住宅真正的边界，究竟在哪里？ / Turing Lab / 图灵（景观）实验室

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Turing Lab / 图灵（景观）实验室：过去二十年，中国住宅不断刷新高度、尺度与造价，却很少重新追问：我们究竟在为谁建造，又在建造怎样的生活？当“高级感”被简化为石材、门头、会所与风格标签，设计便从回应真实需求，退化为制造可复制的消费幻象。住宅不应是一件被快速包装、销售并遗忘的商品，更不应成为与城市割裂的封闭孤岛。真正值得讨论的，不是建筑还能增加多少形式，而是它愿意放下多少姿态，把空间重新交还给自然、日常与人。

Turing (Landscape) Lab：Over the past two decades, Chinese residential developments have continually pushed the boundaries of height, scale, and cost, yet rarely have we revisited the fundamental questions: for whom are we building, and what kind of life are we creating? When a sense of “premium quality” is reduced to mere stone facades, grand entrances, clubhouses, and stylistic labels, design devolves from addressing genuine needs into the manufacture of replicable consumerist illusions. A residence should not be a commodity to be hastily packaged, sold, and forgotten, nor should it become an isolated island severed from the city. What is truly worth discussing is not how many more architectural forms can be added, but rather how much pretension can be shed to return space to nature, to everyday life, and to people.

▽项目视频：重庆湾不是一天建成的 © 图灵（景观）实验室

设计初稿

这也让我们重新思考住宅景观的意义。我们所尝试的，正是在繁密的城市尺度与身体可感知的生活尺度之间，重新建立一种更开放、更真实的关系。先有生活，再有空间，最后才是建筑。住宅不应该是城市的孤岛。

Design Draft

This also prompts us to rethink the significance of residential landscapes. We are attempting to re-establish a more open and authentic relationship between the dense urban scale and the human-centric scale of daily life. Life comes first, followed by space, and finally architecture. A residence should not be an island within the city.

▽景观承接城市界面，将公共空间引向居住日常 © 图灵（景观）实验室

临江曲面取意于江风掠过裙摆的瞬间。江风、裙摆与城市天际线在此相遇。建筑不再只是划分场地的边界，而成为连接自然与都市、速度与停留、坚硬与柔软的过渡。当大尺度的立面退为背景，路过的行人、摇曳的树影与持续发生的日常，才真正成为空间的主角。当立面保持安静，城市的表情才真正显现。

The “Riverside Curvature” draws its inspiration from the moment a river breeze sweeps across the hem of a skirt—a point where the breeze, the fabric, and the city skyline converge. The architecture transcends its role as a mere boundary defining the site; instead, it becomes a transitional element connecting nature with the metropolis, movement with stillness, and rigidity with softness. As the expansive façade recedes into the background, passing pedestrians, swaying tree shadows, and the unfolding rhythms of daily life truly take center stage. Only when the façade remains understated does the authentic character of the city reveal itself.

▽庭院沿建筑立面向不同标高生长 © 图灵（景观）实验室

关于“消解边界”的居住实验：建筑与景观之间的边界正在被主动消解。我们并不希望建筑与自然形成鲜明的对立。相反，我们试图让建筑在接近植物、高差和人的时候，逐渐失去清晰的边缘。

A residential experiment in “dissolving boundaries”: the boundary between architecture and landscape is being intentionally dissolved. We do not wish to create a stark opposition between architecture and nature; instead, we seek to allow the architecture to gradually lose its distinct edges as it engages with vegetation, topography, and people.

▽山体、江面、桥梁与高层共同构成场地背景 © 图灵（景观）实验室

▽关于室内、景观与城市的连续实验 © 图灵（景观）实验室

关于室内、景观与城市的连续实验：密斯的现代主义空间曾经试图打破建筑内部与外部之间明确的界限。对于该项目，我们更关心的是：这种连续性是否可以继续向城市延伸。景观并没有停留在庭院里。它穿过玻璃，进入室内，也继续延伸到城市。真正的边界，不在墙的位置，而在视线停止的地方。我们希望创造一种“室内变成室外、室外进入室内”的空间连续性；

An ongoing experiment regarding the interior, the landscape, and the city: Miesian modernist spaces once sought to dissolve the distinct boundaries between a building’s interior and exterior. For this project, our primary interest lies in whether this continuity can extend further into the urban realm. The landscape does not halt at the courtyard; it traverses the glass to enter the interior and continues outward into the city. The true boundary lies not where the walls stand, but where the line of sight comes to rest. We aim to create a spatial continuity in which the interior transforms into the exterior, and the exterior flows into the interior.

