How to input the traditional style of Suzhou to recreate déjà vu?
The southern water city of Suzhou (also called “Gusu” and “Guxu” in ancient China) is an ideal settlement environment in the eyes of Chinese people, and also the Taohuayuan (a paradise hidden from the outside world) only remaining in memory. In the landscape planning of Guxu Mansion, due to its limitations in scale and function, the design primarily started from how to let people experience Suzhou’s charm in such a small place and how to recreate déjà vu.
We tried to abstract Suzhou gardens and reorganize a new landscape in an indirect and unconventional way, instead of directly copying, impressing residents there by the metaphorical image of Suzhou deeply from a glimpse.
There are two assumptions for the conception of the prototype:
A.The image of Suzhou refined by multileveled space structure has greater potential and more chances to evoke visitors’ emotions and memories than single-level utilization of some element or symbol.
B.The characteristics of Suzhou’s space structure abstracted from several layers establish the design principle of coherence and arouse visitors’ déjà vu to the greatest extent.
The framework of the design consists of liberty and order, stable foundation and floating frame in such five structures as courtyard, garden, residence, bridge and city. The stretching landscape settings recall the historical memories of Suzhou between liberty and geometry, coherence and transition, soft and rigidity, white and dark color.
In the design, on one hand, a space frame for landscape was built from six levels from points to plane; on the other hand, the university in space developed from different levels from points to lines establish the framework of the design. This framework could be set as an “abstract and stretching framework”.
In bustling Suzhou, Guxu Mansion’s landscape shows Gusu elements at every corner.
The modern style of classical gardens becomes a form of artistic landscape setting in any open corner.
Natural forms are materialized, being white, like clouds and mist.
Floating “boxes” are substantially corridors with a sense of geometric form above ground.
Gusu in March is enshrouded by mist. Clouds and mist rising from mountains and valleys. A poetic life appears.
In different space systems and different forms of dialogues, visitors occasionally capture the essence of Suzhou gardens after starring the landscape for a while.
With “mountains and rivers” as the framework, the landscape settings, imaginably, could trigger the memory mechanism of déjà vu. What kind of spiritual image will represent those emotions and memories actually?
Square “boxes” above uneven terrain and successive water seem to be Gusu gardens amid dense mist. The urban landscape, which was built on the intersection where people come from all over the world, symbolizes the attractive Suzhou scenery.