在天空钓鱼——龙湖云峰原著 / 山水比德

山水比德 :  借由情感的勾连和生活叙事的重构，《瓦尔登湖畔》的自然世界，瓦解了梭罗日常的时间尺度，时间产生了扭曲甚至变形。空间在这一刻，产生了时快时慢又偶有迟滞的生命运动，外延不再仅仅是片刻或永恒，更是一种与人亲密的体验。

S.P.I Landscape Group：  Through the connection of emotions and reconstruction of life, the natural world of Walden lake disintegrated Thoreau’s daily time scale, and time was distorted. At this moment, space produces a life movement that is fast, slow and occasionally sluggish. Extension is no longer only a moment or eternity, but also an intimate experience .

园林亦然。每一处园林都可视为一次人独特的亲密的体验。植物、墙体、廊架、韵律、光影……建构了一处园林的生命的世界，打破时间的循环，让人在空间里停歇、漫步甚至迷失。

而当时间静止时，通过捕捉阴影的细微变化、空间的节奏、光、色彩和植物的特质，甚至落雨声、花香味，我们都会发现在空间、时间，或是一个地点内迷失的乐趣。

The same goes for landscape. Every garden can be regarded as a unique intimate experience. Plants, walls, veranda, rhythm, light and shadow have constructed a world of garden life, breaking the cycle of time and letting people stop, walk and even lose in space.

And when time is still, we will find the pleasure of being lost in space, time, or a place by capturing subtle changes in shadows, the rhythm of space, light, color, and the characteristics of plants, even the sound of falling rain and the fragrance of flowers.

城府的遮罩

山外寻山，偶然瞥见立石，遥指云峰深处。望山而去，婉转行路，衔远黛而冠白云，左右参差掩映，隐现无穷。轻车驾路，曲径几折，跨桥而上，石墙耸峙之间，府门乍现。

在连续的“进”的大层次感里，府门构筑了一道视觉控制的上限，在完成前场空间遮罩的同时，也完成了一次体验情绪的营造，制造欲穷不能、欲罢也不能的情绪纠结，“须有一物以蔽之，使坐客不能穷其巅末”。

Looking for a mountain outside the mountain, I caught a glimpse of a standing stone and pointed to the depth of Yunfeng. Looking at the mountain, he walked in a roundabout way, with a long black title and white clouds in the crown. the left and right sides were covered with jagged shadows, and there was no limit to what was hidden. The road was covered by a light bus. the winding path was a few folds, crossing the bridge, and the stone wall was towering. The gate was suddenly open.

In the continuous large-scale sense of ” entering”, the government gate has constructed an upper limit of visual control. at the same time of completing the mask of the front court space, it has also completed the construction of an experience mood, creating emotional entanglements that one cannot desire to be poor and one cannot desire to be poor. ” there must be one thing to hide so that the sitting guest cannot be poor at the end of the top.”

项目宣传视频Project promotion video  © 山水比德

含蓄不尽，制造欲望，一道门，便是一道遮罩。因为这一道遮罩，让空间变得捉摸不定，像一团氤氲藏住一段怀有可能与不可能的时空。如王欣所言，“一个具有礼仪色彩的遮罩……使其变得不可知而神秘，使人在一种序列中被拖累、调侃、打击、消耗、震慑……将之对宅院城府的感知氛围，深奥迷幻的层级建构投塑于人的构造，异化、神秘化了对象，拉大见者与被见者的距离”。

Implicit, create desire, a door, is a mask. Because of this mask, space becomes uncertain, like a mass of hidden space and time with possibility and impossibility. As Wang Xin said, ” a ceremonial mask … makes it unknowable and mysterious, causing people to be dragged down, teased, attacked, consumed, and intimidated in a sequence … casts its perception atmosphere of the house and the city hall and its abstruse and psychedelic hierarchical structure into the structure of people, alienates and mystifies the object, and widens the distance between the beholder and the beholder.”

一只白色的仙鹤

从水光缭绕的云峰中来

寻觅、盘旋、沉醉

与一个红尘的女子

在山水之间相遇

在时间的长河里

一人，一鹤，从此合一

回归山中

时间，不过是我钓鱼的小溪。

当我喝水的时候，我看到了细沙的溪底，

发现它竟是如此的清浅。

浅浅的水底，浅浅的溪水，悄悄流逝

却永恒长存。

我愿痛饮。

在天空钓鱼，天底布满了卵石般的星星。

在中国，“城府”是以一种特殊的建筑序列投向有关于人心面具的形容。

留白的张力

府门的大阖，必然是推门而入的大开，才是破开遮罩而升堂入室的仪式。

大阖大开之间，一个大写意的中国画撞开视线。户庭行倪瓒之魂，构图平远，景物极简，疏林坡岸，浅水遥岑，淡雅松秀，意境超逸，无半分尘土气，恰似一幅三段平远景色的《渔庄秋霁图》：近处是秋林荒诸，以一株铁冬青写意表达；腰际大面留白，是坡外的一片水面；隔水远山，是以建筑为底色的山色有无。

In China, the ” city mansion” is described as a special architectural sequence for people’s masks.

