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Thanks Guangzhou S.P.I Design Co., Ltd. for authorizing the publication of the project on mooool, Text description provided by Guangzhou S.P.I Design Co., Ltd.
山水比德：现在西安，那时长安。自古以来，这里都是一个具有象征意义的中心。如马可波罗向忽必烈汗呈现的报告中，展现的长安便是一座想象的城市。倘一个现代人，当他抽离所有具象和冗繁的碎片与沉浮，究竟何以为长安，我想不同的人自有其答案。
Guangzhou S.P.I Design Co., Ltd: At this time, this place is called Xi’an, and Xi’an in the past was called Chang’an. Since ancient times, it has been a center of symbolic meaning. For example, inMarco polo’s report to Kublai Khan, Chang’anis an imaginary city. If a modern person, when he pulls away all the figurative and tedious fragments and ups and downs, why isChang’an? I think different people have their own answers.
于我而言，若以现代的语汇创造一个全新的长安的幻象，他定要有不可比的恢弘的气度。尺度与体积的意义于是显得更加重要，在过去，尺度比最专制的君王还要粗暴，但如今我们并非要塑造显而易见的纪念碑。
As far as I am concerned, if a brand-new illusion ofChang’anis to be created in modern terms, he must have an incomparable grandeur. The significance of scale and volume then becomes even more important. In the past, scale was rougher than the most tyrannical monarch, but today we are not trying to shape obvious monuments.
我并不相信那些流行且具象的景观标准能让资产有更好的价值和号召力，既然如此何不给此时此地之人留下一个深刻的家园图景呢？长安本就是一个充满想象的符号。若以现代的语汇创造一个全新的长安的幻象，他定要有不可比的恢弘的气度。
景观作为叙事媒介将重心投向空间本身，空间的意义和场域感，提供了物象另外一种价值的标尺。长安，一个充满想象的符号。
I don’t believe that those popular and figurative landscape standards can make assets have better value and appeal, so why not leave a deep home picture for people here and now? The Chang’an is a symbol full of imagination.If a brand-newChang’anillusion is created with modern vocabulary.He must have an incomparable grandeur. Chang’anis a city full of imagination.
Landscape, as a narrative medium, focuses more on the space itself.As far as the eye can see. There is no need to overemphasize the difference between architecture and landscape. The meaning of space and the sense of field provide another measure of the value of objects and images. Chang’an, Asymbol full of imagination.
“方里”／内外／切面 Re-translation of the relationship between outside and inside
长安有一百一十座坊里，每座都环绕着四四方方的坊墙，每个坊里都有差不多一里见方，所以又叫做“方里”。“方里”被引用为本项目的空间的基本格局，也是空间的外在表现。
There are 110 squares inChang’an, each of which is surrounded by a square wall, and each square is almost one lisquare, so it is also called “Fangli”. “Fangli” is cited as the basic pattern of the space of this project, and it is also the external expression of the space.
▽社区界面向外所展现的显著的体积感 The significant sense of volume that the community community presents outwards
切开这些个四平八稳的方块，所看到的是更加丰富的内里，皮是皮，瓤是瓤。这个切面大抵是：有安静端庄的表面，皮肤下是各自躁动不安。不同的孔洞和路径又相互勾连，自由通达。但是和整体的尺度和凝练相比，这些点缀都太过微末而不容易被察觉。
内与外并非泾渭分明，当把界面的终点延伸向内时，光线上井不具备优势的北向立面，变得更具体积上的丰富性。
When these squares are cut open, what you see is a richer interior, the skin is the skin, and the flesh is the flesh. This section is roughly: there is a quiet and dignified surface, and each is restless under the skin. Different holes and paths are linked to each other and are freely accessible. However, compared with the overall scale and conciseness, these embellishments are too subtle to be easily noticed.
Inside and outside are not clearly distinguished, when the end, Point of the interface is extended inward, The north-facing facade with no advantage in light, .Become more volumetrically rich.
▽无界的景观空间 Unbounded landscape space
▽流淌的线帘水景 Flowing line curtain waterscape
人们进入、举头、触摸——一个身体可进入的精神发生器就此形成，这个硕大的体积里外都成为一个明确的坐标。当然，它是平衡沿街总体立面关系的必要因素。
People enter, raise their heads, touch – a mental generator that can be physically entered is formed, and this huge volume becomes a clear coordinate inside and outside. A coordinate that can be determined necessary elements of the general facade relationship.
