衢州江湾半岛 / 玖鹿设计

STATEMENT

百越之地,钱塘之上,川陆相交，四省通衢。地理上的优势,决定了衢州文化的丰盈。城内九江汇流一体,各区域板块山水环绕,无不体现择水而居的文化魄力。而本次项目位于衢江、常山江、江山港三江交汇处，咫尺临江，是市区内为数不多的江景地块之一。我们尝试以对话的姿态,拉近自然江水与体验区的空间距离,同时摒弃了明显的符号表达,力求在文化上更加尊重项目的适地性,亦在践行追求自然的创意生活。

TheChinese people believe that, Living beside Water is one of the prerequisites for an ideal residence. ThePeninsula is located at the intersectionof Qu River, Changshan River and Jiangshan River, with three fourths of its boundary border to rivers, having a close connection with water. As the tenth projectsof the Country Garden holdings within the region, we clearly realized that this project dares to make different decisions and gives great openness andpossibility to its design immediately after we came into contact with the project, and we also make some bold attempts and changes to use water as the mirror.

• 场地的生成和空间分析

• Site Generation And Spatial Analysis.
  

临江云流

江干湖畔，深柳疏芦之际，略成小筑，足征大观也。悠悠烟水，澹澹云山；泛泛鱼舟，闲闲鸥鸟。漏层阴而藏阁，迎先月以登台。拍起云流，觞飞霞伫。

----《园冶》卷一：园说/相地/江湖地

初到江边，江风微起,云流涌现,像是低沉的自然之语在水天之间润墨成字。极目远眺,四野波平如镜,自然的宁静和透澈让来自闹市的心灵在此停泊。这一刻思索更多的,不是如何彰显自我的空间营造,而是如何在场地中保留这份初遇的感动。

Asa convergence of three rivers, Qu River has a unique natural ecological environment, which gives us a special inspiration for the landscape design. The river wind and the wide and open view felt when first arriving at the scene shock the souls long living in cities easily. This kind of initial and original site experience also gives us enlightenment and inspiration for the design, and we retain this shocking feeling in the future design.

• 100M+开外的视野。

• View over 100 meters.
  

进入项目场地,江水渐离,四周沟壑纵横,与江边的气韵完全不同。所谓步移景异,视点远近决定了景致的深浅,视点的高低决定了景致的宽窄,临江而立,如何才能纳景入框,关键还是在于视点的运用。

Overlooking the city after entering the project site, one can see from near to far the riverside road, the riverside park, river views, and the city skyline in thedistance. From the perspective of the outdoor floor of the project, the riverside road and the riverside park account for nearly one third of the view,with limited view area of waterscape, which is a pity for a site of 270 riverview. Therefore, how to maximize the innate advantage of the site has becomethe focus repeatedly discussed at the beginning of the design.

悬浮之镜

艺术馆入口面朝江湾，即是门户也是最佳的观景点，我们摒弃过多的装饰元素，以设阶登台的手法,在步移中改变视点。并用大体块的穿插，构建低沉大气的门廊空间,使之与江水的烟波浩渺相匹配。入庭之后,舍去秀气的蜿蜒遮障,删减巧借的立意,以一池、一廊、一树象征江水、远山、林缘，力求将临江的心灵之舟转化为归家的安定喜悦。不止于此，我们将镜面水置于空中，于门廊之上溢水成瀑，若视点在一层则如同银河飞落，若视点在二楼则可见二层景观阳台的无边镜面，顺流而下将眼前的池、屋顶的瀑、远处的江串成一体，此刻登台望月，水天一色，置身无相之境，一切是那么的平静安逸。

The project entrance faces the estuary, which is both the gateway but also the bestviewing spot. We abandon all decorative elements from the design source,intersperse with general blocks, lines and faces, and add some designers Ingenuity: inorder to extend the impression of water surface, we put the water mirror in theair, whichis the water source of the first floor waterfall, andalso the boundless water mirror of the viewing balcony on the second floor. This design visually connects the balcony at the feet with theriver view in the distance, and the overlap of different elements near and farcreates the illusion that the water surface stretches from your side to faraway. It places the seemingly casual combination into a big picture, displaying a kind of comfortable restrained beauty with the change of wind direction,light and shadow, and the time.

• 入口空间施工过程

• EntranceConstruction Process

  
  

• 设计手稿

• DesignManuscript

在江湾，融入风景之中最好的方式，就是沿着江畔漫步，随着波光感受拂面的微风。我们将此借鉴到门廊流线设计中，让观者沿着墙面曲线的引导优雅的步入内庭，而后转身迎面的便是满庭的微波粼粼，算作是低调的迎接。

The site entrance is not deep, so we adopt an unconventional means of entry, instead of going straight through the first image display but following the designed lines to enter into it from the side.

