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中国园林的当代性实践：中海·赣州天钻

发布于：2023-11-09 09:56:09 来自：园林景观/景观规划设计 [复制转发]

序

前言

Foreword

赣州是宋朝后期客家人的聚集地，形成了典型的客家文化。这座城市保留了中国最传统的文化，并孕育出了宋代小而偏安的美学。赣州沐浴在宋代的文化氛围中，被誉为"宋代博物馆"，传承和展示着宋代的文化遗产。

Ganzhou was a gathering place for Hakkas in the late Song Dynasty, forming a typical Hakka culture. This city retains China's most traditional culture and gave birth to the small and peaceful aesthetics of the Song Dynasty. Ganzhou is bathed in the cultural atmosphere of the Song Dynasty and is known as the "Museum of the Song Dynasty", inheriting and displaying the cultural heritage of the Song Dynasty.

项目思考的核心是在一个进深27米，开宽50米的空间，如何去做不一样的情感体验？

The core of the project thinking is how to create different emotional experiences in a space that is 27 meters deep and 50 meters wide.

我们去学习了环秀山庄，世间所有的大与小都是对比出来的，方寸之间，自有天地。陈从周先生讲过，“质感存真，色感呈伪”。我想如今大家都在讲宋式美学，难道只是一种形式吗？说大了是一种文化，而承载了这个文化的首先是要有空间。说小了，我们讲的场所精神，所有那些生活方式都是依存在基本的空间形态去孕育而生的。

We went to learn about Huanxiu Villa. All the big and small things in the world are contrasted. Every inch has its own world. Mr. Chen Congzhou once said, "The texture remains true, while the color appears fake." I think everyone is talking about Song-style aesthetics nowadays. Is it just a form? It is said that it is a kind of culture, and the first thing to carry this culture is to have space. To put it bluntly, the spirit of place we are talking about and all those lifestyles are conceived and born based on the basic spatial form.

▲环秀山庄平面图

壹

车水马龙，声声入耳

Busy traffic ，Sound heard

衣冠南渡后的中国，不要长安要临安，不要临安复向南。土地是丢了，但是文化不能，没有了北方雄浑的建筑尺度，但是空间格局是祖宗传下来的，门庭秩序依然改不了。熙熙攘攘的南方少了一分世族大家气，多的是一份敬畏与偏安。

After Yi Guan crossed south, China did not want Chang'an but Lin'an, and Lin'an did not want Lin'an to return to the south. The land was lost, but the culture was not. The majestic architectural scale of the north was lost, but the spatial pattern was passed down from the ancestors, and the order of the gates and courtyards could not be changed. The bustling South is less affluent and more awe-inspiring and peaceful.

这个时候的门要敞开了，门庭若市的前院，车马落客还得有。门厅建筑六米高，正好让松和建筑可以舞蹈了。

At this time, the door will be open, and the front yard will be bustling with people, and there will be cars and horses to drop off and drop off guests. The foyer building is six meters high, just enough for the Songhe building to dance.

中国人对于松是有情结的，松枝在建筑的檐口跳跃，如果这个时候月亮还如此调皮，月上松头，这个画面便能打动所有的中国人，这个时候便能想起开封的月，岱宗的松，那些有的没的人与记忆。

Chinese people have a complex about pine trees. The pine branches are jumping on the cornices of buildings. If the moon is still so naughty at this time, with pine heads above the moon, this picture will impress all Chinese people. At this time, they can think of the moon in Kaifeng and Daizong. Pine, those people and memories that are missing.

▲深宅大院式门厅

▲苍劲古松映衬建筑

贰

细雨撑花，千步珠帘

The drizzle supports the flowers, and the thousand-step bead curtain

传说李师师有一把油纸伞，这把伞撑开，就像一朵花一样，散发出一阵芬芳。从珠帘中走来，吟唱柳七郎的《雨霖铃》，宋代的文人骚客隔着水岸便能看到惊世红颜的水袖起舞。

Legend has it that Master Li had an oil-paper umbrella. When the umbrella was opened, it looked like a flower, emitting a burst of fragrance. Walking from the bead curtain, singing Liu Qilang's "Yulin Ling", the literati and poets of the Song Dynasty could see the stunning beauty's water sleeves dancing across the water bank.

