù)o與厚重中，得到了最本真的詮釋。

△平面圖

編輯：夏邊際

撰文：豆寶寶

校改：吳一仁

編排：布忠耀

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