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迈德景观：北京，一座被纸堆和故事填满的城市。在浩瀚的叙事中，它被无数次地描绘为“东方”的化身。然而，这张东方面孔，更多属于那座作为古都的北平——三千年建城史、八百年建都史，是史书上的浓墨重彩，是皇权秩序下“山水都城”的磅礴。

MIND STUDIO: Beijing, a city steeped in layers of history and narrative, has been repeatedly cast as the embodiment of the “Orient.” However, this Oriental visage often clings to its past as the ancient capital of Beiping – a city boasting three millennia of construction and eight centuries as the nation’s capital. It’s a legacy writ large in history books, a majestic “landscape city” shaped by imperial order.

于是，东方的想象在此被固化：它是故宫的红墙金瓦，是颐和园的廊腰缦回，是“移天缩地”的宏大意象。当这种宏大遇上高密度的城市开发，“山水”便成了遥远的奢侈，而回归日常的家宅文化中，东方人居的山水精神却是面目模糊。

Consequently, the Oriental imagination becomes fixed: the vermilion walls and golden roofs of the Forbidden City, the winding corridors of the Summer Palace, the grand illusion of “shifting the heavens and shrinking the earth.” When this grandeur collides with high-density urban development, “landscape” becomes a distant luxury. Within the everyday culture of the home, the spirit of landscape in Oriental living becomes blurred.

但在北京城肌理深处，我们看见了另一种东方可能——无需成为供人瞻仰的风景，无需承载礼序的宏大。而是萃取山野的气韵。更私密、更疗愈、更贴近家宅东方文化的“野逸”与“寂静”。

Yet, deep within Beijing’s urban fabric, we glimpse another possibility for the Orient – one that needs neither to be a spectacle for admiration nor to bear the weight of ritualistic order. Instead, it extracts the essence of the wild. More intimate, more restorative, closer to the “wildness” and “quietude” of the Oriental home.

项目落址北京丰台区，“一环三园四地标、横七顺八十街坊”，得优于古都的城南腹地与人文核心。丰台的山是低缓可亲近的，北宫山的红叶知秋，景山的春盛牡丹；水是有记忆的活泛——永定河古河道的水脉交织与北海龙潭密不可分。无有皇家气派，却是更贴切的东方生活场景。

Located in Beijing’s Fengtai District, the project benefits from its position in the city’s southern heartland, a cultural core distinguished by “one ring, three gardens, four landmarks, seven horizontal and eight vertical blocks, and ten neighborhoods.” The mountains of Fengtai are gentle and approachable, the crimson leaves of Beigong Mountain heralding autumn, the blossoming peonies of Jingshan announcing spring. The water here possesses a living memory – the waterways of the ancient Yongding River channel intertwine inextricably with the Dragon Pool of Beihai. Devoid of imperial grandeur, it is a more relatable scene of Oriental life.

家与园，是这里的生活与诗意，当现代城市不断挤压这种“人、自然、历史”的共生关系时，我们试图以设计重构回归当下京韵底色的“东方山水人居”， 在北京的肌理深处，寻找并创造一种更贴近的东方。

Home and garden intertwine, representing both life and poetry. As the modern city increasingly compresses this symbiotic relationship between “people, nature, and history,” we seek to use design to reconstruct an “Oriental landscape residence” that returns to the fundamental essence of Beijing. Deep within the city’s fabric, we aim to discover and create a more intimate form of Oriental living.

▽我们看见了另一种东方可能——无需成为供人瞻仰的风景，无需承载礼序的宏大。而是萃取山野的气韵。更私密、更疗愈、更贴近家宅东方文化的“野逸”与“寂静”

东方，“游观”与“心印”的互动

The Interplay of “Exploration” and “Inner Resonance” in the Orient

与西方明亮、热烈充满爱与怜悯的空间气息形成鲜明对比，当代演绎东方性空间时，我们看到东方人养心克己的品性，深秀幽远的意韵。于是，在丰台低山缓水间，我们在繁华中打造一座自然疗愈山水，不息流动着京韵文脉和独特的东方生命力。

In stark contrast to the bright, vibrant, and compassionate spatial atmosphere of the West, contemporary interpretations of Oriental space reveal the qualities of self-cultivation and restraint, as well as a profound and secluded aesthetic. Thus, amidst the gentle hills and tranquil waters of Fengtai, we are crafting a naturally restorative landscape within the bustling city – a landscape that ceaselessly flows with the cultural pulse of Beijing and a unique Oriental vitality.

