万华麓湖C26样板岛与“斯德哥尔摩花园”跨纬度对话 / 魏玛景观

本文由魏玛景观授权mooool发表，欢迎转发，禁止以mooool编辑版本转载。
感谢魏玛集团授权在mooool上发布该项目，文字描述由魏玛集团提供。

魏玛景观：C26样板岛项目伊自2023年底，今年冬天成都下雪了。还记得第一次去现场感受空间时，C16天琴澄音的产品系即将推出，带着C26的产品角度进行走场，去挖掘产品周边的景观资源。说明C26样板岛位于最终止且不临湖，360 0㎡的空间内需考虑C16样板岛的施工通道，以及未来整体样板岛的陆路参观动线，还需自行承载3栋样板建筑，周边交界面复杂同时来自南侧市政道路的干扰及没有麓湖大生态保护区的加持下，意味着面临极大的资源挑战。我们唯有思考如何去创造“条件”。

魏玛集团：C26模型岛项目于2023年底启动。今年冬天，成都下了雪。我还记得第一次去现场体验空间的情景。当时C16天琴承音系列产品尚未上市。我以C26产品的视角走遍了场地，探索产品周边的景观资源。了解到C26模型岛位于场地尽头，并不临湖。这3600平方米的空间不仅要考虑C16模型岛的施工通道，还要规划未来陆路游览整个模型岛的路线，同时还要容纳三座模型建筑。周边复杂的界面，加上南侧市政道路的干扰，以及缺乏庐湖大型生态基地的支持，都意味着项目面临着巨大的资源挑战。我们只能思考如何自主创造“条件”。

▽基地样板岛布局

样板岛布局已形成，来自周边不同类别的不利资源，对前台有侵犯性。如何将项目的劣势变优势，秉承打不过就加入的原则，溶解是最适宜的选择。带着规划思考的目的：“建筑布局逻辑，源于对空间的整体整合与划分，通过建筑户型的不同功能结合动线与看面，透视空间看花园，去创造场地的属性与功能，形成四个花园空间，便有了项目规划总体。”

模型岛屿的布局已初具雏形。周边地区各种不利因素对场地构成严重威胁。如何化劣势为优势？秉持“无法战胜，就联合起来”的原则，整合是最佳选择。规划思路为：“建筑布局的逻辑源于对空间的整体概括与划分。通过将建筑不同功能楼层平面与动线和观景面相结合，并透过空间观赏花园，从而塑造场地的属性和特征。最终，由此衍生出四个花园空间，形成项目的整体规划。”

▽前期思考，空间推演，搭建“雕塑”空间

01空间搭建<“雕塑”空间>

雕塑空间

来自周边环境的挑战“构建边界溶解”，如何解决边界割裂“在项目里我们创造了飞毯系统”。

来自周围环境的挑战，边界消融的理念。如何解决边界分离问题？在这个项目中，我们创造了飞毯系统。

例如我们将建筑围合，这样我们便能找到场地的中心聚焦区域，同时项目的枢纽。所有的建筑入户，我们设计一处景观落脚区，通过该区域的飞毯系统作为建筑光厅形成功能互补，而室内的观览面皮对应于其他花园空间，通过植物的生命属性去带动户内的生活感。

最后将样板岛陆地游览通道与C26、C16的庭院进行统一，去边界化的拓展，这就是整体空间的推导思路。

For example, we enclose the buildings, so that we can find the central focus area of the site and serve as the hub of the project. All buildings enter, We have designed a landscape landing area at the entrance of each building, where the “flying carpet” system complements the functional role of the building’s light hall. The indoor viewing surfaces, on the other hand, correspond to other garden spaces, utilizing the living attributes of plants to enhance the sense of vitality within the interior.

Finally, the land tour passage of the model island and the courtyards of C26 and C16 are stitched together to remove the boundary expansion, which is the overall spatial derivation idea.

▽解决边界割裂“在项目里我们创造了飞毯系统”

02极小的空间如何去赋予景观的表达？

How to express the landscape in a very small space?

