时代君林府：陶瓷引路，在岭南园林中看见空间秩序 / 图石设计

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图石设计：岭南园林自古以含蓄、流动的空间秩序著称。这里没有单一的视觉中心，却总能以光影、曲径、植被与水景共同织就出一种“看不见的秩序”。

时代君林府项目在这样的文化脉络下展开了自己的空间叙事，而导示系统的设计则是一次深入思考材料、形态与空间关系的探索：如何让导示设计在具有岭南语境的现代建筑环境中，承担起方向指引之外的空间表达功能？

ToThree: Lingnan gardens have long been celebrated for their restrained and fluid spatial order. Rather than relying on a single visual focal point, they weave together light and shadow, winding paths, vegetation, and water features to form an “invisible order” that is sensed rather than seen.

Situated within this cultural lineage, the Junlin Garden project develops its own spatial narrative. The design of the wayfinding system becomes an exploration of materiality, form, and spatial relationships—raising a key question: how can wayfinding, within a contemporary architectural environment rooted in Lingnan culture, extend beyond directional guidance to become an expressive component of spatial order?

文化语境：方向与空间秩序的延展

现代建筑语境中的岭南园林，已跳脱传统园林曲折蜿蜒、重叠山石的构图方式，而是以更简洁、更开放的方式回应自然与人。在这样的空间性探索中，时代君林府以青绿色陶瓷构件作为主要立面语言——这一近似水意的色泽不仅回应了岭南文化中对光、水与自然秩序的关注，也在简洁的建筑构成下呈现出清朗的节奏。

Cultural Context: Extending Direction into Spatial Order

In contemporary interpretations of Lingnan gardens, spatial composition has moved away from the traditional complexity of winding layouts and layered rockeries. Instead, it adopts a more concise and open approach in response to nature and human movement.
At Junlin Garden, blue-green ceramic elements are employed as a primary architectural language. This water-like hue echoes Lingnan culture’s enduring attention to light, water, and natural order, while establishing a clear and rhythmic expression within the project’s restrained architectural composition.

在这样的整体环境中，导示系统被视为空间秩序的一部分。它通过陶瓷与金属的组合，与场地语境进行对话，使方向提示与空间表达融为一体。用陶瓷指引方向，不只是导向本身，而是将材料、形式、光影和场地精神共同激活的一次实践。

Within this environment, the wayfinding system is conceived as an integral part of spatial order. Through the combination of ceramic and metal, it enters into dialogue with the site context, allowing directional guidance and spatial expression to merge. Using ceramic as a medium for orientation is not merely functional—it activates materiality, form, light, and site spirit as a unified spatial practice.

▽入口logo ©Time China

材料与工艺的诗意逻辑

时代君林府导示系统的核心在于青绿色陶瓷构件。这一材质承载着空间的情绪：青绿，有如水一般的深度；釉面，有光影流动的细腻。导示构件采用3D打印技术实现模块化生产，这既满足了设计中对尺寸一致性的高标准要求，也保证了构件的形态精准落地。

The Poetic Logic of Material and Craft

At the core of the Junlin Garden wayfinding system are blue-green ceramic components. The material carries an emotional quality: the depth of green evokes water, while the glazed surface captures subtle movements of light.
These components are produced through 3D printing and modular fabrication, ensuring both dimensional consistency and high precision in execution.

▽3D打印技术实现模块化生产

构件的四面微微内凹，使其在不同角度与光照条件下呈现出丰富但细腻的视觉层次。这种变化不是戏剧性的，而是如同水面随光而动、随时间而变——就像园林里那被空气与光线反复抚过的水纹。

Each ceramic unit features gently concave surfaces on all four sides, creating a rich yet understated visual depth under varying angles and lighting conditions. The effect is not dramatic but gradual—like the surface of water responding to light and time, reminiscent of ripples repeatedly brushed by air and sunlight in a garden setting.

