融创·山水云龙丨中国徐州丨近境制作

2021/12/28 09:03:36

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唐忠汉/中国

中国水墨画中强调意境的塑造，写意、留白、求拙。画常与诗词同屏，诗以山川为镜，山川亦以诗为镜，力求绝、神、精、妙、能，达“逸品”之境，涂的是水墨黑白，内含的实则是本心与天地的联接。

Chinese ink painting emphasizes the shaping of artistic conception, freehand brushwork, white space and modesty. Painting and poetry with the same screen, poetry to mountains and rivers as a mirror, mountains and rivers also to poetry as a mirror, and strive to be absolutely, god, fine, wonderful, can, up to the "Yi Pin" of the state, painted is black and white ink, containing is actually the connection between the heart and the world.

徐州山水云龙售楼处应运而成，融创携手唐忠汉，砌山川为砚，挥江河为墨，设计师以经典传统的建筑语汇，融合于当代的审美观点，造一卷山、水、石、木的写意画境，描绘一幅自然宁静的山水东方。

Sunac joined hands with Tang Zhonghan to build mountains and rivers as ink-stones and rivers as ink stones. The designer created a freehand brushwork painting of mountains, water, stone and wood with classical and traditional architectural language and contemporary aesthetic views, depicting a natural and peaceful landscape of the East.

“秦唐看西安，明清看北京，两汉看徐州”。徐州，上古九州之一，彭祖文化、两汉文化的源头，也是南北集萃之地，具有文化原型的意义，可谓一国之历史，一国之灵魂。山水云龙坐落于此，氤氲着华夏东方最重要的文化气息。

Xi’an in the Qin and Tang dynasties, Beijing in the Ming and Qing Dynasties, and Xuzhou in the Han Dynasty. Xuzhou, one of the nine ancient states, is the origin of Pengzu culture and The culture of the Han Dynasty. It is also the place where the north and the South gather. It has the significance of cultural prototype and can be described as the history and soul of a country. Landscape yunlong is located here, dense Chinese Oriental culture of the most important atmosphere.

项目以徐州深厚的人文历史为依托，采用“三进式”空间营造专属东方的仪式感。“一进”，水光潋滟，山色空濛，回归大地自然本真。

Relying on the profound cultural history of Xuzhou, the project adopts "three-way" space to create a unique Oriental ritual sense. "Into", shuiguang billows, empty mountains, return to the nature of the earth.

“闲上山来看野水，忽于水底见青山。”室外山水光景与室内灯光互相透射，互相感受，恰如人文与自然、传统与当代的交织磨合。

Leisurely up the mountain to see the wild water, suddenly in the bottom see green mountains. Outdoor landscape scenery and indoor lighting are transmitted and experienced each other, just like the interweaving of humanity and nature, tradition and contemporary.

庭园与室内间的回廊，为空间增加了大尺度景深，中国传统园林中的曲径通幽变得巍然大气。特别设计的金属网，似有若无的通透感更像是那东方的朦胧美感。

The corridor between the garden and the interior adds a large scale depth of field to the space, making the winding path in the traditional Chinese garden majestic. The metal net that designs specially, be like to have if do not have fully the hazy aesthetic feeling that feels like that east more.

“二进”，由入口进入室内，对称的格局恰是东方礼序的传承和实现，极具仪式感与尊贵感，以山水为介质，素雅与极简形态的建筑内核是整体空间的第一印象。

The symmetrical pattern is exactly the inheritance and realization of Oriental ritual order, with a sense of ceremony and dignity. With landscape as the medium, the simple, elegant and minimalist architectural core is the first impression of the whole space.

空间第一视觉，唐忠汉打造了一个古代中国人家“中堂”的形象，作“迎宾”之意。古人在中堂常挂有家训，亦呼应了徐州文化中的“仁、义、德、信、礼、道”，呈现出富有意味并有迹可循的文化轨迹。

The first vision of space, Tang Zhonghan created an ancient Chinese family "central hall" image, as "welcome guests" meaning. The ancient people often hung family sayings in the central hall, which also echoes the "benevolence, justice, virtue, faithfulness, courtesy and tao" in Xuzhou culture, presenting a meaningful and tractable cultural track.

唐忠汉在入口处采用仪式性空间，借由墙体间的座落位置，压缩形成仪式性的长廊，空间虚实，以墙体的穿插界定空间关系。

Tang Zhonghan uses a ceremonial space at the entrance, and compresses the position between the walls to form a ceremonial corridor. The space is empty and solid, and the interpenetration of the walls defines the spatial relationship.

西汉未央宫是中国迄今最大宫殿建筑群之一，两汉功绩更加映衬了它的威严。自此，后世中国宫殿开始以“规模大”、“气派”、“雄浑壮美”为名。

The Weiyang Palace of the Western Han Dynasty is one of the largest palace buildings in China. Since then, later Chinese palaces began to be known as "large scale", "magnificent" and "magnificent".

第“三进”，沙盘区整体空间传承了汉代宫殿的庄严大气，设计师坚定重威思想与壮丽之美的追求，凸显了原建筑纵横宽广的优势，还原空间本真面貌。

In the third step, the overall space of the sandpan area inherits the solemn atmosphere of the Han Dynasty palace. The designer firmly emphasizes the majestic thought and the pursuit of magnificent beauty, highlighting the advantages of the original building’s breadth and width, and restoring the original appearance of the space.

