成都·锦樾序

在城市里，我们习惯被光线与速度包围，而当脚步慢下来，进入一片林下空间，重新感知“停留”的意义。

安藤忠雄提出场景具有感知力，他认为“场景感”并不是简单地营造一个好看的空间画面，而是通过空间秩序、光影变化、身体行走、自然介入与情绪铺垫，让人在进入空间的过程中产生记忆、停留和感受。场景感并不依赖复杂的装饰，而是依赖空间本身的力量，人在空间中如何进入、如何停留、如何凝望、如何被光影触动，又如何在离开后仍保留一段记忆，这些细微的身体经验，构成了场景最深层的力量。
 

Tadao Ando posits that scenes possess a perceptual quality. He believes that "scene sense" goes beyond simply creating a visually appealing spatial composition. Instead, it involves the creation of memories, lingering impressions, and feelings through spatial organization, changes in light and shadow, physical movement, natural elements, and emotional undertones during the process of entering the space. Scene sense does not rely on intricate decorations; rather, it depends on the inherent power of the space itself. How individuals enter, linger, gaze, are touched by light and shadow within the space, and how they retain a memory even after leaving, these subtle bodily experiences constitute the deepest power of the scene.
 

项目坐落于烟火气浓郁的天府之都——成都。而本案所面对的客群，却更向往一种北欧式的松弛、自然与克制。于是，我们尝试在“烟火气”与“艺术感”之间建立平衡：既保留城市生活的亲切温度，也通过精致的空间秩序与艺术化的场景营造，打造兼具日常烟火与艺术格调的生活场景。
 

设计提取北欧生活方式中自然、松弛、克制的精神气质，以“生活秀场”为叙事核心，将日常生活转译为空间体验，构建层层递进的自然秀场场景。空间不再是孤立节点的叠加，而是以人的感知与行为为线索，串联归家、停留、社交与游憩等生活片段，形成一场可进入、可体验、可记忆的日常剧场。
 

The design extracts the natural, relaxed, and restrained spiritual temperament from the Nordic lifestyle, with "life show" as the narrative core. It translates daily life into spatial experience, constructing progressively natural show scenes. The space is no longer a mere accumulation of isolated nodes, but rather a daily theater that is accessible, experiential, and memorable. It weaves together life fragments such as returning home, staying, socializing, and recreation, guided by human perception and behavior, forming an immersive and memorable daily experience.
 

六幕秀场既是空间的展开，也是情绪的递进：从城市界面的烟火初见，到林下步行的光影流动；从水岸停留的松弛片刻，到草丘嬉游的自在发生；从邻里交往的温暖相遇，到自然疗愈的安静回归。每一幕都回应一种生活状态，每一处场景都承载一种成都式的从容与温度。
 

The six-scene show is both an unfolding of space and a progression of emotions: from the initial sight of fireworks on the city interface to the flowing light and shadow of walking under the forest; from the relaxed moment of staying by the waterfront to the spontaneous occurrence of playing in the grassy hills; from the warm encounter of neighborhood interaction to the quiet return of natural healing. Each scene echoes a state of life, and each setting carries a Chengdu-style calmness and warmth.
 

一切从一棵榕树开始。它不是被设计的起点，而是被保留下来的时间。人从城市街角进入，穿过轻松漫步的烟火街巷，逐渐走进被树荫包裹的空间。
 

Everything begins with a banyan tree. It is not the starting point of design, but the time preserved.People enter from the corner of the city street, stroll through the bustling alleys, and gradually enter a space enveloped by tree shadows.
 

商业不再是目的地，而是一种被自然包裹的日常发生。在这里，烟火气不是喧闹，而是带着温度的慢生活。
 

Commerce is no longer a destination, but a daily occurrence enveloped by nature.Here, the bustling atmosphere is not about noise, but about a slow life with warmth.
 

归家，是一段被放慢的过程，离开烟火之后，空间开始变得克制。
 

Returning home is a process that slows down. After leaving the hustle and bustle, the space begins to feel restrained.
 

三颗石头静立水中，冬青在其间生长，水面与背景墙的流动，将时间拉得很慢。
 

Three stones stand still in the water, with holly growing among them. The flow of the water surface and the background wall slows down time.
 

理性的几何构建空间秩序，克制的细节回应生活质感；植物以柔性的姿态介入场地，与空间交叠、渗透、共生。人不是“进入住宅”，而是在层层过渡中，被空间轻轻接住。
 

Rational geometry constructs spatial order, while restrained details echo the texture of life; plants intervene in the site with a flexible posture, overlapping, permeating, and coexisting with the space.People do not "enter a residence", but are gently caught by the space through layers of transitions.
 

归家之路缓缓展开，视线被引向更深处的庭院。
 

The corridor unfolds horizontally, drawing the eye towards the deeper courtyard.
 

