“未来之森”正在侨福芳草地自在生长中，继续为这座建筑及身处其中的人们创造源源不断的生命力。今天，我们与艺文分享平台 24HOURS 一起，带您领略世界上如“未来之森”一般代表人与自然和谐共处的建筑设计，以不同的美学构造传递出对未来同样的美好希冀。

The "Futuristic Forest" thrives in Parkview Green FangCaoDi, creating infinite vitality to this building and the people within. Today, let’s join the Art & Culture platform 24HOURS to explore the architectural designs in the world that share the same value with "Futuristic Forest” and discover their hopes for the future in different aesthetic structures.

“ 20 世纪的建筑是作为独立的机能体存在的，就像一部机器，它几乎与自然脱离，独立发挥着功能，而不考虑与周围环境的协调；但到了 21 世纪，人、建筑都需要与自然环境建立一种连续性，不仅是节能的，还是生态的、能与社会相协调的。” 

——伊东丰雄

“If you look at 20th century functionalism, where functions were clearly separate, there was a strict order between establishing all functions separately. Now in the 21st century, it's more of a condition where living and working and playing and working are all intermingled.” 

——Toyo Ito

与自然相协调的建筑追求，在今天看已是司空见惯的建筑设计哲学。而伊东丰雄初次践行类似概念，却可追溯到上世纪的八十年代。

Architecture's unification with nature is now a common architectural design philosophy. But is was a concept first practiced by Toyo Ito back in the 1980s.

那时，日本横滨市内，一座由刚出茅庐的他操刀设计的“风之塔”横空出世，也让这位之后获得普里兹克奖的建筑设计师开始为世人所知。风之塔貌的第一特性，是它的“可变性”：建筑体中支撑结构的铝板和铺于塔上的亚克力镜面间，藏有十几个环形霓虹灯和底部的几十个泛光灯，灯体均会依据光照和分贝的瞬时情况，改变发光的方式。让风之塔可以随时对周边环境产生反应，拥有了独特的易变性。

At that time, in Yokohama, Japan, an edifice called the "Tower of Winds" was constructed, and helped this newcomer, who later won the Pritzker Prize, become known to the world. The first impression of the “Tower of Winds" is its "morphing": between the reflective surfaces covering the steel core, several neon rings and floodlights are at its base. The lamps change color according to the varying light and noise levels, allowing the Tower of Winds to take a more proactive role in the surrounding environment and to give it a unique visual variability.

风之塔 Tower of Winds

令建筑体随外界状态而改变，称得上伊东丰雄为建筑和自然建立关联和连续性的最初级，也是他创作初衷的一部分。而从使用玻璃幕墙这样谦卑感颇强的建筑外壳，去弱化建筑体本身的强势；到建造时活用各类自然元素，为建筑注入天然的“自然属性”；再到试图以更临时、短暂的建筑，瓦解建筑的永恒性，消解建筑对自然的占据.....此后的数十年中，伊东丰雄用愈为成熟和果敢的方式，让他的创作初衷得以维系，将自己的建筑哲学表达得愈备深度与广度。

As a part of his original design concept, having the building change with the environment, was the first step by Ito in establishing the connection between architecture and nature. From the use of the humble material of glass for its surface, in order to reduce the assertiveness of the building, to the usage of various natural elements adding to the "natural character", he created a more ephemeral and short-lived architecture and making it no longer eternal, dispelling its occupation of nature... In the following decades as Toyo Ito matured, he adopted progressively more courageous methods to maintain his philosophy and express them more profoundly.

其中，最有趣的一个方式，便是让“自然进入建筑”。

One of the most interesting methods was to invite nature into buildings.

银色之屋  Silver Hut

濑户内海上繁星般散落的岛屿中，有座名为“大三岛”的小岛。

Among the islands scattered in the Seto Inland Sea, there is a small island called "Omishima".

远离都市，宛如世外之地的小岛，也是伊东丰雄心中的伊甸之园。初次抵达时，他便为当地的美丽自然而流连不已。之后，他在岛上陆续设计了几座美术馆和博物馆，还将他在东京的住宅复制到了此地，取名“银色之屋”。

The small island, far away from the cities, is like a paradise, akin the Garden of Eden for Ito. On his first visit, he was stimulated by the beauty of local natural views. Later, he designed several art galleries and museums on this island and duplicated his Tokyo house there, named it  "Silver Hut".

这栋建筑体十分奇特，让人完全联想不到家宅的样子。菱形交错的铁骨架构成了轻盈感十足的屋顶，让雨雪与风都可穿贯而入，拂扫在屋内中人的面颊上。这般体验也践行了伊东之愿：创造让室外自然可以进入其中的建筑。或说，让建筑本身，以人与自然间的媒介之名而存在。这样与人和自然都紧密相依着的建筑，也算是伊东丰雄式的“生态建筑”了。

The Silver Hut is an unique building, and one of the characteristics that sets it apart from other houses is its series of crisscrossed arches that form the light roofs, allowing rain, snow, and wind to go through touching the faces of the people within. It also fulfills Ito's ideal of inviting nature into the building. In other words, a building acts as a medium between human and nature. Such a building can be regarded as the typical "Green Architecture" of Ito.

