远山起伏，有其不言的节奏。初至安吉，山水尚未入怀，情感已先一步沉下。这片土地不喧不语，却以一种深远的方式渗透了人的意识，那份对万物静默生长的敬意，成为整个设计的源头，构成了创作的全部动因。

所以，我们始终相信最理想的空间并不拥有自然，而是像树那样归属于它。它的根须抵达土壤深处，枝叶张开在云与风之间，于万象之中缓慢成长。然后，却在不经意的某刻，让人意识到：它从未缺席于这片风景之中。

Distant mountains rise and fall in silent rhythm. In Anji, even before the landscape sinks in, the heart grows still. This quiet land inspires a deep reverence for nature’s unhurried growth—the very origin of our design. We believe the ideal space does not own nature, but belongs, like a tree, rooted in earth and stretching toward the sky. It grows almost unnoticed—until one realizes it has always been part of the scenery.

©Wallpaper 中文版

©外滩 The bund

所谓“家”，最初的意义，是一种庇护。可能不一定是高墙厚瓦所带来的安全感，而是来自自然怀抱中那种不被打扰的温柔。这是一间隐于山谷的小屋，它不大，却因此更能衬托自然的辽阔。它退后一步，将空间让渡给山的沉默、风的走向、林间偶然闪现的光。那么，它就成为风景的一部分，在山势的深处悄然展开。

Home is sanctuary—not in walls, but in the gentle, untouched embrace of nature. Tucked within a valley, this cabin is small, making nature feel vast. It steps back, yielding to the mountain’s silence, the wind’s path, the light through trees—becoming part of the scenery.

©IDEAT理想家

小庭院亦可与室内空间相连通

房子的尺度是小的，恰因此，它的情感会被放大而变得丰盈。每一个场景，都会成为对内心的一层柔软的回应：一个落座的角落，一扇迎光的窗，一段通向夜色的廊道——全然松弛，亦全然安稳。山林之中，一切过剩都成为噪音，唯有适度的隐退，才是一种真正的在场，也就成为了一座关于自我的庇护所。

Its modest scale magnifies its emotion. Every moment softly answers an inner need: a seat in a corner, a sunlit window, a corridor into the night—fully calm, fully secure. Here, excess is noise. Only through quiet retreat comes true presence. A sanctuary of the self.

入口玄关 @Wallpaper中文版

材“和”、形“无”、味“淡”。

中国隐逸的文人自古以来都有直击人心的反思力。山居，正是环绕着天生天成的材料在向我们诉说着居住者所怀抱的理想。

Throughout history, Chinese reclusive literati have cultivated a profound tradition of introspection—one deeply intertwined with nature. Mountain dwellings, built with innate, local materials, speak quietly yet powerfully of their inhabitants’ ideals: a life of harmony, formlessness, and subtle meaning.

©Wallpaper中文版

客厅空间

选材之“和”，有附和、中和之意。伴山就山，畔水随水的选材方式，使得山居住宅有着一种内敛随和的姿态。山居住宅的选材，附和的是自然材料，中和的是人与环境的疏离感。

The selection of materials follows a philosophy of harmony—blending and balancing with the natural surroundings. By using stone from the mountain and wood that has weathered the same rains and winds, the home embodies humility and connection.

白鹭莱姆石以其沉静的白铺就室内地面；墙面拼石之间藏着山川的层理，木质在触感中生成人文的温度。

Egret Limestone paves the interior in serene white; stratified stone walls suggest the layers of distant peaks, while tactile wood surfaces convey human warmth and craftsmanship.

室内客厅与大尺度露台连成一片 @IDEAT理想家

屋顶开设了多个窗洞，形成一个光影的舞台

©Wallpaper中文版

形制之“无”，即随“变”而生，顺势而为。山水诗画中常描摹“身居高处，俯观群岭”，建筑可以隐微，却不可以不居观山理水的要地，不求显形，但绝不失位。良好的风景，与视角组织是息息相关的，视角是俯视的，视线是远眺的，视野是富有层次的。因此，首层为通体浅色的客厅，自室内向露台延展，与餐厅开放连通，视野得以穿透界面，形成广阔的留白，将主角还予自然，形成对地形与视野的回应。

The architecture embraces “formlessness”—not as absence, but as adaptability. It occupies the landscape without dominating it, offering carefully composed views: downward into valleys, outward toward layered horizons. The ground-floor living area, finished in pale tones, opens seamlessly to a terrace and the dining space. Visual boundaries dissolve into generous emptiness, allowing nature to claim the foreground—an architectural gesture that defers to the land.

