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“读懂一块待建的土地，是一种’顿悟’般的体验，需要理解诸如风、光、环境影响、文化等元素，但同时也要想象这块土地上未来可能呈现的生活情景 – 好比坐时光机到未来亲身体会一般。” –安托内.普雷多克，《建筑之旅》

“Reading a site, with the prospect of building on it, is an all-at-once experience that involves understanding factors such as wind, sun, environmental impact, and cultural strata, but that simultaneously entails imagining the lives the site might lead—a kind of time-travel encounter.” — Antoine Precook, RCHITETURAL JOURNEYS

▼远观麓湖艺展中心，view from a distance

从成都天府广场出发，沿城市中轴线 – 天府大道向南迤逦而行，城市风貌渐渐从密集的高楼退变为开阔的郊区；单调乏味的都市格局也随之消失，不断映入眼睑的是起伏的紫红色山丘及苍翠的植被 – 可惜的是，不久之后，这些景色都将随着一座新型的现代城市的建立而渐渐消失：清澈的水塘、蜿蜒的小溪、茂密的竹林、玲珑的山丘将被混凝土、玻璃、钢筋、塑料所取代。虽然试图保留当地原始自然风貌的所有规划努力都未竟全功，但这里还是有一栋建筑，一栋生态的建筑，可以让我们的子孙后代缅怀被城市化吞噬之前的原始地貌与文化。她就是 – 麓湖艺展中心。

From the original center of Chengdu Tianfu Square, Traveling southward along the city axis road, Tianfu Blvd, city scape is changing from high-rise building clusters to open suburban spaces, very flat city grids are disappearing while rolling purple-reddish hills covered with flourish vegetates are emerging. But all that sceneries are under dramatic reformation. Soon enough, a new modern city will appear in the hilly countryside. Crystal ponds, winding creeks, bamboo clusters and small ridges will be replaced with concrete, glass, steel and plastic. While all the early planning efforts trying to save the original scenery failed or semi failed, there stands one very building, which could remind our descendants what was the geological and cultural past before the invading of urbanization, the Luxelakes Art Expo Center.

▼麓湖艺展中心构成了当地城郊景观的过渡，the Luxelakes Art Expo Center as a transition landscape between downtown and countryside

故事开始于1000多年以前的世界另一端，即位于北美大陆新墨西哥州的查科大峡谷。遥想千年以前，在一个星光熠熠的夜晚，一名阿纳萨齐原住民静坐于夜空之下，周围伫立着一座座宏伟的公共建筑及祭祀建筑 – 彼时彼刻，他/她也许不曾料到，所有这些充满神秘色彩的石器时代文化都将湮没于这片半荒漠地区。时光荏苒，当新的定居者到来，这片荒漠留给他们的只是一片片散落于各处的遗迹 – 暴晒在烈日之下。然而，正是这些零落的文明碎片、独特的地貌及自然风光，造就了新墨西哥州这片魅力之地独特的文化背景。

It is a story starting from the other side of the world, more than 1000 years ago. Chaco Canyon, New Mexico, North America. An Anasazi was sitting under the sky full of shining stars, checking the monumental public and ceremonial buildings and its distinctive architecture surrounding him. He was completely unaware that all these flourish mysterious Stone Age culture would vanish in this semi-desert region. New settlers came, only to discover the ruins scattered around, baked under the unshaded desert sunshine. The faded cultural fragments, worked along with the distinctive geological and natural scenarios, formed the distinctive cultural background of New Mexico, the land of enchantment.

“新墨西哥州对我的影响是全方位的。于我而言，新墨西哥州不只是一个区域，也是一种力量，一种囊括万物的力量 – 而我所信奉的建筑体系也充满这种力量。”

“New Mexico has formed my experience in an all-pervasive sense. I don’t think of New Mexico as a region. I think of it as a force that has entered my system, a force that is composed of many things.”

