梧桐亭丨中国深圳丨悉地国际东西影工作室

看见风景

A Room with a View

我想大部分人都会喜欢呆在“看得见风景房间“，这也是业主在给我们下任务时给的要求：这个驿站要能看见海。于是我们便有了一个愿望：在这个”房间“里，360°都能看见风景。

© 在场造象

Most people, I believe, would love to stay in a “room with a view.” This was also the client’s explicit requirement when commissioning us: this station must have a view of the sea. Thus, an idea was born: to create a “room” where one can enjoy 360-degree panoramic views.

▼鸟瞰全景，Aerial panorama © 樊钊明

▼鸟瞰，Aerial view © 樊钊明

项目位于盐田区梧桐山顶恩上湿地公园，在这里一边是梧桐山恩上湿地的山顶景观，一侧是盐田港海面延绵不绝的“海外仙山“以及港口同样延绵不绝堆叠的集装箱。自然与人工的奇观几乎在这里同时呈现。

▼场地区位，Site location© 悉地国际东西影工作室

The project is located at the Enshang Wetland Park atop Wutong Mountain in Yantian District. Here, on one side lies the summit landscape of the Enshang Wetland on Wutong Mountain, and on the other, the endless expanse of the Yantian Port sea surface with its “fairy isles overseas” and the seemingly infinite stacks of containers in the port. The wonders of nature and human artifice are presented here almost simultaneously.

▼外观，Exterior view © 樊钊明

▼自然与人工的奇观同时呈现，Wonders of nature and human artifice in coexistence © 傑文儿

▼鸟瞰近景，Aerial close view© 樊钊明

▼外观近景，Exterior close view © 悉地国际东西影工作室

▼二层外观，Second floor exterior© 樊钊明

结构存在

Structural Presence

所有建筑物都需要符合结构，因为假如它们不符合结构，就不能竖立起来成为建筑物，而“它们看起来像符合结构的”就意味着它们不仅应该“是”，还应该“表现”它们的存在（being）——埃森曼(PeterEisenman)

“All buildings must adhere to structure, because if they did not adhere to structure, they could not stand up as buildings, and ‘they look as if they adhere to structure’ means they should not only ‘be’ but should ‘express’ their being.” — Peter Eisenman

▼人视，Human perspective © 樊钊明

在这片生态环境中，我们希望建筑的植入尽量少对自然的环境的影响，于是我们选择了一个“伞状“的圆形钢结构结构类型：首层尽可能架空，屋顶和楼板由上、下由两个桁空腹架体系通过中间一根柱子支撑串联，让二层活动区周边不出现柱子，周边视线充分打开，360°全景视野。其中不上人屋顶，由16米半径伞状结构中柱支撑，二层的活动平台为主要人流活动空间，由半径19米的圆形平面构成，由中间中柱、悬挑段由圆形电梯筒，弧形楼梯三点支撑（其中弧形楼梯中段由斜柱支撑）。

© 王照明、东西影工作室

Within this ecological environment, our aim was to minimize the impact of the building’s introduction on the natural surroundings. Consequently, we opted for an “umbrella-like” circular steel structural system: the ground floor is largely elevated on stilts, while the roof and floor slab are supported and connected by upper and lower trussed Vierendeel frame systems, all transferring loads via a central column. This arrangement allows the activity area on the second floor to be free of peripheral columns, achieving fully open sightlines and 360° panoramic views. The non-accessible roof is supported by a central column within a 16-meter radius umbrella structure. The main activity platform on the second level, which serves as the primary circulation space, forms a circular plane with a 19-meter radius. It is supported by a three-point system consisting of the central column, the circular elevator core (for the cantilevered section), and a curved staircase (the mid-span of which is reinforced by an inclined column).

