融创中原壹号院环境视觉设计 / ToThree 图石设计

图石设计：“主视觉描绘了一幅江帆楼阁，溪山清远的意境，升华了案名所折射出的文化态度，奢华不再是简单的富贵豪华，而是基于深厚的文化内涵，这正是“壹”所蕴含的文人逸致：思接千载，万古如一。”

ToThree：The environmental graphic system unfolds an extended and calm picture. It sublimes the attitude of the project by presenting its profound cultural appeals, just as the Chinese name implies: Last as one.

1. 项目背景 Backgrounds

郑州东部的北龙湖片区被定位为城市发展的新引擎，城区总体规划讲求人文布局，空间格局有着强烈的传统气韵，甚至是对建筑风格，规划也提出了中式传统样式的要求。中原壹号院作为本区域住区产品的代表性作品，对建筑、景观、室内设计、环境视觉设计等专业都提出了高起点、高要求，而在各个专业之间，确实需要一个控制性的总体设计观念来统领全局，于是宋代美学风格成为大家的共识，力求在各个专业层面都表现出传承传统经典的设计价值。宋代美学风格以其内在的人文精神为内核，表现着中国文人自魏晋以来，追求独立于世，畅想思接千载、万古如一的情怀，将此精神内核导入设计，希望对当代城市文化产生正面影响，包括理学、禅宗的社会理想与人生智慧，也将为现代人居环境带来积极的启示意义。

The project is Located in the North Longhu Area of Zhengzhou City which is positioned as the new engine of the city’s development. The overall planning of this area is themed in Tradition; therefore the layouts as well as the architectures are required to be built in traditional ways. As the representative project in this area, Zhongyuan Yi Hao Yuan makes every single profession such as architecture, landscape, interior as well as environmental graphic, controlled under the overall concept of Song aesthetics, ensuring a full-scale traditional design. The Song aesthetic is centered in humanistic spirit, which emphasizes the literati’s pursuit of connecting the thoughts of the past and the future in one. By channeling this spirit, we hope our design can influence the urban culture, and the neo-Confucianism and Zen ideas hidden in the design can inspire the modern living environments.

▼中原壹号院主入口仿佛山水画境，案名的落位效法画幅长卷的题词落款。 The entrance resembles a traditional landscape painting, and the project name is lined vertically just like that on a scroll.

▼题款案名提示了礼序空间的开启。 The Project name marks the start of the space.

环境视觉（Environmental Graphic）是随着现代建筑、景观的专业细分而发展派生出的新兴跨专业学科，简单地说，就是一个环境信息视觉化的设计专业。它的核心就是将复杂的建筑与城市空间转化、简化成为抽象的信息，通过对这些信息系统的规划与设计呈现，来帮助人们建立更有效的空间感。环境视觉设计也是各个相关专业中唯一一个着眼于项目的文化软体设计的专业，它挖掘项目的内生的文化潜质，提炼场所精神，然后再通过视觉设计的手段予以外显，也就是常说的用设计“讲故事”。

Environmental Graphic is a new interdisciplinary profession that derives from Architecture and Landscape design. To make it simple, it is to visualize the environment. The core is to transfer the complex urban space and architectures into readable information, so that to help people build their sense of space more efficiently through the plan and design of this information. Environmental graphic is also the only profession in relative field that emphasizes the “cultural design”, which means to dig into the cultural potentials and extract the spirit of the whole space first, then present it through graphic language, which is also known as “telling stories through design” .

▼在各级建筑入口，字体设置仿佛是是空间画境中的题款。 The signs for entrances are like the vertical inscriptions on the scroll of the space.

2. 宋代美学特征：典雅、含蓄、高贵、朴实

Features of the Song Aesthetic: Elegant, Reserved, Noble and Simple

宋代经济发达，文化繁荣，政治上皇权、相权分治，文人士大夫阶层强大，民间相对自由富足，历史评价宋的繁荣之势为历朝之首。宋代的美学观念推崇典雅、平易的风格，以质朴的造型、清幽的色彩取胜，很少有繁缛的装饰，在文人意趣的引领下，全社会倡导一种清淡、理性之美，尤其是徽宗赵佶带领下的皇家画院出品的院画，对全社会有着广泛而深入的影响，院画形神并举，外师造化，中得心源，聚焦于超越时空的理想世界，并提倡诗、书、画、印结合，常以诗题、款识、签押、印章，装裱等构造画面空间，后人以徽宗年号称之为宣和装。这种强大的文化魅力，穿越时空，为后世的中国艺术，乃至整个东方世界的艺术格局创范垂统。

