林隐轩 - hhlloo

公司：	VIA维亚景观	类型：	景观
地区：	中国	标签：	服务中心

1.相地立轩：从公园服务设施到“林隐轩”造园实践

1. from Tourist Center to Contemporary Chinese Garden

项目位于田林公园（原“田林中心绿地”）东南一隅，用地呈东西长约70米、南北进深仅约33米的矩形空间。场地内部又被275棵成年水杉构成的片林占去大半，实际可利用空间为占地不到500平米的集中硬质场地（现状为存在明显安全隐患的儿童活动场地）。为容纳公园游客中心设定的诸多功能（公园管理办公室、游客问询、男女卫生间、母婴室、第三卫生间、工具间及管理间、安保、值班室、公园绿化管养室内空间及室外场地等），同时又满足作为24小时开放公园的东侧主入口的形象与功能需求，经反复现场踏勘后，我们放弃了传统的比较紧凑集中式建筑布局方式。走向与现状水杉林更多互动的园林院落式布局，将空间行为（功能性行为与景观游憩行为）与水杉林的关系作为设计表达的要点。

This project is located in the southeast corner of Tianlin Park. Although covers a rectangular area of 70M in length and 33M in width, the site is majorly occupied with 275 Metasequoia trees, leaving merely less than 500M2 of paved space for future functional use. The program requires multiple functions in a minimal space which has to encompass an Administration office, washrooms (including a nursing room and gender-inclusive washroom), a security control room, a warehouse, and an outdoor playground. To meet the needs of functional uses and to build a unique image for the east entrance of this fully open park, we break away from a conventional compact layout and shift the design to a new direction after several site visits. This plan focuses on articulating the relationship between spatial behavior and the existing Metasequoia forest by using a Chinese Garden way. In which more flexible spatial combinations and interactions are cross-linked. In this way, the relationship between spatial behavior (including functional and recreational behavior) and the Metasequoia forest is emphasized in the design scheme.

而现状水杉参天环绕，自然幽静气息浓厚，确是应了“市井不可园也，如园之，必向幽偏可筑”1的城市山林造园相地原则。同时，我们在设计中取“轩楹高爽……收四时之烂漫”1的高敞、通透之意，强化使用者在流动空间中的自然与景观体验，巧妙的将公园东入口的功能融于整体游客中心设计。因为“隐于林”的整体空间关系、而我们又在具体设计中不断呈现空间与林的景观互现，于是定名“林隐轩”。

The existing towering Metasequoia tree establishes an overwhelmingly tranquil natural atmosphere, which responds to the principle in the traditional Chinese Garden theory for site observation. On top of this, much grand space is adopted in the design to amplify a sense of spatial transparency for a more natural experience in the fluid space. The continuous flow of space then seamlessly merges the east entry functions of the park into the general design of the tourist center. Hidden in the context of the Metasequoia forest, the exterior and interior spaces of the building alternatively emerge as the user passes through. So we named the tourist center “Linyin Gallery” which means a gallery hidden in the woods in Chinese.

2. 骨法用笔：二次空间建构叠合的当代造园方法

2. Superimposed Construction for Contemporary Garden

基于整体园林院落式的布局，我们展开第一层次的空间建构，在整体矩形场地中以4米×4米×4米（长×宽×高）的功能模块做空间排比。“排比的大体步骤是先求单元，然后组合”2，我们在将诸多功能合理的嵌入空间模块的同时，又依据行为动线与体验特征需求的不同，以灰空间、景观空间模块将实体功能模块园林化重组，为林隐轩的基础使用与游观体验定基调。

We initialize the design process with spatial construction from the bottom up. The first layer of space construction follows the methodology described as “Unit module is defined followed by unit combinations” 1, functional modules with a size of 4x4x4M are initially aligned on the layout to make diverse combinations. The functions required by the program are incorporated into the modules, which are furthermore rearranged based on various flows and user behavior requirements. This gives a base for the fundamental uses and user experience of Linyin Gallery.

