水木言设计 | 长沙洋湖叁号·湖畔餐厅-设计风向

洋湖叁号餐厅选址洋湖湿地公园，板块内毗邻市政公共建筑，公园主干道侧以住宅区为主。独特的区位让餐厅的定位充满多种可能性。

Yanghu NO.3 restaurant is located in Ocean Lake Wetland Park, which is adjacent to municipal public buildings and the main road side of the park is dominated by residential areas. The unique location allows the restaurant to be positioned with many possibilities.

项目与谢子龙影像馆、李自健美术馆、湘江新区城市馆距离800M，在板块区位上，俨然形成“城南三馆”之布局。相较城北长沙三馆一厅普众文化的公众表情，城南的“三馆”则具备更多独特性，从区位构成与地缘属性出发，项目定位希望通过人文艺术客厅基因的注入，承载“一厅”的属性，从而让人产生“三馆一厅”的联想。洋湖叁号由此得名。

The project is 800M away from Xie Zilong Video Museum, Li Zijian Art Museum and Xiangjiang New Area City Hall, which form the layout of “three museums in the south of the city” in terms of the location of the area. Compared with the public expression of the three museums and one hall in Changsha in the north of the city, the “three museums” in the south of the city have more uniqueness. Ocean Lake III is named after its location and geo-attributes, and is intended to carry the attributes of “one hall” through the injection of humanistic and artistic living room genes, thus giving people the association of “three halls and one hall”.

乘|对峙与化物|

凌空的高架，割裂水景的桥体，

从规避不利因素转为接纳驾驭，

物物相生，则导向新的生成元。

Substance Coming From Heart

建筑紧邻高架桥，桥体的高度与桥墩体积对建筑形成压迫感；另外，建筑本身砌筑的非逻辑性，让它更像一个整块的构件，缺乏建造之美；且建筑北侧利好的湿地湖景，也因公园景观桥划断而产生割裂性。

The building is adjacent to the viaduct, and the height of the bridge and the volume of the piers create a sense of pressure on the building. In addition, the masonry of the building itself is illogical, making it more like a whole block, lacking the beauty of construction. The favorable wetland lake view on the north side of the building is also fragmented by the park landscape bridge delineation.

面对上述不利因素，如何寻找一条轴线，让场所与周边环境均围绕其去组织，引导人们去感知场所的统一性，寻找一个思想本源，洞察一个意图，是我们设计时思考的主要问题。

经考虑，我们尝试依据乘物游心的哲学思想，将避让转为吸纳，以驾驭自然现实条件有机活化为方向，对建筑、景观室内，进行了物化融合的实践。

Faced with the above disadvantages, how to find an axis around which the place and the surrounding environment can be organized, to guide people to perceive the unity of the place, to find an origin of thought, to gain insight into an intention, this is the main problem we think about when designing.

After consideration, we tried to base on the philosophical idea of traveling through things to the heart. Therefore, we turned the avoidance into absorption, and took the direction of harnessing the organic activation of natural reality conditions, and carried out the practice of physical integration of architecture and landscape interior.

首先在形体上，通过外立面改造实现建筑的整体性再造，并在体量与比例关系上与高架桥相协调统一。其次，将建筑入口退隐于建筑背侧，通过入口门头的体块搭接、扭转切割、形成支撑的力量感，以建立与高架桥相和谐的建筑天际线，实现场所秩序的稳定一致性。

First of all, in terms of form, the building is recreated as a whole through façade renovation, and is harmonized with the viaduct in terms of volume and proportional relationship. Secondly, the entrance of the building is relegated to the back side of the building, and through the block lap of the entrance doorway, twisting and cutting, forming a sense of supporting power, in order to establish a harmonious building skyline with the viaduct and achieve a stable consistency of the order of the place.

