竹之形编织自然情境之趣：竹林亭台楼阁

公司：	叙向建筑设计	类型：	景观 \| 艺术
地区：	中国	标签：	艺术装置

桂林山水甲天下，项目地位于阳朔印象刘三姐园区，中国最富戏剧性的自然景观环境区之一。无尽的绿植环绕着大型山丘巨石之间，面对如此宏伟的景观地貌，任何与之不协调而对抗的设计手法都变得不再合理。基于这种对于现场的理解，自然元素本身即成为这次建筑概念设计的前提，尤其是竹子。

The Impression Sanjie Liu, Yangshuo, Guilin is located in one of the most dramatic landscapes in China. Endless greenery surrounds the site filling space between large karst towers of rock. With a landscape so grand any moves to dismiss it, let alone compete would make little sense. With this understanding it was decided that the natural elements themselves would form the premise for what architecture would inhabit the site, one element in particular, bamboo.

▽项目鸟瞰 Aerial

印象刘三姐园区的演出，已经运营15年的时间了。参考本地景观的状态，针对于该项目的设计出发点提出了一种将大多数现有结构维持不变的想法，将设计和规划的重点转移到采用一种可以维护现有景观的同时，更加强调和突出本地自然之美的干预手法。目前，大部分地区都覆盖有大片竹子，形成了竹林绿道长廊的结构。为了与已经存在的方式相吻合，新建筑考虑借用竹子的生长习性和其生长过程中形成的空间形态，将其重新配置以形成新的空间。这样的设计和实施策略，使新形成的空间不会与现有的自然环境相互竞争，同时却有呼应和强化的效果。尽管自然的手法，达到最佳效果需要过度时期和相对来说较长的时间，但这样的过程反而更能体现出这样可生长的设计策略的力量，同时增强了感受者与周围的竹林和丘陵的互动感和意识感。

The Impression Sanjie Liu is already well established, now in its 15th year of operation. The project presented a situation where most existing structures would remain untouched. Instead focus shifted to how introducing new intervention could support a pre-existing condition. At present, large clusters of bamboo cover most of the site, creating structures of mingling pipes and leaves. As a means to coincide with what is already there, the new architecture looked at borrowing the materiality of the bamboo, reconfiguring it to form new space. In doing so, this new space means not to contest. Instead it aims to augment, albeit very gently, the surrounding bamboo groves and hills.

印象刘三姐的演出在天黑后开始，观众和园区的拜访者主要集中在园区岛屿的两端，起始点为园区的主入口，即宾客到达的入口和原鼓楼区域（现修缮后的印象刘三姐文化博物馆场地），另一端，也就是演出舞台及观众席，则位于园区最深处的漓江岸边。而此两端之间，占据园区大部分区域的空间却仅仅作为交通疏散及流线的区域来使用，完全没有连接性的文化内容帮助访客获得更有意义的体验。正是在这个中间模棱两可的空间里，项目的概念引入了两个新的体系以融合入现有的自然肌理同时形成一种情绪感知及故事文化的铺垫过程。

Currently, the night show entertains guests in two areas, one at either end of the island site. The entry and pagoda where guests arrive, and the main stage, perched at the bank of the Li river at the other end. Between these two points little interaction takes place. It is here in this middle ground that two new assemblies of architecture are introduced. The first, woven bamboo lantern structures, scattered where guests circulate, whose purpose is to guide and intrigue. Then the other, a stretch of woven canopy amongst clusters of bamboo, providing area to walk sheltered from regular rainfall. In these, the architecture relies on bamboo not only for its composition, but also its constant referral to parts that constitutes the place.

第一个体系“竹灯未央”,即手工竹编制成的灯笼结构空间，散落分布在访客入场流线的区域，以作为入场前感受印象刘三姐文化的体验/文创销售/休憩空间点。另一个体系“手工竹艺长廊”,在竹丛之间形成一层手工编织高低错落的“竹网”，提供了可以避开常规降雨的步行区域。这两个竹体体系的创建和形成，则不仅仅是作为它们本身存在的属性，而它们与周围自然环境的材料上的，肢体上的，感受上的一种内外在的共鸣与呼应，则更是不断传递着层层更新的意义，使相互赋予更强更有活力的生命力。

When entering the site, lanterns small in stature line along the pathway cast out signals of dappled light. As visitors travel further the once small lanterns become drastically larger to a point where the guests can find themselves able to walk inside. The makeup of the lanterns remains sincere, with a structure of bamboo lengths encased in lashed bamboo either side. On closer inspection one can get a sense of the random beauty that can only be created when something is truly constructed by hand. The slightly dark appearance of bamboo framing shows markings of how it is bowed with fire to create the curved lantern silhouette. Over this, piece by piece, teams of local craftsman have threaded numerous stripes of bamboo in an unintentional pattern that requires no glues or nails to hold its shape. This method of production is a showcase of intricacy, clearly shaped by the hands of people and their intuition of beauty.

