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非標(biāo)社區(qū)的“新未來主義”
Neo-Futurism of a Non-Standard Community
成都海耀作為建發(fā)房產(chǎn)西南“燈塔戰(zhàn)略”的首個(gè)落地項(xiàng)目，是正象設(shè)計(jì)對(duì)未來人居原型的一次重要探索。這一項(xiàng)目的誕生根植于當(dāng)前中國房地產(chǎn)市場轉(zhuǎn)型的宏觀語境之下，其歷程本身便是對(duì)時(shí)代命題的積極回應(yīng)與先行實(shí)踐：它不僅是“未來森境”理念的具象實(shí)踐，也是一次基于城市文化洞察的非標(biāo)定制創(chuàng)作。
本文旨在記錄一座“新未來主義社區(qū)”從概念到建成的完整過程，呈現(xiàn)“未來城市樣本”如何在復(fù)雜協(xié)同中實(shí)現(xiàn)可持續(xù)生長，并探尋建筑在當(dāng)下行業(yè)深度調(diào)整與價(jià)值重構(gòu)的背景下，屬于當(dāng)代中國的表達(dá)方式。
As the first completed project under C&D Property’s “Lighthouse Strategy” in Southwest China, Chengdu Grand Mansion represents a significant exploration by ZEN into future residential prototypes. Rooted in the broader context of China’s ongoing real estate transformation, the project itself constitutes an active response to—and an early practice of—the challenges of its time. It is not only a concrete embodiment of the “Future Forest Habitat” concept, but also a non-standard, site-specific creation grounded in deep urban and cultural insight.
The project documents the full trajectory of a neo-futurist residential community—from conceptual vision to realized urban organism—examining how architecture can reconcile high-density development with environmental integration, experiential richness, and long-term adaptability. Rather than pursuing iconic form, Chengdu Grand Mansion reflects on how architecture in contemporary China can articulate new values through lived experience.
有機(jī)社區(qū)的“新未來主義”
Neo-Futurism of the Organic Community
正象設(shè)計(jì)根植于整個(gè)成都市的城市肌理與發(fā)展脈絡(luò)，在“高密度復(fù)合社區(qū)High-density Mixed-use Community”領(lǐng)域有著持續(xù)生長的洞察與實(shí)踐迭代：建筑不再是形而上的容器，而是與自然對(duì)話、與城市共生的有機(jī)生命體。這一設(shè)計(jì)思想的源頭，正是城市自然系統(tǒng)給予的啟發(fā)，我們以“使用者真實(shí)習(xí)慣”為核心洞察，致力于構(gòu)建多重感官的全維度場景體驗(yàn)。
Rooted in Chengdu’s urban fabric and developmental trajectory, ZEN has continuously cultivated insight and iterative practice within the field of high-density mixed-use communities. Here, architecture is no longer conceived as an abstract container, but as an organic living entity—one that dialogues with nature and coexists symbiotically with the city. This design philosophy originates from the inspiration offered by urban natural systems. Centered on an understanding of real user behavior, the project seeks to construct a full-spectrum, multi-sensory spatial experience.
有機(jī)生命體——自然系統(tǒng)重構(gòu)城市秩序
An Organic Organism — Reconstructing Urban Order through Natural Systems
在成都金融城三期的規(guī)劃藍(lán)圖中，交子公園與錦江綠道構(gòu)成了城市自然的生態(tài)中軸，與超220萬㎡產(chǎn)業(yè)空間、超60萬㎡商業(yè)體量共同形成復(fù)合的城市系統(tǒng)。以交子云塔等地標(biāo)為天際線焦點(diǎn)，這里將實(shí)現(xiàn)商業(yè)場景與公園水岸的無縫銜接，讓辦公、居住、文化與休閑在時(shí)間與空間中自由交織，形成一座持續(xù)活躍的“全景生活場”。
作為金融城三期的重要節(jié)點(diǎn)，建發(fā)·海耀不僅是建發(fā)房產(chǎn)西南“燈塔戰(zhàn)略”的開篇之作，更承載著城市、自然與建筑三者融合共生的使命。面對(duì)重要地標(biāo)項(xiàng)目的委托任務(wù)，如何在極限壓力下與時(shí)間賽跑，也要探索更高階設(shè)計(jì)標(biāo)準(zhǔn)的邊界，這都是本項(xiàng)目面臨的挑戰(zhàn)。
正象設(shè)計(jì)以此為著力點(diǎn)，基于對(duì)城市發(fā)展脈絡(luò)的深度洞察與實(shí)踐，從“景城融合”的規(guī)劃理念出發(fā)，逐步深化為“全景生活”的人居實(shí)踐，為未來的城市生活打造一個(gè)可感知、可持續(xù)、可生長的人居范本。
在規(guī)劃設(shè)計(jì)方面，我們以“自然系統(tǒng)引導(dǎo)設(shè)計(jì)邏輯”為原點(diǎn)，將交子公園的景觀滲透、錦江水岸的生態(tài)調(diào)節(jié)以及區(qū)域日照與風(fēng)環(huán)境等要素轉(zhuǎn)化為空間組織的基本參數(shù)。設(shè)計(jì)過程并非形式驅(qū)動(dòng)的意象塑造，而是基于未來使用者真實(shí)生活場景的“感官地圖”——通過回歸居住本質(zhì)的行為模擬，避免異形化的空間與視線沖突，構(gòu)建出視覺舒適、行為連貫的場所體驗(yàn)。