院子餐饮 Ver3.0

自然进化的规律驱动设计迭代

Ver1.0乡野粗犷自然回归

Ver2.0精致庭院园林造景

Ver3.0 现代人文 / 国际艺术 / 城市桃源

Substance Coming From Heart

项目业态可归类于院子餐饮，该业态是基于人们由城市向自然转场而催生。目前主流的场景呈现是乡野原生和雅致庭院两类，均建立在主题场景营造的逻辑之上。

The project business can be categorized as courtyard dining, which is spawned based on people’s transition from the city to nature. The current mainstream scene presentation is two types of countryside native and elegant courtyard, both built on the logic of thematic scene creation.

而院子与房子的关系建立，其目标为联结人与建筑的情感。除了建筑与景观、室内的统一设计感，更需要注入有机活性。我们的目的，是将影响扩展到平面构图中的每一部分的造型体系中，由此带来精神的自由，而非固化的造景所传达的焦点透视与主题定义。

And the relationship between the courtyard and the house is established with the goal of linking the emotions of people and architecture. In addition to the unified design sense of architecture with landscape and interior, it is necessary to inject organic activity. Our aim is to extend the influence into the modeling system of each part of the plan composition, thus bringing freedom of spirit rather than the focal perspective and thematic definition conveyed by the solidified landscaping.

因此，前坪景观改造上，结合公园栈道形体，以弧线阶梯式的景观序列递进，与背倚的高架桥线条构成有序场域，并通过地材铺装引导公园的游人、餐厅消费者。当人们游弋于建筑外围时，能感受理性秩序构建下建筑的真实感，触及渐近的感知——从城市主干道切换到都市桃源的一种隐逸。

Therefore, the landscape transformation of the front lawn, combined with the shape of the park trestle, is a progressive landscape sequence of curved steps, with the backing of the viaduct line to form an orderly field, and through the ground material pavement to guide the park visitors, restaurant consumers. When people cruise around the periphery of the building, they can feel the real sense of the building under the construction of rational order and touch the perception of gradual approach – a kind of seclusion switching from the main road of the city to the urban peachland.

在地文化的相生相成

中原儒学南下渗入荆楚倔强，

孕育出在地文化的血诚明强，

以及人们的思维方式，价值取向。

Substance Coming From Heart

空间与人们内心能否引起共鸣，是衡量设计价值的标准。我们尝试通过在地文化的转化，依据人们审美心理机制的遗传，实现对湖湘精神场所化的一次落地实践。

Whether the space can resonate with people’s heart is the criterion to measure the value of the design. We try to realize a ground practice of Hunan spirit through the transformation of local culture and the inheritance of people’s aesthetic psychological mechanism.

建筑紧邻生长多年的香樟，是城市变迁的守望者，带来外墙拓改的难度，我们试图搭建空间与自然相生相成的秩序，以建筑外凸的独立不羁，呼应荆楚倔强的力度感；以局部内凹怀抱香樟的遁世不闷，体现明强的真诚以待，由此释放出生活戏剧中可以产生的情感激荡，观者会以各种各样的情感，唤起文明程度下对所看，所感受，所喜欢一些东西的回忆。

The building is adjacent to the long-growing balsam fir, which is a watcher of urban changes and brings difficulty in the expansion of the outer wall. We try to build an order of space and nature, and echo the strong sense of Jingchu with the independent and unrestrained outward projection of the building. We embrace the balsam camphor with a partial inner concavity to embody the sincerity of Ming Qiang, thus releasing the emotional stirring that can be generated in the drama of life, and the viewer will evoke the memories of something seen, felt and liked in the degree of civilization with various emotions.

日光下建筑呈现出静默与朴素。体块的组合在光影下透出本真，外观并非耀眼夺目，但能摆脱掉装饰事物带来的表皮紧缩感。人与建筑于是循入自然，纳入一草一木的真实；粗粝的水洗石表皮，实现了建筑与高架桥的轮廓、肌理的一致性，进而产生思想的一致性。

Under the sunlight, the architecture presents silence and simplicity. The combination of blocks reveals its true nature under light and shadow, and its appearance is not dazzling, but it can shake off the skin tightening feeling brought about by decorative objects.

