山下两道弯：日照驻龙山游客中心 / Aurelien Chen+中建设计城乡风景院

编辑：李博超 | 校对：李博超 | 2024.03.14 09:59

建筑师 Aurelien Chen+中建设计城乡与风景园林规划设计研究院

合作单位 李峰建筑设计工作室

项目地点 山东日照

竣工时间 2023年

建筑面积 1700平方米

本文文字由Aurelien Chen提供。

一组与自然环境相辅相成的建筑群

驻龙山自然旅游区的入口以景区入口小径轴线上的山景为标志。这条小径进入场地后一分为二：一条向山上攀爬，另外一条则缓缓向下，通向两个位于较低处的、被树木环绕的小池塘。

The entrance to Dragon Mountain natural tourist site is marked by a view of the mountain within the axis of the site’s entrance alley. This alley splits into two separate lanes once entered site: one lane climbs up towards the mountain and the other descends slightly towards two small ponds, situated on a lower level and surrounded by trees.

为使建筑更好地适应自然场地，我们采用的主要的设计手法是将3000平方米的基地分为五个建筑元素，围绕小广场展开排列。

Aiming to adapt the complex to this natural site, the main architectural stance was to fragment the 3000 m² surface into five architectural elements adapting to the topography and the natural context of the site. The five architectural elements are situated and organized around a small square.

这些建筑的设计语言纯粹、纤长。对着场地入口的一侧较低，并向着山一侧生长抬高。在其较低的一侧，以厚重的质感与大地相接；而较高一侧，则以翩然升起的几何形态，直达上空。这似乎是一种提示：根据中国传统，人是与天地紧密联系的，这也与道教中的天人合一的理念相契合。

The design of these buildings is pure and slender. They are low on the side facing the site entrance and they rise up and grow in height towards their mountain side. On their lower side, with their mass, these buildings are connected to the Earth. On their higher side, with their geometry, they reach for the Sky, reminding us that, according to Chinese tradition, the human being is closely connected to the Sky and the Earth, and according to Taoism it is part of a Cosmic Triad with Heaven and Earth.

弯曲的建筑间有着一种对话关系，体块与空地之间也存在着张力。留白的空间，形成了观山的景框。

There is a dialogue between the curved buildings and a tension between volumes and empty spaces. In these empty spaces, landscape perspectives are created in order to frame the mountain.

入口大门

在中国，现代旅游景点的入口通常遵循一种标准的进入顺序：一个以纪念性雕塑为中心的公共广场，然后是一个传统韵味的入口大门，紧接着一个售票处，最后是一个信息与接待中心。

In China, entrances to modern touristic sites usually follow a standard approaching sequence: a public square with a monumental sculpture at its centre followed by an entrance gate reminiscent of the traditional ones, a ticket counter and, lastly, an information and welcome centre.

而在这里，入口大门兼具建筑功能，它的一侧作售票使用，另一侧则作安保功能。它是建筑与雕塑的结合体，并作为视觉地标吸引着远方的游客。

Here, the entrance gate to the site is incorporated into the architectural composition. It houses the ticket counter on one side and the security staff area on the other. Its mass is both architecture and sculpture. It is a visual landmark and attracts the visitors in the distance.

大门由三片弧形墙以城市公共空间中常见的组合形式构成，创造并限定着旁边场地外的公共广场。墙根植于大地，向心指向天空，形似山峰也寓意着宇宙三元素：天、地、人。

The gate is composed by three rows of arched walls that, in a way common to urban public spaces, creates and delimits the public square just outside the site. Walls are rooted in the ground and they reach for the sky in their centre, reminding of the mountain peaks and also the verticality of the Cosmic Triad Earth- Human Being – Heaven.

这里没有一座壮观的大门。相反，我们选择了留白，留白成为观赏远山的景框。

There is no portal. Instead, a void, a void becoming a landscape frame on the mountain peaks far in the distance.

连续的墙体也使人们想起从前城市和宫殿周边的防御工事，它们也创造了一个行进的序列，游客可以在行进中发现每个独立建筑的入口。

The consecutive walls remind of the fortifications that once surrounded cities and traditional palaces and create a peculiar sequence of approach: in their intervals, the visitor discovers the entrances to each separate building.

材料

毛石贴面表达了与大地相连的理念，并将大门与其周边的自然环境同当地建筑巧妙融合。

Stone cladding expresses the concept of mass connected to the Earth and allows a delicate integration of the gate with its natural surroundings and with local architecture.