千岛湖缆车站，杭州/建筑

2022-06-06 16:19:00建筑设计,交通,规划设计 , 自然风格

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项目名称

千岛湖缆车站

设计团队

韩力、闫超、孔祥平、何天森、姜文辉、林勇、彭迎云、姚胜勇、郭莉丽、苏圣亮、林边

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设计公司

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项目规模

2013年，章明老师牵头组织上海几位建筑师一起参加了华联集团在千岛湖开发的进贤湾项目东部小镇片区的规划与建筑设计。当初的抽签选址以及规划、建筑设计还不时浮现眼前。我们冒然先以这个索道站的设计与建造揭开整个上海建筑师集群设计的冰山一角吧。

In 2013, Mr. Zhang Ming led several architects in Shanghai to participate in the planning and architectural design of the eastern town area of Jinxian Bay project developed by Hualian Group in Qiandao Lake. The original lottery site selection, planning and architectural design still emerge from time to time. Let's take the risk to open the iceberg of the entire Shanghai architect cluster design with the design and construction of this cableway station.

千岛湖地理位置得天独厚，“西子三千个，群山已失高；峰峦成岛屿，平地卷波涛。“我们的场地头枕清山，面朝绿水，湖中群岛，梦如天堂。湖中水位落差数米，滨水空间既有码头，也有原生芦苇和群鸟隐现的自然，山坡上茶田叠叠与散竹相辉映。初到场地，山坡下可以建设的土地狭小，如此美景，唯有谦卑惶恐之心，思考良久而不知如何下手。

Qiandao Lake enjoys a unique geographical location, "There are 3000 in the west, and the mountains have lost their height; the peaks have become islands, and the earth is rolling with waves. "Our site lies on the clear mountain and faces the green water. The islands in the lake are like a paradise. The water level drop in the lake is several meters. The waterfront space has both docks and the nature of native reeds and birds. The tea fields on the hillside are superimposed with scattered bamboos. When we first arrive at the site, the land that can be built under the hillside is so small that we have to be humble and terrified. After thinking for a long time, we don't know how to start.

卜冰老师作为集群设计的规划师，将滨水空间规划成若干方形的群落。滨水步道与绿色植被交错呼应，串起了整个掩映在山坡下的群落空间。我们抽到的地块位置位于小镇码头和上山索道站之间，正好结合索道站作为整个旅游小镇的启动项目。作为今后东部小镇重要的交通基础设施，将会成为未来整个区域的门户以及肩负部分基础服务功能。场地近似方形，然而基地正好处在山脚处不规则的怪石嶙峋的陡坡地形上，临水顺山，西高东低。基地小镇中段，与周边其他功能区域遥相呼应，成为整个小镇地理方位的核心。同时南侧又与码头一起成为广袤湖景空间中界定小镇方位的的主要地标建筑。

Teacher bubing, as a planner of cluster design, planned the waterfront space into several square communities. Waterfront footpaths and green vegetation crisscross each other, connecting the whole community space under the hillside. The plot we extracted is located between the Town Wharf and the mountain cableway station, which is just combined with the cableway station as the starting project of the whole tourist town. As an important transportation infrastructure of the eastern town in the future, it will become the gateway of the whole region and shoulder some basic service functions in the future. The site is approximately square. However, the base is located at the foot of the mountain on the irregular and craggy steep slope terrain. It faces the water and runs along the mountain. It is high in the West and low in the East. The middle section of the base town echoes with other surrounding functional areas and becomes the core of the geographical position of the whole town. At the same time, the south side, together with the wharf, has become the main landmark building defining the orientation of the town in the vast lake landscape space.