整体骨相是双层互为借景的垂直立体空间，下沉会所浮岛中庭为核心，而围绕中庭则结合退台式的平面布局错动咬合形成多进的空间，亭、廊等建筑体量如散置的聚落，它们既独立成景，又被同一片庭院气脉所联结，形成了深邃幽远的 “园中之园”。

The overall framework is a double-layered, mutually borrowing, vertical and three-dimensional space. The sunken clubhouse and floating island atrium serve as the core. Surrounding the atrium, a stepped layout creates staggered, interlocking spaces, forming a series of courtyards. Architectural elements such as pavilions and corridors are scattered like settlements, each a distinct scene yet connected by the same continuous flow of the courtyard. This creates a deep and secluded “garden within a garden.”

东方的山水精神，在于融合放达，不滞于物。 我们于此空间的游走穿行，恰似身在此山。在路径的折转、高低的起伏间，自然完成 “行、望、居、游” 的体验流动。自然亦是这流动的主角。光、风、绿意自枝桠与缝隙中自由生长。于不同层高驻足，视角倏然变换：或平望对岸亭台，或俯观中庭枝叶，或仰观天光云影，那是一个生生不息、气韵生动的现代山林意象。

The spirit of Oriental landscape lies in its integration and freedom, unburdened by material constraints. To wander through this space is akin to being immersed within a mountain landscape. Through the twists and turns of the path, the rises and falls in elevation, the experience of “walking, observing, dwelling, and wandering” unfolds naturally. Nature is the protagonist of this flow. Light, wind, and greenery grow freely from branches and crevices. Pausing at different levels, the perspective shifts suddenly: gazing horizontally at pavilions across the way, looking down upon the foliage of the central courtyard, or looking up at the light and shadows of the sky. It is a vibrant, ever-renewing, and evocative image of a modern mountain forest.

古言 “宅以门户为冠带”，东方礼制中格外注重的家宅门户文化，乌金琉璃里光影碎金的晃动，金光麻与红宝石大理石铺贴立面，提取于北京的东方色彩丹韵银律。门厅宽而耸高，但被我们刻意调暗了步入时光线的渗透，当从闹市之中步入幽微，只看到大理石反射出的明暗暖光，通过弱化光线达到舒缓与放松。

As an ancient saying goes, “The gate is the crown and belt of a dwelling.” In Oriental etiquette, the culture of the home’s entrance is especially emphasized. The movement of light and fragmented gold within the dark gold glaze, the facade clad in gold silk hemp and ruby marble, all draw upon the Oriental colors of Beijing – the cadence of cinnabar and the rhythm of silver. The entrance hall is wide and soaring, yet we deliberately dimmed the penetration of light in order to slow down the pace. As one steps from the bustling city into this subtle space, one sees only the warm light reflected by the marble, achieving a sense of ease and relaxation by weakening the light.

穿过“山门”，映入眼帘的是百年紫薇老桩斜倚，自夏吐艳，盛放至秋，影壁曲水中流，是园中“唯有活水来”的源头，两侧围墙居中留空，望而不穿的中式借景朦胧感，紫薇花开，拂光照壁。内庭中，苍劲虬力的泰山松破庭而立，锻铜水景承天光云影。手工錾痕以自然山川褶皱为题，使静态水体承载时间流动，那是一种克制而内敛的深远。

Passing through the “mountain gate,” one’s gaze is drawn to an ancient, century-old crape myrtle, leaning gracefully. It blossoms from summer through autumn, while water flows along the base of a screen wall, the source of the garden’s vitality. The walls on either side leave a central space, creating a hazy sense of borrowed scenery, typical of Chinese gardens, where one can see through, but not walk through. The crape myrtle blossoms, illuminated by the light, adorn the wall. In the inner courtyard, a robust and gnarled Mount Tai pine stands, breaking through the courtyard, while a forged copper water feature reflects the light and shadows of the sky. Hand-chiseled marks, themed on the folds of natural mountains and rivers, allow the static water to carry the flow of time – a restrained and subtle profundity.

转过另一重亭，又连一重廊，香山红叶，古木盘枝，尽端处是雕漆丹瓦氤氲的光影，每一片朝向都不同，呈现出不同的光影变化。厚重与轻巧、显与透之间取得平衡，景随人动，此处映照彼处，一时不知是天光映照红枫，还是红枫反射了影壁。东方之美便藏于细微之间，是那些枝枝蔓蔓的缠绕，是阴翳光影浮动的暧昧，只觉万山将隐，盈于朝暮，始于春发。

Turning past another pavilion, one connects to another corridor. Fragrant Hills maple leaves and ancient trees with intertwined branches lead to the end, where the light and shadows of carved lacquer, red tiles, and mist intermingle. Each direction is different, presenting different changes in light and shadow. A balance is struck between heaviness and lightness, between the revealed and the transparent. The scenery shifts with the viewer’s perspective, reflecting from one place to another. For a moment, one cannot tell whether it is the light of the sky illuminating the red maples, or the red maples reflecting the screen wall. The beauty of the Orient is hidden in the subtle details – the intertwining of branches and vines, the ambiguity of shifting light and shadow. One feels that ten thousand mountains are about to disappear, filling the twilight, beginning with the budding of spring.

