水木言设计丨凤绫儿：中国风儿童摄影馆-室内设计师平台 -室内设计论坛-扮家家室内设计网

国风未来山水卷・凤绫儿

Chinese Style Future Landscape Painting・Fengling'er

凤绫儿，是专注于中国古风亲子摄影的场馆。随当下中国的文化从复兴到自信，到再造，我们希望通过这个项目，对未来中式场景进行一次新的探索，同时能引导孩子们建立对传统文化的认知与热爱。

Fengling'er, is a venue that focuses on Chinese ancient style parent-child photography. With the current Chinese culture from revival to self-confidence to reinvention, we hope that through this project, we can make a new exploration of the future Chinese scene, and at the same time can guide children to build their knowledge and love of traditional culture.

建筑前身是一个国营老商场，一个老建筑组团，三栋分别由上世纪80、90年代和2000年以后三个不同时间段修建的建筑根据用地情况搭接在一起，不同年代的结构形态及组合方式带给了空间的极不规律性：柱子大小不一，柱网分布错综复杂，层高也高矮不一，平面和垂直交通都有一定的问题。再因为后面入驻的商业对结构又做了些改造，造成的现状是既要保留住一些结构，同时又要吻合凤绫儿的流线和体验所需的空间。

The building was formerly an old state-run shopping mall, an old building group, three buildings built in three different time periods from the 1980s, 1990s, and 2000 onwards are lapped together according to the site situation. The structural forms and combinations of the different eras bring a highly irregular space: the columns are of different sizes, the column network is intricately distributed, the floor heights are also different, and there are certain problems with both plan and vertical traffic. The structure was remodeled by the business that moved in behind, resulting in a situation where some of the structure had to be preserved while at the same time matching the flow of Fengling'er and the space needed for the experience.

改造后的建筑共有三层，12000平方米，分布有游乐版块、餐饮版块，局部有中庭挑空，凤绫儿落位在老建筑组团里的第二层，由于进入室内空间前需要买票及换鞋，凤绫儿的体验流线和游乐版块不能交叉干扰，凤绫儿的文化氛围与游乐版块既有区别又有一定程度的协调性，这些都是设计要考虑的重点。

The renovated building has three floors, with a floor area of 12,000 square meters, distributed with a play area, a dining area, and a partially open atrium. Fengling'er is located on the second floor of the old building group. Due to the need to buy tickets and change shoes before entering the indoor space, the experience flow of Fengling'er and the play area should not interfere with each other. The cultural atmosphere of Fengling'er is different from the play area and has a certain degree of coordination, which are the key points to consider in the design.

以凤绫儿服务台作为画面近景起点，再造微地形与室内景观，形成山水画里的三段式构图——抽象的江畔、江水、洲屿、远水元素塑造拉伸空间层次，将山水画里的经典符号墨松树木、临水亭榭等元素异化，场景之间或以延绵的水纹造型与室内景观相继，或以水纹地毯蔓延扩散，引导人往前进入不同功能区。

The Fengling'er service desk is used as the starting point for the close-up scene, and the micro-terrain and interior landscape are recreated to form a three-stage composition in the landscape painting - abstracted elements of riverside, river, island, and distant water shape and stretch the spatial level. The classic symbols of landscape painting, such as ink pine trees and waterfront pavilions, are alienated. The scenes are either echoed with the interior landscape by a continuous water pattern or spread by a water carpet to guide people forward into different functional areas.

人们在写意丛林构架中穿梭游弋，可实现叙事性的场景切换；空间立面采用钢板喷漆营造层波叠浪，远岫渺茫的山水意境，并通过写意的山屿门洞，与弧面造型大面积留白，实现空间的通透与空灵，远近丰富的层次。

People travel through the realistic jungle structure and can realize narrative scene switching. The space façade is painted with steel plates to create layers of waves, distant peaks, and a remote landscape mood. Through the realistic mountain island doorway and the curved surface shape with a large area of white space, to achieve the space of transparency and ethereal, near and far rich layers.

