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The Impression Sanjie Liu, Yangshuo, Guilin is located in one of the most dramatic landscapes in China. Endless greenery surrounds the site filling space between large karst towers of rock. With a landscape so grand any moves to dismiss it, let alone compete would make little sense. With this understanding it was decided that the natural elements themselves would form the premise for what architecture would inhabit the site, one element in particular, bamboo.



▲項目外觀,external view of the project ?存在建筑


The Impression Sanjie Liu is already well established, now in its 15th year of operation. The project presented a situation where most existing structures would remain untouched. Instead focus shifted to how introducing new intervention could support a pre-existing condition. At present, large clusters of bamboo cover most of the site, creating structures of mingling pipes and leaves. As a means to coincide with what is already there, the new architecture looked at borrowing the materiality of the bamboo, reconfiguring it to form new space. In doing so, this new space means not to contest. Instead it aims to augment, albeit very gently, the surrounding bamboo groves and hills.



▲項目鳥瞰,aerial view of the project ?存在建筑

▲項目沿河外觀,與周邊自然環境相融合,external view of the project along the river, merging into the natural environment ?存在建筑

印象劉三姐的演出在天黑后開始,觀眾和園區的拜訪者主要集中在園區島嶼的兩端,起始點為園區的主入口,即賓客到達的入口和原鼓樓區域(現修繕后的印象劉三姐文化博物館場地),另一端,也就是演出舞臺及觀眾席,則位于園區最深處的漓江岸邊。而此兩端之間,占據園區大部分區域的空間卻僅僅作為交通疏散及流線的區域來使用,完全沒有連接性的文化內容幫助訪客獲得更有意義的體驗。正是在這個中間模棱兩可的空間里,項目的概念引入了兩個新的體系以融合入現有的自然肌理同時形成一種情緒感知及故事文化的鋪墊過程。第一個體系“竹燈未央”, 即手工竹編制成的燈籠結構空間,散落分布在訪客入場流線的區域,以作為入場前感受印象劉三姐文化的體驗/文創銷售/休憩空間點。另一個體系“手工竹藝長廊”, 在竹叢之間形成一層手工編織高低錯落的“竹網”,提供了可以避開常規降雨的步行區域。這兩個竹體體系的創建和形成,則不僅僅是作為它們本身存在的屬性,而它們與周圍自然環境的材料上的,肢體上的,感受上的一種內外在的共鳴與呼應,則更是不斷傳遞著層層更新的意義,使相互賦予更強更有活力的生命力。

Currently, the night show entertains guests in two areas, one at either end of the island site. The entry and pagoda where guests arrive, and the main stage, perched at the bank of the Li river at the other end. Between these two points little interaction takes place. It is here in this middle ground that two new assemblies of architecture are introduced. The first, woven bamboo lantern structures, scattered where guests circulate, whose purpose is to guide and intrigue. Then the other, a stretch of woven canopy amongst clusters of bamboo, providing area to walk sheltered from regular rainfall. In these, the architecture relies on bamboo not only for its composition, but also its constant referral to parts that constitutes the place.

▲項目的兩個體系示意,diagram of the two assemblies of architecture ?llLab

▲從小到大的竹燈引導人進入,bamboo lanterns from small to large leading people to the entrance ?llLab


When entering the site, lanterns small in stature line along the pathway cast out signals of dappled light. As visitors travel further the once small lanterns become drastically larger to a point where the guests can find themselves able to walk inside. The makeup of the lanterns remains sincere, with a structure of bamboo lengths encased in lashed bamboo either side. On closer inspection one can get a sense of the random beauty that can only be created when something is truly constructed by hand.



▲靠近長廊的竹燈形成可以供人使用的空間,lantern beside the canopy becoming space for people to use ?存在建筑



▲從長廊看向竹燈,view to the lantern from the canopy ?存在建筑


The slightly dark appearance of bamboo framing shows markings of how it is bowed with fire to create the curved lantern silhouette. Over this, piece by piece, teams of local craftsman have threaded numerous stripes of bamboo in an unintentional pattern that requires no glues or nails to hold its shape. This method of production is a showcase of intricacy, clearly shaped by the hands of people and their intuition of beauty.



