万科翡翠紫台无相园

公司：	UMS里表都会	类型：	景观
地区：	中国	标签：	展示区 \| 万科地产

千尺为势，百尺为形，势是远景，形是近观。势是形之崇，形是势之积。有势然后有形，有形然后知势。势住于外，形住于内。

——《阳宅十书》

A thousand feet is potential, a hundred feet is shape, potential is prospect, shape is close view. Potential is the worship of form and form is the product of potential. Potential then tangible, tangible and then potential. The potential lives outside, while the form lives inside.

介入项目之初，邻盘销售已久，步行300米的距离，形成互为竞争的格局状态。项目的总体界面与气势上要呈现出相对较大的展示性与昭示性。建筑庞大的体量和厚重的制式确定了项目的初始气场。

景观介入后主要思考两栋房子（会所与住宅）之间与园子的状态，一种是外向的，基于会所建筑北面，突出对客户的招揽和项目的记忆，半藏的空间与界面的处理和精细化的酒店手法强化了进入前的心理暗示，配合门岗，顿足内望，心理变化便油然而起。

At the beginning of the project, the next-door property with a distance of 300 meters had been sold for a period of time, forming a competitive state with our project. Therefore, the overall interface and momentum of the project needs to be relatively large in display and visibility. On the other hand, the huge volume and heavy format of the building also determine the initial temperament of the project. After the landscape intervenes, it mainly considers the status between the two houses (clubhouse and residence) and the garden. One is outgoing. Based on the north of the clubhouse building, the landscape highlights the client's solicitation and memory of the project. The refined hotel tactics strengthened the psychological cues before entering, cooperated with the gate, and looked inside, and the psychological changes emerged spontaneously.

另一种是进入后的状态，整栋建筑玻璃落地，南北需要景观的收合，否则北面望路，南边望楼就会比较尴尬与消极。二进的园子南北被两栋建筑所界定，同时需要考虑消防，和单元出入口的使用需求，未来要接合东西两侧的宅间路，这些潜在的使用要求迫使定义内园要是一个安静的，多样的，或者就是一种无相的。那么之于场地就不能太轻，之于建筑又不能太重，轻重之间的控制和园子的状态便是在接下来需要琢磨的过程。

The other condition is after entering the site. The entire building glass is grounded, and the north and south need to be folded. Otherwise, the north side of the road and the south side of the building will be more awkward and negative. The two-entry garden is defined by two buildings in the north and south. At the same time, it is necessary to consider the use requirements of fire protection and unit entrances and exits. In the future, it is necessary to join the building roads on both sides of the east and west. These potential use requirements force the definition of the inner garden to be quiet and diverse. , or just a kind of phase-less. Then the landscape should not be too light for the site , and too heavy for the building, the control between light and heavy and the state of the garden are the processes that need to be considered next.

轻重之间的处理策略——借势为妙

TAKE ADVANTAGE OF THE SITUATION

1.借主体（建筑）

BORROW THE BUILDING

一泻而下的建筑控制了上部立面的状态，景观顺势延续并细化了下部的空间状态，由内园望去便形成了不分彼此的平置效果，连接了建筑的内与外。

With the main body (building), the cascading building controls the state of the upper façade. The landscape continues and refines the spatial state of the lower part. From the inner garden, it forms a horizontal effect regardless of each other. Inside and outside of the building.

2.借天空

BORROW THE SKY

“井“字形的建筑布局，从底部上望框取了天空作为景观，我们在内庭以水面相映，投射下来的光影便成为了此处绝佳的落笔。

The layout around the building and the hollow inside makes the sky a landscape looking up from the bottom. We reflected the sky on the water surface in the inner court, so that light and shadow were projected on the water surface.

3.借彼此

BORROW EACH OTHER

相生相借，分形片墙既限定了空间又充当了角色，小山势的依靠，游廊的环抱，卷轴立面的展开，洞窗的开合及自身的形变，全部依靠主体的11片墙完成了叙事的连贯与整合。

Borrowing each other, the fractal wall not only defines the space but also plays a role. The dependence of the hills, the embracing of the veranda, the unfolding of the facade of the scroll, the opening and closing of the windows and the deformation of the space all rely on 11 The wall becomes complete and coherent.