自然而然，如此独特的新墨西哥州受到了众多科学家、考古学家、历史学家和艺术家的追捧。现在，新墨西哥州正通过不同的渠道向全世界展示其风采，如照片、小说、研究报告等；然而，要完全领会这片土地的魅力，则需要在此踏踏实实地生活相当长的时间 – 敬畏其超自然力量，吸收其文化及自然元素，进而纳为己用。在新墨西哥州这片热土上，走出过茱莉亚.伯茨、约翰.丹佛、沃尔特.怀特（来点掌声）…，以及安托内.普雷多克（更热烈的掌声）。

可以说，是新墨西哥州成就了安托内.普雷多克，并赋予其理解文脉、独具匠心地将各种抽象的有形或无形的文明碎片与作品相融合的超能力，从而催生出了许多伟大的作品：从 La Luz 到 Solar Innovation，从新墨西哥州到迪拜，从住宅到博物馆。而无论建筑位于何处、有何种用途，每一栋建筑都具有鲜明的普雷多克风格 – 他称之为“可移植的地区主义”，这是一种独创的设计逻辑，即使用建筑语言来表达出他对地块的历史背景及自然背景的微妙情感。他的众多作品一经落成，随即成为当地新的地标建筑，而麓湖艺展中心即是其中之一。初遇成都万华集团，当获悉麓湖生态城这个愿景时，安托内.普雷多克就相信，成都，这个位于中国西南的“天府之国”，将是他下一个作品的孕育之地，而这个作品也将凝结他以往所有的经验以及永不消褪的创作激情。初至成都麓湖生态城，安托内.普雷多克并非仅仅考察了麓湖艺展中心项目的现场，同时也对现场周边的居民、文化、日常生活、传统习俗等做了大量调研。海量的信息被吸收、被筛选，最终，他为艺展中心提炼出这些设计元素：起伏的山丘、紫红色的砂岩、微澜的湖水以及耸立的羌寨碉楼。这些元素化为一颗种子，藏于其心，埋于麓湖，静待破土。

Naturally, scientists, archeologists, historians and artists are all fascinated by this unique piece of land. New Mexico is being introduced to the world by photographs, novels, research papers in a physical way. However, one needs to LIVE in this territory long enough to fully admit its charm and be inevitably affected by its metaphysical powers. More ever, greater minds could even revolve all the cultural and natural facts into their own system, the inspired methodology. New Mexico original products includes Julia Roberts, John Denver, Walter White (applause please) and … Antoine Predock (louder applause).

New Mexico has prepared Antoine Predock with the ultra-ability to read the contexts and elaborately refabricate the abstractive tangible and intangible heritage pieces into his works in a very integrated way. The force has driven him to create many master pieces of architecture, from La Luz to Solar Innovation, from New Mexico to Dubai, from residential buildings to Museums, and yet every building has a Predock seal, that was formed follow a logic with strong personality, which he called “Portable Regionalism”, a design logic that involves subtle feelings about the historical and natural context of a certain place and re-expressed into the architectural language. Many of his works immediately become the new landmark of those regions once finished, among which, the Luxelakes Art Expo Center is one very important piece. The first time being introduced to Chengdu Wide Horizon Group, and their visions towards now known as the Luxelakes Eco City, Antoine Predock believed all his past experiences and never-fading creative eager could crystalized into one sparkling germ in Chengdu. The first travel to Chengdu, he spent his time not just visiting the site where the building supposed to emerge, but did a lot of research concentrated on the surrounding area. People, culture, everyday life, tradition… Abundant information was absorbed, filtered, and finally precipitated into these factors: rolling hills, magenta sandstone, water and the mighty towers of a Qiang village. A seed has been buried into the soil in the site.