意味之“淡”，指老子“淡乎无其味”一说中所提倡的平淡自然的趣味。山居不求浓烈之美，它在更长的时间里酝酿自己的性格。正如白居易在庐山结草堂时讲述的山居，外在安适，内心和乐：一宿之后，身体安宁；再宿，心情恬阔；三宿，人便渐渐消融于山水之中。这种“淡”，是对物欲世界的一种反抗。

“Subtlety” draws from Laozi’s idea that “the bland carries no overpowering taste”—it speaks of a quiet and natural elegance. The mountain dwelling does not seek intensity; it reveals its character gently, over time. As Bai Juyi expressed during his stay at Lushan: One night stills the body, Two nights calm the heart, Three nights return one to the mountains and streams. This subtlety softly resists a world ruled by desire.

所以，设计在空间中打开更多“天光”的入口，引入光线，更是将天地之间的能量引入、渗透场所。所以，“淡”是一种让空间恢复其作为精神容器的能力。

The design opens spaces to skylight—not only bringing in light, but drawing down the energy between heaven and earth. In this way, “subtlety” restores the room as a vessel for the spirit.

《燕居功课》中描绘“山林之乐，全在友朋”，在避地远处的山居生活，若得一二素心之士，远访对坐，则山居便有了温度。粗茶淡饭、落笔临帖，是雅，是静，生活的状态亦增添几许欢愉。

As Yan Ju Gong Ke observes, “the joy of the mountains lies in friendship.” In the seclusion of a mountain retreat, the presence of a few kindred spirits lends warmth and vitality to solitude. With plain tea, modest meals, and the quiet practice of calligraphy, life acquires a refined stillness, where simplicity becomes both cultivation and delight.

厨房餐厅中，一块青石板铺于木桌之上。灯，投下温柔光晕，使食物的温度显得更为具体。旁侧火塔，木柴轻响，“淡”亦是一种日常中的幸福感。

A bluestone slab lies atop the wooden table. A custom light casts a soft glow, rendering the warmth of the meal tangible. Nearby, a fire tower crackles with burning wood—here, “subtlety” reveals itself as a modest, daily happiness.

通往负一层的楼梯与小门。

“未完成”状态，常被视作物质不足的表现。事实上，山居生活的一直“未完成”状态，涵盖的是持续变化的持续性和随季而转的生活趣味，体现的是顺应天时、心意的动态生活观。

“Unfinished” — often mistaken for inadequacy — here embodies continuity and seasonal rhythm. It reflects a dynamic way of living in harmony with nature and intuition.

山居因此是“言无尽”的，因空间永不言止，总在对山水风物的回应中续写自身；也是“意无穷”的，因心绪不绝，万象生发，意念常新。空间亦随着居者的起心动念而肆情发挥，持续地、温和地，如树木般在自然中生长，具有强烈的拓展性和可塑性。

The mountain dwelling remains “inexhaustible” in form, endlessly responding to the landscape, and “infinite” in spirit, ever-renewing with thought and perception. Like a tree growing through nature, the space expands gently—always adaptable, always unfolding.

阅览

ART

画室空间

倪文节公曾说：“松声、润声、山禽声、夜虫声、鹤声、琴声、棋子落声、雨滴阶声、雪洒窗声、煎茶声，皆声之至清者也，而读书声为最。”山居画室小巧、节制，不饰繁华，仅以质朴之物承载思绪。窗外松风徐来，书桌一隅，纸墨在手，人的内在与外部世界于此交叠。

Ni Wenjie once said: “Of all the purest sounds—pine wind, stream murmur, mountain birds, night insects, cranes, the qin, falling chess pieces, rain on steps, snow against windows, boiling tea—the sound of reading is supreme.”The mountain study is compact and restrained, free from ornament, using only simple materials to hold thought. Pine breeze drifts through the window; at the desk, with paper and ink in hand, one’s inner world merges gently with the outer.

黑色雕塑出自艺术家邵磊

壁炉之上的画作如同一本被翻开的书籍，出自艺术家杨新收之手，一幅象征白昼，一幅象征黑夜。

倪志琪《Vacuum真空》系列作品

©Wallpaper中文版

空间不大，却能藏纳一人之志。阅读、创作于山居，为澄明，为将思绪沉入一方清寂，使文字、艺术在风声与心声之间，缓缓沉淀。

Though small, the space holds a whole world of contemplation. Here, reading brings clarity—settling the mind into quietness, letting words and art slowly sink between the sound of wind and the voice within.

品茗

TEA

茶室

茶室之内，清雅之物使东方的审美意境在当下的空间中延续。自然以微光、气息与肌理回归室内，令人在品茗间沉入清寂与明澈之中。

Within the tea room, objects of elegant restraint extend the Eastern aesthetic sensibility into the present space. Nature returns indoors as soft light, subtle scents, and tactile texture—allowing one to sink into clarity and stillness while steeping tea.

©Wallpaper中文版

常用于书画的传统皮纸，被裁成小幅，一一贴覆墙面，以缓慢的匠人工艺回应时间的厚度。光线从地面的缝隙中倾泻，与庭院的葱茏叠合，融为一体。

Hand-cut panels of tough paper are meticulously layered upon the wall, a slow artisanal gesture echoing the depth of time. Light spills from openings below, washing over the space and merging into the lush greenery of the courtyard.

