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中国 当代 建筑 大系

出了中国的传统文化与建筑哲学之间的共生关系。书中每座博物馆案例都通过自身的鲜明个性、艺术的展现 方式传达出优雅与高尚的气息,在建筑、室内与景观的互动过程中,表达出建筑师对于藏品、氛围以及观众 感知体验的尊重。通过对本书的阅读,除了能够对中国当代建筑师的设计风格及理念有一定了解之外,还能 感受到博物馆作为一种独特的文化建筑,通过自身的比例、空间、色彩与质感的组织传递出独特的文化内涵 与意识形态。

博物馆

CONTEMPORARY ARCHITECTURE IN CHINA

对当代中国本土博物馆的案例展示,印证了当代中国建筑师游走于传统与现代之间的探寻之旅,同时也反映

MUSEUMS

博物馆作为历史的容器承载着过去连接着未来,博物馆为后来的人们开启了一扇追忆与向往的窗。本书通过

中国 建筑 当代 大系

博物馆

Through the showcases of museumes in China, the book reveals contemporary Chinese architects’ exploration of tradition and modern, and reflects the coexistence of Chinese traditional culture and architectural philosophy. Each museum project in this book conveys an elegant and dignity atmosphere through its distinct features and artistic expressions. In the interactive process among architecture, interior and landscape, the project expresses the architect’s respect to collections, atmospheres and visitors’ experiences.

CONTEMPORARY ARCHITECTURE IN CHINA

辽宁 科学技术 出版社

MUSEUMS 刘克成/编

李婵/译

Edited by LIU Kecheng Translated by Katy Lee

辽宁科学技术出版社

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中国 当代 建筑 大系

出了中国的传统文化与建筑哲学之间的共生关系。书中每座博物馆案例都通过自身的鲜明个性、艺术的展现 方式传达出优雅与高尚的气息,在建筑、室内与景观的互动过程中,表达出建筑师对于藏品、氛围以及观众 感知体验的尊重。通过对本书的阅读,除了能够对中国当代建筑师的设计风格及理念有一定了解之外,还能 感受到博物馆作为一种独特的文化建筑,通过自身的比例、空间、色彩与质感的组织传递出独特的文化内涵 与意识形态。

博物馆

CONTEMPORARY ARCHITECTURE IN CHINA

对当代中国本土博物馆的案例展示,印证了当代中国建筑师游走于传统与现代之间的探寻之旅,同时也反映

MUSEUMS

博物馆作为历史的容器承载着过去连接着未来,博物馆为后来的人们开启了一扇追忆与向往的窗。本书通过

中国 建筑 当代 大系

博物馆

Through the showcases of museumes in China, the book reveals contemporary Chinese architects’ exploration of tradition and modern, and reflects the coexistence of Chinese traditional culture and architectural philosophy. Each museum project in this book conveys an elegant and dignity atmosphere through its distinct features and artistic expressions. In the interactive process among architecture, interior and landscape, the project expresses the architect’s respect to collections, atmospheres and visitors’ experiences.

CONTEMPORARY ARCHITECTURE IN CHINA

辽宁 科学技术 出版社

MUSEUMS 刘克成/编

李婵/译

Edited by LIU Kecheng Translated by Katy Lee

辽宁科学技术出版社


MUSEUMS 博物馆 Author: Kecheng LIU Print version (Hardcover) - 2012 ISBN 9787538177909 Published by Liaoning Science & Technology Publishing House Shenyang, Liaoning, China eBook version - 2012 ISBN 9781619870802 Published by Profession Design Press Co., Ltd California, United States of America Distributed by Actrace, LLC, United States of America Website: www.actrace.com, www.design-bookstore.com Copyright©2012 Liaoning Science & Technology Publishing House License agreement: www.design-bookstore.com/auxpage_license Unauthorized copying prohibited. 作者:刘克成 纸质书(精装)- 2012 书号:9787538177909 出版商:辽宁科学技术出版社 中国辽宁沈阳 电子书 - 2012 书号:9781619870802 出版商:设计专业出版有限公司 美国加州 经销商:Actrace 公司,2012 网址:www.actrace.com,www.design-bookstore.com 版权所有:2012 辽宁科学技术出版社 版权协议:www.design-bookstore.com/auxpage_license 严禁非法复制。

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CONTEMPORARY ARCHITECTURE IN CHINA

中国 建筑 当代 大系 博物馆

MUSEUMS 刘克成/编

李婵/译

Edited by LIU Kecheng Translated by Katy Lee

辽宁科学技术出版社


PREFACE

The English “museum” is derived from Greek word Μουσεῖον (Mouseion), which was actually a combination of two words: “The Muses” and “place”. Once it was translated into Chinese as “a temple dedicated to the Muses”[1]. The Muses are the goddesses of the inspiration of literature, science and the arts. Hence knowledge communication, enlightenment and source of creativity are generally conceived as basic functions of museums. The architecture that embodies the sacred museum is thus regarded as noble, solemn and even a little bit mysterious. During two thousand years, especially in recent decades, though the basic functions of museums remained essentially as they were, their connotation and denotation have been enlarged, and museum architecture has overthrown the stereotype of “sacred temple”. The following are some of the notable changes: A museum increasingly influences the city or the region where it is situated. The statement that “a museum changes a city” seems exaggerated, but honestly, tangible changes are happening in cities around the world. A museum has become a symbol or identity of a city; it distinguishes itself from various kinds of public architecture in a city, due to its unique significance. For the same reason as stated above, contemporary museums, apart from “collection” and “exhibition”, attract our attention by their public, open and multi-functional characters. Museums have long been used for research and education, and now, with more spaces for leisure, social and commercial events due to the intervention of cultural industries, traditional “sacred temples” have become “urban halls” that have been integrated into everyday life of the public. In addition, with rapid social development, we have witnessed more diversified types of museum. Apart from traditional grand public museums, theme museums, museums for personal collections, and museum complexes are mushrooming. Contemporary museums are no longer isolated places; instead, they are associated not only with other cultural architecture such as libraries and theatres, but also with residences, clubhouses and shopping malls - an architectural “mix and match”. Various museum types reveal the diversity of modern society and public requirements. One more thing that deserves to be mentioned is that, for sure, modern science and technology have brought great changes to the ways of exhibition in museums, which are even unimaginable in the past. The changes stated above have, with no doubt, greatly influenced architectural design of museums. Architects have to learn these changes, adapt themselves to them, and more importantly positively participate, respond and give their own interpretations. In fact, many Chinese architects have made some rewarding explorations and produced highly creative projects, 26 of which are selected in the book. There are personal understandings and interpretations, and also some shared reflection on modern museums.

Firstly, the architects unanimously pay special attention to the museums’ locations, including physical and cultural contexts, in order to find out the typical character of a city and its culture. The museum should embody this character in a certain way. The museum architecture not only carries the architect’s personal identity, but more importantly, integrates itself into the context in the city and serves the public as a new social place to experience the culture of the city. Some of them have become remarkable landmarks in the cities, highly praised by local citizens. Moreover, we’ve noticed that these museums are not “sacred temples” any more; exhibition spaces, public spaces in particular, draw more attention from the architects. In order to stimulate high spirits of visitors and improve their participation and interaction, the museum interiors are made more open and transparent, with more interior landscapes being much in evidence. In some museums, we found amazing exhibition spaces surprisingly shocking to the eyes, and to the mind as well. They have proved positive effects of architectural spaces on exhibition. From the selected projects we can see clearly the changes in architectural configuration of museums in China. In the information era when information becomes incredibly easily accessible, when new materials and technologies keep updating and the public aesthetic standards become increasingly diversified, Chinese architects tell themselves to be innovative and put personal identities into their projects. Some projects presented here, as you can see, have perfectly integrated the architecture with the exhibition; the architecture itself can be even conceived as something on exhibition! In recent years, digital technology has been developing at the most rapid pace, which gives architects more opportunities. Compared with other architectural categories, contemporary museums are the most representative projects demonstrating Chinese architects’ innovation and creativity, and extraordinary progress, which we should say honestly, is very much in evidence. Of course there are still issues we should take seriously and problems to be solved concerning architectural design of contemporary museums in China. We admit that successful exhibition should be the most fundamental criterion in evaluating a museum. How to find a creative way to integrate museum architecture and exhibition, from initial conception to practical construction, is still our shortcoming or defect. Likewise, when architects attach great importance to creativity and identity of their projects, they should try their best to find solutions to problems concerning function, technology, budget, etc. Between the two there should be a flexible balance, which we are always searching for. At present, we are witnessing the prime time for museum architecture in China. As for Chinese architects, it is a golden opportunity to develop their careers. We’ve had some excellent projects built, some of which are presented in the book, and as long as we continuously learn lessens from the past, seize the golden opportunity, and endeavor to exceed, we can reasonably expect more successful projects in the future. CHENG Taining August 14, 2012

[1] “Public Museums: Development of Civilization” by Song Xiangguang

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博物馆一词从古希腊文演变而来。古希腊文的Museum是“缪斯”和 “场所”两个词的组合,有人把它翻译为“缪斯的圣殿”。 [1] “缪斯”代 表智慧,因而传播知识、启迪心智、培养人们创新精神就成了博物馆的基 本功能,而承载这一基本功能的“场所”—“圣殿”也使人们对博物馆 建筑留下了高贵庄严甚至略带神秘的印象。

日趋多元,建筑师在博物馆的建筑创作上更加重视创新、表达个性。有的 作品十分重视与博物馆本身性质的有机结合,建筑本身也已成为展品,取 得了很好的效果。近年来数字科技的发展也给建筑师创作打开了一个新天 地。可以认为,与其他建筑类型比较,当代博物馆的建筑创作更能体现中 国建筑师锐意创新的精神和迅速提升的创作水准,这是应该肯定的。

我们注意到,两千年来,特别是近几十年来,上述博物馆基本功能虽 然没有根本改变而其内涵和外延却在迅速扩大;它的场所— 博物馆建 筑,也一改人们往日的传统“圣殿”的印象,发生了下述的显著变化:

当然,在当前中国博物馆的建筑创作中,还有很多需要我们重视和解 决的问题,我们应该明白,展出效果永远是衡量一个博物馆好坏最根本的 评价标准。建筑设计和展陈设计如何结合创新,仍然是我们从观念到实践 的“短板”。同样,在注重创新,表达个性的同时,如何理性的处理诸如 功能、技术、经济等问题—在两者之间如何把握好一个“度”,仍然需 要我们认真思考。

博物馆建筑对一个城市 、一个地区发展的影响正在不断增大。“一座 博物馆改变一座城市”的说法固然有点夸张,但“改变”—无论其程度 如何—却实实在在的在世界各地发生。这使博物馆建筑超越其本身的功 能,成为承载一座城市文化精神的“名片”和标志。在城市的各类公共建 筑中,博物馆建筑所特有的重要性已为人所共识; 也正是由于上述原因,当代博物馆除了传统的“收藏”和“展陈”的 功能外,它的公共性、开放性以及综合功能更加凸显。原有的研究教育功 能进一步扩大,而休闲、社交以及商业服务设施和文化产业的介入,使得 博物馆吸引了更多公众,传统的“圣殿”成了“城市客厅”,并已融入城 市日常的生活之中;

当前,是我国博物馆事业发展的一个最好的时期,对于中国建筑师来 说,则是一个极其难得的创作机遇,我们应该珍惜。我们已经有了一批如 本书所介绍的好作品,我相信,只要我们注意总结经验,沉下心来思考和 创作,我们一定可以期待有更多的精彩作品问世。 是为序。 程泰宁 2012年8月14日

我们还看到,当代社会的发展,也使得博物馆的类型更加多样化。除 了传统的大中型公益性博物馆之外,专业性博物馆、个人收藏博物馆, 以及博物馆集群已经大量出现。而且,当代博物馆已不仅是独立的“场 所”,它不仅和其他文化建筑如图书馆、影剧院等组成综合性的文化中 心,有时甚至和住宅、会所、商场等也“混搭”布置。多样化的博物馆的 类型,反映了社会生态的多元性和人们无处不在的多样化的文化需求。 当然,现代科技给当代博物馆的展陈方式带来巨大变化,也是过去难 以想象的。 毫无疑问,上述这些变化,对博物馆建筑设计有着直接的影响。对于 这些“变化”建筑师不仅需要了解、适应,更需要积极的态度参与其中, 作出自己的回应和诠释。事实上,近年来不少中国建筑师在这方面做了很 有成效的探索,出现了一批具有极有创意的建筑作品,本书所介绍的26个 作品,就是其中的一部分。尽管建筑师的这些作品有着各自的诠释,但从 中我们也可以看出在当代博物馆建筑设计中的一些共同的思考。 首先,建筑师们都十分关注博物馆建筑所处的环境—包括物质环境 和文化环境,努力挖掘一个城市或一种文化的典型特征,并在自己作品中 加以体现。这些作品在彰显“个性”的同时,对城市功能和空间的整合, 对于城市文化精神的传达也起到了重要作用。有的建筑作品已经成为城市 的地标,得到了公众的充分认同。 我们还看到:这些作品也一改传统博物馆的“殿堂”做派,对于展厅 空间、特别是对公共空间的设计给予了更多关注。为调动观众情绪并便于 观众参与和互动,博物馆建筑空间和界面的透明性、共生性,景观化倾向 十分明显,有些作品创造了既符合展览性质又具有视觉和心里震撼力的建 筑空间,具有一种深入人心的艺术感染力。 从本书所选的作品中,还可以清楚看到当代中国博物馆在建筑形象上 的显著变化。新材料、新技术的运用和信息传递,特别是人们的审美取向 [1] 宋向光.《公共博物馆学社会文明的发展》

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CONTENTS

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MUSEUM OF PRISONER OF WAR IN JIANCHUAN MUSEUM CLUSTER 四川建川博物馆—不屈战俘馆

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NINGBO FELLOWSHIP MUSEUM 宁波帮博物馆

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ANHUI MUSEUM 安徽博物院

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ERDOS MUSEUM 鄂尔多斯博物馆

052

OCT DESIGN MUSEUM OCT 设计博物馆

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THE TANG WEST MARKET MUSEUM 西安大唐西市博物馆

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JIANCHUAN MIRROR MUSEUM & EARTHQUAKE MEMORIAL 建川镜鉴博物馆暨汶川地震纪念馆

086

BIRD MUSEUM IN QINHUANGDAO 秦皇岛鸟类博物馆

096

TANGSHAN MUSEUM EXPANSION 唐山博物馆扩建

104

GAOLIGONG MUSEUM OF HANDCRAFT PAPER 高黎贡山手工造纸博物馆

114

NEW LUOYANG MUSEUM 洛阳博物馆新馆

124

RELICS EXHIBITION HALL AT THE JINSHA SITE MUSEUM 金沙遗址博物馆文物陈列馆

138

GUANGDONG MUSEUM 广东省博物馆

146

YUNGANG GROTTOES MUSEUM 云冈石窟博物馆

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BRIDGE CULTURE MUSEUM 天津桥园桥文化博物馆

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TAIYUAN MUSEUM OF ART 太原艺术博物馆

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CULTURE MUSEUM OF ZHENGZHOU 郑州中原文化博物馆

178

CHONGQING SCIENCE AND TECHNOLOGY MUSEUM 重庆科技馆

184

LIANGZHU MUSEUM 良渚文化博物馆

192

FUPING MUSEUM OF CERAMIC ART 富平陶艺博物馆

198

EMPEROR OF MING DYNASTY CULTURAL MUSEUM 明代帝王文化博物馆

206

CHINA XUXIAKE TOURISM MUSEUM 中国徐霞客旅游博物馆

216

THE INSTITUTE OF ZOOLOGY IN CHINESE ACADEMY OF SCIENCES & THE NATIONAL ZOOLOGICAL MUSEUM 中国科学院动物所及国家动物博物馆

226

CHINA NATIONAL FILM MUSEUM 中国电影博物馆

234

CHINA SCIENCE AND TECHNOLOGY MUSEUM 中国科学技术博物馆

248

CHINA MUSEUM OF SEA SALTS 中国海盐博物馆

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INDEX 索引

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MUSEUM OF PRISONER OF WAR IN JIANCHUAN MUSEUM CLUSTER

Chengdu, Sichuan Province CHINA UNITED ZHUJING Architecture Design Co., Ltd. 四川建川博物馆—不屈战俘馆 四川成都 中联筑境建筑设计有限公司 Gross Floor Area: 738m2 Design/Completion Time: 2004/2006 Architect: : CHINA UNITED ZHUJING Architecture Design Co., Ltd. Design Team: CHENG Taining, ZHENG Maoen, HU Yang Photographer: Courtesy of the architect 建筑面积:738平方米 设计/建成时间:2004年/2006年 建筑设计:中联筑境建筑设计有限公司 设计团队:程泰宁,郑茂恩,胡洋 摄影师:图片由建筑师提供

The Jianchuan Museum Cluster is located in Anren Town, Dayi, a county that belongs to Chengdu City, Sichuan Province. The museums are built for exhibition of historical relics on the Cultural Revolution and war of resistance in China. The Museum of Prisoner of War, the only museum in the world that is themed on war prisoners, is one of the museums of the cluster.

lighting, and small yards. These elements, combined with the pictures on display, create a serious and sorrowful atmosphere. Many visitors shed tears when immersed in the context. The calming water yard is the finishing point of the visiting route, where visitors could contemplate on the fate of this special group of people - prisoners of war.

