风景总是在远处，可我们无法将天际全揽于方寸内； 风景总是有光影，可我们无法在室内追云逐日； 风景总是具象的，可我们无法移山造景； 风景总是带给人许多美好的情愫，它既是自然发生的，又是人文再生的，它散发着让人心旷神怡的力量，温暖而坚定，像是在努力将我们的心灵提升。多数的自习空间是要求处在一个定向的功能目标里，每个人都有自己明确的活动，所有空间中的物质存在都需要服务于个体的目标中，于是这个人造空间处理得稍有不慎，便会成为人的意识活动之束缚。当我们意识到我们在空间中所建造的所有，具有风景般的属性——会反向地影响在空间中的每一个人时，我们参照了风景。因此，我们想在满足定向的客观要求下，给自习空间注入风景般的体验,一个微微向上的力。

Landscape is always in the distance, but we cannot encompass the horizon within our grasp; Landscape always involves light and shadow, but we cannot chase clouds and sun indoors; Landscape is always concrete, but we cannot move mountains to create scenery; Landscape always brings many beautiful feelings to people. It is both a natural occurrence and a cultural rebirth. It emits a power that makes hearts expansive and joyful, warm and resolute, as if striving to elevate our spirits. Most study spaces require individuals to be within a directed functional goal. Each person has their own specific activities, and all material presence in the space needs to serve the individual’s objectives. If this artificial space is handled carelessly, it can become a constraint on human conscious activities. When we realize that everything we construct in space, with landscape-like attributes, can inversely affect everyone in that space, we reference the landscape. Therefore, we aim to inject a scenic experience into the study space under the objective requirements of direction, a subtle uplifting force.

▼前台与储物区，Reception and Storage Area © 林山Film+多么工作室

柔软而坚实 Soft Yet Solid

这里的风景，不是生硬地搬弄造型，不是临摹景致；这里的天际注定是在近处的，举手登高便可及；这里的光影注定是人文的，点线交织；这里的景致注定是抽象的，棱角分明。我们在整体的空间中植入了五个互相映照的体块，分布于公共区和自习区，它们串联起了空间的功能流线——前台接待、双人研讨、多人自习，也建立起了整体风景的脉络。我们有意的将体块拔高，升高的体量似乎带来了类似“景观”的形象作用。但往往高大的形态会给人产生一种疏远的距离感，特别是在讲究高效利用的功能空间中，这种距离感，反而把空间引向了逼仄，人与人之间的关系也更加紧张。通过造型上的不断推敲，我们发现在向上的延伸过程中，体量微微向外展开，形成上大下小的势态能给人带来一种遮蔽感，这很像峡谷、大树的意向。而为了体块的造型能更加的柔和，并且最大化的抵消形态给人的压力，我们避开了传统硬质建造材料，选择亲和肌理的布料作为体块的外衣。我们设计了特定的造型轮廓语言，通过将预制的木构件拼装组合成支撑骨架，再覆盖布料塑形和收紧，有意将骨架的轮廓线显现形成一种柔软的张力。在这件柔软外衣下，似乎也由一个坚实的身体——当我们穿行于空间中，偶尔地驻足相遇，像是来到了一个巨大的身体遮蔽下。

▼轴测爆炸图，Axonometric Explosion Diagram © 多么工作室

Here, the landscape is not rigidly manipulated in form, nor is it an imitation of scenery. The horizon here is destined to be nearby, easily reachable with a raise of the hand; the light and shadow here are inherently cultural, interwoven with dots and lines; the scenery here is inherently abstract, with sharp angles. We have embedded five mutually reflective blocks in the overall space, distributed in public and study areas, linking the functional flow of the space—reception, double study, and group study. We intentionally elevated the blocks, and the seemingly grand volumes created a visual effect similar to “scenery.” However, tall forms often create a sense of distance, especially in functional spaces that emphasize efficiency. This sense of distance can lead to a confined space, intensifying relationships between people. Through continuous refinement of form, we discovered that in the upward extension process, the volume slightly expands outward, creating a sense of shelter. This resembles the intention of canyons and large trees. To ensure the block’s form is soft and to maximize the reduction of pressure from the form on people, we avoided traditional hard construction materials and chose fabric with an affinity texture as the block’s outer garment. We designed a specific contour language, assembling prefabricated wood components into a support frame, covering it with fabric to shape and tighten, intentionally revealing the frame’s contour lines to create a soft tension. Under this soft outer garment, it seems like a solid body—when we walk through the space, occasionally stopping to meet, it feels like entering a massive shelter.

▼入口，Entrance © 林山Film+多么工作室