Song is known as the most prosperous Dynasty for its developed economy, culture, political system, and advanced literati and officialdom atmosphere as well as high civilian income. The Song aesthetic favors elegant and plain style that features simple shapes, secluded & refined colors without unnecessary decorations. The whole society by then went for a light and logical aesthetic, especially the royal paintings school pioneered by the Emperor Zhao Ji, they pursued an ideal world that is beyond space and time, and they advocated the combination of poems, books, paintings and seals, and organized the space on the painting with poems, inscriptions, signatures, stamps and frames, which is called Xuanhe Framing. Through time, this powerful cultural gem has been the best example and benchmark for the art of China and even the whole Eastern world.

▼中原壹号院环境视觉的系统构成意向宣和七玺在画幅长卷中的气韵布局 7 Xuanhe seals on the long scroll.

▼中原壹号院环境导示，构成关系来自宣和装的原型。 The signage design also takes the shape of Xuanhe Frame. 

宋代文人推崇理学，理学言理而不言情，要求文思平淡自如，条达舒畅，并且院画所强调的谨细拟物与诗情画意并重的画风，也对同期的陶瓷、染织、建筑、家具等行业，以及人们的生活方式产生很大影响。因美术的介入，直接导致了宋代工艺美术逐渐脱离了实用性而向欣赏性发展，比如宋瓷，追求玉的精神，玉的美感，意向清水出芙蓉、君子比德如玉，很多西方学者尊称宋为瓷的时代。

The literati of Song Dynasty believed in Neo-Confucianism and required a plain and unlabored expression. At the same time, the poetic style of paintings had a profound influence on ceramic, dyeing and weaving, architecture, furniture and of course the way people living their lives. The intervention of paintings led to a trend of appreciation for craft art, for example, Song porcelain, and the appreciation of jade, lotus etc. That’s why some Western schoolers call Song Dynasty the Time of china.

▼景观家具、灯具、建筑首饰等细部节点都被环境视觉纳入了设计范围，使其成为场所主题的有效载体。 Landscape furniture, lawn lamps and even architectural decoration were taken into consideration for environmental graphic design.

3. 环境视觉构成：故事线、主视觉、导示系统、景观家具，以及公共艺术

The components of Environmental Graphic: Storyline, Brand Identity/ Logo, Signage system, Landscape furniture and Installation

视觉设计升华了“中原壹号院”案名所折射出的文化态度，奢华不再是简单的富贵豪华，而是基于深厚的文化内涵，用视觉设计提升项目整体的文化品格，而设计手法也并非简单的仿古摹古，而是以宋代风华作为设计驱动内核，参照理学、禅学的思想理念，结合极简主义的美学观念，构建“因为传统，所以现代”的当代设计表达。外师造化，中得心源，郭熙《林泉高致》绘画与造园同理，景观设计师以画意造境，显示出不同于常规新中式的玄远高妙的境界。入口处的一挂虬松，引发马麟《静听松风图》的画意，弥漫着温润静谧之气，松清、泉曲、风高、山远，此旷达悠远之意，敢问画中人堪与谁会？或许只有石上清泉与风中虬松相对吧。

The main visual element sublimes the attitude of the project. Luxury is no longer simply measured by wealth, but by profound cultural appeals which can be achieved by design. And the design is not simply imitating, but expressing the attitude of “As contemporary as traditional” driven by the Song aesthetics, and referring to philosophy of neo-Confucianism, Zen, and Minimalism. The landscape designers created a picturesque environment just like Guo Xi’s painting “Lin Quan Gao Zhi”, The pine at the entrance refers to the painting “Listen to the Wind under the Pine”, conveying a calm and mild space. The clear stream on the stone and the forceful pine echo each other, creating such an extended atmosphere.

▼马麟《静听松风图》局部 Listen to the Wind under the Pine – Ma Lin, Detail.

▼主入口空间呈现出“明月松间照，清泉石上流”的画意。 The poetic atmosphere of the sign.

