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喜随作品|壶中胜境·商业中庭的科技国风微缩园林

2025/07/08 20:33:17

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在南京最繁华的地带，

654

平米两层通高的商业空间。业主找到我们，希望设计一处以

《陋室铭》

为主题，古风与机械交织的中庭观光空间。

In the bustling heart of Nanjing, a 654 sqm double-height commercial space. The client approached us to design an atrium sightseeing space themed around the "Ode to a Humble Abode（《陋室铭》）," blending ancient Chinese style with mechanical elements.

场地位于南京秦淮区商业最繁华的新街口附近，

JLC 金陵中环的 L5-L6 层，一整面落地玻璃朝向人潮涌动的街区。

一千两百年以前，唐代诗人刘禹锡为彼时的金陵，写下了著名的《金陵五题》五首七绝组诗。其中一首传唱千古的《乌衣巷》，便取自秦淮河畔：

The site occupies levels L5-L6 of Jinling Center (JLC), adjacent to Nanjing's busiest Xinjiekou commercial hub in Qinhuai District. A full-height glazed facade faces the bustling streets below. Over 1,200 years ago, Tang Dynasty poet Liu Yuxi wrote "Five Poems of Jinling (《金陵五题》)", a set of

famous

five seven-character quatrains about Jinling (now Nanjing). One of these poems, "Wuyi Lane (《乌衣巷》)" was inspired by

the banks of the Qinhuai River

“旧时王谢堂前燕，飞入寻常百姓家。”

"Swallows that once graced noble halls, Now fly through common doorways."

当年豪门旺族特有的兴盛，如今已然变为了百姓民间的市井繁华。

The former prosperity of powerful clans has now transformed into the vibrant hustle and bustle of everyday life.

只是繁华的终点未必是歌舞升平，古代先贤们于案牍丝竹之外，将内心放置在了超脱物质追求的精神栖养之所。相比于外在的诱惑纷扰，“斯是陋室，惟吾德馨”，同样出自诗人刘禹锡的名作《陋室铭》，则愈加强调出内在品性的珍贵。

Yet prosperity's zenith isn't always revelry. Ancient sages,

beyond the mundane pursuits of paperwork and music

, sought spiritual refuge transcending material desires. Compared to external temptations, "Though this be a humble abode, my virtue lends it fragrance" - from Liu Yuxi's

"Ode to a Humble Abode（

《陋室铭》

）"

- emphasizes the value of inner virtue.

如今，在人气旺盛的顶级都市商圈里，以诗人刘禹锡的《陋室铭》为引，营造一处“渔樵耕读”的田园归隐画卷，是我们接到的设计委托目标。

Today, in a bustling top-tier urban commercial area, our design aim seeks to evoke a pastoral retreat through the imagery of "fishing, wood chopping, farming, and scholarly pursuits," inspired by Liu Yuxi's "

Ode to a Humble Abode

" (《陋室铭》).

「小小世界」

画外视角俯瞰众生之相

"Miniature World" - An Overview from Outside the Frame

△

场地范围 / Site Area

在654平米的

室内中庭空间里，要

实现田园山水的空间场景画卷效果，同时业主提出希望

加入机械人偶装置，在传统的空间里体现机械科技的现代对撞

。

Within this 654-sqm atrium,

the goal is to create a pastoral landscape scene.

The client also requested the inclusion of

robotic puppets,

a modern collision of mechanical technology within a traditional space.

于是设计的策略指向了

微缩尺度的小小世界

。

Thus, the design strategy pointed toward a miniature world.

移日月星辰，山林幽谷，田园江河，于一方寸之间，是曰壶中有洞天。

By condensing the sun, moon, stars, mountains, forests, valleys, farmlands, and rivers into a

compact realm

, it creates a sense of "a hidden paradise within a teapot."