People and buildings then follow nature and incorporate the reality of every plant and tree; The rough washed stone skin achieves consistency in the contour and texture of the building and the viaduct, resulting in consistency in thought.

物|物以载道|

物以载道，是中国器物之美的内核；

以器物拟空间，以匠心融文化。

Substance Coming From Heart

我们的先民用礼器超越物质，传递思想与仪式之寄托，器物的器型、器质所承载的，是自然界的结构留在民族精神上的文化印记。而今，我们以器物拟空间，也是器物再造的一种焕新。设计从外围景观的弧线，到建筑外观的粗粝，再到内部顶面的碗口弧切面、勺型建构搭设，均是基于器物干练精简的高度概括。

The material is the core of the beauty of Chinese artifacts. Our ancestors used ritual objects to transcend materiality and to convey ideas and rituals of trust, which are carried by the shape and quality of the objects, which are cultural imprints left on the national spirit by the structure of nature. Nowadays, we use the artifacts to propose space, which is also a kind of renewal of artifacts re-creation. From the curved lines of the outer landscape, to the coarse exterior of the building, to the bowl-shaped curved surface of the interior roof and the spoon shape construction, the design is based on a high summary of the dryness and simplicity of the artifacts.

造物的三感一体

器物精神，首先是设计感；

其次，是器物再造的艺术感；

更深层，是物以载道的文化感。

Substance Coming From Heart

黑山石、波浪纹不锈钢、洗石子的材质应用，则是通过粗粝质感体现手作匠心，以及器物历久的温度感 —— 如同不同菜品需对应不同形体的容器变化，在光线变化下产生的体积与明暗关系变化。而人与空间的关系，也一如同手与器物的关系，因相生相成而变得真实，从而产生文化认同感。

The material application of black mountain stone, wavy stainless steel and washed stone is to reflect the craftsmanship through the coarse texture, as well as the sense of temperature of the artifacts over time, and the humanistic value behind. We call this the “three senses of integration” of spatial artifacts: the design sense of spatial artifacts, the artistic sense of installation and reconstruction, and the cultural sense of the way of things.

容器的空静之境

展厅如同放空的容器，

为艺术实践提供可能，

其存在的意义，

是让空间里的物件与内容，

去决定空间的属性与意图。

Substance Coming From Heart

二楼展厅位置，有着观赏公园景观最好的视野，按常规坪效取向，应定位为豪华包厢，经与投资方沟通，双方一致认同将该区域定位为艺术展厅的设想。这个空间，也是洋湖叁号基于城市艺术展厅的开放性，为人文交互提供了万物可乘的小小游心宇宙，它如同放空的容器，为艺术实践提供可能，其存在的意义，是让空间里的物件与内容，去决定空间的属性与意图，并与城南的“新三馆”，在艺术地缘属性上相一致。

The location of the exhibition hall on the second floor has the best view of the park landscape, and should be positioned as a luxury box according to the conventional ping effect orientation. After communication with the investor, both parties agreed on the idea of positioning this area as an art exhibition hall. This space is also Ocean Lake III based on the openness of the urban art exhibition hall, providing a small swimming heart universe where everything can ride for humanistic interaction, it is like an empty container, providing the possibility of artistic practice, the meaning of its existence. This is to let the objects and contents in the space determine the properties and intentions of the space, and is in line with the “New Three Galleries” in the south of the city in terms of artistic geopolitical properties.

展厅中央的天井，器物形体敦实，与天花碗型外扩出向临窗推进的张力，直至联结室外公园景观，自然就此纳入到室内，如呼吸吐纳，力度低缓深沉，令空间充满贯穿的力量感。

The patio in the center of the exhibition hall is solid in form, and the bowl shape of the ceiling extends outward to the window, until it is connected to the outdoor landscape and naturally incorporated into the interior.

