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浙江祥生•城市之光示范区景观设计 | 魏玛景观

魏玛景观 2021-08-09

原创

项目名称：

祥生•城市之光
项目地点：

浙江省绍兴市诸暨市
项目规模：

79810㎡
设计公司：

魏玛景观
施工单位：

诸暨祥生园林绿化工程有限公司
委托方：

诸暨祥生弘跃置业有限公司
建成时间：

2021年
图片来源：

VIEW摄影

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客观世界的可见现象本身是无意义的，重要的是感觉。

The visible phenomenon of the objective world is meaningless in itself but the most important thing is feeling.

—— 马列维奇（Kazimir Malevich）

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当光线随着时间的游走，沿着空间的肌理在垂直的建筑体与平行的地平线上流动。这片被解构的人居场景

被赋予了丰盛而葆有自然灵性的生命力，在精心编排的空间与结构间、窥见城市之光，触摸空间生命感。

Aslight travels along the fabric of space over time.Flows in the vertical building mass and parallel to the horizon.This deconstructed habitat scene.They are endowed with abundant and naturalspiritual vitality.Between carefully arranged Spaces and structures.Catch a glimpse of city lights, touch the sense of life in space

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建筑大师路易•康曾说：“设计是一种因地制宜的选择行为，空间之美即建筑的真正意义。”景观空间可以说是一座城市中充满无限慰藉的精神留白，而这让空间设计、建筑本身更有意义。

Architect Louis Kahn once said: "Design is an act of choice according to local conditions, and the beauty of space is the true meaning of architecture." Landscape space can be said to be the spiritual blank space filled with infinite consolation in a city, which makes the space design and the building itself more meaningful.

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我们致力于追求纯粹的设计精神与建筑间内外空间的无缝结合，探索空间感知中的现实与科技、文化与自然、漂浮与流动。令场域成为一个共融共生、科幻潆洄、润泽内心的光之意境空间，质实而空灵。

We are committed to pursuing the seamless combination of pure design spirit and internal and external space between buildings, and exploring the reality and science and technology, culture and nature, floating and flow in the perception of space. Let the field become a symbiosis, science fiction , the inner light artistic conception space, solid and ethereal.

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逐光×空间的感知

光赋予空间以戏剧性，不管特定的设计语言是什么，成功的、重要的空间特点在于它能获得与之互动的人们的认可。

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空间是伟大时代的年表，当一切行动和歌声都停止的时候，只有空间还屹立在那里，用它自己的语言叙述那伟大的时代。我们每个人每天穿梭于不用的时间与空间中，空间充盈着我们周围，聚焦于这些空间，会发现其中的设计巧思和场域精神，也在诉说着空间的哲学。

Space is the chronology of the great age, and when all actions and songs have ceased, space alone stands and speaks of the great age in its own words. Every one of us travels through unused time and space every day. Space fills us. Focusing on these Spaces, we will find the design ingenuity and field spirit in them, which also tells the philosophy of space.

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空间以不同的身份形成，邀请人们逗留、打卡、分享亦或是仅仅作为中转区。空间在庇护身体，满足各种生活和行为的基本要求，以及提供舒适性之外，身体对空间的感知一直是关注所在，尤其是对空间氛围的感知。

Spaces are formed in different identities, inviting people to stay, punch in, share, or simply serve as transit zones. In addition to protecting the body, meeting the basic requirements of life and behavior, and providing comfort, space has always been the focus of the body's perception of space, especially the perception of space atmosphere.

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一个空间的形式和设计决定了它的正负效果，而这就要求，作为设计者本身，要去创造具有认同感的场所与空间精神。进而空间的感知会唤醒记忆，激发人的思考和想象，将空间设计的意义从满足基本功能需求延伸到“生命的感动”。

The form and design of a space determine its positive and negative effects, which requires, as a designer, to create a place and space spirit with identity. Then the perception of space will wake up memory, stimulate people's thinking and imagination, and extend the meaning of space design from meeting basic functional needs to "touching life".

向光×人与空间的关系

向光而往，阅读和认识空间的潜力。判断空间，以看得见的眼睛、转动的头和行走的腿。景观空间，不是一个瞬时的现象，而是一个连续共鸣的场景体验。

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如何看待时间留下的痕迹，寻找与自然平行又符合当下人活动的秩序？空间本身就是最好的演绎，在空间和人类的互动中，通过设计语言的重塑，不断重新构建观者的视角，从不同的角度观察、倾听和感知空间。

How to look at the traces left by time and look for the order that is parallel to nature and in line with the current human activities? Space itself is the best interpretation, in the interaction between space and human, through the remodeling of design language, constantly rebuild the viewer's perspective, from different angles to observe, listen to and perceive the space.

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人类每时每刻都存在于各种不同的空间中，空间既能使人们聚集在一起，同时又能把人们分隔开。因此，空间是人类生存与交流最基本的和普遍形式的本质所在。身处空间之中，当大面的水镜，倒映未来城市的缩影，或当森屿在前方寂寞的延展，亦或是喧嚣的都市生活尽现在眼前，此时，墙体限定空间的作用开始“消减”，环境成了空间真实感知的界面。

Humans exist in different Spaces that both bring people together and keep them apart. Space, therefore, is the essence of the most basic and universal form of human existence and communication. When we are in the space, when the large water mirror reflects the epitome of the future city, or when the lonely extension of the island in front of us, or the noisy urban life is all in front of us, at this time, the role of the wall to limit the space begins to "reduce", and the environment becomes the "interface of the real perception of space.

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众所周知，把东西放在头上，从另一个角度观察它们，可以帮助我们以一种新颖的方式解释空间，游走其中，切身感受人与空间之中的关系，在城市之光的浮岛中，无论是对自然的描摹，还是对科技的探索，均赋予观者抽离物质之外的潜在体验，清逸成趣。

As is known to all, put the things on your head and watch them from another Angle, can help us in the form of a novel explanation space, walk, feel the relationship between human and space, in the floating island city lights, both for simulations of nature, and exploration of science and technology, all potential experience gives the viewer out of material, clear and interesting.

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溯光×空间的流动

如果将整个世界比喻为一条河流，那么一般建筑都是插在河流里的木桩，而我们想创作的建筑则像河流里的漩涡。既拥有自己的空间，同时也完全融合在水的流动之中。

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建筑与流动是一对现实与理想的矛盾体，建筑最终会以某种确定的形式表现出来，但由于人、时间的介入，建筑便被赋予了生命感。在城市之光的打造中我们深入伊东的“曲水流思”设计理念，在景观设计中一方面维持着与自然之间一体化的紧密联系，一方面营造所谓的场所。随着彼时彼地的情况，观者将场所按照自身的生活状态进行随心所欲变化，这是空间流动性的初衷。

Architecture and flow are a pair of contradictions between reality and ideals. Architecture will eventually be expressed in a certain form, but due to the intervention of people and time, architecture is endowed with a sense of life. In the creation of the city light, we went deep into Ito’s design concept of "Qushui Liusi". In the landscape design, on the one hand, we maintain a close connection with nature, and on the other hand, we create a so-called place. With the situation at that time and place, the viewer changes the place as he pleases according to their own living conditions. This is the original intention of spatial fluidity.

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卡斯特尔曾在分析流动的空间时指出：“人们确实依然生活在此地，但是由于我们社会功能与空间是在流动空间里组织，其逻辑的结构性支配根本地改变了地方的意义与状态。”其实空间流动性，就是均质空间中微妙差异带来的不同认知和感受，均质使得空间连贯流畅，差异使得空间具有某种暗藏的“场”，从而形成了拉动空间流动的力，诱导行为的发生。