银色之屋  Silver Hut

也许有人会说：置身在自然中，才是最简单直接去亲近自然的方式，人造的建筑永远是突兀的。说法是无谬，却并无意义。毕竟我们只有在非日常的生活状态下，才可以心无旁骛地面对自然。工作、交友、购物、书店、餐厅、家居、影院.....海量的生活需求早已成为了人们的生活底线，也关联着最多的幸福感。如何在现有的生活方式下加深与自然的连接，才是建筑师拥有考虑空间的事情。

It is said that totally immersing oneself in the natural world is the only way to truly connect with it, and the artificial buildings will always be obtrusive. The argument is of course self-evident yet not pointless. After all, we appreciate the nature with no distractions only when we can escape from our daily life. Work, friends, shopping, bookstores, restaurants, homes, theatres, and so on. Different living demands have already become integral parts of people's lives, and are closely related to our concept of happiness. Uniting nature more profoundly with today's lifestyle is what architects may have to consider.

所以，银色之屋这样的作品，虽样式夸张，只具实验性，却是在尝试让自然走入我们日常生活的作品，自有其意义所在。人们需要饱满地生活，所以需要它带来的那份启示。在审美和应用意义之外，这样的建筑也具备着不可忽视的“表达力”——表达天与人的羁绊，表达看似安居红尘的我们，对自然从未失去的渴求、敬畏与期待。

Therefore, works like the Silver Hut, although an exaggeration of this concept and only experimental, is nonetheless a meaningful attempt to unite nature with our daily lives; people have to live a rich life and, at the same time, also need to be enlightened. In addition to the aesthetic and practical meaning, such buildings also have an "expressive power" that cannot be ignored- expressing the bond between nature and human, the desire, fear, and expectation of nature that is never lost.

这份对自然的表诉，也为世人所共期。相似的表达方式，在不同领域绵延不绝着。譬如，若你最近去到北京侨福芳草地，一定会对他们倾心打造的艺术装置——“未来之森”印象深刻。

We see similar expressions of this message to nature conveyed everywhere. For example, if you have visited Parkview Green FangCaoDi recently, you will be impressed by the elaborate art installation- the "Futuristic Forest".

北京，侨福芳草地，“未来之森"

Parkview Green FangCaoDi, Beijing, "Futuristic Forest"

走进侨福芳草地，地下二层的那一大片“森林”立入眼帘。走近而观，建筑中真有自然——树木高耸，绿意茂盛，花朵旖丽，本为其他缘由来到这里的人们，一时沉浸在苍翠盎然中，恍如身处别地。

The moment you walk into Parkview Green FangCaoDi, and you will immediately see the big "Forest" on LG2. Take a closer look, the real nature is in the installation of tall trees, flourishing plants, and beautiful flowers, making people immersed in this lush greenery.

上到二楼远望，才发现整片“森林”的形态，是一个巨大的无限符号（∞），“无限”本身，也意指装置中的可循环式设计：装置上方设有数个并列而存的吸收板，在灯光的多色变幻间，已将自然界的光照、水分等能量进行转换，为装置中植物提供持续不息的生命之源，也让花卉不断生长与绽放。令侨福芳草地中驻足或经往的人们，感受到生态的循环性和自然的生命力。

Look from the second floor, and you will discover that the "forest" is in the shape of the symbol for infinity (∞). "Infinity" also refers to the recyclable design: between the multi-color flashing lights, several rows of solar panels transforming natural light, water, and other energy sources to nourish the plants and flowers in the installation. The concept and the view of the "Futuristic Forest" offer an opportunity to people who come to Parkview Green FangCaoDi to feel the eco-cycle and the vitality of nature.

其实，城市综合体空间中的这样一处“森林”，对我们的意义远非这一点。

Such a "forest" in the modern urban complex means a lot to us.

城市综合体空间的本质是什么？——可以响应和满足人们的大量生活需求，完全牵连着人们的生活方式、审美、感官、情感需求、人居文化.....说起来，可谓具备着天然“现实性”的地方。

What is the nature of an urban complex? It should respond to and meet people's needs, totally related to lifestyle, aesthetics, sensation, emotions, and culture. It is naturally a place of reality and practicality.

而侨福芳草地呢？以领先的环保设计、“永续发展”为理念的侨福芳草地，无论是在通透空间中点缀辉映的、丰富多元的海量艺术品——让这里成为比寻常美术馆更具艺术性的动人场所；还是京城最具引领性的品牌店铺与多样食肆，都让人们愉悦地停留在此。

So, what about Parkview Green FangCaoDi? Leading by the concept of green design and "sustainable development",  Parkview Green FangCaoDi offers its visitors a pleasant time with the artistic and touching vibe created by its diverse artworks in the spacious area, as well as the restaurants, avant-garde brands, and shops within the building.

