In the long river of literature and art, pine, as a common Chinese cultural image, frequently appears in poetry and painting works. Bai Juyi's poem " Pine in court" does not write about pine trees in nature, but rather about ordinary pine trees in a courtyard. The planting method seems chaotic and "like wild things," but in reality, there is a hidden poetic meaning in the chaos.
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There is a hill in the west Rizhao, my hometown. It was originally a barren mountain, but my friend Mr. Yan Zanning spent 20 years changing it to a tea garden and naming it "Cloud Passing Hill". Mr. Yan invited me to do some new things for this garden. For the first time strolling in the garden, one suddenly enters a pine forest, where the pine trees are like those in Bai Juyi's "Ting Song", messy and lively. Although planted by humans, they look like wild animals. The pine forest is dark, with thick pine needles stacked on the ground. Mr. Yan, on the other hand, wanted to cut down this tree because he was afraid that pine needles would be flammable, but the pine tree was planted by hand and he was reluctant to part with it. I suggest creating a place under a pine tree, such as a theater, to solve the dilemma. These pine needles are excellent fuel, and when I was a child, the smell of pine needles burning in the fire room was often very healing. During my speech, a gentle breeze blew through and pine needles fell. In an instant, I wanted to weave a net to catch these naturally falling pine needles. The clothes of pine needles are like those of pine trees, and the site is inspired as "Pine Clothes Theater", pronounce songyi in Chinese.
The close contact between Chinese people and nature is deeply rooted in genes and originated in literature. Wang Wei's quatrains, Tao Qianxin's pen. All mountains and stones are relied on, and all plants and trees are friends. The ancients liked to build houses and pavilions in nature, allowing daily activities to be in a fascinating relationship with all things in nature. Chinese Shan shui has been recording these scenes since the Tang Dynasty, from "Fuchun Mountain Dwelling" to Binhong's ink work. The Songyi Theater is also unfolding in this pine forest.
Draw sketches in the evening, construct under the pine forest, and weave a net on top of it. The next day, the line was set out and the pine forest was paced. The spacing between the pine trees varied in width, but there was a circular gap surrounding the pine forest. Therefore, the gap was used as a circular corridor, and there was a high platform in the south of the pine forest, which was planned to be used as a stage. After the gypsum powder was laid out, Mr. Yan was surprised. Instead of cutting down a tree, it became a corridor, as if the pine forest was already ready to accommodate this corridor. I'm also surprised, this may be the charm of nature.
Using steel to achieve this theater is cheap and fast. Mr. Yan brought the best welding craftsman in this area, Master Li, and went straight to the steel market to select materials together. The main structure is made of 32 millimeter diameter hollow steel pipes as the main material, and 15 millimeter diameter as auxiliary materials. And the "lightweight mesh" you want is suitable for only one specification of steel wire mesh in the market. The initial idea was for a group of upright "trees" to stand in front of a pine forest, and the group was built in half a day. At night, refining the sketches, the crooked and twisted manuscripts produced due to exhaustion suddenly gave inspiration. Why not create a wild and twisted sculpture tree? The next day, he changed his approach by welding the sculpture tree and planting it in the ground. The process is like planting trees in spring, filled with anticipation and wit.
The "tree" and "tree" structures are connected as a whole, and the net attached with pine needles adopts a modulus of one and a half meters, which is in proportion to the "tree". It not only ensures the flexibility of natural curling, but also ensures the toughness within the range. The newly planted 'trees' account for about one-fifth of the pine forest. On one side is a natural pine forest, while on the other is a tough and gentle sculpture tree, lovingly opposing and naturally integrating.
The sculpture tree is constructed in a silver color, with a thick green pine forest background, and silver gray and green become the theme colors of the theater. At different times, the theater presents different changes in light and color: silver glitters on sunny days, dense pine green on cloudy days, and raindrops hanging on the silver screen on rainy days, crystal clear; Morning and sunset, or Wei purple, or golden yellow.
The ground covered in gray basalt stones is also enriched with light and shadow in such changes: the projection of the pine forest moves with the wind, with free form; The constructed projection has a strong geometric sense and clear boundaries, and the shadows of the metal mesh are fine and soft. The three are superimposed, making it interesting and wonderful.
At night, the lights lit up and the entire theater suddenly became dreamy. A dark green pine forest background sets off a sculptural forest that emits silver light, and the soft and diffuse metal mesh floats in the air. At this moment, nature and artificial construction are integrated, reality and illusion are integrated, and the aesthetic dance of Surrealism is staged in the theater.
The inspiration for the Songyi Theater comes from the fallen pine needles and attempts to create a connection with them. When the first metal mesh was fixed, the pine needles began to fall, and it was indeed a theater belonging to the pine needles. Pine needles always grow together and hang upside down on the "net coat". The mountain breeze blew, and the pine needles swayed gently. The withered pine needles were once again given vitality. From the pine forest, pine needles seem to float in the air, with a hint of Zen. Giving poetry to ordinary things is the best tribute to nature.
The theater has no boundaries, and there are no restrictions on its use. It can serve as a stage, wander around, listen to bird songs, enjoy the cool in summer, admire the snow in winter, meditate and meditate. The theater is also a stage for animals: squirrels jump on it, and butterflies often come as guests. The most touching scene is a toddler strolling in the theater, with children fond of soft stones and curious about the construction of the night.
Creating without established drawings is always full of surprises and surprises. Throughout the entire process, the designer's thinking, perception, and body engage in repeated conversations with the site, constantly providing feedback to the design, while the construction workers also create randomness. At the beginning, no one will know the predetermined outcome, but the outcome arises amidst many uncertainties. This improvised state of taking advantage of the situation leads to unexpected expectations and outcomes within a large framework.
All work is directed towards shaping poetic spaces.
Pine forest, architecture, light and shadow, color, yin and yang, emptiness and reality, time, space, are all design elements; All people, things, objects, and states in a theater are the shapers of the situation. The Songyi Theater hopes to become a canvas that weakens boundaries, with dance, music, rain, dew, wind, snow in the natural climate, birds, butterflies, and insects, all natural and artificial. Upon entering the screen, it becomes a painting, all creators of poetic scenes.
At the Songyi Theater, we hope that every time a Songyi falls, it is captured by a gentle silk screen. Let nature become the background and the protagonist, and let every appearance and entry of everything that comes together with the theater shape the poetics of space.