在日光下，竹灯的外形显得相对坚实，外壳的黄色与绿色的环境相辅相成。到了晚上，竹灯的个性从空间性的体态转变为多孔而更加通透的形式。竹灯本身成为光的散射体，与访客一起玩起了视觉空间的变形和光线变化的戏剧游戏。从整体上看，竹灯的概念取之于园区竹丛在空中交错而形成的拱形门洞式形态，然而，几乎是一种偶然，当仰望远处时，阳朔的自然石山也呼应了竹灯的轮廓。桂林的风景沿着眼前的地平线散落。

In the daylight, the lanterns appear solid, the yellow of the shell in compliment with the green surrounding. Come night the personality of the lantern shifts from something more unyielding to a porous shell. The lantern itself is a diffuser of light, playing theatrics of scale and light with guests. As a whole, the lantern looks at home under the arching towers of bamboo in its peripheries. Almost by chance, when looking to the distance the lantern silhouette is echoed by the stone towers of the Yangshuo, Guilin landscape strewn along the immediate horizon.

沿着岛的边缘伸展，“手工竹艺长廊”的竹棚飘浮在错落而至的竹丛之间，乍一看，它似乎几乎没有依靠结构支撑，只有竹丛穿过竹棚圆形的开口空间并向上生长，而隐藏在其中的如竹子般粗细的结构柱，则从其立足点开始向上向外旋转而扭曲地，如模仿了竹子的生长模式一般，也长入圆形的开口空间并与竹棚内部的结构相连。“手工竹艺长廊”的竹条编织表面从入口的位置延伸140米有余，呈倒置景观的形状，并不同高低幅度地上下起伏，同时，竹棚表面完全用与竹灯相同的不规则手工编织竹条制作而成，看起来如是幻想中的空间体验，并顺着竹体波浪飘向空间的深处，将原本枯燥的等待体验变得虚幻而沉浸，又再次将访客的感观扩展到整个自然环境的氛围中去。

Further along at the edge of the island, the canopy shrouds itself within the large masts of bamboo. At first glance it appears to rely on little for support, only the columns of bamboo shooting up and through circular openings. Hidden amongst these living clusters columns twist from their footing upward and outward mimicking the indecisive route of the bamboo to meet the structure above. Supported by the columns in a maze of tubes, the structure of the canopy while seen doesn’t look out of place. The hand-woven layer obscures what is in front and what lays behind. Stretching 140m from where you stand the woven ceiling takes on a shape of an inverted landscape, undulating between different levels of surfaces. The stepping surface of the canopy is pieced together entirely in the same irregular hand-woven bamboo as the lantern, but on a scale that seems that it should be seated in fantasy. The resulting intention means to enchant while still extending recognition to the natural condition of the site.

光线穿透竹编波浪，将斑驳的光点散布到地面上。当在竹棚下行走时，光亮通过竹棚散射开均匀的照亮整个空间，但当抬头仰望时，却可感受到意想不到的视觉体验。整个顶篷散发出温和的光芒，并发散出金色的光辉。当夜色降临时，竹棚体内的人造灯光光线通过竹网的缝隙，将光体更有戏剧性更专注的照射在地面，顶底两层光波的实虚包夹，更让体验变得充实。

Under daylight, light streams through to the woven canopy bringing patches of dappled light to the ground below. While reprieve from the sun is apparent when walking underneath, in an unexpected compliment when looking up the ceiling appears illuminated, the entire canopy giving off a temperate glow. In the transition to night, introduced light within the volume rises in intensity focusing the spattering of light in a more vivid pattern on the pathway. Fragments of bodies dip in and out view as light streams down through the ceiling above onto guests making their way the stage.

对刘三姐印象的戏剧精神的认可及对当地自然环境的感动和尊敬，很多感知的元素潜移默化地穿插进入了设计的许多部分：手工编织文化的融入，竹条材料的使用与自然竹林环境的融合，竹棚起伏的倒置地形在竹丛立柱之间的舞动，结构柱的体态与竹子生长形态的呼应，甚至在叙事性的流线及互动情境中，访客从一个竹灯移到另一个空间的方式，这些微妙的细节提示共同激发了特定的意识感知框架，为访客观看印象刘三姐的演出带来了最好的心理和文化的铺垫。

In acknowledgment to the theatrical spirit of the Impression Sanjie Liu, moments of performance make its way into many parts of the design: The hand weaving, bamboo playing off the tension of one another. The topography of the canopy ceiling dancing between columns of bamboo as if unsupported. Even the way guests are intended to move from lantern to lantern, in a narrative of interaction. Together these subtle hints encourage a particular frame of mind, readying the guest for the main feature.

▽施工过程