转出又见栾树林青葱挺立，风过时蒴果轻鸣如钱佩相击，树下的丹红色大理石长凳，如同散落的珠玉的艺术品，夺目但不张扬却独有风韵。

Turning outwards, one encounters a flourishing grove of Chinese flame trees, their seed capsules rustling softly in the breeze like the chime of jade pendants. Beneath the trees, long benches of cinnabar-red marble are scattered like artistic jewels – striking yet understated, possessing a unique charm.

又有飞虹连桥如同飘带相接，优雅克制的弧面素净，但又被雕漆天光所投射的光影刻画出细腻的表情，留白而不必言尽。

Further along, a rainbow-like bridge connects, its elegant and restrained arc unadorned, yet etched with delicate expressions by the light and shadows cast by the carved lacquer. It is a space of intentional emptiness, where not everything needs to be said.

复廊之间，到达、探寻、停留、眺望的丰富体验，高差也不知不觉的消融其中。遥遥听见石上走溪，不觉已身入深山。

Within the covered corridors, a rich experience of arrival, exploration, pausing, and contemplation unfolds, the changes in elevation subtly dissolving into the surroundings. From afar, one hears water flowing over stones, and before one realizes it, one is immersed in the depths of the mountains.

而来到核心的中庭，我们将造庭技法与工巧免去，唯“森苔溪谷，涧溪叠瀑”，师自然之法以为庭，“上山下山入山谷，溪中落日留我宿”，大面开景，请山入室，无须走出房门，便已是此山中人。

Arriving at the central courtyard, we have foregone elaborate gardening techniques and artifice, embracing only “forest moss, valley streams, and cascading waterfalls.” We learn from nature to create a garden, echoing the sentiment of “climbing the mountain, descending the mountain, entering the valley; the setting sun in the stream bids me to stay the night.” Large openings invite the landscape indoors, so that without stepping outside, one is already a part of this mountain scene.

九棵垂直生长的古杉木自首层上探园内，顿有几分身居半山之感。钝感、山居感便是园内层的主基调。而杉木之下，密苔在山林湿润的空气中肆意生长，攀附着的群石，似乎从山上滚落而至，又在经年累月中深深扎入脚下的大地。

Nine ancient cedar trees grow vertically, extending from the ground floor into the garden, instantly creating the feeling of being halfway up a mountain. A sense of tranquility and mountain dwelling becomes the underlying tone of the inner layers. Beneath the cedars, dense moss grows freely in the moist mountain air, clinging to clusters of rocks that appear to have tumbled down from the mountain, embedding themselves deeply into the earth over years of accumulation.

坐石临流，独坐于浅溪石林间，原木原石与少量人工精致的材料搭配，在四季变换的自然中稳定一份安全感。一半濒水，一半倚岸，溪水在山石的错落之间溢出，其间落瀑、溪涧、浅滩、微波、清淼、细流、在柔软的苔林间潺潺，从山间绕出又隐去，人也在隐隐绰绰间相对，且坐且茶。光影透过枝桠，柔软的植被、高挺的古杉、那是一种幽深深秀，意韵深长的美。

Sitting on a rock by the stream, alone amidst the shallow rock forest, one finds a sense of security in the combination of natural wood and stone with a few refined, artificial materials, all set against the backdrop of the changing seasons. Half bordering the water, half leaning on the bank, the stream overflows between the staggered mountain rocks, creating waterfalls, brooks, shallows, ripples, clear pools, and rivulets. It babbles gently through the soft moss forest, winding out from the mountains only to disappear again. People face each other in this obscured setting, sitting and sipping tea. Light and shadow filter through the branches, creating a deeply secluded and evocative beauty with soft vegetation and tall, ancient cedars.

平衡，东方山水里没有绝对的中心

Balance: No Absolute Center in the Oriental Landscapes

可以看到，东方的审美是一种“去中心化”空间的共构，终极目的不是被观看，而是被体验与内化。

As you can see, the Oriental aesthetic is a co-construction of a “decentralized” space, with the ultimate goal not to be viewed, but to be experienced and internalized.

