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國風未來山水卷?鳳綾兒

Chinese Style Future Landscape Painting?Fengling'er

鳳綾兒，是專注于中國古風親子攝影的場館。隨當下中國的文化從復興到自信，到再造，我們希望通過這個項目，對未來中式場景進行一次新的探索，同時能引導孩子們建立對傳統文化的認知與熱愛。

Fengling'er, is a venue that focuses on Chinese ancient style parent-child photography. With the current Chinese culture from revival to self-confidence to reinvention, we hope that through this project, we can make a new exploration of the future Chinese scene, and at the same time can guide children to build their knowledge and love of traditional culture.

建筑前身是一個國營老商場，一個老建筑組團，三棟分別由上世紀80、90年代和2000年以后三個不同時間段修建的建筑根據用地情況搭接在一起，不同年代的結構形態及組合方式帶給了空間的極不規律性：柱子大小不一，柱網分布錯綜復雜，層高也高矮不一，平面和垂直交通都有一定的問題。再因為后面入駐的商業對結構又做了些改造，造成的現狀是既要保留住一些結構，同時又要吻合鳳綾兒的流線和體驗所需的空間。

The building was formerly an old state-run shopping mall, an old building group, three buildings built in three different time periods from the 1980s, 1990s, and 2000 onwards are lapped together according to the site situation. The structural forms and combinations of the different eras bring a highly irregular space: the columns are of different sizes, the column network is intricately distributed, the floor heights are also different, and there are certain problems with both plan and vertical traffic. The structure was remodeled by the business that moved in behind, resulting in a situation where some of the structure had to be preserved while at the same time matching the flow of Fengling'er and the space needed for the experience.

改造后的建筑共有三層，12000平方米，分布有游樂版塊、餐飲版塊，局部有中庭挑空，鳳綾兒落位在老建筑組團里的第二層，由于進入室內空間前需要買票及換鞋，鳳綾兒的體驗流線和游樂版塊不能交叉干擾，鳳綾兒的文化氛圍與游樂版塊既有區別又有一定程度的協調性，這些都是設計要考慮的重點。

The renovated building has three floors, with a floor area of 12,000 square meters, distributed with a play area, a dining area, and a partially open atrium. Fengling'er is located on the second floor of the old building group. Due to the need to buy tickets and change shoes before entering the indoor space, the experience flow of Fengling'er and the play area should not interfere with each other. The cultural atmosphere of Fengling'er is different from the play area and has a certain degree of coordination, which are the key points to consider in the design.

以鳳綾兒服務臺作為畫面近景起點，再造微地形與室內景觀，形成山水畫里的三段式構圖——抽象的江畔、江水、洲嶼、遠水元素塑造拉伸空間層次，將山水畫里的經典符號墨松樹木、臨水亭榭等元素異化，場景之間或以延綿的水紋造型與室內景觀相繼，或以水紋地毯蔓延擴散，引導人往前進入不同功能區。

The Fengling'er service desk is used as the starting point for the close-up scene, and the micro-terrain and interior landscape are recreated to form a three-stage composition in the landscape painting - abstracted elements of riverside, river, island, and distant water shape and stretch the spatial level. The classic symbols of landscape painting, such as ink pine trees and waterfront pavilions, are alienated. The scenes are either echoed with the interior landscape by a continuous water pattern or spread by a water carpet to guide people forward into different functional areas.

人們在寫意叢林構架中穿梭游弋，可實現敘事性的場景切換；空間立面采用鋼板噴漆營造層波疊浪，遠岫渺茫的山水意境，并通過寫意的山嶼門洞，與弧面造型大面積留白，實現空間的通透與空靈，遠近豐富的層次。

People travel through the realistic jungle structure and can realize narrative scene switching. The space fa?ade is painted with steel plates to create layers of waves, distant peaks, and a remote landscape mood. Through the realistic mountain island doorway and the curved surface shape with a large area of white space, to achieve the space of transparency and ethereal, near and far rich layers.