The architects broke through traditional architectural approaches. They drew inspiration from weathered natural stone that has cracks and flaws but keeps its solidity and hardness all the same - a metaphor of the iron-willed and unyielding war prisoners. In the complicated layout, narrow lanes, cages, courtyards are placed purposefully, with twisty exhibition spaces, walls and ceilings without any ornamentation, high windows, openings for natural

From reality to abstract conception and back to architectural reality, the architects proposed memorable architecture and spaces, which have received praises from visitors, designers, and staff of the museum. Fan Jianchuan, curator of the museum, told the media: “Thanks to the architects, the museum has received numerous favourable comments since its opening. Visitors shed tears in it; I think that’s something really hard to do.”

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建川博物馆位于四川省大邑县安仁镇,主要收藏展示文革、抗战等时 期文物。20个单体建筑邀请了国内外多位建筑师进行设计。目前世界上唯 一一个以战俘为主题的独立博物馆—不屈战俘馆为该聚落的单体之一。

1. Exterior of entrance 2. Museum overview 1. 入口局部外观 2. 正面外观全景

设计打破传统的建筑生成手法,借鉴自然山石在外力作用下产生褶 皱、绽裂,但仍保持方整锐利的形态,以隐喻不屈战俘的坚贞品格。在曲 折、变化的空间序列中,着意安排了窄巷、牢笼、放风院,扭曲的展览空 间、不作任何修饰的墙面天花,以及高窗、采光孔、小天井所营造的光环 境,与展览图片相结合,营造了一种悲怆、沉重的氛围,不少观众在参观 时流下了热泪。整个建筑空间序列以平静的水院结束,人们在这里可以思 考并重新审视战俘这一特殊人群的人生命运。 从有形—无形—有形的创作过程,加深了建筑的感染力。战俘馆建成 后得到了观众、国内外同行以及馆方的高度评价,馆长樊建川先生对媒体 说:“他做的战俘馆受到很多好评,很多人都在里面哭了,我觉得这是很 不容易的。”

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East Elevation 东立面图

North Elevation 北立面图

West Elevation 西立面图

South Elevation 南立面图

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Section 剖面图

3. Exterior view 4. Atrium view 3. 外观局部 4. 从内部看中庭

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5 5. Corridor 6. Entrance to the exhibition hall 7. Exhibition hall 5. 内部廊道空间 6. 展示区入口 7. 展示区

Ground Floor Plan 一层平面图

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NINGBO FELLOWSHIP MUSEUM

Ningbo, Zhejiang Province HE Jingtang / Architectural Design Research Institute of South China University of Technology 宁波帮博物馆 浙江省 宁波市 何镜堂 / 华南理工大学建筑设计研究院 Site Area: 47,208m2 Gross Floor Area: 24,036m2 Design/Completion Time: 2006/2008 Architect: HE Jingtang/Architectural Design Research Institute at South China University of Technology Design Team: WANG Yang, ZHANG Zhenhui, HUANG Hanxing, HUANG Yu, LU Chao, HE Xiaoxin, CHEN Yong, HE Chili Photographer: Courtesy of the architect Site Coverage: 26.70% Plot Ratio: 0.51 Building Height: 15.95m Greening Rate: 33.86% Motor Vehicle Parking: 100 vehicles (Underground: 52, Aboveground: 48) Non-Motor Parking: 30m2/20 vehicles Award: Merit Award in The 4th International Architectural Design Competition, Weihai, China, organised by Architectural Society of China, 2007

占地面积:47208平方米

Background: The Origin Of Ningbo Fellowship The Ningbo Fellowship is a special business group that blends wisdom in business and profound patriotism. It was initiated in Ningbo, a city with a long, prosperous history, located in the middle of Chinese coastal line on the eastern part of Ningshao Plain, Zhejiang Province. In Chinese, Ningbo is called “Yong” for short because here the Yong River meets Yuyao River and Fenghua River, creating the “Confluence of Three Rivers” – an iconic geographical landscape. The Ningbo Fellowship in the history of the ancient Ningbo was a business group initiated by businessmen from Yin County, Fenghua, Cixi, Dinghai and Xiangshan – six counties affiliated to Ningbo – practicing out of their hometown. The Ningbo Fellowship began in Ming Dynasty, came to its heyday in the “Five Trading Ports” period, and continued its prosperity abroad in the 20th century – Bao Yugang (the leading man in world shipping industry), Dong Jianhua (former Chief Executive of Hong Kong), and the renowned Shao Yifu Family are all members of the Fellowship. The group not only possesses a large amount of wealth, but also has powerful social and political influence. Deng Xiaoping once called on all the Ningbo Fellowship members to be united and strive for the development of Ningbo, in which they really made great contribution, even in important events such as the return of Hong Kong to the motherland.

Survey Of The Project In 2006 the City Government of Ningbo decided to build a theme museum about Ningbo Fellowship (including an affiliated club), in order to show the status and achievement of the Fellowship in politics, culture, history, economy and foreign affairs, to demonstrate the special culture and history of Ningbo and Ningbo Fellowship, and to create a place as a physical link

建筑面积:24036 平方米 设计/建成时间:2006年/2008年 建筑设计:何镜堂 / 华南理工大学建筑设计研究院 设计团队:王扬,张振辉,黄翰星, 黄瑜,陆超,何小欣,陈勇,何炽立 摄影师:图片由建筑师提供 建筑密度:26.70% 容积率:0.51 建筑高度:15.95米 绿地率:33.86% 机动车停车位:100辆(地下:52辆;地上:17辆) 非机动车停车面积:30平方米(20辆;按每辆1.5平方米计算) 奖项:2007年中国建筑学会第四届中国威海国际建筑设计大赛优秀奖

Site Plan 总平面图

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2 for Ningbo people all over the world. In the nationwide competition, this proposal won the first prize and was realised later. The Museum, with a total floor area of about 20,000 square metres, is located on a 4.7-hectare site in the south of Zhenhai New Town in Ningbo, just at the central north part of the “Central Park – Cultural Park – Yong River” urban axis landscape. The plain plot is surrounded by water on all sides. Solutions Narration, Urban Axis and the Continuation of Local Architectural Culture In the documentation and analysis of the project, the architects were deeply attracted by the great history, historic figures, and human geography of Ningbo Fellowship. Hence it is a theme museum dedicated to the profound history. It narrates the great legend of the Fellowship and demonstrates the characteristics of the city in terms of people, geography and culture. How to narrate the legend with the architecture has always been the topic under discussion for the architects. Ningbo Fellowship Museum will be a landmark for Ningbo City and its citizens. A landmark has not to be mass or odd in form; instead, more often than not, it is “relationship” that defines the existence. The architects took advantages of the site as an urban axis, establishing the friendly

interconnection relationship between the architecture and the city, successfully spreading the power of existence of the Museum into the city. Jiangsu Province and Zhejiang Province have long been prosperous areas in China, and Ningbo, as a riverside city, stands out in business and culture. If the Museum is to be deeply rooted in Ningbo, it has to set up proper relationship with the city, and to continue the feature of local architecture. With modern theories of typology, structuralism, etc., the architects created courtyards, landscapes and detail patterns with a local feel. Conception with Key Words To turn the thinking and analysis of Ningbo Fellowship Museum into drawings and models in design is a process of materialisation. The architects concentrated on several key words in their conception, upon which the proposal is built up step by step. - Fellowship: Structuralised and Integrated Architectural Complex The essence of Ningbo Fellowship is a story about homeland, friendship, prosperity, and feedback. It is a blend of these interrelated topics, while correspondingly the Museum is an integrated complex. The general layout is an iconic landscape of “Confluence of Three Rivers” constituted by the

Elevation 立面图

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1. Courtyard 2. Front façade 3. Overview 4. Side façade 5. Façade textures 6. Exterior view towards lobby 7. View of pavilion from the pool 1. 庭院局部 2. 正面外观 3. 侧面外观 4. 侧面局部 5. 外墙肌理 6. 门厅外观 7. 从景观池看戏台

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6 main building on the south and the clubhouse on the northwest. A grid system can be found through the overall layout, where interior spaces and courtyards are interconnected. Various spaces and well-proportioned masses are created in a clear plan with a main axis. - Corridor of Time: An Axis of History, City and Visiting Sequence The “Corridor of Time” is a north-south glass gallery that runs through the complex. As the main architectural axis, it coincides with the city axis, and organises the visiting sequence in the Museum. The beginning of the Corridor is a foyer called the “Hall of River”. Facing the “Confluence of Three Rivers” thematic scene, it demonstrates the origin of Ningbo Fellowship. The “Hundred Years Hall” at the middle of the Corridor is linked with a series of bamboo courtyards, illustrating the development history of the Fellowship. At the south end of the Corridor sits an ancestral hall called “Wise-Men Gathering Hall”, where the achievements of the Fellowship are carved on the walls for worship and longing for the future. The Corridor well defines the visiting sequence, demonstrating the development of the Fellowship. As the architectural axis, it coincides with that of the city, and thus goes well with the urban master plan, establishing a harmonious relationship with the city.

- Key Nodes: Three Exhibition Halls The “Hall of River”, “Wise-Men Gathering Hall” and “Hundred Years Hall” occupy the ends and middle of the Corridor respectively, becoming three key nodes of the complex. They punctuate the visiting sequence: in the “Hall of River”, the iconic scene of “Confluence of Three Rivers” is presented in front of entering visitors, as a surprising beginning of the visit; in the “ Wise-Men Gathering Hall”, great achievements of the Fellowship are demonstrated, creating the climax of the visit; the “Hundred Years Hall” is where important events take place and it acts as a linking joint for the other two halls. The three halls make visit to the Museum a dynamic experience, and stand out in the complex in terms of configuration. - Scene and Pattern: Continuation of Local Architectural Culture What should be the essence of a theme museum dedicated to the local culture? Architectural form is not the point. Instead, creating a series of scenes integrated with the exhibition content is the key because that’s what decides the visiting experience – the most important thing in museum design. After analyzing traditional architecture in Zhejiang Province, the architects chose to establish a spatial system made up of courtyards with different scales, including the “Confluence of Three

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7 Rivers” (landscape scale), the long courtyard along water (street scale), the glass bamboo court (courtyard scale), and circulation spaces with a smaller scale. They are well arranged to go with the visiting sequence and echo with the exhibition spaces. In this way, the spatial experience reminiscent of traditional architec ture is created. The systematic courtyards provide various backgrounds for exhibition events, and in such reminiscent scenes visitors are more likely to be affected by their memories. Patterns on the façades are derived from an ancient book called “Garden Aesthetics”.

reducing construction and future maintenance cost, completing a costeffective project.

- Water Feature: Response to River Culture Water is indispensable in the “Confluence of Three Rivers” landscape of Ningbo and for the Ningbo Fellowship. Besides, the site is naturally surrounded by water. Hence water plays an important role in landscape design. The east and south grey façades facing the city rise from shallow water, creating a quiet and harmonious ambience. The “Confluence of Three Rivers” scene facing the foyer that starts the visiting experience demonstrates character of the Fellowship and its homeland. On both sides of the long courtyard along water are public streets. The layout, scale, and revetment are all derived from typical streets by water in regions south of the Yangtze River. As required by the master plan, the west of the site is open to the public as water lounges and green plazas, playing an active role in urban city life and enlivening the Museum for long-term operation.

Conclusion The architecture is completely dedicated to the local culture in Ningbo. Regionalism, tradition, history, these themes are well integrated into visiting experience in the Museum.

- Details: Blend of Local Culture and Modern Technology The Museum architecture not only continues local architectural tradition, but also combines it with modern design elements, reinterpreting traditional architectural space with a blending architectural language. Typical details include the stage at the “Confluence of Three Rivers” scene, the wooden swing door on the long courtyard by water, and the louvre at the Corridor.

- Courtyards: Combination of Spatial Rhythm and Eco-friendly Technology The courtyards and water features assure the natural ventilation and lighting for the environment of the Museum. The skylights on the roof bring natural light into the interior, and a perfect sun shading system on glass walls is created. Without expensive technology or equipment, the architects chose local materials and construction skills as much as possible, successfully

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8. Architecture and waterscape 9. Exterior view at night 10-12. Architecture details 8. 景观水面 9. 外观夜景 10-12. 建筑局部

项目背景:宁波帮溯源 宁波帮是一个独特的商帮,集杰出的商道才智与深厚的家国情怀于一 体。其发源地宁波历史悠久,自古人文荟萃。宁波简称“甬”,位于我国 海岸线中段,浙江宁绍平原东端,余姚江、奉化江与甬江在市区的“三江 汇流”成为标志性的地理景观。历史上的“宁波帮”,是指旧宁波府所属 鄞县、奉化、慈溪、镇海、定海、象山六县在外埠经营的商人,以血缘姻 亲和地缘乡谊为纽带联结而成的商业群体。“宁波帮”崛起于明朝天启、 万历年间,鼎盛于五口通商之后,20世纪又称雄于港台与海外— 世界 船王包玉刚、前香港特首董建华、富豪邵逸夫家族等都是宁波帮的成员。 “宁波帮”不但拥有巨大的财富,而且具有不可等闲视之的社会活动能力 和政治能量。在邓小平的“把全世界的宁波帮动员起来建设宁波”的号召 下,宁波帮为宁波及国家的发展做出了很多贡献,在香港回归等重大政治 事件上发挥了重要的作用。

项目概况 2006年,宁波市政府决定推进以宁波帮为主题的博物馆(包括会馆) 的建设,展现宁波帮在政治、人文、历史、经济和对外交往的地位与成 就,展示宁波和宁波帮的历史文化与人文风貌,建立世界各地宁波人的 物化的情感纽带。在全国范围举行的建筑设计竞赛中,本方案获得优胜, 成为中标实施方案。 宁波帮博物馆总建筑面积约2万平方米,基地位于宁 波市镇海新城南区“中央公园—文化公园—甬江”城市轴线景观轴带中北 部,四面均有水系贯通,用地平坦,总用地面积约4.7公顷。 设计解题:叙事、城市之轴与地域建筑文化的传承 在收集资料、对项目进行思考分析的过程中,设计师被宁波帮的人物 历史以及宁波的人文地理所深深吸引。这是一个有着浓厚人文色彩的主题 博物馆,它所展示、所叙述的主题是宁波帮这个特殊人群的传奇历史以及

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14 13, 14. Façade details 15. Waterscape 13, v14. 建筑表皮细部 15. 水景

Wooden Turnstile 木转门

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15 宁波城市的人文地理特色。如何通过建筑的本体内容对展览主题展开一系 列的叙事,成为设计师在设计中始终关注的议题。 宁波帮博物馆将会是宁波城市与宁波人心目中的一个具有标志性的建 筑。标志性未必来自于形体的高大或奇异,很多时候是“关系”决定了存 在的力量。设计师认为在设计上应该把基地“城市之轴”的特性作为一项 主要的设计资源加以发挥,通过建立建筑与城市之间互相支持、相互加强 的“共振”关系,使博物馆存在的“力场”在基地之中向外弥漫开去。 宁波地处传统文化深厚的江浙地区,商道与人文俱盛,同时又具有滨 江滨海城市的特点。博物馆要把根扎在宁波,除了处理与城市的关系,还 须接续地域建筑的根脉,运用类型学、结构主义等现代思维方式,通过铺 排庭院布局、营造场所情景、转化细部纹样等不同层面的设计手段把地方 性的情感注入新建筑当中。 设计构思意象 对宁波帮博物馆项目的价值判断落实到图纸、模型的设计过程,是一 个把想法不断物质化的过程。设计师借助若干在过程中逐渐成形的构思意 象的“关键词”作为线索,把设计一步一步往前推进: “帮”—结构化、整体性的建筑群像 宁波帮的故事是一群人在长时间的历史过程中团结互助守望、共同繁 荣辉煌,不断回馈故土的故事。顺应主题的群像特征,博物馆呈现为一个 整合的群。在总体布局上,南面的博物馆主体与西北面的会馆围合“三江 汇流”场景结合成一个同构的建筑群。建筑肌体通过结构化的网格系统发 展生成,使用空间与庭院系统穿插咬合,在建筑主轴的统领下,形成空间 丰富、肌理清晰、形体错落的建筑群体形象。

Metal Venetian 金属百叶

“时光甬道”—历史之轴、城市之轴、参观序列的叠合 “时光甬道”是从北向南贯穿整个建筑群的玻璃廊道。作为整个建筑 群的主轴,“甬道”既与城市轴线叠合,也是参观流线的组织者。“甬