听松

PINES

户外、廊道与室内融为一体，在视野上更亲近峡谷 ©Wallpaper中文版

《陈元凯集》写道 “斋前须得怪松老树，槎枒突兀，与山石瑰奇者，离立相参，有苍郁森疏之气。”两棵红松立于庭中，身姿交错，与山谷相望。为自然增添一份更雅致的前景，连接着山的高远与居所的低伏。晨雾升起之时，云中松枝影沉浮，影子投在石墙与窗棂之间，轮廓则更似身临一幅水墨层叠其中。

As recorded in Chen Yuankai’s Collection: “Before the studio there should stand ancient pines—gnarled, singular, among extraordinary stones… possessing a aura of dignified solitude.” Two pines rise in the courtyard, their forms interlacing, gazing toward the valley. They frame a more poetic vista, bridging the lofty mountains and the humble dwelling. When morning mist lifts, their branches float like ink in clouds, casting shadows between stone walls and window frames—as though one has stepped into a layered ink-wash painting.

沐浴

BATHING

室内泡池

“解衣浴此无垢人，身轻可试云间凤”，林间泡汤，亦是一件山居要事。泡池，一设于室内，一置于林侧。

“I undress and bathe in these pristine waters—my body so light, it could ride a phoenix through clouds.” Bathing deep in the woods is a essential ritual of mountain life. Two pools are nestled here: one indoors, the other open to the forest.

户外泡池一旁浅水景，四周的空气带有树木与湿土的清冽气息。入水之刻，只留身体与山林互为边界，水气升腾，远山入眼，松涛微动，身体在这一刻正如苏轼所描述，轻于云间凤。

Beside the outdoor pool, a shallow water feature holds a solitary sculpture. The air is fresh with the scent of pine and damp earth. The moment one slips into the water, only the body and the mountain remain—steam rises, distant peaks come into view, pine whispers stir. In that instance, the body becomes, as Su Shi envisioned, “lighter than a cloud-borne phoenix.”

©Wallpaper中文版

“独坐幽篁里，弹琴复长啸。深林人不知，明月来相照。”

——王维《竹里馆》

王维所描绘的是，一个人在林中与自然进行最少语言的交往，恰如这座林间居所的气息。人在日常中会积攒杂绪与疲惫，而这里像一处能量场，许多时候，情绪不需要梳理，只需要一个容纳它的空间。然后，那种“也许我可以这样生活”的念头，就会顿悟，油然而生。

清晨醒得稍早，便会倚在靠椅上小坐。那是一张极为舒适的椅子，几乎贴合身体的弧度。就那样随意地坐着，躺着，闭目养神，看远山云动，听鸟鸣声声。一杯清茶尚热，山谷极静，宁静得能够感受到能量缓慢输入，心绪如林间雾气，起伏有形，最终渐次消散。

Wang Wei portrays a silent conversation with nature—a spirit embodied in this mountain retreat. Daily life gathers clutter and weariness; here, energy quietly renews. Emotions need not be untangled, only held in generous space. Then comes the sudden insight: perhaps I can live like this.

On mornings I wake early, I lean back into the armchair—its curve embracing the body. Sitting still, gazing at distant clouds, listening to birds… Tea stays warm beside; the valley remains deeply silent. Thoughts drift and dissolve like mist between trees.

©Wallpaper中文版

山间闲适，它来自山，也来自你被山接住的那一刻。

Mountain leisure comes from the hills—and from that moment when you, too, are held by the mountain.

设计总监-无间创始人

吴滨

本文图文版权归W.DESIGN无间设计所有

部分图片来自Wallpaper中文版、IDEAT理想家、外滩TheBund

未经授权，禁止转载

建筑改造：W.DESIGN 无间设计

室内设计：W.DESIGN 无间设计

软装设计：W.DESIGN 无间软装

设计团队 Design Team：

吴滨、周国妹、俞素芳 、高九红、张轩 、张凯 、周伟

项目名称：吴滨安吉自宅

项目地址：中国安吉

完工时间：2025年

项目施工：義庭精工

门窗：SLEEK 斯李克

全屋木作：南洋迪克

给排水：GEBERIT 吉博力

洁具龙头：Dornbracht 德国当代

智能：Moorgen 摩根智能

地板：EMPIRE地王国际地板

户外地板：Yardcom院半

机电：上品甄选大机电

照明顾问：Bambo 半卜照明

鸣谢 Acknowledgement：

ASKO、GAGGENAU 嘉格纳、

BETONBAU 倍砼堡、

滨洋

帝景LAVA

、Hunter Douglas 亨特窗饰、

恺萨白石、森美木见、上海晋成、

SUNJOY圣卓壹、遇见石头、

厐喜、山山园林、六间园

策划：Bobo Zhou

摄影：朱迪、Howie Zheng、胡雪慢、王走走

撰文/编辑：Ricardo