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Passage of Time Garden, Anji Archaeology Museum

景观 / 公共空间 2020-9-27 21:35 © 作品由「子林」上传,最终解释权归作者所有 子林

Passage of Time Garden, Anji Archaeology Museum

Architect: GOA
Location: Anji, Huzhou, Zhejiang, China | View Map
Project Year: 2020
Category: Heritages

Museums

Passage of Time Garden, Anji Archaeology Museum

项目说明:
Project Statement:

As physical evidences of history, museums are what keeps the human spirit alive through the ages. Gardens within museums are complex on the outside, but also sophisticated on the inside.

时光隧道花园位于安吉考古博物馆内,毗邻安吉古城遗址和龙山越国贵族墓。在这个设计中,我们努力平衡自然与人造的关系。遗址从博物馆一直延伸到周围充满野生动物的山地景观。然而,花园的氛围呈现出相反的风格,博物馆区更自然,自然区更为人造。
Passage of Time Garden is located within Anji Archaeology Museum, which sits near Anji Ancient City Ruins and Longshan Yueguo Noble Tombs. Within this design, we strive to balance the relationship between natural and man-made. The site spans from the museum all the way to the surrounding mountainous landscape filled with wildlife. Yet the ambience of the garden takes on an opposite approach with the museum area being more natural and the natural area more man-made.

设计遵循博物馆参观路线,其特点是长走廊连接不同的展厅,将花园分为内外花园。展区的设计语言采用自然形式,复杂,呈现出非常清晰的物体形象。然后逐渐过渡到外部花园,在那里可以看到抽象的,人造的元素。
The design follows the museum tour route which is characterized by long hallways that connect different exhibition halls and separate the garden into inner and outer garden. The design language of the exhibition area uses natural forms that are complex and present a very clear object imagery. Then gradually transitions to the outer garden where abstract, man-made elements can be seen.

Inner Garden:

博物馆的主入口位于南面,这是一个以灰色墙壁为特征的区域,与内花园相对应,主要用于观赏。我们希望游客们能在入口处稍作停留,被只有从远处才能看到的静谧景色所吸引。同时将图像印在后脑勺上,为花园的其他部分定下基调。从入口看,内部花园由几个展厅的高墙构成,而入口大厅的天花板形成了顶部边界。几棵高大的常青树从地上升起,形成了一幅类似元代著名画家倪瓒的“秋渔村”的景象。
The main entrance of the museum is located at the south, an area characterized by gray walls corresponding with the inner garden mainly for viewing purposes. We hope the tourists can pause at the entrance for a brief moment, being attracted by the still scenery that can only be viewed from distance. At the same time printing that image onto the back of the head, setting the tone for rest of the garden. The inner garden viewed from the entrance is framed by towering walls of the several exhibition halls from the side, while the ceiling of the entrance hall creates the top boundary. Few tall evergreens rises from the ground, creating a scene that resembles “Fishing Village in Autumn” by renowned Yuan Dynasty painter Ni Zan.

由几棵常绿植物支撑的垂直空间延伸到远处;树枝并没有因为造型而收缩,随意地在空中自由移动。被植被软化的建筑物隐约出现在背景中。内花园以石头为基础,常绿为柱子,石桥为桥面铺路,铺着不同的铺面图案和表面纹理,创造出许多不同的感官体验。中间的石桥代表了从一个空间到下一个空间的“流动”,从垂直元素创造出对比,并延伸了一个人的视角。与干涸的小溪、高大的松树和观赏石一起,内花园创造了一个平静而祥和的形象,从入口看,就像是高山和奔流的河流。
The vertical space supported by the few evergreens extends into the distance; the branches are not constricted in anyway for shape molding, carelessly moving freely in the air. The buildings softened by the vegetation looms in the background. The inner garden uses stones as foundation, evergreens as pillars, and stone bridges for bridgeways along with different paving patterns and surface textures, creating many different sensory experiences. The stone bridge in the middle represents the “flow” from one space to the next, creating a constrast from the vertical elements and extending one's perspective. Together with dry creek, tall pines, and viewing stones, the inner garden creates a calm and peaceful image resembling tall mountains and running rivers when viewed from the entrance.

内花园所用的松树都是从当地的山上采摘的,性质不规则,没有任何人为干预。乡土松树的垂直特性是植物选择过程中的一个重要方面。
The pines used in the inner garden are all harvested from the local mountains, irregular in nature and void of any human intervention. The vertical characteristic of local pines was an important aspect during plant selection process.

