隨著全球經濟一體化的發展，景觀設計概念“沙漠化”、風格“趨同化”的態勢愈加明顯，大眾設計愈加追崇矯揉造作的美感、精緻文藝的皮囊，千篇一律的設計風格使得觀者被動接受感官的麻痺。在常規的建築體前，我們應如何重塑新時代的景觀可能性？如何挖掘創造具有場地精神的景觀語系？
With the development of global economic integration， the trend of “desertification” in landscape design concept and “assimilation” in style is becoming more and more obvious。 Popular design is more and more obsessed with artificial beauty and delicate literary and artistic skin， and stereotypical design style makes viewers passively accept sensory paralysis。 Before conventional architecture， how should we reshape the landscape possibilities of the new era？ How to excavate and create a landscape language family with site spirit？
△空間演變 - 模組組合
△空間演變 - 設計語言
最偉大的藝術莫過於把複雜多樣化的環境語言，與建築的結構表達轉化為最高的統一性。隈研吾曾表達過：“建築原本就揹負著必須從環境中凸顯自己的可悲命運，可以說，這是一種被迫從環境中割裂出來的宿命。”而當前景觀設計師要做的就是顛覆這種命運，構建具有獨特張力的建築與景觀空間。
The greatest art is the transformation of complex and diverse environmental language and architectural structural expression into the highest unity。 Kengo Kuma once expressed： “Architecture is originally burdened with the sad fate of having to highlight itself from the environment。 It can be said that this is a destiny that is forced to be separated from the environment。” What the current landscape architect has to do is to subvert this kind of destiny builds architectural and landscape spaces with unique tension。
任何事物，不管是石磚還是植栽，還是空間設計，建築形態，我們都可以看成是由互相聯絡著的各個部分組成的某種整體，也可以把這個整體看作是一種結構體系，在整個結構體系中有空間的獨立與融合。
Anything， whether it is stone bricks or plantings， or space design， architectural form， we can all be seen as a certain whole composed of interconnected parts， and we can also regard this whole as a structural system。 There is spatial independence and integration in the entire structural system。
在和築梅江專案中我們更關注的是包括座階、水景、下沉空間、探索樂園及場地在內的整體空間，將人性化需求，“符號化“設計表現形式融入於空間中，創造景觀設計的文化本質；透過正負空間效果，“回形針語言”運用，實現城市、建築、景觀，“三位一體的設計觀“，平衡中統一，獨立中融合。
In the Hezhu Meijiang project， we pay more attention to the overall space including the steps， waterscape， sinking space， exploration park and site， and integrate human needs， “symbolic” design expressions into the space， and create The cultural essence of landscape design； through the use of positive and negative space effects and the use of “paperclip language”， the city， architecture， and landscape are used to realize the “three-in-one design concept”， unity in balance， and integration in independence。
景觀空間的變化顯示了景觀過程及其驅動力的空間差異，它隨著使用主體和時間的變化而變化，以不同時間視角朝向周圍的環境，創造出一種持續變化的感知空間。
The change of the landscape space shows the spatial difference of the landscape process and its driving force。 It changes with the use of the subject and time， and faces the surrounding environment from different time perspectives， creating a continuously changing perception space。
隨著人類行為的參與，故事的背景，經歷的過程及整個環境穿插於空間之中，構建出豐富變化著的景觀敘事語言。
With the participation of human behavior， the background of the story， the process of experience and the entire environment are interspersed in the space， constructing a rich and changing landscape narrative language。
“一個優秀的景觀設計師，會知道如何利用白色表面將太陽光直接轉入空間內部，建立空間和光線的秩序變化”，推演出精巧對位和旋轉連續的真實的空間想象。
“An excellent landscape designer will know how to use the white surface to transfer sunlight directly into the space， and establish the order change of space and light”， deducing the real spatial imagination of exquisite counterpoint and continuous rotation。
求知互動“無界·變化”中，趣味架構空間，知識構造時間，透過流線，回合轉折，坡道、臺階聯絡高差，串聯起場地中的單元模組，豐富多樣性的拼接組合，打造沉浸、複合且多維的空間體驗。
In the interactive “unbounded·change” of seeking knowledge， interest constructs space and knowledge constructs time。 Through streamlines， turn turns， ramps， and steps connect the height difference， connect the unit modules in the site in series， and the rich and diverse splicing combination creates immersion， complex and multi-dimensional space experience。
在空間語言的意識形態中，採以密斯“少就是多”的當代極簡建築學語言標準，無論是設計語言元素的運用還是植栽景觀的“回形針式”組合，都在描述著空間的嚴謹與理性，設計語言依賴於建築結構，又不受結構限制，從結構中產生，又反哺結構的凝練與統一。
In the ideology of space language， adopting Mies’ contemporary minimalist architectural language standard of “less is more”， whether it is the use of design language elements or the “paper-clip” combination of planting landscapes， it describes the rigor of space。 And rationality， the design language depends on the structure of the building without being restricted by the structure。 It is generated from the structure and feeds back the condensed and unification of the structure。
“建築沒有形成人類與自然的阻隔，反倒以一種微妙的隱喻使陸地上人類的城市生活向遠處自然景觀綿延而去，”植物與空間的一體化語言使得場地形成純粹的美感與張力，實現小中見大的效果。
“Architecture does not form a barrier between humans and nature。 Instead， it uses a subtle metaphor to extend the urban life of humans on land to the distant natural landscape。” The integrated language of plants and space creates a pure beauty and tension on the site。 Achieve the effect of seeing the big in the small。
我們在景觀設計中刪繁就簡，將場地中多餘的元素剔除，形成抽象至簡的感知空間和觀者漫步其中的物質性禮讚，少一點雜念表達，多一些空間本質；少一點語言運用，多一些情景變化，用同一種場地邏輯定格趣味的空間軌跡。於上下、內外、遠近、空間往復變化、自由遊走間，體驗場地敘事性的情懷。
In the landscape design， we cut the complex and simplified， and eliminated the redundant elements in the site， forming an abstract and simple perception space and the material praise of the viewer strolling through it， with less distracting expressions， more spatial essence； less language use， more scenarios Change， use the same site logic to freeze the interesting spatial trajectory。 Experience the narrative feelings of the venue in the space between up and down， inside and outside， far and near， space reciprocating changes， and free roaming。
任何景觀建築建成後，都有其隱藏在背後的諸多力量，如城市脈絡，人文關係等，建築不再是孤立的個體，而是關聯到其周圍乃至更大範圍內的城市空間。
After any landscape architecture is completed， there are many hidden forces behind it， such as urban context， human relations， etc。 The architecture is no longer an isolated individual， but is related to the urban space around it and even a larger area。
我們希望打造的是一個擁有“永恆風格”的社群公園式入口示範區，即使是在營銷之後，它依然風格永存，潛移默化的影響著城市空間本身的思想、特徵、價值體系、發展方向或是潛藏著永恆的場地精神，使城市、建築、自然景觀產生難以割裂的內在連結和統一。
What we hope to create is a community park-style entrance demonstration area with “eternal style”。 Even after marketing， its style will remain forever， and it will subtly influence the thought， characteristics， value system， development direction or potential of the urban space itself。 With the eternal spirit of the site， the city， architecture， and natural landscape have an inseparable internal connection and unity。
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