第一章曠觀 —— 千里江山

Overview - A Thousand Miles of Rivers and Mountains

進入鳳綾兒有兩條流線可達，一是中庭電梯，二是中庭旋轉步梯，到達二樓后以鳳綾兒服務臺為核心左右引導分流，讓游樂版塊和鳳綾兒客戶互不干擾。

設計基于已有建筑形態的不規則，空間面寬而開間進深短，層高高低不一的特點，以傳統中國山水畫的平行透視，橫向展開空間，形成長軸畫卷。

There are two flow lines to reach the store when entering Fengling'er. One is the courtyard elevator, and the other is the courtyard rotating staircase. After reaching the second floor, the Fengling'er service desk is the core to guide the left and right diversion so that the amusement section and Fengling'er customers do not interfere with each other.

The design is based on the irregularity of the existing building form, the wide space and the short depth of the openings, and the different heights of the floors. With the parallel perspective of traditional Chinese landscape painting, the space is unfolded horizontally to form a long axis scroll.

第二章異化 —— 未來山水

Alienation - Future Landscape

在文征明的山水畫里，有著一系列的經典元素，如怪石奇松瘦竹的林立，樹下幾間書房涼亭，三兩好友煮茶聽琴，這些在傳遞出生活雅致情趣外，還有著對生活的一種暢想。

設計以抽象的兒童化視角，解讀再現了古人生活意境，我們將趣味性的彎曲樹木造型，以非對稱線性的筆勢自由穿插在不同空間里，造型簡潔精煉、純粹且干凈，我們希望通過這些活潑寫意的手法，喚起孩子對中式風格不同的理解與想象力。

In Wen Zhengming's landscape paintings, there are a series of classic elements, such as strange rocks, strange pines, and thin bamboo stands, a few study pavilions under the trees, some friends cooking tea and listening to the guqin, which convey an elegant interest in life, and a kind of unrestrained thoughts about life.

The design is an abstract childlike perspective that interprets the reproduction of the ancient living mood. We interspersed interesting curved tree shapes freely in different spaces with asymmetrical linear strokes, and the shapes are simple and refined, pure and clean. We hope to evoke children's different understanding and imagination of Chinese style through these lively and playful techniques.

為突破層高對空間的限制，設計通過深色啞光不銹鋼板的反射，融合了真實與虛幻的邊界；天花銜接的彎曲梁柱、大面積圓弧留白，懸浮感的球形裝置，基于反射拉升的山水縱向延展，創造出一種動態的、別具情致的未來場景。——每當孩子們平視環顧空間時，會有像站在高處，平瞰千里江山的通透暢快。

In order to break through the space limitation of floor height, the design blends the border of reality and illusion through the reflection of dark matte stainless steel panels. The curved beams of the ceiling articulation, the large circular white area, the spherical installation with a sense of levitation, and the vertical extension of the landscape based on reflection create a dynamic and distinctive future scene. Whenever the children look around the space, they will feel like standing on a high place to see a thousand miles of rivers and mountains.

第三章游園 —— 可行可望，可游可居

The Park - Walkable, Visitable , Tourable, and Liveable

空間以功能的劃分，結合山水畫布局節奏，自然形成不同的院落式分區，讓孩子在空間里產生“游”的感受。孩子的眼睛就是一個攝像頭，好奇、動心、熱情，在步入空間后，漸進游玩，步移景異，層次遞進，以感受到室內山水的人文意境。

孩子由此動態的去探索、發現一個又一個局部——在微拱的坡地攀爬，跳起來觸碰松樹的枝蔓，奔跑追逐于柱廊之間，躬身躲藏在山石之后……這種啟蒙式的造景手法，讓空間呈現一派自然流動的天真之象。

The space is divided by function. Combined with the rhythm of the landscape layout, different courtyard-style partitions are naturally formed, allowing children to produce the feeling of "swimming" in the space.The child's eyes are a camera, curious, moving, and enthusiastic. After stepping into the space, gradually play, each place has a different view, the level of progression, in order to feel the humanistic mood of the indoor landscape.

The child thus dynamically explores and discovers one part after another - climbing on the slightly arched slope, jumping up and touching the branches of the pine trees, running and chasing between the colonnades, hiding behind the rocks. This kind of enlightening scenography gives the space a natural flow of innocence.

