建筑師: 王維仁建筑設(shè)計(jì)研究室

地點(diǎn): 浙江杭州

業(yè)主: 西溪濕地公園工程建設(shè)指揮部

面積: 4500 m2

完成: 一期2011年

攝影：王維仁建筑設(shè)計(jì)研究室

Architect: Wang Weijen Architecture

Location: Hangzhou, Zhejiang

Client: Xixi Wetlands Park Construction Headquarter

Floor Area: 4500 m2

Completion: Phase 1, 2011

Photographs: Courtesy of Wang Weijen Architecture

西溪濕地三期邀請(qǐng)了十個(gè)建筑師，每人在一個(gè)地塊上設(shè)計(jì)一棟建筑。N地塊分北中南三條細(xì)而狹長(zhǎng)的建筑基地，每個(gè)基地分別面臨由前后二方向的山丘與沙丘水景。觀者沿著主要道路漫步，山,水,天，地, 構(gòu)成幾種線型的不同風(fēng)景經(jīng)驗(yàn)的可能性。

-織理山水

江南水鄉(xiāng)聚落的線性織理形式與中國(guó)城市的里坊街廓與合院?jiǎn)卧目椑硇问浇厝徊煌? 聚落的水道湖泊則不僅是連接系統(tǒng)，建筑單元配置更是以外向性與水的關(guān)系為重點(diǎn)。西溪藝術(shù)村本地塊的設(shè)計(jì)如水鄉(xiāng)線性的聚落形式一樣，是以線性串聯(lián)的建筑單元與水的關(guān)系為起點(diǎn)。

- 然水有四時(shí)之色，隨四時(shí)之氣。春水微碧，夏水微綠，秋水微清，冬水微慘。 又有沙汀湖洙皆水中可居人而景所集也。 韓拙《山水純?nèi)?/p>

西溪藝術(shù)村N地塊的設(shè)計(jì)，不只在提供智者樂(lè)水的視覺(jué)經(jīng)驗(yàn)，更在營(yíng)造仁者樂(lè)山可游可居的空間意境。設(shè)計(jì)意圖透過(guò)一系列不同的[觀景器建筑]的位置，高低，空間形式與質(zhì)地的安排組合，以及被觀的風(fēng)景對(duì)象狀態(tài)的差異，啟發(fā)觀者對(duì)山水景觀的不同情境的銓釋。

- 山有三遠(yuǎn)：自山下而仰山顛謂之高遠(yuǎn)，自山前而窺山后謂之深遠(yuǎn)，自近山而望遠(yuǎn)山謂之平遠(yuǎn)。 郭熙《林泉高致》

每一種觀景的空間狀態(tài)都是對(duì)山水的不同體會(huì)，它們不但是視角的不同，也是視點(diǎn)的不同，更是環(huán)境與心境的不同。

-凝視Gazing，再框reFraming

西方繪畫與透視的起點(diǎn)，在于觀者與實(shí)景之間關(guān)系三度空間的平面化。設(shè)計(jì)的意圖希望透過(guò)觀者的凝視間有意識(shí)的改變，景觀的平面呈現(xiàn)被重新再框，觀者的主體性再次被實(shí)踐。

有別于中國(guó)江南傳統(tǒng)園林設(shè)計(jì)中敘事空間的「框景」,即「步換景移」的時(shí)空關(guān)系, 這個(gè)設(shè)計(jì)以還原電影的方式,重新探討時(shí)間、空間與風(fēng)景關(guān)系新的可能性。地塊是一個(gè)散落而長(zhǎng)的基地；因此在設(shè)計(jì)上，我們強(qiáng)調(diào)移動(dòng)時(shí)所見(jiàn)的景觀和風(fēng)景，透過(guò)「再框」,重組基地原有景觀，同時(shí)加入新的功能與空間，如會(huì)所活動(dòng)、中庭等，重組對(duì)基地風(fēng)景的概念及經(jīng)驗(yàn)，形成一連串的「動(dòng)景」。 -風(fēng)景重組 / 再框動(dòng)景：

-看電影 / 定點(diǎn)觀看：Time = changing；Movie watching /static view

-動(dòng)景/ 步換景移/ 動(dòng)的電影：Place = changing；Moving and watching / reframing-

[框景]的概念被重新定義及豐富了。

The site sits on three narrow strips of land opens to water views both in their front and back, provoking our senses toward mountain, water, sky and the field. Different situations of landform lead to possibilities of shaping various linear landscape experiences.

Through the composition of a series of architectural viewing instruments each designed for different positions and viewing angles, the project intends to reverse the process of mo[ve]vie[w] and reframe our scenic experiences, exploring new conditions for our perceptions toward landscape, or mountain and water.

Time = changing: Movie watching /static view

Place = changing: Moving and watching / reframing

---Wang Weijen

“In this brilliant, singular work in cantilevering, reinforced concrete, box construction, Wang has been able to deploy and bend the studio module so as to create a syncopated,rhythmic composition of exceptional sophistication. By any standards, this is a small masterpiece and one would be hard pressed to find comparable collective housing anywhere, of recent date, having such astonishing plastic force and conviction. All this woven slippage and elision of modular form, as much in section s in plan, arises not out of some kind of closed formalistic game but rather out of the desire of allowing each one of the megaron-studio forms to relate to the peninsular, water-lined site in a different way”.

---Kenneth Frampton: The Architecture of Wang Weijen