▼设计师将其建筑语言–“可移植的地区主义”应用到了该项目中，绘制的3D模型，the designer put his design language “Portable Regionalism” into the design and made 3D model as below

当返回位于美国阿尔伯克基的工作室后，安托内.普雷多克手绘了很多草图，然后动手制作了一个粘土模型，以期更好地读懂麓湖艺展中心。“相较于图纸，三维模型显得更为真实。这种粘土模型非‘体块模型’，它就是非常真实的建筑，可以合理地表达出建筑的剖面及平面。”
一旦建筑构想初具雏形，由其演化出的粘土模型就可以成为研究建筑本身、建筑与周边环境关系最直观的工具。于他而言，对麓湖艺展中心粘土模型的一次次完善好比培育那颗藏于其心的种子，并极力以一种四维空间的方式再现种子破土而出的那一刹那；同时，他也创造了一种贯穿于建筑每个功能部分的审美逻辑。

Back to the Studios in Albuquerque, New Mexico, a series of the very original sketches were produced. As one of the ultimate way of understanding of the building wanna-be, a CLAY model was formed.
“Compared to a drawing on paper the models are very real; they are the building, they are not ‘massing models,’ they rationally address section and plan”.
As soon as the first vision of the building was virtually come out, involvement of a clay model provided the best direct tool of studying the building itself, as well as the relationship with its surrounding environment. In the Art Expo Center case, the early stage of the clay model also described the movement of a growing seed buried earlier, rendered the natural cracking pieces combination caused by the expansion of the seed in a 4D fashion, provided the aesthetic vision logic of each function parts.

▼模型，model

在安托内.普雷多克漫长的建筑生涯里，他历经了建筑设计手段从最初的绘图板向二维电脑平面图、三维电脑模型，以及时兴的 3D 打印的技术演变，而他总是能够将新技术与作品完美结合。在麓湖艺展中心的创作期间，他用到了现行所有的技术手段：在其设计概念初具雏形时，他就在电脑上建立起建筑的3D模型，并进而将其设计哲学之一的‘运动’理念揉合进虚拟模型中。任何运动都是相对于时间而言，没有时间则不存在运动。因此，在他设计的建筑里，时间因子无处不在：无论日夜、无论方位，人们可从不同路径进入并在建筑中自由穿梭，从而获得相异的建筑体验；而通过电脑模型来模拟不同的视角及时间，可以彻底地解析建筑的每一个边角。他的‘运动’哲学，不光体现在纳尔逊美术中心 (The Nelson Fine Arts Center)，也存在于麓湖艺展中心。他曾这样写到：

During his long professional life, Antoine Predock has experienced the design process shifting from a drawing board, to 2D computer, to 3D computer, and most recently, 3D printer. New technologies fitted into his work perfectly. In designing the Art Expo Center, all the technical weapons were employed. Soon after the conceptual ideas came into shape, a digital 3D model was created. With this virtual model, he then further applied another fundamental philosophy of his, the MOTION. Time, the 4th dimension of space, without which, motion may not exist, has become a major factor of his building allow visitors to have different experiences of the architecture by taking different paths approach and through the building, at different time, day and night. The digital model allowed him to thoroughly study each and every detailed corner of the building, by simulating different viewing angles and time. The same result he achieved at The Nelson Fine Arts Center perfectly fitted into the Art Expo Center:

“初看一栋建筑，会让人觉得它自成一体，但它实际上开放流动的：访客可在其间自由穿梭，避开炎炎烈日的同时享受太阳营造出的光影魅力。此外，该建筑的夜景与日景也完全不一样，变换的日夜丰富了感观体验。”

“The building seems initially to be a single event, but it is actually a processional route that is open-ended. Visitors can create their own paths to unexpected destinations that provide respite from the sun while, simultaneously, a celebration of the sun. The building offers an array of sensory possibilities throughout the day and the night. Its nocturnal life is very different from its sun-drenched daytime life.”

▼与当地环境紧密结合的建筑体，the main building closely combines with surroundings

在麓湖艺展中心，通过建筑、室内空间与周边地貌、景观以及麓湖最重要的元素 – 湖水之间的相互作用，他的‘运动’哲学进一步得到了升华。

Well here at the Art Expo Center, he took this MOTION philosophy into the next stage by interacting the building mass and interior spaces with the topo, landscape, and most importantly, water.