如何以微缩的场景，保留传统的山水意境，又能将游人和机械人偶装置容纳进来，游客的体验参观流线与人偶的动态展示场景不相冲突。这是相当罕有的一次设计尝试。

The challenge lies in how to retain the traditional landscape

aesthetics

in a miniature scene while accommodating visitors and

robotic puppets

ensuring their paths never cross awkwardly. This is an

exceptionally rare design experiment

△

立面概念草图

©XISUI Design

△ Elevation Concept Sketch ©XISUI

Design

面向城市窗景的主立面上，天地山水起伏相接，形成亦是自然，亦如幻境的画面场景。

On the main facade facing the urban window view, undulating mountains and rivers merge with the sky, creating a scene both natural and dreamlike.

△ 手工推敲模型 - 2023.05.24

材料 - 轻质粘土、模型沙；比例：1:200

△

Handcrafted Model

- May 24, 2023

Materials - Lightweight clay, model sand；Scale: 1:200

△ 鸟瞰概念草图

©XISUI Design

△

Aerial Concept Sketch

©XISUI

Design

空间上

将600平的Openlab中庭空间，设计划分为陋室、田园、荷塘、山林、幽谷、江河，六大山水田园背景的宏观微缩场景。不同空间里则有机械动态人偶演绎不同的历史典故。人偶大小经过再三设计考虑，希望能以

三分之一真人比例的微缩尺度

，更加融入这个微观世界场景。

In terms of space, the 600 sqm OpenLab atrium is designed to be divided into six macro-miniature scenes with pastoral landscape backgrounds: Humble Abode, Pastoral Fields, Lotus Pond, Mountain Forest, Secluded Valley, and River. Each space features

robotic puppets

performing different historical allusions. The puppet sizes were carefully designed at one-third human scale to better integrate into this miniature world scenario.

△ 平面概念草图

©XISUI Design

△

Plan Concept Sketch

©XISUI

Design

平面上则以

山峦为宇，江河为径

。微缩世界的大江大河，正好作为游客的

主要通行道路，接引参观者踏足这个微缩天地，

以画外视角，

俯察众生之相

。

On the plan, m

ountains as volumes, rivers as paths. The miniature world's grand waterways serve as primary visitor routes, guiding exploration through this

micro-space

while offering off-frame observation of human

narrative scenes

△ 方案过程渲染演示动画 - 2023.07.11

△

Schematic Rendered Animation

- July 11, 2023

「壶中胜境」

机械国风营造微缩天地

/ "

Paradise in a Pot

" -

Creating a Miniature World with Mechanical and

Chinese Traditional Aesthetics

△

国风场景氛围手绘稿

©XISUI Design

△ Traditional Chinese Style Scene Atmosphere Hand-drawn Sketch

©XISUI

Design

△ 建成效果对比

△

Built Outcome Comparison

设计的独特微观视角，借鉴了以《清明上河图》为典型的传统国画技法。

散点式的布局

将细微场景在一面宏大的画卷上全景展开。远观是山水起伏的天地轮廓，中观是屋檐茅舍、松林巨石，近景则见人物鸟兽穿梭其间。

The design's unique micro - perspective draws on traditional Chinese painting techniques, typified by "

Along the River During the Qingming Festival（

《清明上河图》

）

A scattered-layout approach unfolds

minute scenes across a grand

panoramic

scroll

From afar, one sees the undulating contours of mountains and rivers; at mid-range, rooftops, thatched cottages, pine forests, and boulders; up close, figures and animals move about.

但由于机械人偶设备需要与游客保持避让距离，而场景的完整性和元素统一性又是设计需要考虑的重点。因此设计对空间进行了两条流线的划分，

一条为真人尺度的行人流线，一条为微缩尺度的

机械人偶流线

。

两条流线视线交织，但路径各自独立，空间上进行了谨慎的避让。既能允许游客近距离参观，又能防止误触机械设备。

However, since mechanical puppets need to maintain a safe distance from visitors, and the integrity and unity of the scene are key design considerations, there are two distinct

routes

in the space.

