Civil Engineering Online Forum \ Landscape \ Landscape planning and design \ There is no style in garden construction, and there is a reason to borrow the scenery | Shanghai · Lin Yinxuan

There is no style in garden construction, and there is a reason to borrow the scenery | Shanghai · Lin Yinxuan

Published on: 2024-04-17 10:52:17 come from: Landscape / Landscape planning and design

Source: Landscape state

Author: VIA VIA VIA LANDSCAPE

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1. Xiangdi Lixuan: from park service facilities to "Lin Yinxuan" garden building practice

1. from Tourist Center to Contemporary Chinese Garden

The project is located in the southeast corner of Tianlin Park (formerly "Tianlin Central Green Space"), with a rectangular space about 70 meters long from east to west and only 33 meters deep from north to south. The interior of the site is also occupied by a forest composed of 275 adult metasequoia trees. The actual available space is a centralized hard site covering less than 500 square meters (currently it is a children's playground with obvious potential safety hazards). In order to accommodate many functions set by the park visitor center (park management office, visitor inquiry, men's and women's toilets, mother and baby room, the third toilet, tool room and management room, security, duty room, park green management indoor space and outdoor space, etc.), and at the same time meet the image and functional requirements of the main entrance on the east side of the park, which is open 24 hours a day, after repeated site surveys, We have abandoned the traditional compact and centralized building layout. Move towards more interactive garden courtyard layout with the current metasequoia forest, and take the relationship between spatial behavior (functional behavior and landscape recreation behavior) and metasequoia forest as the key point of design expression.

This project is located in the southeast corner of Tianlin Park. Although covers a rectangular area of 70M in length and 33M in width, the site is majorly occupied with 275 Metasequoia trees, leaving merely less than 500M2 of paved space for future functional use. The program requires multiple functions in a minimal space which has to encompass an Administration office, washrooms (including a nursing room and gender-inclusive washroom), a security control room, a warehouse, and an outdoor playground. To meet the needs of functional uses and to build a unique image for the east entrance of this fully open park, we break away from a conventional compact layout and shift the design to a new direction after several site visits. This plan focuses on articulating the relationship between spatial behavior and the existing Metasequoia forest by using a Chinese Garden way. In which more flexible spatial combinations and interactions are cross-linked. In this way, the relationship between spatial behavior (including functional and recreational behavior) and the Metasequoia forest is emphasized in the design scheme.

The current situation is surrounded by the towering metasequoia trees, with a strong sense of natural tranquility, which really conforms to the principle of "no garden is allowed in the market, if it is a garden, it must be built in a secluded way" 1. At the same time, we adopted the idea of "high openness and transparency of Xuanying... brilliant at the end of four seasons" 1 in the design, strengthened the user's natural and landscape experience in the mobile space, and skillfully integrated the functions of the park's east entrance into the overall visitor center design. Because of the overall spatial relationship of "hiding in the forest", and we constantly present the space and forest landscape in the specific design, we named it "Lin Yinxuan".

The existing towering Metasequoia tree establishes an overwhelmingly tranquil natural atmosphere, which responds to the principle in the traditional Chinese Garden theory for site observation. On top of this, much grand space is adopted in the design to amplify a sense of spatial transparency for a more natural experience in the fluid space. The continuous flow of space then seamlessly merges the east entry functions of the park into the general design of the tourist center. Hidden in the context of the Metasequoia forest, the exterior and interior spaces of the building alternatively emerge as the user passes through. So we named the tourist center “Linyin Gallery” which means a gallery hidden in the woods in Chinese.

2. Skeletal brushwork: contemporary gardening method of secondary space construction superposition

2. Superimposed Construction for Contemporary Garden

Based on the overall garden courtyard layout, we launched the first level of space construction. In the overall rectangular site, the functional modules of 4m × 4m × 4m (length × width × height) are used for space alignment. "The general step of parallelism is to seek units first, and then combine" 2. While we embed many functions into the space module reasonably, we also reorganize the physical function module with gray space and landscape space modules according to the different needs of behavior and experience characteristics, setting the tone for the basic use and sightseeing experience of Lin Yinxuan.

We initialize the design process with spatial construction from the bottom up. The first layer of space construction follows the methodology described as “Unit module is defined followed by unit combinations” 1, functional modules with a size of 4x4x4M are initially aligned on the layout to make diverse combinations. The functions required by the program are incorporated into the modules, which are furthermore rearranged based on various flows and user behavior requirements. This gives a base for the fundamental uses and user experience of Linyin Gallery.

