艾米未来农业文旅小镇是基于5G技术、大数据、人工智能、无人机等前端技术支持，所展现出来的未来农业图景；是结合生态旅游、产业示范、科技模式推广于一体的农业文旅示范区。因此，接受委托对项目进行设计之初，便提出了“Future ALL”的概念——使所有环节都未来化，这其中包含：Future Agriculture—农业未来化；Future Landscape—景观未来化；Future Life—生活未来化；以求展现最前沿的技术所带来的，对物质生产世界的影响。

AIRICE Future Agriculture Cultural Tourism Town is a vision of future agriculture, based on 5G technology, big data, artificial intelligence, UAVs, and other front-end technical support. It is also an agriculture cultural tourism demonstration pilot that combines eco-tourism, industrial demonstrations, and technology model promotion. Therefore, at the beginning of accepting the commission to design the project, the concept of a “Future ALL” was proposed, that is, to reflect the futuristic in all links, which includes: Future Agriculture, Future Landscape & Future Life. It strives to show the impact of cutting-edge technologies on the world of material production.

未来农业：事实上，智能农业已经迭代了多个版本。卫星监控着各种数据，通过显示器管理农田，广袤的大地上只能看到各种自动化农业机械——越来越多的应用场景使人慢慢脱离土地，使未来农业迈向更无人化的生产环境。它了改变乡村的生活方式、大地地貌。

Future Agriculture.There have been multiple iterations of intelligent agriculture. Various data are monitored through satellites; farmland is managed through displays remotely, and only a complex of automated agricultural machinery is working on the vast land. As more and more scenario applications are realized in practice, it has gradually separated human beings from the land and enabled agriculture to move toward a more unmanned productive environment in the future. The rural lifestyle and the landform have been greatly changed.

未来景观：从太空俯瞰地球，人类的农业发展史，是一部地表景观的演变史。过去传统的农业活动形成了与之生产方式对应的地表景观类型，并由此产生了与土地生产息息相关的生活方式。而随着现代农业的出现，这些景观类型也随之发生变化。

Future Landscape. If looking down on our planet from space, the history of human agricultural development is an image of the evolution of the surface landscape. In the past, traditional agricultural activities formed a type of surface landscape corresponding to their production methods, and thus, generated a lifestyle closely related to land production. With the emergence of modern agriculture, these landscape types have also undergone corresponding changes.

高效的网络链接，使气象情报、田野数据能在云端被人工智能整合并反馈给无人机，这些正在逐步实现的生产模式将重新塑造一种农业的新地景类型——自动灌溉、收割系统，无人机的工作路径等使得传统的自然农田肌理转变成以直线、方形、圆形、扇面等规则几何体构成的图案，这也正是小镇农场规划总图中几何形状的来由。

Efficient network transmission enables weather information and field data to be integrated by artificial intelligence in the cloud and fed back to the UAV. These production models that are gradually being realized will fashion a new type of agricultural landscape. Factors such as automatic irrigation, harvesting systems, and the working path of UAVs have transformed the traditional natural farmland texture into patterns composed of regular geometric figures such as straight lines, squares, circles, and sectors. This is the reason for the various geometric shapes in the general plan of the farm in the town.

直线、同心圆、扇形，这些不同类型的组合因应新生产方式而生，也承担着展示作用。规划设计通过游览栈道限定了智能农耕展示区域的边界，构成了规划的总体骨架与分区。而智能化农田各项技术的展示性生产，便在这些边界内展开。

Straight lines, concentric circles, and sectors—these different types of graphic combinations are produced in compliance with the new production method and have also become a display. In design and planning, the boundary of the intelligent farming display area is defined by setting up a tourist plank road, which defines the overall framework and segmentation of the plan. The demonstration of intelligent farmland technologies is carried out within the boundary.