整體采用全點(diǎn)式塔樓正南北向體系，以規(guī)整的樓型邏輯、近50米寬幅的塔樓間距與功能復(fù)合的超級(jí)公共底盤，形成有序的空間結(jié)構(gòu)。這一策略既是對(duì)基地自然語境的理性回應(yīng)，也是對(duì)高密度城區(qū)中“呼吸感”與“通達(dá)性”的轉(zhuǎn)譯。
西側(cè)城市界面通過退讓與留白，形成柔性的過渡空間，在塑造標(biāo)志性形象的同時(shí)，有效降低街道壓迫感。西側(cè)五棟塔樓以錯(cuò)位布局與高度梯度，構(gòu)筑起面向交子云塔的連續(xù)性視覺通廊，整體形成具有動(dòng)態(tài)韻律的天際線。這不僅在平面上實(shí)現(xiàn)了與自然滲透的對(duì)話，更在垂直維度上構(gòu)筑了空間層次與流動(dòng)性，使建筑群落如有機(jī)生命體一般，既融入城市肌理，又煥發(fā)自然生長的內(nèi)在秩序。
Within the planning vision of Chengdu Financial City Phase III, Jiaozi Park and the Jinjiang Greenway form an ecological spine for the city, integrated with over 2.2 million m2 of industrial space and 600,000 m2 of commercial programs into a complex urban system. Anchored by landmarks such as Jiaozi Cloud Tower, the district enables seamless connections between commercial activities and park-side waterfronts, allowing work, living, culture, and leisure to interweave freely across time and space—shaping a continuously activated “panoramic living field.”
As a key node within Financial City Phase III, Chengdu Grand Mansion is not only the inaugural project of C&D Property’s Lighthouse Strategy in Southwest China, but also bears the mission of integrating city, nature, and architecture into a coherent whole. Confronted with the dual pressures of landmark-level expectations and compressed timelines, the project was challenged to explore the boundaries of elevated design standards under extreme conditions.
In response, ZEN anchored its approach in a profound understanding of urban development, evolving the planning concept of “city–landscape integration” into a lived practice of “panoramic living.” The project aspires to establish a perceptible, sustainable, and growth-oriented prototype for future urban habitation.
From a planning perspective, the design begins with natural systems as the guiding logic, translating landscape infiltration from Jiaozi Park, ecological regulation along the Jinjiang waterfront, and regional sunlight and wind conditions into fundamental parameters of spatial organization. Rather than being driven by formal imagery, the process is informed by a “sensory map” of future daily life—using behavioral simulation rooted in residential essence to avoid distorted forms and visual conflicts, and to create environments of visual comfort and behavioral continuity.
The overall layout adopts a point-tower system oriented strictly along the north–south axis. With rational tower typologies, nearly 50-meter-wide inter-tower spacing, and a multifunctional super public plinth, the scheme establishes a clear and ordered spatial structure. This strategy responds rationally to the site’s natural context while translating “breathability” and accessibility within a high-density urban environment.
Along the western urban interface, strategic setbacks and voids create a soft transitional zone, shaping a distinctive identity while mitigating street-level pressure. Five west-facing towers are staggered in plan and height, forming a continuous visual corridor toward Jiaozi Cloud Tower and generating a dynamic skyline rhythm. This configuration facilitates dialogue with natural infiltration at the horizontal level, while vertically constructing layered spatial depth and fluidity—allowing the architectural ensemble to function as an organic organism that both integrates into the urban fabric and expresses an intrinsic order of natural growth.