▽建筑隐入树林，路径成为连接地形与日常的线索 © 图灵（景观）实验室

建筑并没有结束，庭院也没有结束。它们只是在彼此之间不断发生。我们希望室内与庭院之间不存在一个突然的终点。水面将视线送向建筑内部，玻璃弱化了空间的分隔，树木则从室外持续进入人的视线。庭院并没有停在玻璃之前，而是继续进入建筑。

Neither the architecture nor the courtyard comes to a definitive end; instead, they continuously unfold into one another. We sought to avoid any abrupt boundary between the interior and the courtyard. The water surface draws the eye toward the building’s interior, glass softens the spatial separation, and trees remain constantly within view. The courtyard does not stop at the glass but extends into the building itself.

场地背景

“这是一个充满故事的项目。也正是因为那些故事，留下了这段重要的江岸线。机会来之不易，挑战也很大。所有参与者心里似乎都憋着一股劲，想尽力对得起这片土地。所以，当我们以“轻舟已过万重山”来引出设计概念时，似乎引起了大家心底的某些默契与共鸣。”——吴彦

Site background

This is a project rich in stories. It is precisely because of those stories that this significant stretch of riverfront has been preserved. The opportunity was hard-won, and the challenges were immense. Everyone involved seemed driven by a shared determination to do justice to this land. Thus, when we introduced our design concept with the line “the light boat has already sailed past ten thousand mountains,” it seemed to strike a chord and resonate with a silent understanding shared by all. — Wu Yan

▽当建筑开始像地形一样生长，建筑与景观之间的分类也就不再重要 ©gad

重庆并不是通过某一个建筑被认识的，而是在山体、江面、桥梁与高楼不断切换的连续视野中被感知。重庆湾的设计，也试图成为这段连续城市景观中的一个片段，而不是一个孤立的对象。

Chongqing is not defined by any single building; rather, it is perceived through a continuous, shifting panorama of mountains, river expanses, bridges, and skyscrapers. The design of Chongqing Bay seeks to become a fragment of this continuous urban landscape, rather than standing as an isolated object.

▽项目所面对的，不是一片等待被重新设计的空白场地，而是一座已经发生了很久的城市 ©张霁

山体决定高度，江水决定视野，桥梁决定连接方式，建筑则在这些条件之间寻找自己的位置。因此，重庆湾的设计不是给场地附加一种“重庆符号”，而是从重庆原本的空间结构中建立新的关系。

The mountains dictate the height, the river defines the vista, and the bridges determine the connections; architecture, in turn, seeks its place amidst these conditions. Thus, the design for Chongqing Bay does not merely superimpose a “Chongqing symbol” onto the site, but rather establishes new relationships rooted in the city’s inherent spatial structure.

▽地域性并不来自符号，而来自对真实场地条件的回应 © gad

施工现场

施工现场往往比最终完成的空间更接近设计的本质。在图纸里，建筑、景观与城市之间的关系仍然是抽象的；进入建造之后，尺度、重量、节点、材料开始真实发生。巨大的悬挑如何落地，垂直构件如何与地面发生关系，水景如何穿过不同标高，建筑又如何在山地与城市之间建立新的尺度，这些问题都必须在施工现场重新被回答。

Construction

The construction site often captures the essence of a design more closely than the finished space. In drawings, the relationships between architecture, landscape, and the city remain abstract; once construction begins, however, factors such as scale, weight, structural connections, materials, and construction tolerances become tangible realities. Questions—such as how a massive cantilever meets the ground, how vertical elements relate to the terrain, how water features traverse varying elevations, and how the architecture establishes a new scale between the hillside and the city—must all be answered anew on the construction site.

