“昭示自然，克制痕跡”
理性與野性的第三種可能

-

"SHOW NATURE, RESTRAIN TRACES"
THE THIRD POSSIBILITY OF REASON AND WILDNESS

麓湖的樣板島系列，始終引領(lǐng)著景觀設(shè)計的潮流方向。當(dāng)這個備受業(yè)界矚目的“秀場”迎來新篇章時，又會被賦予何種期望呢？

設(shè)計的本質(zhì)在于創(chuàng)造獨(dú)特的價值，優(yōu)秀的作品不應(yīng)限于主觀審美的討論，以思維構(gòu)建手法，以意識引導(dǎo)方向。

當(dāng)「精致修剪的秩序」和「原始野性的生長」
都讓人厭倦時—
我們找到了最酷的答案："精心設(shè)計的失控"

我們期待：
"精心設(shè)計的失控美學(xué)"在這里
古老的橄欖樹枝穿透現(xiàn)代建筑的玻璃幕墻
野生的薰衣草在石縫中自由綻放
天然營地與藝術(shù)家私達(dá)成完美默契

為什么是圣特羅佩?

“南法”，19世紀(jì)中葉到20世紀(jì)初，便伴隨著印象派、野獸派的誕生給我們的世界帶了新鮮的色彩、陽光、微風(fēng)、詩意、希望，置身其中，薰衣草和橄欖樹在我們觸手可及的地方。

“昭示自然，克制痕跡”本次我們想傳達(dá)的理念。突破“慣性產(chǎn)品邏輯”的思維，跳出“設(shè)計”去看待設(shè)計，更多是去營造一種“狀態(tài)”，賦予一些“影像感”。

當(dāng)圣特羅佩的"野性"遇見"麓湖"


PART 1
“有跡”到“無跡”
UNTOUCHED LAND

“那就與眾不同”
"That's different."

C16樣板島是本次麓湖樣板島最后一塊臨湖區(qū)域，位于整個島嶼的西側(cè)。場地與建筑條件的契合需要從長計議，使不同建筑面與景觀邊界達(dá)到最舒適且模糊的狀態(tài)，而大面的駁岸段與大環(huán)境的融入，也是整體生態(tài)大界面的重要思考點。這樣的思考所帶來的正是項目邊界與氣質(zhì)的建立，調(diào)配所有水陸動線上的情緒感官。

崖壁與營地，是我們賦予場地的特征。
幾何與立體，是我們留給場地的痕跡。
浪漫與松弛，是我們營造呈現(xiàn)后的狀態(tài)。

于是，項目就這樣呈現(xiàn)了
“是我們當(dāng)初設(shè)想的樣子”

C16 Model Island is the last lakeside area of the third phase of the Luhu Model Island project, located on the west side of the entire island. The fit between the site and the building conditions requires long-term planning to achieve the most comfortable and blurred state between different building surfaces and the landscape boundaries. The integration of the large-scale revetment section with the larger environment is also an important consideration point for the overall ecological interface. Such thinking precisely leads to the establishment of project boundaries and temperament, coordinating the emotional senses along all water and land routes.

The cliff walls and camps are the features
we have endowed the site with.
Geometry and three-dimensionality are
the traces we leave to the site.
Romance and relaxation are the states we create and present.

So, the project was presented like this
"It's what we originally envisioned."

▼天際、岸線語言塑造
Language shaping of skyline and coastline

▼捏塑高差，賦予空間
Pinch the height difference and give space

▼自然筆觸調(diào)動參與者情緒
Natural brushstrokes mobilize participants' emotions

▼邊界縫合，周界柔和
The boundary is stitched and the perimeter is soft

▼時間可視化所產(chǎn)生的痕跡感
The sense of trace generated by time visualization

PART 2
不限于“工藝品”
MORE THAN "HANDICRAFTS"

“邁向藝術(shù)”
"Towards Art"