One is a human - scale pedestrian pathway, and the other is for miniature mechanized puppets.

△ 观棋烂柯场景的概念草图与完成效果

△

From Sketch to Reality: The

"Woodcutter Watching Chess" Scene

游客通行道路的两侧，进行了抬高隔挡。确保游客和人偶

两条路线近在咫尺又互相独立

。

The sides of the visitor pathways are elevated and partitioned to ensure that the routes for visitors and puppets are close yet independent.

【

水帘仙境】

模拟山林间的溪流瀑布，增添水声体验，同时调节了室内环境湿度，为真实植物提供有利的生存条件。

【

Water Curtain Fairyland

】 simulates the streams and waterfalls in the mountains and forests, adding the experience of water sounds. It also regulates the indoor environmental humidity, providing favorable living conditions for real plants.

【

百尺飞虹

】

为人偶尺度设计的山间拱桥。原设计为石拱桥，落地阶段调整为了木桥。

【

Hundred-Foot

Skyward

Rainbow

】

, an arched mountain bridge scaled for the puppets. Originally designed as a stone arch bridge, it was adapted to a wooden structure during implementation.

其他一些重点设计场景，后期甲方团队出于对工期成本等多方面因素的考虑，深化阶段的推进转变为落地制作团队JIN ARTS肖进艺术完全接手，深化过程涉及到较大量的变化调整，因而设计阶段的场景概念仅是部分有所保留。

Other key design scenes were later handed over to the production team JIN ARTS for implementation, due to the client team's considerations of schedule, cost, and other factors.

The detail process involved a significant amount of changes and adjustments, resulting in only partial original design were preserved.

概念场景1：观棋烂柯（建成）

Concept Scene 1: "Woodcutter Watching Chess" (Built)

概念场景2：曲水流觞（取消）

Concept Scene 2: "Floating Cups Along the Winding Stream" (Canceled)

概念场景3：水帘仙境（建成）

Concept Scene 3: "Water Curtain Fairyland" (Built)

概念场景4：别有洞天（取消）

Concept Scene 4: "A World Apart" (Canceled)

概念场景5：洞天石窟（取消）

Concept Scene 5: "

Celestial Grotto

" (Canceled)

概念场景6：幽谷听风（建成）

Concept Scene 6: "

Whispering Valley

" (Built)

△ 部分原设计场景概念手稿 ©

XISUI Design

-2023.06.12

△

Part of Original Design Concept Sketches

©XISUI Design

- 2023.06.12

方案过程中的一段场景建模渲染的模拟动画，包含有“观棋烂柯”“松下问道”“醉翁亭记”三个故事画面的演绎。设计曾讨论过

人偶本体可为素模，弱化五官表情，

超越个体以体现众生相

。实际实施阶段形态则更偏写实。动态则结合舞台式打光，每日定时有几场舞台秀方式的呈现。

A process animation of scene modeling renders, featuring three narrative sequences: "Woodcutter Watching Chess," "Seeking Tao Under Pine Trees," and "The Old Drunkard’s Pavilion." During design discussions, it was proposed that the puppets could remain minimally detailed—eschewing facial expressions to transcend individuality and embody universal archetypes. However, the final implementation leaned toward realism. The movements were combined with stage-like lighting, with several stage show presentations scheduled daily.

03 植物营造-中式盆景艺术的巧妙合拍

/ Planting Design

Harmonizing with Chinese Penjing Art

植物造景方面，甲方请来了上海蛮石营造-MOOOONS团队，作为方案阶段的种植设计和智慧管养系统顾问。

For the planting design, the client engaged Shanghai MOOOONS Landscape as consultants for the schematic planting design and intelligent maintenance systems during the

design

phase.