摈弃条条框框，不陷入专业本身去思考问题，将空间小的特性无限放大，以“块面”概况空间，以色彩激活情感。聚焦场地，少即多，去“雕塑”空间（高度概括是本次设计的核心）。

Abandon the rigid rules and regulations, do not get bogged down in the professional field itself when thinking about problems, infinitely magnify the characteristic of small space, summarize the space with “blocks”, and activate emotions with colors. Focus on the site, less is more, and go “sculpting” the space (highly summarized is the core of this design).

在这样的方向下，斯堪的纳维亚的独立设计语系从而建立。

“斯堪的纳维亚”设计，以20世纪欧洲大陆新艺术运动为启示，对生活及空间的极简表达，正是我们不谋而合的地方。

In this direction, the independent design language family of Scandinavia was thus established. “Scandinavian” design, inspired by the Art Nouveau movement on the European continent in the 20th century, offers a minimalist expression of life and space, which is exactly what we share in common.

艺术性：通过形象媒介串联空间节奏与主题，我们将雕塑字面化，用人面雕塑拎起场地调性。红色系列植物与飞毯系统结合，铺满画布，雕塑掩映其中。由此，展开《斯德哥尔摩花园》序幕。

Artistry: By connecting the spatial rhythm and theme through image media, we have materialized the sculpture, using figurative sculptures to lift the tone of the site. The red series of plants are combined with the flying carpet system, covering the canvas, with sculptures hidden among them.Thus, the prelude of Stockholm Garden was launched.

▽以斯堪的纳维亚风格为灵感的花园调性与色彩

03逻辑基底 < 斯德哥尔摩美学成分 >

STOCKHOLM’S RATIONAL AESTHETICS

逻辑基底，十分简单“色彩、线条、材料、风味、雕塑和植物，六大维度来搭建。”

Logical base, very simple. “Colors, lines, materials, flavors, sculptures and plants,Six dimensions to build. “

色彩 · 辨识度：由于建筑体量带来的空间压缩，以及建筑表皮本身已有的丰富度，我们将整体去色彩化，用白色大基调去概括项目整体基底，将局部色彩点缀的任务交由植被完成。

Due to the space compression brought by the building volume and the richness of the building skin itself, we will decolourize the whole project, summarize the whole base with a big white tone, and leave the task of local color embellishment to the vegetation.

线条· 秩序感：线性及形态的追求，也是空间属性产生的结果。从平面的空间线性，到立面空中飞蓬。大块面的三角形态布局，整体空间节奏穿插体块，形成基本稳定的美感关系，同步兼容景观功能属性，再将这些块面拉到不同标高面（包括建筑在内的可实施面一并考虑），形成多维度的节奏感。

The pursuit of linearity and form is also the result of spatial attributes. From the spatial linearity of the plane to the canopy of the facade. The triangular layout of large blocks, the overall spatial rhythm interspersed with blocks, forms a basically stable aesthetic relationship, and is compatible with the functional attributes of the landscape. Then, these blocks are pulled to different elevation surfaces (including the implementable surfaces including buildings) to form a multi-dimensional sense of rhythm.

三角形的取向来源于对空间稳定性和严肃性的追求，满足平衡感与非平衡的空间感知。

Tips: The orientation of the triangle comes from the utmost pursuit of spatial stability and seriousness, and satisfies the sense of balance and unbalanced spatial perception.

材料· 温度感：材料的表达尽可能的简单，通过形体塑造带出材料质感及变化，同时利用材料本身的肌理增加近人尺度的细节质感。

The expression of materials is as simple as possible, and the texture and changes of materials are brought out through body shaping. At the same time, the texture of materials itself is used to increase the detailed texture of people.

风味· 风情感：风情感通过环境营造自然流淌，不刻意去营造风情，相信风情的答案会从场地各载体媒介的适配后，散发出来。

Charm flows naturally through the environment, not deliberately creating amorous feelings. I believe that the answer to amorous feelings will be distributed after the adaptation of various carrier media in the venue.

