日照三河流域田園公園

　　留一片田園記憶在城市當(dāng)中，場地現(xiàn)狀為農(nóng)田，設(shè)計(jì)保留場地肌理，栽植農(nóng)作物作為城市中的田園公園。一架十字廊橋穿越場地，一條廊橋叫做“柴門”，由農(nóng)作物、木材等再生材料構(gòu)成，以表達(dá)田園生產(chǎn)的印象，一條廊橋叫做“土墻”，用來表達(dá)鄉(xiāng)村生活的記憶，土墻的構(gòu)造是夯土墻的方式，這是華北民居基本的建筑構(gòu)造之一，土墻中進(jìn)一步摻雜民居拆除后的建筑廢料，包括磚、石、木、瓦等材料，作為城市化進(jìn)程中的物質(zhì)取樣，并將當(dāng)?shù)孛耖g藝術(shù)——日照農(nóng)民畫以壁畫形式附著，作為與民間美術(shù)的對話。兩條廊道的交接點(diǎn)為“打麥場”，在周邊的玉米田地中，點(diǎn)綴沂蒙花布點(diǎn)染的景觀燈籠，設(shè)計(jì)語言力求樸素和直白，符合場地的鄉(xiāng)土語境，最終希望能給景觀的體驗(yàn)者帶來一種鄉(xiāng)土的力量，進(jìn)而帶來內(nèi)心上的一些觸動。

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Leaving a pastoral memory among city, site situation was farmland, which was reserved in the design, and planted crops as pastoral park in the city. A cross roads across the field, called "Chai Men", a short consists of crops, renewable materials such as wood, to express the impression of rural production, called "wall", a short, used to express the country life of memory, the structure of the wall is rammed earth wall, this is one of the north China residential basic building structure, further doping in wall residential construction waste after the demolition, including materials such as brick, stone, wood, tile, as material sampling in the urbanization process, and the local folk art, Rizhao farmer paints adhere to in the form of paintings, as a dialogue with the folk art. Two corridor of the intersection of the threshing floor, in the corn fields around, river bank Mongolia ornament cloth touched the landscape of lanterns, design language is simple and straightforward, conform to the local context, eventually hopes to landscape experience brings the power of a country, and then bring some touches on the inside.