相对于第一层次建构，第二层次的空间建构是模块化的空间减法，同时也是一个外向的过程。通过空间减法，一方面让林隐轩与现状水杉林在建筑形体与空间上形成更为内外融合的互动关系，同时也响应了田林公园整体空间圆形的空间语汇与结构。更重要的是，通过第二次空间建构消解与弱化了第一次空间建构的视觉感受度，在达成“宜掩者掩之，宜屏者屏之，宜敞者敞之，宜隔者隔之，宜分者分之”3的空间营造同时，试图让使用者获得“见其片段，不逞全形，图外有画，咫尺千里，余味无穷”3的游观体验。在林隐轩的设计中，我们尝试通过当代设计方法诠释“骨法用笔”4，达成挣脱一般意义上或“应物象形”4或“传移模写”4的造园与空间设计，在当代语境下寻求和破解古人以为“不可学”5、“莫可楷模，出于意表”6的“气韵生动”4，是一次“制式新番，除去旧套”1的造园实践。

The second layer of space construction is more of a process of spatial cutting, as well as a process of integrating into nature. Spatial cutting allows a seamless connection between interior and exterior, as well as a more consistent circular design language and design structure of the park. More importantly, the second layer of space construction softens the strong visual impact generated from 1st layer. Having achieved the spatial construction that is “to conceal, to screen, to widen openings, to separate, to divide wherever suits ”2, the design tries to acquire a sensation that is “parts instead of the whole can be seen, pictures outside pictures, a foot seems like thousands li” 2.

We tried a more contemporary design approach here to apply “drawing with structure”3 to avoid being “intuitively mimicking” 3. It is also a brand-new garden design practice to break through what the precedent designers regarded as impossible.

3.借景三要：以自然环境、空间、材料触发的借景体验

3. the Methods of Landscape Borrowing

“构园无格，借景有因”1是造园的要义。林隐轩在借景上并非是具体点位的刻意为之，而是建立在建筑与环境的基础关系与整体空间营造的基础上。首先，在平面布局上模块化的交错组合以及主要建筑界面的“灰化”，是实现在所有行为路径上邻借、远借、仰借现状水杉林自然幽远景致的关键。同时，基于空间建构的多处巨型“尺幅窗”7令各个视角皆呈现人与山林之景融合的园林“无心画”7。再者，白色清水砼与剪力墙结构的选择，一方面设定了基础的园墙虚实关系，也令林隐轩具备了“以粉壁为纸”1、以树林之影为绘的条件，形成了随自然光影变化对现状片林风景的应时而借。以上就是林隐轩响应自然环境和基于空间建构的借景要点。

One of the key points of the Chinese garden design is “borrowing landscape from the site clues in order to construct a garden freely”4，Linyin Gallery is built on the philosophy of general spatial organization and a dialogue between the building and the surroundings. The design layout, which incorporates staggered modules and permeable edges, allows different ways of incorporating Metasequoia forest as a natural splendor. Shaped windows also create a talk between the exterior and interior from various perspectives. The selection of white concrete and shear wall structure setup a relation between the tangible and the intangible, then making the gallery a canvas to let the tree shadow draping on. The natural light drops diverse shapes of tree shadows as the clock ticks. All these approaches contribute to fulfilling the method of “landscape borrowing”, in which the spatial construction speaks to the natural environment.

4. 空间对偶：设计多维度的旷奥

4. Design for Spatial Dual

“园之妙处，在虚实互映，大小对比，高下相称”8，林隐轩的设计营造也在不同维度呈现空间对偶的意趣。现状水杉林环绕围合的基础场地关系，确定了林隐轩建筑主体隐于林的“藏”，兼具公园东入口功能的部分功能区则以“露”的方式鼓励与引导行为。同时，在整体空间中形成以林为“高”、以轩为“下”的园景关系。而18个4米×4米×4米空间模块中的12个功能型模块被组合为三组相对集中的组团后，呈现出经由林隐轩进入田林公园主路径的“直”与“动”，服务功能区内部行为动线则是相对的“曲”与“静”。同时，作为结构材料的白色清水砼和装饰材料的浅金色穿孔铝板也共同构成了建筑界面的“实”与“虚”的对话、过渡。此外，林隐轩经过二次空间建构叠合而成的空间关系可以被看作是创作上的“严密”；而我们在相邻水杉林林下空间则仅以麦冬和兰花三七做底、用块石敷下凹空间以自然的方式吸收地表水，则是设计上刻意的“松弛”。以上多维度的空间对偶手法，一方面是基于场地特征的顺势而为，更重要的则在于本次设计中尝试的当代造园方法的骨法用笔，也由此综合形成了林隐轩总体上旷奥融洽的园林体验。

