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宁德宝信·郦景水鄉一期丨中国宁德丨深圳艺莫设计有限公司

2025/01/09 16:06:11

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艺莫设计：宋朝名将韩世忠到宁德漳湾看望老友，觥筹交错之间有感于宁德蕉城作赋唱诗之风盛行，便赋诗赞誉蕉城为“海国斯文地”。

自古以来，自然山海与人文风雅便是宁德标签化的城市属性，宝信·郦景水鄉(下称水鄉)的营造过程便是一次关于人居环境的极致探索，闽东精神文化的传递。

而“海国斯文地，水乡藏胜景”，便是贯穿整个水鄉景观设计的核心思想。以“藏”为核，塑斯文地之风雅；以“胜景”为承，引闽东山海以入画。

Y+MDesign: Han Shizhong, a renowned general of the Song Dynasty, visited his old friends in Zhangwan, Ningde. Inspired by the vibrant tradition of composing and reciting poems in Jiaocheng, Ningde, he composed verses praising Jiaocheng as a “Land of Cultural Refinement by the Sea.” Since ancient times, Ningde has been defined by its majestic mountains and seas, coupled with its cultural elegance.

Baoxin’s creation of Lijing Water Town (hereinafter referred to as Water Town) represents an extraordinary exploration of ideal living environments and a mission to convey the cultural essence of eastern Fujian. The core philosophy of Water Town’s landscape design lies in “hidden beauty within the refined water town.” Rooted in the concept of “hidden,” it embodies the elegance of cultural refinement, while “scenic beauty” integrates the awe-inspiring mountains and seas of eastern Fujian into a poetic landscape.

归礼篇

Chapter of Returning to Elegance

大门是住宅最重要的形象窗口，而显贵往往是大门在身份认同表达上最有效的诠释。水鄉的大门摒弃了皮相上的符号堆砌，将宁德传统民居制式融入简约克制风雅的宋氏美学。入口处对细节偏执的强调与界面上放纵的留白，不仅没有泾渭分明的对立，反而共同构建了水鄉形象界面的秩序。在大门张扬的尺度之下，松影妖娆，行船停驻，水波潺动，这一份宅邸威仪之下的松弛便是水鄉对身份认同的另一种表达。

The entrance serves as the most symbolic gateway of a residence, and its prominent features often provide the most effective reflection of identity recognition. The gate of Water Town has eschewed superficial ornamentation, instead integrating the traditional residential style of Ningde with the refined and restrained elegance of Song Dynasty aesthetics. The meticulous attention to detail at the entrance, combined with the deliberate simplicity in the design’s blank spaces, does not create a stark contrast but instead harmoniously constructs the visual order of Water Town. Beneath the grand scale of the entrance, with enchanting pine shadows, moored boats, and rippling waters, emerges a sense of calm that complements the dignity of the residence—offering a unique expression of identity in Water Town.

南大门作为水乡一期对外形象窗口，整体形态上呈现宋氏美学“宋韵风雅”。我们从入口处就注重彰显水乡项目纯雅的人文气息与美学格调，同时提取并形意化了宁德传统建筑民居元素：重檐、灰瓦、飞檐等。用宁德在地基因与宋氏美学的碰撞，来诠释代表闽东精神的城市住宅名片。

As the external gateway of the first phase of The Water Town, the South Gate embodies the charm and refined elegance of Song aesthetics. From the entrance, we highlight the pure and elegant cultural essence and aesthetics of The Water Town project, while abstracting and reinterpreting traditional architectural elements of Ningde, including double eaves, gray tiles, and flying eaves. Through the fusion of Ningde’s local heritage and Song aesthetics, it interprets an urban residential emblem that embodies the spirit of eastern Fujian.

松下歸泊 Matsushita: Resting Beneath the Pines

“福船”作为宁德的国家级非物质文化遗产，我们取“福船”形意，采用南派石雕手法手工雕刻，设于入口水景之上，满载宁德山海。是满载而归的丰裕，亦是福至家门的祥瑞。船下水波潺动，清风自来。与斜飘黑松组合成为水乡入口处令人驻足的风景线，以“福船”之名，守护业主的每一次归家。

Drawing inspiration from the form and symbolism of the “Fuchuan,” a national intangible cultural heritage of Ningde, we hand-carved it using traditional Southern-style stone carving techniques. Positioned above the entrance water feature, it symbolizes the abundance of Ningde’s mountains and seas. It represents prosperity and fulfillment, as well as a token of good fortune gracing the doorstep. Beneath the boat, rippling waves flow gently, accompanied by a soft, natural breeze. Paired with gracefully leaning black pines, it forms an iconic vista at the entrance of the water town, watching over every homecoming under the name of the “Fuchuan” (Lucky Boat).

