这是一次在东莞松山湖4A景区绿道内的造园尝试，设计任务起于地产销售，但因基地太小核心区约1000平米，无法呈现一个完整的销售需求，设计从传统功能中解放。如何再现松湖烟雨的气韵，成为这次设计最核心的挑战点。

This was an attempt to build a garden in the greenway of Dongguan Songshan Lake 4A Scenic Zone. The design task originated from a real estate sales project. However, the base only covered about 1,000 m2 which was too small to convey a complete sales demand. Hence we freed its design from traditional functions. The core challenge of this design lies in reproducing the charm of misty rain on Songhu Lake.

破题——阴阳

Theme Interpretation — Yin and Yang

如此小的场地，既不能再造一处自然之色，集锦式的元素提取也略显老气。通过思维导图不断的自问，最终我们认为风景存续在自然之中，而自然的解读可以通过阴阳互换来体现：松湖风景→自然→阴阳

This site was too small to reproduce a natural scene. Besides, the representation of a collection of elements might also appear lacking in youthful vigor. By asking ourselves endlessly through the mind map, we eventually drew a conclusion—Scenery exists in nature, so nature can be interpreted through changes between yin and yang: scenery of Songhu Lake→nature→ yin and yang .

格局——阴阳互换的双盒

Vision — Two Boxes Featuring Changes between Yin and Yang

通过两个盒子的阴阳对照，把松湖烟雨的气韵、自然的朝夕脉搏，整合到动态游赏路线中。在这里，一个放，四溢横流、喷脱而出、洋洋洒洒；一个收，坐井观天、洞天福地、雾气凝滞。一个感受太阳灿烂的刚劲之美，一个捕捉月华如水的柔弱之气。接下来就带着大家来领略这一廊之隔的双盒对话吧。

The contrast between yin and yang in two boxes blends the charming misty rain of Songhu Lake and impulses of nature into the dynamic sightseeing route. Here, one box expands, with vitality bursting out in unbridled flows. Another box retracts, creating an enclosed space for watching the sky and enjoying the condensing mist. One box experiences the vigorous beauty of bright sunshine, while the other captures the gentleness of crystal moonlight. Next, please follow us to appreciate the dialogues between these two boxes separated by a corridor.

南盒

南盒是毗邻市政的第一个盒子，我不太喜欢第一眼过于华丽的界面，因为自然是温润的。我更愿意把高潮放在内部，用空间、光等内部力量去感染大家。因此，如何把人们吸进去，在这个过程中逐步释放自然的阳刚一面，成为南盒重点推敲的部分。

The Southern Box is the first box adjacent to the city. I don't like interfaces that appear excessively gorgeous at first glance because nature is gentle. On the contrary, I prefer to place the climax inside and touch everyone with internal strengths, such as space and light. Hence this Southern Box has two priorities: absorbing everyone and releasing the masculine side of nature in this process.

首先我们选择东西向建立盒子，希望光能够在一天中发挥最大的功效，同时以原生桉树林作为背景衬托。其次，我们在街面上建立长约81米的界面，并在中间凿出一个“洞穴”，让“水”流出来。这里的“水”是黑色的，黑色的墙、黑色的地面、黑色的台阶，黑色的市政人行道，意图通过真真假假的“水”，模拟出一个水帘洞。当人们踏水而入，经过光、声音、水汽的洗礼后，另一个世界——北盒将在门后徐徐打开。

Firstly, we chose to build the box in the east-west direction, hoping that the light could give play to its maximum effect in a day. Meanwhile, the original eucalypt forest was used as the background. Secondly, we constructed an 81-meter-long interface on the street and dug a "cave" in the center, allowing "water" to flow out. The "water" was black: the black wall, floor, steps, and municipal sidewalks. By creating such real and virtual "water", we planned to simulate a water curtain cave. After walking through the water and being cleansed by light, sounds, and vapor, one can enter another world—the Northern Box will unfold slowly behind the door.