Blank tension

The gate must be the opening one. It is the ceremony of breaking the mask and entering the house.

Between the close and the open, a big freehand brushwork in traditional Chinese painting knocked out the line of sight. A very simple scenery, sparse forest slope bank, shallow water remote cen, quietly elegant and loose show, the artistic conception was super – relaxed, and there was no dust in the air. It was just like a picture.

园林却又不止于此。园林并不止于一种外在的空间、形式或者构成，更是身体的延展、情感的衍生，是人的一部分。园林的核心，是人。人类身体与空间的关系，构成了彼此之间的互动，唤起不同的情绪。园林生于日常，与身亲切。游走之间，留白处潜藏着莫名的张力，诱惑着身体的欲望：脱了鞋，一个任性便是走到潺潺之中，碎步轻碾，一个拨弄便是一场晴日下的大雨，“一场大雨的气息/眼前都模糊不清/看见云变成鱼鳞/掉落云里的雨滴/忽然排列成岛屿……”

Gardens are more than that. Gardens are not only an external space, form or composition, but also the extension of the body and the derivation of emotions. they are part of human beings. The core of gardens is human beings. The relationship between human body and space constitutes the interaction between each other and arouses different emotions. Gardens are born in everyday life and are friendly with people.

一所瓦舍，一间茶舍，悠然户庭，极大的牵引我们的皈依之心。那里有对自然的欣赏，对生活的欣赏，对人生的安慰。

时间的迷宫

经过室内的转换，再而是后场的豁然开朗：翠云相拥，风行水上，千峰竞秀，流光挂瀑，是“由一境界入另一境界，可望可即，斜正参差……”

园林的本质，在于表达时快时慢又偶有迟滞的生命运动，不仅属于片刻或永恒，更是一种与人亲密的体验。从园林角度而言，时间的扭曲通常会以多种方式来体现，有时是一系列被赋予不同间隔、长短比例的并置走廊，有时是一些零星散布的庭院，也有时以出人意料的视觉障碍……

A washhouse, a tea house, and a leisurely space, greatly drawing our hearts of conversion. There is appreciation of nature, appreciation of life and consolation of life.

Maze of time

After the indoor transformation, it was suddenly enlightened in the backcourt.

The essence of garden lies in the expression of life movements that are fast, slow and sometimes sluggish. it is not only a short or eternal experience, but also an intimate experience with people. From a garden perspective, the distortion of time is usually manifested in many ways, sometimes in a series of juxtaposed corridors with different intervals and length ratios, sometimes in scattered courtyards, and sometimes with unexpected visual obstacles …

而在后场，这种方式则是借由光影的韵律和起伏的节奏所达成的，并通过光影和俯仰去静下心去感受自然的细微瞬间，清晰的听到自己内心的声音，达成一种时间扭曲下的迷失不惘的状态。

后场因地制宜，结合本身山地优势，采取了“随园”的设计方法：随其地之隆中而欹侧也，为缀峰岫；随其蓊郁而旷也，为设宦窔。或扶而起之，或挤而止之，皆随其丰杀繁瘠，就势取景，而莫之夭阏者，故仍名曰随园。随形就势的后场，在连续起伏的台地中形成交错的可能，以水为媒，以山为座，形成银河落九川的衔远山之态势。水是天上来，人是涉水而行……“涉江采芙蓉，兰泽多芳草。采之欲遗谁？所思在远道。”

In the backcourt, this way is achieved through the rhythm of light and shadow and the rhythm of ups and downs, and through light and shadow and pitch to calm down and feel the subtle moments of nature, clearly hear the voice of your heart, and achieve a lost state under the distortion of time.

According to local conditions in the backcourt and the advantages of the mountainous region, the design method takes from ” the Sui garden” . Based on the site situation, is likely to form a crisscross in the continuously platform.

于样板间有着成熟的情境化设定，给予每一户样板间设定一个家庭，包括设定家庭的成员分配，成员的年龄、职业、爱好等基本性格特征，从而更好地统一室内外的气质和格调。

在庭院设计初期，设计师仔细研究设定好的客户性质、室内空间的功能分布、周边的视觉关系等，分析客户所需所想，将客户带入情景之中，享受贴心非凡的生活体验。

There is a mature situational setting in the sample room. each sample room is given a family, including the allocation of family members, the age, occupation, hobbies and other basic personality characteristics of the members, so as to better unify the temperament and style inside and outside the room.

In the early steps of courtyard design, designers carefully studied the nature of the customers, the function distribution of the indoor space, the visual relations around them, etc. they analyzed what the customers needed to think, brought the customers into the scene, and enjoyed the intimate and extraordinary life experience.

一处园林本身即是一个生命体，一个活着的园林应该如生命一般具有听觉、视觉、嗅觉、触觉，并留有时间流逝的痕迹。

A garden is a living body. A living garden should have hearing, vision, smell, touch and leave traces of time just like life.

项目地址：广东，广州，中国
设计时间：2017年
开发商：龙湖地产
景观设计：山水比德
景观施工：山水怡人

Project address: Guangdong, Guangzhou, China
Design date: 2017
Developer: LongFor
Landscape design: S.P.I Landscape Group
Landscape construction: Shanshui yiren

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