游|逍遥天地间|

高远可望，平远可行，深远可游。

Substance Coming From Heart

楼梯、山石、潺潺水镜，与室外景观形成现代的高远山水画，从而实现自然气象的上行与吐纳。开放式餐区顶面节制的削减装饰面，衔接采光板平远渐行，消融室内外界限，创造出一个法则大同的游心空间。

Stairs, rocks, gurgling water mirrors, and outdoor landscapes form a modern and distant landscape painting, thereby achieving the upward and inward flow of natural weather. The top surface of the open dining area is moderately trimmed with decorative surfaces, connecting the horizontal and vertical lines of the daylighting board, melting the boundaries of the interior and exterior, creating a recreational space of great harmony.

乘物以游心，逍遥天地间。贯穿建筑的楼梯间采用大面积落地玻璃，与室外景观形成现代的高远山水，从而实现自然气象的上行。天窗的开口，让空间如同内外压强平衡的容器，感应、顺应周边环境，释放出恰到好处的应力，加强了空间与环境的真实感。

The exhibition hall is a place where nature is incorporated into the interior. The stairwell running through the building is made of large floor-to-ceiling glass, which forms a modern lofty landscape with the outdoor landscape, thus realizing the upward movement of the natural weather. The openings of the skylights allow the space to be like a container with balanced internal and external pressure, sensing and responding to the surrounding environment, releasing just the right amount of stress and strengthening the real sense of space and environment.

虚己以游世

以虚静之心照物，

空间与环境物化互融，

于是有了真实感。

Substance Coming From Heart

天窗上的装置构件，是高架桥的支撑与力度感的器物化表达，其思考是将环境外物对空间的压迫，转化为强调其参与性的存在，场所由此即产生人与环境主体的共振，这也是对“乘物游心”的哲学思辨。

The installation components on the skylight are an instrumental expression of the support and sense of strength of the viaduct. The thinking is to transform the oppression of the space by the external objects of the environment into a presence that emphasizes its participatory nature. The place thus creates a resonance between human and environmental subjects, which is also a philosophical reflection on “traveling through things to the heart”.

心|游心于物之初|

容自然万象之物，

可与天地精神往来，

游于世，游于道，游于心。

Substance Coming From Heart

包厢层的廊道深远，通过立面与天花的局部打破，以容自然。光线移动、枝叶拂动，让主观情思与客观物象就此相融，廊道水洗石墙面由光线产生均质的器物质感，可容万象之物，人们由此将心灵安顿其中。

The corridor on the box level is far-reaching, and is partially broken by the façade and ceiling to accommodate nature. The light moves and the branches and leaves move. The corridor’s washed stone walls produce a homogeneous texture of artifacts by light, allowing people to settle their minds in them – to travel in the world, to travel in the Tao, and to travel in the heart.

万物静观皆自得，器因光触而合鸣。

包厢以流觞肌理的石材写意湿地自然；以体块开合大采光面消融空间内外，以创造“独与天地精神往来”的游心境界。湖畔草木的物象与声形，如大音希声悠远低潜，如大象无形与心随行。

Everything is contented in contemplation, and objects resonate with the touch of light.The box is made of flowing glass texture stone to depict the nature of the wetland; Open and close the large lighting surface with blocks to melt the inside and outside of the space, creating a wandering realm of “interacting with the spirit of heaven and earth alone”. The images and sounds of the vegetation along the lake are like great music has the faintest notes, which is far away and low, like great form Is beyond shape walking with their hearts.

洋湖叁号的造物思想，建立在对自然意向的捕捉与地缘文化的设计转化上，溯源“物以载道”的哲学思想，以空间有形的容器为载体，通过人文语言传达湖湘精神的趣味性与思想境界，以与当下的时代风格、审美意向交互出新的审美愉悦，为人们提供一个可承载、畅游内心山水的世界。

Yanghu NO.3’s idea of creation is based on capturing the intention of nature and transforming the design of geo-culture, tracing the philosophical idea of “things to carry the way” and taking the tangible container of space as the carrier. Through the humanistic language, the interesting and ideological realm of Hunan spirit is conveyed, so as to interact with the current style and aesthetic intention of the times, providing people with a world that can carry and swim in the inner landscape.

∇ 一层平面图