紫薇老桩的岁月感、铜錾水景的匠艺、青瓦光影的动态变化、红枫栾树的四季流转。那些便是平衡，东方山水里没有绝对的中心，能清晰感受到一种平等的和谐:人、空间、物件、池水、每一面墙乃至一草一木，都在相互呼应中共生，没有谁是绝对中心，却共同构成充满生命力的整体。
The sense of age in the old crape myrtle trees, the craftsmanship of the hammered copper water feature, the dynamic changes in light and shadow on the grey tiles, the seasonal transformations of red maples and Chinese flame trees – these are the elements of balance. In the Oriental landscape, there is no absolute center. One can clearly sense a kind of equal harmony: people, space, objects, water, every wall, and even every plant, coexist in mutual resonance. No one element is the absolute center, yet together they form a vibrant whole.

而人只是其中之一。不知我之在丘壑，亦或丘壑之在我。石不能言最可人，山亦如是。人与山水没有主客。笼罩着雕漆影壁的氤氲光影，穿枝拂叶的行走在粗粝的青石和湿润的苔间，晃动的枝桠是室内感受的风动，那种低语互述，不必挑白，却亲密无间。

And humans are merely one part of it. One does not know if I am within the landscape, or if the landscape is within me. “Stones cannot speak, yet they are most endearing,” and so it is with mountains. There is no subject or object between people and the landscape. The misty light and shadows enveloping the carved lacquer screen wall, the act of walking through the branches and leaves on rough bluestone and moist moss – the swaying branches are the movement of the wind felt indoors. It is a whispered exchange, intimate and unspoken.

▽在相互呼应中共生，没有谁是绝对中心，却共同构成充满生命力的整体

于是疗愈便在妥贴与平衡中发生。不需要被特殊关照，而是被接纳与包容，东方空间不再是单纯的物理容器，它通过幽微的光线、含蓄的路径、自然的渗透，引导人向内观照，“万物静观皆自得”。这也正是“山水人居”试图唤回的，属于当代东方的精神栖居。

Thus, healing occurs in this sense of fittingness and balance. It is not about being specially cared for, but about being accepted and embraced. The Oriental space is no longer simply a physical container; through subtle light, implicit pathways, and the infiltration of nature, it guides people to look inward, where “all things contemplated in stillness reveal their own inherent nature.” This is precisely what the “landscape residence” seeks to evoke – a spiritual dwelling belonging to the contemporary Orient.

▽东方空间不再是单纯的物理容器，它通过幽微的光线、含蓄的路径、自然的渗透，引导人向内观照

每个人心中的东方山水

The Oriental Landscape in Everyone’s Heart

每个人都有自己心中的东方，那是不必求同的答案。但当“东方”形象的固化与当代城市发展中的失落，我们相信“传统不是保存灰烬，而是传递火焰”。

Everyone carries their own vision of the Orient within their heart, a unique and personal answer. Yet, as the image of “the Orient” becomes fixed and a sense of loss pervades contemporary urban development, we believe that “tradition is not the preservation of ashes, but the transmission of fire.”

在这个被符号快速制造与消费的时代，当代城市密集的开发中，“东方”常被简化为飞檐翘角、月门洞窗，或是水墨纹样的装饰性拼贴，却失落了本身的精神内核。真正的东方山水，来自心境的映照，与天地万物的共情。是鲜活的“此时与此地”，生命在自然中获得的宁静与疗愈。

In this era of rapid symbolic production and consumption, amidst the dense development of contemporary cities, “the Orient” is often reduced to upturned eaves, moon gates, and decorative collages of ink wash patterns, losing its essential spiritual core. The true Oriental landscape comes from the reflection of one’s state of mind, and the empathy with all things in heaven and earth. It is a vibrant “here and now,” the tranquility and healing that life gains from nature.

静水流深，草木蔓发，我们看见一个完整活泼，真实流动着的世界。那是北京盛夏，在山深静幽处，穿过古杉与青苔的清风里，终于照见心底的东方。

Still waters run deep, plants grow and flourish – we see a complete, lively, and authentically flowing world. It is Beijing in the height of summer, in the deep stillness of the mountains, in the refreshing breeze passing through ancient cedars and moss, where we finally see the Orient reflected in the depths of our hearts.

▽东方山水，来自心境的映照，与天地万物的共情。是鲜活的“此时与此地”，生命在自然中获得的宁静与疗愈

项目名称：北京金茂璞逸丰宜示范区

完成年份：2025年

示范区面积：5000m²

项目地点：北京市丰台区

业主公司：中国金茂北京公司

景观设计全过程+景观软装方案设计：MIND迈德景观

建筑方案设计：goa大象设计

景观施工单位：天津璟樾市政园林工程有限公司

景观落地技术顾问：工事设计咨询

摄影/美编：E-ar TARS

“ 东方山水并非目视，而是心映。不必执著于形貌的临古和难辩的法相，也不拘泥于一石一水的具体，那是物我两忘中，体会流转不息的气韵与深远的东方意境。以自然的“野”引入居所的“逸”，用空间的“寂”容纳心中的“静”。”

审稿编辑：junjun

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