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在广东佛山市顺德区繁忙的工业园和新建城市高楼间有一座郁郁葱葱的“鹭鸟天堂”，两万多只鹭鸟在这座生态岛屿里飞翔、繁衍、栖息。业主找到建筑师想要设计一栋湿地博物馆，集观鸟塔与展览馆功能于一体，旨在提高游客对湿地生态的认识，并提供独一无二的观鸟体验。

In the Shunde District of Foshan City, Guangdong Province, nestled among bustling industrial parks and towering urban skyscrapers, lies a lush “Egret’s Paradise,” home to more than 20,000 herons that live and breed. The client approached the architects to design a wetland museum that would integrate a bird-watching tower and an exhibition hall. The goal is to raise visitors’ awareness of the wetland ecosystem while offering a unique bird-watching experience.

▼远眺湿地博物馆的第五立面，Aerial view of the Wetland Museum ©田方方

▼从湿地公园望向博物馆，View of the Museum from the Wetland Park ©存在建筑

▼从鹭岛望向湿地博物馆，View of the Wetland Museum from the Egret Island ©存在建筑

项目缘起
Project Origin

1998年经营竹编脚手架生意的“鸟叔”冼铨辉租下200亩荒滩来栽种竹子，几年后脚手架生意冷落萧条，但这片郁郁葱葱的竹林却被鹭鸟们“爱上”，阴差阳错成为了鸟类的栖息地。为了保护鹭鸟，鸟叔在竹林外挖建了隔绝外界的护林河，防止外人偷猎；在树林外围租下鱼塘，在里面投放了60多万条鱼苗，为觅食的鹭鸟解决食物问题……数十年如一日的努力让这片城市绿洲成为了鸟类天堂，如今顺德政府将鹭鸟天堂的保护范围扩容了13倍至100公顷，修复水系、更新竹林，将这个区域重塑为云鹭湿地公园。

The project originated 26 years ago with a bamboo forest planted by “Uncle Bird,” Xian Quanhui. In 1998, he rented 200 acres of abandoned land to grow bamboo for his scaffolding business. Although the business struggled, the bamboo forest unintentionally attracted a large population of egrets. To protect the egrets, Uncle Bird dug a moat around the forest to deter poachers. He also rented nearby fish ponds, stocking them with over 600,000 fish to help feed the egrets. Decades of dedication transformed this area into an urban oasis and a sanctuary for the birds. Today, the Shunde government has expanded the Egret Paradise conservation area by 13 times, covering 100 hectares. They have restored the water system, rehabilitated the bamboo forests, and converted the area into the Yunlu Wetland Park.

▼湿地公园的原生状态, 竹林、椰林、榕树，The original trees on site, bamboo groves, palm trees, banyan trees ©Link-Arc建筑事务所

▼草图，Sketch ©Link-Arc建筑事务所

▼从湿地公园望向博物馆，View of the Museum from the Wetland Park ©存在建筑

消隐的选址
The Hidden Site

湿地博物馆的基地坐落于云鹭湿地公园的西北角，毗邻鹭岛。场地被护林河一分为二，河道两侧生长着繁茂的水杉和榕树。业主与建筑师一致认同项目的选址要从保护鹭鸟的角度出发，施工过程要避免打扰鹭鸟，建筑体量尽量“消隐”甚至“消失”。最终的建筑选址退到了一排落羽杉林之后，让水杉林与大王椰林成为一道天然屏障，最小化建造过程对鹭鸟的影响，用谦逊的姿态与这片区域里的“原住民们”和谐共处。

The site for the Wetland Museum is located in the northwest corner of Yunlu Wetland Park, adjacent to Egret Island. The site is bisected by a moat, with lush sequoia and banyan trees lining both sides of the water. The client and the architect agreed that the building’s location and construction should minimize any disturbance to the egrets. The architecture was designed to be as “hidden” or even “invisible” as possible. The final location was chosen behind a row of larch forests, ensuring that the sequoia forests and palm trees created a natural barrier. In this way, the new building coexists harmoniously with the area’s “indigenous creatures,” adopting a modest presence.