未来生活:未来农业技术将使生产变得更为迅猛，温饱也早已不是人存在的首要矛盾，相反，癫狂的生产与消费才是。未来的乡村生活，不应只关注不断迈进的科技生产与物质消费，更需要精神世界的重塑——对“未知”的塑造。

Future Life: In the future, agricultural technology will enable faster and more efficient production, and the problem of food and clothing will no longer be the primary issue facing human society. On the contrary, the threat of senseless and uncontrolled production and consumption will be the dominant issue. The future of rural life should not only focus on the continuous technological production and material consumption but also the reshaping of the spiritual world, that is, the shaping of the “unknown.”

因此，在物质自动化生产的场地中，一系列构筑被安放在主要游览路径的关键节点之上。这些简洁的形体不仅回应地表的几何形态，承担游览休憩节点的功能，更昭示着一种未知的力量——人之所不能及的力量。

Therefore, at the site of automated material production, a series of constructions are placed on the key nodes of the main tour route. These simple shapes not only echo the geometry in the farm but also embody the function of visiting and resting sites and show an unknown power, a power beyond human reach.

自人类学会使用工具以来，这股力量便以不同形式出现，与之相伴而行，它是上古的仪式图腾，是荒原之上的巨石环阵，是祭天的圜丘，是《2001太空漫游》中的黑石——人类不断扩大认知的范围，也在扩展未知的范围，正是因为对“未知”的观照，才有了人类欲望的克制、生命延续与向前的探索。

Since humans began to use tools, this power has appeared in different forms, accompanied by ancient ritual totems; Stonehenge, located in the wilderness; the Circular Mound Altar of Heaven worship; and the monolith in 2001: A Space Odyssey. Human beings continue to expand the scope of their own cognition, as well as the scope of their unknown, but it is precisely because of the observation of the “unknown” that there are restraints on human desires, the continuation of life, and the exploration by moving forward.

为了重现对未知力量的敬畏，构筑被呈现以“崇高Sublime”的形式，以“他者”的身份浮现于人们穷尽科技所能的生产场地之中。祂们如同来自远古的仪式殿台，又如穿越时空的外星来物，与未知的未来及当下的生产世界展开对话…….为了更方便于呈现“未知”的意味，系列构筑将以编号的方式命名，他们没有被语义限定的名称，间或有只言片语的诠释，亦不全然靠视觉的传达，更多是未知的想象。

To show awe in the face of the unknown power, the construction is presented in the form of “Sublime,” which emerges as the “Other” in the production site where people use science and technology as much as possible . Like the ceremonial platform from ancient times and the alien objects that travel through time and space, THEY have started a conversation with the unknown future and the present production world. To make it easier to present the “unknown” tone, the series construction will be numbered. For the construction, there are no names defined by semantics; even the interpretation in a few words is not entirely visually conveyed, but is more of an imagination of the unknown.

因反射而隐没于环境中的方碑，

界限消融，

穿越边界，

渡向彼端

The square tablet concealed in the environment due to reflection

Dissolving the limits

Traversing the boundary

Forwarding to the other end

悬浮通道，

起始端向上逐渐扩展的体量

登高的暗示，

延展的视觉，

反重力的错觉，

想象力的边界，

将已有的实体，

延伸至无尽深远之空。

The suspended channel

Shows the volume gradually expanding upward from the beginning

Through the hint of ascending

The extended vision

The illusion of anti-gravity

The boundaries of imagination

It extends the existing entity

Into the endless and far-reaching space

中心方塔的光阴之下，

十二面回旋之镜，

返照成十二扇时间门，

支撑起轮回的游廊

Under the light and shadow of the central square tower

There are twelve circling mirrors

Forming the twelve gates of time

Propping up the veranda of samsara

昼夜光影、

四时节气、

生长凋谢，

在直径二十四米间

轮回聚散

The transitions of day and night

The changes in the four seasons

The growth and decline creatures

Within a diameter of 24 meters

There is the circulation to meet and part

接雨亭，

接着落下的诗句，

如果环境保护得足够好，

诗意亦可煮茶，

The rain-catching pavillion

Answering the falling verse of the poem

With the environment meticulously protected

You can experience the poetry of making tea with rainwater

抬头仰望

可见一片大地

融入天际

Rise and look up

There is a vast land

Stretching into the sky

乡间的聚会

发生在悬浮田间的飞艇

祂将带着人们

回到欢声笑语的童年

收割早已金黄的时间

Gathering in the country

Meeting on an airship floating in the field

HE will take people

Back to the childhood full of joy

Reap the already golden time.