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道”的开端— 门厅江海堂面对“三江汇流”主题场景,展示宁波帮的发 源;“甬道”中段的展厅与一系列竹院相结合,铺陈宁波帮的发展过程; “甬道”南端的聚贤堂取意于宗家祠堂,墙面上铭刻宁波帮的成就与功 绩,是观者铭记过去、憧憬未来的场所。 “甬道”以参观流线为线索,通过空间序列的设置展示宁波帮的历史 轨迹,形成建筑的主轴。建筑之轴与城市之轴叠合,建筑肌理应合城市轴 线暗示的生长方式,建筑的存在在城市关系层面与主题精神层面得到坚实 的支撑。 “重器”—重要节点的场景展示装置 江海堂、聚贤堂、百年堂分别位于“甬道”的中段与端头,是建筑群 的三个重点。在参观流线上,三件“重器”均为节点:江海堂为进入博物 馆的观众展开三江汇流烘托戏台的场景,是参观流线的第一个惊叹号;聚 贤堂记载宁波帮的成就与功绩,展现未来的前景,是参观流线的高潮;百 年堂是两馆举办重要纪念庆功活动的场所,是两馆功能流线连接的节点。 三个节点的重点处理,增加了空间的节奏感与丰富性,在建筑群体中建立 起传统意义上的礼仪性。在造型上,三件“重器”成为富有韵律感的建筑 群像的变奏点。 情景营造与纹样—地域建筑文化的传承与地方情感的注入 一个人文色彩强烈的专题博物馆,不是外在的形象,而是一系列与展 览情景交融的场所,能给予参观者真正深刻的体验与感受。经过对浙江 传统建筑的调研与分析之后,设计师选择了通过建立具有不同尺度等级的

16. Lobby interior 17. Sideview of staircase in the lobby 18. Space with mezzanine 16. 门厅内部空间 17. 大厅楼梯侧面

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Site Plan: 1. Main entrance 2. Public parking lot 3. Lobby 4. Waterscape 5. Temporary exhibition 6. “Sailing” plaza 7. “Wisdom in Business” exhibition hall 8. Lecture hall

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总平面图: 1. 会馆主入口 2. 公众停车场 3. 会馆门厅 4. 景观水面 5. 临时展览 6. 扬帆出海广场 7. 商道才智展厅 8. 报告厅

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First Floor Plan: 1. Exhibition hall 1 2. Exhibition hall 2 3. Exhibition hall 3 4. Exhibition hall 4 5. Exhibition hall 5 6. Lecture hall 7. Staff dormitory 8. Gymnasium 9. Club 10. Meeting room 11. Office 二层平面图: 1. 展厅1 2. 展厅2 3. 展厅3 4. 展厅4 5. 展厅5 6. 报告厅 7. 员工宿舍 8. 健身房 9. 俱乐部 10. 会议室 11. 办公室

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Top Floor Plan: 1. Roofing 2. Above the courtyard 3. Glass canopy

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庭院空间系统的方式来传达传统空间意蕴:风景尺度的“三江汇流”,街 道尺度的“水街长庭”、宅院尺度的“玻璃竹院”、还有二层展厅之间的 小尺度贯穿空间,在不同尺度上与参观流线紧密结合、与展览空间虚实相 间,产生具有纵深感并能唤起传统空间印象的空间体验。结构化的庭院空 间系统为进一步布展提供了丰富的空间参照与情景启发,情景化的空间设 置唤起人们对建筑叙事所指向的时空的情感。整体包裹建筑体量的墙身肌 理,出自《园冶》记载的纹样。

庭院—空间韵律与适宜生态技术的结合 建筑设计通过庭院布局,并在庭院中结合园林布置水体,使建筑环境 具有良好的自然通风、采光条件。通过屋顶的天窗设计将自然光反射到 建筑内部,给展厅提供自然照明,并且在大面积玻璃面组织完善的遮阳体 系。本设计在未采用昂贵的高科技技术和设备的情况下,通过巧妙造型设 计和精心的选材,尽量使用地方材料和地方建造工艺,降低建造和日后使 用成本,实现了低成本高效益的效果。

水景—江海文化的表现 宁波“三江汇流”的当地文化特征以及宁波帮鲜明的海洋性格,加上 基地的有利条件, 使“水”成为环境设计的主角。 在东、南主立面,建筑 的灰色基座从一片浅水中升起,面向城市烘托人文氛围。门厅对应的“三 江汇流”主景,在参观的开篇展现宁波帮的发源地与性格中的江海气象。 水街长庭两边是公共廊道空间,“一河两岸”的空间格局、尺度以及驳岸 的处理来源于江南水乡的典型水陆街道。顺应规划要求,建筑基地西面是 面向城市公众开放的休闲水景与绿地广场,一方面对城市生活作出积极的 贡献,同时积聚人气,为两馆的长期运营打下良好的基础。

细部与节点—地域文化与现代建造技术的结合 在宁波帮博物馆的设计中,在继承传统建筑模式同时,积极地融合现 代建筑语言因素,转化为当代的建筑话语,并以适当的方式加以重组,完 成了对当地建筑空间营造的再认识,具体建造节点如以下几个部位:在三 江汇流处的戏台节点;江南水街处的木转门;时光甬道处的遮阳百叶。 结语 一个凝聚了人文色彩与地域文化的新建筑建造落成了,地域性、文化 性、时代性的主题将延续至下一个设计……

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ANHUI MUSEUM Hefei, Anhui Province Architectural Design and Research Institude of South China University of Technology 安徽博物院 安徽省 合肥市 华南理工大学建筑设计研究院 Site Area: 55,500m2 Gross Floor Area: 41,380m2 Design/Completion Time: 2006-2009/2011 Architect: Architectural Design and Research Institude, South China University of Technology Design Team: HE Jingtang, LIU Yubo, ZHANG Zhenhui, LIANG Weijian, PAN Yudan, LIU Ting, LU Chao, CAI Zhuo Photographer: ZHANG Guangyuan Client: Non-Profit Projects Management Centre of Anhui Province 占地面积:55500平方米 建筑面积:41380平方米 设计/建成时间:2006-2009年/2011年 建筑设计:华南理工大学建筑设计研究院 设计团队:何镜堂,刘宇波,张振辉, 梁玮健,盘育丹,刘挺,陆超,蔡卓 建筑单位:安徽省公益性项目建设管理中心 摄影师:张广源

Background Anhui Museum is located at the Provincial Culture and Museum Block in the Cultural New District in Hefei. This district sits on the southwest of the old town, with the Block on the west of the axis of the town. The Museum Extension is located at the centre of the Block, with its main entrance facing east. The Museum, together with Fossil Specimens Museum on its southeast and the Gallery on its northeast, forms a triangle layout, with the Extension in the middle as a leading landmark in the Block. To the northeast of the site is a small hill. This is the winning proposal in the international competition held by the Anhui Provincial Government in 2006. Conception and construction altogether took five years. Conception For most Chinese architects, on hearing the name of Anhui Province, images of local traditional architecture with white walls and black tiles set in a background of wavy maintains come to their minds. However, after doing a thorough research and study on local geography and culture, the architects found the initial images far from enough to show the essence of the vast land and its culture. With further discussion and reflection, Anhui Province, as a geographically transitional region and a place of diversified sub-cultures, draws more and more interest of the architects. First of all, Anhui Province is located in East China, with Jiangsu Province and Zhejiang Province to its east, Shandong Province to its north, Hubei Province and Henan Province to its west and Jiangxi Province to its south.

This is a transitional region that links the east and west and connects the south with the north in terms of geography, culture and economy. Secondly, Anhui Province plays an important role in the tremendous history of China. Geographically, from north to south, the region consists of Huaibei Plain, Jianghuai Hills, Dabie Mountain Region, plains along the Yangtze River and Wannan Mountainous Region. Such a variety of areas contribute to the diversification of local sub-cultures, such as the Hui Culture, the ancient philosophy of Laozi and Zhuangzi, and Huangmei Opera. Here you can enjoy the beautiful scenery but also can find the old revolutionary base areas. All in all, it’s hard to conclude the region in one word. With respect for the local culture and consideration on the site and its urban setting, the architects finally set the goals: the Museum Extension should represent the region in a general way without specific cultural icons; since the local culture is a blend of the heroic character of North China and the graceful character of South China, the architecture should be a combination of the two in appearance; with contemporary design approaches, an architectural language composed of space, texture and composition is fully utilised to convey the essence of the local culture in the present age; avant-garde concept of modern museum space should be integrated in the design, which highlights the relationship between public and exhibition spaces and creates refreshing visiting experiences. Finally came the principal design concept: gathering courtyard as a core.

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2 Layout Generally it is a three-layer layout, creating complicated and diversified public spaces in a three-dimensional way.

communication and interaction. The zigzag spaces act as a guiding route that serves for the exhibition spaces.

Gathering courtyard is a typical element of local architecture in Anhui Province. In this project, at the core of the building is set a public courtyard, which is divided into complicated spaces by zigzag walls. In this way, a micro-village with traditional Anhui flavour is created. The guiding walls are connected with spaces of different scales. The wall-lined, naturally lit lanes are where escalators are placed, leading visitors to different levels, and the outer two layers are interrelated spaces.

The circular gallery along the inner side of the zigzag spaces is a blend of different architectural elements such as terrace, bridge and cantilever. It is indirectly linked with the gathering courtyard in many ways. For example, the bridge is built above the courtyard; the terrace is a good place to overlook the courtyard; and you can also view the courtyard through the hollowed-out windows. In this way, the central core is visually extended on all sides, closely related with public spaces.

The exhibition hall is a series of continuous yet zigzag spaces, forming a cubic general space open to all sides, defining the basic configuration of the building. The patterns on the exterior walls are derived from the invaluable Tripod of Chu, a piece of exhibit in the museum. They give the architecture a sense of dignity that belongs to the ancient bronze ware. The inner surfaces of the openings on the walls are clad with timber panels, a typical material of Anhui architecture that gives out a natural and elegant air. The difference between exterior and inner surfaces of the walls forms pleasant contrast of heaviness and lightness, roughness and delicacy, coldness and warmth – a reflection of the diversification in geography and culture in the region. The complicated interior exhibition spaces seem to be waiting to be discovered by visitors‌

Architectural Configuration The Culture and Museum Block is located in a newly developed area. The architects decided to choose an integrated cubic form for the new building in order to make it a central landmark in the urban setting in this area.

The zigzag spaces bet ween exhibition spaces become a flowing public route. With open windows, ramps and terraces, visitors can enjoy the outside views at times. Moving along the route becomes a kind of exhibition among visitors themselves. In this way, a modern museum exhibition hall is created with an open layout that encourages

The four solid façades clearly show the configuration of the building, which is internally divided mainly into exhibition space and circulation routes. The simplistic mass showcases the power of architecture that is hardly seen in dense urban areas. The solid and static exterior contrasts with the dynamic and flowing interior layout. Viewed near or far, the building presents itself as a unique landmark. The cubic mass is based on ground on west, southwest and northwest, and on east where the main entrance is positioned, is built on stilts. Here a flat base is embedded into the main building and extends out towards the east as a guiding bridge. It is combined with the Culture and Museum Plaza, the Bridge Plaza, the Bamboo Forest, the water feature and the entrance terrace, forming a route that leads visitors from the city to the museum. When you approach

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Site Plan: 1. Main entrance 2. Guiding bridge 3. Entrance to temporary exhibition hall 4. Entrance to relics hall 5. Entrance to office 6. Gallery 7. Museum of Fossil Specimens 8. Bamboo grove 9. Waterscape 10. South entrance 11. North entrance 12. West entrance 总平面图: 1. 主入口 2. 主入口引桥 3. 临展入口 4. 文物入口 5. 办公入口 6. 美术馆 7. 古生物化石 博物馆 8. 竹海 9. 水面 10. 南入口 11. 北入口 12. 西入口

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the museum on the route, your psychological expectation gradually increases, just like approaching an old village passing through hills, trees, stream and bridge. The existing hill on the south of the guiding bridge is reserved, and on the north terrace and walls are built as an extension of the base. Architecture and landscape is therefore closely integrated. At the sub-entrance on the south, a small Z-shaped guiding bridge is designed to visually enhance the relationship between the building and the site. Neutral grey matt material is utilised for both the base and the bridge. Construction The complicated and diversified interior spaces, as well as the special exterior wall design, pose a difficult problem for construction. The architects

spared no effort in cooperating with the manufacturer and contractor on site during the five years, which resulted in the realisation of the design on the blueprint. In particular, the large panel with the size of 1.5 metres wide and 5.5 metres high was a key point. After about ten times of tests with the GRC manufacturer, the model was finally set and the construction technique determined.

1. Main entrance on the south 2. Bird’s-eye view 1. 东面主入口空间序列 2. 鸟瞰全景

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3 项目背景 安徽省博物馆新馆(简称新馆)坐落于合肥市政务文化新区内的省文 化博物园区— 合肥老城的西南面,省文博园位于新区中轴线的西侧,次 景观轴的一端。新馆位于园区的用地中部,主入口朝东。新馆东南、东北 分别是古生物化石博物馆与美术馆,3个文化建筑成品字形布局,新馆居 中,是统领全区的中心标志性建筑。基地东北面有一座小山坡。2006年, 安徽省政府举办新馆的国际设计竞赛,本案获得优胜,成为实施方案,由 此开始了为期5年的设计建造过程。

安徽传统文化是源远流长的华夏文化的重要组成部分,其地理范围从 北至南由淮北平原、江淮丘陵、大别山区、沿长江平原与皖南山区等不同 地区组成,其文化丰富多元:既有徽风皖韵,也有建安风骨、老庄哲学; 有江南风光,也有黄梅戏曲、革命老区,难以局部片面地去理解和概括。 基于对地域文化的发掘与理解,结合对建筑基地与城市环境的思考, 设计定位逐步清晰: 新馆设计应该强调整体性与概括力,避免陷于具体文 化符号;安徽的文化性格兼具北方的雄浑敦厚和南方的温文秀雅,新馆的 品相应呈现端庄厚重、方正平直而又雅致通透、内涵丰富的标志性形象; 通过现代设计的思路与方法,运用空间、材质、构成等建筑本体语言,传 达地域文化的精神与内涵,体现对地域文化理解的时代精神;体现新型博 物馆展览空间观念,关注公共空间与展览空间相互关系的营造,创造新鲜 的观展体验。最终,设计立意构思确定为—四水归堂、五方相连。

立意构思 面对安徽这个熟悉的地名,建筑师也许立刻会在脑海中唤起徽州群山 叠翠中白墙黑瓦的传统村落与建筑的印象,但是随着对安徽地域文化背景 的逐渐深入的调研与认识,设计师发现最初的印象远远不足以涵盖这个人 文地理范围的广度与深度。随着讨论与思考的推进,安徽在区位的过渡特 征与文化的多元构成越来越引起设计师的注意与兴趣:

空间构成 整体空间布局清晰地分成三个圈层,而立体构成的手法又生成具有复 杂性与多样性的公共空间系统。

安徽省位于华东地区,东邻江苏、浙江,北接山东,西连湖北、河 南,南有江西,处在我国地理、文化和经济发展上承东启西、连南接北的 过渡区位。

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Section: 1. Atrium 2. Storage 3. Equipments 4. Lounge 5. Book collection 6. Terrace at main entrance 7. Guiding bridge at main entrance

剖面图: 1. 中庭 2. 库房 3. 设备用房 4. 休息厅 5. 图书资料 6. 主入口平台 7. 主入口引桥


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3D Spatial Composition 立体空间构成

“四水归明堂,归水亦宏扬。”庭院在安徽的传统建筑文化中,具有 中心突出的位置。取意“四水归堂”,核心部位形成向天开敞的公共大 厅,其空间通过一系列的转折勾连、错动交叠的通高片墙进行多样化的 限定。类似于一个立体的徽州村落,片墙的引导使公共大厅联动着一系列 大、中、小空间与“巷道”,自动扶梯就布置在片墙夹持、天光引导的 “窄巷”中,环绕盘旋到达各层空间。外围的两个圈层是交缠联动的虚实 体量。

内表面覆盖木质墙板,通感于徽派建筑内部的大小木作界面,雅致亲切。 外表面与切开面的分别处理带来重与轻、粗粝与细致、冷峻与温暖等感受 的对比统一,暗示着地域文化蕴含有不同质感的多样基因。内部就是展厅 空间。实体展厅构成了博物馆的历史、实物、沉静、幽暗以及有待观众发 现的一面。 展厅间通透的部分形成连续转折的虚体体量,成为活跃流动的公共空 间系统,开敞通透的玻璃界面之内坡道穿梭,光影婆娑,平台交错,观 众在观展过程中时常能看到四周的景观,人们的穿行活动也成为相互之间 的展示,现代观展空间的开放性、透明性及交流互动的特色在这里充分展 现。虚体空间引导观众在实体展厅内外穿行,虚体展示着实体。