超級(jí)底盤的“新未來主義”
Neo-Futurism of the Super Plinth
伯納德·屈米（Bernard Tschumi）在《建筑與分離》中提出的觀點(diǎn)——建筑不僅是功能的容器，更是事件與體驗(yàn)的催化劑。正象設(shè)計(jì)通過該項(xiàng)目中“超級(jí)底盤的敘事性重構(gòu)”，提出一種基于當(dāng)代生活的“新未來主義”空間觀，引導(dǎo)人在與環(huán)境的多維互動(dòng)中，形成更具能動(dòng)性與詩意的“在場感”。
Bernard Tschumi, in Architecture and Disjunction, argues that architecture is not merely a container of function, but a catalyst for events and experiences. Through the narrative reconstruction of the super plinth in this project, ZEN proposes a contemporary Neo-Futurist spatial outlook—one that guides people toward a heightened sense of agency and poetic presence through multidimensional interaction with their environment.
幾何敘事——空間關(guān)系與體驗(yàn)的組織邏輯
Geometric Narrative — Organizing Spatial Relationships and Experience
從成都?xì)v史脈絡(luò)與場地“一軸一環(huán)”的空間結(jié)構(gòu)中，我們提取出“超級(jí)底盤”的幾何敘事原型。這一系統(tǒng)從二維平面網(wǎng)格發(fā)展為與地形深度融合的三維立體架構(gòu)，形成承載流動(dòng)場景的空間基底。
底盤以全架空12.9米的尺度，構(gòu)建起雙層連廊系統(tǒng)，串聯(lián)多向路徑、坡道與立體交通節(jié)點(diǎn)，引導(dǎo)使用者在探索中感知空間的層次與延伸。塔樓集約布局釋放出的空間，轉(zhuǎn)化為具有公共屬性的漫游場所。
歸家儀式的空間敘事始于超尺度的幾何形入口，經(jīng)由藝術(shù)化門廳的序列過渡，最終聚焦于極具視覺張力的精神堡壘。這一核心體量作為空間敘事的中軸，凝結(jié)所有動(dòng)線與視線，成為三層連廊環(huán)繞的視覺焦點(diǎn)，將人在場景中的體驗(yàn)與空間的結(jié)構(gòu)邏輯緊密聯(lián)系。
對(duì)稱布局與自由曲線構(gòu)成了基本的幾何秩序，其中空間柱、弧形結(jié)構(gòu)、曲線坡道、外掛膠囊電梯共同塑造出動(dòng)態(tài)的漫游體驗(yàn)。這些設(shè)計(jì)元素超越了單一的功能性，走向藝術(shù)性與結(jié)構(gòu)性的融合，也回應(yīng)了約翰·波特曼在《Entelechy》系列中提出的建筑哲思——建筑應(yīng)成為激發(fā)情感、連接自然、并最終升華生命體驗(yàn)的藝術(shù)裝置。
更加有趣的是，雙層空中環(huán)廊與立體交通廳的無縫銜接，構(gòu)建全天候歸家路徑，使用者可無風(fēng)雨阻隔直達(dá)社區(qū)單元入口。車行坡道則通過獨(dú)立環(huán)形動(dòng)線，直達(dá)半開敞式停車庫。這一立體交通系統(tǒng)實(shí)現(xiàn)了高效的人車分流，同時(shí)在移動(dòng)中視線與場景持續(xù)流動(dòng)，建筑立面、空間序列、景觀層次隨視點(diǎn)變化而重組。
Drawing from Chengdu’s historical context and the site’s “one axis, one ring” spatial structure, the design extracts a geometric narrative prototype for the super plinth. This system evolves from a two-dimensional planar grid into a three-dimensional structure deeply integrated with the terrain, forming a spatial base that supports fluid scenarios and movement.
Elevated entirely to 12.9 meters, the plinth establishes a dual-layered corridor system that connects multi-directional paths, ramps, and vertical circulation nodes, encouraging users to perceive spatial depth and extension through exploration. The compact tower arrangement liberates ground-level space, transforming it into publicly accessible promenades.
The spatial narrative of arrival begins at an oversized geometric entrance, transitions through a sequence of art-inflected lobbies, and ultimately converges on a visually striking spiritual bastion. Acting as the axial core of the entire narrative, this central volume gathers circulation and sightlines alike. Encircled by three levels of galleries, it becomes the visual anchor that tightly interweaves experiential perception with spatial structure.