▼伞状的圆形钢结构，Umbrella-like circular steel structure© 方芳

结构几何

Structural Geometry

为了表现全景的视野，我们选择了圆形的平面：地面的圆形聚场，二层的圆形平台以及圆形的屋盖。三个半径不同的圆（分别是16米，13米，19米）定位在不同的圆心，围绕结构柱，相互错位， 形成不同的覆盖,空间呈现不稳定的动态感，其中对着海的一面户外平台最大，成为公众看海的观景台。单跑弧形楼梯通过旋转，视线从山转到树，最后转到海平面。卫生间、电梯、设备等服务空间放置北侧，结合地形半下沉，露出来的半截体量形成台阶与地面连接，围绕柱子，在首层形成有顶的半户外剧场。

▼功能爆炸图，Program axonometric © 悉地国际东西影工作室

To achieve the panoramic view, a circular plan was adopted: a circular gathering space at ground level, a circular platform on the second floor, and a circular roof. Three circles with different radii (16m, 13m, and 19m, respectively) are positioned with offset centers around the central structural column. This deliberate misalignment creates varying overhangs, introducing a dynamic, slightly unstable spatial sensation. The largest cantilever extends towards the sea, forming an expansive outdoor platform that serves as a public viewing deck. A single-flight curved staircase guides movement and view in a rotating sequence—from the mountain, through the trees, and finally towards the ocean horizon. Service spaces, including restrooms, an elevator, and mechanical equipment, are consolidated on the north side. Partially embedded into the slope in a semi-sunken configuration, their exposed upper volumes form steps that connect with the ground level. Encircling the central column, these elements create a sheltered, semi-outdoor amphitheater at the ground floor.

▼室内，Interior view © 樊钊明

结构表意

Structural Expression

深圳是一座移民城市，来到这里的每一个人如蒲公英一样在这个城市定居、生活，成为深圳人。我们以“大山里的蒲公英“为意向，创造一个聚会的场所。我们高度整合了设备与结构：合理利用二层楼板的变截面“结构空腔“，组织空调地面送风，排水，电等设备设置；屋顶圆心安置液压式可开启天窗，温度高时可把室内屋面的热空气排放出室内；合理利用屋架的工字钢凹槽，作为灯槽；周边玻璃采用单片弧形玻璃作为自身支撑，从而保证室内周边景观的通透感。二层屋顶考虑到有设备走线等问题，顺应主梁放射性平面采用白色格栅吊顶，实现”蒲公英“的空间意象。钢结构杆件大小充分考虑工厂加工及运输的便利性，保证项目精度与经济性。

▼施工过程，Construction process © 王照明、杨益、朱雄毅、方芳

Shenzhen is a city of migrants. Everyone who arrives here, much like dandelion seeds, settles and takes root, becoming a part of the city. Using the imagery of “Dandelions in the Mountains,” we aimed to create a gathering place. The design highly integrates equipment and structure: the variable cross-section “structural cavity”​ of the second-level floor slab is rationally utilized to accommodate underfloor air conditioning supply, drainage, electrical conduits, and other services. A hydraulically operable skylight​ is centrally placed on the roof to exhaust hot air from the interior when temperatures rise. The channels of the I-beam sections​ within the roof truss are repurposed as lighting troughs. The perimeter glazing employs single-pane curved glass panels​ that are self-supporting, ensuring unobstructed panoramic views​ and a sense of transparency from the interior.The ceiling for the second-level roof, which must conceal equipment and conduits, features a white gridded drop ceiling​ aligned with the radial pattern of the main beams, realizing the spatial metaphor of the “dandelion.” The sizing of the steel structural members​ carefully balances the ease of factory prefabrication, transportation constraints, and the project’s requirements for precision and economy.

▼平台鸟瞰，Aerial view of the platform © 傑文儿

结构不仅等同于抵抗重力，同时也在表达各部分之间组织与秩序关系，结构以其暴露或隐匿的形式塑造空间的整体氛围。设计抽象而独立的系统，支撑了建筑的物理属性与文化属性。

Structure is not merely about resisting gravity; it also expresses the organizational logic and order between components. Through its exposed or concealed forms, structure shapes the overall atmosphere of the space. The design of these abstract yet interdependent systems underpins both the physical attributes​ and the cultural narrative​ of the architecture.

▼外檐近景，Eave close view© 方芳

藏/显

Concealment and Revelation

上山是一条蜿蜒的小路，一路风景迷人。我们不希望驿站破坏这种尺度的感受，因此在选址时，刻意保留了即将到达场地时的一片树林，我们通过对建筑大小，高度的仔细比对，在入口处对建筑进行隐藏与遮挡。另一侧驿站又属于山顶恩上湿地公园的端头——一片开阔绿地的空间节点，建筑又以其完整的形态，形成空间的对景。

▼设计草图，Design sketch © 悉地国际东西影工作室

The ascent follows a winding path, unfolding a captivating landscape along the way. To preserve the intimate experience of this journey, the siting strategy deliberately retained a grove of trees just before reaching the plateau, obscuring the building upon approach. Through meticulous calibration of the building’s scale and height, it remains partially hidden and screened at the entry sequence, achieving a sense of concealment. On the opposite side, however, the station marks the terminus of the mountaintop Enshang Wetland Park—a spatial node opening onto an expansive green field. Here, the building presents itself in its complete form, establishing a clear visual terminus​ and creating a deliberate spatial counterpoint​ within the open landscape. This interplay of hiding and revealing orchestrates a sequenced approach that heightens the visitor’s spatial awareness.