接下来我们将从吸入和自然的阳刚两个维度，深入解读南盒的体系架构。

Next, we will deeply interpret the Southern Box's system structure from two dimensions: absorption and masculinity in nature.

吸入

Absorption

在17米进深的南盒，我们通过10米的顶棚，把盒子分成了三段，它呈现出亮-暗-亮的关系。同时，在第一界面我们在电动玻璃门中加入金属丝网，在最后一个界面置入了一个捕光的装置——一棵姿态横溢的斜飘树。这样，当人们站在马路对面时，朦胧的玻璃门后面，一个被高光打亮的景致，就像台北故宫博物院入口处的翠玉白菜，吸着大家往前走去。

In the 17-meter-deep Southern Box, we built a 10m-high ceiling and divided the box into three parts. It presents the relations between bright—dark—bright. Meanwhile, we added a wire mesh into the sliding glass door in the first interface. Next, we placed a light-catching device in the last interface—an obliquely-postured tree. In this way, when people stand across the street, they can find a brightly lit scene behind the hazy glass door—As if the Jadeite Cabbage at the entrance of Taipei National Palace Museum, it attracts people to go ahead.

自然的阳刚

Masculinity in Nature

自然太博大了，如何奴驭风月，如何像清代张潮写的《幽梦影》里：“栽树可以邀风，筑台可以邀月……”选择不同的物象，以一物引他物，引来自然的通感，是我们必须面对的抉择。在此，我们选择了滩石、滴落的水声、强光与阴翳、湖上的蜻蜓来展现自然的脉动、松湖的清扬。

Nature is so vast. How can we enslave the wind and moon? How can we achieve what Qing scholar Zhang Chao wrote in Dream Shadow?—"By planting trees, we invite the wind. By building a platform, we usher in the moon…." Selecting different images, leading one thing with another, and drawing sympathy from nature are inevitable choices for us. Hence we decided to represent nature's impulse and Songhu Lake's freshness with beach stones, dribbling water, high light and shadows, and dragonflies on the lake.

滩石

Beach Stones

三块石头，一块在门外，一块以吧台呈现，一块托住斜飘树。由外及里，是一个由平到高，再往下坠的带入关系，它们同时暗喻了一池三山的风水结构。石头表面尽可能粗糙，希望更多带入原生态，把人们拉回湖畔林间，安神养性。

Three stones are used: One is placed outside the door; one acts as the bar counter; one holds the obliquely-shaped tree. From outside to the inside and from flat to high then down — these stones attract people to enter. Meanwhile, they jointly form a metaphor: the fengshui structure of one pond and three stones. These stones' surfaces are processed to be rough, bringing in more ecological sense and drawing people back to the lakeside forest to relieve their uneasiness and nurture their temperament.

水声

Gurgling Water

水有两处跌落，门外是安静的，门内是躁动的。我们想把水声留在门内，用它去洗涤门外的浮尘。当玻璃门徐徐打开，水汽扑面而来，哗哗的水声把人们吸进之后，人们入定而立。

The water falls in two places. It's quiet outside the door yet restless inside. We planed to leave the sound of gurgling water inside the door in order to cleanse the dust outside the door. When the glass door opens slowly, water vapor surges forward. Once people are brought in by the babbling water, they stand in quiet meditation.

为了形成强烈的包裹感，我们采用L型水幕墙，同时提高水幕基脚20厘米，让水的坠落发声。同时我们在池底通过金属挡板区分水的动、静，用平静的水面反衬水的欢愉。

To create an intense sense of wrapping, we employed the L-shaped water curtain wall. Meanwhile, we elevated the curtain wall's base by 20cm so that the water would fall with sounds. Then we placed a metal baffle board at the pond's bottom to separate the water's dynamics and stillness. Hence the calm surface can reflect the water's joy.

