景觀設(shè)計：中科院建筑設(shè)計研究院房木生景觀工作室

Landscape Design: Atelier Farmerson, ADCAS

曼谷中國文化中心景觀，曼谷，泰國

Landscape of Chinese Culture Centre, Bangkok, Thailand, 2013

景觀設(shè)計：中科院建筑設(shè)計研究院房木生景觀工作室

Landscape Design: Atelier Farmerson, ADCAS

正如中國的水墨山水畫，往往不是一般的風(fēng)景畫，是作者關(guān)于人與自然哲思的藝術(shù)表達，中國園林，也不是一般意義上的景觀，它是富含中國人文與自然觀念的游憩空間。

泰國曼谷中國文化中心的景觀設(shè)計，通過當(dāng)代性的設(shè)計語言回答“中國文化”的同時，也是探尋表達現(xiàn)代中國文化自然觀的過程。

定義了庭院進入空間的“折徑通幽”、前庭空間的“闊朗明亮”和后院空間的“深幽平靜”之后，設(shè)計師將表達的重點放在下沉庭院的經(jīng)營上。

將中國園林中符號性的有洞景石，進行人工切割，安置為水院出水口，形成裝置性的“重器”。這里人工與自然痕跡并存，為現(xiàn)代性的“中國味”點著了一盞燈。

水往低處流，連接后院與下沉庭院的“高山流水”景觀瀑布，則構(gòu)成了“中國文化中心”的點睛之筆。所謂“高山流水遇知音”，中國文化中心的設(shè)置，本意為文化交流，是尋找“知音”的一種姿態(tài)，是故，“高山流水”也算點題為之。設(shè)計師用斐波那契數(shù)列的數(shù)值關(guān)系，讓石塊從上到下，由大變小，使得水體在流落的時候，水片由整滑而碎飛，展現(xiàn)動態(tài)水景的美麗，當(dāng)然，也結(jié)合了臺階的轉(zhuǎn)折和種植空間，幾何性地呈現(xiàn)了抽象的山水意向。

在自然的鬼斧神工面前，人類的任何抄描模擬都顯滑稽。因此，在這里，設(shè)計師放棄了真實山水的模擬，而是搭建一種人工痕跡的自然，使其成為自然或是人類表演的“舞臺”，并成為人與自然溝通的媒介。(房木生)

項目信息/Credits and Data

客戶/Client：中國國家文化部

項目主持/Principal in Charge：房木生

設(shè)計團隊/Design Team：王健，吳云，孟茹

主創(chuàng)建筑師/Chief Architect：崔彤

藝術(shù)顧問/Art Consultants：中國國家畫院王永剛工作室承建方/Contractor：中國建筑海外事業(yè)部泰國分公司

基地面積/Area：8222m2

設(shè)計時間/Design Period：2010.10-2011.12

建設(shè)時間/Construction Period：2011.4-2012.12

構(gòu)造材料/Materials：花崗巖，混凝土，水刷石，防腐木，鋼材等

攝影/Photos：房木生，吳云，王永剛

Chinese water-ink landscape paintings, which often carry more meaning than generic landscape paintings, represent the artist's interpretation of man’s relationship with nature. This is equally true for Chinese gardens. These gardens do not merely intend to recreate a picturesque landscape, they are also recreational spaces that express the unique Chinese view of the relationship between man and nature.

When the landscape designer of the Chinese Cultural Center in Bangkok, Thailand attempts to interpret the meaning of "Chinese culture" using a modern design language, he also explores ways to convey the modern Chinese philosophy of culture and nature.

Taking a "winding path leading to a secluded space", the visitor enters a sunken courtyard, where the designer focuses his expression. Meanwhile, the vestibule space is "wide and bright" and the backyard is "deep and calm".

A single Tai hu stone, the symbol of Chinese gardens, has been artificially cut and displayed at the base of the waterfall and anchors the water themed courtyard. This coexistence of the artificial and the natural shines a light for the modern "Chinese flavor".