Passageway:

从入口进入走廊,游客将进入下一个场景,那里的建筑不再是背景,取而代之的是被自然区域包围的外花园,在80米外,黄锈石雕成为主要的垂直元素。这座雕塑将引导游客漫步进入花园,同时提升花园的风格。
Continuing from the entrace entering the corridor, visitors will enter the next scene where the buildings are no longer the backdrop, instead, the outer garden surrounded by natural areas comes into view where the yellow rust stone sculpture becomes the dominant vertcial element around 80 meters away. The sculpture will guide the visitors to meander into the garden while elevating the style of the garden.

当游客从内花园漫步到外花园时,石头从光滑的河石过渡到表面有裂缝的山石。两边都是高大的松树,两个花园之间的通道让游客有从河边徒步登山的感觉。虽然山石表面有许多裂缝线,但它们指向同一个方向,并出现一种节奏,巧妙地引导游客走向外花园。设计语言从自然过渡到几何/人造,创造出一个独立而独特的空间,称为“洞天”。游客将深刻体验到建筑、树木和石头所产生的压抑、压抑和启发的感觉。
As visitors strolls from the inner garden into the outer garden, the stones transition from smooth-surfaced river stones to mountain stones with crack lines across the surface. Accompained by tall pines on either side, the passageway between the two gardens give vistors the feel of hiking a tall mountain from the river. Although the surface of the mountain stones is rich in crack lines, they point towards the same direction and a rhythm appears, subtly guiding the visitors towards the outer garden. The design language transitions from natural to geometric/man-made, creating an independent and unique space called "Dong Tian". Visitors will deeply experience the constrictive, oppressive, yet enlightening sensation created from the building, trees, and stones.

Outer Garden:

离开通道后,随着建筑物不再构成透视图,视野水平扩展,给游客到达山顶的感觉。在草地上,13块巨大的花岗岩在游客的视觉指引下,指向了外花园唯一的焦点和精神中心,一座6.3米高的黄锈石雕。
Exiting the passageway, the view expands horizontally as the buildings no longer frame the perspective, giving the visitors the feeling of reaching the mountain top. On the grass meadow, 13 large granites are guided by visitors' visions and points towards the only focal point and spiritual center of the outer garden, a 6.3 meters tall yellow rust stone sculpture.

这座雕塑由许多不同饰面的小铁锈石组成,也显示了从自然到人造的过渡。底部是更自然的饰面,如裂缝表面和自然表面。朝上是人造饰面,如凿尖表面和抛光表面。作为一个单一的实体,雕塑让参观者可以反思人与雕塑相比的渺小,也可以反思雕塑相对于自然的微不足道,从而在人与自然之间建立起一种精神联系。从远处看,这座雕塑和它上面的岛屿成为自然风光的一部分,隐约出现在竹林中,标志着人造景观回归自然。
The sculpture is composed of many smaller pieces of yellow rust stone with different finishes, also displaying a transition from natural to man-made. At the bottom are more natural finishes like cracked surface and natural surface. Towards the top are man-made finishes like point-chisel surface and polished surface. As a single entity, the sculpture allows visitors to reflect on the insignificance of human compared to the sculpture, and also the insignificance of the sculpture compared to nature, thus creating a spiritual connection between human and nature. When viewed from afar, the sculpture and the island it sits on top become a part of the natural scenery, looming in the bamboo forest, signifying man-made landscapes regress towards nature.

水平和垂直视角的变化也是景观空间考虑的一个重要方面。从地平面上,优先考虑表面纹理、前景与背景的关系、人工技术和体积感。高架走廊从更高的高度提供不同的视角。随着视野和景深的增加,细节变得不那么重要了。雕塑与周围景观的关系也变得更加清晰。
The change in horizontal and vertical perspectives is also an important aspect to considering in the space of the landscape. From the ground level, surface textures, relationships between foreground and background, artificial techniques, and the sense of volume are prioritized. The elevated corridor provides different perspectives from a higher elevation. Details becomes less important as field of view and depth of view increases. The relationship between the sculpture and the surrounding landscape becomes clearer as well.

我们重新设计了外花园的水流形态和滨水边缘,以便更好地将雕塑融入景观中,让它成为空间中的雕塑,空间中的景观。
We have redesigned the flow pattern and the riparian edge of the water at the outer garden, to better assimilate the sculpture into the landscape, allowing it to become the sculpture within the space, the landscape within the space.

《时间花园》旨在展示自然的复杂性与几何的简单性之间的沟通,完成从物象到人工、从精神到自然、再到回归的循环。
Passage of Time garden intents to display the communication between the complexity of nature and simpleness of geometry, completing the cycle from object image to artificial, spritual to natural and back.

本文转自 Archello http://archello.com/project/passage-of-time-garden
设计师 | 中国
Passage of Time Garden, Anji Archaeology Museum