大中庭，让室内获得类似广场的开放感。

这是约翰・波特曼最鲜明的空间印记之一，也成为六七十年代建筑与室内空间的一种时代想象。

The grand atrium gives the interior an openness reminiscent of a public square. This is one of John Portman’s most distinctive spatial signatures, and became part of the era’s vision for architecture and interior space in the 1960s and 1970s.

△波特曼时期的视觉语言

Visual Languages of the Portman Era

那个时代的空间美学，并不拘泥于单一的风格。古典、现代与未来想象彼此交织，建筑与艺术之间的边界也开始变得模糊。当这些属于那个时代的空间语言，来到今天，会发生什么？

万境设计在重庆万科・雲曜售楼处中，从波特曼出发，开始了一次新的尝试。

The spatial aesthetics of the era were not confined to a single style. Classical, modern, and futuristic ideas intertwined, while the boundaries between architecture and art began to blur. What happens when the spatial language of that era enters the present day?

At the Vanke Floruit Sales Center, we set out to explore this question, starting from Portman and making a new attempt.

01

SPATIAL ORDER

空间秩序

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空间的连续展开

在波特曼的空间中，建筑、室内与室外并非彼此割裂，而是通过连续的空间关系形成自然的延续。中庭、柱廊与开放的视线，共同构成了这种连续性。

In Portman’s spaces, architecture, interiors, and the outdoors are not treated as separate entities, but flow naturally into one another through a continuous spatial relationship. Atriums, colonnades, and open sightlines work together to create this sense of continuity.

雲曜从入口开始延续这种时代线索。过厅如一部建筑编年史展开，建筑模型、器具与手稿被纳入其中，让那个时代的设计脉络进入空间。

The project continues this thread of the era from the moment of entry. The entrance hall unfolds like an architectural chronicle, incorporating architectural models, objects, and manuscripts to bring the design thinking of that era into the space.

而进入室内，

这种连续性进一步转化为空间的具体秩序。

柱距自然划分出沙盘、品牌展示与洽谈等不同区域，让不同功能保持彼此的联系。

不同的功能、尺度与视线关系，被纳入同一个连续的空间体系中。空间因此不是由一道道界面被切分，而是在秩序中自然展开。

As one moves into the interior, this continuity is further translated into a tangible spatial order.The spacing of the columns naturally defines different areas for the model display, brand presentation, and negotiations, while keeping these functions connected to one another.

Different functions, scales, and sightlines are brought together within a continuous spatial system. Rather than being divided by a series of boundaries, the space unfolds naturally through its underlying order.

02

ARTISTIC

LANGUAGE

艺术语言

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时代美学的转译

这样时代语境，也影响了建筑与室内的表达。波普艺术、消费文化、新材料与科技发展彼此交织，鲜艳的色彩、几何图形，以及对未来生活的想象逐渐进入空间。

于是提取其中的视觉语言，将简化的古典形制、现代混凝土、未来感的流线形体重新转译到雲曜之中，让不同审美并行共存，形成更加开放、戏剧而充满趣味的空间性格。

This cultural context also shaped the expression of architecture and interiors. Pop Art, consumer culture, new materials, and technological development became increasingly intertwined, bringing vivid colors, geometric forms, and visions of future living into the realm of space.

We drew from these visual languages, reinterpreting simplified classical forms, modern concrete forms, futuristic streamlined forms within Floruit. Different aesthetics coexist side by side, creating a spatial character that feels more open, dramatic, and playful.

这种转译也延伸到了家具、灯饰与陈设的细节。那个时期的几何元素、古典灯饰，以及家具的形态与面料，被自然地带入空间，与深色木饰面、棋盘格地材和几何构图彼此呼应。

不同元素来自不同的语境，却在同一套空间关系中找到了彼此的位置，让那个时代的审美从建筑一直延续到细节。

This translation also extends to the details of the furniture, lighting, and decorative elements. Geometric elements from the period, classical lighting fixtures, as well as the forms and fabrics of the furniture, are naturally brought into the space, creating a dialogue with the dark wood finishes, checkerboard flooring, and geometric compositions.