Stone cliff | 石崖

對于場地唯一的語言表達(dá)，我們將地中海沿岸的崖壁石頭城 SaintTropez 的語言進(jìn)行了自我藝術(shù)化的解讀，使用白色幾何形體概括崖壁肌理，產(chǎn)生形變， 賦予藝術(shù)趣味，“當(dāng)代、抽象、經(jīng)典”等詞匯正是最初的思維性導(dǎo)引， 同時也是對項目周界的語言系統(tǒng)進(jìn)行歸納梳理，塑造具備唯一性的體系特征。

For the sole language expression of the site, we have made an artistic self-interpretation of the language of SaintTropez, a cliff city along the Mediterranean coast. We use white geometric shapes to summarize the texture of the cliff, create deformation, and endow it with artistic interest. Words like "contemporary", "abstract", and "classic" are precisely the initial ideological guidance. At the same time, it is also to summarize and sort out the language system of the project perimeter and shape a unique system feature.

▼“石崖”的思考
Thoughts on "Stone Cliff"

▼組合推演
Combination deduction

Crater | 環(huán)形山

我們收到來自建筑標(biāo)準(zhǔn)塔樓的三戶樣板間，從塔樓截獲部分單元作為單一獨(dú)棟樣板間，一定會出現(xiàn)比例上的不和諧，三戶樣板間的表皮也不盡相同，于是我們思考怎樣將對立與統(tǒng)一的原則進(jìn)行語言體系的建立，便有了白色體塊賦予建筑頂部做趣味性的“拉伸運(yùn)動”，形成活潑的建筑群落。

對于材料性能，我們也抱著趣味性的思路去作解答，我們采用桁架作為整體的材料結(jié)構(gòu)選擇，最初的思考我們更是希望上部塊面采用鏡面表皮，將花鏡植被拉伸延續(xù)至半空，形成“天際花環(huán)”的趣味裝置藝術(shù)，而下部塊面作為第二次的結(jié)構(gòu)性反射，我們希望做下翻式形體，形成內(nèi)反射消除桁架柱梁，讓其懸浮在建筑屋頂上，同時向上的反射也能更好起到隔熱效應(yīng)，最后形成“環(huán)形群落”。

We received three model rooms from the standard building tower, and intercepted some units from the tower as single model rooms, which will definitely lead to disharmony in proportion, and the skins of the three model rooms are not the same, so we thought about how to establish the language system based on the principle of opposition and unity, and then white blocks gave the top of the building an interesting "stretching movement" to form a lively building community.
Regarding the material properties, we also approached the question with an interesting mindset. We chose trusses as the overall material structure. Initially, we hoped that the upper block surface would adopt a mirror-like skin, stretching and extending the flower mirror vegetation into the mid-air to form an interesting installation art of "Sky garland", while the lower block surface, as the second structural reflection, we hoped to create a downflip shape. The internal reflection is formed to eliminate the truss columns and beams, allowing them to float on the building roof. Meanwhile, the upward reflection can also better achieve the insulation effect, and finally form a "circular community".

▼桁架思考
Truss thinking

▼模型塑造
Model shaping

Upturned eaves | 水效

持續(xù)做語言上的延續(xù)，將頂部桁架形態(tài)拉回到花園中，同時保留對于對立統(tǒng)一的體系建立，從花園特征中尋找表達(dá)生命力的方向，仿生設(shè)計的想法已然形成，花園中的“眼鏡蛇水帶”，整體形態(tài)借鑒眼鏡蛇的“兜帽”狀膨脹結(jié)構(gòu)，從正面觀賞，落水正好穿過此結(jié)構(gòu)形成“蛇信子”。

We continue to maintain the language, pulling the top truss form back into the garden while retaining the establishment of the system of unity in opposition. We seek the direction to express vitality from the garden's features. The idea of bionic design has already taken shape. The "cobra water hose" in the garden borrows the "hood" shaped expansion structure of a cobra in its overall form. When viewed from the front, The falling water passes right through this structure to form a "snake's letter".