▽层次丰富的光影感 Rich layers of light and shadow
致所有没有精神的 “精神堡垒” Spiritual space
长安的市井有高耸的石柱，宫禁里有巍峨的楼阙，寺院中有庄严的宝塔，而所谓“精神堡垒”这个被我们集体默认的伟大发明却毫无精神可言，于是我们决定创造某种真正具有实际空间意义的兼容，于是一个外表高敞内部逼仄的器物产生了，这个器物里装有飞流直下三千尺的臆想。
There are towering stone pillars inChang’an’s marketplaces, towering towers in imperial palaces, and solemn pagodas in monasteries. The so-called “Spiritual fortress”, a great invention that we collectively acquiesce in, has no spirit at all, so we decided to create some kind of compatibility with real spatial significance, so an utensil with a high appearance and a cramped interior was created. This utensil contains the imaginary of flying down 3,000 feet.
▽石柱精神堡垒 Stone pillar spiritual fortress
这个富有体积感的器形很显然是视觉的图腾，亦是装载山水精神的知觉的媒介。它是必经的，在“高山流水”的洗染中，在四时移动的天光的投射下，空间对人的情绪的介入便完成了，我们不敢说它像个教堂，但显然，它有精神上的干预和象征。
This voluminous shape is obviously a visual totem, It is also the medium of perception that carries the spirit of landscape, It’s a must in the dyeing of “Mountains and flowing water”, Under the projection of under, The projection of the changing sky of the seasons, The intervention of space into people’s emotions is completed.. We dare not say it’s like a church, But obviously, it has spiritual interventions and symbols.
▽图腾LOGO Totem LOGO
▽从内看向包裹了山水意向的构筑体 Viewed from the inside, the architecture encloses the landscape intention
▽图腾LOGO的细节展示 Detail display of totem LOGO
空间节点的转优 Transparency of space
空间透明性／相互依赖的风景
这个城市四处都是巨大的相似性，其实每个城市都是。我们失掉了一种比较的尺度，我们需要向外的窗户。可 否不再需要隐藏无字天书般森严的门第，让内外的光线 、风、色彩、以及行人都成为相互依赖的风景。
您不必 为“被看”和“看”感到困惑，不妨撬开门缝体验窥视 的乐趣，不妨泄露一些墙与墙之间的秘密，您所注视的 都是可见的并非不可见。
There are huge similarities all over the city, in fact every city is. We lose a measure of comparison,we need windows to the outside. is it not necessary to hide the strict gates like a wordless book, and let the light, wind, color, and pedestrians inside and outside become interdependent scenery.
You don’t have to be confused about “Being seen” and “Seeing”, you might as well pry open the cracks to experience the fun of peeping, you might as well reveal some secrets between walls, what you are looking at is visible, not in- visible. Experience the fun of peeping through holes revealing some wall-to-wall secrets
▽随步伐不断转换的空间场景 A spatial scene that changes constantly with the pace
重拾比较的尺度，建造向外的窗户，相互依赖的风景。
Revisiting the scale of comparison, Building outward windows interdependent scenery.
▽“方里”之间相互通达且微末的衔接空间 The “square li” between the mutually accessible and small convergence space
视线如果穿过路边的橱窗向内，就如同穿过长安市井一条幽深的巷曲，即使有人在匆忙间对此视而不见，你居于此你明白窗内是家的门径与方向。
如果凑巧，你可以捕捉到画内正在看风景的那个人——彼时他已经处于场地中最后一重空间——即使需要通过曲折的路径抵达，但从空间的开始到结束，仍有一条视线是无障碍的，并且是唯一的，这是空间戏剧性的一种表现。
If you look through the shop window on the side of the road, it will be like passing through a deep alley in Chang’an city. Even if someone turns a blind eye to it in a hurry, you live here and you know that it is the door you must pass.
If you happen to be able to capture the person in the painting who is looking at the scenery – at that time he is already in the last space of the site – even if it needs to be reached through a tortuous path, there is still a line of sight from the beginning to the end of the space. Barrier-free and unique, this is an expression of spatial drama.
▽视线由园内穿越不同的空间层次看向市政界面 The view from the garden through different spatial levels to look at the municipal interface
西安睡去时，长安才苏醒。
红是西安的底色，如果你看过马伯庸的《长安十二时辰》，并且也去过大唐不夜城的话，你会确信盛世下上元节里冲，天的喜庆就是如此。
Red is the background color of Xi’an.
If you have seen Ma boyong’s “The, Longest day in Chang’an” and have also been to the Tang dynasty city that never sleeps. You will be sure about the festive celebrations in the Shangyuan, Festival in the prosperous world are like this.
红是长安不能少去的最具象也是最抽象的语言了。西安睡去时，长安才苏醒。
Red is the most iconic and abstract language that can not be, Missed inChang’an. WhenXi’anfell asleep,Chang’anwoke up.