闲庭雅駐 Graceful Leisure Courtyard

入口对景处的圆形框景衔接了大门与园区的视线关系，让大门对外的礼仪形象与园区的写意胜景有了恰当的衔接。这一份渗透感，进一步强化了水乡高奢定制化的住宅形象，无形中激发了人们对内部游园的无穷探索欲。

The circular framed view at the entrance establishes a seamless visual connection between the gate’s formal elegance and the park’s picturesque scenery. This sense of seamless flow further enhances the luxurious and bespoke residential identity of the water town, subtly inspiring an endless desire to explore its inner gardens.

石韵篇

Chapter of Stone Elegance

黄花鱼是宁德的城市标签之一，也是每一个宁德人对家的记忆。两尾黄花鱼浮雕藏于天然石头之上，有浑然天成之美。它们一高一低遥相呼应，进出之间是归家的守候，也是水乡在入口处关于归家温度的表达。石头与流水台相咬合，在画面感的呈现上既保留了石头天然的形态美又兼具流水台考究的细节表达，自然与精致在此处产生了强烈的碰撞。

The yellow croaker is a cultural symbol of Ningde and a cherished emblem of home for its residents. Two yellow croaker reliefs, subtly embedded in natural stones, exude a sense of innate beauty. Standing in harmonious dialogue, one high and the other low, they symbolize the anticipation of homecoming, subtly conveying the warmth of return at the water town’s entrance. The stone and flowing platform are seamlessly integrated, preserving the stone’s natural elegance while showcasing the exquisite craftsmanship of the flowing platform. Here, nature and refinement form a striking interplay.

▽天然石头精工雕琢的黄花鱼 Yellow croaker delicately carved from natural stones

▽石头的雕琢上有度才能有渡，达到天成与手作的平衡 Only with moderation in the carving of stones can there be a transition, achieving a balance between nature and handmade craftsmanship

▽顺势而为的雕琢下，石头让胜景有了天成之美。Under the carving that follows the trend, the stones give the scenery a natural beauty.

“滴水穿石”之石作为整个项目中最具标志性的石头，长 4 米。相比于雕刻，更难的在于选石的过程，团队花了将近一周时间辗转于多个堆场，终寻得此石。如同大海捞针般的寻石过程，又何尝不是某种意义上的滴水穿石？

在石头的雕刻上，我们保留了大部分的原石皮，重点着墨于中间部分，采用线雕/影雕/手凿/磨光/黄铜手锤等多种手法的结合，来表达“穿石”之意。

The “Persistence Through Stone” rock, measuring 4 meters in length, stands as a defining symbol of the entire project. The greater challenge lay not in carving, but in the process of selecting the stone. The team spent nearly a week scouring multiple storage yards before finally uncovering this exceptional piece. The painstaking search for the stone, akin to an arduous quest, embodies the spirit of persistence itself.

In carving the stone, we preserved much of its natural surface, placing emphasis on the central section. A combination of techniques—including line carving, shadow carving, hand chiseling, polishing, and the use of brass hammers—was employed to convey the concept of “perseverance piercing through stone.”

▽最大化保留石头美感 Maximizing the preservation of stone aesthetics

有源篇 Source Chapter “滴水穿石”的精神发轫于宁德，同样也是水鄉之源。如果我们对宁德古文化的挖掘是对传统的致敬，那么我们把“滴水穿石”作为水鄉的精神图腾，则是对时代的歌颂。远处是塔山植被葱郁下高耸的如意玲珑塔，眼前是滴水穿石层波叠浪的涌动。古与今的对话下，是宁德“滴水穿石”精神奔腾不息的延续。

The spirit of “dripping water through stones” originated in Ningde, serving as the cultural foundation of the water town. If our exploration of Ningde’s ancient culture pays homage to tradition, then elevating “dripping water through stones” as the spiritual totem of the water town celebrates the spirit of our era.

In the distance rises the towering Ruyi Linglong Pagoda amidst the lush vegetation of Tashan Mountain, while in the foreground are the layered surging waves sculpted by water through stone. Through the interplay of ancient and modern narratives, Ningde’s spirit of “dripping water through stones” flows ceaselessly onward.

如果说“穿石”之难在于寻石的过程，那么“滴水”之难则在于水滴的寓意。我们认为：作为海国斯文地之水滴，那这滴水一定是从海上来，且具有“星汉灿烂”之意，璀璨每一个水乡的夜晚。

If the challenge of “piercing stones” lies in the process of finding the right stone, then the challenge of “dripping water” lies in the symbolic meaning of the droplet. We believe that as a droplet from the refined maritime land, it must originate from the sea, carrying the radiance of a starlit sky, illuminating every night in the water town.