玉佩的青绿色有着鲜明的宋文化意象，使人联想起汝窑的天青色，青绿山水的石青石绿，这种清新自然的审美趣味，在宋代的文人士大夫与平民世俗间有着广泛的共识，后世曾有诗云：纵有家产万贯，不如汝窑一片。“壹”字的结构化身为玉佩的完形形成主视觉的基本型，并以严整的建筑感来表达了一种昂扬向上、追求卓越的时代精神，同时通过视觉元素渐变的处理，描绘了一幅江帆楼阁，溪山清远的文化意境，而这正是“壹”所蕴含的文人逸致：思接千载，万古如一。

The dark turquois of the jade pendant well represents the Song aesthetics. It reminds people of the color of Ruyao, a shared fresh and natural taste among the literati and civilian. The character “壹” is used as the main visual element for the logo, and we present it in an architectural way in order to show an upwards spirit of the time. Through gradient, we depict an extended and calm picture with boats and hills. It sublimes the attitude of the project by presenting its profound cultural appeal, just as the Chinese name implies: Last as one.    

▼主视觉设计深刻地传达出宋代的美学特征：淡中渐浓，浅中显深，平中富奇。 The logo profoundly explains the Song Aesthetics: light and strong, plain and unique.

▼平面介质上的光影渐变在材料语言中to three 为形体变化。 The metal logo reproduces the shadow effect by structural change.

▼在透光材料内部内雕形成主视觉元素。 The lawn lamp with illuminated logo engraved.

设计节点与它周边的场域存在着一种类似图底关系的组织性，二者互相补充，互为参照，从主视觉中提炼的图案阵列成肌理，铺展、弥散在环境中，形成视觉的场域，与设计节点一同构成完整的视觉生态聚落。而作为在建筑、景观环境中使用的主视觉Logo，强调它的“点”的属性，那么它与线、面、体等其它设计元素的组合关系将越简单、空间关系越明确，形式感越完整。

The design complements with the environment like picture and its base map. The patterns extracted from the logo scattered on the surface of buildings, flooring and some other environment, forming a complete visual system.

▼主视觉的元素构成墙面格栅肌理，与主视觉本体形成收放关系，亦张亦弛。 The grating patterns that extracted from the logo.

▼主视觉的元素构成温馨提示的形体构造，使其恰如其分地融入环境。 The hollowed grating pattern for the reminder sign mingle into the surrounding environment.

▼前台导示宛如礼器、重器，彰显待客之道。 Sign at the front desk, showing the curtesy of welcoming the guests.

▼会所卫生间导示同样是由主视觉的元素构成。 The signs for Toilet that use the same visual element.

▼楼栋号的字母选择了经典的Bodoni字体，这也是田中一光在宋体“森泽光朝”里英文字体的选择。 The font used for building No. signs.

▼楼栋号的加工由石材幕墙单位完成，这种跨专业的协调对施工管理是个考验。 The building No. signs were implemented by curtain wall manufacturer.

文化内涵与设计表达的统一，为环境营造出一种知性的景观体验，钤印、落款、花押、题跋、笔墨等文人雅趣的设计元素，看似不经意间散布于空间中，实则由一种诗意的组织性连贯起来，使得场所精神在视觉系统的任何一个节点上见微知著，举重若轻。

The simultaneous expression of cultural implication through design creates a complete landscape experience. The elements such as signatures, stamps and annotation and all the others, seem like scattering over the space, they are actually organized in a poetic way, so you feel the spirit of the space at each design.

▼散落于景观空间中的宋体笔划，成为导示信息的载体，也算是一种文以载道吧。 The strokes are the carriers of signage information.

▼室内挑空大堂的吊灯，来自书法规则“永字八法”的形态。 The hanging stroke-shaped lights refer to the writing rules of Chinese characters.

▼汉字最基本的构成元素点、撇、捺、勾等形态构成空间组件，在光影流转中发出强大的文化气场。 The basic strokes are now the components of the installation, showing a strong cultural atmosphere.

▼单独定制的分类垃圾箱，可组合可单列。 Customized trash bins made for waste sorting.

▼单独定制的单元门门把手，透着金玉良缘的喜庆。 Customized door handles, with elements of gold and jade.

宋徽宗在位期间，于汴京宫城的东北隅，营建的艮岳寿山，在园林掇山方面称得上集大成者，可谓“括天下之美，藏古今之胜”。据记载，此园冈连阜属，东西相望，前后相续，左山而右水，后溪而旁垄，连绵而弥满，吞山而怀谷。园内植奇花美木，养珍禽异兽，构飞楼杰观，极尽奢华。当此园落成之后，宋徽宗赵佶曾亲写《御制艮岳记》，记载这一盛举。 环境视觉最后的聚焦点落在公共艺术的节点上，设计师选取了艮岳寿山里的祥龙石作为空间意向的来源，使用当代艺术语汇再现了奇石的神韵。

When the Emperor Zhao Ji built his private garden, he brought so many precious plants and animals. We were inspired by the auspicious dragon stone in his garden, and designed an installation. But we design it with the contemporary art language to reproduce its verve.