▼“眼鏡蛇”的思考
"Cobra's" Thoughts

▼模型塑造
Model shaping

道路另一側(cè)的切片不銹鋼與此水景遙相呼應(yīng)，也采取相同形態(tài)，極簡極薄的鏡片式仿水裝置，穿插在柏坡黃巖石中，拉出極具材料屬性的反差感。兩處裝置起到建立花園中的“動態(tài)”屬性，也是精工痕跡于自然痕跡的反差建立。

The sliced stainless steel on the other side of the road echoes this water feature and also takes the same form. The minimalist and extremely thin mirror-like water imitation device is interspersed among the Baipo yellow rock, creating a strong sense of contrast with the material properties. The two installations serve to establish the "dynamic" attribute in the garden and also create a contrast between the traces of fine craftsmanship and those of nature.

Furniture | 家私

家具藝術(shù)是“被使用的雕塑”，一把椅子和一組茶幾，我們希望傳遞出的是“生活的姿態(tài)”。對于最初形態(tài)體征的理解我們決定用材料本身回答這個問題，只需將場地內(nèi)的石材與鋼材再次進(jìn)行捏合，便有了最后的家具形態(tài)，作為場地內(nèi)具有對話性的藝術(shù)載體，通過形式、材料與工藝傳遞審美情緒。

Furniture art is "sculpture in use". A chair and a set of coffee tables, what we hope to convey is "the posture of life". For the understanding of the initial morphological signs, we decided to answer this question with the materials themselves. Just by recombining the stone and steel within the site, the final furniture form was obtained, serving as a dialogic artistic carrier within the site, conveying aesthetic emotions through form, materials and craftsmanship.

▼模型塑造
Model shaping

Stone | 石頭

大地色的石頭將“時間”可視化，形成歲月痕跡感。石頭的造型藝術(shù)從反差本身出發(fā)，老皮的紋樣與人工雕琢的痕跡，去追溯萬里外Saint Tropez的地貌特征，訴說一些場景營造背后的故事。

The earth-toned stones visualize "time", creating a sense of the passage of time. The plastic art of stones starts from the contrast itself. The patterns of old skins and the traces of artificial carving trace back to the landform features of Saint Tropez thousands of miles away and tell some stories behind the scene creation.

▼疊石推演
Rock Stacking simulation

PART 3
像一個花園
LIKE A GARDEN

“有沒有可能，它就是一個花園”
"Is it possible that it is just a garden"

植物色彩能調(diào)和場地的色彩關(guān)系，南法地中海風(fēng)情植被體系的搭建，賦予場地浪漫與松弛狀態(tài)。

The colors of plants can harmonize the color relationship of the site. The establishment of a vegetation system with a Mediterranean style in the south of France endows the site with a romantic and relaxed state.


插播一則小小的遺憾~

地中海沿岸氣候的植被屬性反饋告訴我們，關(guān)于上木植被體系，意大利松是我們唯一的喬木樹種選擇。來自崖壁上的風(fēng)情：“自由與寫意”，這樣的標(biāo)識性，唯有意大利松才具備。而遺憾在于地域限制，意大利松的缺失讓我們最終選用了鐵冬青。

透過色彩體系、生態(tài)體系、形態(tài)體系等諸多方面的系統(tǒng)性思考，塑造為整體項目服務(wù)的生態(tài)系統(tǒng)。將植物看作是藝術(shù)家的筆觸，再適合不過，也是我們對植物設(shè)計的藝術(shù)修養(yǎng)，就如點彩畫派中的色光混合分割 ，利用觀眾的眼睛自行將色彩混合，達(dá)到畫面的高度和諧統(tǒng)一。

花鏡配置則是調(diào)和畫面色彩、飽和度及明度關(guān)系的唯一法寶，莫奈的《鳶尾花》、《議會大廈》又或是修拉的《大碗島的星期天下午》等作品中所表達(dá)的調(diào)和性色彩關(guān)系正是我們想去表達(dá)的。而畫面的暗部思考，我們將結(jié)合南法植物特征選擇了龍柏，龍柏的整體高度我們從 3M、3.5M、4M 三個尺幅去考慮，形成高低錯落的塔狀形態(tài)，將地被層與喬木及構(gòu)筑層面聯(lián)系起來，確認(rèn)畫面中明度最深的筆觸，將整體明度比例關(guān)系控制在黑白 3：7 左右。

