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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.




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.





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


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




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



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


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



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


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


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




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




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.




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



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.




Red is not all gorgeous, it appears timely in different corners in a metaphorical way





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



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



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



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



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




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…




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.





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




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