▽施工现场 © 张霁

当一座城市的名字，被一个普通施工者随手写进尚未完成的建筑里，设计开始从专业行为变成集体记忆。有些最动人的细节，从来不在设计图纸里。“重庆”两个字没有精确比例，但它让这面尚未完成的墙第一次有了属于这里的身份。

When the name of a city is casually scrawled by an ordinary construction worker onto an unfinished building, the act of design shifts from a professional endeavor into a form of collective memory. Some of the most moving details are never found in the blueprints. The characters for “Chongqing” lack precise proportions, yet they imbue this incomplete wall with an identity that truly belongs to the place.

▽“重庆”© 张霁

▽施工现场最动人的时刻，往往不是设计被完整呈现的时候 © gad

施工现场最动人的时刻，往往不是设计被完整呈现的时候。而是在某个尚未完成的瞬间，空间已经开始被人使用。重庆湾施工过程中，几位工人在桥上停了下来。他们靠着栏杆，望向树林、江岸与远处的城市。对我们而言，这可能比空间完成后的任何说明都更加准确。因为设计真正成立的时刻，并不是构筑物被建造完成，而是人在其中自然地找到属于自己的位置。

The most moving moments at a construction site are often not when the design is fully realized, but rather during those unfinished intervals when the space has already begun to be inhabited. During the construction of Chongqing Bay, several workers paused on the bridge; leaning against the railing, they gazed out at the woods, the riverbank, and the distant cityscape. To us, this scene speaks more eloquently than any description of the finished space ever could. For a design truly comes into its own not when the structure is complete, but when people naturally find their own place within it.

项目呈现

设计并不试图从这片高度复杂的环境中独立出来，而是探索一种更为克制的关系，让建筑、景观、城市与自然彼此进入。最终，我们希望它能成为快速城市生活中的一处停顿——安静，却始终与江岸及城市保持联系。

Project Presentation

Rather than attempting to stand apart from this highly complex setting, the design explores a more restrained relationship, allowing architecture, landscape, the city, and nature to interpenetrate. Ultimately, we envision it as a moment of pause amidst the rapid pace of urban life—a quiet space that nonetheless remains connected to the riverfront and the city.

▽理性与感性在同一片天际线下彼此成就 © E-ar TARS

设计以城市为起点，也将城市置于更广阔的视野之中。幕墙建立起清晰、理性的构造秩序，雕塑般的曲面则回应身体、光线与流动的感知；两种语言在同一片天际线下并置，共同构成建筑与城市的关系。

The design takes the city as its starting point while situating it within a broader perspective. The curtain wall establishes a clear, rational structural order, while sculptural curved surfaces respond to the body, light, and the perception of movement; juxtaposed beneath the same skyline, these two languages together define the relationship between the architecture and the city.

▽仿佛江风掠过后凝固的褶皱 © E-ar TARS

▽当建筑让位于生活，城市与住宅之间，便不再只有边界，而有了温度 © E-ar TARS

▽从城市，到日常 © E-ar TARS

住宅并非城市的终点，而是城市生活向日常尺度的延伸。远处，重庆天际线构成宏大的城市背景；近处，建筑曲面、水景与树影共同建立起更贴近身体的空间层次。设计通过尺度的递进与空间的转换，将城市的体量、速度与秩序，逐渐转译为人的视线、步伐与感受。由此，城市不再只是被观看的远景，而成为可以行走、停留与陪伴的日常场所。

The residential complex is not the terminus of the city, but rather an extension of urban life into the realm of the everyday. In the distance, the Chongqing skyline forms a grand urban backdrop; close at hand, curved architectural forms, water features, and the interplay of light and shadow create spatial layers that resonate with the human scale. Through a progression of scales and spatial transitions, the design translates the city’s sheer mass, velocity, and order into the human experience of sight, pace, and sensation. Thus, the city ceases to be merely a distant vista to be viewed from afar, transforming instead into an everyday setting where one can walk, linger, and find a sense of companionship.

