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廣東艾米未來農業文旅小鎮景觀設計 | 加減智庫

加減智庫 2021-04-22

原創

項目名稱：

廣東艾米未來農業文旅小鎮景觀設計
項目地點：

廣東省廣州從化風云嶺森林公園
項目規模：

299.83畝
設計公司：

加減智庫設計事務所（PMT Partners）
建成時間：

2020年5月
圖片來源：

曾喆、趙煒昊

^{▲視頻，video ? 加減智庫}

生產世界與未來科技

^{Production World and Future Technology}

艾米未來農業文旅小鎮是基于5G技術、大數據、人工智能、無人機等前端技術支持，所展現出來的未來農業圖景；是結合生態旅游、產業示范、科技模式推廣于一體的農業文旅示范區。因此，接受委托對項目進行設計之初，便提出了“Future ALL”的概念——使所有環節都未來化，這其中包含： Future Agriculture—農業未來化；Future Landscape—景觀未來化；Future Life—生活未來化；以求展現最前沿的技術所帶來的，對物質生產世界的影響。

^{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.}

^{▲農業生產與未來科技（素材來源于網絡）Agriculture & Future Technology (From the Internet)}

Future Agriculture ——未來農業

事實上，智能農業已經迭代了多個版本。衛星監控著各種數據，通過顯示器管理農田，廣袤的大地上只能看到各種自動化農業機械——越來越多的應用場景使人慢慢脫離土地，使未來農業邁向更無人化的生產環境。它了改變鄉村的生活方式、大地地貌。

^{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.}

01 智能農業（素材來源于網絡）.gif

^{▲智能農業（素材來源于網絡） Intelligent agriculture (From the Internet)}

Future Landscape ——未來景觀

從太空俯瞰地球，人類的農業發展史，是一部地表景觀的演變史。過去傳統的農業活動形成了與之生產方式對應的地表景觀類型，并由此產生了與土地生產息息相關的生活方式。而隨著現代農業的出現，這些景觀類型也隨之發生變化。

^{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.}

^{▲新型農業景觀（素材來源于網絡），New agricultural landscape (From the Internet)}

高效的網絡鏈接，使氣象情報、田野數據能在云端被人工智能整合并反饋給無人機，這些正在逐步實現的生產模式將重新塑造一種農業的新地景類型——自動灌溉、收割系統，無人機的工作路徑等使得傳統的自然農田肌理轉變成以直線、方形、圓形、扇面等規則幾何體構成的圖案，這也正是小鎮農場規劃總圖中幾何形狀的來由。

^{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.}

^{▲ 農場幾何圖形生成 ?加減智庫設計事務所 Formation of geometric figures on the farm by ?PMT Partners}

直線、同心圓、扇形，這些不同類型的組合因應新生產方式而生，也承擔著展示作用。規劃設計通過游覽棧道限定了智能農耕展示區域的邊界，構成了規劃的總體骨架與分區。而智能化農田各項技術的展示性生產，便在這些邊界內展開。

^{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.}

^{▲ 規劃總圖生成分析 ?加減智庫設計事務所 Formation of masterplan ?PMT Partners}

Future Life ——未來生活

未來農業技術將使生產變得更為迅猛，溫飽也早已不是人存在的首要矛盾，相反，癲狂的生產與消費才是。未來的鄉村生活，不應只關注不斷邁進的科技生產與物質消費，更需要精神世界的重塑——對“未知”的塑造。

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.”

05 天壇圜丘衛星航拍圖（圖片來源于百度地圖）.jpg

^{▲ 天壇圜丘衛星航拍圖（圖片來源于百度地圖） Aerial image of the Circular Mound Altar in the Temple of Heaven (From Baidu Map)}

06 艾米未來農業文旅小鎮局部航拍圖 ?曾喆.jpg

^{▲ 艾米未來農業文旅小鎮航拍圖 ?曾喆 Aerial image of the AIRICE Town ?ZENG Zhe}

因此，在物質自動化生產的場地中，一系列構筑被安放在主要游覽路徑的關鍵節點之上。這些簡潔的形體不僅回應地表的幾何形態，承擔游覽休憩節點的功能，更昭示著一種未知的力量——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.}

^{▲ 圖片來源于電影《2001太空漫游》 Pictures come from the movie 2001: A Space Odyssey.}

自人類學會使用工具以來，這股力量便以不同形式出現，與之相伴而行，它是上古的儀式圖騰，是荒原之上的巨石環陣，是祭天的圜丘，是《2001太空漫游》中的黑石——人類不斷擴大認知的范圍，也在擴展未知的范圍，正是因為對“未知”的觀照，才有了人類欲望的克制、生命延續與向前的探索。

為了重現對未知力量的敬畏，構筑被呈現以“崇高Sublime”的形式，以“他者”的身份浮現于人們窮盡科技所能的生產場地之中。祂們如同來自遠古的儀式殿臺，又如穿越時空的外星來物，與未知的未來及當下的生產世界展開對話…….