△ 图片来源网络

△

Image source: Internet

植物营造的氛围意向，取法于唐伯虎、沈周、倪云林等山水名家的画作。在微缩空间尺度要突出真山真水的辽阔感，对植物特型品种的选取尤为关键。而此时中国传统盆景艺术，又以其

“

缩地成寸、小中见大”

的艺术特质，恰到好处地与整个场景的微缩尺度形成了契合。

The atmosphere of planting draws inspiration from landscape paintings by Tang Bohu, Shen Zhou, Ni Yunlin and other masters. Creating a sense of vastness within the miniature space required particularly careful selection of specialized plant species.

At this point, traditional Chinese penjing art, with its artistic characteristics of

shrinking

landscapes into inches and reveal grandeur in miniature," perfectly complements the scaled-down environment.

△ 部分具有小中见大效果的盆景造型植物

△ Selected Penjing-Style Plants Exhibiting 'Grandeur in Miniature' Effects

△ 过程研究方案：仿真巨石装置化，作为植物生长需要的基质

△

Process Study Proposal: Simulated Boulder Structures as Plant Growth Substrates

真实植物的室内呈现，又需要针对不同植物习性，进行科学细致的

补光，通风，控温，水肥控制，以及监控传感等系统化地智慧管养

。设计则需要结合植物需求，提出环流风机，补光灯等的

隐蔽方案

。事实上，包括人造雪，水雾系统，风环境系统，音响系统等等的布置点位及隐蔽设计，都在方案考虑范围之内。实际落地阶段，植物的管养维护体系由后期落地团队负责，具体实施和调整情况以最终现场完成效果为准。

The indoor display of real plants requires scientific and meticulous supplementary lighting, ventilation, temperature control, water and fertilizer management, and monitoring and sensing systems—all

requiring

intelligent maintenance based on the habits of different plants.

The design needs to combine plant requirements and propose hidden solutions

like circulation

fans, supplementary lights, etc.

In fact, layout and concealment of artificial snow systems, misting systems, wind environment systems, and audio

systems, etc., are all

within the scope of the design considerations

. During implementation, the plant maintenance system was handled by the execution team, with final adjustments made per on-site conditions.

△ 部分种植空间设计内容，场景设计及渲染图 ©喜随设计，种植方案设计 ©蛮石营造

△ Partial Planting Space Design Content, Scene Design & Renderings ©XISUI Design, Planting Scheme Design ©MOOOONS

△ 综合深化落地 & 人偶设计

制

作 ©JIN ARTS肖进艺术；

园林深化施工©顺景园林

△ Integrated Implementation & Puppet Design/Fabrication ©JIN ARTS; Landscape Construction ©

SUNSHINE LANDSCAPE

04 宏大照明下的天地呈现

/ Panorama Presentation Under Grand Illumination

天花板最初

设想

是倒悬的镜像园林，体现极致的奇幻色彩，后因吊顶预留荷载不足等问题简洁化处理。功能层面需要考虑消防喷淋头的隐蔽式设计，照明，以及剧目展演时的星光效果。同时，出于对光线整体性的考虑，设计提出可考虑

宏大的整体照明，营造自然光穿透云层，普照大地

的效果。

The ceiling was originally conceived as an inverted mirrored garden for embodying an ultimate sense of fantasy, later simplified due to structural load limitations. Functionally, it integrates concealed sprinklers, ambient lighting, and the starlight effects during performance. At the same time, considering the overall nature of the light, the design proposed the possibility of grand overall lighting to create the effect of natural light penetrating through the clouds and illuminating the ground.

△ 山水画中表达的阳光普照氛围，万物统一的明暗对比角度，加强了场景的宏大性（图片来源网络）

△

The atmosphere of sunlight flooding everything in landscape paintings, and the unified light and shadow contrast that strengthens the grandeur of the scene (Image source: Internet)

△ 通过设计编程灯光阵列的明暗值，模拟随时间而变化的阳光照射角

△ By programming the brightness and dimness values of the light array, the design simulates the changing angle of sunlight over time.