▽延续城市街道的尺度、秩序与开放感 © E-ar TARS

▽仿佛江风掠过后凝固的褶皱 © E-ar TARS

儿童以游戏理解城市，当孩子愿意停下来观察、触碰与玩耍，空间便从供人观看的“对象”，转变为承载生活的“场所”。住宅也因此不再是城市的边界，而是城市生活以更亲切尺度展开的延续。

When children pause to observe, touch, and play, the space shifts from an “object” merely to be viewed into a “place” that accommodates the rhythms of daily life. Consequently, the residence ceases to be a boundary of the city; instead, it becomes an extension where urban life unfolds on a more intimate scale.

▽住宅也不再退隐于城市之外，而成为城市生活柔和而具体的延续 © E-ar TARS

▽儿童、城市与艺术家 © E-ar TARS

住宅入口既面向城市，也通往日常。设计延续街道的尺度与秩序，同时回应居住空间对安全、安静与归属感的需求。公共与私密并未被一条明确的边界分隔，而是通过空间尺度、景观层次与行走节奏的变化，形成一段渐次转换的“中间地带”。

The residential entrance faces the city while simultaneously leading into the realm of daily life. The design extends the scale and order of the streetscape while addressing the residential need for security, tranquility, and a sense of belonging. Rather than being separated by a distinct boundary, public and private realms are linked by a transitional “intermediate zone” defined by shifts in spatial scale, layered landscaping, and the rhythm of movement.

▽不在于形式上的奢华，而在于城市的开放秩序能够自然过渡为居住的松弛日常 © E-ar TARS

▽保留公共空间的开放与从容，也维持住宅所需要的安静、私密与归属 © E-ar TARS

▽通过尺度、光线、材质与景观的渐次变化，建立一段由城市走向居所的过渡 © E-ar TARS

空间的品质不依赖形式上的强调，而在于城市的开放秩序如何被逐步转译为居住的松弛日常，使抵达与归家成为一段连续而自然的体验。

The quality of the space does not rely on formal emphasis; rather, it lies in how the city’s open order is gradually translated into the relaxed rhythms of daily living, turning the journey of arrival and homecoming into a seamless, natural experience.

▽景观的渐次变化，建立一段由城市走向居所的过渡 © E-ar TARS

城市在这里没有被拒之门外，而是以更轻松、更自然的尺度向内延伸；住宅也不再只是城市中的封闭领地，而成为一处可以每天抵达的度假之所。所谓度假，不一定是去往远方，也可以是每天穿过城市之后，抵达一处让身体慢下来、让生活重新舒展的地方。

The city is not shut out here, but extends inward on a lighter and more natural scale; the residence is no longer just a closed territory in the city, but a vacation place that can be reached every day. The so-called vacation does not necessarily mean going to a distant place. It can also mean traveling through the city every day and arriving at a place where the body can slow down and life can stretch again.

设计将视线主动引向城市。延伸的步行平台面向远处的天际线展开，水面、树木与低矮的构筑物共同建立前景，使宏大的城市背景被纳入日常行走与停留之中。建筑、景观与城市并未被分为彼此独立的层次，而是在视线、倒影与人的活动中相互进入。设计所建立的，是一段由居住空间通往城市的连续关系。

The design actively draws the eye toward the city. An extended pedestrian platform opens up toward the distant skyline, where the water surface, trees, and low-profile structures create a foreground that integrates the grand urban backdrop into the experience of walking and lingering. Architecture, landscape, and the city are not treated as separate, independent layers; instead, they interpenetrate through sightlines, reflections, and human activity. The design establishes a continuous connection linking the residential space to the city.

景观并非在建筑完成之后被附加的视觉层，而是与结构、材料和空间共同生成的居住系统。层层悬挑的楼板建立起清晰的水平秩序，并通过局部开口让阳光、雨水与植物进入建筑内部。乔木穿越不同标高，枝叶向廊下与室内延伸，使庭院不再局限于地面，而成为贯穿建筑立面的立体自然。

The landscape is not merely a visual layer added after the building’s completion; rather, it is an integrated living system that emerges alongside the structure, materials, and spatial layout. Successive cantilevered floor slabs establish a clear horizontal order, while strategic openings allow sunlight, rain, and vegetation to penetrate the building’s interior. Trees span multiple levels, with foliage extending beneath the walkways and into the interior spaces, transforming the courtyard from a ground-level feature into a three-dimensional natural element that permeates the building’s façade.

