Text description provided by the architects. Preface: “Shui long yin”
A garden or not a garden, people leave it alone without any caring concern. However, we feel sorrowfully when it changed into a bad condition; it seems like we still can hear bird warbling in the garden when we close our eyes. We couldn’t stop the missing of ancient cultures in China which already engraved in our minds deeply. Nowadays, where has the garden gone to? Only the tears have been left.
Chapter 1: Pleasance
We used the traditional way of garden construction: On a peaceful pond, people can walk on a zigzag bridge which has been designed narrowly. You can saw different view in each step when walked on the bridge. Start from the hall in old times then leads to the long bamboo bridge in the deep lane. We used the traditional tiles and used the modern methods to paved on the floor. Refine character of the old garden to obtain the naivety of human. Some faregesia semicoriacea, naturally whithout any artificial decoration. The feeling of mellowness and modesty have been built up just like it never been designed in purpose. That’s what we want.
Chapter 2: Soft
Pay attention to the wall, as soft as paper folding, clean and white, simple and elegant. This is the garden, softly from head to toe, just like the poem from Guan Qing and Yong Liu, like <Su Mu Zhe > and <Lin Jiang Xian>.
Chapter 3: Streamer
In GuYuan, the lighting are flowing and changing when the time passing. All the light source are from the nature lighting, in different time and different form. Sometimes strong, sometimes weak and other times foggy. The pond all around with the reflection from the natural lighting, peacefully, but flowing when the wind comes; also with the plum blossom by the side. This is the GuYuan
Chapter 4: Alete
My GuYuan, is not about the form, is the soul and the meaning and this is alete. Without any extra decoration or artificial construction :as clean as the table in Ming dynasty, as elegant as Banqiao Zheng’s drawings. You can understand the reason between the nature and humanistic spirit, seems indistinctive.
Chapter 5: Object
Traditional object in an old form, just like ages ago although without the view outside the window in the past: a table from MingDynasty, vessels from Qing Dynasty, celadons from Northern Song Dynasty, pottery figurines in Han/Tang Dynasty and also WeiDynasty’s buddha head. These different objects improved the connotation of GuYuan into a deeper level.
Chapter 6: Awake
My garden is not about copying the form or superstition, but to converting the disposition. When you walk around in the garden,seeming to be and not to be, experienced daja vu. This is GuYuan.