A foundational geometric order emerges from the interplay between symmetry and free curves. Structural columns, arched forms, curvilinear ramps, and externally mounted capsule elevators collectively create a dynamic promenade experience. These elements transcend pure functionality, integrating artistry with structural expression, and echo John Portman’s architectural philosophy articulated in Entelechy—that architecture should function as an artistic apparatus capable of evoking emotion, connecting with nature, and ultimately elevating human experience.
Notably, the seamless integration of double-height sky corridors and vertical transportation halls establishes an all-weather return-home route, allowing residents to access their community units without exposure to wind or rain. Vehicular circulation follows an independent looped ramp system directly connected to semi-open parking areas. This three-dimensional traffic strategy ensures efficient separation of pedestrians and vehicles, while enabling continuously shifting visual relationships in motion—where fa?ades, spatial sequences, and landscape layers are constantly reassembled through changing viewpoints.
知覺共創(chuàng)——多重感官潛能的釋放
Perceptual Co-Creation — Releasing Multi-Sensory Potential
超級(jí)底盤的另外一大核心理念，在于構(gòu)建“未來森境”這一沉浸式體驗(yàn)場域。正象設(shè)計(jì)認(rèn)為，真正具有記憶性的空間并非被動(dòng)接收預(yù)設(shè)的感官信息，而是讓使用者釋放多重感知的潛能。
為此，設(shè)計(jì)通過三層總高18米的公共空間系統(tǒng)，串聯(lián)起近20個(gè)主題各異的景觀庭院與空中泛會(huì)所。這些立體花園以全玻璃幕墻消解內(nèi)外邊界，借助微型水景調(diào)節(jié)微氣候，并通過庭院引入自然光影、水波與植被的動(dòng)態(tài)切片，使建筑內(nèi)部如同持續(xù)變化的“自然壁畫”，讓人在行走中不斷與自然對(duì)話、與空間共創(chuàng)場所記憶。
其中，最具有代表性的精神堡壘空間“芙蓉花廳”，既是被觀看的焦點(diǎn)，又是“事件舞臺(tái)”，提供了一處瞭望場所，這種雙向注視激活了公共空間的社交能量，也是對(duì)看與被看的空間關(guān)系的一種試驗(yàn)性探索。
Another core ambition of the super plinth lies in constructing the immersive experiential realm of the “Future Forest Habitat.” ZEN believes that truly memorable spaces are not those that passively deliver predetermined sensory stimuli, but those that invite users to activate their own perceptual potential.
To this end, a public spatial system spanning three levels and 18 meters in height links nearly 20 themed landscape courtyards with elevated communal lounges. Enclosed by full-height glass fa?ades, these vertical gardens dissolve interior–exterior boundaries, regulate microclimates through water features, and introduce dynamic fragments of light, shadow, ripples, and vegetation. The interior thus becomes a continuously evolving “natural mural,” allowing people to engage in ongoing dialogue with nature and to co-create spatial memory through movement.
Among these spaces, the most emblematic is the Hibiscus Hall, conceived as a spiritual bastion. It functions simultaneously as a visual focal point and an “event stage,” offering an elevated lookout. This reciprocal relationship of seeing and being seen activates the social energy of the public realm and serves as an experimental exploration of spatial reciprocity.
藝術(shù)雕琢的“新未來主義”
Neo-Futurism Sculpted by Art
正象設(shè)計(jì)主張“體驗(yàn)至上”的整體設(shè)計(jì)哲學(xué)，將空間場景和人的感知編織成一個(gè)不可分割的網(wǎng)絡(luò)。在這一體系中，藝術(shù)不再是建筑的附加裝飾，既是激活感知的視覺錨點(diǎn)，也是升華空間精神性的關(guān)鍵媒介。
ZEN advocates a holistic design philosophy of “experience first,” weaving spatial scenarios and human perception into an inseparable network. Within this framework, art is no longer an ornamental supplement to architecture, but both a visual anchor that activates perception and a critical medium for elevating spatial spirituality.