▽四面微微内凹的构件

青瓷的色泽与园林植被互为映衬，在导示系统中这些陶瓷构件通过简洁的金属杆串联成垂直体量。这些体量如同翠竹般挺立，既有竹子的节律感，又带来一种轻盈与伸展。

岭南园林中常将竹子置于空间节点，用来构成节奏与间隔——导示系统借用这种“节奏性”，在园区路径中形成一种自然的视觉引导，让使用者在行走中感知方向与空间层次。

The ceramic tones resonate with surrounding vegetation. In the wayfinding system, the ceramic modules are vertically assembled along slender metal rods, forming upright volumes reminiscent of bamboo. They convey both rhythmic segmentation and a sense of lightness and extension.

In Lingnan gardens, bamboo is often positioned at spatial nodes to establish rhythm and interval. Borrowing this logic, the wayfinding system introduces a similar cadence along pathways, allowing users to perceive direction and spatial hierarchy intuitively as they move through the site.

▽导示系统在园区路径中形成一种自然的视觉引导

而黄铜材质的信息文字以立体雕刻方式呈现，它的温润与金属光泽在青色陶瓷面前形成低调却清晰的对比。在行走视线中，这种对比既确保了识别性，也赋予文字一种时间感与礼遇感。

Information text is rendered in three-dimensional engraved brass lettering. Its warm metallic sheen forms a restrained yet legible contrast against the blue-green ceramic surfaces. Along the walking sightline, this contrast ensures clarity while lending the text a sense of permanence and ceremonial refinement.

构成与秩序：陶瓷如何读懂空间

如果说建筑是秩序的聚合体，那么导示系统便是空间秩序的细部呈现。这些导示构件并不是孤立设置，而是与建筑语言共同发展出的方向语汇。

Composition and Order: How Ceramic Reads Space

If architecture represents the aggregation of order, then the wayfinding system becomes its detailed articulation. These elements are not placed in isolation, but evolve in parallel with the architectural language to form a coherent directional vocabulary.

导示系统在空间中产生了一种内在的“共振”，这种共振既源于构件与自然环境的关系，也源于材质与光影之间的互动。它不是单一意义上的视觉符号，而是一种贯穿日常行走体验的秩序节律。

The wayfinding system generates an internal “resonance” within the space—arising both from its relationship with the natural environment and from the interaction between material and light. It functions not as a singular visual symbol, but as a rhythmic order embedded in everyday movement.

可以从两个维度来理解这种秩序：其一是构件与环境形成的空间节奏。导示构件的竖向比例，与园中植被的垂直关系形成了一种视觉节奏。构件以均匀且有秩序的间隔排列，如同空间中的“呼吸节拍”，在视觉上引导使用者沿着路径自然流动。人们在行走中，并不需要刻意思考方向，视觉与身体的流动本身就完成了路径的引导，而不会感到中断或突兀。

This order can be understood through two dimensions.
The first is spatial rhythm: the vertical proportions of the wayfinding elements correspond with the surrounding vegetation, forming a visual cadence. Evenly spaced and consistently ordered, they act like the “breathing beats” of the space, gently guiding users along pathways without interruption or abrupt emphasis.

其二是光影流动中的时间体验。青瓷材质对光的反应极具诗意。在不同时间段，光线在釉面上反射、折射出不同层次的色彩。这种变化不是强烈对比，而是渐进、柔和的流动。导示构件在这样的光影中既是稳定的物理存在，也是光线的承载界面，这种双重性让空间不仅是静态意义上的秩序，更是时间维度的节奏体验。

The second dimension is temporal experience through light and shadow. Blue-green ceramic responds poetically to light, revealing subtle tonal variations throughout the day. The elements exist both as stable physical objects and as surfaces that receive and transmit light, transforming spatial order into a rhythm experienced over time.

不仅是方向，更是空间的力量

时代君林府的导示设计不止于让人快速识别路径或简洁有效地传递信息。它让方向随着场所精神、材料质感与空间节奏一起产生意义。

Beyond Direction: The Power of Spatial Expression

The wayfinding design at Junlin Garden does more than facilitate navigation or deliver information efficiently. It allows direction to acquire meaning through site spirit, material texture, and spatial rhythm.

在这里，导示成为一种让人“读懂空间”的媒介。它参与了整体空间语言体系的构建，不仅回应了建筑构成的逻辑，也融入了使用者的身体路线与感知体验之中。信息、空间与时间在体验过程中发生共鸣，从而在体验过程中构建起一种细腻的秩序感。

Here, wayfinding becomes a medium for “reading space.” It contributes to the overall spatial language, responding not only to architectural logic but also to users’ bodily movement and sensory perception.

