跳舞的小山—武汉麓客岛 / 大料建筑

Dancing Hill - Wuhan Luke Island/Big Material Architecture
跳舞的小山—武汉麓客岛 / 大料建筑

项目亮点：“跳舞的小山”项目最引人入胜之处在于其对场地、功能、尺度、结构和材料的巧妙融合，以及建筑师对视觉符号与身体感受关系的深刻理解。设计师巧妙地将建筑融入了周围的环境，使其成为连接景观与游乐设施的桥梁。从远处看，这座建筑便以其独特的形态吸引着人们的目光，预示着一个充满趣味和活力的空间。设计师还关注了建筑与人的互动，设计了半室外空间，为游客提供了休憩和观景的场所，极大地提升了用户体验。项目的整体设计充分体现了建筑师对于儿童游乐场配套设施的深刻理解，将实用性与艺术性完美结合。

设计精髓：项目的核心在于捕捉建筑的“生命力和少年意气”，将建筑设计视为一种艺术创作。设计师从马蒂斯的《舞蹈》和王希孟的《千里江山图》中汲取灵感，试图将绘画的动感和活力转化为建筑的形态。这种设计思路打破了传统建筑的束缚，赋予了建筑独特的个性和表现力。通过实木板条的运用，以及光孔的设计，建筑营造出一种轻盈、通透的视觉效果，与周围的自然环境和谐相融。整个设计过程展现了建筑师对材料、结构和形态的深入思考，以及对建筑与人之间关系的深刻理解，最终创造了一个令人印象深刻的“跳舞的小山”。

创新之处：项目在形式和功能上都展现了创新。建筑师并未拘泥于传统的设计框架，而是以“跳舞的小山”为主题，打造了一个富有想象力的建筑形态。这种形态不仅具有视觉冲击力，也与周围的儿童游乐设施相呼应，激发了人们的探索欲望。结构设计上，设计师采用组合钢柱支撑，外包岩板，既保证了建筑的稳固性，又提供了多功能的使用空间。此外，设计中对“本能”的运用也颇具创新性，建筑的形态、体量和色彩都旨在唤醒人们内心的情感，营造一个充满活力和趣味性的环境。这种设计理念体现了建筑师对人与空间关系的深刻思考，也赋予了建筑更丰富的内涵。

From the architect. At the beginning of 2023, Luhu was going to open a new store in Wuhan. We had worked together many times before, such as a forest children's museum in Chengdu, Eden Island architecture, CPI planning, and the planning of Century Cape Commercial Street and Qilou Old Street in Hainan. As everyone was familiar with it, we also created a restaurant to support children's playgrounds. In the early planning stage, this restaurant was called "Brave Cabin" because there are many challenging recreational climbing facilities around it, hoping to inspire children's courage to overcome difficulties. The house is not large, with an indoor area of less than 200 square meters, but it is expected to extend a large amount of semi outdoor space for visitors to cool off and rest. And as a gateway for visitors to enter the island, it can be seen from afar.
来自建筑师。23 年初，麓湖要在武汉开新盘，我们之前合作过多次，比如成都的一片森林儿童博物馆、伊甸岛建筑、CPI 规划，海南的世纪海角商业街、骑楼老街规划等，大家熟门熟路的，也就又做了一个为儿童游乐场配套的餐厅。前期策划这个餐厅叫“勇者小屋”,因其周围多是有些难度的娱乐攀爬设施，希望激发孩子们克服困难的勇气之意吧。房子不大，室内不到 200 平米，但期望能延展出大量的半室外空间，供游人纳凉休息。并且它作为游人进岛的门户，远远就能被看到。