第一章旷观 —— 千里江山

Overview - A Thousand Miles of Rivers and Mountains

进入凤绫儿有两条流线可达，一是中庭电梯，二是中庭旋转步梯，到达二楼后以凤绫儿服务台为核心左右引导分流，让游乐版块和凤绫儿客户互不干扰。

设计基于已有建筑形态的不规则，空间面宽而开间进深短，层高高低不一的特点，以传统中国山水画的平行透视，横向展开空间，形成长轴画卷。

There are two flow lines to reach the store when entering Fengling'er. One is the courtyard elevator, and the other is the courtyard rotating staircase. After reaching the second floor, the Fengling'er service desk is the core to guide the left and right diversion so that the amusement section and Fengling'er customers do not interfere with each other.

The design is based on the irregularity of the existing building form, the wide space and the short depth of the openings, and the different heights of the floors. With the parallel perspective of traditional Chinese landscape painting, the space is unfolded horizontally to form a long axis scroll.

第二章异化 —— 未来山水

Alienation - Future Landscape

在文征明的山水画里，有着一系列的经典元素，如怪石奇松瘦竹的林立，树下几间书房凉亭，三两好友煮茶听琴，这些在传递出生活雅致情趣外，还有着对生活的一种畅想。

设计以抽象的儿童化视角，解读再现了古人生活意境，我们将趣味性的弯曲树木造型，以非对称线性的笔势自由穿插在不同空间里，造型简洁精炼、纯粹且干净，我们希望通过这些活泼写意的手法，唤起孩子对中式风格不同的理解与想象力。

In Wen Zhengming's landscape paintings, there are a series of classic elements, such as strange rocks, strange pines, and thin bamboo stands, a few study pavilions under the trees, some friends cooking tea and listening to the guqin, which convey an elegant interest in life, and a kind of unrestrained thoughts about life.

The design is an abstract childlike perspective that interprets the reproduction of the ancient living mood. We interspersed interesting curved tree shapes freely in different spaces with asymmetrical linear strokes, and the shapes are simple and refined, pure and clean. We hope to evoke children's different understanding and imagination of Chinese style through these lively and playful techniques.

为突破层高对空间的限制，设计通过深色哑光不锈钢板的反射，融合了真实与虚幻的边界；天花衔接的弯曲梁柱、大面积圆弧留白，悬浮感的球形装置，基于反射拉升的山水纵向延展，创造出一种动态的、别具情致的未来场景。——每当孩子们平视环顾空间时，会有像站在高处，平瞰千里江山的通透畅快。

In order to break through the space limitation of floor height, the design blends the border of reality and illusion through the reflection of dark matte stainless steel panels. The curved beams of the ceiling articulation, the large circular white area, the spherical installation with a sense of levitation, and the vertical extension of the landscape based on reflection create a dynamic and distinctive future scene. Whenever the children look around the space, they will feel like standing on a high place to see a thousand miles of rivers and mountains.

第三章游园 —— 可行可望，可游可居

The Park - Walkable, Visitable , Tourable, and Liveable

空间以功能的划分，结合山水画布局节奏，自然形成不同的院落式分区，让孩子在空间里产生“游”的感受。孩子的眼睛就是一个摄像头，好奇、动心、热情，在步入空间后，渐进游玩，步移景异，层次递进，以感受到室内山水的人文意境。

孩子由此动态的去探索、发现一个又一个局部——在微拱的坡地攀爬，跳起来触碰松树的枝蔓，奔跑追逐于柱廊之间，躬身躲藏在山石之后……这种启蒙式的造景手法，让空间呈现一派自然流动的天真之象。

The space is divided by function. Combined with the rhythm of the landscape layout, different courtyard-style partitions are naturally formed, allowing children to produce the feeling of "swimming" in the space.The child's eyes are a camera, curious, moving, and enthusiastic. After stepping into the space, gradually play, each place has a different view, the level of progression, in order to feel the humanistic mood of the indoor landscape.

The child thus dynamically explores and discovers one part after another - climbing on the slightly arched slope, jumping up and touching the branches of the pine trees, running and chasing between the colonnades, hiding behind the rocks. This kind of enlightening scenography gives the space a natural flow of innocence.