▼场地模型，Site model ©Link-Arc建筑事务所

▼方案模型，Concept model ©Link-Arc建筑事务所

▼从湿地公园望向博物馆，View of the Museum from the Wetland Park ©田方方

“打工”的鹭鸟
The “working” egret

考察场地时建筑师登上了鸟叔搭建的简易观鸟塔，虽然构造简单粗暴，但是观鸟塔的高度让游客的视野越过密林，在树冠之上感受到“长空去鸟没，落日孤云还”的自然奇观。鹭鸟在广东当地被戏称为“打工鸟”，它们会在清晨“上班”出门觅食，傍晚“下班”，在落日的余晖下回巢休憩。建筑师希望新建的湿地博物馆可以在节制建造的前提下，体现空间的高远与生命的辽阔。

During the initial site visit, the architect climbed the simple bird-watching tower built by Uncle Bird. Though the construction was basic and unrefined, the tower’s height provided a vantage point above the tree canopy, offering a clear view of Egret Island and the surrounding dense forest. In Guangdong, egrets are known as “working birds.” Like most people, they leave their nests early in the morning to forage for food and return at sunset to rest. The architects aimed for the new wetland museum to evoke a sense of vastness and openness, reflecting the grandeur of the space and the richness of life, all while maintaining a restrained construction.

▼生态系统研究，Ecosystem analysis ©Link-Arc建筑事务所

▼从鸟塔望向湿地博物馆，View of the Wetland Museum from the Bird Tower ©田方方

▼远望云鹭湿地博物馆，View of the Museum from a distance ©存在建筑

▼打工鹭鸟的日常，The daily life of Egrets ©陈志广

四个镜头
Four Lenses

建筑形体由四根不同方向的清水混凝土筒体组成，像是在场地上水平旋转的四个“镜头”，躲在密林之后捕捉鹭鸟的生活瞬间。为了尽量减少建筑的占地面积，建筑师把筒体竖向叠加起来，形成一座四层的观鸟塔，最高的筒体只比南侧的水杉林梢略高。从鹭岛望向博物馆，建筑“消失”在了亚热带的密林中，只有一片通透的“镜头”躲在密林后，管窥鹭鸟。

The building’s design features four vertically stacked cast-in-place concrete tubes, resembling four horizontally rotating “lenses” that capture the activities of the egrets. The concept aims to minimize the building’s presence, allowing it to blend harmoniously with the “indigenous creatures” in the area, adopting a modest and unobtrusive approach. Viewed from Egret Island, the building “disappears” into the dense subtropical forest, with only the tallest tube rising slightly above the sequoia trees.

▼旋转的四个镜头示意，Four rotating tubes ©Link-Arc建筑事务所

▼湿地博物馆鸟瞰，Aerial view of the Wetland Museum ©田方方

▼从南侧鹭岛望向湿地博物馆，View of the Museum from south of the Egret Island ©田方方

▼从北侧望向湿地博物馆，View of the Wetland Museum from north ©田方方

▼南侧栈道视角，View from the Sequoia Walkway ©存在建筑

四张取景框
Four Viewfinders

根据场地的实际情况，博物馆的每根筒体都被旋转至最佳的观景方向，在内部空间形成了四个错落的“取景框”，一至四层分别望向亚热带雨林的树根、树干、树冠和树梢。游客逐层观景，可以在建筑内部的不同高度上望见鹭岛的树影婆娑与鹭鸟蹁跹。建筑内部空间简洁、纯净，通过具有方向感的空间指向，藉“取景框”为桥梁，建立起与周边鹭岛在时空上的联系。

Each tube of the museum is rotated to optimize the viewing direction based on the site conditions, creating four staggered “framing frames” within the interior space. The floors, from the first to the fourth, align with different parts of the trees: the roots, trunks, crowns, and treetops. Visitors can observe the swaying tree shadows and the fluttering birds of Egret Island from varying heights inside the building. The interior space is minimalist and pure, guided by a strong sense of directional spatial orientation. These “viewing frames” act as bridges, connecting the building with Egret Island across both time and space.