▽下沉庭院 © 梅可嘉

建筑立面退为一面干净、克制的背景，以最少的语言，为光影与植物留出最大的表达空间。简洁的界面不抢夺视线，而是安静承接四季：树影游移、枝叶生长、水面微动，让自然成为庭院真正的主角。空间以高低错落的下沉关系徐徐展开。乔木、灌木、地被与水景层层铺陈，在遮蔽与开敞、幽静与通透之间，组织出丰富而有节奏的行走体验。建筑不以姿态喧哗，却以留白成全风景；自然因此被看见，也因此更显丰盛。

The building facade recedes into a clean, restrained backdrop, employing a minimalist language to allow maximum room for the interplay of light, shadow, and vegetation. This understated interface does not vie for attention but quietly embraces the changing seasons—shifting tree shadows, growing foliage, and the gentle ripples of water—letting nature take center stage in the courtyard. The space unfolds gradually through a series of staggered, sunken levels. Layers of trees, shrubs, ground cover, and water features are arranged to create a rich, rhythmic walking experience that balances enclosure with openness, and seclusion with transparency. The architecture makes no clamorous statement; instead, through the use of negative space, it elevates the landscape, allowing nature to be truly seen and revealed in all its abundance.

重庆湾以“住宅真正的边界在哪里”为核心命题，回应重庆两江交汇处高度成熟而持续生长的城市环境。设计没有将景观作为住宅与城市之间的隔离层，而是借助尺度递进、视线延伸以及水景、植物与材料的连续组织，将市政界面、建筑空间、庭院与室内连接为完整的空间序列。

江岸的开放、街道的流动与居住的安定由此彼此进入，宏大的城市尺度也被转译为可行走、可停留、可触碰的日常经验。项目最终呈现的不是一座独立于城市的住宅花园，而是一场关于边界消解的居住实验：让住宅重新参与城市，让建筑与景观共同生长，并使人在自然、都市与生活之间找到自己的位置。

Centering on the core question of “where the true boundary of a residence lies,” Chongqing Bay responds to the highly mature yet continuously evolving urban context at the confluence of Chongqing’s two rivers. Rather than treating the landscape merely as a buffer between the residence and the city, the design employs a seamless integration of graduated scales, extended sightlines, and a continuous arrangement of water features, vegetation, and materials to link the municipal interface, architectural spaces, courtyards, and interiors into a cohesive spatial sequence.

Here, the openness of the riverfront, the fluidity of the streets, and the stability of residential life interweave; the grand urban scale is translated into an everyday experience that is walkable, inviting, and tangible. Ultimately, the project presents not merely a residential garden isolated from the city, but a living experiment in the dissolution of boundaries—reintegrating the home into the urban fabric, fostering the co-evolution of architecture and landscape, and allowing individuals to find their place amidst nature, the city, and daily life.

附：AI关于重庆湾的景观辅助

AI的出现并不是简单提升设计效率，而是为景观设计带来一种新的思考方式。每一次技术进步，都在拓展设计师理解空间的边界。这也是我们又次尝试用AI辅助落地项目的尝试。

Appendix: AI-assisted landscape visualization for Chongqing Bay

The emergence of AI does not merely enhance design efficiency; it introduces a new way of thinking to landscape design. Each technological advancement expands the boundaries of how designers understand space. This project represents yet another attempt by us to utilize AI in the realization of a design.

项目名称：重庆湾
客户：融创中国
设计事务所名称：Turing Lab / 图灵（景觀）實驗室
电子邮箱: turinglab@foxmail.com
公司网站: https://turing1ab.com
社交媒体: https://www.instagram.com/turing1ab
项目设计：2025年
完成年份：2026年
建筑设计：gad
室内设计：ŌTN初向设计
标识设计：上海柏熙标识有限公司
项目地址：重庆市南岸区南滨路116号，位于弹子石 CBD、长江与嘉陵江交汇处附近。
景观（前场）面积：21,000平方米
摄影：E-ar TARS、梅可嘉、张霁、图灵（景观）实验室

“ 让住宅重新参与城市，让建筑与景观共同生长。”

审稿编辑：Maggie

更多 Read more about: 图灵（景观）实验室