▽内向的红色恰当的点缀了朴素的林下空间 Introverted red appropriately embellishes the simple understory space
▽松的风骨、奇巧和红色的华丽形成的对撞 Loose character, Kitkat and red gorgeous form of the collision
红色选择在不同的时间呈现自己双面的表情，白天它消隐在树林的背后映衬疏影，当夜幕来临之时则焕生出盛唐夜宴般巨大的华丽。
Red chooses to present its own double face, At different times during, The day it fades into the shadows behind, The trees when night comes then gave birth to a huge splendor like a banquet in theTangdynasty.
红色并非都是华丽，它在不同的角落适时的出现，以某种隐喻的方式。
Red is not all gorgeous, it appears timely in different corners in a metaphorical way
帷／空
垂落的金属网帘是半敞的门户，最早中原的“帷”据说始于南北朝，在汉地园囿中，思乡的胡客或是追慕时尚的汉人都会支起帷帐来宴饮。
The hanging metal mesh curtain is a half-open door. The earliest “Drapery” in the central plains is said to have originated in the Southern and Northern dynasties.
▽看向垂落的金属网帘 Look at the falling metal mesh curtain
▽圆形拱门 Circular arch
在幽回的廊下，视线穿过垂帘，只一处奔流的水瀑。密集，又像是空无一物。就像是古时那些透过帷帐的人们，究竟在注视着什么呢？
Under the secluded corridor. The line of sight passes through the curtains, and there is only one rushing waterfall. It’s dense and like nothing. Just like those people who looked through the curtain in an-Ancient times, what were they looking at?
▽“城市橱窗”装置的尽头与水瀑相连 The city Window installation ends in a waterfall
▽垂帘与水景细节处理 Drapes and waterscape details
不断重复的意义并非是建造繁复，而是彰显尺度，尺度会让精心雕琢的部分黯然失色，水之奔流，是抵达的犒赏和仪式。
The meaning of constant repetition is, Not to build complexity but to show scale, which will, Overshadow the well-crafted parts. The torrent of water is the reward and ceremony of arrival.
▽夜景氛围 Night scene atmosphere
以留白为空间蓄势
Reduce to the essence without stripping it of its flavor
▽沿着水瀑扶廊而渡，抵达内场中心的建筑物 Cross the water fall walkway to the building in the center of the infield
空即是无限
Let the space show its original appearance let the people who are in it be quiet and release the charm of “Empty”. In the void there is infinity.
▽简洁精致的细节处理 Simple and exquisite detail treatment
中国人就是这么建立对于世界的知觉的。气势磅礴的中国山水画里多是寂寂无人的空山，独钓寒江图也并不得见其精心绘出每一丝波纹。
一切都已就绪，但一切又好像是空……
This is how the Chinese build their perception of the world. The majestic Chinese landscape paintings are mostly empty mountains with no one, and the picture of catching a cold river alone does not see every ripple carefully drawn in it.
Everything is ready, but everything seems to be empty…
写在最后：深知以上种种言过饰非，也一副执意独取一瓢饮的矫揉造作。但我们总是需要一个借口，那就权当是个借口吧，以借口悦己，把借口当砖头。因不愿习惯厌倦，于是找寻和等候一张属于长安的面孔。
Written at the end: I am fully aware of the above-mentioned exaggerations and pretense, and I am also a pretentious person who insists on taking a scoop of drinking alone. But we always need an excuse, then the right should be an excuse, use excuses to please ourselves, and use excuses as bricks. Because he didn’t want to get used to being bored, he looked for and waited for a face that belonged to Chang’an.
项目名称：西安·西派国樾
委托业主：中国铁建地产华中区域公司
景观设计：山水比德上海设计院马晓晨工作室
项目面积：展示区8000㎡
项目地点：陕西省西安市雁塔区天谷二路与云水二路交汇处
建成时间：12/2020
项目摄影：Zoom琢墨建筑摄影
Project Name: Xi’an· Xipai Guoyue
Entrusted owner: China Railway Construction Real Estate Central China Regional Company
Landscape Design: Ma Xiaochen Studio of S.P.I Shanghai Design Institute
Project area: Exhibition area 8000㎡
Project Location: Intersection of Tiangu 2nd Road and Yunshui 2nd Road, Yanta District, Xi’an City, Shaanxi Province
Completion time: 12/2020
Project Photography: Zoom Architectural Photography
“ 以精致的现代艺术去找寻并演绎记忆中的长安记忆。”
审稿编辑：Maggie
更多 Read more about: 山水比德 Guangzhou S. P. I Design Co., Ltd.
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