▼四张取景框概念示意，Diagram of four viewfinders ©Link-Arc建筑事务所

▼从半空中望向四个取景框，View of the four viewfinders ©田方方

▼从落羽杉林望向取景框，View of the viewfinders from sequoia forest ©田方方

▼从二层露台望向取景框，
View of the viewfinders from the second-floor terrace ©田方方

▼荷花池上的取景框，Viewfinder over the lotus pond ©田方方

与传统的展览建筑不同，这座建筑叠了4层，建筑师力图实现形态的相对高隐与与视线的远达，前者体现为“身之所容”的空间高度，后者体现在“目之所瞩”的视线实验上。

In contrast to traditional exhibition buildings, this structure is layered across four levels. The architect sought to achieve both “relative concealment” in form and “visual expansiveness.” The former reflects the spatial comfort of “accommodating the body,” while the latter is embodied in the visual exploration of “where the eye reaches.”

▼建筑剖面与视线分析，Section and Sight Analysis ©Link-Arc建筑事务所

▼湿地博物馆西侧立面，West elevation of the Wetland Museum ©田方方

▼湿地博物馆南侧立面，South elevation of the Wetland Museum ©田方方

管窥自然
A Glimpse of Nature

博物馆四个筒体相叠加的部分被“布尔差分”成一个竖向的三角形中庭，四层的体量在这里被串联在了一起；自然光通过顶部深梁的过滤变得柔和，均匀地洒向室内的每一个角落。中庭是建筑内部不同透视方向的共同“视点”，站在这里既可以看到不同透视角度相切得出的物理边界，同时视线也可以通过不同视角的筒体“管窥自然”——筒体尽端的取景窗，像是镶嵌在空间中几幅精心挑选的风景画。身处建筑之中，被柔和的自然光包裹着，人们透过取景窗可以感受到季节的流转与自然的变迁。

The overlapping sections of the museum’s four cylindrical structures are “Boolean subtracted” to create a vertical triangular atrium that connects all four levels. Natural light, filtered through deep beams at the top, spreads softly and evenly across every corner of the interior. The atrium acts as a central “viewpoint,” offering various perspectives within the building. From this vantage point, visitors can observe the physical boundaries created by the intersecting views and “glimpse nature” through the different cylindrical structures from multiple angles. The viewing windows at the ends of the cylinders resemble carefully selected landscape paintings, embedded within the space. Surrounded by gentle natural light, visitors within the building can experience the passage of seasons and the changing landscape through these framed views.

▼轴测图，Circulation Axon Diagram ©Link-Arc建筑事务所

▼二层中庭空间，View of atrium from the second floor ©田方方

▼三层中庭空间，View of atrium from the third floor ©存在建筑

▼四层中庭空间，View of atrium from the fourth floor ©田方方

▼天光中庭，Atrium skylight ©存在建筑

散点透视
Scattered Perspective

建筑采用箱型混凝土结构，每个筒体的侧墙、顶板和底板共同作用，提供整体承重支撑。整个建筑中没有一根柱子，盒子的悬挑端都挂在三角形的核心筒上受力。

The building features a box-shaped concrete structure, where the side walls, roof, and floor of each cylindrical form work together to provide overall load-bearing support. There are no columns in the entire building; instead, the cantilevered ends of the boxes are suspended from the triangular core tube, which carries the load.

▼从大王椰树下望向博物馆，View of the Wetland Museum under the palm tree ©存在建筑

▼清水混凝土悬挑，Fair-faced concrete cantilever ©田方方

筒体结构的布置约束了建筑内部东西向的视野，同时在建筑南北向呈现了类似于散点透视的内部构图；具有方向感的空间指向把游客的注意力引导向南侧的热带雨林与鹭岛，景观的取舍之间，体现了“远近取与”的空间视角。

The layout of the cylindrical structures restricts the east-west view inside the building, while creating an internal composition that evokes a scattered perspective along the north-south axis. The directional spatial design guides visitors’ attention toward the southern tropical rainforest and Egret Island. Through the thoughtful curation of views, the spatial perspective embodies the philosophy of “choosing between near and far.

