因為〝設計〞使得生活越來越快樂！
因為〝設計〞使得時代越來越進步！
如何使設計成為生活的一部份，是大楨的基礎慨念！
自19世紀末開始，現代主義隨著工業革命的腳步，踏進人類的生活，開始一連串的空間革命，同時間不同學派的蓬勃發展，使得20世紀的空間及建築，精彩與豐富。
如今21世紀，由於過度開發，造成環境的汙染以及南北極冰山的溶解，世界不再和平，恐怖組織的攻擊，再再都影響人類的文明與思維，不確定的世界、不確定的時代。
另一方面，網路的盛行，使得原有的國界在一夜之間消失，人與人的距離不再遙遠，但也因此使得之間的感情變得更為陌生，因此〝設計〞變得更為重要，如何讓人之間的關係變得更加親近，是我們對空間努力的目標。
空間因〝人〞而變得有生命力，人也因為空間更加親密，將使用者的感情注入設計中，是至為重要的，因為情感、而對空間產生依戀與記憶，進而使空間與情感互相融為一體。
如何使空間變得〝無限大〞是值得思考的。
空間雖大，但若一眼望穿則會使人對空間產生乏味感，因為人們無法於其內流漣穿梭，就如同欣賞西洋油畫與中國山水畫時，油畫是定格與聚焦的，它無法讓欣賞者融入其內，但山水畫則能使欣賞者與畫家一同遊走於內、遊於山巒、雲海、溪流、農家之間、做一次時間的神遊交會。
東西方建築亦是如此，西方建築代表:教堂→上帝的住所，人們被上帝擁抱，教堂代表獨立的精神象徵，它是聚焦的、無法流漣於內的。
東方建築→北方合院建築、南方園林建築，他們都是神與人的住所，居住者可於院內遊走、穿梭、在有限的土地範圍內製造〝無限的空間〞，這是中國建築的精神內涵。
合院建築與林園建築深受易經與儒道的影響，他們充份的反應了這些思想，將其表達在空間與型式上。
現今的都市生活，高樓林立，建築設計師們無法將上述理論置於現在大樓的設計內，但室內空間卻可做適度的規劃，將層次與實虛的觀念置於室內，使人們藉此產生對空間依戀以及人與人之間的互動，彼此的信任。
於此，好的設計產生了，產生了一個使人快樂，忘卻煩惱的幸福空間！
Advancement in life is keenly felt because of “design.”
The core mission of 大楨 is to incorporate design into life’s diverse ingredients.
Beginning at the end of the 19th century, modernism has entered humanity via industrial revolution and initiated a series of spatial revolution. Following this chronology, the vigorous developments of divergent modernist schools have rendered 20th-century space and architecture ever more exciting and rich.
Now in the 21st century, humanity’s overdevelopment has led to catastrophic environmental pollution and dissolving of polar ice. The world of now is no longer peaceful, a fact which is exacerbated by terrorist attacks. Instances of atrocity have haunted human civilization and frame of mind. Consequently, humanity is no longer in firm grips of the world they live in and the resources they think they have full reign over.
Moreover, the popularity of the Internet has dissolved national boundaries but nevertheless distanced our feelings for another human being. In this regard, space designers have thus been entrusted with a significant mission of re-constructing kindred feelings among humanity.
Space is enlivened by human element; humanity in turn is brought closer by the type of space they live in. This human-space interaction is achieved through the injection of the space designer’s humanistic concern. In this light, human affection plays a key role in integrating attachment and memory into the space we live in.
How the finite space is rendered infinite is worth entertaining.
Given that, any space would be in serious lack of depth if it were seen through with a mere glance. This is because there is little that human beings can relate to a space depleted of feeling and interaction. For instance, it is much more difficult for a viewer to “enter into” a Western oil painting, because of its genre-imposed restrictions on fix-frame and focalized points. On the contrary, the Chinese landscape painting entices viewers to saunter among the cloud-capped mountains, rippling streams, and doted farmhouses—the ultimate and transcendent rendezvous.
This concept is also applicable to appreciating Eastern and Western architecture. The grand cathedral, as the epitome of Western architecture and token for independence, symbolizes God’s sanctuary and is therefore focalized and non-intrinsic as God is upheld and worshiped by humanity.
The essence of Eastern architecture, such as the traditional Chinese Northern Courtyard Houses and the Southern Landscape Gardens, incorporates the godliness and the human in a space wherein inhabitants can traverse, roam, and drink in every bit of unbounded possibilities.
Both Ching and Confucianism have profound influences upon the Northern Courtyard Houses and the Southern Landscape Gardens in terms of space and form.
Architects of today, however, have found it difficult to implement the concept of Eastern architecture into designing high-tech buildings in an urban environment thronged with skyscrapers. Luckily, the interiors of these seemingly cold concrete monoliths may be turned into a haven where space designers through appropriate planning can incorporate multi-layered and real-abstract spatial concept into their work so as to create an atmosphere of human attachment, interaction, and mutual trust.
In accordance with the aforementioned designing concept, space designers will continue their commitment to creating living spaces that afford great sense of inner tranquility within the inhabitants.