雕塑· 块面感：对话空间的块面、色彩、材料，以“雕塑”的概念去理解和切分。模糊的人脸雕塑去塑造人物与环境关系，色彩语言和形态语言贴合项目本身，构成项目的“雕塑感”。早期的人面雕塑希望将场地通过具象性凝聚，传递以艺术为载体的园艺感知，后续在雕塑专业团队的深化下，以《冰原蝶吻》为题，塑造了于极光之下凝思的人面雕塑：霜吻、凛蕊、凝生、蚀春。

Talk about the block, color, material, etc. of space by sculpture, and understand and divide it by the concept of “sculpture”.Fuzzy face sculpture shapes the relationship between characters and environment, and color language and morphological language fit the project itself, which constitutes the “sculpture sense” of the project.Early human face sculptures aimed to condense the site through figurative means and convey the perception of horticulture with art as the carrier. Later, under the deepening of a professional sculpture team, a human face sculpture titled “Butterfly Kiss on the Ice Field” was created, reflecting under the aurora: Frost Kiss, Cold bud, condensed Life, and Eroded Spring.

▽雕塑设计草图

▽主题系列雕塑穿插在空间之中

植物· 情绪感：植被方面遵循的原则也很简单，建立景深背景（用较深的植物作为背景，衬出近人尺度的色彩），弱化上部高空视线干扰（对周边高层建筑进行屏蔽），乔木表达垂直线形感（将空间竖向拉升，弱化场地的压迫），下木寻找色彩（主题色系建立），达到概念表达意境。利用艺术肌理、轻盈、视觉力、明度，来统领整个画面。这说明植物落地从方案逻辑控制的重要属性!

Plant: The principles followed in vegetation are also very simple, such as establishing the background of depth of field (with deeper plants as the background, with colors close to people’s scale), weakening the interference of upper high-altitude sight (shielding the surrounding high-rise buildings), trees expressing the sense of vertical linearity (vertically pulling up the space, weakening the oppression of the site), and getting down the trees to find colors (establishing the theme color system), so as to achieve the artistic conception of conceptual expression.Use artistic texture, lightness, visual power and brightness to dominate the entire picture.This shows that the plant landing is an important attribute of the logical control of the scheme!

与甲方的思维碰撞下，诞生了红色系植物灵感，同时满足斯堪的那维亚设计的色彩美学，即高纯度色彩与几何美学的整体性。

Tips: Under the collision with Party A’s thinking, the red plant inspiration was born, and at the same time, it met the color aesthetics of Scandinavian design, that is, the integrity of high-purity color and geometric aesthetics.

▽主题色系植物实景

▽红色系植物搭配选型

04野性基因 <斯堪的纳维亚的笔触 >

SCANDINAVIAN WILDNESS GENE

VI标识：标识用北欧神话的卢恩符文进行演绎，“ATHENA”字体的运用赋予项目空间更多的细腻度及思考量。“绿野仙踪”材料将北欧神话的色彩符号形成图腾与场地结合，赋予语言类表达。

The logo is interpreted with Runes from Norse mythology, and the use of the “ATHENA” font endows the project space with more delicacy and thoughtfulness. The “Wizard of Oz” material combines the color symbols of Norse mythology into totems with the site, endowing it with linguistic expressions.

飞篷：飞蓬是我们一次全新的尝试。我们相信，有趣的设计应该不局限于一个面。利用三角形的稳定性，搭建空中飞篷，将景观的雕塑感从横向到竖向延升。

The flying canopy is a brand-new attempt for us. We believe that interesting design should not be confined to a single aspect.Using the stability of the triangle, the flying canopy is built to extend the sculpture sense of the landscape from horizontal to vertical.