▼湿地展廊，Wetland gallery ©田方方

▼一层室内空间，Ground-floor interior space ©田方方

▼北侧中庭楼梯，North-side stairs ©田方方

▼首层书吧空间，Ground-floor library ©田方方

松木混凝土
Pinewood Concrete

混凝土的结构形式自然而然地引出了清水混凝土的建筑做法，建筑师希望通过“建构合一”的筑造过程，实现更为真实、自然的建造效果。外立面采用现浇松木模混凝土，松木的细腻纹理赋予了外墙自然的质感，与周围的亚热带雨林遥相呼应。

The concrete structure naturally led to the use of exposed concrete in the construction. The architects sought to create a more authentic and natural effect through a “unified construction” process. The exterior façade features cast-in-place concrete with pinewood molds, allowing the delicate grain of the wood to impart a natural texture to the walls, harmonizing with the surrounding subtropical rainforest.

▼施工过程，Construction process ©Link-Arc建筑事务所

▼材质细节，Details ©存在建筑

▼混凝土质感，Concrete texture ©木析AlexanDENG

▼混凝土质感，Concrete texture ©木析AlexanDENG

白天的混凝土墙面像一幅干净的画布，安静的接受自然在它上面作画，树影水光在画布上随着日照在一天之内不断变化。

During the day, the concrete walls act as a clean canvas, quietly receiving nature’s artwork—shadows of trees and ripples of water that shift constantly with the changing daylight, creating dynamic visual effects.

▼细节实景，Zoom-in view ©郭诗雨

生态保护
Ecological Preservation

为了不破坏湿地环境，在对现有的 560 棵树木进行测绘后，建筑师仔细确定了建筑的位置，缩小建筑的占地面积，然后旋转了每一层的建筑体量——在减少砍伐原生树木的同时，确保建筑可以捕捉到良好的观鸟视野；为了保护鹭鸟，建筑师希望在这个项目中减少玻璃的使用，只在密林包围的首层设置了节制的水平玻璃窗，二层以上只在几个最佳的观景点设置了取景窗，并未过度占用周边的湿地景观；建筑屋面覆盖了荷花池，生态水景弱化了建筑在第五立面上的存在感。

To minimize impact on the wetland environment, the architects carefully selected the building’s location after mapping the 560 existing trees. This process reduced the building’s footprint and rotated each floor’s volume, minimizing the need to cut down native trees while ensuring optimal birdwatching views. In order to protect the egrets, the architects limited the use of glass throughout the project. Only restrained horizontal glass windows were added on the first floor, surrounded by dense woods, while the upper floors featured selective viewing windows at key points. This approach prevented excessive intrusion into the surrounding wetland scenery. The building’s roof is covered by a lotus pond, with the ecological water feature helping to minimize the visual presence of the structure from above.

▼从落羽杉林望向博物馆，View of the Wetland Museum from the sequoia forest ©田方方

▼博物馆入口，Entrance of the Museum ©存在建筑

▼透过密林的博物馆一角，A corner of the museum through the lush forest ©存在建筑

▼透过密林看向展廊，View of the gallery through the dense forest ©郭诗雨

观鹭之“器”
An Instrument for Egret Observation

游客秋日登临观鹭，远望顺德天际线，雨林、鹭岛、湿地、沙洲、城市，视角由近及远，心理空间逐渐投射至远方。虽然建筑选址被隐藏在了一片热带雨林之后，“自找”的局促总图关系背后是建筑师对“高”与“远”的另一种思考：“高”是一种生命的追求，登临观鹭的空间叙事以层层叠加的的形式体现在空间中；“远”是一种生命的展开，经过约束后的“取景器”通过有目的性的空间指向，将游客的注意力投射到更远处，从而引发对另一种生命的关怀与关照。

In autumn, visitors ascend the building to observe the egrets, gazing out toward the Shunde skyline. The view spans the rainforest, Egret Island, wetlands, sandbars, and cityscapes, transitioning from near to far, gradually expanding the psychological space into the distance. Although the building’s site is nestled within a tropical rainforest, the “self-imposed” constraints of the compact site reveal the architect’s deeper reflection on “height” and “distance.” “Height” represents a pursuit of life, expressed through the spatial narrative of ascending layers to observe the egrets. “Distance” symbolizes the unfolding of life, as the carefully framed “viewfinder” intentionally directs visitors’ attention toward the far horizon, evoking a sense of care and reflection for another form of life.

