© Yuanfu Ou

(三)元福

建筑与自然、建筑与文化的内在联系一直是建筑师关注的焦点。在这个项目中，我们希望以一种简单而朴素的方式建立建筑与自然以及建筑与文化之间的联系。就像艺术和文学都有素描一样，这个项目在某种程度上也是一个建筑素描。这并不意味着素描既没有技术难度，也没有思想深度。相反，它只是不需要不遗余力地考虑一个问题的所有方面。素描是一种兴高采烈的闪光，这意味着当从大的事物中挑选出小的东西时，不要有太多的犹豫。从景观到建筑，我们希望这座房子能以一种含蓄的方式来表达自然的风景和气息，这是复杂而温和的，自由而有节奏的。因此，人、自然、建筑和风景是联系在一起的。

The connotative relationship between architecture and nature as well as architecture and culture always attracts the attention of the architects as a key focus. In this project, we hope to establish a linkage between architecture and nature as well as architecture and culture in a simple and plain way. Just as art and literature both have sketches, this project is a construction sketch to some extent. It doesn’t mean that the sketch has neither technical difficulty nor thought depth. Instead, it just doesn’t need to spare no pains and give mature consideration to all aspects of a question. Sketch is a flash in high spirits, which means without too much hesitation when selecting from big things through small ones. From landscape to architecture, we hope this house can express the scenery and breath of nature in an implicit way, which is complex but temperate, free but rhythmic. Thus, human, nature, architecture and scenery are connected together.

 © Yuanfu Ou

(三)元福

诗意景观

Poetic Landscape

概念的起源：从场景到语境与景观情感

The Origin of Concept: From Scene to Context with Landscape Sentiment

“山水”

“Shan Shui”

“山水”在中国传统文化中有着特殊的意义。例如，中国画分为人物画、花鸟画和山水画.在中国传统绘画中，山水画被称为山水画，而在中国古典诗词中，山水画则是山水画的重要组成部分。早在魏晋时期，风景画就进入了唐宋时期，以抽象、写意的方式将宇宙、自然、人文、艺术融为一体，形成了不屈不挠的兴趣。中国文人把自己弃置于山水之中，表达他们对山的渴望，把他们的感情倾注到水里。山水诗中既有自然景物，又有观景、情感和情感，体现了人与自然的共生关系，精神的统一和呼吸的相互联系。

 “ShanShui” has special significance in the traditional Chinese culture. For example, traditional Chinese paintings are divided into figure paintings, bird-and-flower paintings and mountains-and-waters paintings. In traditional Chinese paintings, landscape painting is called mountains-and-waters painting, while in classical Chinese poems and lyrics, landscape poem takes a crucial splendid part. Dating back to Wei and Jin dynasties, landscape paintings entered a period of great prosperity in Tang and Song dynasties, which integrate universe, nature, humanity and art together in an abstract and enjoyable manner, thus forming unfailing interest. Chinese literators abandon themselves to mountains and water, express their aspirations to mountain and pour out their feelings to water. There are not only natural scenery in landscape poems, but also view, emotion and feeling, which manifest the symbiotic relationship between human beings and nature with the union of mind as well as the interlink of breath. 

 © Yuanfu Ou

(三)元福

桂林的风景被称为天堂之下最好的风景。在那里，典型的喀斯特地形构成了奇特的风景，山体以不同的姿态从地面升起，表现出不同的表情；在漓江，蜿蜒的水像一面镜子一样明亮干净；此外，山上还有许多山洞，有着奇异的岩峰，形成了“桂林四奇观”-绿山、清水、奇异的洞穴和美丽的石头。

The scenery of Guilin has been called the finest under heaven. There, typical karst topography constitutes peculiar scenery, and mountains rise out of the ground in different poses with different expressions; in the Lijiang River, twisting water is bright and clean as a mirror; besides, there are also many caves in the mountains with fantastic rock peaks, forming “Four Wonders of Guilin”——green mountains, clean water, strange caves and beautiful stones.

 © Yuanfu Ou

(三)元福

因此，为桂林这样一个山水相连的诗意城市我们试图在一定程度上排除这种审美景观中的“图案化”，并以一种抽象的线条结构表现出来。该方案中的建筑仍然是一个非常简单的立方体，没有任何形状或风格的变化，这创造了一个“景观立方体”通过幕墙结构。我们希望这个项目能够从场景中衍生出来，形成，通过一个纯正的玻璃盒子唤起人们对自然的内在感受和山水情怀。

Thus, it is a natural selection to create a landscape theme for a display architecture located in Guilin, such a poetic city surrounded by mountains and water. We try to exclude “patterning” from this aesthetical landscape to some extent and make it shown by a kind of abstract line structure. The architecture in the plan is still a very simple cube without any shape or style change, which creates a “landscape cube” through the curtain wall structure. We hope the project can be derived from the scene, to form, through a pure glass box evoke people’s inner feeling about nature and landscape Sentiment.

