用途 Function： 办公、展示、商业 OFFICE\EXHIBITION\COMM. 所在地 Location： 北京 BEIJING 实施阶段 Phase:    已建成 BUILT 周期 Construction Period： - 完成日 Complete Time： 2019 规模 Size： 地上3层 3Floor 建筑面积 Floor Area： 2800 sqm

WuliEpoch Culture Center attempts to create a triptych for architecture, landscape and interior design in the project. While the project is encompassed by the splendor Western Hills, the architecture and interior design put up an immersive show within the landscape. The distance landscape is introduced to the project in a dynamic rather than static way. A continuous path wrapped around from exterior to interior. The first nature of landscape and the second nature of the interior space join seamlessly through the path. The ambience along the path is circumferential and religious to some extent, as a way to worship nature.                  As the site is triangulated, the project responses to the site, by stacking layers of curve walls, in a crisscrossing fashion to create layers of courtyards. Spatial demarcations are horizontal walls on the ground or suspended in the air. Seeking a dialogue with the courtyard house in Beijing, as well as the Great Wall scenery nearby, the material used for the project is carefully proportioned masonry wall, and it is used throughout landscape, architecture and interior design. A uniform tone brings historic gravitas to the project. The project encompasses a 1500sm space for community and a 400sm skating rink. The project interprets nature in three ways: 1. the interior space depicts nature in a digital fashion. The signature image of “autumn foliage in Western Hills” is depicted the field of glittering wooden laminated aluminum panels. The array of ceiling panels change color from warm yellow to white, suggesting the transition from entrance to skating ring. An “inverted Western Hills” is created by various curving array of ceiling panels. 2. First nature and second nature are juxtaposed and joined simultaneously. Recycle concrete blocks are cut into thin pieces and put together to form curving nature surfaces. The hills and waterfalls, created by thin masonry and lighting, show the solidification and abstraction of nature. The contrast between the mortal and immortal nature gives people space to think critically about nature. 3. Distance landscape is introduced into the interior in a dynamic way. Landscape becomes a living space.     被北京壮丽的西山景观包围的五里春秋泛文化艺术中心试图 创造一个建筑、景观、室内三位一体的项目，它的建筑和室内设 计试图让观者可以体验身临其境的被景观环绕的感受。一条连续 的从外到内的坡道盘旋上升，远处的景观被动态的而不是静止的 引入到建筑中来，此时，景观的“第一本质”便和室内的“第二本质” 无缝的联系在了一起。由于室内外都紧密围绕着景观展开，这个 向上的路径空间的气氛在某种程度上具有了一种朝拜自然的仪式 感。 由于项目地段是三角形的，建筑通过一系列曲线墙堆叠在一 起回应了基地的轮廓，这些沿水平展开的或空中悬浮的墙以交错 的方式创造了一系列多层次的庭院。为了与北京的四合院和长城 形成对话，墙体的材料是精心控制比例的混凝土砖，这些砖同时 也被用于景观地面、建筑墙体和室内墙体——统一的色调为项目带 来了历史感的庄严。该项目包括一个1500平方米的社区体验空间 和一个400平方米的滑冰场。 项目以三种方式诠释了自然：第一，室内空间以数字化的方 式描绘了自然：“西山秋叶”的标志性印象在这里以天花板上粼粼的 木质垂片加以呈现，其颜色由温暖的黄色变成了白色，暗示着从 入口到滑冰场的过渡；在更大的尺度上，天花板的层叠递进的曲 线形成了“倒置西山”的形态。第二，第一特征和潜在的第二特征是 并列出现而同时又紧密的结合在一起的：环保混凝土砌块被切成 薄片，拼成弯曲的具有自然形态的曲线，犹如山丘和流淌的瀑 布，在天光和人工光的刻画下展现了自然的凝固和抽象，而自然 的易逝与不朽之间的对比带给了人们思考自然的时刻。第三，远 处的景观以动态的方式被引入室内，景观边成为生活空间的一部 分。