方案设计阶段，阵列灯光模拟不同时刻天光的宏大整体照明，协助场地植物补光。吊顶密布大小圆孔以实现消防喷淋头的隐蔽以及特殊夜景下的星光效果。层层上升的曲线穹顶呼应地面模拟江河的铺装曲线。

During the schematic design phase, the array of lights simulates the grand overall illumination of natural daylight at different times of day, assisting in supplementary lighting for the plants on site. The ceiling is densely perforated with holes of various sizes to conceal the fire sprinkler heads and achieve a starry effect under special night scenes. The ascending curvilinear vault echoes the ground's river-inspired paving patterns.

实际落地效果，

地面铺装形式有所变化，吊顶所承载的功能内容，相比设计阶段更为复杂。

In the actual implementation, the form of the ground paving has changed, and the functional content carried by the ceiling is more complex compared to the design phase.

机械人偶与中华典故

/ Mechanical Puppets & Chinese Cultural Allusions

动态场景的设计，需要考虑整体

视觉平衡和主次关系

。因为静态场景中的运动元素会被格外突显，成为极易引人注意的视觉焦点。如果处理失当，会容易颠倒画面主次，将人的目光引向细碎浮躁而非整体安定的方向。而如果平衡得当，则能够在整体宏观视角之下注入生命感，让场景鲜活起来。

Dynamic scene design must balance overall visual harmony and hierarchy. In static environments, moving elements naturally draw the eye, becoming the focal point. If mishandled, this may invert the visual hierarchy and shift attention to trivial details, rather than maintaining focus on the overall compositional tranquility. Conversely, when balanced skillfully, these dynamic elements can breathe life into the panorama, making it feel organically animated.

机械人偶作为场景间的动态点睛之笔，同样也起着承载文化典故的作用。在华夏这片文化土壤之上，

经典故事的具现化

，尤为能引起传统文化背景下人们的共鸣。

Mechanical puppets serve as dynamic highlights that also embody cultural narratives. Rooted in this cultural soil, the physical manifestations of classic stories resonate profoundly with audiences steeped in traditional cultural contexts.

比如人们耳熟能详的：

For example, tales familiar to all:

【牧童骑牛】——“牧童骑黄牛，歌声振林樾。”

Cowherd Riding an Ox —— "The cowherd rides his yellow ox, his song echoing through wooded slopes."

【寒江垂钓】——“孤舟蓑笠翁，独钓寒江雪。”

Fishing in the Cold River —— "

A straw-cloaked man on a lone boat

, fishing in the snow-covered cold river."

【陋室铭】——“可以调素琴，阅金经，无丝竹之乱耳，无案牍之劳形。”

Ode to a Humble Abode —— "

Here I may

play my plain-stringed lute

, Or pore upon the Classics’ scrolls, Free from the stirring flute

and official documents piled to weary form

以及具有寻仙色彩的【观棋烂柯】——

“信安郡石室山，晋时王质伐木至，见童子数人棋而歌，质因听之。童子以一物与质，如枣核，质含之，不觉饥。俄顷，童子谓曰:’何不去’ 质起视，斧柯尽烂。既归，无复时人。”——南朝梁任昉《述异记》

And the "

Woodcutter Watching Chess

" with a Touch of Immortality Seeking —— "

In Xinan's Stone Chamber Hill,

during the Jin Dynasty

Wang Zhi was chopping wood when he saw several boys playing chess and singing

. He paused to watch their game.

One boy gave him something like a date pit, which he put in his mouth and felt no hunger. After a while, the boy said, 'Why not leave?' Wang Zhi looked up and saw his axe handle had rotted away.

Returning home,

he found no one from his time.