从入口大门伊始，规则的游览步道沿着根据自动化生产模式形成的农田图案展开，延伸串联起一系列景观节点。步道系统及景观节点将按照总体规划平面图分期实施，鸟瞰所呈现为一期已完成部分，后续内容将根据总图规划陆续展开建设。关于构筑的设计，通过文字与画面诗意化的意想，构成最初的设计概念，尝试探讨在人类极致科技生产的场域之下，物质生产消费与精神内核状态可能的关系。这些构筑，展现着关于科技、未来、未知的一些想象。

From the beginning of the entrance gate, the regular tourist trail unfolds along the farmland pattern formed according to the automated production mode, extending and connecting a series of landscape nodes. The trail system and landscape nodes will be implemented in phases according to the overall plan. The scene presented by the aerial perspective is the completed part of the first phase, and the construction of subsequent content will be carried out according to the general plan. The design of the construction constitutes the initial design concept through the poetic idea of words and pictures, trying to explore the possible relationship between material production and consumption and the status of a spiritual core under the field of extreme technological production. These constructions reflect imagination about technology, the future, and the unknown.

入口大门通过变截面的钢结构，形成一个向上生长的造型，以及一条长30米，视觉封闭，却可以落入日光的人行通廊。立柱与斜肋相交，组成稳定的力学形态。作为大门，其舒展的外表有着强烈的昭示性，万物伊始，疯狂生长；而穿行其中，封闭的视觉与末端的框景，又是内向收敛的，有着渡过、穿越彼端的仪式。

The main entrance gate adopts a variable cross-section steel structure to form an upward-growing shape and a 30-meter-long visually closed pedestrian corridor letting the sunshine in . The intersection of the column and the diagrid rib constitutes a stable mechanical form.  As the main gate, its stretched appearance is strongly indicative, symbolizing the vigorous growth of all creatures in the prosperous season. When walking through it, the closed vision and the framed scene at the end are inwardly convergent, creating a sense of ritual of crossing and moving forward to the other end.

列柱与横肋的间隙可片段式地窥探天空与田野；变截面上挑的结构序列，形成有节奏的光影；出挑的横肋收束得足够细，增强透视关系，使之形成延伸至天际的一束细线。列柱的宽度与间距正好为一比一的关系，使人穿行其中时，视觉能完全被限定于两排柱子之间，而两侧的光线却能在间隙处温润的渗出，视线被导向尽端的风景，引人穿行。

From the gap between the columns and the transverse ribs, fragments of the sky and the field can be seen. The upward structural sequence of variable cross-sections forms a rhythmic overlap of light and shadow. The protruding transverse ribs are narrowed enough to enhance the perspective and form a grouping of fine lines that extend to the sky. The ratio of the width of the columns to the spacing is exactly one to one. When walking through them, the vision can be completely confined between the two rows of columns, while the light on both sides can bleed out gently in the gap, and the view is guided to the beautiful distant scenery, leading viewers to move forward.

有别于通常的乡村项目使用在地材料和构造方式，设计无一例外的采用了“非在地”的手段进行。它们使用现代工业材料，大量利用反射极强的镜面不锈钢，通过消隐结构或悬挑的方式展现构筑的漂浮感，呈现一种未来的诗意。

Differing from the local materials and construction methods used in the conventional rural projects, the design of this project has adopted “off-site” means. Through the use of modern industrial materials, a large number of highly reflective mirrored stainless steels, and with the floating sense of construction displayed by the hidden structure or cantilever, the poetry of the futuristic is presented.

