水相设计新作丨将自然写入室内

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李智翔Nic Lee

水相設計設計總監

官网：https://waterfrom.com/index.php

『水的形狀來自承載容器，以無垠想像適應環境變化。』

"The shape of the water comes from thecarrying vessel, adapted to the changing environment by the infiniteimagination."

绘画中风景的重点是表达，但建筑如何成为记录自然的叙事工具?该项目位于柳州山区，水域蜿蜒曲折。负责本次设计的Waterform Design公司认为，与其用形状来模拟景观，不如用光影来创造高山深水。材料façade被用来重建进入森林深处的精神过渡，并将自然融入到内部的姿态。

The focus of the landscape in paintings is expressions, but how does architecture become a narrative tool to record nature? The project is located in Liuzhou, a mountainous area with winding waters. Instead of simulating the landscape with shapes, Waterform Design, which is in charge of this design, thinks it would be better to use light and shadow to create high mountains and deep water. The material façade is used to recreate the mental transitions of entering a deep forest, and to incorporate nature into the interior gestures.

我们想象步行穿过建筑内部就像爬山练习一样，穿过枝叶掩映的隧道，巨石后面隐藏着天空，或者仰望悬崖下的山峰，感受心灵的个人蜕变和不执着于物质的宁静。通过关注每一个场景和物体的自然状态，我们在攀登高峰的同时释放我们的日常情绪，并找到我们真正的意图。

We imagine that walking through the interior of the building is like a mountain climbing practice, passing through a tunnel covered by branches and leaves with the sky hidden behind boulders or looking up at the mountain peaks under the cliff, feeling the personal transformation of the mind and the tranquility of not clinging to material things. By focusing on the natural state of each scene and object, we release our daily emotions while climbing high and finding our true intentions.

放弃坚持，我们从环境中抽身，以保持非停滞的清晰。因此，我们并不是在模拟一种具象的景观，而是通过人们在建筑之间曲折、攀爬、向上或向下看的多向视角，甚至是地板上反射的真实和想象的轮廓，来再现人们在山中漫游的体验。

Giving up persistence, we withdraw ourselves from the environment to maintain the clarity of non-stagnation. Therefore, we do not simulate a figurative landscape, but reproduce the experience of people wandering in the mountains through the multi-directional views of people zigzagging, climbing, looking up, or looking down between structures, and even the real and imaginary contours of reflections on the floor.

我们通过体量抽象出山的轮廓与景观的关系，去掉了所有多余的色彩或对自然的模仿，只用墨的强度来表达深沉或空灵的质感。宽阔的白色空间让墙的轮廓随着阳光和阴影移动，静静地塑造了山脉的起伏和连接，而淡墨只是勾勒出它们的形状，山脉在线条之间形成光晕，创造距离。刺激感官的颜色被过滤掉了，形式只是进入了一种空灵的意识状态。

By abstracting the relationship between the outline of the mountains and the landscape through volume, we have removed all extra colors or imitations of nature, using the intensity of ink only to express the deep or ethereal texture. The broad white space allows the outline of the wall to move with the sun and shadows, quietly shaping the undulation and connection of the mountains, while the light ink only outlines their shapes, and the mountains are haloed between the lines to create distance. The colors that stimulate the senses are filtered out, and the form simply enters a state of ethereal consciousness.

然后是镜面般墨光打磨的地面，坚实而宁静。窗外，春天的新绿，秋天的红，晴天的阳光，雨天的雨滴，结霜的月亮，日落的深橙，颜色不仅随时间变化，还映在湖面上，染在山石上。

Then, there is the mirror-like ink polished ground, which is solid and serene. Outside the window, with the new green in spring, the red in autumn, the sunshine on sunny days, the rain drops on rainy days, the frosty moon, and the sunken orange in the sunset, colors not only change in time but are also reflected in the lake and stain the mountain rocks.

柳州以奇石闻名，奇石包括山石、水石、土石、洞石和岩石。每一个都有自己的美。仿佛一万年天地的漫谈，都藏在石头的自然姿态里，这是历史，也是艺术。不出所料，唯物主义艺术一直推崇未经加工的自然物和本真至上的精神，认为即使把自然物投入到建筑领域，依然能与空间激发能量和艺术效果。

Liuzhou is famous for its wonderful stones, which include mountain stones, water stones, earth stones, cave stones, and rocks. Each of which has its own beauty. It is as if the ramblings of heaven and earth for ten thousand years are hidden in the natural gestures of stones, which are history as well as art. It is not surprising that materialist art has always been an advocate of unprocessed natural objects and the spirit that the essence is the most beautiful, believing that even if natural objects are put into the architectural field, they can still stimulate energy and artistic effect with the space.

以此为灵感，我们用原始石头建造了入口，营造出山谷的深度。柜台的深切割石材表面不仅作为建筑的façade，还作为山墙的展示，将天然石材的姿态转化为体验自然时的情感转折。墙上的白色织布，飞舞凝结，如野涂鸦的放纵，又如清晨撒网的渔夫。丝线被用来勾勒出模糊的自然纺织装置，表现出一种即兴的、无意识的表达状态。它也像墨迹在纸上的瞬间，空灵而自然。

Taking this as our inspiration, we built the entrance with raw stones to create the depth of a valley. The deep cut stone surface of the counter is not only used as the façade of the building but also as a display of the mountain wall, transforming the natural stone gestures into an emotional turn when experiencing nature. The white woven fabric on the wall flies and condenses, like the indulgence of the wild scribble, or the fishermen casting their nets in the early morning. The silk threads are used to outline the indistinct natural textile device, manifesting an improvised, unconscious state of expression. It also resembles the moment when ink is put on paper, which is ethereal and spontaneous.

邀请你去参观建筑所叙事的景观，体验设计网格的留白与纵深，我们希望这个场地就像铺展一幅多视角的山水水墨画，它综合了哲学与诗意，超越了表面景观的感知，促成一种状态变化与心境契合的纯粹感受。

By inviting you to visit the landscape narrated by the architecture, and experience the white space and depth of the design grid, we hope that this site is like spreading a multi-view ink painting of a landscape, which synthesizes philosophy and poetry, and transcends the perception of the surface landscape to facilitate a pure feeling of the change in status and the state of mind fit.