展厅是一系列连续转折的实体体量,构成了一个四面通透的方体,确 定建筑的基本外轮廓。实体外表面覆盖的纹理抽象于镇馆之宝楚大鼎鼎身 的兽面纹,突出了远古青铜器般厚重浑雄的分量感;实体通透部位切开的

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9 虚体空间内侧的环廊结合平台、连桥、挑台等建筑元素,与“四水归 堂”大厅取得半开半合、柳暗花明的多样化联系,有时是连桥飞跃,有时 是平台眺望,有时又是隔着镂花窗隐约可见,形成一个从核心空间向四面 伸展,沟通上空与四方外界的“五方相连”的公共空间系统。 场地布局 文博园位于新城区。针对新区的城市环境特征,考虑新馆中心标志性 建筑定位,结合建筑的空间构思特色,设计选择了方形而整体的体量。 4个立面忠实显示空间构成方式,形成可展开的虚实相间的连续整体, 一气呵成的立体构成手法在大尺度的新区场地中显示出城市密集区域的建 筑难以展现的力量,静态方正轮廓与动态立体构成的有机统一,无论在车 行远观还是步行近观的尺度下,都呈现出鲜明的标志性形象。方形体量在 西面、西南、西北三面落地,在主入口的东面架空悬挑,而紧贴地面的低 平基座从东面嵌入主体建筑之中,并向东伸出主引桥,结合由东至西的文 博园广场、桥头广场、竹海、水面和入口平台等场地景观要素,形成从城 市走向博物馆的纵深序列。这种空间与心理上层层渐进的仪式感、有意延 长的期待感,与绕过山边,经过村头、水口、樟树、拱桥,逐步走向一个 徽州村落的体验是相关的。引桥南面保留了基地原有的小山坡,建筑的基 座相应在引桥北面伸出平台和片墙,形成建筑与景观的有机呼应关系。

Elevation 立面图

主体建筑南面次入口也设置了折形的小引桥,加强了建筑体量锚固于 场地上的效果。基座与引桥一律采用中性亚光的灰调材质。 建造实现 空间构成的多样性与复杂性、外墙材质的特殊效果设定都给新馆的建 造实现增加了额外的难度。设计师五年来持续不懈、坚持原则而又灵活变 通地在现场和厂家跟进工作,才确保脑海中图纸上那些想法基本如实地出 现在真实的世界。其中,板材尺寸达到1.5米宽、5.5米高的外墙纹理挂板 的确定成为了其中的重头戏,在GRC厂家与工地现场经过10轮左右的试板 才最终确定板型、效果与施工方式。

3. Exterior view from the southeast 4. Exterior view from the east 5. VIP entrance 6. Exterior view from the west 7. Exterior view from the southwest 8. Exterior view from the south 9. View from terrace on the northeast 10. Public courtyard

3. 东南面外观 4. 东面外观 5. 贵宾入口 6. 西面外观 7. 西南面外观 8. 南面外观 9. 入口平台东北面的外观 10.“四水归堂”公共大厅

Section 剖面图

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Central Core Related with Public Spaces “五方相连”立体公共空间

Public Hall Defined by a Panel System 公共大厅限定片墙体系

Exhibition Hall with Zigzag Spaces 展厅连续转折实体体量

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First Floor Plan: 1. Guiding bridge at main entrance 2. Terrace at main entrance 3. Lobby 4. Sub lobby 5. Atrium 6. Multimedia room 7. Bookshop 8. Lounge 9. Special exhibition hall: Anhui Flavour 10. Temporary exhibition hall 11. Guiding bridge at south entrance

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二层平面图: 1. 主入口引桥 2. 主入口广场平台 3. 门厅 4. 次门厅 5. 中庭 6. 多媒体放映 7. 文博书店 8. 休息厅 9. 安徽特色展厅 10. 临时展厅 11. 南入口引桥

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Second Floor Plan: 1. Above lobby 2. Above atrium 3. Special exhibition hall: The Ancients and Paleolithic Culture 4. Above “Anhui Flavour” exhibition hall 5. Temporary exhibition hall 6. Lounge 7. Teahouse

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三层平面图: 1. 门厅上空 2. 中庭上空 3. 古人类以及 旧石器文化展区 4. 安徽特色展厅上空 5. 临时展厅 6. 休息厅 7. 茶座

Fourth Floor Plan: 1. Exhibition of art in different ages 2. Above Huizhou residence restoration 3. Sculpture exhibition 4. Lounge with sculpture display 5. Lounge 6. Above atrium

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五层平面图: 1. 历代艺术展区 2. 徽州民居的 复原上空 3. 雕塑展场 4. 休息厅 (雕塑展示) 5. 休息厅 6. 中庭上空

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11. Ramps in public space 11. 公共空间的坡道

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ERDOS MUSEUM

Erdos, Inner Mongolia MA Yansong, Yosuke Hayano, DANG Qun / MAD 鄂尔多斯博物馆 内蒙古 鄂尔多斯 马岩松,早野洋介,党群 / MAD建筑事务所 Site Area: 27,760m2 Gross Floor Area: 41,227m2 Height: 40m Design/Completion Time: 2005/2011 Architect: MA Yansong, Yosuke Hayano, DANG Qun / MAD Design Team: SHANG Li, Andrew C. Bryant, Howard Jiho Kim, Matthias Helmreich, Linda Stannieder, ZHENG Tao, QIN Lichao, SUN Jieming, YIN Zhao, DU Zhijian, YUAN Zhongwei, YUAN Ta, XIE Xinyu, LIU Weiwei, Felipe Escudero, Sophia Tang, Diego Perez, Art Terry, Jtravis B Russett, Dustin Harris Associate Engineer: China Institute of Building (BIAD) Mechanical Engineer: The Institute of Shanxi Architectural Design and Research Façade Consultant: SuP Ingenieure GmbH, Zhuhai King Glass Engineering Co. Ltd., Melendez & Dickinson Architects General Contractor: Huhehaote construction Co., Ltd Others: Beijing Yutong Shengshi Lighting Consultant Co., Ltd., Shanghai Yihe Decoration Material Co. Ltd., Zhejiang Jinggong Steel Structure Co. Ltd. Structure: Steel structure & steel space frame Façade: coated aluminium panels Interior: GRG (GlassFiber Reinforced Gypsum), Aluminium panels Photographer: Iwan Baan Client: Municipal Government of Ordos

占地面积:27760平方米

Located in Ordos, Inner Mongolia, the Erdos Museum is a crossroads for a community working to interpret its local traditions in a new urban context.

rational new city outside. Encapsulated by a sinuous façade, the museum sits upon sloping hills – a gesture to the recent desert past and now a favourite gathering place for local children and families, even before construction was completed.

建筑面积:41227平方米 高度:40米 设计/建成时间:2005年/2011年 建筑设计:马岩松,早野洋介,党群 / MAD建筑事务所 设计团队:尚荔,安德鲁·布莱恩特,霍华德·金, 马赛厄斯·海姆里奇,琳达·斯坦尼德,覃立超,孙杰明, 银钊,杜志坚,袁中伟,袁涛,谢新宇,刘维炜, 菲利普·艾斯裘德罗,索菲亚·唐,蒂亚戈·佩雷斯, 阿特·特里,特拉维斯·拉西特,达斯廷·哈里斯 合作工程师:中国建筑标准设计研究院 机械工程师:山西省建筑设计研究院 幕墙顾问:华纳工程咨询有限公司, 珠海市晶艺玻璃工程有限公司北京分公司, 梅伦德斯&迪金森建筑事务所 总施工单位:呼和浩特建筑工程公司 其他施工单位:北京宇通盛世照明工程有限公司, 上海义和建材装饰集团股份有限公司, 浙江精工钢结构有限公司 建筑结构:钢框架结构 幕墙构成:镀铝板材 室内空间:预铸式玻璃纤维加强石膏板(GRG)、铝板 摄影师:伊万·班摄影公司 业主:鄂尔多斯市政府

The project was first envisioned six years ago in 2005, in the then-desert wilderness of Inner Mongolia, when the municipal government of Ordos commissioned MAD to design a museum for the unbuilt metropolis. Amidst the controversy surrounding the planned city, it became evident that the museum for Ordos must navigate the many contradictions that emerge when local culture meets with visions of the future city. Meanwhile, it forces us to understand the bursting longing for future in the marginalised places. Inspired by Buckminster Fuller’s “Manhattan Dome”, MAD conceived of a futuristic shell to protect the cultural history of the region and refute the

Upon entering the atrium, a brighter, more complex world unfolds. A canyon-like corridor connects the east and west entrances, allowing the space to become an open extension of the outer urban space. Visitors meander through the space as if in the future – yet eternal – Gobi desert. On the ground floor of the canyon space, citizens could enter from the two main entrances and go through the museum without passing through the exhibition hall. In this way, the museum becomes the extension of the open urban space.

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2 Interior circulation goes like a continuous line meandering among the light and shadow. You would find the surroundings dark and private at some time, and bright and magnificent at others. A bridge connects the exhibition halls on the two sides, so visitors would meet again and again on the bridge. Abundant diffuse skylight makes the atrium bright with natural light, without any artificial lighting.

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Façades of the museum are made of expansive solid walls and aluminium panels to protect the interior from the cold and atrocious weather. A southfacing, light-filled interior garden acts as the centre for offices and research spaces. If offers a cosy environment while provides a heat-isolation layer. The completion of the museum offers a moment of pause in a city which has seen no end to construction. In this vital space where the past and the contemporary are joined, people can meet with art and with each other, giving a new spirit to this young community.

1. Façade detail 2. Night view 1. 外部局部表皮

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Extrenal Louvre System

Components

Facade Section

Facade Section Detail

外部卢浮宫系统

组件

外部剖面图

外部剖面细节图

艺术与城市博物馆坐落在内蒙古鄂尔多斯,它的建立旨在在新的城市 环境下诠释当地传统,将昔日城市废墟转化为充满诗意的公共文化空间。 2005年,在一片荒野上建立一个新城区的城市规划图制定后, MAD建 筑事务所受鄂尔多斯市政府的委托,为当时尚未成形的新城设计一座博物 馆。六年前还是一片戈壁荒野的内蒙古鄂尔多斯新城今天充满争议,而争 议本身已经将其置于更广泛的中国当代城市文化反思的焦点,它让公众重 新理解地方传统和城市梦想的关联和矛盾,同时,也迫使我们理解那些被 边缘化的地方文化所爆发出的对未来深切的渴望。 受到巴克明斯特·富勒的“曼哈顿穹顶”的启发,MAD设想了一个 带有未来主义色彩的抽象壳体,在它将内外隔绝的同时也对其内部的文化 和历史片段提供了某种保护,来反驳现实中周遭未知的新城市规划。博物 馆飘浮在如沙丘般起伏的广场上,这似乎是在向不久前刚刚被城市景观替 代而成为历史的自然地貌致敬。市民们在起伏的地面上游戏玩乐,歇息眺 望;甚至早在博物馆还未完工时,这里就已经成为大众、儿童和家庭最喜 爱的聚集场所。

在步入博物馆内部的一刹那, 好像进入了一个明亮而巨大的洞窟,与外 界的现实世界形成巨大反差的峡谷空间展现在眼前,人们在空中的连桥中 穿梭,好像置身于原始而又未来的戈壁景观中。在这个明亮的峡谷空间的 底层,市民可以从博物馆的两个主要入口进入并穿过博物馆而不需要进入 展厅,使得博物馆内部也成为开放的城市空间的延伸。 内部的流线是一条游动在光影中连续的线,时而幽暗私密,时而光明 壮观,峡谷中的桥连接着两侧的展厅,人们在游览途中会反复在穿过空中 的桥上相遇。明亮的漫射天光使得博物馆大厅得以完全采用自然光照明。 博物馆外墙采用大面积的实体墙面和铝板以抵御鄂尔多斯严寒和恶劣 的天气。一个南向的充满阳光的室内花园成为办公和研究空间的中心,在 提供良好小环境的同时也给室内空间提供了一个隔离层,减少热损失。 博物馆的建成为一个高速发展的城市带来片刻喘息。人们在这个传统 和当代艺术相融合的充满生机的空间里相遇, 一同开始他们的时空旅程。

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5 3. Overview 4. Distant view 5. Façade detail 6. Skylight 7. Interior space 8. Staircase 3. 建筑整体外观 4. 远观建筑整体 5. 外观局部 6. 内部天窗 7. 内部空间 8. 内部楼梯

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First Floor Plan: 1. Entrance 2. Pre-function room 3. Permanent exhibition hall 4. Office area 5. Temporary exhibition hall 6. VIP reception

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二层平面图: 1. 入口 2. 序厅 3. 基本展厅 4. 办公室 5. 临时展厅 6. 贵宾接待室

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Fourth Floor Plan: 1. Void spaces 2. Treasure exhibition hall 3. Plant room 4. Office area 五层平面图: 1. 上空 2. 珍品展厅 3. 机房 4. 办公

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OCT DESIGN MUSEUM

Shenzhen, Guangdong Province ZHU Pei / Studio Pei-Zhu OCT设计博物馆 广东省 深圳市 朱锫建筑设计事务所 Site Area: 4,000m2 Gross Floor Area: 5,000m2 Design/Completion Time: 2008-2009/2009-2010 Architect: ZHU Pei / Studio Pei-Zhu Design Team: ZENG Xiaoming (Leading Designer), HE Fan, KE Jun, JIAO Chongxia, YIN Xiao, LI Si Structure consultant: FU Xueyi Photographer: FANG Zhenning 占地面积:4000平方米 建筑面积:5000平方米 设计/建成时间:2008-2009年/2009-2010年 建筑设计:朱锫/朱锫建筑设计事务所 设计团队:曾晓明(主设计师), 何帆,柯军,焦崇霞,殷宵,李思 结构顾问:傅学仪 摄影师:方镇宁

The inspiration for the project comes from both the location being close to the bay and the needs of the programme, a surreal space for design exhibitions. The OCT Design Museum focuses mainly on fashion shows, product design, and conceptual automotive shows. The goal was to create a surreal space that brings out transcendental visiting experience. The design of the interior relies on a continuous white curving surface that casts no shadow and has no depth. The result is a surreal borderless space that seems to go on into the infinite, similar to the feeling of a James Turrell installation. The effect is like being in a cloud or dense fog. The building becomes a blank surreal background, with only small triangular windows scattered randomly, as if they were birds in flight. Typically an automobile looks very heavy, but in this limitless space it becomes

weightless, letting its curves, shadows, and intense colours become the focal point of the show. The ground floor of the building holds the entry lobby and café, while the first and second floors are mainly exhibition spaces. Storage space is spread out evenly through the floors, with movable walls allowing the exhibition spaces to be very flexible in scale and function. The exterior form of the building is a direct reflection of the continuous curving space inside. The smooth organic form has a similar surreal yet transcendental effect when seen outside in its urban setting. Set into its landscape, the building seems to float above the ground, as if it was not from this planet. The architects took inspiration from the smooth stones found along the beach 300 metres from the site. The building looks like a purely smooth stone in an overly saturated urban setting.