“站在巨大的镜子前，一起整理领带，透过镜子遥望不知通往何处的道路，会让人产生一种神圣的仪式感。”

“It is a ritual – the encounter with this giant mirror, the collective straightening of the tie, and the passage through the looking glass to what lies beyond.”

▼哲学的创作语言使建筑产生了一种神圣的仪式感，the MOTION philosophy in design language made the building produce a sense of ceremony.

在白天，从天府大道向麓湖艺展中心行来，首先吸引目光的将是艺展中心的‘碉楼’，好似一名伫立于旷野的守望者；而披着一层紫红色的外壳的其它部分，则有如破土而出的岩石，与周围融为一体。向下缓步来到落客区，建筑的巨大体量感让人敬畏，同时又勾起一探内部的渴望。在这里，艺展中心的入口恰似一个天然的洞口，而没有过多的修饰；由此开始的游览历程也如同洞穴探险一般，虽然有一些紧张与压抑，但同时也满怀期待。

During daytime, approaching the building from the major city road, visitors will notice the tower standing beyond the wilderness of the landscape, a monument stayed there for a long long time. Magenta sandstone exterior finish of the rest of the building is actually growing out of the soil. Continue descending from the major road to the drop off, massive of the building becomes overwhelmingly, and yet indicates the possibility of exploring the inside, the “cave entrance” feeling gives the exciting journey a very compelling start, while the expectation tension stays high.

▼红色的外壳和造型，使建筑看起来宛若破土而出，the colour and style of the building make it look like growing out of the soil.

▼富于丰富材质变化的建筑外立面，the facades with rich materials

▼室外反光净水面，the reflecting pond

当从主入口进入艺展中心，各种意料之内与意料之外的场景将同时涌入你的眼中：在宛如喀斯特洞穴的大厅中，天花高达9m；巨大的石块悬浮于顶，天光从切开石块之间的缝隙洒落。这个大厅给人的压迫感是如此之强，感觉就像被一只洪荒巨兽所吞噬，但当你缓缓移动目光，透过玻璃遥望屹立于远端倒影在清澈湖水之中的高塔之时，压迫感会在这个方向释放。

Once entered the building from the major entrance, the expected and unexpected simultaneously arrive. As a Karst Cave Hall, the ceiling flies as high as 9 meters above the ground. Massive boulders hover above the space with glimpses of sky slice through the gaps in between. It is so intense that one could almost feel being swallowed, and trapped inside the belly of a giant monster. However, the enclosure feeling has an attractive outlet, with the extension of one’s eyesight, the framed tower lies beyond, reflected by the crystal clear lake water.

▼建筑入口，the entrance

从大厅拾级向下，走出室内，凝视着眼前波光粼粼的麓湖，积聚的紧张与压抑感瞬间消失，好似被眼前的湖水、天空、景色所洗去。耸立于不远处的高塔，矗立在湖中，以其威严的力量审视这片区域，其统治力无可言状。回看建筑，艺展中心的形体随湖岸展开，形如港湾，舒缓的天际线令人有舒适的围合感。檐口的镜面不锈钢，玻璃幕墙，地面的无边界水池和粼粼的湖面互相反射出精致的图案，精巧而难以令人琢磨；屋檐舒缓延伸的曲线被砂岩体量粗暴地打断，呈现出对比强烈的戏剧化色彩。这段体验之旅意几乎类似于詹姆斯.希尔顿在《消失的地平线》中描述的发现香格里拉之旅 – 虽没有实质的危险刺激，但其精神上的体验非常类似。

Walking down the stair, towards the lake side, once the visitors arrive at just outside the building, the built-up tension is suddenly released, scattered into the expanding lake water, sky and landscape, Luxelakes is out there within horizon. At a closer looking, the tower is standing strong, firmly nailed itself down into the water. With its juggernaut power, the tower dominates the surroundings, gives the visitors a focal anchor as a lighthouse. Almost like being carved into the soil and sandstone, rest of the building elevation gently curves back, offers a comfortable conscious embrace. Continuous of the stainless steel eave is brutally interrupted by the sandstone, while the reflections by the eave are subtle and elegant. Experience on this route mimics a mild version of discovering Shangri-La, no real danger, but the dramatic psychic impact is almost the same.

