Stage of Forest, is situated on a hillside between the forest and the slope. The site is surrounded by luscious greenery in summer and covered by an overwhelming white snow in winter. The location and triangle shape of the stage was only determined after precise examination of the site condition, to minimize the impact for the existing vegetation and to maximize the view on the platform. As one descends from the mountain top, it rises slowly above the undulating landscape. The entire stage is like growing from the forest, and using it's charred cedar shingles (Shou-Sugi-Ban) cladding to form a dialogue with the mongolian oak forest and the surrounding mountains and valleys.
The building combined rough materiality with sensuous form. Seen from afar, the stage is a dark, free-floating monolith in the landscape. Come closer, the reflection on the charred cedar shingles becomes faintly perceptible - even turns silvery with the changing angle of sunlight. After one meandering through the forest boardwalk and standing in front of it, the chapped surface of the Shou-Sugi-Ban become tangible. When you finally arrive at the platform level, what suddenly opens up to you is a great panoramic view of the Songhua lake.
All around you, the red cedar plank wall has been left untreated and is vivid in color shades, in contrast to the building's dark wood exterior. This entire procedure from overall perception to the authentic touch of wood is choreographed through a carefully plotted process, with a rich gradient of progressive formation of experience. That is realized by the architect's careful choice of material. In this project, different treatment of wood is introduced as medium between nature and people. The building is intended to stimulate people to explore their relationship with the nature, and itself also becomes part of the nature.
Stage of Forest, is situated on a hillside between the forest and the slope. The site is surrounded by luscious greenery in summer and covered by an overwhelming white snow in winter. The location and triangle shape of the stage was only determined after precise examination of the site condition, to minimize the impact for the existing vegetation and to maximize the view on the platform. As one descends from the mountain top, it rises slowly above the undulating landscape. The entire stage is like growing from the forest, and using it's charred cedar shingles (Shou-Sugi-Ban) cladding to form a dialogue with the mongolian oak forest and the surrounding mountains and valleys.
The building combined rough materiality with sensuous form. Seen from afar, the stage is a dark, free-floating monolith in the landscape. Come closer, the reflection on the charred cedar shingles becomes faintly perceptible - even turns silvery with the changing angle of sunlight. After one meandering through the forest boardwalk and standing in front of it, the chapped surface of the Shou-Sugi-Ban become tangible. When you finally arrive at the platform level, what suddenly opens up to you is a great panoramic view of the Songhua lake.
All around you, the red cedar plank wall has been left untreated and is vivid in color shades, in contrast to the building's dark wood exterior. This entire procedure from overall perception to the authentic touch of wood is choreographed through a carefully plotted process, with a rich gradient of progressive formation of experience. That is realized by the architect's careful choice of material. In this project, different treatment of wood is introduced as medium between nature and people. The building is intended to stimulate people to explore their relationship with the nature, and itself also becomes part of the nature.