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境遷庭——安吉考古博物館庭院景觀設計 | 七月合作社

七月合作社 2020-09-01

原創

項目名稱：

境遷庭
項目地點：

安吉考古博物館庭園
項目規模：

約6000平方米
設計公司：

七月合作社
委托方：

浙江綠郡龍山源旅游發展有限公司
建成時間：

2020.05
圖片來源：

陳顥

項目描述 | Project Statement

我們相信博物館是歷史長河的見證，是人類精神的物質投影。博物館中的庭園空間，有著具象的繁盛，更應兼具精神內涵。

^{As physical evidences of history, museums are what keeps the human spirit alive through the ages. Gardens within museums are complex on the outside, but also sophisticated on the inside.}

此次項目所在地安吉考古博物館，位于安吉古城遺址及龍山越國貴族墓群——八畝墩越國王陵級大墓千米之內。在本次庭園設計中，我們始終努力均衡自然與人為的關系。項目整體環境由博物館建筑向野生自然過渡，景觀則是反向漸變，向著山丘茶田做更當代的處理，靠近建筑的部分則使用偏自然的造園手法。

^{Passage of Time Garden is located within Anji Archaeology Museum, which sits near Anji Ancient City Ruins and Longshan Yueguo Noble Tombs. Within this design, we strive to balance the relationship between natural and man-made. The site spans from the museum all the way to the surrounding mountainous landscape filled with wildlife. Yet the ambience of the garden takes on an opposite approach with the museum area being more natural and the natural area more man-made.}

庭園設計內容依照博物館建筑的游覽路線逐步展開，以連廊為界，分割為內、外庭院兩部分。設計語言由繁入簡，從自然物象至抽象來進行整體規劃。

^{The design follows the museum tour route which is characterized by long hallways that connect different exhibition halls and separate the garden into inner and outer garden. The design language of the exhibition area uses natural forms that are complex and present a very clear object imagery. Then gradually transitions to the outer garden where abstract, man-made elements can be seen.}

內庭 Inner Garden:

博物館建筑的主入口位于建筑的南側，一處灰空間對應一面靜觀庭。我們希望參觀者在建筑的入口處能稍作停留，被只可遠觀的靜態畫面吸引，同時在腦海中拓下完整圖畫，為后續游覽定下基調。面對入口的內庭空間背靠建筑外墻，視覺上為封閉空間，墻面完整而強烈。五六株雜樹屹立其間，高潔清曠，如倪瓚筆下《漁莊秋霽圖》中的意境。

^{The main entrance of the museum is located at the south, an area characterized by gray walls corresponding with the inner garden mainly for viewing purposes. We hope the tourists can pause at the entrance for a brief moment, being attracted by the still scenery that can only be viewed from distance. At the same time printing that image onto the back of the head, setting the tone for rest of the garden. The inner garden viewed from the entrance is framed by towering walls of the several exhibition halls from the side, while the ceiling of the entrance hall creates the top boundary. Few tall evergreens rises from the ground, creating a scene that resembles “Fishing Village in Autumn” by renowned Yuan Dynasty painter Ni Zan.} 效果圖框景1.jpg

通過松樹構架起庭園的縱向空間并一再延展；枝條沒有刻意的造型綁固，搖曳自在，求的便是那份隨意曠達。柔化了的建筑形態若隱若現，整個內環庭園空間以石為骨，以松為架，石橋作連接，不同的鋪裝形式與面層，營造出多樣的駐足感受。石橋在畫面中心形成“流”，聯通東西區域，延伸視覺，對照底層橫向線性的體量，與建筑樹木等豎向線條形成縱橫之態。旱溪、景石、高松，意象高山流水，為博物館的入口營造一個安靜平和，內藏深遠景觀的視覺氛圍。

^{The vertical space supported by the few evergreens extends into the distance; the branches are not constricted in anyway for shape molding, carelessly moving freely in the air. The buildings softened by the vegetation looms in the background. The inner garden uses stones as foundation, evergreens as pillars, and stone bridges for bridgeways along with different paving patterns and surface textures, creating many different sensory experiences. The stone bridge in the middle represents the “flow” from one space to the next, creating a constrast from the vertical elements and extending one's perspective. Together with dry creek, tall pines, and viewing stones, the inner garden creates a calm and peaceful image resembling tall mountains and running rivers when viewed from the entrance.}

^{圖說：內庭園使用的松均為安吉本地自然生長的山松，摒棄人工的故作姿態，樹干挺勁，參差有致，形成高寡。使用豎直向上的本地樹種是植物設計的重要考量。}

^{The pines used in the inner garden are all harvested from the local mountains, irregular in nature and void of any human intervention. The vertical characteristic of local pines was an important aspect during plant selection process.}

過渡 Passageway:

延續參觀路線進入回廊，便可以通過兩棟建筑之間80米左右的豎軸線遠眺黃銹石組成的雕塑，與連廊空間形成一處框景。此時視角被建筑空間局限，遠處的雕塑既是縱向性的視覺中心，也是庭園過渡序列的終點，引導參觀者持續行進，引領庭園風格向意向升華。

^{Continuing from the entrace entering the corridor, visitors will enter the next scene where the buildings are no longer the backdrop, instead, the outer garden surrounded by natural areas comes into view where the yellow rust stone sculpture becomes the dominant vertcial element around 80 meters away. The sculpture will guide the visitors to meander into the garden while elevating the style of the garden.}

0912效果.jpg

隨著參觀者由室內走向室外，石材由深色紋理的河石慢慢轉為充滿力量感的山石，石中松樹橫生，給人沿山而上的感覺。山石面層表情豐富，以帶有指向性的節奏出現，暗示了前進的方向。設計語言漸漸由自然向著幾何形式凝煉，形成一派自成世界的“洞天”空間。參觀者存在于場域之中，能深刻體會來自周遭建筑、樹木、石頭的包裹感、指引感、壓迫感。

^{As visitors strolls from the inner garden into the outer garden, the stones transition from smooth-surfaced river stones to mountain stones with crack lines across the surface. Accompained by tall pines on either side, the passageway between the two gardens give vistors the feel of hiking a tall mountain from the river. Although the surface of the mountain stones is rich in crack lines, they point towards the same direction and a rhythm appears, subtly guiding the visitors towards the outer garden. The design language transitions from natural to geometric/man-made, creating an independent and unique space called "Dong Tian". Visitors will deeply experience the constrictive, oppressive, yet enlightening sensation created from the building, trees, and stones.}

3897-E(P).jpg

外庭 Outer Garden:

穿過連廊后，建筑圍合結束，視覺空間豁然開朗，向橫向延展，恍若人至山頂的感受。平坦的草地上，人類意志對自然材料做著引導，山石向著雕塑“山”有意向地匯聚，這里始終是整個庭園的視覺焦點和精神中心。

^{Exiting the passageway, the view expands horizontally as the buildings no longer frame the perspective, giving the visitors the feeling of reaching the mountain top. On the grass meadow, 13 large granites are guided by visitors' visions and points towards the only focal point and spiritual center of the outer garden, a 6.3 meters tall yellow rust stone sculpture.}

十三塊花崗巖在一片平坦之地堆疊成單體形態，雕塑整體6.3米，以絕對的存在感介入。石材自下而上由裂面、自然面，走向點鑿面，磨光面，越向上人為感越強。如同一塊單純介質，映照人與石塊體量上的對比，對照石塊身處大自然中的渺小，成為人與空間關系的連結，賦予空間精神性。似塔似山的雕塑與水中中島自成一體，遠看成為自然景觀的一部分，在遠山竹林之中消隱，人類景觀回歸自然。

^{The sculpture is composed of many smaller pieces of yellow rust stone with different finishes, also displaying a transition from natural to man-made. At the bottom are more natural finishes like cracked surface and natural surface. Towards the top are man-made finishes like point-chisel surface and polished surface. As a single entity, the sculpture allows visitors to reflect on the insignificance of human compared to the sculpture, and also the insignificance of the sculpture compared to nature, thus creating a spiritual connection between human and nature. When viewed from afar, the sculpture and the island it sits on top become a part of the natural scenery, looming in the bamboo forest, signifying man-made landscapes regress towards nature.}

整個庭園希望呈現的是復雜的自然性與幾何的存粹性的溝通，完成從物象到人工，再從精神回歸自然的秩序循環。

^{Passage of Time garden intents to display the communication between the complexity of nature and simpleness of geometry, completing the cycle from object image to artificial, spritual to natural and back.}

^{圖說：觀看視覺轉換也是空間景觀的重要思考部分。在一層中，同一視覺起點的景觀著重感受材質表情，景觀的前后關系，人工處理與與體量感。建筑二層連廊增加了俯視景觀的可能性，弱化一花一草的體量，更宏觀地將視角放大，使景觀與雕塑的嘗試成為有機的整體。}

^{The change in horizontal and vertical perspectives is also an important aspect to considering in the space of the landscape. From the ground level, surface textures, relationships between foreground and background, artificial techniques, and the sense of volume are prioritized. The elevated corridor provides different perspectives from a higher elevation. Details becomes less important as field of view and depth of view increases. The relationship between the sculpture and the surrounding landscape becomes clearer as well.}

^{圖說：在原有河流的流域中我們重新規劃了水流的流線與駁岸形狀，使雕塑更好的融入自然，成為空間中的雕塑，空間中的景觀。}

^{We have redesigned the flow pattern and the riparian edge of the water at the outer garden, to better assimilate the sculpture into the landscape, allowing it to become the sculpture within the space, the landscape within the space.}