因為〝設計〞使得時代越來越進步！
如何使設計成為生活的一部份，是大楨的基礎慨念！
自19世紀末開始，現代主義隨著工業革命的腳步，踏進人類的生活，開始一連串的空間革命，同時間不同學派的蓬勃發展，使得20世紀的空間及建築，精彩與豐富。
如今21世紀，由於過度開發，造成環境的汙染以及南北極冰山的溶解，世界不再和平，恐怖組織的攻擊，再再都影響人類的文明與思維，不確定的世界、不確定的時代。
另一方面，網路的盛行，使得原有的國界在一夜之間消失，人與人的距離不再遙遠，但也因此使得之間的感情變得更為陌生，因此〝設計〞變得更為重要，如何讓人之間的關係變得更加親近，是我們對空間努力的目標。
空間因〝人〞而變得有生命力，人也因為空間更加親密，將使用者的感情注入設計中，是至為重要的，因為情感、而對空間產生依戀與記憶，進而使空間與情感互相融為一體。
如何使空間變得〝無限大〞是值得思考的。
空間雖大，但若一眼望穿則會使人對空間產生乏味感，因為人們無法於其內流漣穿梭，就如同欣賞西洋油畫與中國山水畫時，油畫是定格與聚焦的，它無法讓欣賞者融入其內，但山水畫則能使欣賞者與畫家一同遊走於內、遊於山巒、雲海、溪流、農家之間、做一次時間的神遊交會。
東西方建築亦是如此，西方建築代表:教堂→上帝的住所，人們被上帝擁抱，教堂代表獨立的精神象徵，它是聚焦的、無法流漣於內的。
東方建築→北方合院建築、南方園林建築，他們都是神與人的住所，居住者可於院內遊走、穿梭、在有限的土地範圍內製造〝無限的空間〞，這是中國建築的精神內涵。
合院建築與林園建築深受易經與儒道的影響，他們充份的反應了這些思想，將其表達在空間與型式上。
現今的都市生活，高樓林立，建築設計師們無法將上述理論置於現在大樓的設計內，但室內空間卻可做適度的規劃，將層次與實虛的觀念置於室內，使人們藉此產生對空間依戀以及人與人之間的互動，彼此的信任。
於此，好的設計產生了，產生了一個使人快樂，忘卻煩惱的幸福空間！
Advancement in life is keenly felt because of “design.”
The core mission of 大楨 is to incorporate design into life’s diverse ingredients.
Beginning at the end of the 19th century, modernism has entered humanity via industrial revolution and initiated a series of spatial revolution. Following this chronology, the vigorous developments of divergent modernist schools have rendered 20th-century space and architecture ever more exciting and rich.
Now in the 21st century, humanity’s overdevelopment has led to catastrophic environmental pollution and dissolving of polar ice. The world of now is no longer peaceful, a fact which is exacerbated by terrorist attacks. Instances of atrocity have haunted human civilization and frame of mind. Consequently, humanity is no longer in firm grips of the world they live in and the resources they think they have full reign over.
Moreover, the popularity of the Internet has dissolved national boundaries but nevertheless distanced our feelings for another human being. In this regard, space designers have thus been entrusted with a significant mission of re-constructing kindred feelings among humanity.
Space is enlivened by human element; humanity in turn is brought closer by the type of space they live in. This human-space interaction is achieved through the injection of the space designer’s humanistic concern. In this light, human affection plays a key role in integrating attachment and memory into the space we live in.
How the finite space is rendered infinite is worth entertaining.
Given that, any space would be in serious lack of depth if it were seen through with a mere glance. This is because there is little that human beings can relate to a space depleted of feeling and interaction. For instance, it is much more difficult for a viewer to “enter into” a Western oil painting, because of its genre-imposed restrictions on fix-frame and focalized points. On the contrary, the Chinese landscape painting entices viewers to saunter among the cloud-capped mountains, rippling streams, and doted farmhouses—the ultimate and transcendent rendezvous.
This concept is also applicable to appreciating Eastern and Western architecture. The grand cathedral, as the epitome of Western architecture and token for independence, symbolizes God’s sanctuary and is therefore focalized and non-intrinsic as God is upheld and worshiped by humanity.
The essence of Eastern architecture, such as the traditional Chinese Northern Courtyard Houses and the Southern Landscape Gardens, incorporates the godliness and the human in a space wherein inhabitants can traverse, roam, and drink in every bit of unbounded possibilities.
Both Ching and Confucianism have profound influences upon the Northern Courtyard Houses and the Southern Landscape Gardens in terms of space and form.
Architects of today, however, have found it difficult to implement the concept of Eastern architecture into designing high-tech buildings in an urban environment thronged with skyscrapers. Luckily, the interiors of these seemingly cold concrete monoliths may be turned into a haven where space designers through appropriate planning can incorporate multi-layered and real-abstract spatial concept into their work so as to create an atmosphere of human attachment, interaction, and mutual trust.
In accordance with the aforementioned designing concept, space designers will continue their commitment to creating living spaces that afford great sense of inner tranquility within the inhabitants.
