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杨绛说:“生命活到极致，一定是简与静；美到极致，一定是素与雅。稍纵即逝的是天上烟花，细水长流的是人间烟火，人生最重要的不是快乐，而是平静。

Yang Jiang said: "To live life to the extreme, it must be simple and quiet; Beauty to the extreme, must be plain and elegant. Fleeting is the sky fireworks, the long stream is the human fireworks, the most important thing in life is not happy, but calm.

极简主义可以定义为：当一件作品的内容被减至最低限度时所散发的完美感觉。当物体的所有组成部分、所有细节以及所有的连接都被减少压缩至精华时，他就会拥有这种特性，这就是去掉非本质元素的结果。现在人们所推崇的日式风格设计、北欧风、扁平化设计，以及“断舍离”的生活方式，其本质都是极简主义。现代生活的快节奏和重负荷，以及海量碎片化信息使人们内心越来越焦虑，人们渴望内心的安宁，解除审美疲劳。而极简主义拥有理性、简约、直观、高雅等特点，正好迎合了人们的精神需求，被社会大众所青睐。

Minimalism can be defined as the sense of perfection that emanates when the content of a work is reduced to a minimum. The object has this quality when all its components, all its details, all its connections are reduced to the essence, which is the result of removing the non-essential elements. The Japanese style design, the Nordic style, the flat design, and the "break away" lifestyle that people now respect are all minimalism in nature. The fast pace and heavy load of modern life, as well as a large amount of fragmented information, make people more and more anxious, and people long for inner peace and relieve aesthetic fatigue. And minimalism has the characteristics of rationality, simplicity, intuition, elegance and so on, which just meets people's spiritual needs and is favored by the public.

极简主义的关键词有:形势与功能的平衡、留白、减法、少即是多、人性化、限制色彩等。推崇形式简单、高度功能化与理性化的设计理念，反对装饰化的设计风格。在平面设计领域中极简主义风格采取简单明了的文字、图形、色彩语言来形象的传达艺术的视觉语言。

The key words of minimalism are: balance of situation and function, white space, subtraction, less is more, humanization, limiting color and so on. It advocates the design concept of simple form, highly functional and rational, and opposes the decorative design style. In the field of graphic design, minimalist style adopts simple and clear text, graphics and color language to convey the visual language of art.

一、有梨民宿

PEAR HOSTEL

在这片充满自然气息的土地上，两栋房子一大一小地坐落在道路的拐角处，背靠着巍峨的山体。然而，原有的建筑现状并不尽如人意，室内及庭院空间完全暴露在人们下山时的视野之中，缺乏应有的私密性和宁静感。这两栋建筑是典型的北方农村自建房，外观和功能布局显得过于粗野和单一。它们像是被时代遗忘的角落，与周围的自然景观格格不入。因此，如何让这些建筑与周边景观对话、创造丰富的室内外空间以及营造舒适自然的田园空间氛围，成为了此次改造设计的重点。

In this natural land, two houses, one big and one small, sit on the corner of the road, backed by the lofty mountain. However, the current situation of the original building is not satisfactory, and the interior and courtyard Spaces are completely exposed to the view of people when they go down the mountain, lacking the deserved sense of privacy and tranquility. These two buildings are typical northern rural self-built houses, the appearance and functional layout is too rough and simple. They seem like forgotten corners of The Times, out of touch with the surrounding natural landscape. Therefore, how to make these buildings dialogue with the surrounding landscape, create rich indoor and outdoor Spaces, and create a comfortable and natural pastoral space atmosphere, has become the focus of the renovation design.

首先对建筑的外观进行了精心的改造。他们摒弃了原有的粗犷风格，采用了更加柔和、自然的建筑材料和色彩，使建筑与周围的环境融为一体。同时利用了山体的自然坡度，将建筑与山体相互融合，形成了一种独特的景观效果。由于建筑内部空间较小、北方冬季寒冷，将原有的庭院空间纳入室内能很好的解决御寒、流线以及扩展室内空间的问题。大房子东侧山墙是上山时被观看的主立面，三角形在几何图形中易于识别，且极具视觉冲击力。斜屋面也比避免了因垂直体量过大造成的视觉压迫，同时小房子的矩形体量作为背景，与斜屋面一正一斜，互为因果。

First, the exterior of the building was carefully transformed. They abandoned the original rough style and used softer, natural building materials and colors to make the building blend in with the surrounding environment. At the same time, they also cleverly made use of the natural slope of the mountain, integrating the building with the mountain to form a unique landscape effect. Due to the small interior space of the building and the cold winter in the north, incorporating the original courtyard space into the interior can well solve the problems of keeping out the cold, streamlining and expanding the interior space. The eastern gable of the large house is the main facade to be viewed when going up the hill, and the triangles are easily recognizable in the geometry and have great visual impact. The slanted roof also avoids the visual pressure caused by the large vertical volume, while the rectangular volume of the small house serves as the background, and the slanted roof is a positive and a diagonal, each other's cause and effect.

