Jinke Jianghuhai

The space pattern of Chinese literati residence, often consign host's disposition to place. In the project of kunming jianghu hai, we try to disassemble poems into words and music, disassemble paintings into shapes and colors, restore sculptures into materials and volumes, and return architecture to its original space requirements. With the scale of landscape, the site is allocated, and the light and shadow, wind and moon are introduced into the surrounding void of the wall, which conveys the simple spirit of Oriental aesthetics with the emotion of chanting poetry. The height of Oriental aesthetics lies in the blankness. Whether it is poetry or painting, the timely blankness can make the whole picture and the rules of the work more harmonious and exquisite and leave the space of imagination intentionally. This technique reached its peak in the song dynasty. The "twilight snow map" by xia GUI in the southern song dynasty depicts the late autumn or early winter southern twilight snow scenes. Though the whole picture is not full of feet, it is small in the middle and large in the middle. It is elaborately depicted. To poeticize life and make space flow is not only the aesthetic appeal existing in the ancient picture scroll, but also the reflection and struggle of designers on the prevailing kitsch aesthetics. Apart from the existing buildings, there is hardly any sense of deep courtyard in the whole long and narrow space. How to put pen to paper in it, draw the order of space with landscape, and reserve free space at the same time has become a big challenge for us. Surrounded by walls, colored with mountains and stones, avoiding flashy decoration and line feet, focusing on the proportion of space and the construction of artistic conception, the free form opens the connection of indoor and outdoor space, and achieves the unity and integration of landscape and architecture. The entrance is so unadorned with traditional Chinese decoration that the simple lines outline the facade of the mansion. The name of the courtyard comes from the famous song guqin. Surrounded by the mirror water scene, the courtyard is quiet and quiet. The silhouette device of the western mountain of dianchi forms the opposite scene. There is an artistic conception that "the singing mountain of birds is more secluded, the noise forest of cicadas is more quiet". In the center of the courtyard, there were 12 plants of crape myrtle, symbolizing December of a year. Crape myrtle trees were graceful, their trunks were smooth and clean, and their colors were gorgeous, forming a sense of solemn ceremony. The courtyard steps adopt the magic color gray stone, the texture of the stone is like the wave, and the perforation version with the water grain on one side is like the wave of the step. Stone mountain, rubble like water, ting step for the waves. The exterior decoration elements of the sales office run through the western hills of dianchi, continuous in the form of mountains, overlapping and overlapping, as if looming like the autumn mountains after rain. A scene is set in the middle of the waterscape. With its simple shape and color, it is in sharp contrast with the water surface. The fishing boat and reflection show different light and shadow as time changes. Flocks of seagulls fly over the sea, their wings waving like the sound of coming free, taking the seagulls as the prototype abstract evolution, using the waterscape and brass on the material, and adding a highlight on the external spotlights. "Manting fang" is named after the song dynasty, named after tang and wu rong's poem "manting fang grass is easy to dusk". It's a perfect fit for the back yard. The garden is covered with seasonal flowers and plants, along the courtyard design wind and rain gallery, leading to the model room. The leaves were dancing and the flowers were sweet. Song dynasty zen Buddhism divided into three realms. The first boundary is "fallen leaves are full of empty mountains, where to find traces"; The second stage is "empty mountain, water bloom". The third stage is "the eternal sky and the moon". The garden outside model room, with contemporary gimmick to the artistic conception of landscape undertook afresh. The moment the project was completed, the project began to move away from our design drawing. With its independent order, the space became a part of people's life. If we imagine the future development of Chinese landscape art, should designers try their best to leave space and imagination in the high-density visual feast, and create a poetic combination, climbing and growing with the help of ancient Chinese white space, so that people can feel some freedom in this complex world.