^{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.}

^{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.}

^{▲ 艾米未來農業文旅小鎮航拍圖?曾喆 Aerial image of the AIRICE Town ?ZENG Zhe}

^{▲艾米未來農業文旅小鎮實景 ?曾喆 Photographs of the AIRICE Town ?Zeng Zhe}

意想—設計概念

^{Idea–Design Concept}

為了更方便于呈現“未知”的意味，系列構筑將以編號（OBJECT X）的方式命名，他們沒有被語義限定的名稱，間或有只言片語的詮釋，亦不全然靠視覺的傳達，更多是未知的想象。

^{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.}

OBJECT I

因反射而隱沒于環境中的方碑

界限消融

穿越邊界

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}

^{▲Object I – 設計效果圖Object I – Rendering ?加減智庫設計事務所}

OBJECT II

懸浮通道

起始端向上逐漸擴展的體量

登高的暗示

延展的視覺

反重力的錯覺

想象力的邊界

將已有的實體

延伸至無盡深遠之空

^{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}

14 Object II - 設計效果圖（二期待建項目） ?加減智庫設計事務所（PMT Partners）.jpg

^{▲Object II – 設計效果圖 Object II – Rendering ?加減智庫設計事務所}

OBJECT III

中心方塔的光陰之下

十二面回旋之鏡

返照成十二扇時間門

支撐起輪回的游廊

晝夜光影

四時節氣

生長凋謝

在直徑二十四米間

輪回聚散

^{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}

^{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}

16 Object III - 設計效果圖 ?加減智庫設計事務所（PMT Partners）.jpg

^{▲Object III – 設計效果圖 Object III – Rendering ?加減智庫設計事務所}

OBJECT IV

接雨亭

接著落下的詩句

如果環境保護得足夠好

詩意亦可煮茶

抬頭仰望

可見一片大地

融入天際

^{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}

^{Rise and look up}

^{There is a vast land}

^{Stretching into the sky}

未標題-1.jpg

^{▲Object IV – 設計效果圖 Object IV – Rendering ?加減智庫設計事務所}

OBJECT V

鄉間的聚會

發生在懸浮田間的飛艇

祂將帶著人們

回到歡聲笑語的童年

收割早已金黃的時間

^{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.}

20 Object V - 設計效果圖 ?加減智庫設計事務所（PMT Partners）.jpg

^{▲Object V – 設計效果圖 Object V – Rendering ?加減智庫設計事務所}

呈現

^Presentation

從入口大門伊始，規則的游覽步道沿著根據自動化生產模式形成的農田圖案展開，延伸串聯起一系列景觀節點。步道系統及景觀節點將按照總體規劃平面圖分期實施，鳥瞰所呈現為一期已完成部分，后續內容將根據總圖規劃陸續展開建設。

^{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.}

^{▲遠眺農田展示區入口，Overlooking the entrance ?曾喆}

^{▲艾米未來農業文旅小鎮航拍，Aerial view of the AIRICE Town ?曾喆}

^{▲展示區局部鳥瞰， Aerial view of the AIRICE Town ?曾喆}

關于構筑的設計，通過文字與畫面詩意化的意想，構成最初的設計概念，嘗試探討在人類極致科技生產的場域之下，物質生產消費與精神內核狀態可能的關系。這些構筑，展現著關于科技、未來、未知的一些想象。

