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Guangzhou S.P.I Design Co., Ltd: UNUSUAL SERIES




The way to build with traditional forms is not universally applicable to the present,The language used in this era lies more in the part that is separated from reality.That is, people’s perceptual connection between rich reality and unrealistic images,These connotative symbols are part of the mental picture.




Shanxi is located in northern China. Historically, it was still a gathering place for the Hu nationality until the Wei, Jin and Southern and Northern Dynasties, so it has a strong regional character. Relying on the tradition of mercantile in the past and the prosperous local economy, its cultural characteristic is the combination of the traditional and the ruling. Landscape design aims to map this culture through architectural and even conceptual artistic spatial vocabulary and innovative detailed features, and to bring new visual and emotional experiences to space users.


▼入口空间  Entrance space

▼层次丰富的空间感  Rich sense of space



Poetry is the complement and balance of power, its means of expression depends on emotions such as space,as well as cultural empathy, narration, etc. Power alone is enough to bring poetry, or poetry exists in power.


▼极致的细节展示  The ultimate detail display



Condensing the detailed performance of the skills of the times, the design tries to make them all resemble the language center of the poetry of architecture and each show a unique context. Although all the inserted elements are derived from the past they are transformed into new expressions without the shackles of tradition, thus linking the future with two sides as one.


▼凝结时代的元素置入创新的设计  Condensing the elements of the age into innovative design



Resisting cultural amnesia, resetting interior and external relations, power and poetry as the media.





Technology and information provide modern people with a large number of visual elements. These images have become a bridge between people’s understanding of abstract theories in the process of dissemination. The origin of the entrance design language is taken from the Portuguese pavilion in the 98th World Expo. In the contrast between Esperanto and individual culture, it is often considered that there is a certain accidental convergence.


▼入口设计草图  Entrance design sketch



▼入口设计融合西方“结构即建筑 ”的体积和形态,又兼具东方的写意精神  The entrance design incorporates the volume and form of the Western “structure as building”, as well as the freehand spirit of the East

▼入口对景设计绿色玻璃装置景墙  Entrance to the scene design green glass installation scene wall



The green glass tile installation is extracted from the roof of Jinci. In the past, each tile had a random texture, texture, label, and number. Here, the current industrial technology is transformed into a new metaphor. The timely appearance of green not only adds a richer hue and texture, but also adds a certain spiritual background to the space.


▼圆润的弧形转角设计延伸空间  The rounded arc corner design extends the space

▼力量的石块装置给空间的转折增添了神秘感  The power stone installation adds a sense of mystery to the transition of space

▼入口绿色玻璃装置以联结时空为喻,打造创意的场地空间  The green glass installation at the entrance uses the connection of time and space as a metaphor, creating a creative venue space



Due to the influence of preferences and beliefs, we hope to create a miniature and collection at the entrance that are connected to time and space. This picture of curiosity is a “box”, which creates space and limits, and it wraps abstract fragments to form something kind of metaphor and carefully collected. This was later considered imperfect by us, and then there was a mental generator that the body can enter in other projects.


▼时代的元素与场地的融合  The integration of the elements of the times and the venue

▼细部的表现  Detailed performance



build a catalyst field that belons , to the present between the history and the foothold,alienated landscape.


▼探寻历史与未来之间  Exploring the gap between history and the future

▼檐口的水幕涟漪掩映着朦胧的美  The water curtain ripples on the cornice conceal the hazy beauty




The landscape is a medium, which has the function of narration and expression. No one can define aesthetics correctly, but art is a spiritual reflection from the depths of people’s hearts Space must have the ability of empathy to remove the knowledge background, and this ability of empathy leads to a new way of understanding-it makes the transmission of beauty need not be too obscure.


▼用景观的手法叙述着艺术的美  Narrate the beauty of art with the technique of landscape



All spaces will eventually be transformed into images to be visible. In the information age, we cannot build a dense virtual treasure museum, and it is inevitable to be objective and comprehensive in the collision of ideologies, but this kind of space and images with individual differences will be cared for and frozen by the audience and experiencers, and then discussed. The good and the bad together.




It is said that God exists in the details. What is the detail, in short, we never think that it is a simple and unthinking pile, the details can be transformed into a graceful curve, or the careful arrangement that is not easy to see. Regarding beauty, it is difficult to have a correctness, but the incorrectness is clearly visible.


▼设计草图  Design Sketch

▼场地的尺度空间  Scale space

▼水景堆砌的细节表现  The details of the waterscape stacking



The 35-ton flexible cornice structure was repeatedly demonstrated, and 1,300 glass tiles were used for nearly 20 proofings and fring. Refined calculation of multiple special-shaped cantilever structures. Repeated proofing and numbering construction of all details ……


▼柔性飞檐结合异型悬挑玻璃瓦当精细化设计水帘景观  Flexible cornices combined with special-shaped cantilevered glass tiles serve as a refined design of the water curtain landscape

▼材料的运用,体现场地的自然肌理与质感  The use of stone reflects the natural texture and texture of the site




The sheltered space is emotional, and in the transition to nature, the design tries to make the garden an abstract object collected by consciousness. The fragments are plausible, and the original intention of the design is to make it present a mathematical aesthetic.





The verdant pine forest and the open grassland make the space switched and clearly define the tranquility of the garden and the “wind-born pine and gully” situation.

“Circular is a pond square is a marsh”, the simple and powerful circular waterscape contrasts with the “fish marsh flying beam” in the frontcourt, and forms a living centripetal space. The water surface reflects the pine forest like a mirror. People walking along the floating corridor are the same. The depression in the center of the mirror is a stage, waiting for participants to enter the play.




In “Free Lijiang”, we once used “the competition between the sun and the shape of the vessel” to annotate “the auditorium of light” Space’s domestication of light gives it a dramatic experience. People walking through it is like experiencing a game, and then entering the real daily space, which can be regarded as a ritual before this.




Never stay inasafe picture of cultural amnesia and inertia that has long been begerally suspected.




We are immersed in a world of highly mixed cultural systems. Chinese and Western cultural fragments now form our cognitive system in no particular order. Today, the revival of local culture is almost becoming a cliche, and reorganization and preservation should be a more natural thing.





建成时间: 2019.06

Project Name: Taiyuan Huayutang
Project Client: CRCC Central China Regional Company
Landscape Design: Ma United Studio,Guangzhou S.P.I Design Co.,Ltd(Shanghai)
Project Area: 10007m²
Project Venue: Jinci Rd, Changfeng Street, Wanbolin District, Taiyuan City,Shanxi Province
Completion time:2019.06
Project Photography: Holi& Xiaochen Ma


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