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建筑的设计灵感来自于临近海湾的基地位置及其功能需求,将一个超 现实的空间用于设计展览。OCT设计博物馆在功能上主要用于概念车展 览、大型产品设计展示、时装表演等。 设计的目的是打造一个超现实主题的空间并且带给人和周围环境超然 的体验。室内设计依附于一个连续的、没有投影、没有厚度的白色曲面, 从而形成了一个超现实的无边界空间,似乎要走向永恒,让人联想到詹姆

斯·特瑞尔的装置艺术。由此产生的效果好似云中雾里。建筑变成了一个 极简纯净的背景,仅仅有一些随机散落的三角形小窗户跳跃其上,好似展 翅飞翔的鸟儿。普通认知上的汽车看起来重量感十足,但是在这个无限的 空间里它变得没有质量,从而促使曲线、光影和强烈的色彩变成展示的焦 点。建筑的首层拥有一个入口大厅和咖啡馆,二层和三层主要用作展览空 间,储藏空间均匀分布在每层之间,利用可移动的墙体来灵活控制展览空 间的规模和类型。

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建筑的外观直接体现了内部连续的曲线空间。当看到建筑放置在城市 布局中时,其光滑有机的造型仍拥有相似的超现实效果。建筑周遭景观就 像建筑的形态流动于地面之上,似乎来自外太空一样。在距离海湾300米的 基地上,设计师从散落在海滩上的光滑石头中汲取灵感,建筑就如同一块 光滑纯净的石头,投放在过度饱和的城市背景之下。

1. White curving space 2. Exterior view 1. 内部空间的白色曲面 2. 建筑外观

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Elevations (Above Four) 立面图(上方4图) Sections (Above Four) 剖面图(上方4图)

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Gypsum board + paing finish 内挂石膏板面层

Non-bearing steel backing-up stud 非承重钢龙骨

Waterproof and insultaion layer 防水保温层

Stainless steel cladding 外挂不锈钢板

Renderings 效果图

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Level 1: 1. Lobby 2. VIP 3. Lounge

一层平面图: 1. 入口大厅 2. 贵宾接待室 3. 休息厅

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Renderings of interior 室内效果图

3-5. Pure interior spaces 3-5. 纯净的内部设计

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Level 2 (Left Above) and Level 3 (Left): 1. Exhibition hall 二层平面图(左上图) 和三层平面图(左图): 1. 展厅

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THE TANG WEST MARKET MUSEUM

Xi’an, Shaanxi Province Shaanxi Provincial Historical Ruins Preservation Engineering Research Centre, Liu Kecheng Studio at Architectural Design & Research Institute at Xi’an University of Architecture and Technology 西安大唐西市博物馆 陕西省 西安市 陕西省古迹遗址保护工程技术研究中心, 西安建筑科技大学建筑设计研究院刘克成工作室 Site Area: 14,084.9m2 Gross Floor Area: 32,000m2 Plot Ratio: 2.3 Greening Rate: 5.13% Parking: 200 vehicles Completion Time: 2009 Architect: Shaanxi Provincial Historical Ruins Preservation Engineering Research Centre, Liu Kecheng Studio at Architectural Design & Research Institute at Xi’an University of Architecture and Technology Principal Architect: LIU Kecheng, XIAO Li Design Team: WU Di, FAN Chunfei, WANG Li, ZHANG Xuying Structural Engineer: WENG Junyao, CHEN Hualiang HVAC Engineer: TIAN Jiali Plumbing Engineer: ZHU Guolin Electrical Engineer: ZHANG Jun Photographer: LV Hengzhong Client: Tang West Market Estate Co., Ltd. Materials: Steel Reinforced Concrete, Steel, Glass, Decorative Concrete Panels Awards: Invited Project on Hong Kong & Shenzhen Biennial Exhibition, 2008; Exhibition Project on the 12th Venice Biennale Architecture, 2010; WA Chinese Architecture Award, Shortlisted, 2010; China Architecture Media Awards, Best Architecture Award, Shortlisted, 2010; Excellent Project in the 6th Competition by Architectural Society of China, 2011

占地面积:14084.9平方米 建筑面积:32000平方米 容积率:2.3 绿化率:5.13% 停车位:200辆 建成时间:2009年 建筑设计:陕西省古迹遗址保护工程技术研究中心, 西安建筑科技大学建筑设计研究院刘克成工作室 主设计师:刘克成,肖莉 建筑设计师:吴迪,樊纯飞,王力,张旭迎 结构设计师:翁君耀,陈华良 暖通空调师:田佳力 给排水工程师:朱国林 电器工程师:张军 摄影师:吕恒中 业主:西安大唐西市博物馆 建筑材料:钢筋混凝土、钢、玻璃、装饰混凝土挂板等。 奖项:2008年香港深圳双城双年展特邀参展作品、 2010年第十二届威尼斯建筑双年展中国参展作品、 2010年WA中国建筑奖入围作品、 2010年中国建筑传媒奖最佳建筑奖入围作品、 2011年第六届中国建筑学会建筑创作佳作奖。

Background The Tang West Market Museum is constructed on top of the former West Market of the Tang Dynasty capital Chang’an, and it includes preservation of the historical site of Chang’an West Market, exhibition of the West Market relics, exhibition on the Silk Road culture and other auxiliary programmes. The West Market is regarded as the starting point of the Silk Road, a symbol of the flourishing trading age. The Tang West Market Museum is a contribution for the application of the five countries in Central Asia for the World Cultural Heritage. Solutions On the basis of protecting the archaeological site, including the roads, stone bridge, channels and architectural relics, the architects tried to create a reasonable layout that can best protect and showcase the site and the historic atmosphere. With a new architectural language that blends local and modern architecture, the building re-interprets the history of the Tang

Bird Eye's View 鸟瞰图

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2 West Market, displays the exhibits in a historical context, and provides multiperspectives for appreciating the relics. The unique private collection is thus given a new life. As an “urban living room”, the museum spaces are devoted to various kinds of activities, promoting sustainable future development.

1. Perspective of the relics preservation hall 2. Bird’s-eye view from east 1. 博物馆遗址保护厅透视 2. 博物馆东鸟瞰

The museum interior mainly consists of display units with the size of 12m×12m. The grid layout is the typical urban plan of the ancient Chang’an. Meanwhile, the scale, material, texture and colour of the architecture were all well considered, resulting in a pleasant visual effect with different spatial layers and architectural rhythm. With modern design approaches, the architects successfully manifest the essence of the culture and architecture of ancient Chang’an, and the prosperity of the Tang West Market. From interior to exterior, including configuration, structure, scale, pitched roof, material, texture and colour, the architects explored an innovative type that is contemporary, local and traditional simultaneously. The building harmoniously coexists with the surrounding Neo-Tang style architecture. Programmes There are altogether seven programmes: entrance, relics display, exhibition hall, urban living room, service sector, storeroom and equipment storage, and underground parking. Comments During construction, as well as after completion, the project has been receiving praises from International Council on Monuments and Sites (ICOMOS), experts from National Heritage Board and architects. Michael Petzet, Chairman of ICOMOS, said that the Tang West Market is the starting point of the Silk Road; it not only belongs to China, but also to the world; it is a new model for the preservation and protection of the ancient culture and relics.

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Concept Diagram (Right): 1. Shengshi Area 2. Jinshi Plaza 3. Shengye Area 4. Huibin Area (Xi’an Museum) 5. Jinshi Area 6. Fengle Area 7. Daxin Area 8. Chongshan Area 9. Tongji Area 概念鸟瞰图(右图): 1. 胜世坊 2. 金市广场 3. 胜业坊 4. 慧宾坊 (西安市博物馆) 5. 金市 6. 丰乐坊 7. 大鑫坊 8. 崇善坊 9. 通济坊

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The relationship between West Market and Chang'an 西市与隋唐长安的关系

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4 项目背景 西安唐西市遗址及丝绸之路博物馆建于原隋唐长安城西市遗址之上, 项目包括隋唐长安城西市十字街遗址保护、西市出土文物展示、丝绸之路 历史文化展示以及相关辅助内容。 西市遗址是隋唐丝绸之路的起点和重要标志,“丝绸之路”商贸交流 的重要文化遗产之一。西安唐西市遗址及丝绸之路博物馆作为丝绸之路的 起点和物质载体,将对丝路五国正在进行的联合申报世界文化遗产工作具 有重要的意义和作用。 设计思路 建筑设计在切实保护隋唐西市道路、石桥、沟渠和建筑等遗址的基础 上,通过合理布局,创造性地保护和展示了隋唐西市十字街遗址以及原有 道路格局、尺度、规模及氛围。运用新地域建筑语言解读大唐西市历史, 衬托和展示文物与遗址环境,为人们了解文物提供多种视角;表现商业博 物馆的独特性,表现西市以及私人收藏文物的独特性;结合国内外博物馆 发展的趋势,赋予遗址和文物以新的生命力,寓教于乐,结合城市客厅功 能和丝绸之路起点标志,文化活动与休闲博览,促进博物馆可持续发展。 建筑设计通过采用尺寸为12米×12米的展览单元,将隋唐长安城里 坊布局、棋盘路网的特点贯彻于博物馆空间始终。同时,对建筑的体量、 尺度、材料、肌理和色彩等方面进行了一系列新探索,创造出高低错落、 丰富有序的空间层次和效果,并用现代的方法和手段,表现出隋唐长安城 市与建筑文化的深层结构,以及唐代西市的恢弘气势与繁华景象。建筑内 部空间与外部形象设计,从形式、结构、尺度、坡屋顶的坡度、材料、色 彩、质感等方面,追求以新颖而富有独特地域特色的建筑形象,与周边新 唐风建筑相协调。

功能分区 建筑分为七大功能区:博物馆入口区、遗址展示区、博物馆展示区、 城市客厅区、商业服务区、库房及设备辅助区、地下车库区。 外界评价 建筑落成及建设过程中,得到了来自国际古迹遗址理事会、国家文物 局领导专家和建筑专家同行的高度赞扬。国际古迹遗址理事会主席米歇 尔·佩赛特指出:大唐西市是丝绸之路的起点。它不仅是中国的,也是世 界的。大唐西市博物馆为中国文化遗产保护提供了一个成功的范例。

4. South façade 5. East façade 6. View from northwest 7. North façade 8-10. Details 11. Interwoven ceiling 4. 博物馆南立面 5. 博物馆东立面 6. 博物馆西北角透视 7. 博物馆北立面 8-10. 局部透视 11. 高低错落的顶棚设计

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Design Concept 设计理念

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Ground Floor Plan (A), First Floor Plan (B), Second Floor Plan (C) and Third Floor Plan (D): 1. Tang West Market traffic marking display 2. Canal marking display 3. Relics display 4. Relics display with glass floor 5. Tickets/reception 6. Tourism business 7. Museum lobby 8. Lounge 9. Office 10. Relics research and restoration 11. Exhibition hall 12. Urban living room 13. Bookstore 14. Lecture hall 15. Pre-function room

一层平面图(A)、二层平面图(B)、 三层平面图(C)和四层平面图(D): 1. 唐西市路面标识展示 2. 沟渠地面标识展示 3. 遗址揭露展示 4. 玻璃地面遗址展示 5. 售票、接待 6. 旅游商业 7. 博物馆门厅 8. 休息厅 9. 博物馆办公 10. 文物研究、修复 11. 博物馆展厅 12. 城市客厅 13. 书店 14. 报告厅 15. 序言厅

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JIANCHUAN MIRROR MUSEUM & EARTHQUAKE MEMORIAL Anren Town, Sichuan Province Atelier Li Xinggang, China Architecture Design & Research Group 建川镜鉴博物馆暨汶川地震纪念馆 四川省 安仁镇 中国建筑设计研究院李兴钢工作室 Site Area: 3,847m2 Gross Floor Area: 6,098m2 Design/Completion Time: 2004/2009 Architect: Atelier Li Xinggang, China Architecture Design & Research Group Design Team: LI Xinggang, ZHANG Yinxuan, FU Bangbao, LIU Aihua Structure: Rein-forced Concrete Shearing Wall Structure Photographer: ZHANG Guangyuan, LI Xinggang Client: Sichuan Anren Jianchuan Cultural Industry Development Co., Ltd. Awards: The Chicago Athenum / EUROPE International Architecture Awards (2010); shortlist of Weinerberger Golden Brick Awards, 2010 占地面积:3847平方米 建筑面积:6098平方米 设计/建成时间:2004年/2009年 建筑设计:中国建筑设计研究院李兴钢工作室 设计团队:李兴钢,张音玄,付邦保,刘爱华 结构形式:钢筋混凝土剪力墙结构 摄影师:张广源,李兴钢 建设单位:四川安仁建川文化产业开发有限公司 奖项:2010年The Chicago Athenum/Europe国际建筑奖, 2010年欧洲维纳博格金砖奖提名奖

The construction of Jianchuan Mirror Museum paused for a period of time and re-started due to the addition of Earthquake Memorial. In the re-design, the museum and the memorial lap over each other and are separately independent in terms of space; the virtual images and realities are mixed and reciprocally contrasted. In the Mirror Museum, a serious of rotatable “mirror-doors” are set, creating pure, abstract and changeable virtualimage spaces through which visitors can experience the crazy period of the Culture Revolution in a simulative context. Earthquake Memorial’s spaces and exhibits are temporary, crude, concrete and actual through which visitors can feel the reality of grief and heartquake in Sichuan Earthquake. In the museum you would experience the tragedies happened in a particular history of China, while in the memorial you would experience the ruthless natural disaster; both programmes are aimed at giving later generations warning and caution. The contemporary building in the 1,000-year-old town is peace and calm seen from outside, but collects crazy virtual images and heartquaking realities inside, providing the most deeply shocking experience and commemoration of history and tragedies. Additionally, with the devious and dramatic design and construction process, it could be called the current time’s “Mirror Museum”.

Site Plan 总平面图

Red & grey bricks and concrete are the two main kinds of materials used. Local bricklaying tradition is embodied in the “leaky brick-walls” in various patterns and with different degrees of transparency corresponding to different indoor functions at the same bricklaying modulus control, and satisfying the different requirements of lighting, ventilation, view and privacy. A type of “armor plate glass brick”, which is cheap and easily manufactured by local people, is invented following the above modulus in order to be laid on the empty positions of the “leaky walls” of the interiors.

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原设计建造并停工难产的文革镜鉴馆由于汶川地震的发生加入了地震 纪念馆而再造重生,经设计改造后的两个馆在空间上相互叠加并置,虚像 和现实相互混合、对照。镜鉴馆通过组合的镜门装置造成纯净、抽象、变 幻多端的虚像空间,而让参观者以游戏的方式模拟体验失去理智的疯狂年 代;地震馆则以临时、粗砺、具体、真实的空间和展品让参观者感受痛切

而震撼的现实。两者以各自的方式纪念、展示和体验着历史上发生的“人 祸”和“天灾”两大人间悲剧,给予后人以鉴戒和警示。建筑外部平和而 宁静,却混合收藏着内部的虚像狂乱和现实震荡,给予当代人对过往历史 和灾难的即时体验与纪念,加上其曲折、多变、富于现实感和戏剧性的设 计建造历程,可称得上是这个时代的“镜鉴”之馆。

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红、青两色的砖和混凝土是建筑师使用的两种主要材料,当地丰富的 砌砖传统在这里体现为在同一砌砖模数单元控制下,不同的室内功能对应 不同通透程度的砖砌“花墙”,以满足不同的采光、通风、景观和私密性 等要求。设计者还设计发明了符合上述模数的透明“钢板玻璃砖”,造价 低廉并易于加工,用于“花墙”上对应室内空间的砌空部分。

1. Lane 2. Bird’s-eye view from northwest 3. West façade 1. 街坊中间的步行小巷 2. 西北侧俯瞰 3. 西立面

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4. Main courtyard 5. Red brick façade detail 6. Blue brick façade detail 4. 主庭院 5. 红砖花墙 6. 青砖花墙

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7 7. Closed aluminium doors and removable window 8. Courtyard 7. 关闭的铝板隔扇门和可移动窗口 8. 庭院

A. Exhibition B. Construction C. Ventilation D. Drainage A. 展览 B. 结构 C. 通风 D. 排水

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9. Courtyard view from interior 10. “Shocking Memory” earthquake exhibition on the mezzanine 11. Mirror at the entrance 12. “North View Pavilion” - treasure exhibition 9. 从镜鉴馆展厅内看主庭院 10. 利用夹层仓库改造而成的 地震馆“震撼日记”展厅 11. 入口的门镜 12. 望北“亭台”精品展厅

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A. Principle of periscope B. Rotatable mirror-doors C. Sight alanysis of the addition of rotatable mirror-doors A. 潜望镜原理 B. 旋转镜门 C. 加入镜门后的视线分析

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Ground Floor Plan: 1. “Mirror Museum” entrance 2. Pre-function room 3. “Mirror Museum” exit 4. “Earthquake Museum” entrance 5. Souvenir shop 6. Tickets 7. Outdoor exhibition 8. Wall of victims’ photos 9. Finishing hall 10. “Earthquake Museum” exit 11. Lane 12. Courtyard 13. Public washroom

一层平面图: 1. 镜鉴馆入口 2. 序言厅 3. 镜鉴馆出口 4. 地震馆入口 5. 纪念品商店 6. 售票处 7. 室外展厅 8. 罹难者照片墙 9. 结束厅 10. 地震馆出口 11. 街巷 12. 庭院 13. 公共卫生间

Mezzanine Floor Plan: 1. Exhibition hall in “Mirror Museum” 2. Wall of victims’ photos 3. Exhibition hall in “Earthquake Museum” 4. Earthquake experiencing hall 5. Roof terrace 6. Teahouse

夹层平面图: 1. 镜鉴馆展厅 2. 罹难者照片墙 3. 地震馆展厅 4. 地震体验厅 5. 屋顶平台 6. 茶室

First Floor Plan: 1. Exhibition hall in “Mirror Museum” 2. Exhibition hall in “Earthquake Museum” 3. Roof terrace

二层平面图: 1. 镜鉴馆展厅 2. 地震馆展厅 3. 屋顶平台

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BIRD MUSEUM IN QINHUANGDAO Qinhuangdao, Hebei Province YU Kongjian, XIANG Jun, ZHANG Yuan 秦皇岛鸟类博物馆 河北省 秦皇岛市 俞孔坚,向军,张媛 Floor Area: 2,000m2 Design/Completion Time: 2006/2009 Architect: YU Kongjian, XIANG Jun, ZHANG Yuan / Turen Landscape Planning Co., Ltd, The Graduate School of Landscape Architecture, Peking University Photographer: YU Kongjian 建筑面积:2000平方米 设计/建成时间:2006年/2009年 建筑设计:俞孔坚,向军,张媛/土人景观规划设计研究院, 北京大学景观设计学研究院 摄影师:俞孔坚

The building, inspired by the “anchored fishing boat along coast”, was composed of a series of intersecting striped spaces to reflect the balance between wind power and holdback power. Moreover, the design takes advantage of sea wind and expresses the poetic scene of the beautiful site.