1，抽象的山体原型，算法的几何生形

经过非常漫长的思考，设计概念逻辑是来自山形，并且希望超越山形。设计过程地从GIS的视角来阅读场地的地理信息，并且将一个“平行四边形体”定义成为一个最能反映地形的基础原型单元。接下来通过遗传算法来模拟现有山体的几何逻辑，归纳这种基于几何生长逻辑的语法，这也正是通过机器学习来实现对现有地理与地形信息的抽象物化过程。接下来，我们通过建立这种原型与语法的关联性，来筛选和预测未来形体。当然，预测的几何形体并不是僵化的算法生成的结果，而是充分考虑到功能与动线对于整体空间几何的影响。

1. Abstract mountain prototype, geometric generation of algorithm

After a very long time of thinking, the design concept logic comes from Yamagata and hopes to surpass Yamagata. In the design process, the geographical information of the site is read from the perspective of GIS, and a "parallelogram" is defined as a basic prototype unit that can best reflect the terrain. Next, genetic algorithm is used to simulate the geometric logic of existing mountains, and this syntax based on geometric growth logic is summarized. This is also the abstract materialization process of existing geographic and terrain information through machine learning. Next, we screen and predict future forms by establishing the relevance between the prototype and grammar. Of course, the predicted geometry is not the result of rigid algorithm, but fully considering the influence of function and moving line on the overall space geometry.

2，立体的交通编织，锚接的空间悬挑

之前已建成的渡船码头就位于山脚下，长长的石板虽然粗放有力，但也打断了原有的自然的野趣。起初觉得码头过于粗暴，但在现场也感受到这种介入方式也未尝不可以和我们的建筑共同形成新的场所特征。起初，无论是码头的人流导入，基地地形的嶙峋局促，还是缆车站标高的悬置以及东部小镇平行于水岸的场地穿越，都提出了无法调和的矛盾。然而，正是这些立体的不同标高的交通动线为设计提供了特殊的视角。我们在前序几何生成过程中，移除了动线占用的公共空间，自然形成了借天不借地的悬挑空间格局。水平出挑的平行四边形几何，立体化地组织了全新的空间几何关系，也对结构的锚接与悬挑提出了空前的挑战。

2. Three dimensional traffic weaving and anchored space cantilever

The ferry terminal that has been built before is located at the foot of the mountain. Although the long stone slabs are extensive and powerful, they also interrupt the original natural wild interest. At first, I thought the wharf was too rough, but I also felt that this way of intervention could form a new site feature with our buildings. At first, irreconcilable contradictions were put forward in terms of the introduction of people at the wharf, the rugged and cramped terrain of the base, the suspension of the cable station elevation and the site crossing of the eastern town parallel to the water bank. However, it is these three-dimensional traffic lines with different elevations that provide a special perspective for the design. We removed the public space occupied by the moving line in the process of generating the pre order geometry, and naturally formed a cantilevered spatial pattern of borrowing the sky but not the land. The horizontally overhanging parallelogram geometry has organized a new spatial geometric relationship in a three-dimensional way, and also posed an unprecedented challenge to the anchoring and cantilevering of structures.

3，多元的地景几何，结构的山水自然

我们定义的平行四边形原型与迭代的形式语法生成并控制着整体的地景逻辑，此过程并非二维，操作的过程充斥着三维的空间几何碎片，这也正是趣味所在。通过时间性的推演，经过不断的分形、迭代、并置、减除，逐渐的让整个体量从山体生长而出，散布的碎片塑造了全新的地景几何，期望其产生藏于山而又不溶于山的效果。过程的生成流露着多元的地景以及生动的空间，这并不是简单粗暴的将山体与地形撕裂而是试图建立一个自主而独立的全新地景。由高到低，整个体量都被绿植表皮和自然的竹木材料加以覆盖，从顶到底，形成整个山体景观的延伸与出挑，这也为整个体量提供了一个具有结构几何意义的、抽象化的自然。

3. Diversified landscape geometry and natural landscape structure

The parallelogram prototype and iterative formal grammar we defined generate and control the overall landscape logic. This process is not two-dimensional, and the operation process is full of three-dimensional geometric fragments, which is what is interesting. Through temporal deduction, through continuous fractal, iteration, juxtaposition and subtraction, the whole volume gradually grows out of the mountain. The scattered fragments shape a new landscape geometry, hoping to produce the effect of hiding in the mountain but not dissolving in the mountain. The formation of the process reveals a diverse landscape and vivid space, which is not a simple and rough tearing of mountains and terrain, but an attempt to establish an independent and independent new landscape. From high to low, the whole volume is covered by green plant epidermis and natural bamboo and wood materials. From the top to the bottom, the whole mountain landscape is extended and overhauled, which also provides an abstract nature with structural geometric significance for the whole volume.

