浙江湖州未来峯前场景观设计 | Wutopia Lab
Shanghai Huijian invited Wutopia Lab to design a welcoming stage in front of the sales’ center of their project in Huzhou. The only request from the client was to make it different. We can design the façade of the sales’ center but keep the interior unchanged.
▲视频，video ©CreatAR Images
从一线城市到三四线城市新区的人们都居住一种似乎有规划但实际无个性、无历史、无中心、无规划的相似面貌的新城里。都居住在无差别的房型里面以及清一色的房地产之新古典主义或者新Art ‘deco的立面后。你们事实上各不相同的生活就被这现实中的闪闪发光的Generic City所掩埋。
In China, no matter where you are, as long as you live in a so-called “modern city”, you can find the drastic similarity among all of them, that they are all “seems” new, but with no character, no history, no center and no planning. People are living in similar houses that either are “Neo-Classicalism” or have a “New Art Deco” façade. Every one actually lives very differently. However, now our distinctive lives are all covered by those generic but flashy Generic City masks.
▲鸟瞰，aerial view ©CreatAR Images
Yu Ting was invited to design the interior of an apartment in a Reality TV Show called Dream Home. He took every wall he could take from the apartment, which means that he changed it from a three-bedroom to a one-bedroom apartment. This move brought Yu Ting criticism from all over the internet. That was one of his experiments to change the way people live normally (although this normal had just lasted for less than 40 years).
▲设计生成，generation diagram ©Wutopia Lab
既然发展商大方地把设计的主导权交给了俞挺。他觉得可以去主动创造这么一个新场所，这个后来被他命名为White upland的钢铁花园，是综合了建筑，景观，室内，照明，装置艺术以及我们生活中某些回忆和情绪的魔幻现实主义场所，把一个销售中心的前场变成一个周边地区都可以共享，甚至整个湖州人民都可以使用的开放的超现实主义花园，它就是一个反Generic City宣言。
Since the client generously gave Yu Ting the freedom to design this stage, Yu ting could not let this chance go. He wants to create this new space, later named White Upland by him, that is a combination of architecture, landscape, interior, lighting, art installation and the most personal moments we have in our lives, memories and emotions. He made this welcoming stage of a sales’ center a communal place, a surreal garden where people around this neighborhood, as well as people from Huzhou could come to enjoy. This is his Manifesto of Anti-generic city.
▲城市中的共享花园，public garden in the city ©CreatAR Images
俞挺在2018年第四期的《时代建筑》的文章《必须主观：客观的当代设计无法继承主观的古典园林》一文中提出了主观性设计态度。所以在White upland。他从自身的经历和体悟出发，决定以梦境为主题。这个场所可以挡住售楼中心的立面而不用花费精力去改建它。这个完整但普遍的售楼中心镶嵌在普遍的枯燥的弥漫蔓延的新区一起以无个性、无历史、无中心成为边界清晰中心明确，同时纯粹有个性创造历史的White upland的上句。主观性也是反Generic City的。
In White Upland, Yu Ting started from his own experience and decided to make Dream as the design principle. Instead of changing the façade of the sales’ center, he chose to cover it by his design. While the original sales’ center remains most normal, boring condition, it becomes the most powerful contrast to this distinctive, history-making White Upland. Subjectivity is also anti-generic.
▲顶视图，top view ©CreatAR Images
生活是一系列的挫折和打击，“我们根本没有能力遗忘或者粉饰那些我们认定的灾祸，它们撕裂我们，重击，棒打，灼伤我们，让我们窒息。（西塞罗）” 只有在风暴，人们才能深刻体会家对于人生的重要意义。就此，如果有这么一个场所，能够让人有那么一个瞬间脱离现实，忘记痛苦以及时间加诸于因人各异的身体上的痛苦和精神上的焦虑。它就应该是美好回忆以及祝福未来的梦境。一个让人忘记了时间的场所。这正如维特根斯坦感慨的那样“唯有当人不活在时间之中，而只活在当下，他才快乐”。是的，人们需要一个快乐的白日梦。白日梦一定是反Generic City的。
Life is a series of obstacles and challenges. Only within the storm, people could deeply perceive the most important meaning of life. Therefore, if there is one place, where people could escape from the reality, forget the pain and pressure that time brings us physically and mentally, it must be in the dreams. Yes, people need daydreams, and daydreaming is anti-generic.
▲与城市环境形成对比的场所，a place contrasting the urban environment ©CreatAR Images
Our client wants this garden to showcase the prefabrication technologies in this project. Yu Ting chose the very generic material, steel. Last time the Models in Model, he managed to create a semi-transparent screen from continuous steel column. This time, to achieve the same result, he used 529 six-meter-high steel columns to mark the boundary of White Upland, as well as resolve the façade of the sales’ center.