Compared with the first level of construction, the second level of space construction is a modular spatial subtraction, and also an outward process. Through space subtraction, on the one hand, Lin Yinxuan and the current Metasequoia glyptostroboides form a more integrated interaction relationship in the architectural form and space, and also respond to the spatial vocabulary and structure of the overall round space of Tianlin Park. More importantly, through the second space construction, the visual perception of the first space construction was dispelled and weakened. At the same time, the space construction of "suitable for cover, suitable for screen, suitable for open, suitable for partition, suitable for partition" 3 was achieved. At the same time, the user was trying to "see its fragments, not to show full shape, there are pictures outside the picture, thousands of miles away, and endless aftertaste" 3. Sightseeing experience. In Lin Yinxuan's design, we try to interpret the "bone technique and pen" 4 through contemporary design methods, to break away from the garden and space design in the general sense or "pictographic" 4 or "transfer and modeling" 4, and to seek and break the "vivid charm" 4 that the ancients thought "cannot be learned" 5, "cannot be modeled" 6 in the contemporary context, It is a garden practice of "new system, remove old set" 1.

The second layer of space construction is more of a process of spatial cutting, as well as a process of integrating into nature. Spatial cutting allows a seamless connection between interior and exterior, as well as a more consistent circular design language and design structure of the park. More importantly, the second layer of space construction softens the strong visual impact generated from 1st layer. Having achieved the spatial construction that is “to conceal, to screen, to widen openings, to separate, to divide wherever suits ”2, the design tries to acquire a sensation that is “parts instead of the whole can be seen, pictures outside pictures, a foot seems like thousands li” 2.

We tried a more contemporary design approach here to apply “drawing with structure”3 to avoid being “intuitively mimicking” 3. It is also a brand-new garden design practice to break through what the precedent designers regarded as impossible.

3. Three key points of scenery borrowing: experience of scenery borrowing triggered by natural environment, space and materials

3. the Methods of Landscape Borrowing

"There is no style in garden construction, but there is a reason to borrow the scenery" 1 is the essence of garden construction. Lin Yinxuan's borrowing of scenery is not deliberately done by specific points, but is based on the basic relationship between architecture and environment and the creation of overall space. First of all, the staggered combination of modularization in the plane layout and the "ashing" of the main building interface are the key to realize the neighboring, remote and borrowing from the natural scenery of the current metasequoia forest in all behavior paths. At the same time, many giant "ruler windows" 7 based on space construction make all perspectives present the garden "unintentional painting" 7 that integrates people with the landscape of mountains and forests. Moreover, the choice of white clear concrete and shear wall structure, on the one hand, sets up the virtual reality relationship of the basic garden wall, and also makes Lin Yinxuan have the conditions of "taking the powder wall as the paper" 1. Taking the shadow of the forest as the painting condition, forming the borrowing of the current forest landscape with the changes of natural light and shadow. These are the key points of Lin Yinxuan's response to the natural environment and the borrowing of scenery based on space construction.

One of the key points of the Chinese garden design is “borrowing landscape from the site clues in order to construct a garden freely”4，Linyin Gallery is built on the philosophy of general spatial organization and a dialogue between the building and the surroundings. The design layout, which incorporates staggered modules and permeable edges, allows different ways of incorporating Metasequoia forest as a natural splendor. Shaped windows also create a talk between the exterior and interior from various perspectives. The selection of white concrete and shear wall structure setup a relation between the tangible and the intangible, then making the gallery a canvas to let the tree shadow draping on. The natural light drops diverse shapes of tree shadows as the clock ticks. All these approaches contribute to fulfilling the method of “landscape borrowing”, in which the spatial construction speaks to the natural environment.

4. Spatial duality: multi-dimensional openness of design

4. Design for Spatial Dual

"The beauty of the garden is reflected in the emptiness and reality, contrasted in size, and matched in height" 8. The design of Lin Yinxuan also presents the spatial duality in different dimensions. The basic site relationship surrounded by the current metasequoia forest determines that the main building of Lin Yinxuan is hidden in the forest, and some functional areas with the function of east entrance of the park encourage and guide behavior in the way of "exposure". At the same time, in the overall space, the relationship between garden and landscape is formed with the forest as the "high" and the pavilion as the "bottom". The 12 functional modules in the 18 4 m × 4 m × 4 m space modules were combined into three relatively concentrated groups, showing a "straight" and "dynamic" way to enter the main path of Tianlin Park through Lin Yinxuan, while the internal behavior of the service function area was relatively "curved" and "static". At the same time, as the structural material, the white clear concrete and the light gold perforated aluminum plate as the decorative material also jointly constitute the dialogue and transition between "real" and "virtual" of the architectural interface. In addition, the spatial relationship of Lin Yinxuan through secondary spatial construction can be regarded as "rigorous" in creation; However, we only use ophiopogon japonicus and panax notoginseng as the base in the space under the adjacent metasequoia forest, and use block stones to lay the concave space to absorb the surface water in a natural way, which is deliberate "relaxation" in design. The above multi-dimensional spatial duality technique, on the one hand, is based on the characteristics of the site. More importantly, it is the bone method of the contemporary gardening method tried in this design, which also comprehensively forms Lin Yinxuan's overall open and harmonious garden experience.