上方的空中剧场，让归家的路径不再单一，生活开始出现“被观看”的可能。转角步入空中书吧，于林影与微风之间阅读品茗，让归家之路不止于抵达，更成为一段温暖而松弛的生活停留。
 

The aerial theater above enriches the path home, introducing the possibility of life being "observed".Entering the airy book bar around the corner, one can enjoy reading and sipping tea amidst the shadows of trees and the gentle breeze. This makes the journey home not just about arriving, but also a warm and relaxing pause in life.
 

循林荫而行，伴光影归家，让归途成为一段松弛而温暖的自然漫游。
 

Walking along the shaded path, returning home with the light and shadow, let the journey home become a relaxed and warm natural stroll.
 

在林下，生活被轻轻放大。
 

Under the forest, life is magnified slightly.
 

空间在这里被打开。中庭水景并不固定。有水时，是一片流动的镜面；无水时，是可以被进入的舞台。
 

The space is opened up here. The water feature in the atrium is not fixed. When there is water, it is a flowing mirror; when there is no water, it is a stage that can be entered.
 

在自然中学习玩耍，在探索中重拾童年的自由与想象。
 

Learn and play in nature, and regain the freedom and imagination of childhood through exploration.
 

三座丘亭散落在林下，像三个不同节奏的生活片段:停留、交谈、学习。
 

Three hill pavilions are scattered under the forest, resembling three distinctly paced moments of life: lingering, conversing, and learning.
 

漫步林间，行至丘亭小憩片刻，在树影、微风与光线的交织中，感受人与自然的交融共生。
 

Strolling through the woods, I take a momentary pause at the hill pavilion, immersing myself in the symphony of tree shadows, gentle breeze, and sunshine, experiencing the harmonious coexistence between humans and nature.
 

在自然中学习，在手作中感知，让孩子于植物、阳光与微风之间，发现自然的美好与生活的温度。
 

Learn in nature, perceive through hands-on activities, and let children discover the beauty of nature and the warmth of life amidst plants, sunshine, and gentle breezes.
 

空间不再被定义，而是交给使用者去完成。草阶缓缓抬升，人既是参与者，也是观看者。
 

Space is no longer defined, but rather left to the users to shape. The grass terrace gradually ascends, with people serving as both participants and observers.
 

离开中心之后，空间变得更加自然。攀岩墙不再是设备，而是由沙生植物与夯土构成的自然界面。折叠的表面，让路径充满变化与挑战。
 

After leaving the center, the space becomes more natural. The climbing wall is no longer a piece of equipment, but a natural interface composed of desert plants and rammed earth. The folded surface makes the path full of variations and challenges.
 

隧道隐藏在地形之中，带着北欧式的简洁与神秘。游戏不再依赖色彩与符号，而来自对空间本身的探索。
 

The tunnel is hidden within the terrain, embodying the simplicity and mystery of Nordic style. The game no longer relies on colors and symbols, but rather on the exploration of space itself.
 

地下隧道空间不应只是单一的通行路径，而应成为整个儿童游玩体系中最具探索感与记忆点的核心场景。因此，如何为这段地下空间找到一个足够有趣的主题，成为前期方案推演中的重要解题思路。
 

Underground tunnel spaces should not be merely simple passageways, but rather core scenes that offer the greatest sense of exploration and create lasting memories within the entire children's play system. Therefore, finding a sufficiently engaging theme for this underground space became a crucial problem-solving approach in the initial design and development phase.

在方案初期，我们展开了多方向的主题探索，分别提出了地质探险、冰川秘境、自然地心洞穴等几种不同的空间设定。进一步借助AI工具对不同主题下的空间氛围、形体语言、光影关系与游玩场景进行画面化探索。
 

In the initial stages of the project, we explored multiple themes, proposing several different spatial settings, including geological exploration, glacial wonderland, and natural subterranean caves. We then further utilized AI tools to visually explore the spatial atmosphere, body language, light and shadow relationships, and play scenarios under each theme.
 

经过多轮沟通与综合评判，我们最终选择以“自然地心洞穴”为基础主题，并结合鹿神IP进行内容深化，形成兼具自然教育与趣味游玩的复合型主题空间。
 

After multiple rounds of communication and comprehensive evaluation, we finally chose "Natural Earth Core Cave" as the basic theme, and combined it with the Deer God IP to deepen the content, forming a composite theme space that combines nature education and fun play.
 

社区不是一次性完成的作品，而是一个会随着时间慢慢生长的地方。不同年龄的人、不同时间段的生活、不断变化的使用需求，都会让这个空间持续被激活。我们希望这个项目能在未来很长一段时间里，承载更丰富、更日常、也更可持续的社区生活。
 

A community is not a one-time creation, but a place that grows slowly over time. People of different ages, living at different times, and constantly evolving needs will continuously activate this space. We hope that this project can support a richer, more everyday, and more sustainable community life for a long time to come.