Here's a little regret by the way ~
The vegetation attribute feedback of the Mediterranean coastal climate tells us that regarding the upland vegetation system, Italian pine is our only choice of tree species. The charm from the cliff face: "Freedom and freehand style", such a distinctive feature can only be possessed by the Italian pine. The regret lies in the geographical restrictions. The absence of Italian pine led us to eventually choose Ilex.
Through systematic thinking in various aspects such as the color system, ecological system, and form system, an ecosystem that serves the entire project is shaped. It is most appropriate to regard plants as the brushstrokes of an artist, and it is also our artistic cultivation in plant design. Just like in the pointillism school, the color and light are mixed and pided, and the viewer's eyes are used to mix the colors by themselves to achieve a high degree of harmony and unity in the picture.
We selected the Juniperus chinensis based on the characteristics of plants in the south of France. We considered the overall height of the Juniperus chinensis from three dimensions: 3M, 3.5M, and 4M, forming a tower shape with varying heights. This connects the ground cover layer with the trees and the structural layer, confirming the darkest stroke in the picture and controlling the overall lightness ratio at around 3:7 for black and white.

▼設(shè)計之初，對于植物的“奇思妙想”
there were "ingenious ideas" about plants.

整體的組團(tuán)形態(tài)，以點狀筆觸附著在地形結(jié)構(gòu)上，而點的大小才是我們需要去思考的，利用植物搭建點狀結(jié)構(gòu)，形成形體上的對比，結(jié)合色彩，表達(dá)主次分明的層級，統(tǒng)一畫面的和諧性。

The overall group form is attached to the terrain structure with point-like brushstrokes. The size of the points is what we need to consider. By using plants to build point-like structures, a contrast in form is formed. Combined with colors, a clear hierarchy of primary and secondary elements is expressed, unifying the harmony of the picture.

▼筆觸擺放
Brushstroke arrangement

▼層次搭建
Hierarchical construction

薰衣草紫與柏坡黃、光亮藍(lán)薊與鸚鵡嘴百脈根等進(jìn)行補(bǔ)色穿插運(yùn)用，龍舌蘭與墨西哥飛蓬降低畫面飽和度，龍柏效忠于暗部色彩，澳洲米花則被分配到抬色的工作當(dāng)中，增加畫面高光。在這樣的色彩及素描邏輯體系下，形成大家所看到的南法色調(diào)。

Lavender purple and cypress yellow, bright blue thistle and parakemouth root, etc. are interwoven as complementary colors. Agave and Mexican sedum reduce the saturation of the picture. Juniper is devoted to the dark colors, and Australian rice flower is assigned to the task of enhancing the color, adding highlights to the picture. Under such a color and sketch logic system, the southern French tones that everyone sees are formed.

我們還分享了一些照片給到南法旅行的朋友：“感受和我在南法遇到的風(fēng)景一模一樣”，得到這樣的反饋更是讓我們多了一份暖意。

泛著紫蘊(yùn)的浪漫，包裹著昏黃的暖意。南法不是一天被創(chuàng)造出來的，生命需要時間的扶持，慢慢形成你喜歡的樣子。


為什么能那么的南法

材料運(yùn)用、色彩搭建、形態(tài)捕捉、地貌梳理等關(guān)系從手稿到實地反復(fù)推演，按照“畫面營造—形態(tài)構(gòu)思—肌理控制—色調(diào)把握—貨源調(diào)配—實地打樣—品種敲定—栽植打樣—過程調(diào)整—最終呈現(xiàn)”的流程逐次推進(jìn)。

We also shared some photos with our friends who were traveling in the south of France: "The feeling is exactly the same as the scenery I encountered in the south of France." Receiving such feedback made us feel even warmer.
The romance with a purple tinge is wrapped in a dim yellow warmth. The South of France was not created in a day. Life needs the support of time to gradually take on the form you like.