从生活方式角度讲，侨福芳草地当然是一个优雅而富有魅力的综合体，却也非“综合体”三字可去完整形容的。在表面的美好和艺术性外，来到侨福芳草地，我们总能在那里发现不少连接着环保理念的艺术品——“未来之森”便是其中典例。这方面，完全体现了它在支持着人们生活之外，对我们与自然的关系一如既往的高度关切之情。

From the perspective of life, Parkview Green FangCaoDi is certainly elegant and charming, and the word "complex" is not enough to descripe it. In addition to beauty and artistry, many artworks have unified with the green concept at Parkview Green FangCaoDi- the “Futuristic Forest" is an example. In this respect, it fully embodies its concern for our relationship with nature in addition to supporting people's lives.

它有主张，有倾向，有立场，它仿佛一幢“活”的建筑。这“活”，自然不是凭空出现，而是来源于来到这里的人们的行动、意识和思考。久而久之，人与这个特别的空间，也会在彼此的交织中，相互改变。

With its ideas, tendencies, and standpoints, it is a "living" building. "Living" did not appear out of thin air but comes from visitors' actions, consciousness, and thoughts, and over time, people have also exchanged ideas with and in this special place.

可以说，侨福芳草地出现在我们与宏观环境之间。人与建筑相连，建筑又与自然相连，这样的情感逻辑，和伊东丰雄在银色之屋中的表达也颇有殊途同归之处。

Parkview Green FangCaoDi appeared between us and the macro environment. Human beings connect with architecture, and architecture connects with nature, the same logic applied also in Ito's expression of the Silver Hut.

其实，“未来之森”这样的装置，在艺术领域中可归入“生态艺术”一类，可和 Ursula Biemann、Neri Oxman 这样的生态艺术家的作品不同，“未来之森”不仅是表达了环保理念的作品，亦是“自然”本身——可以真实进入到生活场景中的自然。它的存在方式，比起伊东丰雄的设想和生态艺术家们的主张，都更为切实而具象。

Installations like "Futuristic Forest" can be classified as "ecological art" in the field of art. Different from the ecological artworks from artists such as Ursula Biemann and Neri Oxman, the "Futuristic Forest" is not only the expression of the green concept, but also the nature itself. It is more practical and real than the ideas of Toyo Ito and the expression of other eco-artists.

以明晰之形式让人们感受到自然之美的“未来之森”，完美映照了侨福芳草地的人文关怀之心。而将自然导入与我们生活息息相关的综合体建筑中，旨在为生活和自然提炼出了更深刻的羁绊和连接。

The "Futuristic Forest" allows people to see the beauty of nature more clearly, and perfectly reflects the compassionate care of Parkview Green FangCaoDi. The idea of bringing nature into the building is closely related to our lives and goal to strengthen the bond between life and nature.

侨福芳草地，本身算得上“城市”这个超大的生态系统中的一个微观的生活群落。虽是微小，却在它存在的时间里容纳了太多人的生活与真实，见微知著，足可映射人、自然、时空三者的交织关系。一言以蔽之：互联性和共通性仿佛孪生兄弟，起因和结果也是始末难清。

Parkview Green FangCaoDi is a micro-ecosystem in a mega-ecosystem city. Although it is small, it contains so much of people's lives and realities. It also reflects the interconnection between humans, nature, time, and space. Interconnectedness and commonality are like twins, and it is difficult to tell the difference between cause and effect.

2020年，非常事件不期而来，我们虽历经心忧，却也收获了人与人之间情感上的同理与共情。它不仅让我们与他人感知互联，也足以引发对周遭环境、广袤自然的深远思虑。所以，当现在的我们看到“未来之森”出现在最熟悉的地方，也会在视觉的冲击外，得到以往难得的情感体验吧。

In 2020, an unexpected thing happened, and along with all the worries, we have acknowledged emotional empathy among people. Not only are we connected with others, but it has also triggered profound thoughts about surroundings and the nature. So, as we now see the "Futurist Forest" in a place that we all familiar with, and in addition to the visual impact, we will also get an unusual emotional experience.

给予人们这样的体验，也是一座城市综合体为未来的新生活方式带来的一种尝试，代表着这类场所可以达成的崭新意义：好的场所，终归可以将自我进一步拓展。人与建筑，能比想象中变得更无边界，人们居于此，游于此，观于此。它不仅完善和优化了我们的生活与审美，也让其中的我们得到珍贵的体悟和反思。

To bring people an experience like this is also an attempt by this urban complex to inspire a new lifestyle in the future, and to represent the brand-new meaning of a place coule be: a valuable place that will always develop itself. The distance between people and architecture can be closer than imagined. People can live here, visit here, and contemplate here. It not only fulfills our lives and aesthetics, but also gives us valuable insights and reflections.

撰文 Thalia

首图来自岩田健光母与子美术馆，伊东丰雄设计

文章转自公众号：24HOURS

By Thalia

First image: The Ken Iwata Mother and Child Museum, designed by Toyo Ito

Article originate from: 24HOURS