“风景已经很美了，设计就节制一点，退到后面”。谢柯说。“留白”是他这些年一直在坚持的，把设计减到最少。但留白并非苍白，而是以退为进，夕上双廊酒店设计将自然吸纳为设计的元素并以艺术去重组它。应对自然，谢柯所求的是顺势而为造境：不被形式所困、亦挣脱风格或概念的焦虑，以质朴的思考来调和空间与自然的关系，引人在四季轮回中体验其时时刻刻、日日夜夜的变化。

“The scenery is breathtaking, so our design should be restrained”, said Xie Ke. He has been adhering to “leaving blank spaces” for years to minimize designs. However, such technique is not paling something but to reorganize natural elements with art. Xie Ke performs designs by taking advantage of natural conditions. He deals with the relations between nature and spaces with simple minds and without considering forms or anxieties of styles or concepts to make visitors experience local changes all the time.

每间客房都可以独立入户，并拥有独享的院子或露台，有的甚至有两个小院子。每间客房也都能从不同的角度欣赏洱海风光。但对夕上双廊酒店设计师来说，自然（海或庭院）只是酒店体验的一重维度。用视、听、触、嗅、味的多元、多维让夕上·双廊成为“愉悦时光”的代名词，亲近自然、亲近人文、亲近生活、亲近自我才是设计的初心。

Each of the guest rooms is independent with an entrance,and exclusive yard or terrace, some even with two yards. Besides, each guest room can provide the scenery of Erhai Lake from diverse angles. For the designer, nature (sea or courtyard) is one dimension of the hotel experience only. My intention was to make the project as a symbol of “happy hours” with multiple dimensions includingvision, hearing, touch, smell, and taste and a place with environment-friendly nature as well as distinctive culture and life features.

靠海的房间是明亮的浅色系，空间、陈设乃至艺术家李俊的《无常时》系列都是淡淡的浅色调，蔚蓝无尽的洱海便是空间最明媚的装饰。而两间最大的套房既享庭院又可望海，灰黑色调的陈设、深色的金属家具和收藏的旧家具、骆丹的《怒江》摄影艺术，一切契合之物都让氛围沉静下来，换上平和心境，庆颂丰饶的人间胜景。

The room with a view of Erhai Lake has a bright light color. The space, furnishing, and theImpermanencephotos by the artist Li Jun all have light colors. The vast blue Erhai Lake acts as the best decoration for the space. The largest two suites have both courtyards and views of Erhai. The grey and black furnishings, dark metal furniture, collected vintangefurniture, andNujiang Riverphotos by Luo Dan make the space exceptionally calm to allow visitors to enjoy the amazing landscapes.