The gist of garden design is to “have tangible and intangible, big and small, highs and lows at the same dimension as spatial comparisons”5. The design and construction of Linyin Gallery follows the “spatial dual” method, in which talk between different parts of spaces in a multidimensional way is highlighted. The gallery itself is literally “hidden” given the enclosed Metasequoia forest. Part of the functional space at the east entry, on the other hand, is more “exposed” to encourage and guide user’s behavior. At the same time, the “woods” at a higher level and the gallery at a lower level establish another spatial comparison; “straightness and movement” presented on the way from Linyin Gallery to Tianlin Park, as well as the “zigzag and Stillness” shown in the functional area, are also stressed in the design layout. Meanwhile, the dialogue and bridging between the “tangible and intangible” of the building are presented with white concrete as the main structural material and perforated panels as the ornamental fa? ade.

Having undergone secondary spatial superimposed construction, the spatial relations of Linyin Gallery could be regarded as conceptually “strictness and flawlessness”, while the deliberately made “looseness” was generated from a more natural bio-swale made of groundcover combined with natural stone under the Metasequoia forest.

All spatial design skills of juxtapositions mentioned here follow the site context. More importantly, the structural design method is exploited to manage a blended feeling of “broadness and deepness” for garden visiting experience.

5. Surprise: protect the flaws in a construction process

5. a Beautiful Flaw

The design and construction of Lin Yinxuan is an important contemporary gardening practice for us, not only because this design has changed from the traditional landscape based on the sightseeing path to the design method of contemporary space construction, but also because it completely uses contemporary materials and techniques (even the current Metasequoia forest is not a common garden plant in Chinese gardens). With white clear water concrete as the main structural material, while integrating with the white, light gray and light warm exterior walls of the old community in the surrounding Tianlin New Village, it also presents the elegant and elegant garden atmosphere of Lin Yinxuan to a considerable extent.

The design and construction of Linyin Gallery is an important contemporary garden design practice for us. The design approach deviated from the traditional way of Chinese garden design, not only because a modern spatial construction method instead of pedestrian flow-oriented spatial construction is applied, but also considering purely modern materials and crafts are employed. White concrete, as a major material used for buildings, blends with the combinations of grey, shallow grey and beige fa? ade from Tianlin community. It also embodies an exquisite elegance as a landscape structure. We prefer a rather simple design philosophy, in which complex curves are avoided. The design of Linyin Gallery follows a simple and clean appearance as well. For better budget control, we suggest applying timber formwork instead of steel formwork.

In order to better control the cost for the owner, we suggest that the construction unit use traditional wood formwork instead of high cost customized steel formwork for fair faced concrete pouring. However, there were several heavy rains during the construction. Because of uneven pouring and tamping caused by formwork expansion, several surface defects appeared after formwork removal, the most obvious one of which was located on the wall adjacent to the men's toilet and the tool room. We attach great importance to such an accident. After the first time of on-site inspection, we found that the figure presented by the flaw here had the meaning of Chinese landscape painting, which was slightly similar to the location of Li Tang's "The Painting of Pines in the Valley", and also quite similar to the stone shape of Wang Fu's "The Painting of Literary Meetings in Mountain Pavilions". It also seemed that Shen Zhou's "The Map of Lushan Mountain High" was exquisite and elegant, and there was a lot of cursive and carefree writing, so we were very happy. After communicating with the owner, we quickly reached an agreement that the defects in the construction process should be retained without any repair. This "white clear water concrete landscape" is not only an unexpected joy in Lin Yinxuan's construction process, but also reflects the harmony between the owner team and the design team in space aesthetics and the authenticity of contemporary crafts.

However, several surface scratches were detected after removing the formwork during the construction， especially the one on the wall adjacent to the men's washroom and warehouse. This may result from the soaked formwork after several times of rainstorms. We surprisingly found the scratch resembles an abstract traditional Chinese landscape painting after observation. VIASCAPE design and the client reached an agreement to retain the scratches without any further treatment. This “white concrete landscape painting” is quite a beautiful surprise, which stems from a synergy between the design and client team regarding the similar spatial aesthetic value and respect to modern authentic craftsmanship.