The structure was just one floor and partially lifted to correspond with the surrounding trees. Roof terrace was proposed and the outdoor passages could directly led onto it, thus, visitors can reach during the closing time of the museum. Architecture and Material The main structure was constructed by reinforced concrete. White rostone and wooden panel were employed to clad the exterior walls. The two different materials alternated to form an interesting scene: the façade facing the road expresses itself as white stone while the façade facing the sea shows the refined textile of wood. In addition, the white stone façade was simple and elegant with diaglyphed sea plants patterns; the wooden façade highlighted naturalness and intimacy.

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Interior Good ventilation and natural lighting were the two main concepts in the interior design. In order to realise this, large French windows were installed in the southern and northern sides as well as several skylights. In the main entrance, natural light was brought in. Moreover, two light courts were created to invite more light in as well as setting plants and holding outdoor exhibition.

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1. Sculptural entrance 2. Bird’s-eye view from south 1. 入口雕塑 2. 南侧鸟瞰

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建筑从“秦皇岛外打渔船”在海边的停泊状态获得灵感,由条状虚、实 空间穿插交错构成。这种肌理反映了风力和牵制力之间的一种平衡状态。是 对场地海风的利用和诗情的表达。 建筑高度以一层为主,局部高起,可以和周围树木相互掩映。建筑还设 计了屋顶平台,并有专门的户外通道,一直达到屋顶,以便观光者在闭馆时 也可使用屋顶。 结构与材料 建筑采用钢筋混凝土结构,标准柱网。外墙由两种材料:一种是白色人 造石(混凝土)挂板,有阴刻海草图案,隐约可见,整体白色,素雅。另一 种是木板,自然亲切。两种材料交互使用在不同的穿插建筑体上,从而形成 了临路一侧为白色人造石,而临海一侧为木纹的“阴阳”建筑。表达了城市 与自然地交互关系。

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室内 建筑强调自然通风和自然采光。除南北两头大面积落地窗外,还有许多 天窗。主入口尤其强调天光的利用。此外,利用建筑穿插体块之间的三角交 错带,留出两个采光天井,内可种植物或布置户外展览。

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3. Façade facing the sea 4. Terrace 5. Lobby 6. Interior patio 7-9. Interior spaces 3. 面海立面 4. 建筑局部 5. 大堂 6. 室内天井 7-9. 室内

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Ground Floor Plan: 1. Permanent display 2. Office 3. Fire control and weak current equipment room 4. Permanent display 5. Exhibition hall 6. Main entrance 7. Lobby 8. Bird-watching area 9. Artwork exhibition and sale 10. Treasure storage

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TANGSHAN MUSEUM EXPANSION Tangshan, Hebei Province URBANUS 唐山博物馆扩建 河北省 唐山 凤凰山公园 都市实践(北京)建筑设计咨询有限公司 Site Area: 49,008 m2 Area of Base: 20,000m2 Gross Floor Area: 23,784m2 (Expansion: 12,956m2 ; Existing Museum: 10,828m2 ) Design/Completion Time: 2009/2011 Architect: URBANUS Design Director: WANG Hui Project Director: CHENG Zhi Design Team: DU Aihong, CHEN Chun, HAO Gang, WEI Yan, ZHANG Yongjian, CHEN Lan, ZHENG Na, YANG Qing, WU Wenyi, LIU Yinyan, LIU Nini Design Assistants: CHEN Dongwei, WU Lili, YIN Hong, LONG Xiangzhen, WANG Xiaofang, LIU Yongchan, WANG Fucheng, ZHAO Qiongni Project Coordinator: ZHU Qinghui Collaborator: Longanhuacheng Architectural Design Co., Ltd. Beijing Photographer: CHEN Yao Client: Construction Investment Management Centre of Tangshan Government

占地面积:49008平方米

In 1968 when the Cultural Revolution in China reached its climax, nationwide construction of “Victory of Maoism” museums emerged. Tangshan Museum grew out of three of these museums that were triangularly located. They have stood the test of the ruthless earthquake in 1976 and became heritage buildings in Tangshan. Now the secondary city is growing rapidly into a metropolis throughout which Tangshan Museum is the best manifestation of the regional culture, though its beauty and charm is concealed by the dilapidated exterior. How to anchor the city to its cultural essence is the problem that the architects confronted with. The key lies in design concept but not solutions.

private spaces into the plaza, which become intimate and personal spaces for group communication.

总建筑面积:24444平方米 建筑面积:23784平方米 (扩建:12956平方米;原博物馆:10828平方米) 设计/建成时间:2009年/2011年 建筑设计:都市实践(北京)建筑设计咨询有限公司 设计总负责:王辉 项目负责人:成直 设计团队:杜爱宏,陈春,郝钢,魏燕,张永建, 陈岚,郑娜,杨勍,吴文一,刘银燕,刘妮妮 设计人员:陈东伟,吴利利,殷宏, 龙湘珍,王晓芳,刘永婵,王福成,赵琼妮 项目配合:朱庆会 联合设计:北京龙安华诚建筑设计有限公司 摄影师:陈瑶 建设单位:唐山市政府投资工程建设管理中心

The design explored the problem of how to retain the cultural essence and urban memory of secondary cities, and how to turn them into metropolises under the condition of current urbanisation.

Site Plan 总平面图

After refurbishment, the existing three buildings are organised in an organic way, turning into a contemporary museum. Several non-exhibition halls, including a lecture hall, a book shop, a library and a restaurant, are inserted into the complex, making the ticket-free museum a good place for the citizens to entertain guests in leisure time. The existing buildings were not overwhelmed by the expansion; instead, they are highlighted and complemented in terms of scale. The architects boldly adopted a modern material – ultra white coloured glazing glass – to distinguish the new and the old buildings and make the latter visually stand out. As for the relationship between architecture and environment, the expansion part helps make the museum coexist harmoniously with the hills in the park. In rebuilding the old plaza, a favourate place for the citizens, the architects tried to turn it into a “living room for the city” by inserting semi-

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4. Exterior view 5. Front plaza 6. Distant view of the plaza 4. 建筑局部 5. 馆前广场 6. 广场远观

Axonometric View (Front) 轴测图正面

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Ground Floor Plan

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First Floor Plan

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1968年,“文革”高潮时,全国各地开始踊跃敬建“毛泽东思想胜利 万岁展览馆”。 唐山博物馆的前身便是这样的三座呈“品”字形的旧“万 岁馆”,并且经历了大地震的考验,是唐山的建筑古董。在不亚于地震冲 击波的当前城市化作用力下,这个庸常的二线城市正在迅速地被全球化城 市的新面孔所代替,新奇而躁动。纵观整个城市,再也没有比这组建筑更 有自然和人文韵味的地方,虽然它的魅力被埋在败旧的外表下。如何能够 让城市锚固在自己的精神原点上,实现一个美丽的转身?这不仅仅是设计 方法问题,也是设计理念问题。 改造后的新博物馆,通过有机的动线组织,把三座离散的建筑组织成 一体,实现了一个现代化的博物馆功能。同时在这个展线中穿插进许多非 展陈性厅堂,使这个免票博物馆成为供市民休闲交往的场所,包括讲坛、 书店、图书馆、餐厅等,让博物馆能成为市民自豪地招待来客的地方。 在新旧建筑体量处理上,加建部分成功地使旧建筑主体突出,并弥补 了其尺度失调的不足。在新旧建筑材料处理上,设计师大胆地采用了超白 彩釉玻璃这一现代材料,既拉大了新旧建筑之间的时代距离,又弱化了新 建筑的体量,同时突出了旧建筑。在和环境关系上,加建部分协调了博物 馆和公园山体之间的矛盾关系。在改造市民热爱的旧广场时,用城市客厅 的概念,在开敞的公共广场中植入半私密的、适合小群体活动的、细腻的 个人化空间,让人在城市尺度上有领域感和归属感。 这个设计探讨了如何有机地保持当前二、三线城市的城市精神和城市 记忆,并有效地实现其在当前城市化条件下的华丽转身。

Third Floor Plan

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7. Façade 8. Plaza 7. 建筑外立面 8. 广场

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GAOLIGONG MUSEUM OF HANDCRAFT PAPER Tengchong, Yunnan Province HUA Li / TAO (Trace Architecture Office) 高黎贡山手工造纸博物馆 云南省 腾冲 华黎 / TAO 迹 . 建筑事务所

Floor Area: 361m2 Design/Completion Time: 2008-2009/2010 Architect: HUA Li / TAO (Trace Architecture Office) Design Team: HUANG Tianju, LI Guofa, JIANG Nan, SUN Yuanxia, XU Yinjun, YANG Hefeng Photographer: Courtesy of the artchitect 建筑面积:361 平方米 设计 / 建成时间:2008-2009 年 /2010 年 建筑设计:华黎 / TAO 迹 . 建筑事务所 设计团队:黄天驹,李国发,姜楠, 孙媛霞,徐银军,杨鹤峰 摄影师:图片由建筑师提供

The museum is situated in a beautiful landscape next to Xinzhuang Village at the foot of Gaoligong Mountain in Yunnan, a world ecological preservation area in southwest China. The village has a long history of handcraft paper making. To exhibit the history and culture of paper making, this museum includes gallery, bookstore, work space and guest rooms. The museum is conceived as a micro-village, a cluster of several small buildings, while the whole village can be conceived as a vast museum in which every household could show handcraft paper making to visitors. The spatial concept is to

create a visiting experience alternating between interior of galleries and landscape outside when the visitor walks through the museum, so as to provoke an awareness of the inseparable relationship between paper making and environment. Six exhibition halls with different layouts are organised around a central atrium, forming a continuous visiting route, in the middle of which sits a tea room open to the atrium. Office spaces are placed on the first floor and connected to the guest rooms on the second floor and the mountain-view terrace. The design is aimed at creating a climate-responsive and environmentallyfriendly building. Local materials such as wood, bamboo, handcraft paper and volcano stone are used for exterior finish, roof, interior finish and floor. With time passed, these materials will worn and fade into a more harmonious colour with the landscape. The construction is to maximise the usage of local materials, techniques and craftsmanship. The building combines traditional timber structural system (featuring nail-less tenon connection) and modern detailing. It was built completely by local builders, being itself part of the local preservation development.

Model (Left) 模型图(左图)

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2 博物馆建造在云南腾冲高黎贡山下新庄村边的田野中,建筑的目的是 为了向来访者展示新庄古老的手工造纸工艺以及与手工纸相关的文化产 品。建筑内部设有办公空间、茶室和客房等。设计将建筑做成由几个小体 量组成的一个建筑聚落,如同一个微缩的村庄。而整个村庄连同博物馆又 形成一个更大的博物馆— 每一户人家都可以向来访者展示造纸的工艺。 访问者对建筑的游览将是在内部展览和外部优美的田园景观之间不断转换 的一种体验,以此来提示建筑、造纸和环境的不可分。展览部分由六个形 状各异的展厅围绕中心庭院组成一条连续的参观路线,中间则是一个可向

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庭院完全开敞的茶室。二层是办公空间,通过一个室外楼梯联系到三层客 房和一个可以观山的屋顶平台。 设计采用当地的杉木、竹子、手工纸等低能耗、可降解的自然材料来 减少对环境的影响。在建构形式上真实反映材料、结构等元素的内在逻 辑,以及建造过程的痕迹与特征。建筑适应当地气候,充分利用当地材 料、技术和工艺,结合了传统木结构体系和现代构造做法,全部由当地工 匠完成建造,使项目建设本身成为地域传统资源保护和发展的一部分。

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1. Timber board 1. 木板

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First Floor Plan: 1. Work area 2. Meeting / reception 3. Office 4. Void

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NEW LUOYANG MUSEUM

Luoyang, Henan Province LI Li / Architectural Design and Research Institute of Tongji University 洛阳博物馆新馆 河南省 洛阳市 李立 / 同济大学建筑设计研究院(集团)有限公司 Floor Area: 43,654m2 Completion Time: 2009 Architect: LI Li / Architectural Design and Research Institute of Tongji University Photographer: YAO Li 建筑面积:43654平方米 建成时间:2009年 建筑设计:李立 / 同济大学建筑设计研究院(集团)有限公司 摄影师:姚力

The New Luoyang Museum is located on the south bank of the Luo River, a transitional area between the old town to the south of the river and the newly developed area to the south. This area of cultural facilities, with the New Luoyang Museum as the centre, will become an important linking area for the old and new district. The site of the project is adjacent to Luoyang Ruins of Sui and Tang Dynasties, a landmark on the axis of Luoyang City. The architects adopted an asymmetry spatial structure for the new museum, and put courtyards and light wells at the turning points of the circulation – a typical approach in traditional Chinese garden design. In this way, the layout of spaces is dynamically balanced. The exterior of the museum presents itself as magnificent wavy topography, while the interior is correspondingly

composed of a series of linked spaces. On the roof, 13 archeological sites are exposed as a manifestation of the 1,000-year history of the old city, integrating the architecture with the particular site. The design concept is conveyed throughout the museum including both interior and exterior, making the contemporary museum harmoniously coexist with the local context. Co-existence is thus a recurring theme: magnificent, solemn architectural mass and tranquil, intangible interior spaces; classical axis and asymmetry spatial structure, creating an atmosphere that belongs to traditional Chinese garden; closed appearance and open topography, as juxtaposition of its memorial and public functions.

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3 1. Topography at dusk 2. Bird’s-eye view from northwest 3. Giant roof 1. 落日时分呈现出的大地景观 2. 博物馆西北侧鸟瞰 3. 博物馆的巨大屋面

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Floor Plan: 1. Main entrance 2. Pre-function room 3. Central hall 4. Restaurant 5. Flexible exhibition hall 6. Permanent exhibition hall 7. Inner courtyard 8. Special exhibition: Stone Statue 9. Multi-function hall 10. Lecture hall 11. Antique shop 12. Courtyard 楼层平面图: 1. 博物馆主要入口 2. 序厅 3. 中央大厅 4. 餐厅 5. 机动展厅 6. 基本展厅 7. 内院 8. 石刻造像专题陈列 9. 多功能厅 10. 报告厅 11. 文物商店 12. 院子

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4 洛阳博物馆新馆位于洛河南岸,处于洛河以北的城区与洛南新区的过 渡地带。以洛阳博物馆新馆为核心的文化设施集中区将成为衔接、缝合洛 阳新老城区的城市重要功能片区。建筑选址毗邻隋唐洛阳城遗址,是洛阳 城市中轴线上极为重要的标志性建筑。设计构思以非对称的空间结构为支 撑,借鉴园林手法在方形流线的转折位置设置庭院和采光天井,使空间布 局达成动态的均衡。设计在外部建构了大尺度的起伏地形,内部则通过建 构相对应的一系列空间的连接来暗示“虚空”的概念主题,并通过屋面开 放的13个遗址考古场景的再现,深刻地揭示了洛阳这座千年古都的厚重内 涵,将场地特质与建筑概念融为一体。设计概念贯穿室内外整体,具有强 烈的现代博物馆建筑特征和鲜明的地域文化特色,最终形成了概念复合的 建筑特征:建筑形体的彰显与空间的沉静融合,外部的凝重与内部的虚空 共存;古典的轴线与非对称的空间组织融合,光与空间交织成内在的园林 意向;封闭的外表与开敞的地形塑造融合,将纪念性和公共性并置呈现。

4. Pre-function room viewed from main entrance 5. Central hall viewed from pre-function room 6. View of central hall and pre-function room from entrance 7. Multi-direction visual connection 8. Central hall 4. 从主入口看序厅 5. 从序厅一角看中央大厅 6. 从展厅入口看中央大厅及序厅 7. 多向的空间视廊 8. 中央大厅

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RELICS EXHIBITION HALL AT THE JINSHA SITE MUSEUM

Chengdu, Sichuan Province Architectural Design and Research Institute of Tsinghua University 金沙遗址博物馆文物陈列馆 四川省 成都市 清华大学建筑设计研究院有限公司 Gross Floor Area: 20,190m2 Design/Completion Time: 2005/2007 Architect: Architectural Design and Research Institute of Tsinghua University Design Team: ZHUANG Weimin, GE Jiaqi, MO Xiuquan, ZHANG Jinfang, BAI Xue, ZHANG Jin Collaborator: China Aeronautical Project and Design Institute (CAPDI); Zhongyuan Engineering Design Consultant Ltd., Beijing; PANSolution International Architects Photographer: SHU He Client: Chengdu Bureau of Culture, Chengdu Museum

建筑面积:20190平方米

Jinsha Site is located in the western suburb of Chengdu City, occupying about 29 hectares, including Excavation Hall, Relics Exhibition Hall, and Cultural Heritage Preservation Centre. The design aims at three goals as follows:

2. To limit the interference of construction towards the Site; to deconstruct the architectural mass and make it integrated into the park environment; 3. To solve the contradiction between antiquity and modernity in a neutral way; the configuration of architecture does not have to resemble that of a particular period.