▼根据宋徽宗《祥龙石图》意境提炼的公共艺术装置，还未落地。 The installation inspired by the Auspicious Dragon Stone.

4. 设计总结 Summary

郑州城市新区的开发，北龙湖高端住区的建设，在地性文化资源的挖掘，都需要高品质的专业设计助力，而环境视觉专业则发挥着媒介的作用，提炼场所精神使之视觉化，让观众在视觉认知中完成对场所精神的感悟。环境视觉是建筑景观之间的设计整合系统，将不同属性的空间环境整合成为一个认知的整体，使之具有统一的品牌识别。从主入口礼仪空间的凝重肃穆，到层次细腻的庭院空间，直至室内空间，动静相宜，层层递进，在环境视觉的帮助下建立完整的空间序列关系。

No matter the development of North Longhu residential area or the digging of local cultural resource, high quality design is necessary. Environmental graphic plays a role in extracting the spirit of the environment and delivering it to the audience. Environmental Graphic also plays a role in integrating architecture and landscape design and unifies the whole space with consolidated brand identity. From the entrance, to the garden, till the interior space, environmental graphic combines different motions and builds a complete space sequence.

▼环境视觉将不同属性的空间环境整合成为一个认知的整体。 Environmental graphic design integrates different spaces.

▼近人尺度的会所室内导示，字体细节值得玩味。 Interior signage design are intriguing.

环境视觉中重要的组成部分是环境信息的表述系统，标识出景观入口、建筑楼栋号、单元号、门牌号，以及会所、院落名称等空间职能，完善了建筑环境的使用功能，提升了环境质量，是现代人居环境必须具备的基本职能之一。环境视觉显现了建筑、景观等各专业所共同追寻的场所精神，以及项目推广所强调的文化气质，提升了环境的文化张力，并以优秀的设计形成的话题标签，为项目引入流量，有利于品牌推广。

One important part of environmental graphic is the expression of information, from the entrance, building numbers, club signs to the courtyard; environmental graphics completes the functions and improves the quality of the environment. Environmental graphics somehow visualized the spirit of the environment as well as the cultural appeals which is pursued also by architecture and landscape design. By enhancing the cultural tension, the good environmental design creates topics and attracts attentions, which is of no doubt good for brand promotion.

▼周边衍生品的开发，将场所精神从空间尺度向着产品尺度推进，致广大而尽精微，延续、丰富了壹号院的品牌体验。 The product development extends the spirit of the project and its brand experience to a more detailed level.

项目：融创中原壹号院
地址：郑州北龙湖
客户：华北融创郑州公司​
​设计管理：徐迈、王佳恩、高欣、王乐、闻振江
设计公司：图石设计
艺术指导：孙武
设计团队：孙武、刘文波、张琳娜、高金笑、张睿、张沛楠、蒋旭慧
合作方：上海日清建筑设计有限公司、TOPO建筑环境设计公司、李玮珉建筑师事务所
打样配合：北京天天精艺标识
制作单位：武汉纵横制造
设计时间：2018.06
文字编撰：顾玉琴
摄影：何杨、张沛楠
感谢顺景园林提供文中图2、图14的使用权

Project Name: SUNAC Zhongyuan Yi Hao Yuan
Location: North Longhu, Zhengzhou
Client: SUNAC Northern China
Design Management: Xu Mai, Wang Jiaen, Gao Xin, Wang Le, Wen Zhenjiang
Design: ToThree Design
Art Director: Sun Wu
Design Team: Sun Wu, Liu Wenbo, Zhang Linna, Gao Jinxiao, Zhang Rui, Zhang Peinan, Jiang Xuhui
Partners: Lacime Aechitects, TOPO architectural environment design, LWM Architects
Mockup Production: Beijing Tiantian Jingyi
Manufacturing: Wuhan Zongheng Manufacturing
Period: June, 2018
Text editing: Gu Yuqin
Photography: He Yang, Zhang Peinan
Special thanks to Sunshine Landscape for images 2 and 14

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