气味：气味实验在C16样板岛未能如愿以偿。C26我们希望景观能并入感官体验，雪松和海洋的气味是我们起初想去追寻的方向。通过雾森系统模拟北欧清晨的水汽，以此作为空间的气息基调，去调和整体项目的嗅觉。我们将雾森装置巧妙设置于地面悬挑下口，通过精准调控喷头密度，营造出连绵、柔和的雾状氛围。创造出极地般空灵的光感体验。细腻的创意赋予场景独特的辨识度。

The odor experiment failed in C16 sample island. C26 We hope that the landscape can be integrated with sensory experience, and the smell of cedar and ocean is the direction we want to pursue at first.The fog system is used to simulate the early morning water vapor in northern Europe, which is used as the breath tone of the space to reconcile the sense of smell of the whole project.We ingeniously placed the fogging device at the lower opening of the ground cantilever. By precisely controlling the density of the nozzles, we created a continuous and gentle fog-like atmosphere. Create an ethereal light experience like that of the polar regions.Delicate creativity gives the scene a unique recognition.

▽细腻的创意赋予场景独特的辨识度

▽搭建空中飞篷，将景观的雕塑感从横向到竖向延升

05负负得正< 用矛盾写就的花园 >

GARDEN WRITTEN IN CONTRADICTION

通过几何式的线条、浅白色的铺装和不锈钢镜面，造成推理坚固。浅白色的铺装如冻结的波罗的海岸线，简洁且充满力量。所有硬景的克制，只为突显自然的戏剧性。

几何线条、浅白色路面和不锈钢镜面共同营造出理性基调。浅白色路面如同冰封的波罗的海海岸线，简洁而充满力量。所有硬朗的元素都被克制，只为凸显自然之美。

水石、钛色不锈钢、石灰石涂料这些致命的凌厉冷峻的材料与颜色，强化理性与冷峻的磨砺，植物营造的自然性，在建筑的有机武器下，对比出更加显着的自然感，这一切都是设计思考下的视觉感知。

水磨石、钛不锈钢、石灰石漆，这些极其锋利、冷峻的材料和色彩，强化了理性基础和冷峻骨架，与植物创造的自然感形成对比，在建筑材料的有机适应下，更明显地展现出自然之感，所有这些都是设计思维下的视觉感知。

大的白色和具有冲击力的红色能够形成强烈对比。将植物群落视为一个整体的雕塑体块，通过不同色彩、高度、高度的植物进行组合，如画作般的层次和韵律，从严肃的植物元素出发，升华为鲜活的、会生长的雕塑艺术品。

大底座的白色与醒目的红色形成鲜明对比。植物群落被视为一个整体雕塑单元，不同颜色、质地和高度的植物组合在一起，形成如绘画般层次分明、韵律优美的景观，将简单的植物元素升华为生动鲜活、生机勃勃的雕塑艺术作品。

▽所有硬景的克制，只为突显自然的戏剧性

▽将植物群落视为一个整体的雕塑体块，从繁琐的植物元素，升华为鲜活的、会生长的雕塑艺术品

06<景观如何成为艺术>

风景画：如何成为艺术

斯堪的纳维亚半岛，北纬55°以北的极寒之境，冰川雕刻峡湾，极夜拓展。成都，北纬30°的温润盆地，群山环绕，雾霭充足。当北欧的冷峻美学上蜀地的氤氲底色， C26万华麓湖的“斯德哥尔摩花园”，在中国成都的实地实践，设计中对理性、秩序与人工之美的极致追求，贡献了一种源自自然、充满流动与诗意的雕塑景观实验。

北欧位于北纬55度以北，气候极其寒冷。冰川雕琢出峡湾，夜长无比。成都位于北纬30度，地处温暖盆地，群山环绕，云雾缭绕。当北欧的冷峻美学与四川的浓郁景致相遇，耗资26万的华庐湖畔“斯德哥尔摩花园”便应运而生。它植根于中国成都，在设计上极致追求理性、秩序和人工美，却最终成就了一场源于自然、充满流动性和诗意的雕塑景观实验。

▽方案手稿