1. To positively protect the historical remains and open them to the public, for both cultural inheritance and urban development;

设计/建成时间:2005年/2007年 建筑设计:清华大学建筑设计研究院有限公司 设计团队:庄惟敏,葛家琪, 莫休权,张晋芳,白雪,张瑾 合作设计:中国航空工业规划设计研究院, 北京中元工程设计顾问公司, 泛道(北京)国际设计咨询有限公司 摄影师:舒赫 建设单位:成都市文化局,成都市博物院

The Relics Exhibition Hall as a key part of the Site, has a total floor area of 20,190 square metres (including underground parking). Design inspiration comes from the approach of gridding in archaeology. The 10m×10m grids set a good order for the plan. The cubic mass looks as if growing out of the ground – a metaphor of the excavated jade. The height difference between south and north part further makes sharp contrast with the Excavation Hall, establishing an echoing relationship between the two buildings. For the Relics Exhibition Hall, dry-hang travertine is adopted for façade and public space floors and walls. Different from traditional museums where exhibition hall, public space and education space are separated, here exhibition spaces are interactively planned around the central atrium, and the independent hall is combined with the open exhibition terrace. In this way, passive “fixed exhibition” is transformed into flexible “interactive exhibition”, and static visiting experience is changed into dynamic multi-media museum experience. Here visitors are the real protagonist, and the concept of humanism is thus fully conveyed. In Jinsha Site Museum, the architects explored a new way of design that is different to both suburb archaeological site museums and museums in dense urban contexts.

Site Plan 总平面图

After the Wenchuan Earthquake, the Jinsha Site Museum becomes a shelter for not only the relics, but also the citizens. It has gone beyond the initial intention, interpreting unexpected humanism in a broader sense.

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金沙遗址位于成都西郊,占地约29公顷,包含遗迹馆、文物陈列馆和文 物保护中心等配套设施。规划设计主要理念: 1. 以积极姿态保护历史遗存,实现教化公众、传承文化、经营城市; 2. 以有限的建造最低程度扰动遗迹,尽可能消解建筑体量,融入整个遗 址公园的环境; 3. 以中性手段应答时空的矛盾,不追求对应具体历史时段的建筑形象。 文物陈列馆作为园区主体,建筑面积20190平方米(含地下车库),以 考古中的“探方”作为构思切入点,10米×10米基本模数隐喻文物考察的秩 序。建筑形体方正,仿佛从大地中生长出来,隐喻被发掘的玉璋。造型北高 南底,与遗迹馆一刚一柔,一实一虚,交相呼应。陈列馆造型简洁大方,外 墙和室内公共空间的墙地面全部选用干挂洞石,使得园区建筑浑然一体,统

一协调。陈列馆围绕中庭布置展厅,突破了传统博物馆将展厅、公共空间、 教育空间割裂的形式,而将独立展厅与开放式台地展区相结合;将被动“固 定式”陈列与互动“情景式”陈列空间相渗透;将静态单一参观模式与动态 多媒介模式相整合。这种方式破除了人与展品静止对立的格局,人成为陈列 馆的主角,充分体现“人本主义”的理念。 金沙遗址博物馆尝试了一种既不同于郊野遗址博物馆又不同于城市密集 区博物馆的设计策略,探索了一条新的道路。 汶川大地震后,金沙遗址博物馆不但成为了文物的庇护所,还成为广大 市民躲避地震灾害的避难所。建筑超越了原设计的意图,提供了更为广阔的 人文关怀。

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1. Secondary entrance 2. Distant view 1. 陈列馆次入口 2. 远眺陈列馆

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3 3. Exterior view 4. Entrance plaza 5. Sunken courtyard and excavated ebony 3. 陈列馆远景 4. 陈列馆入口广场 5. 陈列馆下沉庭院和出土乌木

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6. Lobby 7. Large stairs at entrance 8-9. Lounge 6. 陈列馆门厅 7. 入口大台阶 8,9. 室内休息厅

Streamline Analysis 流线分析

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11 10. Atrium 11. Bird’s-eye view of atrium 12. Atrium ceiling 10. 陈列馆中庭 11. 俯瞰陈列馆中庭 12. 陈列厅中庭顶部

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Basement Floor Plan: 1. Exhibition hall 2. Pool 3. Temporary exhibition hall 4. Lounge/waiting area 5. Relics storage 6. Multi-function hall 7. Office 8. Outdoor exhibition

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Ground Floor Plan: 1. Lobby at main entrance 2. Press release hall 3. Reception 4. Exhibition hall 5. 4D cinema 6. VIP room

地下层平面图: 1. 展厅 2. 水池 3. 临时展厅 4. 休息等候区 5. 文物库房 6. 多功能厅 7. 办公 8. 室外展场

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一层平面图: 1. 主入口门厅 2. 新闻发布厅 3. 接待室 4. 展厅 5. 4D影院 6. 贵宾室

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First Floor Plan: 1. Exhibition hall 2. Souvenir shop 3. Pipe room 4. Office

二层平面图: 1. 展厅 2. 纪念品 3. 管道间 4. 办公区

Second Floor Plan: 1. Above lobby 2. Above exhibition hall 3. Relics restoration

三层平面图: 1. 门厅上空 2. 展厅上空 3. 文物修复

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13 13. Exterior view at dusk 14. Pavement in front of exhibition hall 13. 陈列馆远景 14. 陈列馆遗址前空廊

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GUANGDONG MUSEUM

Guangzhou,Guangdong Province Rocco Design Architects Ltd. 广东省博物馆 广东省 广州市 许李严建筑师事务有限公司

Gross Floor Area: 67,000m2 Design/Completion Time: 2004-2007/2010 Architect: Rocco Design Architects Ltd. Collaborator: The Architectural Design and Research Institute of Guangdong Province Photographer: Almond Chu, Marcel Lam 建筑面积:67000平方米 设计/建成时间:2004-2007年/2010年 建筑设计:许李严建筑师事务有限公司 合作设计:广东省建筑设计研究院 摄影师:朱德华,马塞尔·拉姆

The Museum’s spatial arrangement takes its inspiration from the legendary concentric ivory balls carving. Each carving slices through the box and reveals different layers and varying degrees of tranparency within the interiors, forming interesting spatial patterns and luring visitors through its exhibits inside. The interweaving of interior space pockets also reveal the intricate relationship between the visual and physical connections and separation of the atrium corridor, the individual exhibition halls and the back-of-house service areas. This deliberate arrangement not only reinforces the clarity and coherance of the treasure-box concept, but also allow flexibility in planning and operation of all the exhibition spaces. In addition, each of the main exhitbition halls are punctured with random alcoves of

dynamic spatial geometry. Filled with natural light and served as visual breakouts to the outside, they are also transitions between the exhibition halls which offer visitors initmate and well-balanced resting spaces. The overall treatment of the main façade is based on the analogy of ivory ball. Using materials such as aluminium panels, fritted glass and GRC panels, each elevation is uniquely designed with different geometric voids recessed into the building mass. In order to achieve a smooth transition between the museum and the adjoining landscape, an undulating landscape deck is introduced underneath the elevated museum box, metaphorically symbolising a silk cloth unwrapping a much treasured piece of artwork.

Elevation 外立面

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2 广东省博物馆这一项目的空间布局从传奇的象牙球雕刻技术中获得灵感。

建筑外观设计同样以“象牙球”为理念,采用铝板、玻璃熔块及节能保温

每个小球从大盒子中“穿过”,并展示出其不同的“面”及“透明度”,构成

板材质打造。不同的立面在设计上呈现差异性,多样的几何造型“凹陷”到主

趣味十足的表面图案。里面的展品若隐若现,吸引着游客进去参观。内部空间

建筑结构上。为使博物馆本身与周围景观环境实现平缓的过渡,设计中在主体

交错连结,在视觉及实体上体现出错综复杂的联系以及中庭走廊、单独展厅及

结构下方打造了一条蜿蜒曲折的景观带,犹如一块展开的丝绸,将其内部的珠

办公区之间的相对独立性。独特的空间格局不仅突出了“珠宝盒”这一设计理

宝呈现。

念,同时确保了展示空间规划及运用的多样性。此外,主展厅之间通过随意排 列而动感十足的“凹室”空间分隔,既能使光线射入,又能与外部空间构成联 系,同时为游客提供了温馨的休息场所。

Models

模型图

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3 1. Façade detail 2. Museum overview 3. Main entrance 4. Interior 5. Entrance hall 6-8. Interior spaces 1. 侧面局部 2. 外观全景 3. 正面入口外观 4. 内部空间 5. 入口大厅 6-8. 功能区局部

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A. First Floor Masterplan B. Second Floor Plan C. Second Floor Masterplan D. Third Floor Plan

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First Floor Plan (Left): 1. Main entrance 2. Information desk 3. Baggage 4. Atrium 5. Audio-visual room 6. Café 7. Gift shop 8. VIP room

A. 2层总平面图 B. 3层平面图 C. 3层总平面图 D. 4层平面图

二层平面图(左图): 1. 主入口 2. 服务台 3. 寄存室 4. 中庭 5. 视听室 6. 咖啡厅 7. 礼品店 8. 贵宾室


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YUNGANG GROTTOES MUSEUM

Datong, Shanxi Province CHENG Dapeng / Beijing New Era Architectural Design Ltd. 云冈石窟博物馆 大同市 云冈石窟景区 程大鹏 / 北京新纪元建筑工程设计有限公司 Area of Base: 6,000m2 Floor Area: 10,000m2 Design/Completion Time: 2008/2009 Architect: CHENG Dapeng / Beijing New Era Architectural Design Ltd. Photographer: CHEN Yao Client: Datong City Government 占地面积:6,000平方米 建筑面积:10000平方米 设计/建成时间:2008年/2009年 建筑设计:程大鹏 / 北京新纪元建筑工程设计有限公司 摄影师:陈尧 建设单位:大同市政府

Project Data The project is located at the west part of Yungang Grottoes scenic spot in Datong City. Construction was approved in 2010 by the National Heritage Board and Shanxi Provincial Government. The site within the preservation area is part of the redevelopment plan of the whole Yungang Grottoes scenic spot. The museum sits at the southwest of the scenic spot, with Grottos of the Northern Wei Dynasty (368-534) to its north, and green belts to its east. The museum, with a total floor area of 9,939.46 square metres, mainly consists of an exhibition hall and a multi-purpose amphitheatre which is restored on top of the archaeological ruins. The museum is composed of a series of 4-metre-wide arches spanning 40 metres. The exhibition hall is a single space that sinks 6 metres into ground, with the highest point goes 5.8 metres high above ground. The amphitheatre on the south was re-built on top of the ruins of the ancient city. The height of the basement level is 3.6 metres, and the ground level, 7.0 metres.

building down into ground, as done in other similar projects to passively avoid human interference to the historic sites; instead, they try to make the modern architecture integrate into the surrounding environment. The 50-metre-wide architectural mass, with a base area of 6,000 square metres, was mainly sunk into ground, but the key lies in the 300-metre-long roof, which is rhythmically integrated into the geography of the area and silently pays homage to the 1,500-year history of the Grottoes. Hopefully the museum architecture, as a new landmark, will help rebuild or recall the beauty of the ancient grottoes.

Site Plan 总平面图

Conception Yungang Grottoes are among the most famous ancient Buddhist sculptural sites of China. Mainly there are 45 caverns, 252 grottoes with different scales, and more than 51,000 Buddha statues. They are world renown for magnificence, delicacy, intangibility and vicissitude, representing the masterpiece of Chinese Buddhist cave art in the 5 th and 6 th century. However, during the history of 1,500 years, weathering, water erosion and earthquakes have greatly damaged the grottoes, and the surrounding environment, as the very context in which the grottoes exist, has been deteriorating or even vanished. New architecture must play a positive role in the redevelopment of the scenic spot. Therefore, for the Yungang Grottoes Museum built within the spot, the architects didn’t totally sink the

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2 工程概况 本项目经国家文物局和山西省政府于2010年正式批准建设立项,位于 大同市云冈石窟景区内西侧,风貌保护区范围内,是整个云冈石窟景区改 造的子项之一。建设用地位于景区的西南部,北面为北魏石窟,东侧为绿 化带,南侧总建筑面积9939.46平方米,包含一个陈列馆、一个多功能的演 艺中心(原古城遗址上复原)。 博物馆以宽4米、跨度40米为一个单元的拱形交错排列而成。陈列馆为 单层大跨度空间,地下6米,地面以上最高点标高5.8米。南面演艺中心为 在原古城遗址上复原。地下一层,层高3.6米,地上一层檐口标高7.0米。

1. Night view 2. Distant overview 3. Bird’s-eye view 4. Distant view 1. 夜景图 2. 全景远观 3. 鸟瞰全景 4. 远眺全景

设计理念 云冈石窟是我国最大的石窟之一,现存主要洞窟45个,大小窟龛252 个,造像5万1千余尊,以宏大之美、精致之美、空灵之美、沧桑之美享 誉世界,代表了公元5至6世纪时中国杰出的佛教石窟艺术,是中国佛教艺 术第一个巅峰时期的经典杰作。然而,一千五百年来,云冈石窟由于受到 风化、水蚀和地震的影响,毁损严重,破败残缺,而周围的环境,作为云 冈石窟文化遗产所依附存在的特定生存语境,则已消失且变异了。新的建 筑必须以一种清晰的积极态度参与整个景区的改善。所以,建在风貌保护 区的云冈石窟博物馆,没有采取以往类似项目的处理,将建筑体量沉入地 下,以消极的态度回避现代人对历史遗产所依附环境的改变,而是使这个 现代技术支撑的当代建筑,与整个景区“意与境”融合。 在设计中,不仅仅将面宽50米、占地6000平方米的庞大体量建筑基本 隐藏在地下,而且将绵延300米长的屋面语言强化,以其简朴单一的变化 韵律融入云冈之地文之美,以“空旷”的意境表达对辉煌了一千五百多年 历史的石窟的沉默的虔诚。影中群像动,空里众灵飞。希望这座博物馆以 一个一千五百年后新的建筑景观的清晰存在,重塑或唤回在岁月的摧残之 下,云冈石窟所依存的精致之美、空旷之美、沧桑之美。

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Floor Plan: 1. Substation 2. Exhauster room 3. Air-conditioning 4. Refrigeration room 5. Control room 6. Exhibition hall 7. Heat exchanger room 8. Fan room 9. Storage 10. Fire pool

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BRIDGE CULTURE MUSEUM

Tianjin ZHANG Hua, FAN Li / Sunlay Design 天津桥园桥文化博物馆 天津 三磊设计 Gross Floor Area: 2,220m2 Design/Completion Time: 2007/2008 Architect: ZHANG Hua, FAN Li / Sunlay Design Principal Architect: ZHANG Hua Photographer: Shuhe Studio Client: Tianjin Environment Development Investment Co., Ltd. Main Materials: Colour-painted aluminium façade panels, perforated metal panels, colour glaze glass and insulating glass 建筑面积:2220平方米 设计/建成时间:2007年/2008年 建筑设计:张华,范黎 / 三磊设计 设计总监:张华 摄影师:舒赫工作室 业主:天津市环境建设投资有限公司 主要材料:彩涂铝幕墙板、金属穿孔板、彩釉玻璃、高透低反中空玻璃

The Bridge Culture Museum is located at the centre of the Bridge Park, Tianjin. Because of its special location on the central axis facing to the main entrance, and it is supposed to be the landmark of the Bridge Park, this area is designed as a leisure and exhibition space in order to meet people’s needs of a “pleasurable show space”. When Sunlay Design was approached, the main structure of the building had been completed. What Sunlay had to do was to finish the architecture on the existing basis. They began with the origin of the design concept – an “operable bridge”. Steel bridge, folded surface, variable structural columns, U-shaped enclosed space and extended platform, all of these create a “Building for Strolling”. This building is “accessible and passable”. It brings people exciting and surprised experiences because of the conversion between interior and exterior spaces. The steel bridge between the buildings leads people to the exhibition space, which is all green; the bottom of the building is a multidimensional surface, which is accessible for people to go though; the sixteen structural columns have been treated in different ways to distract people’s sight; the Z-shaped building, U-shaped enclosed space, the coffee break deck and the combination of the interior and exterior spaces, merged the building together with the site.

Natural light penetrating inside from windows on the walls and skylights creates the enchanting effect of light and shadow; through the windows visitors can see the exterior scene. In this way, the architecture goes harmoniously with nature. The walls are subtly designed to have double functions. On the one hand, the expansive glass windows bring the exterior building inside and provide sweeping views. The green landscape outside acts as a montage background, appearing and disappearing randomly as you move in the museum, and making the museum interior become an element of the park landscape. On the other hand, activities inside are visible from the outside, eliminating the boundary between interior and exterior and making the museum an integral part of the Bridge Park.