▲直立杠杆形成半透明的连续界面，steel columns creating a continuous semi-transparent screen ©CreatAR Images
At the entrance of White Upland, there is an ink garden surrounded by 16 red maple trees. The 50 tons of black mountain stones are like ink, which in the white dream implies a trace of local history, geography and culture as the south of the Yangtze River.
▲入口顶视图，由16株红枫环抱，top view of the entrance embraced by 16 red maple trees ©CreatAR Images
▲水墨园，ink garden ©CreatAR Images
Going through the Ink Garden, before entering the forest that suggests the future, you will encounter the White Upland’s eye, a dark blue but cool-lighted cave. In this moment when you paused in the “eye”, you will understand that no matter how much uncertainty life has, but at least this moment is firm and happy, is hope.
▲入口处的山洞空间顶视，top view of the cave at the entrance ©CreatAR Images
▲深蓝色的内部空间，interior space in dark blue ©CreatAR Images
▲穿孔板细部，details of the perforated panels ©CreatAR Images
▲通向花园的出口，exit connecting to the garden ©CreatAR Images
In White Upland, you can shrink like Alice in the Wonderland. The fragile clover becomes a towering tree then form a forest. Through this transformation, you can recognize your bodies and strengthen them.
▲巨大的三叶草花园，garden composed of large steel clovers ©CreatAR Images
▲水雾让空间如同梦境，mist making the place like in a dream ©CreatAR Images
White upland作为一个新类型的场所本身就是一个编织了你们生活中许多欲望，情绪以及回忆和希望的超级建筑学文本。其基本构成来自于俞挺女儿堂堂的梦中和绘画里时常出现的场—森林。俞挺用108根三种尺寸的钢铁三叶草作为基本要素构建了抽象森林。并以森林形态为依据沿着参观路径创造了岩洞，山丘，溪流，涌泉，作为空地的林间剧场，巨石和荒原。他参考了玛格利特的绘画，将这些物体改写成白色的精致几何体。并以设备模拟了星空，云朵，晨蔼，迷雾，鸟叫和花香以及篝火。这一切都是白色的，抽离所有物体的物质性而让一切显得不真实。最后他用Generic的材料和最基本的形式重复以及组合而建造了复杂丰富的anti-Generic之梦—106吨钢铸就的3300平米的White upland。
White Upland creates a mega architecture context, woven in a lot of desires, emotions, memories and hopes in our lives. The main narrative of White Upland was inspired by Yu Ting’s daughter, Tangtang’s dream. Forest is one of the most frequent elements in Tangtang’s dream. Yu Ting used 108 white steel columns in three sizes to form this abstract forest. Then follow the visitors’ circulation, he made different landscapes, such as caves, hills, streams, rocks, highlands, waterfalls and theatres in the woods. He referenced from Rene Magritte’s painting, to abstract those landscapes. He also used facilities to create weather here, then it has starry sky, cloudy sky, sunrise, fog, sounds and smells from the nature, and a bonfire. Making them white makes all of them surreal. Eventually, Yu Ting succeeded in using the most generic materials and manipulations to build an exuberant anti-genetic dream-land, a 3300 m2 White Upland by 106 tons of steel.
▲平面图，plan ©Wutopia Lab
▲香氛花园，garden of fragrance ©CreatAR Images
你们可以看到云朵下的木马，这个代表成年孩童心的道具已经在俞挺关于梦境的一系列设计中反复出现。你们也可以看到秋千，看到彩色的沙坑，看到眼睛里的星空。这些曾经在生活中闪过的片段被重新提炼后镶嵌到White Upland。当然如果算上大熊和独角兽，而只有这些，那不过是谄媚。生活不止这些形式。俞挺特别喜欢上海静安嘉里中心的旱地喷泉。那不仅是景观，也是孩童们互动的游戏场地，更是人们社交的核心去处。所以在林间空地，他执意做了设置了117个喷嘴组成的喷泉。和喷泉相对的是巨大的覆盖下的剧场，是夏天的乐队表演的场所。这两处构成了家庭和朋友们社交的生活场景。森林中央的篝火是大界机器人用5954米荧光碳纤维编织而成的红色的圆锥体，它是一个可以进入的固体火焰。它在白色森林里，在白色山丘上，它是White Upland的中心，让人感受安全和温暖，或者是爱情。如此，看上去真实的White upland其实是真实的生活文本。
You can see the Trojan horse under the clouds. This prop, which represents the innocence of an adult child, has repeatedly appeared in Yu Ting’s series of dream designs. You can also see swings, colorful bunkers, stars in your eyes. These fragments, which once flashed in life, are re-fined and inlaid into White Upland. Of course, if that’s all, it’s just flattery. Life is much more than that. Yu Ting is particularly fond of the fountain in Shanghai’s Jing’an Kerry Center. It is not only a landscape, but also a playground for children to interact with, but also a central place for people to socialize. So on the plaza hidden in the forest, he set up a fountain of 117 nozzles. Opposite the fountain is the huge covered theater, where bands can perform in the summer. These two places make up the social life scene of family and friends. The bonfire in the middle of the forest is a red cone woven by the Roboticplus.ai with 5954 meters of fluorescent carbon fiber. It is a solid flame that one can enter. In the white forest, on the white hills, at the center of white upland, people can find safe and warm, or love. In this way, the unrealistic White Upland actually reflects a real life context.