 © Yuanfu Ou

(三)元福

Tectonics & Context: Exquisite Skills Lie in Architecture

与那些体积庞大、功能复杂的项目相比，这个展览中心是一个不可否认的建筑素描。在创作过程中，我们想让它变得简单和放松。我们更多地考虑了概念的纯洁性和实施的可操作性。当时，我们考虑的主要内容如下：1。从造型到内涵：如何用简单的建筑语言来体现中国传统文化中“景观”的内涵。外部表面构造中的空间深度：如何通过表面处理来表达景观的分层和空间的深度。材质构成的景物方向：如何利用玻璃的不同反射、折射和透射性能，与数码彩釉玻璃一起，构建模糊边界、重叠层的隐式对象，以创造一种遮蔽自然景观？总之，整个设计从建筑和语境入手。

Compared with those projects with huge volume and complicated functions, this exhibition center is an undeniable architectural sketch. During the creating process, we want to make it simple and relaxing. We give more consideration to the pureness of concept and operability of implementation. At that time, what we considered is mainly shown as follows: 1. From shape to connotation: How to manifest the connotation of “landscape” in the traditional Chinese culture by simple architectural language? 2. The depth of space in external surface construction: How to express the stratification of landscape and depth of space by the surface treatment? 3. Scenery direction of the material composition: How to build an implicit object with fuzzy boundary and overlapped layer using different reflection, refraction and transmission performances of glass together with the digital-colored glaze glass in order to create an enshrouding natural landscape? In a word, the whole design starts from construction and context.

 © Yuanfu Ou

(三)元福

桂林的山分布很远很近.除了在水面上倒映外，还相应形成了丰富的级配。这种建筑通过升降的垂直玻璃排骨来体现山坡的形状，并通过不同密度和悬空的玻璃排骨形成三层立面，即“近景”、“中观”和“远景”。因此，在阴天、晴天、雨雾等不同的光照条件下，不同玻璃之间的透射、反射和折射效应所引起的级配叠加可以形成微妙变化的戏剧性效应。在斑驳的阴影中，“边界”变得模糊和流动。仔细看一看建筑，人们感觉就像待在山上，而蒸汽在上面流动，而建筑则敏感地反映了周围自然环境的变化。桂林的观赏者、建筑和景观相互作用，创造了一个美好而深远的前景。

Mountains in Guilin are well-distributed far and near. In addition to the inverted reflections on the water, a rich gradation is formed accordingly. This architecture manifests the hillshapes up and down through the rising and falling vertical glass ribs and creates three hillshape levels of the facade through different densities and overhang scales of glass ribs, namely “nearby view”, “medium view” and “distant view”. Thus, the gradation superposition caused by the transmission, reflection and refraction effect between different glass can form subtly changeable dramatic effect under different light conditions such as cloudy, sunny, raining and foggy. In the mottled shadows, the “boundary” becomes blurry and flowing. At a close look at the architecture, people feel like staying in the mountain range while steam flows above, and the architecture reflects the changes of the surrounding natural environment sensitively. Viewers, architecture and landscape of Guilin interact with each other, creating a wonderful and far-reaching prospect.

山水语言的统一性：竹林游走与山水思考

Unity of Landscape Language : Wander in Bamboo Forest and Think about Landscape

 © Yuanfu Ou

(三)元福

展览中心的景观设计延续了景观的主题，借助层次分明的水面、蜿蜒的小径和典雅的竹廊，实现了空间的联结与缩放，形成了令人愉悦的对比，使人们在其中漫步。当人们移动他们的脚步，他们将看到不同的风景和进入一个美妙的天堂从景观。

The landscape design of the Exhibition Center continues the theme of landscape and realizes the linkage and scaling of space by virtue of layered water surface, winding path and elegant bamboo gallery, which forms a delightful contrast and makes people stroll in it. As people move their steps, they will see different sceneries and go into a wonderful paradise from landscape. 

 © Yuanfu Ou

(三)元福

 Master Plan

 © Yuanfu Ou

(三)元福

Architects TengYuan Design Institute Co., Ltd. WAT Studio

Location Qixing District, Guilin City, Guangxi Province, China

Category Interpretation Center

Architect in Charge Peng Wei

Design Team Guang jun Zhao, Zhen ming Wang,Bo Zhang, Wei Wang

Project Year 2016

Photographs Yuanfu Ou