Why can it be so southern in France
The relationships of material application, color construction, form capture, and landform sorting are repeatedly deduced from the draft to the site, and are advanced step by step according to the process of "picture creation - form conception - texture control - color tone grasp - source allocation - on-site sampling - variety determination - planting sampling - process adjustment - final presentation".


Attention！

南法植物會議時間：

鐵冬青、油橄欖、龍柏、菲油果、銀葉金合歡、光亮藍(lán)薊、澳洲米花、柳葉馬鞭草、齒葉薰衣草、薰衣草（初春）、荊芥、羅馬薄荷、美洲龍舌蘭、西班牙鼠尾草、冰藍(lán)鼠尾草、青葉玉芙蓉、湖北大戟、橙花糙蘇、細(xì)葉芒、柳葉星河、北美腹水草、湖北大戟、藍(lán)刺頭、水果蘭等。

The time of the Southern France Plant Conference:
Holly, olive, juniper, oil fruit, silver leaf acacia, bright blue thistle, Australian rice flower, willow verbena, toothed lavender, lavender (early spring), Schizonepeta, Roman mint, American agave, Spanish sage, ice blue sage, green leaf hibiscus, Hubei Euphorbia, orange blossom Perilla, fine leaf Miscanthus, willow star River, North American ascites grass, Hubei Euphorbia, blue thorn, fruit LAN et al.


PART 4
小小的美好
A LITTLE BEAUTY

“項目最開始的方案和最終落地呈現(xiàn)的，
基本沒有差耶太多”
"The initial plan of the project and the final
implementation and presentation
There's basically no big difference."

“嗯，想要感謝的人很多”

"Well, there are many people I want to thank."

夏天是一種美好，夏日那些無用的小美好，被藏在了瞬間之中。我們僅僅是在麓湖的版圖里書寫了一幅“南法童話”，希望堅持所堅持的，熱愛所熱愛的，光影隨行，浪漫依舊。

有機(jī)會去現(xiàn)場看看，能聽到我們摘取的五首法國歌曲我們相信音樂能賦予場地“靈魂”。

Summer is a kind of beauty. Those useless little joys of summer are hidden in an instant. We merely wrote a "fairy tale of the South of France" on the map of Lu Lake, hoping to hold on to what we hold on to and love what we love. Light and shadow follow us, and romance remains.
If you have the chance to visit the site, you can hear the five French songs we have selected. We believe that music can endow the venue with a "soul".

▼實景鳥瞰
Real-scene bird 's-eye view

▼方案手稿
Manuscript of the plan

▼時間過得好快
How time flies

“照片選了好多鳥瞰啊”
“嗯，好項目經(jīng)得起鳥瞰角度的考驗”

"Many bird 's-eye views were selected for the photos."
"Well, a good project can stand the test of a bird 's-eye view."

“居然選了14張鳥瞰”

"I actually chose 14 bird's-eye views"


松弛是一種感覺，法式是一種從容，優(yōu)雅是一種狀態(tài)，工藝、手法、自然、時間、以及設(shè)計的思考在這一刻站住了腳，而這一切都要感謝為項目所付出的團(tuán)隊。

One more thing —— C26樣板島
麓湖樣板島系列仍在持續(xù)演進(jìn)，
以藝術(shù)的狀態(tài)做南法的鄰居。
C26 COMING SOON

Relaxation is a feeling, French style is a kind of composure, and elegance is a state. At this moment, the thinking of craftsmanship, techniques, nature, time, and design has taken root, and all of this is thanks to the team that has contributed to the project.