Water flows downwards. The "lofty mountain and flowing water" themed waterfall is the finishing touch on the "Chinese Cultural Center," connecting its secluded backyard to the central sunken courtyard. "Lofty mountain flowing water" refers to the ancient story of how rare it is to meet a very good friend or soul mate. The Chinese Cultural Center is intended to be a place for cultural exchange, and can certainly represent the search for a new friend. Indeed, "lofty mountain and flowing water" explicitly brings out the theme of the center. The designer borrows from Fibonacci numerical relationships here; large stones at the top devolve into smaller stones at the bottom. As the water flows, the surface changes from whole blocks to stone fragments, a dynamic and beautiful water scene. Meanwhile, the design also integrates turning stairs and planted spaces, representing an abstract but geometric notion of mountain and water.

Any human attempt to replicate nature is comical when compared to the beauty of the natural world. Therefore, the designer does not try to imitate an actual mountain waterfall, but instead consciously creates a landscape with artificial traces. The ensemble becomes a "stage" for a natural or human performance and a medium of communication between man and nature.(Translated by SUN Meng)

2 建筑、廊子、樹木環(huán)繞水面，相望相鑒/Building, corridor and trees surround water.

3 水面倒影/Reflection in water

評論

鮑威：景觀與建筑風(fēng)格是否統(tǒng)一，對項目成敗至關(guān)重要。此案的建筑設(shè)計是對抬梁建筑形式的繁復(fù)表達，景觀設(shè)計亦走此“繁復(fù)”路線，無論是疊水石塊的堆砌，還是削切的洞石，對形式復(fù)雜性的追求可謂與建筑相得益彰。與貝聿銘的蘇州博物館建筑與景觀所創(chuàng)造的靜雅氛圍不同，此處繁復(fù)充滿趣味，更為直白易懂，活潑生動，親人與世俗。

鄭曉笛：在不足1hm2的場地中用景觀詮釋博大精深的“中國文化”，是個挑戰(zhàn)。設(shè)計師通過賦予每個庭院不同的空間特質(zhì)來展現(xiàn)中國文化的多個側(cè)面。點睛之筆“高山流水”讓人不禁聯(lián)想到美國風(fēng)景園林師勞倫斯·哈普林在美國波特蘭市設(shè)計的伊拉凱勒水景廣場，一中一西，一個源于“高山流水遇知音”，一個取靈感于美國西部的壯美瀑布，異曲同工。

Comments

BAO Wei： This project aims to explore the beauty of complexity of raised beams in traditional Chinese architecture. The landscape design follows this paradigm and includes features such as a cascading waterfall, and the slicing of porous stone. In contrast to the simple elegant atmosphere present in Pei's Suzhou Museum, the complexity here fosters a visual interest and vibrancy in the design that makes the project approachable and easy to understand.

ZHENG Xiaodi： Trying to convey the sophistication of "Chinese culture" in a landscape design on a site of less than 1 hectare is quite a challenge. Each courtyard is given a distinct identity in order to express a particular aspect of Chinese culture. The centerpiece, named "Mountain and Flowing Water," is reminiscent of the American landscape architect, Lawrence Halprin's renowned Ira Keller Fountain in Portland, Oregon. The two projects, one stemming from an ancient Chinese anecdote of finding true friendship in high mountains with flowing water, the other inspired by grand waterfalls in the American west, achieve similar effects through different means.

4 俯瞰后院局部/Bird's-eye view of backyard

5 平面/Plan

6 通過切割獲得現(xiàn)代性的太湖石是出水口裝置/Modernistic Taihu stone by cutting which is the water outlet.

7“高山流水”整體，早上的陽光將山水分成了一陽一陰/Lofty mountain and flowing water: sunlight divided mountain as half brightness and half darkness.

8 高低錯落的石面，成為小孩的攀爬游戲場所/Undulate stones become the children playground.

9 鳥瞰/Bird's-eye view

10 折徑通幽的進入空間/Entrance space with folded path

11 敞闊明亮的前庭院/Open and bright front courtyard

12 面向水面的長廊，人們可靜坐休憩/Corridor opens to the water, where people can have a rest.

13 伸進水中的平臺，是可變換文化主題的展示平臺。中國春節(jié)，這里掛起了中國紅燈籠/Platform extends to the water, which is the convertible exhibition area. Chinese red lanterns hang here in Chinese new year.