▼建筑内部大厅，the hall in the building

从湖面驾舟而来，在享受着清风，湖水和麓湖美景的同时，高塔在视野里呈现，建筑的其他部分则难以令人注目；穿过狭长的水道，水面霍然打开，挺拔的高塔倒影于湖面– 此时，你的注意力将会完完全全被高塔的体量感所抓住，迷失在艺展中心的温柔怀抱中。此情此景，驻步赏景将是你此刻惟一的念头，而暂时忘掉一窥室内的渴望。

Taking a boat, approaching from faraway, while cherishing the beautiful surroundings and enjoying the limpid lake water, the high standing tower never leaves ones eyesight, but the rest of the building humbly lies low. When finally arrives at the narrower water channel, visitors suddenly discover the expanding of the water surface, with the tower reflected by the lake. At this point, volume of the tower is seizing the attention without compromises, one has to give a second to realize the horizontally expanded portion is trying to give a gentle hug. The panorama view is spectacular that one needs sometime enjoying it before the eager of exploring the inside comes back.

“但还有一种元素，我称之为“内涵” – 它不可直接借用在建筑中；它是一种氛围，瞻之在前，忽焉在后，好似弗拉明戈舞的魔力，超凡脱俗，永恒存在。”

“But there is always another admixture that I call, in a blanket way, content. It’s an aura that one cannot invoke in one’s work. It’s there or it isn’t. It is like the idea of duende in a Flamenco performance, rendering it transcendental and timeless.”

▼建筑与周边自然景观相互衬托，构成人与自然和谐共处的气氛，the building and the surroundings reflect with each other which produce a harmonious atmosphere.

▼高塔的体量感与主体建筑形成对比，并成为场地的核心，the high standing tower contrasts with the main building, at the same time being the core of the site.

夜幕降临，万物隐匿，艺展中心也渐渐地消失在黑暗之中。华灯初上，塔楼上暗红的条窗隐约可见；内部的灯光从大厅屋顶迸裂而出 – 像一颗炸弹，冻结在爆裂的那一瞬。从天府大道望去，艺展中心犹如一颗遗落在黑暗旷野中的钻石，熠熠生辉，待人拾取。

At night, when everything else falls into darkness, on the street side, fading shapes of the building is barely noticed, wilderness of the roof garden hides into the falling night. While ruby windows on the tower is shrouding, light inside the building forces its way through the cracks of the gigantic sandstone roof, just like a bomb exploded, and time freezes at 0.001 second of the exploration. A buried diamond indicates its existence.

▼宛若旷野钻石的建筑夜景，the building at night seems like a buried diamond

在靠湖的一侧，室内的灯光从玻璃中透出，通过不锈钢镜面的折射辉洒其魔力；四射的灯束交织在一起，在夜幕下幻化出不同的图案。此时，白日的庄重让位于夜的喧嚣，艺展中心的活力仿佛被灯光点燃，而夜色下的高塔更是让人瞩目– 原本青铜色的表面现在漆黑一片，红宝石般的光芒在塔楼楼漆黑的表面流淌，好似永不熄灭的烈火在内部熊熊燃烧。在湖水的映衬下，整个艺展中心就像一座正在喷发的火山，暗红的，耀眼的熔岩正被其巨大的能量推向湖面。

On the lake side, the interior light bursts its way through the glasses, strengthened by the reflection of the stainless steel eave. Light beams deflected into different directions are interacting with its sources, waving themselves into an ever-changing sparkling pattern printed onto the dark night background. The modesty part of the building during the daytime stands out dramatically and vividly at night. Never leaves ones eyesight, the tower has an even heavier appearance during night time. Dark bronze finish of the tower body becomes pitch black, oppressed ruby strips flow down the surface, like an everlasting inferno is burning inside. Reflected by the lake water, the panorama view is almost like an erupting volcano, constantly pushes its lava into the lake.

