From the budding of aesthetic imagery, natural objective factors often occupy a dominant position, and imitation, learning, and reproduction have become effective methods of analogous imagery. In the process of coordinated movement, development, and evolution, the relationship between nature, society, field, and human beings has been explored and gradually become blurred and difficult to define due to mutual penetration. As Li Zehou said, "Human transformation of nature" slowly turned to "Human return to nature"pursuit.

01
The Path of Wind 
Traces of Time
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After the superimposition of crustal movement, climate and time, the "torn" land landscape - the natural canyon like axe-axe, constitutes another part of nature. As INAICO's rhythm preface hall, "Gap Road" is inspired by the shape and image of the landform, and the revelation of nature is visualized and displayed in the space. As the path continues to deepen, oblique cuts, ups and downs, turns, irregular The physical characteristics together start an interesting journey of exploration.

Due to natural incentives, the rock mass has a certain concave space formed by collapse or erosion. Compared with the positive shape of the main body, this negative space witnesses its natural formation and organic growth. The dining bar at the entrance on the northeast side is embedded with necessary functional attributes in the overall structure, which not only meets a certain sense of reception, but also serves as a place for daily visits, customer selection and social interaction. Events provide logistical support.

02
The Image
Homage to Nature
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Imagery is a special form with aesthetic consciousness, which is a mixture of subjective aesthetic evaluation, emotional attitude and infinite creativity. In addition to simulating the natural body language, as the path goes down step by step, the disorder of the space becomes an orderly expression. The geometric contrast between the square and the circle highlights the organic nature of the functional countertops, and the material samples are arranged in sequence, so that the establishment of the sequence and the collaboration of the long bar counters construct the center of vision, place and energy.

In nature, it is often seen that there are huge rocks lying between the canyons, which seem to collapse at any moment, but they are still as firm as ever. In the passageway between the reception area and the display area, a giant stone "floats" on it and shuttles through it, as if one space enters another. The unexpected, oppressive and tense dramatic arrangement makes the neglected Because of the setting of nodes, the channel space has been re-focused and valued, and at the same time it is a metaphor of respect for nature.

03
The Crack
Light comes in here
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Based on site considerations, the solid wall facing the inner store defines the subordination of the space to a certain extent, but the closed entity also blocks the possibility of visual transparency, so "peeking" appears in the form of "cracks", making the Subtle changes occur between the subject and the object to be seen. The light pours down, endowing the V-shaped cracks with light and dark shadows, clear boundaries, natural imagery and a symbolic language that fits the brand positioning.

Different from conventional display methods, the physical panels ensure the purity and integrity of the space through embedded and drawn forms. As an important part of the exhibition area, a piece of barren protruding from the ground seems to have witnessed the movement of the surface and the passage of time, crawling on the ground with a silent, thick and primitive appearance. Although he doesn't speak a word, there are thousands of meanings. The staircase device on one side abandons the actual function and presents the possibility of space construction with the help of another art form.

04
The Landscape of Mirror
Mirroring and Projecting
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For the balconies on the west and south sides, how to ease the view of the flow of people in the internal passage and establish a rich hierarchical relationship between the interfaces. As a mirror image of nature and a projection of matter, the "courtyard" is embedded in it in the form of landscape nodes, creating a rhythmic visual movement. Organic and disordered are the inherent laws of nature; inorganic and orderly are the charm of man-made things. As the "second identity" of marble, slate tends to "beyond nature" with the advancement of technology.

Mikel Dufrenne believes that there are roughly two types of "imagination", namely "transcendental imagination" and "experiential imagination". The former is the possibility of cognition, while the latter is the premise of dependence. Therefore, the exploration of "natural imagery" should reach the profound meaning in addition to the appearance of the material. The subject and the object have different positive and negative shapes from the perspective of two-dimensional vision because of the different observation objects. But the positive and negative shapes of nature, between transformations, constitute an inseparable whole of nature.