秩序之美：空间、材质与体验的共鸣

在时代君林府，空间秩序不是靠单一的轴线或视觉终点构建的，而是由一系列细小但富有节奏的元素共同织就：青绿色陶瓷构件与光影之间的互动；黄铜文字在材质与色彩之间的低调对话；竖向构成与周围植被形成的节奏关系；导示体量在路径系统中形成的视觉流动。

The Beauty of Order: Resonance Between Space, Material, and Experience

At Junlin Garden, spatial order is not established through a single axis or visual endpoint, but woven from a series of subtle yet rhythmic elements—material, light, vegetation, and movement.

正是这些看似细微的关系，让空间呈现出一种不张扬却有力的秩序感。这里的路径不是被简单导引，而是随着节奏自然呈现；这里的秩序不是静态规则，而是随体验被感知的流动。

These seemingly minor relationships collectively produce an order that is quiet yet powerful—one that unfolds naturally through rhythm and experience.

当人们在空间中行走、停顿、转折时，他们不仅被引导到某处目的地，更是在身体与感官的流动中逐渐理解空间秩序背后的设计逻辑与美学追求。

用陶瓷指引方向，读懂现代岭南园林的空间秩序，这正是时代君林府导示设计的核心实践。当我们在青瓷构件之间行走时，我们看见的是方向；当光线与材质发生共振时，我们感知到的是秩序；当设计的表达不再局限于功能本身时，我们体会到的，是空间对人的尊重与回应。

As people walk, pause, and turn within the space, they are guided not only toward destinations but toward an understanding of the design logic and aesthetic intention behind the spatial order.

Using ceramic as a means of direction, and reading the spatial order of a contemporary Lingnan garden—this is the core practice of the wayfinding design at Junlin Garden. When we walk among the celadon elements, what we perceive is direction; when light resonates with material, what we sense is order; and when design expression transcends pure functionality, what we ultimately experience is the space’s respect for and response to its users.

导示不仅传递信息，更是空间秩序的语言，是光影与材质交织下的一种诗意表达。在这片现代语境下的岭南园林里，它让方向变得可感、可读、可体验。正如岭南园林所追求的那样——自然有度，造物有情。

Wayfinding here does more than convey information; it becomes a language of spatial order—a poetic expression woven from light and material. Within this contemporary interpretation of the Lingnan garden, direction is rendered perceptible, legible, and experiential. Just as Lingnan gardens have long pursued: nature held in balance, and creation imbued with care.

项目：时代君林府
地址：广东省佛山市
客户：时代中国控股有限公司
设计管理：向杰、徐庄滨、覃伙记、郑汉明
设计公司：图石设计
完成时间：2025年2月
设计团队：何杨、张睿、张沛楠、刘磊、张琳娜、吕载龙、黄子笑、蒋旭慧
项目经理：刘雯霞、沙守信
打样配合：天天精艺
施工单位：赛德艺术陶瓷、锐锋标识
其他专业：汇张思建筑设计、域道景观设计、WSD世尊室内设计
摄影：何杨、王子雄
图像编辑：王子雄
内容编辑：孙研博
感谢广州时代中国提供文中图片的使用权，已做单独标注

Project: Junlin Garden
Location: Foshan, Guangdong Province, China
Client: Times China Holdings Ltd.
Design Management: Xiang Jie, Xu Zhuangbin, Qin Huoji, Zheng Hanming
Design Firm: To Three Design
Completion: February 2025
Design Team:
He Yang, Zhang Rui, Zhang Peinan, Liu Lei, Zhang Linna, Lü Zailong, Huang Zixiao, Jiang Xuhui
Project Managers:
Liu Wenxia, Sha Shouxin
Prototype Fabrication: Tiantian Jingyi
Construction:
Sade Art Ceramics, Ruifeng Signage
Consultants:
Huizhangsi Architectural Design
Yudao Landscape Design
WSD World Standard Interior Design
Photography: He Yang, Wang Zixiong
Image Editing: Wang Zixiong
Text Editing: Sun Yanbo
Images courtesy of Guangzhou Times China, with separate credits noted.