“…无垠的平原上突然出现一条羊肠小道，通向天边的大片森林。森林之上耸立着圣伊莱尔教堂的尖顶，锋利的粉色尖顶，是如此突兀，以至于看上去像是某位急于给这片风景一片纯净的“自然之地增添些许艺术痕迹的画家用手指甲在天空勾勒出来的。这小小的艺术印迹,明白无误地指出人类的存在…”

在满足了作为一个项目的热度，一个公园的温度，一个产品的美之外，这次我们更想把这个公园的路标和边界放在开头。

“… A goat path suddenly appeared on the spreading plain, leading to a vast forest in the sky. Above the forest rises the spire of the Church of St. Elijah, a sharp pink spire, so awkward that it looks as if it had been traced in the sky by a fingernail of a painter eager to add a little art to the ‘natural’ purity of the landscape. A small artistic mark, an unmistakable sign of human existence…”.

Having met the heat of being a project, the temperature of a park, and the beauty of a product, this time we were more interested in putting the signposts and boundaries of this park at the beginning.

▼ 项目概览，overview

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黄鹏程）

关于“路标”

About ” Signs “

设计之初我们就在想，一个带有强烈目的性的景观是不是可以像建筑一样以多种不同方式融入场地。一个办法是让景观成为场地的标志，统领全局，正如造型完美对称的希腊庙宇对其脚下的风景行使精神控制一样。我们在英国风景区的山顶上常常能看到一圈圈的树木，也以类似的方式统摄周围地区。中国古典园林家圈地方式更为柔和：在园林中修建亭台楼阁，将其打造成视觉焦点，然后园中另辟一处供游人远眺此景观。

From the outset we wondered whether a landscape with a strong purpose could be integrated into the site in as many different ways as an architecture. One way to do this is to let the landscape become a symbol of the site and take over the whole, in the same way that a perfectly symmetrical Greek temple exercises spiritual control over the landscape beneath it. We often see circles of trees on hilltops in English landscapes that dominate the surrounding area in a similar way. The classical Chinese gardener had a gentler approach to land enclosure: pavilions and pavilions were built in the garden to create a visual focal point, and then a separate part of the garden was created for visitors to look out over the landscape.

▼ 打造视觉焦点并开辟远眺场地，create visual focal and create a point to look over it

在景观里，普鲁斯特笔下的“艺术印迹”可能是风景尽头的一具雕塑、一座方尖石碑、一间避暑别墅，或是远景中的视觉焦点一件“引人注目之物”。作为一个落地青岛的百万方大盘——海岸万科城的中心公共空间，和业主的共同商讨下，抬升的地形、架起的悬桥和巨大的游具便是我们的答案。设计希望两侧的地形在视觉上轻托起一座环浮在半空的步行桥，让主题小黄鸭游具尽可能多呈现的同时，不至于粗暴地完全暴露出来，至此，不仅从外部街道甚至更远的目光无法从这个一个巨大的所谓‘精神堡垒’身上移开，漫步在悦动桥或是倚靠在护栏向内也形成了整个场地第二层次的眺望台。

In the landscape, Proust’s “artistic imprint” may be a sculpture at the end of a landscape, an obelisk, a summer house, or a “striking object” as a visual focal point in the foreground. As the central public space of Vanke Coast Vanke City, a million-square-foot development located in Qingdao, we discussed with the owner the answer to this question: the elevated topography, the suspension bridge and the huge play equipment. The design wanted the topography on both sides to visually lift a floating bridge in mid-air, so that as many of the themed duck traps as possible could be seen without being rudely exposed, so that the eye could not only be drawn away from the street and beyond, but also from this huge so-called ‘spiritual fortress’. Or leaning on the parapet inwards also forms a second level of observation deck for the entire site.

▼ 架起悬桥环绕巨大的精神堡垒，set up a suspension bridge to surround the huge landmark

关于“边界”

About the “boundary”

正如单独的陆标也可以形成园林中心一样，风景中辟出单独一个边界或墙体可形成一个轴线，整个布局可沿此轴线予以组织，也可以利用这面“墙”形成多少有些模糊的边界。不过我们想到，是不是在我们这个公园的围合物除了墙的做法，也可以通过错落的的柱子暗示出来，比如克什米尔人用四角法（方形地带的四棵树）实现围合，撑起的步行天桥在下部空间自然形成一条边廊，这样的“边界”通透、舒展甚至和前来的人们达成一种默契，从城市穿进内谷，形成一种格外强烈的感召力。

边界使一个场地分成两个部分：要么是在外面,要么是在里面。分界线的行为具有特别的意义,它是要从外部世界划出一个特别的内部空间。在这个设计里，我们希望这条边界可以不仅在形式上形成流云一般的曲线，同时演变成一段悦动的、参与性的空间深入景观，它也像风一样掠过其间，然后慢慢消失在环境中，退出人们的视线，表明在这个“立体画”之外尚存广大无垠的空间。

Just as a single landmark can form a garden center, a single boundary or wall in the landscape can form an axis along which the whole layout can be organized, or the ‘wall’ can be used to form a more or less ambiguous boundary. We wonder, however, if the enclosure in our park is not only a wall, but can also be hinted at through the staggered columns, such as the quadrangle (four trees in a square area) used by the Kashmiris to achieve the enclosure, and the propped up footbridge that naturally forms a side corridor in the lower space, so that the “border” is transparent, expansive and even similar to the “wall”. The people who came reached a kind of tacit agreement to penetrate from the city into the inner valley, creating an extraordinarily strong sense of calling.

A boundary divides a site into two parts: either on the outside or on the inside. The behavior of the boundary has a special meaning; it is to carve out a special interior space from the outside world. In this design, we wanted the boundary to not only form a stream cloud-like curve, but also to evolve into a pleasant, participatory spatial depth, which passes through it like the wind, and then slowly disappears into the environment, out of sight, indicating the vast expanse of space that exists beyond this “three-dimensional painting”.

▼流云一般的曲线边界，cloud-like curved boundary