The gist of garden design is to “have tangible and intangible, big and small, highs and lows at the same dimension as spatial comparisons”5. The design and construction of Linyin Gallery follows the “spatial dual” method, in which talk between different parts of spaces in a multidimensional way is highlighted. The gallery itself is literally “hidden” given the enclosed Metasequoia forest. Part of the functional space at the east entry, on the other hand, is more “exposed” to encourage and guide user’s behavior. At the same time, the “woods” at a higher level and the gallery at a lower level establish another spatial comparison; “straightness and movement” presented on the way from Linyin Gallery to Tianlin Park, as well as the “zigzag and Stillness” shown in the functional area, are also stressed in the design layout. Meanwhile, the dialogue and bridging between the “tangible and intangible” of the building are presented with white concrete as the main structural material and perforated panels as the ornamental façade.

Having undergone secondary spatial superimposed construction, the spatial relations of Linyin Gallery could be regarded as conceptually “strictness and flawlessness”, while the deliberately made “looseness” was generated from a more natural bio-swale made of groundcover combined with natural stone under the Metasequoia forest.

All spatial design skills of juxtapositions mentioned here follow the site context. More importantly, the structural design method is exploited to manage a blended feeling of “broadness and deepness” for garden visiting experience.

5. 意外之喜：保护一个施工过程的瑕疵

5. a Beautiful Flaw

林隐轩的设计营造，对于我们而言是一次重要当代造园实践，不仅在于本次设计从传统园林基于游观路径为线索的组景转向采用当代空间建构的设计方法，也在于完全采用当代的材料与工艺（甚至连现状的水杉林都不算中国园林常用园林植物）。以白色清水砼作为主体结构材料，在与周边田林新村老社区白、浅灰、浅暖的建筑外墙调性融合的同时，也在相当程度上呈现出林隐轩俊逸、朴雅的园林气息。

The design and construction of Linyin Gallery is an important contemporary garden design practice for us. The design approach deviated from the traditional way of Chinese garden design, not only because a modern spatial construction method instead of pedestrian flow-oriented spatial construction is applied, but also considering purely modern materials and crafts are employed. White concrete, as a major material used for buildings, blends with the combinations of grey, shallow grey and beige façade from Tianlin community. It also embodies an exquisite elegance as a landscape structure. We prefer a rather simple design philosophy, in which complex curves are avoided. The design of Linyin Gallery follows a simple and clean appearance as well. For better budget control, we suggest applying timber formwork instead of steel formwork.

为了更好的为业主控制成本，我们建议施工单位采用传统木模板而非高成本的定制钢模进行清水砼浇筑。然而施工期间遭遇几场大雨，因为涨模引发局部浇捣不均匀的缘故，拆模后出现几处表面瑕疵，其中最明显的一处位于男卫生间与工具间相邻的墙体上。对于这样的意外，我们极为重视，经第一时间现场查看后，却发现此处瑕疵呈现的图形竟有中国山水画意，略似李唐《万壑松风图》的位置经营，也颇具王绂《山亭文会图》的山石形貌，又似乎可见沈周《庐山高图》的细腻俊逸，也多少倪迂草草逸笔，于是大喜。在和业主沟通后，快速达成一致：将这片施工过程的瑕疵不加任何修复的保留下来。这幅“白色清水砼山水”不仅是林隐轩营造过程的意外之喜，也体现了业主团队与设计团队在空间审美和对待当代工艺真实性上的合拍融洽。

However, several surface scratches were detected after removing the formwork during the construction， especially the one on the wall adjacent to the men's washroom and warehouse. This may result from the soaked formwork after several times of rainstorms. We surprisingly found the scratch resembles an abstract traditional Chinese landscape painting after observation. VIASCAPE design and the client reached an agreement to retain the scratches without any further treatment. This “white concrete landscape painting” is quite a beautiful surprise, which stems from a synergy between the design and client team regarding the similar spatial aesthetic value and respect to modern authentic craftsmanship.