The transition of a city is a complicated process. Along with the old memories gradually disappearing, new emotions are constantly being generated. When production breaks through itself and has more connections with life, the vision of the garden will continue.
The project is located in Haining’s Xucun Industrial Zone, in Jiaxing, in which the architect built an elegant courtyard on a factory roof and named it Xiaoya. In this courtyard, the functions of reception, catering, and office are combined. And it has broken through the single working mode and expanded the breadth and depth of life.
How to deal with the relationship between architecture and the environment has to be the first research focus of the design. The place is adjacent to the main road of the city, and there are many self-built houses in the surrounding countryside. So the designer uses green plants as walls to shield against the noise on the road and disorder of vision, which has embodied the concept of oriental gardens by modern garden methods and created an atmosphere of being in the city but like a wild place.
They utilize the natural sightline deviations of the roof platform to balance the surrounding axis, and the phototaxis of the biological instinct to allow the viewer to engage in natural selection. The architecture is open, and the interior and exterior spaces are infiltrated with each other, both spacious and enclosed.
The corridor design overlaps with the tourist line, which leads the free roaming mode to become an opportunity for interaction between people and the site. The pleasure of the stroll is the purpose of the landscape design. It is expected that people will walk barefoot. With the changes in texture and temperature of wood, stone, rock, and sand, they will touch the nerves of the footsteps, during which people will return to purity.
In the eyes of Mies Van Der Rohe, the barrier is no longer the opposite of the transparent but creates one more space and one more possibility. Inspired by this, the corridors twist and turn vigorously and extend in the open backyard of Xiaoya, where the white wall penetrates into the field of vision, but part of the landscape emerges from behind, and the geometric espalier hides the end of the corridor and plays a “Cloze Play Thinks” with the brain.
There are two water courtyards. The central one views the sky and uses the water as a mirror. The shadow is refracted into the restaurant and meeting room, and the fold-up water landscape continues to extend indoors.
In The Book of Songs · Xiaoya · Deer Bell, it stirred up feelings with deer bell and eating grass. It shows the way of hospitality and the mind to entertain the guests, by utilizing which the designer creates a resonance between people and space. The squeezing and dislocation of the building create a series of wonderful corner spaces. Behind the “cloudy pine forest” painting that landed like a screen in the lobby was a small deer that came out of the probe.
The elements of the grille are used one after another in the space, making the space become an alienated sundial and combining the sunlight. Mottled shadows which change along with the time, like clouds and fog, like electric light, let the “rime” sway and flow.
The beauty of oriental gardens is that they can use rockery, bridges, ponds, and other micro-landscapes and micro-ecologies to imply the intention of yearning for rivers and nature, which is called Die Shan Li Shui (Rockery-Pile And Water-Scenery-Building).
Xiaoya uses the concept of oriental gardens to create a western garden landscape that incorporates geometric patterns, vegetation, architecture, water features, etc, which uses simple cubes to summarize the combination of natural stone laying, cascades, and the fold-up of the sceneries, forming a unified visual element.
In the meeting room, the view is divided by vertical walls. Then the view of the left eye is a spacious outdoor space, and the right eye is an enclosed meeting space. The view outside the window of the living room in the lounge area is cleverly reflected by the mirror to reach the dining person, which makes the water courtyard, pine, and bamboo in the corners outside the window all visible to the eye.
When the sky gets a bit dark, you can see the interior through the light and shadow on the glass, and see the opposite view through the rear window, creating a mellow and interesting atmosphere.
Source: V2com Newswire