▲竹燈細部,自然編織,details of the lantern composed of stripes of bamboo in an unintentional pattern ?存在建筑


Further along at the edge of the island, the canopy shrouds itself within the large masts of bamboo. At first glance it appears to rely on little for support, only the columns of bamboo shooting up and through circular openings. Hidden amongst these living clusters columns twist from their footing upward and outward mimicking the indecisive route of the bamboo to meet the structure above. Supported by the columns in a maze of tubes, the structure of the canopy while seen doesn’t look out of place. The hand-woven layer obscures what is in front and what lays behind. Stretching 140m from where you stand the woven ceiling takes on a shape of an inverted landscape, undulating between different levels of surfaces. The stepping surface of the canopy is pieced together entirely in the same irregular hand-woven bamboo as the lantern, but on a scale that seems that it should be seated in fantasy. The resulting intention means to enchant while still extending recognition to the natural condition of the site.



▲竹藝長廊,bamboo canopy ?存在建筑

▲長廊下仿佛沒有結構支撐,there as if no vertical supporting under the canopy ?存在建筑

▲結構柱隱藏在竹叢中,the structural columns hidden in the bamboos ?存在建筑


In the daylight, the lanterns appear solid, the yellow of the shell in compliment with the green surrounding. Come night the personality of the lantern shifts from something more unyielding to a porous shell. The lantern itself is a diffuser of light, playing theatrics of scale and light with guests. As a whole, the lantern looks at home under the arching towers of bamboo in its peripheries. Almost by chance, when looking to the distance the lantern silhouette is echoed by the stone towers of the Yangshuo, Guilin landscape strewn along the immediate horizon.



▲日光下的長廊,canopy under the sunlight ?存在建筑


Under daylight, light streams through to the woven canopy bringing patches of dappled light to the ground below. While reprieve from the sun is apparent when walking underneath, in an unexpected compliment when looking up the ceiling appears illuminated, the entire canopy giving off a temperate glow. In the transition to night, introduced light within the volume rises in intensity focusing the spattering of light in a more vivid pattern on the pathway. Fragments of bodies dip in and out view as light streams down through the ceiling above onto guests making their way the stage.

▲竹網縫隙讓光線更有戲劇性地照射到地面,the bamboo ceiling creating dramatic light and shadow effects on the ground ?存在建筑



▲從長廊看向遠山,view to the distanced mountains from the canopy ?存在建筑


In acknowledgment to the theatrical spirit of the Impression Sanjie Liu, moments of performance make its way into many parts of the design: The hand weaving, bamboo playing off the tension of one another. The topography of the canopy ceiling dancing between columns of bamboo as if unsupported. Even the way guests are intended to move from lantern to lantern, in a narrative of interaction. Together these subtle hints encourage a particular frame of mind, readying the guest for the main feature.

▲自然生長的編織結構,naturally growing interweaved bamboo stripes ?存在建筑

▲細部,details ?存在建筑

,models ?llLab

▲竹燈結構分析,structural analysis of the lantern ?llLab








建筑設計公司:llLab. | 敘向建筑設計(https://www.lllab.net/)

:劉涵曉、Henry D’Ath、胡樂賢、Alyssa Tang、范超然、Luis Ricardo、David Correa





Project Name: Bamboo Bamboo, Canopy and Pavilions, Impression Sanjie Liu

Project Location: Yangshuo, Guilin, China

Site Area: 90,000 m2

Construction Area: 1,900 m2

Project Status: Completed

Project Timeline: May 2018 – July 2020

Project Client: Impression Sanjie Liu

Architectural Design Firm: llLab. (https://www.lllab.net/)

Architectural Design: Hanxiao Liu, Henry D’Ath, Lexian Hu, Alyssa Tang, Chaoran Fan, Luis Ricardo, David Correa

Project Management Team: GCPS Interior Decoration Finishing Ltd., Lihua Mi, Dalin Chai, Hao Zhang, Guoyang Wan

Project Construction Team: Yinghong Shao, Yanru Dong, Yingming Shao

Structural Design: LaLu Partners Structure Consulting

Photograph: Arch-Exist Photography

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