© 朱雨蒙

During that time, I always read the lyrics of Jiang Jie from the Southern Song Dynasty, especially those that were direct and straightforward, such as "Where are you, leisurely playing?" "Dreams are dreams, but they can't be dreamed, cold water flows in the air." "Red cherries, green bananas," there was always an indescribable sense of lightness and strangeness. Therefore, when making this design, I was somewhat influenced and didn't think much about it. I just wanted to make a mountain - a "dancing small mountain".
那段时间我总看南宋蒋捷的词，尤爱一些直接直白的表达，比如“在何处，闲游闲玩“；”梦也梦也，梦不到，寒水空流“；”红了樱桃，绿了芭蕉“，总有种说不清的轻快奇异。于是乎，在做这个设计时，多少受些影响，没多想，就想，做一座山 —— “跳舞的小山”。

© 朱雨蒙

剖面图

© 朱雨蒙

And how to make the little mountain dance? Remembering two paintings, one is Matisse's "Dance" painted at the age of 40, and the other is Wang Ximeng's "Thousand Miles of Mountains and Rivers" painted at the age of 18, trying to capture the vitality and youthful spirit in them. Whether it's imitating the shape or understanding the charm, we need to transform it into the architectural space. After multiple attempts, Xu Dan and I each drew a painting. I used a brush to draw a theme, and the patterns were overlaid and gradually changed to resemble forests, mountains, and clouds; On this basis, Xu Dan directly used color blocks to draw forms with spatial scales.
而如何让小山跳起舞来呢？想起两张画，一张是马蒂斯在 40 岁时画的《舞蹈》，另一张是王希孟 18 岁画的《千里江山图》，试着捕捉其中的生命力和少年意气。造型模仿也好，气韵意会也罢，总之要转化到建筑空间上，多次尝试后，我和徐丹分别画了张画，我用毛笔画了个母题，规律叠加渐变后似树林似山峦似云彩；在这基础上徐丹直接用色块画出了有空间尺度的形体。

© 朱雨蒙

Slowly blending the site, function, scale, structure, materials, and more importantly, adjusting the relationship between visual symbols and physical sensations, finally came up with an architectural plan, even two plans. The first method uses copper oxide plates, and the second method uses solid wood strips. Obviously, the first method has a large area of hyperbolic shape, which is too expensive. Therefore, the final implementation is based on the second fully flat plan.
慢慢的糅合场地、功能、尺度、构造、材料等进来，更重要的是调整视觉符号与身体感受的关系，终于捏出了建筑方案，甚至是两个方案。第一种用氧化铜板，第二种用实木条，显然，第一种出现了大面积的双曲面造型，过于昂贵了，所以最终以第二种全平面的方案来实施。

© 朱雨蒙

As one of the first individual buildings to open on Luke Island in Wuhan, it serves as a facade to some extent. Therefore, while the layout of the building is slightly curved and unfolded along the boundary of the island, the height of the building needs to be full enough to be visible from afar across the river through the forest. Following the open lawn, weaving through the woods, and slowly approaching the building, the shape of the "small hill" is very prominent, attracting visitors to explore it.
因为是武汉麓客岛最先开放的单体建筑之一，多少要起到门面的作用，所以建筑布局沿着岛的边界微微弯曲展开的同时，建筑高度需要够饱满，透过树林远远在河对岸就可望到。顺着开放的草坪，穿梭林间，慢慢靠近建筑时，“小山”的形态十分突出，吸引着游人一探究竟。

© 朱雨蒙

Climbing up a grassy slope, the building suddenly appeared completely in front of me. A huge solid wood mass floated on the ground, and triangular vertebrae held hands with each other, dancing and swaying. Children are often excited by the huge objects in front of them, running towards the overhanging roof that is over ten meters tall. The building is like a spaceship waiting to take off, and their emotions and bodies are once again brought to climax.
爬上一段草坡，建筑突然完全出现眼前，巨大的实木体量漂浮于地面之上，一座座三角椎相互拉着手，舞动摇曳。孩子们往往会被眼前的巨物刺激的兴奋起来，飞奔过去，冲向十几米大的悬挑屋顶，建筑又像一座飞船正待飞起，情绪和身体也再次被带向高潮。