整个水幕，我们希望是入画的，因此，在悬挂的基础上再次翻折，希望它就像一副刚刚打开的画卷，让前面的树、石、人，装进这水墨丹青之中。

Hoping to create a picturesque water curtain, we folded it again aside from the suspension. In this way, it would be like an unfolding scroll of ink painting and incorporate the above-mentioned trees, stones, and people.

强光与阴翳

Glare and Shadow

这是一个盛光的盒子，我们希望通过盒体对光的裁剪，把灼热的光、柔弱的光、影子这三种不同性质的光，在同一时段，同一空间并置，让自然的呼吸律动显现出来，让强对比去激活人们对自然美的认知。

This is a box filled with light. We planned to cut rays of light with the box and place glaring light, soft light, and shadows in the same space at the same time to reveal nature's breaths. The strong contrast stimulates people's understanding of nature's beauty.

人们通常是中午或下午来到这里，站在盒中，西侧的光在深檐以及夹丝玻璃的双重过滤下，已经变得很孱弱。平静的水面和拉槽的墙基将其含吮其中，光的弱德之美停留在入口一侧。而盒体的东边，顶棚与5.5米高墙之间留出的天井让光倾泻下来，反光的叶片如同被光燃烧，绿色的“火焰”同瀑布一道将人们的心情往另一个相反的高潮推升。

People normally come here at noon or in the afternoon. Standing in the box, one can find that light becomes weak after being filtered by the deep eaves and the wired glass. The still water surface and the slot's wall base captivate all the light, leaving the beauty of the soft light at one side of the entrance. In the east of the box, the courtyard lies between the ceiling and the 5.5m-high wall, allowing the light to pour down. The reflected leaves glare as if they have been burned by the light. Then the green "flames" and the waterfall jointly push people's feelings to the opposite climax.

一边是光芒万丈，一边是阴翳的礼赞。

On one side is glaring light. On the other side is praise of the shadow.

北盒

Northern Box

北盒是神性之后的日常，如何把可品茗、可私宴的日常归置得精巧且充满湖畔气息，以阴柔之美滋养生活，是此盒重要的挑战点。

The Northern Box is an everyday part of divinity. Its primary challenges lie in decorating the daily scene suitable for drinking tea and holding private banquets with a delicate lakeside view which nourishes life through the beauty of gentleness.

精巧的场所——套院

An Exquisite Place — Courtyards

我们用前后院落来衔住建筑，因为建筑的通透性，基地变成了被水包裹的滩涂。视线的渗透溶解了室内外边界，精致的室内成为室外互看的风景。

The front and back courtyards are combined to connect the architecture. Because of the architecture's permeability, the base is turned into a shoal covered by water. As the vision blends the boundaries between the interior and the exterior, the delicate interior becomes a scene to be appreciated from the outside.

精巧的场所——阴阳姿态

Exquisite Site — Postures of Yin and Yang

昆曲被称为百花园中的一朵兰花，它的每一次亮相都是一幅完美的阴阳配位，有高下、有内外、有你我。在北盒中，水岸边栽植斜飘树，强化水与岸的相互咬合，同时分布于LED屏两侧的斜飘乔木，一高一低，一个俯首、一个叹仰，力求将整个画面定格在阴阳交融的姿态中。

Kun operas are known as orchids of the flower garden. Its every appearance reflects a perfect combination of yin and yang, where there is high and low, inside and outside, and you and me. In the Northern Box, the obliquely-shaped trees are planted by the river to enhance the combination between water and the shore . Meanwhile, the obliquely-shaped trees stand on two sides of the LED screen. One is high, while the other is low. One bows down, while the other sighs with its head up. They strive to freeze the image in the state where yin and yang are balanced.