非標(biāo)美學(xué)——藝術(shù)作為建筑的平等伙伴
Non-Standard Aesthetics — Art as an Equal Partner of Architecture
我們?cè)谠O(shè)計(jì)中深度融入對(duì)成都人文肌理的洞察，將在地文化元素轉(zhuǎn)化為一系列非標(biāo)準(zhǔn)化的定制細(xì)節(jié)。從入口大門開始，巨大的屋頂和挑高空間帶來一種具有庇護(hù)感的宏偉，但細(xì)部的親切尺度和自然材料的運(yùn)用又避免了疏離感。門扇設(shè)計(jì)尤為精妙：金屬拉絲飾面中嵌入了成都非遺“懷遠(yuǎn)藤編”的編織肌理，輔以芙蓉纏枝紋浮雕與和田玉執(zhí)手，并配以整塊手工打磨的翡翠石材，形成材質(zhì)、工藝與在地文化的深度對(duì)話。
作為空間詩眼的“建木亭”，其造型源自芙蓉花的形態(tài)演繹。不規(guī)則的空間柱體表面鐫刻藤蔓狀銀絲花紋，象征生生不息的自然生命力。全石材覆層與幾何曲面的結(jié)合，使構(gòu)筑物既具雕塑感，又承載著沉浸式的藝術(shù)氛圍。
另外，整個(gè)項(xiàng)目中最為獨(dú)特之處在于各類曲面玻璃幕墻的全定制設(shè)計(jì)，通過反復(fù)推敲曲率、比例與構(gòu)造節(jié)點(diǎn)，最大化實(shí)現(xiàn)自然光與景觀的滲透。這一設(shè)計(jì)策略不僅拓展了視覺的通達(dá)性，更在無形中消弭了室內(nèi)外界限，使用者在流動(dòng)的視線中與場域建立起深層的精神共鳴。
The design deeply integrates insights into Chengdu’s humanistic texture, translating local cultural elements into a series of non-standard, customized details. From the very entrance, the monumental roof and generous vertical scale convey a sense of sheltering grandeur, while human-scaled details and the use of natural materials prevent emotional distance.
The entrance doors exemplify this meticulous integration: brushed metal panels embed the woven texture of Huaiyuan rattan weaving, a local intangible cultural heritage, complemented by reliefs of hibiscus scroll motifs, Hetian jade handles, and a monolithic hand-polished jadeite stone. Together, these elements form a layered dialogue among materiality, craftsmanship, and local culture.
Serving as the poetic focal point of the space, the Jianmu Pavilion derives its form from an abstract interpretation of the hibiscus flower. Irregular structural columns are engraved with vine-like silver inlays, symbolizing the vitality of continuous natural growth. The combination of full stone cladding and geometric curvature grants the structure a sculptural presence while sustaining an immersive artistic atmosphere.
Moreover, one of the project’s most distinctive features lies in the fully customized curved glass curtain wall systems. Through repeated refinement of curvature, proportion, and construction detailing, the design maximizes the penetration of natural light and landscape views. This strategy not only extends visual accessibility, but also subtly dissolves interior–exterior boundaries, enabling users to establish a deeper spiritual resonance with the site through continuously flowing sightlines.
項(xiàng)目信息：
項(xiàng)目名稱：成都 建發(fā)海耀
項(xiàng)目地點(diǎn)：成都錦江區(qū) 金融城東
項(xiàng)目類型：住宅
建筑面積：116885.25㎡
建設(shè)單位：建發(fā)房產(chǎn)
設(shè)計(jì)時(shí)間：2025年04月
建成時(shí)間：2025年12月
建筑設(shè)計(jì)：ZEN正象設(shè)計(jì)
主持建筑師：柳春瑋
主創(chuàng)團(tuán)隊(duì): 方春、唐建安、劉亞飛、楊曦、瞿博
設(shè)計(jì)團(tuán)隊(duì): 劉暉、周鑫建、岳明、侯賴華、馮建豪、李思蒂、楊嘉強(qiáng)、梁哲偉、趙鑫、徐強(qiáng) 楊建帽
室內(nèi)設(shè)計(jì)：仕乾曾(上海)設(shè)計(jì)咨詢有限公司(SCDA)
渡道合維(北京)建筑設(shè)計(jì)有限公司(孟也工作室)
景觀設(shè)計(jì)：重慶藍(lán)調(diào)城市景觀規(guī)劃設(shè)計(jì)有限公司
主體施工圖：基準(zhǔn)方中建筑設(shè)計(jì)股份有限公司
幕墻施工圖：中哲創(chuàng)建科技股份有限公司
泰幕工程咨詢(杭州)有限公司
建筑攝影：王寧、IN-FIELD studio
