在城市中，建筑与景观服从于城市网络的纵横，是否依然葆有作为个体所应有的尊严？一座“失忆”的城市就和一个“失忆”的人一样，很难说是健康的，我们作为景观从业者如何在延续主体语系的基础上创新艺术自然的表达？捍卫景观设计的内核？此次让我们完成对蜿蜒曲折江河湖泽及其支流网络的静观，见证湖与时间的相互驯服，使记忆游乐其间，穿越曲径的迷园。

In the city, architecture and landscape are subject to the vertical and horizontal of the urban network. Do they still have the dignity they deserve as individuals? A city with amnesia, just like a person with amnesia, can hardly be said to be healthy. How can we, as landscape practitioners, innovate artistic and natural expression on the basis of continuing the main language family? Defend the core of landscape design? This time, let's complete the meditation on the winding rivers, lakes and their tributaries, witness the mutual taming of the lake and time, and make the memory play and cross the winding fan park.

在玖园一展的空间设计中我们聚焦并解答了在城市化进程发展之下，面对社会老龄化命题，景观设计所做出的创新与实践，我们探索总结得出魏玛“园艺主义＋景观疗法＋情境渗入”融合“纽带关注”＋“多维关怀”＋“价值认同”的创新型的康养模式，为长者打造一处“游园观画式”的康养社区。本次二展整体以湖区为核心，空间营造中我们在延续一展颐养美学的基础之上，更注重展现出随着时代发展人类对烟雨江南传统元素那种文人式的眷恋，对长者心理的关怀与记忆的追溯，对陶渊明故居“守拙园五景”的提炼，展现“画境回廊”、“池鱼故渊”的诗意雅境，以及对构件细部、古法造园技艺的关注。我们旨在挣脱理论与实践的纯粹语系，展现横亘在永恒天空之下的湖渠堤坝的文明，柔软而凝固，起伏与感知。

This second exhibition is centered on the lake area as a whole. On the basis of continuing to exhibit the aesthetics of caring for oneself, we pay more attention to showing the literati attachment of human beings to the traditional elements in the misty rain south of the Yangtze River with the development of the times, the care and memory of the elderly, the refinement of Tao Yuanming's former residence, the poetic elegance of "a picturesque cloister" and "a pond full of fish", as well as the details of components and the gardening skills of ancient methods. We aim to break away from the pure language family of theory and practice and show the civilization, softness and solidification, ups and downs and perception of lakes and canals and dams under the eternal sky.

“一桥一水一天地，一源一朝一传承”，山有顶峰，湖有彼岸，中国园林素有“无水不成园”的传统，整体湖区设置正是诠释环山抱水之意，以湖区驳岸连接水系变迁，以水为脉延续常州梦里水乡记忆，回溯青砖黑瓦的印象遗痕，守护千年湖畔生活。

"One bridge, one water, one source, one inheritance", the mountain has its peak, and the lake has its other shore. China gardens are known as the tradition of "no garden without water". The overall setting of the lake area is to interpret the meaning of embracing water around the mountain, connect the water system changes with the lake revetment, continue the memory of Changzhou Mengli water town with water as the pulse, trace back the impression of blue bricks and black tiles, and protect the life on the lakeside for thousands of years.

石绿铺陈，廊腰缦回，抬眼望去沿湖会所深浅铝板与香槟铝板搭配，整体空间调性以“清”相辅江南烟雨之“青”，天光湖水融为一色，左顾右盼之际，不知身在何处？仿若身处尘世，犹入丹青之间。

Stone green is paved, and the corridor is back. Looking up, I can see that the light and dark aluminum plates of the clubhouse along the lake are matched with champagne aluminum plates. The overall spatial tonality complements the "green" of the misty rain in the south of the Yangtze River with "clear", and the sky and the lake blend into one color. When I look around, I don't know where I am. It's like being in the world, still between painters and painters.

“闲庭独坐对闲花，轻煮时光慢煮茶”，踌躇的暮烟，黛色的江南中，茶室立于湖区一侧，精致小巧，在此与友人同坐，煮一壶清茶，观赏湖光微澜，诗意桃源，荡涤心灵，回忆少时闲趣，不亦乐乎！

"Sitting alone in a leisurely room, taking time to cook tea slowly", the lingering dusk, the dark color of the south of the Yangtze River, the teahouse stands on the side of the lake area, exquisite and small, sitting here with friends, making a pot of green tea, watching the lake light, poetic Taoyuan, cleansing the soul, and remembering the leisure when you are young, which is a great pleasure!

当今天游憩成为园林的首要目的，而往昔的居住主题不复占据主导地位的时候，空间的实与虚、内与外，发生了质的互换，踱步之间你会被诗韵之外的形构所吸引，其中蕴含着雕琢的艺术，如切如磋，如琢如磨。

When today's recreation has become the primary purpose of gardens, and the living theme of the past no longer occupies a dominant position, the reality and emptiness of space, the inside and the outside have undergone a qualitative exchange, and you will be attracted by the structure outside the poetic rhyme during pacing, which contains the art of carving, such as cutting and grinding.

山水需虚实相生，纹理精工写意皆备，小飞虹将竹林幽境与湖区连接，疏散有致间，顺应场地肌理，构建了自由的漫步体系。地面铺装“花街铺地”来源于中国古典园林的造园技法，沿湖栏杆与灯具，取古典之形结合当代工艺进行演绎。一山一石，一草一木，匠心精工，传递古新，行走其中，仿若穿梭千年，凭栏望月，重回湖间故里。

The landscape needs to be virtual and real, and the texture is exquisite and enjoyable. The small flying rainbow connects the secluded place of bamboo forest with the lake area, which is well evacuated and conforms to the texture of the site, and constructs a free walking system. The ground pavement "Flower Street Paving" comes from the gardening techniques of classical gardens in China. The railings and lamps along the lake are interpreted in a classical form combined with contemporary techniques. One mountain, one stone, one grass, one tree, ingenuity, passing on the old and the new, walking among them, just like traveling through the Millennium, looking at the moon by the fence and returning to the hometown between lakes.