观山篇

Mountain View Chapter

作为水乡九园第一个呈现的园中园，在映月园的营造上宁德南山给了设计很大的启发。站在此处，外可观宁德南山的优雅，内可观映月园山形的写意。我们希望这个空间不仅体现了视觉上的美感，更能让人愿意停下来去驻足感受。整个建造过程我们回归造园的纯粹性，每一块石头的摆放、堆叠、凿敲都经历了从工厂到现场大量反复思考的过程。

As the first nested garden presented in the Water Town Nine Gardens, Ningde Nanshan served as a great inspiration for the design of Yingyue Garden. From this spot, one can admire the grace of Ningde Nanshan in the distance and the landscape’s freehand brushwork within Yingyue Garden. We hope this space not only embodies visual aesthetics but also invites people to pause and immerse themselves in the experience.Throughout the entire construction process, we returned to the essence of traditional gardening. The placement, stacking, and chiseling of each stone were carefully considered and refined through repeated deliberation from the factory to the site.

在映月园里，不同材料产生碰撞。我们通过颜色和材质上的冲突感，来传递空间里自然与品质的融合。

In Yingyue Garden, different materials contrast with one another. Through the interplay of colors and textures, we convey the harmonious blend of natural elements and refined craftsmanship within the space.

▽材料细节传递温润质感 The Details and warm texture of materials

作为映月园视线最核心的聚焦点，观山揽月同样是整个设计营造的中心。为了突出观山的山形美感，我们通过草图/模型/小稿的多轮推敲，确定每一块石头的比例关系，并进行编号，从而保证对每一片山形的控制。然后逐一对组合而成的几十块石头，进行选型/画线/切割/雕琢/组合安装。

As the core focal point of Yingyue Garden’s design, mountain gazing and moon watching form the centerpiece of the entire creation. To emphasize the beauty of the mountain’s contours, we refined the proportions of each stone through multiple iterations of sketches, models, and drafts, numbering them to ensure precise control of the overall composition. Each of the dozens of stones was then carefully selected, marked, cut, carved, and assembled step by step.

▽山形的层叠肌理 The layered texture of mountain shapes

观山揽月里的月亮雕塑由两部分组成：石材部分采用整石山西黑，通过机雕进行初步塑形，然后以粗形为基础，进行多次反复凿、锤、磨。金属部分采用黄铜手锤出浪的立体起伏感，仿佛月亮倒映在海里面一样，从而呼应【观沧海】所述“日月之行，若出其中”。

The moon sculpture in Guanshan Lanyue consists of two parts: the stone section, crafted from a single piece of Shanxi Black stone, is initially shaped by machine carving and then meticulously refined through chiseling, hammering, and polishing. The metal section features three-dimensional brass waves, hand-hammered to create an undulating texture, resembling the moon’s reflection in the sea. This design beautifully echoes the poetic line from Observing the Sea: “The journey of the sun and moon, as if emerging from within.”

北宋的郭熙在《林泉高致》里，以“不下堂筵，坐穷泉壑”的身体坐姿为中国山水画意提供了入画的四种身体标准：可行、可望、可居、可游。自古以来，行望居游便是中国理想生活模式的物质载体。如果观山揽月是游园状态的呈现，那流泉映月便是对自然里居所的回应。在此处，以映月亭为核心，整体呈现融于自然的通透感，可以感受流水与树木的光影，也可在亭内远望观山揽月。

Guo Xi of the Northern Song Dynasty outlined four ideal postures for engaging with Chinese landscape painting in his book The Height of Linquan: walkable, viewable, inhabitable, and traversable. These ideals are encapsulated in the concept of “remaining at the banquet while mentally traversing a distant spring valley.” Since ancient times, walking, viewing, dwelling, and exploring have been the material manifestations of China’s ideal lifestyle. If Guanshan Lanyue (Admiring the Mountains and Moon) represents the dynamic experience of wandering through a garden, then Liuquan Yingyue (Flowing Spring Reflecting the Moon) responds to the tranquility of dwelling within nature. Centered around the Yingyue Pavilion, this space exudes a sense of transparency that harmonizes with the natural surroundings. Visitors can enjoy the interplay of light and shadow among flowing water and trees, or gaze from the pavilion to admire the distant mountains and moon.

▽映月亭设于流泉之上 Yingyue Pavilion is located above the flowing spring

未完/待续 To be continued 在宝信·郦景水鄉的总体设计中，我们以宁德人文与自然为核，用九园共同构建了水鄉胜景体系。以上便是水鄉九园第①园【映月园】，映月园也是水鄉一期的核心景观。水鄉二期正在如火如荼地施工中，剩余的水鄉胜景将陆续在二期呈现。关于水鄉的景观营造我们依然在路上…

In the master plan of Baoxin Lijing Water Town, Ningde’s culture and natural essence serve as the core foundation, shaping a comprehensive scenic system composed of nine interconnected gardens. The above introduction highlights Yingyue Garden, the first of these nine gardens and the centerpiece of the first phase of the water town. Currently, the second phase of the water town is under active construction, with the remaining picturesque landscapes set to be unveiled progressively. Our journey of crafting the intricate and meaningful landscapes of Water Town continues with dedication and passion.