—— Ren Fang, "Strange Tales" (Southern Dynasties, Liang Dynasty)

禅宗初祖达摩祖师东渡中土，留下的传奇故事【一苇渡江】——

Zen Master Bodhidharma's legendary story of crossing the river on a reed ——

“达摩和梁武帝对话后，梁武帝深感懊悔，得知达摩离去的消息后，马上派人骑骡追赶。追到幕府山中段时，两边山峰突然闭合，一行人被夹在两峰之间。达摩正走到江边，看见有人赶来，就在江边折了一根芦苇投入江中，化作一叶扁舟，飘然过江。”

"After conversing with Emperor Wu of Liang, Bodhidharma departed. Emperor Wu, filled with regret, immediately sent a messenger on a donkey to pursue him. When the messenger reached the middle section of Mount Mufu, the mountain peaks suddenly closed in, trapping the group between them. Meanwhile, Bodhidha

rma had arrived at the riverbank. Seeing the pursuers, he plucked a reed from the shore, cast it into the river, and it transformed into a small boat, carrying him gracefully across the river."

JIN ARTS肖进艺术团队将影视道具，机械动态方面的视觉效果进行了突破性的传达呈现。在微缩比例的人偶造型中隐藏细小的机械电机，落地在商业环境空间，技术及应用层面均是相当重要的突破。

The JIN ARTS team has made a groundbreaking contribution in the visual presentation of cinematic props and mechanized motion. By integrating tiny mechanical motors into the miniature puppet figures, they have successfully implemented these designs in commercial spatial environments. This represents significant breakthroughs in both technology and application.

都市之中的隐修文化缩影

/ A Microcosm of

Contemplative

Culture in the Metropolis

王安石在《桂枝香·金陵怀古》一词中写下：“六朝旧事随流水，但寒烟芳草凝绿。”以古都南京为例，寓意世间万物的变化兴衰，遵循着无常的规律。如今重回太平治世，固然有幸，然而通达之人能够在物质资源丰富的当下，不为物喜，不为己悲。回归内心自在田园，于闹市之中，独享一份不被搅扰的洒脱宁静。

In his poem

Osmanthus Fragrance: Jinling Nostalgia

（

《桂枝香·金陵怀古》

）

Wang Anshi wrote: "The old affairs of the Six Dynasties flow away with the water, only the cold mist and fragrant grass remain green." Taking the ancient capital Nanjing as an example, it symbolizes the rise and fall of all things in the world, following the law of impermanence. Now that we are in a peaceful era, it is fortunate indeed. However, the truly enlightened can, in the midst of abundant material resources, remain unattached to material pleasures and undisturbed by personal sorrows. They return to the inner peace of a pastoral life and enjoy a serene and untroubled tranquility in the midst of the bustling city.

壶中胜境（官方案名Open Garden）作为繁华都市之间设立的陋室与园林，同样也是一处调心之所，提醒之所。其本身安静沉浸的空间属性，给人心带来平和与收摄。其展现的“众生相”与“画外观”的设计视角，指引人跳出自我束缚，以更高的视角观察和觉照芸芸众生，世界

大千

。

Paradise in a Pot (officially named Open Garden) serves as both a humble retreat and a garden amidst the bustling metropolis. It is also a space for mental adjustment and r

eflection. Its inherently immersive quietude

brings mental calm and focus.

Through the design perspectives of the "panorama of existence" and the "outsider's perspective," it guides visitors to transcend self-imposed confines, observe and perceive the vast world and myriad lives from a heightened vantage point.

实际游园体验其中，又不同于赏析山水画作。游园是置身于场景之内，其中“画外观”的视角，又引导人不附着在形相本身，而是跳出幻境，俯察于故事之外。王国维《人间词话》所谓“入乎其内，故有生气，出乎其外，故有高致”，说的便是如此了。

Yet experiencing Open Garden is different from merely appreciating a landscape painting. To wander its paths is to inhabit the scene itself, while the "outsider's perspective" gently nudges visitors to avoid clinging to superficial forms. Instead, it invites them to step beyond illusion, observing the story from without. As Wang Guowei said in "

Poetic Remarks on the Human World

（《人间词话》）

": "Immersion generates vitality; distance begets transcendence."