广州保利·天珺示范区景观设计 | 山水比德
Sai Kwan, it is probably the best place to represent Guangzhou.The color of Sai Kwan in my memory will never fade. The Granite Street where I ran with barefoot when I was a child, the noodle shop that insists on using traditional crafts, the periwinkle flowers outside the wall are extremely lush, and the drying orange peels in neighbors balcony...The impression that Cantonese left is exactly what Sai Kwan looks like.
Poly Tan Gim is located on the bank of the Pearl River in Old Liwan, close to the Golden Waterway of Pearl River, and only a few meters away from the river bank. At the beginning of the project, what we need to interpret the language and emotion of this site.
As an exhibition area along the river, how to make full use of river view resources? Facing the bank control line (no structures within 30 meters of the river bank line), how do we construct the spatial sequence of the exhibition area? The public crowd movement of Riverside Leisure and the movement of the exhibition area are almost overlapped.How to resolve the contradiction between the publicity and privacy in this site?
▼ 解读场地，三重思考 © 山水比德
Therefore, based on the original advantage of the site, we sort out the relationship between the site and the public. Superimposing the Lingnan cultural experience with the life of the riverside neighborhood, to activate the surrounding daily life and functional activities, and create a community garden with both private and public features, and make the old city splendid. Not only is it inscribed in history, but it can be continued in the new era by means of "fusion".
▼针对场地现状的三大策略 © 山水比德
▼ 设计后的临江步道 © 山水比德
The entrance presents a sense of horizontal and vertical shuttles. The transparent grille resembles the wooden wading of the Sai Kwan Mansion. The trees, the gate, and the sunlight penetrate and blend with each other, looking back to the introverted and tender past of Sai Kwan.
▼ 场地入口效果图 © 山水比德
▼ 场地入口，婆娑树影交织，树、大门与阳光在时光的绵延中互相渗透 ©Holi河狸-景观摄影
As the first visual focus of the site, the open space around the island presents the image of the full moon, which not only opens up a wide view of the river,but also serves as a "window" to show the image and appearance of the site.
Material is one of the medium that intervenes and induces consciousness. Every current state of people contains both the past and the future. All these states come together to form a certain "organic wholeness."
On the basis of meeting functional requirements, we care more about the fluidity and integration of the space scene, and the feelings that it conveys to people. Falling Spring is built in an independent space by the corner, the sound of water and rippling ripples flow. A pony sculpture stands on the water surface, and the atmosphere is quiet but not boring.
On the basis of meeting functional requirements, we care more about the fluidity and integration of the space scene, and the feelings that it conveys to people. Falling Spring is built in an independent space by the corner, the sound of water and rippling ripples flow. A pony sculpture stands on the water surface, and the atmosphere is quiet but not boring. The indoor stained glass is used to the greatest extent outdoors, adding a hazy and crystal color to the site, and the human senses will be activated and resonate.
As the earliest community gathering place, the Banyan tree lives in every southerner’s memory. It is the best company at the childhood time when children running and playing around, and also has witnessed the growth and transformation of many generations.The site itself is responsible for its sales function, combined with the public attributes of the open space, the gathering, and playful social attributes are naturally formed under the banyan tree.
We use the sequence of ancient banyan trees preserved in the site as the space entry point, and match the horizontal and vertical lines of the walls and benches under the trees, to interweave nature and modern craftsmanship. It is not only a gift to the residents, but also a designer's ingenuity on the site.
The stem columns are staggered, the branch crown is divided, and the structure of the site is concealed by the branches of the banyan tree. Under the tree, life is slowly taking place, and people can see the sparkling waves of the Pearl River that has not changed over the years. Between the virtual and the real, the trees are shaded, forming a place experience with urban memory.
The site is located in the area with the strongest humanistic atmosphere in Guangzhou, so the landscape design cannot be separated from its localization.We try to radiate the original spirit of the site through light intervention and new translation, and show the life picture of Lingnan Riverside.
Landscape design seems to be constructing space, but it also meticulously entices visitors how to not be limited by space. We sorted out the functions of the original residents, and linked the movement of sales and inspections to the residents of the riverside movement.The interaction and functionality of the site were activated, and a living theater was constructed.
Water in Peal River is gurgling, the entire riverside space is open and transparent. The planning combines idealistic and pragmatic functions, allowing people to obtain a free trajectory of activities. The sensory experience is enriched in the change of focal points.
To a certain extent, we hope to create an open and public riverside landscape that goes beyond what we see, which can touch people physically and mentally, thereby placing people in a broad nature. This perception can suppress the noise of development, bringing peaceful power to the soul, and returning to the most authentic thinking about life. It allows us to explore the introverted enclosure and the vastness of openness in the bounded and unbounded.
As the business card of a city, landscape has witnessed the history and modernity, splendor and changes of the city since ancient times, and continues people's memory.When we think of a city, the most touching thing is the memory in this city, the sorrow and joy hidden behind its grand development background. In such a project with unique cultural heritage and place spirit in Liwan, we hope to open up the connection between urban public space and private space through the landscape, to activate the memory of the old Sai Kwan, and to make every visitor have a sense of participation and belonging.
As Patrick Geddes described in Cities In Evolution, our cities should no longer spread like ink and oil stains as they did in the past. The development of modern Sai Kwan, while continuing the memory, should open up in the shape of stars like a flower,with green leaves alternating among the golden rays of light.