第四章格物 —— 萬物生長

Exploring the Laws of Everything - The Growth of Everything

孩子的心中需有著波瀾，才會描畫壯闊。

A child's heart needs to have ups and downs before he or she can paint the magnificence.

非線性的異化表達，描摹出山水雄闊的境界和恢宏氣韻，這是對孩子活潑與探索自然的天性賦能；而那些蓄性、象征性的松石、涌浪等，對自然山水形態有著高度的概括性、則啟發了孩子們超越物質形態，不受束縛的自由思考能力，他們也因此而更愿意去創造、表達內心的世界。如此，以達到人文與自然的結合，商業與藝術的平衡。

The non-linear and heterogeneous expressions, which portray the majestic realm and magnificent rhythm of the landscape, are the natural empowerment of children's vivacity and exploration of nature. The pine rocks and surging waves, which are highly generalized to the natural landscape forms, inspire children to think freely beyond the material forms, and they are thus more willing to create and express their inner world. In this way, the combination of humanity and nature and the balance of commerce and art are achieved.

第五章山水 —— 童觀萌動

Landscape - The Emergence of a Child's View

中國古人看世界認為有三重境界：看山是山、看山不是山再到看山還是山。

空間的造型是客觀的，實在的；中國山水畫的平遠、高遠、深遠，則是啟發的、充滿動感的。

The ancient Chinese saw the world as having three realms: seeing mountains as mountains, seeing mountains as not mountains, and then seeing mountains as still mountains.

The shape of the space is objective and real. Chinese landscape painting is flat and far, high and deep, while it is inspired and full of motion.

空間色彩上，設計采用中國經典的“金碧山水畫”建立孩子的色彩感知，讓孩子在嬉戲中豐富美好的視野，逐漸形成自有的邏輯與條理性。

空間通道、化妝區的玻璃鋼柱廊、陳列立面等，采用泥金、石青、石綠等自然漸變色處理，再造、還原、傳意金碧山水的色彩；縱深處的服裝區廊柱與天花不銹鋼處理，則通過山水浩渺的漸變黑白灰與映襯，呈現山水畫般濃淡相宜，醇潤婉約的深遠之韻。

In terms of space color, the design adopts the classic Chinese "Golden Landscape Painting" to establish children's color perception so that children can enrich their beautiful vision in playfulness and gradually form their own logic and organization.

The natural gradient colors such as mud gold, stone green, and stone green are used to recreate, restore and convey the colors of the Golden landscape in the space passages, the fiberglass corridors in the dressing area, and the display fa?ade. The deep garment area corridor columns and ceiling stainless steel treatment, through the gradient of black and white gray and the reflection of the vast landscape, presenting a landscape painting like the appropriate intensity, mellow and gentle far-reaching rhythm.

在孩子的世界觀里，認識的發展是跟著心走的，設計以中國山水畫的博大與自然，在真實與意境間，逐步深刻化孩子們對中國傳統文化的熱愛。

In the worldview of children, the development of understanding follows the heart, and the design takes the expansiveness and nature of Chinese landscape painting to gradually deepen the children's love for traditional Chinese culture between the real and the mood.

鳳綾兒是當下中國國潮崛起，線下新場景的一次革新再造。

Fengling'er is a revolutionary reinvention of the new offline scene with the rise of the Chinese national trend at the moment.

設計以千里江山浩渺江岸的描繪為背景，去突破有限的室內桎梏，再造室內寫意中式山水景觀，給予孩子們自由探索，發現創造力的各種可能。

不拘于刻形著物的傳統造型，以非線性的延展傳意出空間真山真水的氣勢與力度；以延綿起伏的弧形銜接與寫意手法實現空間橫向或縱向的躍遷，空間場景繼而得到幾何倍數的放大，由此揭開一幅異化的、立體的國風未來山水卷。

The design takes the depiction of a thousand miles of rivers and mountains as the background to break through the shackles of the limited interior and recreate the interior landscape in Chinese style, giving children the freedom to explore and discover the various possibilities of creativity.

The traditional shape of the landscape is not bound to the carved shape, but the non-linear extension of the space conveys the momentum and strength of the real mountains and water. The spatial scene is then geometrically enlarged, thus unveiling an alienated, three-dimensional future landscape volume of Chinese style.