4，取势而不顺势，亲水而不濯水

整个生形的过程并没有顺势层台退进，而是反其道而向外悬挑。表面上激化了建筑功能与场地环境之间的矛盾，但却合理缓解了建筑体量与岸线标高之间的关系以及场地利用问题，同时，通过自身的形式表达，使得水中倒影亦成为东部小镇的一景。轻盈出挑，营造亲水的空间体量，形成水中轩，岸上景，亲水而不濯水的整体态势。山水与建筑在此相互掩映，互成全新的山水景观以及自然关系。

4. Take advantage of the situation but not follow it; be hydrophilic but not clean water

The whole process of formation did not retreat along the platform, but hung outward in the opposite way. On the surface, it intensifies the contradiction between the building function and the site environment, but it reasonably relieves the relationship between the building volume and the shoreline elevation and the site utilization. At the same time, through its own form of expression, the reflection in the water has also become a scene of the eastern town. It is light and bold, creating a hydrophilic space volume, forming the overall situation of Water Pavilion, shore view, hydrophilic but not clean water. Mountains and rivers and buildings set off each other here, forming a new landscape and natural relationship with each other.

5，动态的内聚外隐，凝固的一框之景

秀水难留，指的是若无可思，再美的景色也难独取。本设计通过悬挑形成的景框空间，从泱泱湖水中独取一框湖水来仔细把玩。当游客从山顶下缆车后，虽只得一框湖水的景致，但就如杯中望月，非一目了然之无味，而是因小见大，值得细细品之。建筑内弯转的流线将展示、餐饮、纪念品、餐饮等功能与内院玻的景致与这一框湖水相互延展。形成了动态中的强烈记忆，希望通过建筑本身形成自然的景致的组成部分。可惜受限于目前受整个项目推进的时序影响，目前只建成了索道站东侧的建筑，期待时机合适时，可以将整个建筑西翼完整地呈现出来。虽然整个项目所有的参与建筑师都可以说花了大气力，而仅仅部分得以建成，或许在这个日益扁平的互联网时代下，自然的体验还会成为我们的梦想。当我驱车离开场地的时候，回头望处，那个建筑隐于自然，藏于山林，就像什么也没有发生过……这种结果也许也正是我们的初衷吧。

5. Dynamic cohesion and concealment, solidification of a frame

It is difficult to keep the beautiful water, which means that no matter how beautiful the scenery is, it is difficult to take it alone. This design takes a unique frame of lake water from the vast lake water to play carefully through the landscape frame space formed by cantilevered. When tourists get off the cable car from the top of the mountain, there is only a view of the lake, but it is like looking at the moon in a cup. It is not obvious and tasteless, but because of the small, it is worth tasting. The curving streamline in the building will extend the display, catering, souvenirs, catering and other functions with the scenery of the inner courtyard glass and the frame lake water. It has formed a strong dynamic memory, hoping to form a part of the natural landscape through the building itself. Unfortunately, due to the time sequence of the whole project, only the building on the east side of the cableway station has been built. It is expected that when the time is right, the West Wing of the whole building can be presented completely. Although all the participating architects of the whole project can be said to have spent a lot of effort, and only part of it has been completed, perhaps in this increasingly flat Internet era, natural experience will become our dream. When I drove away from the site, looking back, the building was hidden in nature and in the mountains and forests, as if nothing had happened... This result may be our original intention.