项目地址：中国 湖南 长沙
The project is located in Changsha, Hunan province. The prototype of the project is from MAO Zedong's poem describing the scene of Xiangjiang River in Qinyuanchun changsha. "Manjiangbeishuan, Hundred boats competing in the crystal clear water" means that there is no escape from the wind and waves. The designer extracts the intention of the ship and combines the traditional Chinese architectural image with modern design elements and details processing techniques to show the magnificent temperament of the building. The main body of the building integrates the surrounding environment and stands on the north bank of the Xiangjiang River, neither humble nor arrogant. It does not deliberately pursue symbolic meaning or visual needs. It truly puts people first, returns to its original heart, and shows the most primitive and pure beauty of the building.
▼整体鸟瞰，Aerial view of the building
Because it is located in the green belt along the river in the city, and the green belt is close to the road along the river in the city. The use of visual landscape resources along the river is limited. In order to keep the exhibition area relatively quiet and free from external noise, the designer raised the exhibition area as a whole, which not only solves the problem of visual line, but also minimizes the influence from the adverse external environment.
融合传统造园手法，Traditional gardening techniques are integrated
China since ancient times have a tradition of advocating nature, love nature, whether it is a Confucian "flow" with heaven and earth, or the Taoist "heaven and earth and with me, and everything with me as a", all the people and the universe is closely linked to, as an integral community, in order to better compatibility with the environment, landscape design to fully mix is Chinese traditional garden landscape, small yard as a whole can be divided into different sizes, each different theme, set up in the yard all the yard without plug, space distribution, each other like points like close, faintly mixed, form a rich level and deep level. Watch the convolutions and curves of the flow line, from Yinghui Hall to Hanqiu Hall, through the five courtyards, layer upon layer, so that people have the visual effect of moving to change the scene. The architectural volume is divided into pieces, the shape is transparent, the pavilions are small and the halls are empty, which aims to create the deep and graceful implication of the traditional gardens in the south of the Yangtze River.
Reference to the traditional building to simplify the corner, so that the building roof appears more light.
Garden without water is not alive, water and rocks and trees in contrast, just like the Chinese painting in the blank. The twists and turns of the water surface are in harmony with the overall layout. At the same time, a small bridge is placed on the water surface to separate it, so that the water surface space is separated and connected, blending and permeating with each other, with rich layers.
The sightseeing route does not make a shortcut straight, but from the twists and turns to get the depth of the situation, meaning far. The large space into a small garden, so that the space level more rich.
The pavilion will be placed between two pieces of wall, limit the visual direction of people, produce the effect of the scene, at the same time to pick out the trees and break the balance of symmetry, do not have some fun.
回归自然本真，探寻空间的诗意与灵性。 Return to the nature and explore the poetry and spirituality of space
Interior space is also based on the traditional Oriental aesthetics, the pursuit of invigorative and natural, with Taoism and zen gout, not make public, supercilious, peace with the surrounding environment, adhere to the space and time of the dialogue, warm, simple, from the aspect of building standard and single back to life, made by a person with life as the center of the scene, through building show the humanities concern.
Indoor waterscape occupies a large area, transparent ethereal and dream-like unreal, imaginary in the meantime, the formation of "empty" and "empty" dimly discernible implication.
A large number of stilts form the grey space on the first floor, which brings the surrounding landscape into the interior and integrates the building with the environment.
The wooden ceiling is integrated with the white solid wall, and the whole space is pure.
The real space gap is dissolved, and the original nature is returned between the presence and absence of architecture.
▼曲折迂回的行进动线，可任意游走、观赏，拐角处形成挡墙、山石、还有那远看形似流萤的壁灯，更有了些天地间极净的自然意味。Zigzag road moving line, can be arbitrarily walk, watch, the corner formed a retaining wall, mountain stone, and that far look like firefly wall lamp, more have some of the world between the very clean natural meaning.
On the second floor, the first thing that comes into sight is the distant Xiangjiang River. The beam, column and purlin fang near here are directly exposed in the line of sight, showing the most primitive beauty of the building.
▼屋顶上增加了一个长度近35m的曲面椭圆形天窗。从而在原有建筑形态上增加了曲线元素，并且增加了在巨大的重视屋顶下自然采光。A curved oval skylight with a length of nearly 35m was added to the roof. This adds a curving element to the original form of the building and adds natural lighting under the huge emphasis on the roof.
▼立面构造分析，diagram of the façade
▼一层平面图，first floor plan
▼夹层平面图，loft floor plan
▼二层平面图，second floor plan