One more thing - C26 Model Island
The Luhu Model Island series
is still evolving continuously.
Be a neighbor of the south of France in an artistic state.
C26 COMING SOON


| 項目信息
PROJECT INFORMATION

項目名稱｜萬華麓湖天琴澄音C16樣板島
委托業(yè)主｜成都萬華新城發(fā)展股份有限公司
景觀設(shè)計｜成都魏瑪景觀規(guī)劃設(shè)計有限公司
現(xiàn)場品控｜魏瑪花園
花境單位｜成都惠美花境園藝工程有限責(zé)任公司
施工單位｜成都綠浪園林工程有限公司
標(biāo)識深化｜成都遠(yuǎn)信通環(huán)境工程有限公司
飛檐深化及施工單位｜四川富瑞精典景觀雕塑藝術(shù)有限公司
雕塑座椅深化及施工單位｜成都市華韻達(dá)城市空間環(huán)境雕塑藝術(shù)有限公司
項目地址｜成都 麓湖生態(tài)城
開放時間｜2025.05
景觀面積｜3674㎡
攝影團(tuán)隊｜Holi、Roven


來源：本文由成都魏瑪景觀規(guī)劃設(shè)計有限公司提供稿件，所有著作權(quán)歸屬成都魏瑪景觀規(guī)劃設(shè)計有限公司所有。

本文版權(quán)歸腿腿教學(xué)網(wǎng)及原創(chuàng)作者所有，未經(jīng)授權(quán)，謝絕轉(zhuǎn)載。

上一篇：[db:標(biāo)題]

下一篇：懸崖上的“軟骨頭”？這座公寓偏不跟自然硬碰硬

猜你喜歡

BIM建筑|同濟(jì)院新作：西藏美術(shù)館，世界屋脊上的時空疊變

BIM建筑|獨(dú)棟住宅新物種：成都麓湖黑石島垂直五連墅 / 孟凡浩x萬華

BIM建筑|上海久光中心，城北商業(yè)地標(biāo) / 日本設(shè)計+同濟(jì)院+UNStudio

建筑賞析|GardenNomad,從一畝園到PudongVilla

BIM建筑|日建設(shè)計+高力國際入圍方案：上海浦東金橋副中心東部片區(qū)城市設(shè)計

建筑賞析|合肥萬象城屋面改造

最新課程

施工BIM定制化培訓(xùn)

Revit

42873人已學(xué)

BIM土建實戰(zhàn)訓(xùn)練 - A部分標(biāo)準(zhǔn)化建模指導(dǎo)

Revit

6101人已學(xué)

BIM土建實戰(zhàn)訓(xùn)練 - B部分 場地與基礎(chǔ)模型創(chuàng)建

Revit

8983人已學(xué)

BIM土建實戰(zhàn)訓(xùn)練 - C部分 地下室土建模型創(chuàng)建

Revit

13859人已學(xué)

BIM土建實戰(zhàn)訓(xùn)練 - D部分 協(xié)同工作

Revit

2745人已學(xué)

BIM土建實戰(zhàn)訓(xùn)練 - E部分 裙房及塔樓模型創(chuàng)建

Revit

5101人已學(xué)

推薦專題

Revit下載全版本2014~2025專輯

Revit離線族庫、樣板、族樣板專輯

BIM電腦配置專輯

全國BIM等級考試相關(guān)內(nèi)容專題

全國BIM標(biāo)準(zhǔn)合集

Revit常見安裝問題專輯

1+X歷年真題合輯

Revit基礎(chǔ)工具詳解專輯

廣聯(lián)達(dá)軟件下載專題-MagiCAD下載,施工建模,模板腳手架,BIM5D

bim模型手機(jī)查看軟件專題

bim軟件_bim軟件有哪些_bim軟件介紹_bim軟件多少錢一套

Revit2024專題-Revit2024下載,Revit2024教程,Revit2024新功能

成塔混動設(shè)計

Revit2025專題

CATIA軟件專題

SketchUp軟件專題

V-Ray軟件專題

Enscape軟件專題

AutoCAD軟件專題

Revit2026專題-Revit2026下載,Revit2026系統(tǒng)配置,revit2026最新功能

3dsMax插件下載專題

SketchUp插件下載專題

BIM小別墅教程系統(tǒng)視頻+圖文教程

BIM等級考試二級建筑教程