▼远眺博物馆，Aerial view of the Wetland Museum ©田方方

▼第五立面，Fifth elevation ©田方方

▼模型照片，Model ©Link-Arc建筑事务所

▼总平面图，Site Plan ©Link-Arc建筑事务所

▼一层平面图，1st Floor Plan ©Link-Arc建筑事务所

▼二层平面图，2nd Floor Plan ©Link-Arc建筑事务所

▼三层平面图，3rd Floor Plan ©Link-Arc建筑事务所

▼四层平面图，4th Floor Plan ©Link-Arc建筑事务所

▼剖面图，Sections ©Link-Arc建筑事务所

▼墙身大样剖面，Wall Sections ©Link-Arc建筑事务所

项目信息
项目名称：顺德云鹭湿地博物馆
项目地点：中国广东顺德
项目类型：展厅、博物馆
项目规模：建筑面积1,800㎡
业主：华润置地、佛山市顺德区政府
设计时间：2023年9月至2024年4月
建成时间：2024年9月
建筑设计：Link-Arc建筑事务所
主持建筑师：陆轶辰
项目负责人：郭诗雨
项目团队：周睿、张嘉琦、钟臻炜、刘子达、程竞斌、Luis Ausin、杨灵运、綦峰、徐嘉瑞、华心宁、Sarah Kenney、李紫石、Isabella Chong
设计范围：建筑设计、室内概念设计、景观概念设计
执行建筑师/结构机电设计：奥意建筑工程设计有限公司
结构顾问：深圳市行健工程设计咨询有限公司
幕墙顾问：沈阳正祥装饰设计有限公司
景观设计：承迹景观
室内设计：于舍设计
灯光照明顾问: 上海格锐照明设计有限公司
结构类型：箱型混凝土结构
主要建筑材料：松木模清水混凝土、玻璃幕墙、不锈钢板
主要室内材料：人造石、肌理涂料、木饰面
施工方: 中国建筑第四工程局有限公司、北京益汇达清水建筑工程有限公司
摄影：田方方、存在建筑、木析AlexanDENG、郭诗雨

Project name: Shunde Yunlu Wetland Museum
Project type: Exhibition hall, Museum
Design: Studio Link-Arc
Website: http://www.link-arc.com/
Contact e-mail: press@link-arc.com
Design year: 2023/09～ 2024/04
Completion Year: 2024/09
Leader designer & Team: Chief Architect: Yichen Lu
Project Manager: Shiyu Guo
Project Team: Rui Zhou, Jiaqi Zhang, Zhenwei Zhong, Zida Liu, Jingbing Cheng, Luis Ausin, Lingyun Yang, Feng Qi, Jiarui Xu, Xinning Hua, Sarah Kenney, Zishi Li, Isabella Chong
Project location: No. 3, Shun’an Avenue, Shunde District, Foshan, Guangdong Province, China
Gross built area: 1800 ㎡
Photo credit: Tian Fangfang, Arch-Exist
Partner: Architect & Engineer of Record: Shenzhen A+E Design Co., Ltd.
Structural Consultant: Shenzhen WS Engineering Design Consultant Ltd.
Curtain Wall Consultant: Zheng Xiang Consultant
Landscape Designer: CHANGE
Interior Consultant: Yu Studio
Lighting Consultant: Gradient Lighting Design
Construction: China Construction Fourth Engineering Division Corp. Ltd, Beijing Yihuida Architectural Concrete Engineering Co., Ltd
Clients: CR Land, Shunde People’s Government of Foshan
Materials: Architectural concrete, Artificial stone, Oreo grey stone
Brands: Beijing Yihuida Architectural Concrete Engineering Co., Ltd, Foshan Impression of Tang Dynasty, A2Stone

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