消隱邊界·無限的內(nèi)外

Blurring Boundaries: Infinite Inside and Out

在有限的內(nèi)部置于一個無限，在城市喧囂里辟出一塊自然，天地四時往來悠游，夢都會由此而生。

In this limited interior, an infinite expanse unfolds. Within the city’s hustle, Meng Du Hui carves out a pocket of nature, where time flows at its own leisurely pace.

初次環(huán)游，建筑掩在園區(qū)樹影后，近入口時視覺能夠透過影壁上的圓形開孔穿透立面直達內(nèi)部。視覺的遠端鏡面反射其間光影，人穿行其間層疊浮動，圓滑的孔洞如現(xiàn)實和虛幻空間的偶然重疊，象外有象、引人入勝。

Upon first approach, the building is hidden behind the trees of the garden. As one nears the entrance, the eye is drawn through a circular opening in the screen wall, revealing glimpses of the interior. Reflections in mirrors at the far end of the space play with light and shadow, while the rounded apertures create an intriguing overlap of reality and fantasy, enticing visitors further inside.

轉(zhuǎn)身入內(nèi)，向兩側(cè)延伸而去的水景托起踏步將人引入。遠端有一座簡潔的亭子，不規(guī)則林立的纖細立柱與視線盡頭挺修茂盛的竹林融為一體。通過精細處理高差，使建筑、植物、亭臺、水景在視野里層疊錯落，一如徽派建筑與北京的融合轉(zhuǎn)譯，

在中國人的精神先驗中，亭子同時是“外化而內(nèi)不化”的代表，它如同空間的序言，釋放出詩意的洗練。

Upon entry, steps flanked by water features lead visitors onward. At the far end, a simple pavilion with slender, irregular columns merges with the dense bamboo grove at the horizon. Through precise treatment of elevation, the architecture, plants, pavilion, and water features layer and overlap in the field of view—much like the fusion and reinterpretation of Huizhou architecture with Beijing’s style.

In Chinese cultural understanding, a pavilion is the representative of “Outwardly adapting to circumstance, yet inwardly preserving authenticity”. It serves as the prologue to the space, releasing a refined poetic energy.

進入內(nèi)部，設(shè)計蕩開一筆，經(jīng)過重新解析的庭院、回廊、天井、窗扇等建筑意象貫穿始終。設(shè)計引水、鋪石、挑空，山水天光一一納入，虛實并敘。

Inside, the design opens up, with reinterpretations of courtyards, corridors, atriums, and window lattices running throughout. Water flows, stones are laid, and the interplay between light and shadow invites nature into the scene, blurring the lines between the real and the imagined.