The elements come from different contexts, yet find their place within the same spatial relationship, allowing the aesthetic of the era to carry through from the architecture to the smallest details.

而到了更细微的界面，

艺术语言被进一步“做”进设计。

And at the level of finer interfaces,

the language of art is further

integrated into the design.

吧台区域把时代艺术语言推向更为完整的表达。背景墙并没有采用成品挂画的方式，而是将艺术图案直接转译进木作墙体本身。不同木纹通过拼接与落差形成层次，几何抽象的图案被嵌入墙体，再与吧台、家具和灯光共同构成完整的画面。

The bar area brings the artistic language of the era into a more complete expression. Rather than using finished artworks as wall-mounted pieces, the background wall directly translates the artistic patterns into the woodwork itself. Different wood grains create layers through their arrangement and shifts in depth, while abstract geometric patterns are embedded into the wall, coming together with the bar, furniture, and lighting to form a cohesive composition.

在这里，艺术不再是悬浮的展品，而是渗透在建筑界面、家具与陈设之中。

古典的秩序、现代的结构、波普式的视觉张力。不同语境的语言彼此交织，形成雲曜独有的空间风格。

Art is no longer a detached exhibit, but becomes embedded in the architectural surfaces, furniture, and objects within the space.

Here, classical order, modern structure, and the visual dynamism of Pop Art come together. Different design languages intertwine to create Floruit’s distinctive spatial character.

03

THEATRICAL SCENARIOS

戏剧场景化

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人与空间的相遇

波特曼的建筑常常带有一种戏剧性。

中庭像舞台，柱廊像背景，而人的出现，让原本静止的空间开始拥有变化。空间也因此不是一次性被观看的对象，而是在移动的视线中展开。

这种“戏剧性”也被带入雲曜。

Portman’s architecture often carries a sense of theatricality. The atrium becomes a stage, the colonnade a backdrop, and the presence of people brings movement and change to what was once a static space. Space is therefore not something to be viewed all at once, but something that unfolds through a moving gaze. This sense of “theatricality” is also carried into Floruit..

沙盘前的讲解、吧台边的交谈、洽谈区的停留、庭院中的行走，并不是彼此独立的画面。它们在视线中相互交叠，一个场景成为另一个场景的背景，人的活动也成为空间的一部分。

The presentation at the model display, conversations at the bar, moments of pause in the meeting areas, and movement through the courtyard are not isolated scenes. They overlap within the field of vision, with one scene becoming the backdrop for another, while human activity becomes part of the space itself.

于是，空间不再只有一种观看方式。

从不同的位置望出去，会看到不同的人、不同的活动，也会看到空间关系不断变化。建筑、家具、光线与人的行为共同构成画面，空间也因此拥有了类似电影般的连续性。

或许，这正是波特曼式空间最迷人的地方：

它没有预设唯一的观看方式，而是把舞台留给空间中的人。设计因此不只是让空间被看见，也在意人在其中如何观看，以及如何成为空间画面的一部分。

As a result, the space offers more than one way of seeing it. From different vantage points, different people and activities come into view, while the relationships between spaces continue to shift. Architecture, furniture, light, and human behavior come together to form a constantly changing composition, giving the space a cinematic sense of continuity.

Perhaps this is what makes Portman’s approach to space so compelling: It does not prescribe a single way of seeing, but leaves the stage to the people within the space. Design is therefore not only about making a space visible, but also about how people see within it—and how they become part of the spatial composition.

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项目信息 Project Info

万科·雲曜

Vanke·Floruit

项目地点：重庆

竣工时间：2026.06

项目类型：地产/售楼处

项目面积：项目整体面积2330㎡、售楼处242㎡

业主：重庆柯航置业有限公司

室内设计：WJ STUDIO 万境设计

主创设计：胡之乐

硬装设计团队：李东贤、朱陈韶华、石浩然、王影

软装设计团队：周舒逸 连罗澜

项目摄影、视频：边界摄影