非常感谢

建言建筑

Appreciation towards

VERSE DESIGN

for providing the following description:

Creative Nature

创意自然

项目名称：君澜七仙岭热带雨林温泉酒店西餐厅

项目地点：中国，海南，三亚，保亭县七仙岭

项目业主：杭州君澜酒店集团

建筑设计：VERSE DESIGN 建言建筑

室内设计：SYMMETRY DESIGN 大匀国际设计中心

景观设计：H & A LANDSCAPE 翰祥景观国际有限公司

建筑面积：976㎡

自然是没有人类干扰的事物。这也是自然的普通定义。因而，从“创意自然”角度出发就存在了矛盾，这对于君澜度假酒店项目即是挑战、也是其价值所在。要做到“创意”就必须有人介入，那我们应该如何实现有“创意”的“自然”？利用自然的概念我们可以明确哪些是自然、哪些是人工吗？

Nature is how things are without human intervention.  This seems to be the common definition on nature.Therefore, an inherent contradiction exists in the term“Creative Nature”.  It is in this condition of contradiction that the Narada Resort project finds its challenge and meaning.  To be“creative” necessarily means human agency, so how can “nature” be “creative”?  Does such notion of nature provide us with a tenable distinction to draw between that which is natural and that which is artificial?

从科学角度出发，人类不是独立的，而应当是自然的参与者。自然本身不是一个实体，而是一种包含人类存在的状态。人工制品，不能脱离人类而存在，当然也不能脱离自然而存在。设计的目标是探索自然物与人工制品的两面性关系，以及以“创意自然”为核心理念的多种设计方式。

From a scientific approach, human beings are not separate but part of the natural order.  Nature is not an entity.  Nature is a hypothetical state that defines the context of our existence.  The artifacts that we produce, sure enough, would not exist had we not existed, but that does not mean that they encroach upon nature or are distinct from ‘natural objects’.  Based on this framing, the design objective was to explore the multiple strands of definition that characterize “Creative Nature” within the dichotomy of nature and artifice.

项目位于海南七仙岭山区。基地在热带雨林一道峡谷底部，是一块不大的狭长空地，茂盛的树木和大块的岩石界定出它的范围。项目为一个1000平方米西餐厅。人们对于自然的认知是在人与自然的接触中形成的——或是亲历，或是想象。因此，本项目必须引导人与自然亲密交流，这样才能实现其设计意图。

设计中利用空间来定义自然与人的关系。换言之，由实体构件围合的空间形成了人类活动的场所，也使其与自然发生了各种互动的关系。这种对物体、空间的感知使身临其境的人产生了对自然的不同理解。

最后，在建成的项目中，我们实现了两种不同的对于自然的感知：

1.  三维自然环境体系：

飘浮的玻璃箱体—餐厅

环绕感—“在丛林中用餐”

2.  二维自然环境体系：

观景窗—墙上的二维画卷

In the process of design, nature was understood as a range of complexity defined by space.  What this means is that the spatial phenomena emerges when the figural is sufficiently programmed with intention and therefore defined within the domain of “creative”.  Simultaneously, the spaces, physical or perceptual, defined by the figural within which the intentions operate as an extension of the natural environment/context, this spatial perception is defined within the domain of “nature”.

Finally, in the completed project, two distinctly different design intentions in the perceptions of nature were realized:

1.  Nature as a three-dimensional construct:

The floating glass box/restaurant

The envelopment—“to dine in the tree foliage”

2.  Nature as a two-dimensional construct:

The picturesque window—two-dimensional paintings on the wall

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