在别处的湖畔气息——迷远

A Lakeside Feel in Another Place — Misty Distance

北盒其实很小，被建筑分开的两个小院，分别是长22米宽15米和长13米宽6米。我们希望借韩拙提出的迷远“有烟雾瞑漠，野水隔而仿佛不见者，渭之迷远。”通过雾喷来扩大人们对北盒的感知。

In fact, the Northern Box is very small. Two courtyards are respectively 22m*5m and 13m*6m separated by the building. We hope to portray the misty-distance proposed by Zhuo Han — With a dim mist that hangs aloof, the scene is separated by natural water and seems invisible. Such is known as misty distance. We hope to expand people's perception of Northern Box with the misty spray.

雾喷并不稀奇，但装在哪能够形成迷远之境，则需考究。通过多轮模拟，最后我们把点位布置在建筑边上，希望在室内与室外增加一层遮罩，拉开室内对外庭空间的感知。

Although the misty spray is not rare, where it should be placed needs careful consideration in order to create a misty-distant scene. After several rounds of simulations, we eventually placed it near the architecture, wishing to add a layer of cover between the interior and the exterior, and enhance the perception of the outdoor space from inside.

在别处的湖畔气息——远借

A Lakeside Feel in Another Place — A Borrowed View From the Distance

通过视线的管控，路边20多米高的桉树林成为第一个被远借的对象。而如果只限于此，思绪是无法被带出这一方水院的。在此，受郭熙在《林泉高致·山水训》中“不下堂筵，坐穷泉壑”的提示，我们在弧形墙上挂了一幅美轮美奂的“山水画”——一幅长18米高2米的LED屏，将松湖林语的景致纳入其中，希望通过虚拟的山水画卷，让人们感受到远处的湖畔气息。

By controlling our vision, we selected the 20-meter-high eucalyptus forest as the first view to be borrowed from the distance. If we were contented with this arrangement, we could not bring our thoughts out of this waterside courtyard. We were inspired by Guo Xi's verses in The Elegance of Bamboos and Springs - Instructions on Landscape — Sitting and appreciating springs without leaving the banquet. Here, we hanged a picturesque landscape painting on the curved wall — The 18m*2m LED screen incorporates all scenes by Songhu Lake and the forest. We hope that the virtual landscape scroll will enable visitors to experience the lakeside sense in the distance.

隔

Separation

在两盒之间，如何隔而不断且能渐入佳境。在此我们希望它是一个洞穴，穿过它，在磨砂玻璃门徐徐打开之后，另一壶中天地呈现眼前。

How can we separate these two boxes without breaking, and unfold the view gradually? We hope to create a cave, where one can open the frosted glass door after passing through it, and wait for another world to appear in the front.

整个空间呈竖向狭长形，石板悬浮，微光从墙板之间的缝隙中透出，我们力图创造出两盒为实，中间为虚的探秘感。

The entire space is vertical and narrow. The slab stone floats, allowing rays of dim light to penetrate from the seams between wallboards. We strive to create a mysterious perception: two solid boxes on both sides and an empty space in the center.

说完耦园的主骨架，还有两个探讨点想一吐为快。

After introducing the Couple's Garden's main framework, I would like to talk about another two points.

三远的动态运用

Dynamic Utilization of Three Distances

/情绪起承转合/

/Emotional Opening, Development, Transition, and Conclusion/

如何对中国画论进行有意的景观尝试，一直是我思考的命题之一。高远、平远、深远、迷远、阔远、幽远，与其说它们是六种构图的提炼，不如说是六种心境的描述。本次设计我取前四远，并以动态转换的方式布置高远、平远、深远，以期通过不同心境的铺垫，带入情绪的起承转合。

How to construct views based on Chinese painting theory is one of the topics that I have been thinking about. High distance, flat distance, deep distance, misty distance, vast distance, and secluded distance should be taken as not only six composition elements but also descriptions for six mental states. In this design, I selected high distance, flat distance, deep distance, and misty distance and arranged the former three by dynamic changes, expecting to lay a foundation through different mental states and bring in emotional opening, development, transition, and conclusions.