设计强调了入口的空间引导性。它不再是简单的门面，而是成为了连接室内外的重要桥梁。人们步入其中，仿佛穿越了一个又一个精心布置的空间，体验着从喧嚣到宁静的转变。这种内外过度的灰空间，既是实用的过渡区域，又承载着人们对建筑内部世界的期待和好奇。

The design emphasizes the spatial orientation of the entrance. It is no longer a simple facade, but has become an important bridge connecting the interior and exterior. People step into it, as if through one carefully arranged space after another, experiencing the transition from noise to quiet. This excessive grey space inside and outside is not only a practical transition area, but also carries people's expectations and curiosity about the world inside the building.

二、室内美学

INTERIOR AESTHETICS

在设计室内空间时，刻意避免使用或挑选任何标榜为“特殊”的材料。相反选择了一种简单却极富质感的天然材料——木材，作为整个设计的基调。通过运用这种普通但优质的木材，营造出一种放松、舒适的氛围，并在某种程度上体现出品质感。在改造过程中，将结构、玻璃和栏杆这些通常被视作建筑外部元素的设计语汇引入室内，使之成为室内装饰的一部分。这样的设计手法不仅增强了室内空间的建筑意义，还巧妙地模糊了室内与室外的界限。通过大面积的玻璃窗，自然光得以充分照进室内，同时也让居住者能够无障碍地欣赏到室外的风景，进一步加深了室内外环境的融合。

When designing interior Spaces, deliberately avoid the use or selection of any materials labeled as "special." Instead, wood, a simple but textured natural material, was chosen as the tone for the entire design. Through the use of this ordinary but high-quality wood, a relaxed, comfortable atmosphere is created, and in a way reflects the texture of the production. During the renovation process, the design vocabulary of structure, glass and balustrades, which are usually regarded as external elements of the building, were introduced into the interior, making them part of the interior decoration. This design technique not only enhances the architectural significance of the interior space, but also subtly blurs the boundary between the interior and the exterior. Through a large area of glass Windows, natural light can be fully illuminated into the interior, but also let the occupants can enjoy the outdoor scenery without obstacles, further deepening the integration of indoor and outdoor environment.

在设计领域，楼梯和连廊往往被视为功能性的配角，仅仅承担着连接不同空间的职责。然而，如果我们敢于打破常规，将它们重新定义，这些被忽视的交通属性服务性空间便能华丽转身，成为整个建筑空间造型中不可或缺的主角。想象一下，当你步入这座建筑，首先映入眼帘的是那条蜿蜒的连廊，它不仅优雅地连接着室内与室外的空间，更是巧妙地划分了建筑的内部结构。连廊的每一处弯曲都仿佛在诉说着流动的故事，引导着你探索更多未知的空间。

In the field of design, staircases and corridors are often seen as functional supporting roles that merely serve to connect different Spaces. However, if we dare to break the convention and redefine them, these neglected traffic attribute service Spaces can turn around and become an indispensable protagonist in the entire architectural space. Imagine, when you step into the building, the first thing you see is the winding corridor, which not only elegantly connects the indoor and outdoor Spaces, but also cleverly divides the internal structure of the building. Every bend of the corridor seems to tell a flowing story, guiding you to explore more unknown space.

楼梯则以其独特的存在感吸引着你的目光。它不再是简单的垂直交通工具，而是变成了一件立体的艺术品。随着你的每一步攀登，不断变化的高差和视角带来了一种奇妙的体验，仿佛置身于荷兰艺术家埃舍尔那充满魔力的画面之中，让人不禁对空间的无限可能性产生遐想。

The staircase attracts your attention with its unique sense of presence. It is no longer a simple vertical vehicle, but a three-dimensional work of art. With each step of your climb, the ever-changing height difference and perspective bring a magical experience, as if you were inside the magical images of Dutch artist Escher, and you can't help but daydream about the infinite possibilities of space.

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