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住宅示范创意园区场地南侧原有一湖体，北侧的建筑与湖体间有两米的高差，如何在建筑与湖体之间建立情感的、空间的联系，如何解决近期作为销售中心前场，远期作为酒店后庭这一功能叠置，是景观设计师面临最重要的挑战点。
景观设计师跳脱出纯粹的场地推演设计方式，以“形而上”的视角重新审视这一场所。于是乎面朝大海，春暖花开，原有的池塘变成了大海，两米的高差为海浪和礁石提供了演绎的温床，行走的风景将会串接起一幅幅落舟、踏浪、过礁、穿岩、观日的意境。这一“意境”既是对场地条件的统领，又是对广东这一百年海滨省市大地理环境的致敬，整个的场地游走是一次在静止之形与流动之势中的行吟。
从市政道转进来，幻化的滩涂托起项目的案名。绕滩而过，几块礁石成为前场小憩的落脚处。而正对两米落差，则形成由海浪日夜冲刷变成的岩壁。在这里，设计师把建筑侧面当成冲天而出的海浪，浪花下，层层叠叠的岩石或出挑，或缓跌，或聚拢，或分散出石块，黑白叠加，光影斑驳。最具视觉冲击力的悬挑礁石，则位于花林夹道的入口处，引导着人们朝里走去。
绕过花林，犹如穿岩洞而出，一幅“春江潮水连海平，海上明月共潮生”的宁静致远现于眼前。两米的落差幻化成海浪退潮形成的层层叠叠，与建筑正立面的层层跌落共同演绎着大海与陆地永恒的交界之景，退潮的动态之美在平缓滩涂上的石坑中留下点点清池。
拾级而上，犹如在礁滩上跳跃，不经意间便来到了建筑入口，回望幻化的海面与滩涂，层层荡开的水台，把人们的视线引向远方。一种“小隐”之情，油然而生。在这里，可以看看天光云影，可以抱本小说发发呆，甚至可以光着脚丫在水面跳一曲华尔兹。正如，在海滩上的嬉戏与浪漫。而当夜幕降临，星星点点的“渔火”在海面上飘荡，人们将一天的忙碌抛下，来到“沙滩”上与家人享受难得的闲适。远方璀璨星空中的皓月，把海与天定格于此，一切终归于平静。
总的来讲，这个住宅示范创意园区，化为了三个场景走向，分别对应了中国绘画的高远、深远和平远。它们是对海与礁流动之势的瞬间凝聚，是对光与影不同时间的动态捕捉。同时，它们也因在其中流动的观法而呈现不同的动感。
景观设计师希望这个住宅示范创意园区能够起于“形”而落于“势”，“形”，是海天之间定格不变的永恒，“势”，是转瞬即逝浪起潮涌的流动。这次，我们用永恒镌刻流动，把“势”表达为“形”，最终在静止之形与流动之势中行吟。
CMPD Jinshangu is an exploratory project to well mix the location with the geographic context there. What is fascinating about it is not the arrangement of traditional functions or the consummation of interests, but the representation of time-framed scenes. On the south is a lake, which has a 2m discrepancy in elevation against the building on the north. How to set up an affective and spacial bond between the building and the lake, and how to transform the Sales Center in the earlier stage to the hotel backyard in the later stage, has become the biggest challenge for us.
Here, to survey this location anew, we discard the deductive design method and take on a metaphysical perspective. Just imagine that the lake becomes a sea and the 2m discrepancy in elevation is billowing waves with reefs hidden in. Then a vivid imaginary picture of someone setting sail, treading waves, steering away from reefs, travelling through rocks and watching the sunrise will conjure up. This imaginary picture is the guideline of expectations for this location and also a salute to the great geographic environment of century-old coastal Guangdong. A tour of the location here is like a chant for a static pattern and the flowing motion within.
After detouring the flowery forest like passing through a grotto, you can see a view of tranquility and euphoria right before your eyes. The undulating waves in ebb as imagined from the 2m discrepancy in elevation, along with the gradational heights of the building’s facade, make up a picture in which a sea and land meet, with sea water left in the stone pits on the mud flat.
As a whole, the location here has three types of scenes, which corresponds to the profundity of height, the profundity of depth and the profundity of distance – the three top approaches to present spaces in Chinese painting. These scenes catch the instant motions of the sea and the reefs, as well as the dynamism of light and shade in times. In different perspectives of the flowing motions, these scenes will present different kinetic sensation. |