由外向内拾级而上，5m的水幕、艺术雕塑、水影光圈、光影走廊的由虚入实的节奏处理也让人内心从大自然的环境中过渡到内部包围感极强的宁静水院。

Walking upward from the outside to the inside, thereare 5m water curtain, sculpture, water shadow aperture, and light and shadow corridor. The arrangement of virtuality transiting to reality lets a personsheart transit from the natural environment to the tranquil water courtyard with a strong sense ofinner enclosure.

• 雕塑设计手稿

• SculptureDesignManuscript

• 雕塑泥稿

• SculptureMudDrapt

进入内部后水声也逐渐变小，靠近建筑的一弯弧线处理即是全案设计极简线条的高度提炼也是对江湾口这一场地独有气质最佳的隐喻。

Thesound of water gradually becomes smaller and smaller once inside. The curvedline close to the building is the highly refined design of the minimalist lines of the whole design, and it is also a metaphor for the unique temperament of theestuary.

浮空映月

打破一层视点对于立面的执着，将重点提升到二层，从而将江湾与浮空水面尽收眼底。进而打破了空中和地面水体的边界，也打破了远眺视线镜面水与江景的边界。

At present, most of the demonstration areas in China are built with the idea of being a Display, often paying much attention to the aesthetic feeling observed from various angles.This project jumps out of thatconcept, focusing on the perspective from the inside out, and blurring the boundary and relationship between the near and far views. For example, the suspended water mirror on the second floor breaks the boundary between the skyand the water on the ground, and also breaks the boundary between the water mirrorand the river view when looked from a distance.

• 设计手稿

• DesignManuscript

通过二楼到达阳台尽端，这里是一个安静却又蕴藏惊喜的场景，触手可及的水面上被江风吹起的涟漪与远处江面连成一体，波动着这个城市的倒影。

After passing the second floor of the art center,one comes to the end of the estuary balcony, a quiet but surprising place, withcomfortable seats. Ripples of the water within reach and water lines of thedistant river combine into one, mirroring the reflection of the city.

任何好的设计意图都不是单向的存在的，我们在整个双层空间设计的整个过程中，一直抓住的核心就是连贯和流畅，任何一处设计的细节无论是从地面或是空中的角度观看都有它存在的意义与价值。我们利用入口处的顶部位置开了一个圆形口，玻璃之上是二层的水面，白天与行走在下方的行人开了一个光影与水纹的小玩笑，而夜晚从江湾阳台上看则是一个沉在水下略带神秘色彩的光圈，将它构建成了一个可互动、有温度的空间。

Any good design idea is not unidirectional.In the whole design process of the two-layer space, we have always grasped the core of coherence and fluency, and every detail of the design, whether viewed from the ground or from the sky, has its significance and value. We make a circular opening at thetop of the entrance, above the glass of which is the water on the second floor.During the daytime, it plays a little joke about light, shadow and water wave with pedestrians walking below, while at night, it is a slightly mysterious halo underwater looked from the estuary balcony. Lots of interesting details like this exist in every corner of the design, replacing superficial decorations,and creating an interactive and warm space.

• 顶部空间施工过程

• RoofConstruction Process
  
  

穿过江湾艺术馆，到达的流水花园是未来的主要生活区域，在着手项目之初我们就暂时摒弃了这块空间的样板属性，回归本身的功能需要和场地气质，使它处于一个规整而又不太具有压力的放松状态中，大几何体块的穿插与通道以一种错位阵列的形式组合在一起，即是一种吻合项目整体气质的秩序美，也是视觉符号简单化，减轻过渡复杂装饰而产生的审美负担的一种解构表达。

The water garden is behind the estuary art museum, which is the main living area inthe future. At the beginning of the project, we temporarily abandoned the model property of this space, and returned to its own functional needs and site features,so as to put it in a structured but less stressful state of relaxation. The interpenetration of large geometric blocks is combined with walkways in aform of dislocation array, creating a beauty of order matching the overall temperament of the project. Besides, it is also a simplification of visual symbols and a kind of deconstructive expression that alleviates the aesthetic burden caused by overcomplicated decoration.

在江湾艺术馆的设计中我们强调与环境对话，通过设计将最初的感受保留和传递。整个空间也是对未来水岸生活场景的憧憬与一种解读。这个项目的完成也包含了许许多多人的合作与努力，我们在此表示诚挚的谢意。

In the design of the estuary art museum, we want people to experience his relationship with nature in a way that is diverse and changes over time, just like the dialogue between two people. The whole space is also a vision and interpretation of the future waterfront life scene. The completion of this project is the result of the cooperation and efforts of many people, and we hereby express our sincere gratitude.

项目信息

Projectdesigncompletionyear:20192020