吟古诵今，对看今朝百舸争流。

依托建筑自身特点，沙盘区对称结构布局更有宫廷建筑的仪式感，空间中多以格栅或铁件为基础元素，重新架构空间的起承转合。

"Reciting the ancient and reciting the present, looking at the present hundred boats contend for flow"

Relying on the characteristics of the building, the symmetrical structure layout of the sand table area has a more ceremonial sense of the palace building. The space is mostly based on the grid or iron pieces to reconstruct the beginning, transfer and closing of the space.

"阙楼"是城门前两边的望楼，其最高等级的三出阙是皇帝才有的标志性建筑。阙在汉代具有导引性，多设在城市、宫殿前方，称"门阙"，因为上面可以远观，所以又称之为"观"。

"Que Lou" is the watchtower on both sides of the gate of the city, and its top three que is the symbol of the emperor. In the Han Dynasty, the gate que had a guiding character and was often located in front of cities and palaces. It was called "Gate Que" because it could be viewed from a distance.

设计师以“汉代菱形乳丁纹柱”为设计原型，通过衍生变化，再以阙的形式表达，便有了空间中一座座大巧若拙、庄严肃穆的立柱。

The designer took "Han Dynasty diamond-shaped milk column" as the design prototype. Through derivation and change, and then expressed in the form of que, we have a large and solemn column in the space.

落地沙盘的使用让观者得以俯瞰项目整体，更直观感受全新的生活方式。空间结构线条与光源的转换，设计师运用量体及借景交融，呼应整体概念的延续。

The use of floor sand table allows viewers to overlook the whole project and feel the new lifestyle more intuitively. The conversion of spatial structure lines and light sources, the designer uses volume and borrowed scene blend, echoing the continuation of the overall concept.

中国不似西方面面俱到的艺术特点，相比写实，中国画更写意，讲究意境，大开大合间总结灵魂、空白的布置和物体的气质。归结到建筑上，便是模糊界限。

Unlike the western art features that cover all aspects, Chinese painting is more freehand than realistic. It pays attention to artistic conception and sums up the soul, blank layout and temperament of objects in open and closed Spaces. When it comes down to architecture, it’s blurring the boundaries.

这是专属东方美学的浪漫，区域与区域间、室内与室外，彼此分隔却又以某种元素相连通，互相打破与再融合，虚实之间，生成新的美学模式。

This is the romance of Oriental aesthetics. The area and the area, indoor and outdoor, are separated from each other but connected with some elements, breaking and reintegrating with each other, creating a new aesthetic mode between the virtual and the real.

洽谈下沉区通过内外高差与整面落地玻璃帷幕形成虚实，模糊界限，以水面作为新的天际线，营造别致的视觉冲击。

Negotiate the sinking area through the internal and external height difference and the whole floor glass curtain to form the virtual and real, blur the boundary, with the water as a new skyline, to create a unique visual impact.

回转之间感受不同光影变化，书香与茶亦是文化交融与互动。仿佛穿越时空与古今中外的骚人墨客对话，又似乎听到陶潜诵读“采菊东篱下，悠然见南山”的惬意安然。

Different light and shadow changes can be felt between turns. The fragrance of books and tea are also cultural integration and interaction. As if through time and space with ancient and modern poets and poets dialogue, and seems to hear Tao Qian reciting "chrysanthemum east hedge, leisurely see the South Mountain" comfortable and safe.

空间屋顶随自身建筑特点与走势，依汉代传统木构架屋顶--庑殿、悬山、屯顶、攒尖、歇山为设计基础，斜面、穹顶、叠顶等极具设计感的同时，更增添了层次感与空间节奏感。

Space roof with its own architectural characteristics and trend, according to the Han dynasty traditional wood roof - hip roof, hanging hill, dun top, zanjian, xiashan as the design foundation, inclined plane, dome, folding roof and other very design sense at the same time, but also add a sense of hierarchy and space rhythm.

茶室安静地包藏在洽谈区内部，静谧的空间气韵游走在其中，汉服元素呼应了项目设计主题，汉文化贯穿在每个细枝末节。

The teahouse is quietly hidden inside the negotiation area, where the quiet space atmosphere flows. The Han costume elements echo the design theme of the project, and The Han culture runs through every detail.

空山新雨、曲径通幽。恰如国画的虚实布置，山水云龙整体在进入深度洽谈区是一个由动入静的过程，设计师将引领客人从一个开放性的社交区域，走进更私密、纯粹的商谈空间。

Empty mountain new rain, winding tongyou. Just like the virtual and real layout of Traditional Chinese painting, the whole landscape cloud dragon entering the in-depth negotiation area is a process from motion to stillness. The designer will lead the guests from an open social area to a more private and pure negotiation space.

空间的色彩基调也因此更加浓郁，相比外部的朴素与淡雅，深度洽谈区更具现代主义的审美理念，出入之间，直指人内心的安宁。

The color keynote of the space is therefore more rich. Compared with the simple and elegant exterior, the in-depth negotiation area has more modernist aesthetic concepts, which directly points to the inner peace of people.

卫生间为保留光线的穿透，平面的安排将手盆区分离，透过镜面运用，镜中镜；光中光，物体的无限延伸，体验空间趣味。

In order to retain the penetration of the light, the arrangement of the plane will be separated from the basin area through the mirror, mirror mirror; Light in light, the infinite extension of objects, experience space interest.

一层格栅引室内外互相穿透，人文与自然的微妙关系恰在平衡之间。两汉、徐州、山水东方，唐忠汉游走于多文化维度、去伪存真，自内心深处阐述纯朴的意境。

A layer of grating leads the interior and exterior through each other, and the delicate relationship between humanity and nature is precisely balanced. In the Han Dynasty, Xuzhou and the East, Tang Zhonghan walked in the multi-cultural dimension, eliminating the false and preserving the true, and expounded the simple artistic conception in his heart.