这个就是宋式美学回应当代的看与被看的关系，在宾客眼里，表演者是风景。在表演者眼里，宾客亦是风景。

This is how Song-style aesthetics responds to the contemporary relationship between seeing and being seen. In the eyes of guests, the performer is the scenery. In the eyes of performers, guests are also scenery.

▲水岸遥看浮亭

浮亭的美人靠是用来醉卧烟云看美人的，同样的画面在史湘云醉卧芍药丛也有一幕。史湘云酒后扶在美人靠上，对着对岸的姐妹嬉笑。这时人与人之间便成了各自的风景。

The beauty couch in the floating pavilion is used to gaze at beauties while they are drunk and lying in the clouds. The same scene is also seen in Shi Xiangyun's scene of drunken women lying in the peony bushes. After drinking, Shi Xiangyun leaned on the beauty and smiled at the sisters on the other side. At this time, people become their own scenery.

▲浮亭临溪，引人入胜

▲曲折回廊，疏影横斜

叁

小院听瀑，古树斜阳

Listen to the waterfall in small courtyard ， sun under the ancient trees

纽约的佩雷公园，在一个很深的空间中做出了流水与大树的宁静感。穿透空间的不仅只是视线，还有声音，还有光。这个咫尺大小的庭院当中，可以听到墙背后的叠瀑留水的声音，看不到水却能听到，蝉噪林逾静，鸟鸣山更幽。

Perey Park in New York creates a sense of tranquility with flowing water and big trees in a deep space. It is not only sight that penetrates the space, but also sound and light. In this small courtyard, you can hear the sound of the waterfalls behind the wall. You can't see the water but you can hear it. The cicada forest is more quiet, and the bird singing mountain is more secluded.

这个庭院在东边，周围的回廊把空间压缩的很小，清晨只有半片的阳光能洒进这个庭院，刚好好可以斜向穿透庭院中那棵古树，落在石桌椅上，撒出斑驳的光影。宋代的美学讲求这样的斜向构图，在小小的画面中拉伸空间感。如果这个时候能有一个客家大爷坐在石桌椅上吼两嗓子汉剧，这个画面是多么有烟火气。

This courtyard is on the east side. The surrounding corridors compress the space very small. Only half of the sunlight in the early morning can shine into this courtyard. It is just enough to penetrate the ancient tree in the courtyard diagonally and fall on the stone tables and chairs, scattering mottled sunlight. of light and shadow. The aesthetics of the Song Dynasty emphasized such oblique composition, which stretched the sense of space in a small picture. If there could be a Hakka uncle sitting on a stone table and chair at this time and roaring a Chinese opera, the scene would be so exciting.

▲回廊构建精致庭院

▲古树石凳，悠然酌茗

▲精致细节

肆

小桥流水，醉花深处

Small bridge and flowing water, deep in the drunken flowers

中国造园观法很重要的内外观法就是把上一个院子的景借进当下的空间，一座小桥静静落进在几棵树影之中。还未散尽的水雾穿透曲墙，连接着曲墙的内外。若你有孩童心性，一时在小桥上跨步，一时弯腰看曲墙下倒影的山石与内外游弋的锦鲤，这便是知鱼知乐。

A very important internal and external aspect of Chinese gardening is to borrow the scenery of the previous yard into the current space, with a small bridge quietly falling into the shadow of a few trees. The water mist that has not yet dissipated penetrated the curved wall and connected the inside and outside of the curved wall. If you have a childlike mind, you can step on the small bridge for a while and bend down to look at the rocks reflected under the curved wall and the koi carp swimming inside and outside. This is knowing the fish and knowing the happiness.

树下的阴晴变化，伸出的手掌未收回，由接雨的姿势，变换成了捕捉阳光的动作。

The clouds and sunshine under the tree changed, and the outstretched palm did not retract. It changed from the posture of catching the rain to the movement of catching the sunshine.