▼在湖水的映衬下，整个艺展中心就像一座正在喷发的火山, reflected by the lake water, the panorama view is almost like an erupting volcano, constantly pushes its lava into the lake.

黎明升起，阳光渐渐驱散了黑暗，灯光失去了魔力，火山也归于沉寂。夜晚的喧嚣化为白日的静谧，空间的活力被厚实的体量所取代，艺展中心再一次回归到安静，庄重的状态，重新和周边的环境再次溶合。这段随时空变换的视觉体验之旅回到原点。

At dawn, with the sunlight evaporating the darkness, temperature of the volcano cools down, fading synthetic light loses its power, all the moving parts concrete back into their solid masses, the static monument atmosphere comes to the site, as the building humbly retreats back to the arms of the surround environment. Hence the 4 dimensional travel closes its circle.

“在我看来，我的建筑作品如同游行时的随机舞步，亦或精心编排的韵律舞步 – 它们可被感知、被体验，是各种视角的堆砌。”

“I think of my buildings as processional events, as choreographic events; they are an accumulation of vantage points both perceptual and experiential. “

历时8年的蕴育，麓湖艺展中心终于向世界揭开其神秘的面纱。目前，艺展中心开放了餐厅、销售中心、A4美术馆、生态馆，更多的功能空间将随后呈现。随着成都市极力向南扩张，不难想象，在不久的将来，麓湖艺展中心将成为这一片区一个重要的活动中心。在此，我们想借用安托内.普雷多克的一段话做为本期的结束，他曾这样评价他的作品：

The Luxelakes Art Expo Center, after its 8 years long gestation, has finally come to the world. Currently, the restaurant, sales center, A4 art gallery and Eco-museum are operating. More functional areas are yet to come. As the metropolitan of Chengdu expanding its way down south, one can imagine it will become a very important destination for the future residents. By ending this article, we’d like to re-emphasize Antoine Predock’s altitude towards all his works:

▼举办活动中的麓湖艺展中心，the Luxelakes Art Expo Center was taking activity.

“当我和我的团队进行创作时，我们时刻提醒自己：我们的工作并不仅仅是在这一小块土地上创造建筑，而是要努力使建筑与脚下这片大地产生永恒的纠葛。所有在此处聚集的、同化的、想象的、以及即将发生的一切都会随时间而消亡，成为我们可以利用的原料。我们也不仅仅是试图记录或表现某一个特定的纪元；在这里，我们更像是一层媒介 – 将始于11世纪的新墨西哥州查科峡谷文化、美国西部地区早期文明以及那些文明后裔的遗迹，借由我这个来自无名之地的“外国佬”的卑微力量在此传播复制。因此，对我这样一位“美国人”而言，这事儿颇有压力。”

“When I am working on projects with my team — and it is important to underscore the collaborative component in my work — we remind ourselves that we are involved in a timeless encounter with another place, not just a little piece of land. All of the readings that have accumulated and been assimilated there, that are imagined there, that may happen there in the future — all of these collapse in time and become the raw material with which we interact. We are not merely trying to record or express a particular epoch. The fact that we’re here involves a mediating layer. I’m this gringo from nowhere, with Chaco Canyon culture out there dating from the eleventh century, with even earlier vestiges around the West, and descendants of those cultures around me. This, for me as an “American,” carries a certain burden.”

▼黎明景观，the dawn view

▼场地平面，site plan

▼广场平面，square plan

▼场地剖面，site section

▼一层平面，first floor

▼二层平面, second floor

▼三层平面, third floor

▼四层平面，fourth floor

▼五层平面，fifth floor

▼六层平面，sixth floor

▼北立面和南立面，north elevation and south elevation

▼西立面，west elevation

▼剖面1，section 1

▼剖面2，section 2

▼剖面3，section 3

▼剖面4，section 4

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