市政第一界面长约81米，左右各22.5米的小叶榄仁夹住36x5.5米高墙，以平远之境形成冲融平淡的心情。

The first municipal interface is about 81m long. On both its left and right, the 36x5.5m high walls are surrounded by the 22.5m Terminalia mantaly, which forms peaceful emotions through the flat-distance scene.

在整个沿街立面的中间我们凿一水帘洞，五层界面，把重叠的深远之境，以重晦的心情引人而入。

In the center of the façade along the street, we dug a water-curtain cave with five-layered interface to introduce the overlapped deep-distance scene through obscure feelings.

当电动门缓缓打开时，高远的清明之色从天窗洒下，5.5米高的壁泉在4米净高顶棚之后向天上冲出，刚性积极的心情油然而生。

When the electrically operated gate opens, the high-distance pureness pours down from the skylight. The 5.5m-high wall spring spurts out skyward after reaching the 4m-high ceiling, creating masculine and positive emotions.

而在人们继续往左行进之后，第二道电动山门、背后的室内框景、水边的LED屏以及背后的高墙和8米高小叶榄仁这5层界面又一次以深远之意，把人们吸入。

While after people continue to walk towards the left, they will be absorbed by the profound five-layered scene: the second electrically-operated gate, the indoor framework scene at the back, the waterside LED screen, the high wall, and the 8m-high Terminalia mantaly.

当人们最后入定坐下，眼前镜池天井所展现的平远和迷远，让人们平复心情，追想松湖烟雨的辽阔画卷。

When people finally sit down in quiet meditation, they will be soothed by the flat-distance and misty-distance displayed by the courtyard in front of the Mirror Pool, which encourages them to recall the vast scroll of misty rain on Songhu Lake.

总的来讲，高远之势突兀，深远之意重叠，平远之境冲融而缥渺。整个游历过程，起于柔性之心，成于刚性之气，归于平和之境。

On the whole, the towering high-distance overlaps with the far-reaching deep-distance, while the flat-distance scene wears away and appears ethereal. The entire journey starts with a soft heart, rises from masculinity, and returns to a peaceful state.

蜻蜓

Dragonflies

我们设计的场景都是希望充满生命力的，而其中的雕塑也必然承载生之活力。蜻蜓这一水边的轻巧之物，原以三个场景，三种不同材料对应刻画。南盒入门前水平放置的大石上，用铜制简约的发簪造型置于石上；两盒之间的隧道石板上，以精细的刀法阴刻出一只匍匐蜻蜓；北盒的叶片上，亭亭玉立一只翡翠点缀的蜻蜓。前后三只，一个大写意，一个小写意，一个居中表达。前者金属暗喻灼灼生机、跳脱，中间石材表达深邃沉稳，最后金属与翡翠结合阴阳平衡。它是我们行进的线索，又以不同的性格张力呼应每一个场景的特征。

We hope that all the scenes designed are full of vitality. Besides, the sculptures inevitably carry the vitality of living. The dragonfly has a light kiss by the waterside. Three scenes are depicted and portrayed with three types of materials. A large stone is placed horizontally in front of the entrance to the Southern Box, with a simple bronze hairpin on it. Between two boxes is a channel slate. Crawling on it is an exquisitely carved dragonfly. On the leaf of the Northern Box stands a dragonfly decorated by jadeite. There are three dragonflies: a freehand one, a half-freehand one, and a moderately expressed one. The metal of the freehand dragonfly implies vitality and liveliness; the stone dragonfly in the center reflects depth and calmness; the last dragonfly is made of metal and jadeite, which symbolizes the balance of yin and yang. It is the clue for our procession and echoes each scene's characteristics by different personality strains.

项目档案

项目名称：深圳中海·松湖林语

业主单位：中海企业发展集团深圳公司

项目地点：东莞市松山湖大学路与湖景路交汇处东南侧

项目规模：约1700平方米

景观设计：佳联设计

业主团队：刘兰、李跃华、周友科、郭贻帅、李永攀、薛知恒、吴进满

特别鸣谢：中海企业发展集团设计管理部