^{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.}

^{▲Object VI，入口大門航拍圖，Aerial view of the entrance gate ?曾喆}

^{▲Object VI-入口大門航拍，Aerial view of the entrance gate ?曾喆}

^{▲Object VI – 入口大門側立面，Object VI – Elevation of entrance gate ?曾喆}

入口大門通過變截面的鋼結構，形成一個向上生長的造型，以及一條長30米，視覺封閉，卻可以落入日光的人行通廊。立柱與斜肋相交，組成穩定的力學形態。

^{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.}

^{▲Object VI – 入口大門，The entrance gate ?艾米集團}

^{▲Object VI-入口大門，Object VI – Entrance gate ?曾喆}

作為大門，其舒展的外表有著強烈的昭示性，萬物伊始，瘋狂生長；而穿行其中，封閉的視覺與末端的框景，又是內向收斂的，有著渡過、穿越彼端的儀式。

^{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.}

^{▲Object VI入口大門 & 大門通廊，Object VI – Entrance gate & Entrance gate corridor ?趙煒昊}

列柱與橫肋的間隙可片段式地窺探天空與田野；變截面上挑的結構序列，形成有節奏的光影；出挑的橫肋收束得足夠細，增強透視關系，使之形成延伸至天際的一束細線。

^{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.}

^{▲Object VI入口大門局部，Object VI – Detail of entrance gate ?曾喆}

列柱的寬度與間距正好為一比一的關系，使人穿行其中時，視覺能完全被限定于兩排柱子之間，而兩側的光線卻能在間隙處溫潤的滲出，視線被導向盡端的風景，引人穿行。

^{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.}

^{▲Object VI入口大門內部，Object VI – Entrance gate corridor ?曾喆}

有別于通常的鄉村項目使用在地材料和構造方式，設計無一例外的采用了“非在地”的手段進行。它們使用現代工業材料，大量利用反射極強的鏡面不銹鋼，通過消隱結構或懸挑的方式展現構筑的漂浮感，呈現一種未來的詩意。

^{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.}

^{▲Object III – 晚稻季實景，Object III – Photographs of the late rice season ?曾喆}

直徑24米的環形體量，既是回廊又似祭壇，亦如同天外降臨之物，漂浮于田野之上。簡潔的形態，包含了穿越古今多層意味的解讀。也正因如此，使它具有似曾相識、似是而非的 “未知”神秘感。

^{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.}

▲Object III – 早稻季實景，Object III – Photographs of the early rice season ?趙煒昊

^{▲Object III – 早稻季實景，Object III – Photographs of the early rice season ?曾喆}

未標題-2.jpg

^{▲Object III – 局部，Object III – Details ?曾喆}

消隱于環境之中的十二面旋鏡，如同十二扇“門”，支撐起回廊頂部；方塔的光影將順應時間，落入不同位置的鏡門；進入回廊，天空將被聚合的空間包裹。

^{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.}

^{▲Object I – 晚稻季航拍圖，Object I – Aerial image of late rice season ?曾喆}

通過不銹鋼的反射效果，方形體量消融于環境之中，模糊了輪廓與邊界。使人仿佛能通過中間凸顯的圓洞，穿越一堵隱形的墻體，跨進另外一個空間。

^{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.}

^{▲Object I – 早稻季實景，Object I – Photographs of the early rice season ?趙煒昊}

48 Object I – 早稻季實景 ?曾喆.jpg

^{▲Object I – 早稻季實景，Object I – Photographs of the early rice season ?曾喆}

^{▲Object I – 早稻季實景，Object I – Photographs of the early rice season ?胡彥}

圓洞邊緣的鏡面，在日落時分，映照余暉，造就一個人工光環。光環的形成需要特定季節的太陽入射角度，通過這些特意為之的設置，連接人與人之所不能及的力量間的關系——生產的曠野之上，人可以馴服稻谷，卻也只能耐心等待陽光落入圓環，灑向大地，滋養生長。

^{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.}

^{▲Object I – 晚稻季實景圖，Object I – Photographs of the late rice season ?胡彥}

^{▲Object I – 晚稻季實景，Object I – Photographs of the early rice season ?曾喆}

亭子頂部是一個倒置的圓錐體，如同漏斗般將雨水匯集至地面一個更小的倒圓錐體茶臺之上；三根細小的立柱與圓邊相切錨固，通過不銹鋼的材質使之消隱，令漏斗頂得以“漂浮”。這樣的設置包含著“感謝”的意味，不像大部分建筑一樣，雨水被“排除”在外，而是被捧在手心。

^{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.}

^{▲Object IV – 早稻實景圖，Object IV – Photographs of the early rice season ?曾喆}

亭子頂部的不銹鋼材質，使觀者能在抬頭之際，觀望環繞四周的田野大地。

^{The stainless steel material on the top of the pavilion allows viewers to see the surrounding fields when they look up.}

^{▲Object IV – 亭子頂部細節圖，Object IV – Detail of the pavilion ?曾喆}

借由具體的形態展現具有抽象意味的“未知”的概念，貫穿于所有節點的設計之中。正如《2001太空漫游》中黑石的存在，給故事敘述予以關鍵的符號，而這樣的符號或許連導演也無法全然知曉其全部的意涵。也正因如此，設計并不停留于具體形態的落成與呈現，也可能在于觀者的凝望、觸摸以及想象。

^{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.}