在中国传统建筑中，我们看到造型的炫耀常常让位于精彩绝伦的空间转换。似乎左右能看见的部分都是假象，而一切真正的主体是哪些可供人穿过、停留、迂回的「空白」 。

——蒋勋《美的沉思》

中国文人住所的空间格局，往往寄托着主人的性情所向。在昆明江湖海这个项目中，我们试着将诗歌拆解为文字、音乐，把绘画解散为形状与色彩，把雕塑还原为材质和体积，把建筑回归为最初始的空间需求。用景观的尺度分配场地，在片墙围合的虚空中引入光与影、风与月，以吟咏诗歌的情绪传达出东方美学的简素精神。

The space pattern of Chinese literati residence, often consign host's disposition to place. In the project of kunming jianghu hai, we try to disassemble poems into words and music, disassemble paintings into shapes and colors, restore sculptures into materials and volumes, and return architecture to its original space requirements. With the scale of landscape, the site is allocated, and the light and shadow, wind and moon are introduced into the surrounding void of the wall, which conveys the simple spirit of Oriental aesthetics with the emotion of chanting poetry.

东方美学的至高之境，在于留白，无论是诗歌还是画作，适时的留白能使整个作品画面、章法更为协调精美而有意留下想像的空间。而这一技法的运用在宋朝达到顶峰。南宋夏圭的《山庄暮雪图》描绘的是深秋或初冬时节江南的暮色雪景，整幅画面虽不盈尺，却小中见大，刻画精细，通过大片留白描绘出水边一隅清冷沉寂的意味。

The height of Oriental aesthetics lies in the blankness. Whether it is poetry or painting, the timely blankness can make the whole picture and the rules of the work more harmonious and exquisite and leave the space of imagination intentionally. This technique reached its peak in the song dynasty. The "twilight snow map" by xia GUI in the southern song dynasty depicts the late autumn or early winter southern twilight snow scenes. Though the whole picture is not full of feet, it is small in the middle and large in the middle. It is elaborately depicted.

将生活诗化，让空间流动，不仅是存在于古老画卷中的美学诉求，也是身为设计者的我们对当下泛滥的媚俗审美进行的反思与抗争。

To poeticize life and make space flow is not only the aesthetic appeal existing in the ancient picture scroll, but also the reflection and struggle of designers on the prevailing kitsch aesthetics.

项目场地的现状除了已有的建筑之外，整片狭长的空白地段几乎找不到任何进深院落的感觉，如何在其中运笔着墨，用景观勾画出空间的秩序，同时预留出自由的空白，成为我们的一大挑战。片墙围合，山石着色，回避浮华的装饰与线脚，聚焦于空间的比例与意境的营造，以自由的形式打通室内外空间的连接，达到景观与建筑的统一与融合。

Apart from the existing buildings, there is hardly any sense of deep courtyard in the whole long and narrow space. How to put pen to paper in it, draw the order of space with landscape, and reserve free space at the same time has become a big challenge for us.Surrounded by walls, colored with mountains and stones, avoiding flashy decoration and line feet, focusing on the proportion of space and the construction of artistic conception, the free form opens the connection of indoor and outdoor space, and achieves the unity and integration of landscape and architecture.

入口摈弃了传统的中式装饰，以至简的线条勾勒出府邸的门面。

The entrance is so unadorned with traditional Chinese decoration that the simple lines outline the facade of the mansion.

院落名字来源于宋代古琴名曲，庭院四周被镜面水景环绕，悠然宁静，滇池西山剪影装置形成对景，仿佛置身滇池中央，耳边似乎传来远处缥缈的渔歌之声。有一种「鸟鸣山更幽，蝉噪林逾静」的意境。

The name of the courtyard comes from the famous song guqin. Surrounded by the mirror water scene, the courtyard is quiet and quiet. The silhouette device of the western mountain of dianchi forms the opposite scene. There is an artistic conception that "the singing mountain of birds is more secluded, the noise forest of cicadas is more quiet".

庭院中央对植丛生紫薇12 株，象征一年12月，紫薇树姿优美，树干光滑洁净，花色艳丽，形成庄重仪式感。

In the center of the courtyard, there were 12 plants of crape myrtle, symbolizing December of a year. Crape myrtle trees were graceful, their trunks were smooth and clean, and their colors were gorgeous, forming a sense of solemn ceremony.

庭院汀步采用幻彩灰石材，石材纹理如同海浪，配合一侧水纹打孔版，如同踏步海浪一般。荒石如山，碎石如水，汀步为海浪。

The courtyard steps adopt the magic color gray stone, the texture of the stone is like the wave, and the perforation version with the water grain on one side is like the wave of the step. Stone mountain, rubble like water, ting step for the waves.

售楼处外立面装饰元素以滇池西山贯穿，山形绵绵不绝，前后叠错，若隐若现正如雨后秋山。

The exterior decoration elements of the sales office run through the western hills of dianchi, continuous in the form of mountains, overlapping and overlapping, as if looming like the autumn mountains after rain.

水景之中置一景，以简洁的造型颜色与水面形成强烈对比，渔船与倒影随着时间的变化呈现出不同的光影，夕阳映照，渔歌四起，在景观的空与白中延伸出无限的遐想。

A scene is set in the middle of the waterscape. With its simple shape and color, it is in sharp contrast with the water surface. The fishing boat and reflection show different light and shadow as time changes.

成群的海鸥飞过海面，翅膀挥动如同自由来临的声音，以海鸥为原型抽象演变，材质上使用水景和黄铜，外置射灯再添点睛。

Flocks of seagulls fly over the sea, their wings waving like the sound of coming free, taking the seagulls as the prototype abstract evolution, using the waterscape and brass on the material, and adding a highlight on the external spotlights.

「满庭芳」取自宋代词牌名，因唐吴融「满庭芳草易黄昏」诗句而得名，又一说得名于柳宗元「偶地即安居，满庭芳草积」。用来冠名后庭院真是再贴合不过了。满庭遍植当季花草，沿庭院设计风雨连廊，通往样板房。步行其间叶影婆娑，花香四溢。

"Manting fang" is named after the song dynasty, named after tang and wu rong's poem "manting fang grass is easy to dusk". It's a perfect fit for the back yard. The garden is covered with seasonal flowers and plants, along the courtyard design wind and rain gallery, leading to the model room. The leaves were dancing and the flowers were sweet.

宋代禅宗将修行分为三个境界。第一境界是「落叶满空山，何处寻芳迹」；第二境界是「空山无人，水流花开」；第三境界是「万古长空，一朝风月」。样板房外的花园，以现代的手法对山水的意境重新进行了演绎。

Song dynasty zen Buddhism divided into three realms. The first boundary is "fallen leaves are full of empty mountains, where to find traces"; The second stage is "empty mountain, water bloom". The third stage is "the eternal sky and the moon". The garden outside model room, with contemporary gimmick to the artistic conception of landscape undertook afresh.

工程竣工的瞬间，这个项目就正式开始离我们的设计图纸远去，以它独立的秩序构成空间，成为人们生活的一部分。如果畅想未来中国的景观艺术发展，设计师是否应该在高密度的视觉盛宴中尽力留出空间和想象，借助中国古代留白的手法，营造一种叠合、攀登、生长的诗意，让人们可以在这个纷繁的世界里感受一些自由。

The moment the project was completed, the project began to move away from our design drawing. With its independent order, the space became a part of people's life.If we imagine the future development of Chinese landscape art, should designers try their best to leave space and imagination in the high-density visual feast, and create a poetic combination, climbing and growing with the help of ancient Chinese white space, so that people can feel some freedom in this complex world.