© 朱雨蒙

The parents who came later were also at ease, leisurely sitting and chatting in the shade like a giant tree, with the figures of their children running and jumping in front of them. They occasionally called them over to rest and drink water, and the business of the restaurant hidden in the transparent glass also flourished. In order to make the layered mountain shaped roof of the building seem to jump up from the earth, the main structure is supported by four bundles of composite steel columns, and is wrapped in rock slabs to serve as outdoor seats, food stalls, washbasins, and other functions. The upper roof is a steel grid structure to achieve large span and overhang. The whole body is covered with solid wood Flat noodles, and some light holes are set. With the indoor lamps and air conditioners also in the holes, and kitchen and air conditioners and other large equipment are also hidden on the roof.
随后而来的家长们倒也自在，悠然在如巨树遮蔽下的荫凉里闲坐漫聊，眼前展开孩子们奔跑跳跃的身影，时不时叫他们过来休息喝水，隐在通透玻璃内的餐水吧生意也便兴隆了起来。为了使建筑层层叠叠的山形屋顶仿佛从大地里蹦跃而起，主体结构采用了四束组合钢柱来支撑，并且通过外包岩板来分别成为户外座椅，外卖档口，洗手台等功能。上部屋顶为钢网架结构，来实现大的跨度及悬挑，通体外包实木板条，并设置了一些光孔，随之室内的灯具和空调口也在孔内，而厨房和空调等大型设备也皆隐藏于屋顶。

© 朱雨蒙

In the design phase, it was envisioned that people could also enter the roof to increase dining space and diverse experiences. However, it was later cancelled from an operational perspective, but the design was still retained. After all, it is not only the space where people enter that has functionality, but also the consideration of people's visual experience and the overall spatial hierarchy of the park. We humans are not sound and need the help of external devices, such as shoes to help us run, chopsticks to help us eat, cars to make us move faster, and computers to make us smarter. These seemingly functional external devices help us become "human". Similarly, our minds are also not sound. We need nobility, humility, dignity, courage, and external assistance, such as music and art. Similarly, architecture also plays a role in helping us become more complete individuals.
在设计阶段中，曾设想屋顶内也可以进人，增加餐饮位置及多样体验，但后来从运营角度考虑取消掉了，但造型还是保留，毕竟不是只有人进入的空间才是有功能性的，人们的视觉体验以及园区整体空间层次的考量也是功能性的一部分。我们人类本身并不健全，需要外挂的帮助，比如我们需要鞋来帮助奔跑，需要筷子来帮助进食，需要汽车让我们移动更快，需要电脑让我们更聪明，这些貌似功能性的外挂，帮助我们成“人”。同样，我们的心智也是不健全的，我们需要崇高需要谦逊，需要尊严需要勇气，这些也需要外挂的帮助，比如音乐比如艺术，同样建筑也承担这一部分功能，来帮助我们成为更完整的人。

© 朱雨蒙

The focus of this design, to me, leans more towards the latter and is driven by people's' instincts'. Firstly, when we first see the "little mountain symbol", our inherent memories and emotions are instinctively awakened, leading us into a situation related to nature and childlike innocence. Then, as we approach the building, the huge volume, dancing posture, and peculiar shape stimulate our bodily perception instincts with adrenaline, causing us to enter a state of excitement and activity. In this state, the emptiness of our human mind is magnified, and perhaps children will be braver to rush towards climbing facilities, explore and challenge in the play room. This may be the significance of the Hero's Cabin.
这个设计的着眼点，于我而言更偏后者，并通过人们的“本能”来驱动。首先，我们先看到“小山符号“时，固有的记忆、情感被本能的唤起，引导我们进入有关自然和童真的情境；之后，走近建筑，巨大的体量、舞动的姿态和奇特的造型，肾上腺素刺激着身体感知本能调动了起来，使得我们进入到某种兴奋活跃的状态；在这种状态下，我们人类心智的那些空洞被放大，也许孩子们会更勇敢的冲向一座座攀爬设施，在玩乐间去探索去挑战，这也许就是勇者小屋的意义所在。