▲连续而丰富的空间，rich and continuous space ©CreatAR Images
▲剧场，旱喷广场和圣诞树，theater, dry fountain and Christmas tree ©CreatAR Images
▲云朵下的木马，Trojan horses under the clouds ©CreatAR Images
▲圣诞树，Christmas tree ©CreatAR Images
White Upland can also be read, inlaid with symbols representing different scenes on the ground. These abstract signs are actually words specially designed for this steel garden. They help you understand the language of dreams and read it more thoroughly.
▲顶视图，地面上镶有不同符号代表不同场景，top view, symbols on the ground indicating different scenes ©CreatAR Images
White Upland里的时间被减慢的。要知道我们如今的世界被精确的计时器所定义的情况下，每个人对于无法避免地走向终局始终有个读秒的紧迫感和焦虑。我们流连于微小但此起彼伏的梦境里时，White Upland所减慢的时间的现实意义就突显出来了。不过在White Upland里还蕴含更高级的时间观。充满温情地赞叹细微的瞬间的当下之美，饶有趣味的欣赏生命轮回带来的满意。轮回是当代人已经不相信的一种时间观，但观念所构筑的身后世界成为生命互动的下句，彼此轮回交替让生命不在恐惧于单一的终点。最后这时间观贡献出了中国人最重要的生活经验—生机。
Time slowed down in White Upland. You know, with our world defined by precise timers, everyone has a sense of urgency and anxiety about the inevitable end. The real significance of the time that White Upland has slowed down becomes apparent as we linger in tiny but recurring dreams. But in White Upland, there is another scale of time. Here you can not only appreciate the beauty of subtle moments, but also find satisfaction in re-thinking the meaning of life cycle. Reincarnation is a concept of time that contemporary people no longer believe. However, the world behind ourselves has become the next stage of life interaction. Reincarnation makes life longer than a single end point. This concept of time contributes to the most important life experience of Chinese people — vitality.
▲在园中漫步，wandering in the garden ©CreatAR Images
White Upland从空中看的轮廓就是一个无限大的符号。梦可以无限大，希望也可以无限大的。人们一定要明白有些东西的暂时性存在比如White Upland也许仅仅是为了体验目睹某个想法变成现实而带来的乐趣或者幸福。人们甚至花时间去创造那类基本无任何实用用途的建筑和场所也是有价值的。短暂，转瞬即逝然而又自相矛盾在White Upland这个场所里具有了更永恒的意味。它不仅仅是梦想，其实也是关于更美好生活的一个神圣空间。
The footprint of White Upland is an infinite symbol. Dream can be infinite. So is hope. It’s important for people to understand that something temporary, like White Upland, is created may be just for the pleasure or happiness of seeing an idea come true. People are even willing to take time to create buildings and places that are basically useless. Transitory, fleeting, yet paradoxical, has a more permanent meaning in White Upland. It’s not just a dream, it’s actually a sacred space about a better life.
▲夜景，night view ©CreatAR Images
When the continuous lampposts of White Upland border are lit in the night, anyone will immediately understand that this place full of metaphor and symbolic meanings is more profound than the form of architecture.
▲被点亮的花园变得更为突出，the garden is emphasized by the lightings ©CreatAR Images
Project Name : White Upland
Location : Intersect of Dongpo Road and South Erhuan Rd, Wuxin District, Huzhou
Cilent: Shanghai Huijian Investment Co,, Ltd.
Area : 3296 ㎡
Material: Steel, Concrete Panel, Aluminum, Carbon Fiber, Black Mountain Rock, Acrylic, Washed Stone, Adhesive stone, Terrazzo
Design Stage : 2019
Construction Stage: Sept, 2019 – Aug, 2020
Design firm: Wutopia Lab
Chief Architect: Yu Ting
Project Architect : Dai Xinyang, Li Zongze
Project Manager: Li Zongze
Design Team: Li Zongze, Dai Xinyang, Xu Nan
Design Development: Wang Dong, Wu Zheng, Shanghai J.L LV HUA Co,, Ltd.
Lighting Consultant: Zhang Chenglu
Graphic Deisgn Team: HDU23
Photography: CreatAR Images
Clients’ Architect : Wu Gang, Wang Ruizhe