▼阳光穿过建筑，Sunlight filtering through the structure © 李卫文

▼建筑与水中倒影，Building and reflection on water © 深圳美食部落

后记

Afterword

《看得见风景，找不到房间》出自福斯特在本书五十年之后的后序，文中感慨“我们虽然看得见这些美景，却不知道在看美景的这些人们身在何处”。项目完成近两年，当时也未想一个800平米的房子从设计到完成到发表也经历了不少的时间，不少的曲折，不少的人在这里付出，来来往往。

“Forster, in his afterword to the book fifty years later, A Room with a View and No View, mused that ‘we can see these beautiful scenes, but we do not know where the people viewing them are actually located.’” Nearly two years after the project’s completion, we reflect that even an 800-square-meter house, from design to realization to publication, required a significant investment of time, navigated its share of twists and turns, and involved the dedicated efforts of many people who came and went through the process.

▼暮色中的建筑，Building at dusk © 陈慰仲

▼夜览，Night view © 黄振栋

当然项目建成，这个“看得见风景的房间“已不再属于设计者，它的故事需要更多来到这里的人来续写，其中这一年多社交平台上的记录似乎看到更多它与大家生活的关联，在此也一并对引用过的一系列照片作者表示感谢。

Of course, now that the project is built, this ‘room with a view’ no longer belongs solely to its designers. Its story needs to be continued by the many people who come here. Over the past year or so, records on social media platforms have revealed more about its connection to everyone’s lives. Here, we also extend our gratitude to the authors of the series of photos cited.

▼首层平面图，First floor plan © 悉地国际东西影工作室

▼二层平面图，Second floor plan © 悉地国际东西影工作室

▼屋面平面图，Roof plan © 悉地国际东西影工作室

▼半地下室平面图，Semi-basement plan © 悉地国际东西影工作室

▼东西立面图，East–west elevation © 悉地国际东西影工作室

▼南北立面图，North–south elevation © 悉地国际东西影工作室

▼剖面图，Section © 悉地国际东西影工作室

▼圆心，Central axis diagram © 悉地国际东西影工作室

▼二层吊顶，Second-floor ceiling plan © 悉地国际东西影工作室

▼栏杆节点，Railing detail © 悉地国际东西影工作室

▼幕墙节点，Curtain wall detail © 悉地国际东西影工作室

项目名称：梧桐亭

项目类型：文化建筑

设计方：悉地国际东西影工作室

项目设计：2021年

完成年份：2024年

主创建筑师：朱雄毅，王照明

设计团队：杨益，李静仪，吴哲轩，宋慧中，詹文泽，刘磊，王亚伟，朱俐茜

结构设计：吴国勤

项目地址：深圳市盐田区恩上水库

建筑面积：800㎡

摄影版权：樊钊明、王照明、方芳、朱雄毅、杨益

合作方：施工图设计：中铁城际规划建设有限公司

客户：深圳市盐田区政府

Project name:Wutong Pavilion

Project type:Cultural Architecture

Design:CCDI DongXiYing Studio

Design year:2021

Completion Year:2024

Leader designer & Team: Leader Designer: Zhu Xiongyi, Wang Zhaoming Team:Yang Yi, Li Jingyi, Wu Zhexuan, Song Huizhong, Zhan Wenze, Liu Lei,Wang Yawei, Zhu Lixi

Structural Design:Wu Guoqin

Project location:Ensheng Reservoir, Yantian District, Shenzhen City

Gross built area: 800㎡

Photo credit: Fan Zhaoming, Wang Zhaoming, Fang Fang, Zhu Xiongyi, Yang Yi

Partner: Construction Documents Design: China Railway Inter-City Planning and Construction Co., Ltd

Clients:The People’s Government of Yantian District, Shenzhen