直径24米的环形体量，既是回廊又似祭坛，亦如同天外降临之物，漂浮于田野之上。简洁的形态，包含了穿越古今多层意味的解读。也正因如此，使它具有似曾相识、似是而非的 “未知”神秘感。消隐于环境之中的十二面旋镜，如同十二扇“门”，支撑起回廊顶部；方塔的光影将顺应时间，落入不同位置的镜门；进入回廊，天空将被聚合的空间包裹。通过不锈钢的反射效果，方形体量消融于环境之中，模糊了轮廓与边界。使人仿佛能通过中间凸显的圆洞，穿越一堵隐形的墙体，跨进另外一个空间。

The circular construction with a diameter of 24 meters is both a cloister and an altar, floating above the fields like something that has fallen from the sky. Through its concise form, it embodies the interpretation of multiple meanings that traverse the past and the present. With those elements, a sense of the seemingly known and the paradoxical “unknown” mystery is created. The twelve rotating mirrors hidden in the environment, like twelve “doors,” support the top of the cloister. The light and shadow of the square tower will follow the time change and fall into the mirror doors in different positions. Entering the cloister, the sky will be wrapped by the convergent space.  Through the reflection of stainless steel, the cubic construction blends into the environment, with blurred outlines and boundaries. Seemingly, it can make people pass through the prominent circular hole in the middle, traverse an invisible wall, and step into another space.

圆洞边缘的镜面，在日落时分，映照余晖，造就一个人工光环。光环的形成需要特定季节的太阳入射角度，通过这些特意为之的设置，连接人与人之所不能及的力量间的关系——生产的旷野之上，人可以驯服稻谷，却也只能耐心等待阳光落入圆环，洒向大地，滋养生长。

The mirror surface at the edge of the circular hole can create an artificial halo by reflecting the afterglow at sunset. The formation of the halo requires a specific season and a specific angle of incidence of sunlight. Through these deliberate settings, the various forces beyond reach are connected. In the wilderness of production, people have learned the technique of cultivating rice, but they can only wait patiently for the sun to fall into the circle, spilling onto the earth, and nourishing lives.

亭子顶部是一个倒置的圆锥体，如同漏斗般将雨水汇集至地面一个更小的倒圆锥体茶台之上；三根细小的立柱与圆边相切锚固，通过不锈钢的材质使之消隐，令漏斗顶得以“漂浮”。这样的设置包含着“感谢”的意味，不像大部分建筑一样，雨水被“排除”在外，而是被捧在手心。亭子顶部的不锈钢材质，使观者能在抬头之际，观望环绕四周的田野大地。借由具体的形态展现具有抽象意味的“未知”的概念，贯穿于所有节点的设计之中。正如《2001太空漫游》中黑石的存在，给故事叙述予以关键的符号，而这样的符号或许连导演也无法全然知晓其全部的意涵。也正因如此，设计并不停留于具体形态的落成与呈现，也可能在于观者的凝望、触摸以及想象。

At the top of the pavilion is an inverted cone, which collects rainwater like a funnel onto a tea table with a smaller inverted cone on the ground. Three small uprights are anchored tangentially to the round edges, and the use of stainless steel conceals them, enabling the top of the funnel to appear to be “floating.” This design and setting contains the meaning of “appreciation.” Unlike most buildings, over here, rainwater is not “excluded” but held in the palm of the hand.  The stainless steel material on the top of the pavilion allows viewers to see the surrounding fields when they look up. Through the concrete form, the concept of “unknown” with abstract meaning is revealed and runs through the design of all nodes. Just like the monolith in 2001: A Space Odyssey, it gave the narrative a key symbol, whereas regarding the specific meaning of such a symbol, perhaps even the director cannot fully understand it. Accordingly, design does not stop at the completion and presentation of specific forms, but may also be reflected in the gaze, touch, and imagination of the viewer.

Interiors: 加减智库

Photos:曾喆胡彦