第四章格物 —— 万物生长

Exploring the Laws of Everything - The Growth of Everything

孩子的心中需有着波澜，才会描画壮阔。

A child's heart needs to have ups and downs before he or she can paint the magnificence.

非线性的异化表达，描摹出山水雄阔的境界和恢宏气韵，这是对孩子活泼与探索自然的天性赋能；而那些蓄性、象征性的松石、涌浪等，对自然山水形态有着高度的概括性、则启发了孩子们超越物质形态，不受束缚的自由思考能力，他们也因此而更愿意去创造、表达内心的世界。如此，以达到人文与自然的结合，商业与艺术的平衡。

The non-linear and heterogeneous expressions, which portray the majestic realm and magnificent rhythm of the landscape, are the natural empowerment of children's vivacity and exploration of nature. The pine rocks and surging waves, which are highly generalized to the natural landscape forms, inspire children to think freely beyond the material forms, and they are thus more willing to create and express their inner world. In this way, the combination of humanity and nature and the balance of commerce and art are achieved.

第五章山水 —— 童观萌动

Landscape - The Emergence of a Child's View

中国古人看世界认为有三重境界：看山是山、看山不是山再到看山还是山。

空间的造型是客观的，实在的；中国山水画的平远、高远、深远，则是启发的、充满动感的。

The ancient Chinese saw the world as having three realms: seeing mountains as mountains, seeing mountains as not mountains, and then seeing mountains as still mountains.

The shape of the space is objective and real. Chinese landscape painting is flat and far, high and deep, while it is inspired and full of motion.

空间色彩上，设计采用中国经典的“金碧山水画”建立孩子的色彩感知，让孩子在嬉戏中丰富美好的视野，逐渐形成自有的逻辑与条理性。

空间通道、化妆区的玻璃钢柱廊、陈列立面等，采用泥金、石青、石绿等自然渐变色处理，再造、还原、传意金碧山水的色彩；纵深处的服装区廊柱与天花不锈钢处理，则通过山水浩渺的渐变黑白灰与映衬，呈现山水画般浓淡相宜，醇润婉约的深远之韵。

In terms of space color, the design adopts the classic Chinese "Golden Landscape Painting" to establish children's color perception so that children can enrich their beautiful vision in playfulness and gradually form their own logic and organization.

The natural gradient colors such as mud gold, stone green, and stone green are used to recreate, restore and convey the colors of the Golden landscape in the space passages, the fiberglass corridors in the dressing area, and the display façade. The deep garment area corridor columns and ceiling stainless steel treatment, through the gradient of black and white gray and the reflection of the vast landscape, presenting a landscape painting like the appropriate intensity, mellow and gentle far-reaching rhythm.

在孩子的世界观里，认识的发展是跟着心走的，设计以中国山水画的博大与自然，在真实与意境间，逐步深刻化孩子们对中国传统文化的热爱。

In the worldview of children, the development of understanding follows the heart, and the design takes the expansiveness and nature of Chinese landscape painting to gradually deepen the children's love for traditional Chinese culture between the real and the mood.

凤绫儿是当下中国国潮崛起，线下新场景的一次革新再造。

Fengling'er is a revolutionary reinvention of the new offline scene with the rise of the Chinese national trend at the moment.

设计以千里江山浩渺江岸的描绘为背景，去突破有限的室内桎梏，再造室内写意中式山水景观，给予孩子们自由探索，发现创造力的各种可能。

不拘于刻形着物的传统造型，以非线性的延展传意出空间真山真水的气势与力度；以延绵起伏的弧形衔接与写意手法实现空间横向或纵向的跃迁，空间场景继而得到几何倍数的放大，由此揭开一幅异化的、立体的国风未来山水卷。

The design takes the depiction of a thousand miles of rivers and mountains as the background to break through the shackles of the limited interior and recreate the interior landscape in Chinese style, giving children the freedom to explore and discover the various possibilities of creativity.

The traditional shape of the landscape is not bound to the carved shape, but the non-linear extension of the space conveys the momentum and strength of the real mountains and water. The spatial scene is then geometrically enlarged, thus unveiling an alienated, three-dimensional future landscape volume of Chinese style.