One can find attraction of a building though their own experience to it. The “accessible and passable” Bridge Culture Museum is interactive for people both interior and exterior. The form of the architecture is closely related to its theme – bridge. Entering the interior, your visiting experience starts in a linear way. With dynamic visiting paths, Z-shaped ramps and steps, the architecture in perfectly integrated with the exhibits on display. Visitors are guided to choose their own visiting paths. There is no conventional boring museum space; the interior is just as interesting as the exterior building.

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2 本案是一座公园之中的博物馆,位于天津桥园公园的中心位置,处于主 入口相对应的中轴线上。桥文化博物馆是桥园公园的“点题”主体建筑和区 域标志。由于所处的特殊场地,设计师将其定义为“休闲型展示空间”,满 足人们“看”的欲望:在“看展示”的同时,也能“看外面风景”。 三磊介入设计时,此项目的主体结构已施工完成。须在原有的结构基础 上进行设计调整,重构建筑轮廓,使人们无论近观远眺,均能感受到建筑本 体构思的起源——开启桥。三磊将其设计为一个“散步建筑”,随人们行走 的路线,外部与内部空间的转换,建筑与所处场地的空间关系随即在眼前展 开,充满了丰富的变化,在空间内的运动使我们的视觉系统不断感觉期待与

惊奇。插入建筑间的钢桥引导人们走近展馆,眼前展现的仍是满眼绿色;建 筑底部设计为多变的折面,形成被穿越的宜人灰空间;原有繁多的16根结构 柱采用多种手法处理,以达到减量与弱化的目的;呈折线而起的建筑体、U 形围合空间、自内向外延伸的咖啡平台、室内外空间的框取渗透等,使建筑 得以有机地契入场地。 对建筑的欣赏源于对它的体验。桥文化博物馆是可以被“通过”和“穿 越”的,无论在内部或在外部,是与人们形成互动关系的建筑。建筑主体和 陈列主题相辅相成,如同一个不可分割的整体。进入建筑内部,展览的交通 以线性展开。通过动态的流线,折线坡道和台阶有机结合设计,以建筑自身

Elevation 立面图

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3 作为展览结构承载,引导着空间元素与展示的交织,参观者可选择自己的观 展路线,避免了传统空间的单调死板,同时也与建筑外部空间形态相一致。

1. Main entrance 2,3. Architecture and waterscape 1. 主入口

从墙体的开窗以及天窗注入室内的阳光形成黑白分明的影,窗洞透视出 室外的景色,建筑与自然相互协调,浑然一体;墙体在这里被虚化,一方 面,利用墙体片段式的大玻璃窗将建筑外部形体引入内部,并提供开敞的视 野,使外部绿色景观如同经过剪辑的布景,穿插于内部空间之中,建筑内部 空间成为公园景观空间体验的构成元素; 另一方面,建筑的通透性使人们从 外部也能感受室内空间,从而达到建筑内外空间与景观品质、尺度以及使用 方式上的协调,与公园一起组成一个有机体。

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5. Multi-faceted surfaces at the bottom 5. 建筑底部的多变折面

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Site Plan: 1. Lobby 2. Special exhibition hall 3. Souvenir shop 4. Lounge/waiting area 5. Multimedia room 6. Café 7. Open-air café 8. Platform above water 9. Bridge

总平面图: 1. 门厅 2. 专题馆区 3. 纪念品店 4. 休息等候区 5. 多媒体放映厅 6. 文化咖啡厅 7. 露天咖啡座 8. 水台 9. 桥道

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TAIYUAN MUSEUM OF ART

Taiyuan, Shanxi Province Preston Scott Cohen, Inc., Cambridge, MA 太原艺术博物馆 山西省 太原市 美国剑桥普雷斯顿·斯科特·科恩设计公司 Total Area: 32,500m2 Design/Completion Time: 2007-2010/2011 Architect: Preston Scott Cohen, Inc., Cambridge, MA Design Team: Preston Scott Cohen (architectural design), Amit Nemlich (project architect), Collin Gardner, HAO Luan, Joshua Dannenberg (project assistants), Yair Keshet (model), Architecture Design and Research Institute of South East University, Taiyuan (architect of record) Photographer: Preston Scott Cohen, Inc. Client: Taiyuan City Government 建筑面积:32500平方米 设计/建成时间:2007年-2010年/2011年 建筑设计:美国剑桥普雷斯顿·斯科特·科恩设计公司 设计团队:普雷斯顿·斯科特·科恩(建筑设计); 阿密特·纳姆里奇(项目建筑师); 科林·加德纳,郝栾,乔舒亚·丹嫩伯格(项目助理); 亚尔·卡萨特(模型); 东南大学建筑设计研究院(纪录建筑师) 摄影师:普雷斯顿·斯科特·科恩设计公司 建设单位:太原市政府

The Taiyuan Museum of Art works as a cluster of buildings unified by continuous and discontinuous promenades both inside and outside. The building responds to the urban parkscape in which it is set; visitors are encouraged to pass through the building while not entering into the museum itself. An exterior ramp threading through the building connects the heterogeneous hardscapes, lawns and sculpture gardens. The integration of building and landscape registers multiple scales of territory ranging from the enormity of the adjacent Fen River to the intimacy of the museum’s own particular spatial episodes.

Inside, the security of museum space is maintained by a highly controlled inter face between galler y and non- galler y programmes including an auditorium, bookshop, restaurant, librar y, education centre, and administrative wing. The individual sets of lifts and cores are distributed to guarantee easy access and easy divisibility between zones regulated by different schedules and rules of access. At the garage level, the services are intricately planned in order not to interfere with parking lots for staff and public. The museum galleries are organized to ensure maximum curatorial flexibility. The galleries can be organized into a single, spiraling sequence for large chronological exhibitions or into autonomous clusters operating independently. For visitors architectural cues offer – the placement of ramps and portals, the expansion and contraction of space – provide a means of wayfinding. The building gives visitors the freedom either to follow a predetermined chronological sequence or to skip from one set of galleries to another, in a nonlinear fashion. Exterior lightweight honeycomb panels with stone veneer produce an evocative and elusive material effect and the perception of an exceptional scale. The panels are reflective as if metallic, seemingly too large to be stone panels, but clearly possessing the properties of both materials. Advanced parametric software allowed panels to conform to standard widths, reducing material waste.

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3 1. Museum façade 2. Surrounding context 3. Museum exterior 4. Entrance 5. Side view 1. 博物馆外立面 2. 博物馆与周围景观 3. 博物馆外观 4. 入口 5. 侧面

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太原艺术博物馆是一个建筑群落,由分布于博物馆内外的一系列连续 和不连续的人行道连接起来,周围风景秀美。行人即使不进入博物馆,也 能从各个大楼之间穿过。从建筑中穿过的室外坡道将楼体、草坪、雕塑花 园连接起来。建筑与景观巧妙融合,赋予了博物馆丰富的层次感,既突出 了古老汾河的大气磅礴,又展现了博物馆空间的精致私密。

6. Outside ramp 7. Outside promenade 6. 室外坡道 7. 室外人行道

博物馆内部,艺术品展区与非展区(包括礼堂、书店、餐厅、图书 室、教育中心以及行政办公区)之间通过严格控制的界面分隔开来,确保 了博物馆空间的安全。电梯和楼梯井的分布确保同行畅通,同时也保证了 各个功能区间有不同的准入标准。车库一层,服务区的布局非常合理,确 保工作人员与公众在停车场不会发生相互干扰。 博物馆展区的布局确保了展览的灵活性。展区可以呈现单一方向的螺 旋状布局,满足大型展览的需求;也可以呈现自由的分组式布局,每个 小组独立运作。对于博物馆访客来说,众多建筑元素— 坡道与入口的布 局、空间的扩展和收缩— 都起到导视的作用。你既可以按照博物馆设置 好的既定路线来参观,也可以跳出既定路线,从一个展区跳到另一个展 区,进行非线性的参观。 建筑外墙采用轻型蜂巢板材和石材饰面板,打造了别具韵味的材料质 感和独特的体量感。外立面板材具有金属质感,能折射光线;体量巨大, 以至于看起来不像是石材,兼具石材与金属的双重属性。设计师采用先进 的参数软件,使板材都符合标准宽度,减少了材料的浪费。

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CULTURE MUSEUM OF ZHENGZHOU Zhengzhou, Henan Province WSP Architects 郑州中原文化博物馆 河南省 郑州市 维思平建筑设计事务所 Gross Floor Area: 3,445m2 Design/Completion Time: 2008/2010 Architect: WSP Architects Principal: WU Gang Design Team: CHEN Jiang, SHI Jing Interior Design: BAI Yunxiang Photographer: SHU He 建筑面积:3445平方米 设计/建成时间:2008年/2010年 建筑设计:维思平建筑设计事务所 主设计师:吴钢 设计团队:陈江,石晶 室内设计:白云祥 摄影师:舒赫

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In this project, the architects paid attention to the relationship among architecture, the city and the site, as they believed that the characteristics of architecture come from the land from which it is rooted, or from the city it belongs to and its ultimate users. This is a public site in an urban area. The client didn’t make much requirement; what they wanted is just to relate the Museum to the culture of Central Plains and the city context. The Central Plains region in ancient China always had symmetrical master plans, no matter in urban or rural areas. The Culture Museum of the Central Plains is located along the Tengfei Road axis in Zhengzhou. It links the north and south plot in the master plan, and becomes the focus point of this area, just like a white shining jade embedded on an urban green expanse between the north and south plot. The Museum echoes the landmark building named “Gate to Zhengzhou” at a distance and emphasises the sequence of the axes. The aim of the architects is to take advantage of the vast greenery and create a Neo-Central-Plains culture. The architecture is intended to be consistent with the urban master plan, highlighting lightness, traditional construction skills and a pleasant environment.

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Surrounded by a large area of urban green space, the site neighbours the Qili River and is particularly rich in landscape resources. The impact to nature is minimised by lifting the building above the landscape. In this way, scenic landscape views are available through the “floating museum”. Entering the museum spaces, you would feel that the architecture is well integrated with the surrounding landscape. In addition, existing plants are protected as much as possible, maintaining the integrity of the natural landscape. The architecture occupies the plot while smartly returning the latter to the whole environment. The majestic shape of the building – a rising circle – got the symbolic meanings of gathering and hope.

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The culture of the Central Plains has gone through a long history. This is par ticularly obvious when visiting museums in Henan Province. The architects believe that the exhibits on display should be the most important for a museum, not the architecture. Therefore, the architecture should be “see-through”, making sure that the exhibits could be seen as much as possible. Hence the façades of the museum are made of glass, engraved with words from Book of Odes and Hymns , an ancient Chinese poetry collection. These glass façades act as window shutters, making the whole building look like a shining floating jade. Exhibition spaces in the museum are arranged at the perimeter, forming four open courtyards with different scales in the middle, allowing the interior to be softly lit and the views outward to be clearly enjoyed. Among the four inner courtyards, some are on the ground floor as the circulation core and day-lighting courtyards; some are on the first floor as landscape courtyards. Thanks to this arrangement, a natural air is brought into the interior and the indoor ventilation and lighting condition are also optimised. Double-skin façade guarantees a good insulation effect of the building while the space (2.1metres in width) between the two layers serves as the closed-corridor exhibition area. Sentences selected from Book of Odes and Hymns are carved on the glass façades with different density according to functional requirements: concentrated in structural parts and scattered in areas where visitors want to see through. An interesting interplay of light and shadow is produced by the dramatic shape of the daylight opening on the roof. The main showroom and offices are arranged on the first floor, where there are beautiful sweeping views of the landscape. Beside the supporting steel columns, only the reception and the necessary circulation core are on the ground floor, with separated entrances for staff and visitors.

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6 作为建筑师更关注建筑与城市和这片基地的关系。建筑的个性来源于 这片地,或者说来源于这个城市以及最后的使用者。这是一片城市中的公 共用地。项目委托方没有什么太多的要求,只是希望它可以和中原的文化 以及这个城市的环境有所关系。 中原古代都城的建造秉承“惟王建国,辨方为正,以为民极”的思 想,城乡规划上都采用中轴对称的平面布局。中原文化博物馆位于郑州市 腾飞路中轴线的延长线上,在布局上正好使南北地块发生联系,犹如一枚 晶莹剔透的白玉,镶嵌在南北地块之间大片的城市绿坡上,是处于连接与 过渡的关键视觉高潮,与整个地块的标志性建筑“郑州之门”遥相呼应, 强调了轴线上的序列感。设计师的目标旨在充分利用周边大块的城市绿 地,充分营造新中原文化氛围,使之与总体规划相协调,整个设计旨在体 现轻盈的体形、传统的建造、怡人的环境。 项目周边为大片的城市绿地,临近七里河,拥有良好的景观资源。设 计师的想法是希望尊重这片地,不想让这座建筑阻挡后面大片的景观。所 以想到要把建筑举起来,让其成为一个“飘浮的博物馆”。把地抬高,把 建筑托举,这样当人们走在这个空间之中,会体会到建筑是与周围风景融 合的。通过把地面抬高,把建筑升起,底部架空,降低了对基地植物的破 坏,保持了景观的完整性,建筑在占据了这片地的同时又把这片土地还给 了整个空间,这是一个很优雅的态度。升起的圆代表了聚会、宏观、希望 和圆满。 中原文化非常厚重,观看河南各个博物馆给人的印象也大都如此。设 计师认为博物馆里展品才是最重要的,而不是这个建筑。因此这个建筑 要“透”,让里面的东西“透”出来。所以设计师把建筑的外围做成了玻 璃,玻璃上篆刻《诗经》,具有百叶窗的效果,整体形态犹如一枚晶莹剔 透的“悬玉”。

7 博物馆的展览空间沿周边布置并环绕形成四个不同尺度的开敞式空中 庭院。所有的展览空间在不同的方向均可获得开阔的视野及良好的光线, 并提供给参观者巨大的视觉享受。四个内庭院有的位于一层作为交通核和 采光庭,有的位于二层作为景观庭,这种立体式庭院将自然气息引入建筑 内部,同时也优化了室内通风和采光条件。建筑采用双层立面的方式达到 良好的保温效果,双层立面之间2.1米的间距利用为环廊式展区。外立面玻 璃上的篆刻《诗经》随着功能要求进行疏密变化:在上下建筑结构的部分 密集,在中间尤其是人视区域则稀疏。屋顶设计了放射状的采光口,产生 丰富的光影效果。 主要展示区以及办公室置于二层,360度都能观赏到外部优美的风景; 一层除支撑钢柱外,仅设置了接待区和必要的交通核,并为参观与办公人 员分别设置了出入口。

1. Entrance view 2. Stilted space 3. Overview 4. Inner courtyard 5. Tea room with sweeping views 6. Spiral staircase 7. Corridor 1. 博物馆入口外观 2. 底部架空 3. 远观整体建筑 4. 内庭局部 5. 观景茶座 6. 旋转楼梯 7. 廊道内部

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CHONGQING SCIENCE AND TECHNOLOGY MUSEUM Chongqing, Sichuan Province Architecture-Studio 重庆科技馆 四川省 重庆市 法国AS建筑工作室 Gross floor area: 40,000m2 Completion Time: 2009 Architect: Architecture-Studio Collaborator: Chongqing Architectural Design Institute Photographer: Courtesy of the architect Client: Chongqing Property Development Group Cost: 34,000,000 € 建筑面积:40000平方米 建成时间:2009年 建筑设计:法国AS建筑工作室 合作设计:中国重庆市设计院 摄影师:图片由建筑师提供 建设单位:重庆地产集团 造价:3400万欧元

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Located at the northwest of Yuzhong Peninsula, Chongqing Science and Technology Museum will become one of the ten main public facilities in Chongqing in the near future as well as a place open to the world for knowledge training, academic research and technological exchange. The architectural shape of the building follows the geometric curve of the typology and is highlighted by the exterior walls made of stone and glass in order to compliment with the natural landscape of mountain and river. The dome cinema is located at the highest part of the site and has become a symbolic landmark of the museum. The building reflects intimate relationship with the surrounding natural scenes by the use of effective architectural language. It merges into the surroundings with a modern air to show the development of science and technology in Chongqing. Moreover, the design takes sustainability as one of the main concepts.

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2 重庆科技馆位于长江口岸渝中半岛的西北,将成为重庆未来的十大主 要公共设施之一,面向世界成为知识培训、学术研究和技术交流的互动 地。其之所以成为城市不可缺少的一部分,是因为它作为整个地区其中一 个重要的有机体,外形的设计结合地形的几何曲线,配合建筑外墙的石材 与玻璃的相互渗透,与周围的山水自然景观相得益彰和谐统一。建筑格调 融入了科技创新的现代设计理念并考虑到现代的技术更新。建筑构思通过 运用各种建筑手法力图使重庆科技馆成为重庆市的象征。

球幕影院位于地块最高的位置,在中国自由纪念馆的纵向延伸线上, 它成为了科技馆一个象征性的标志。科技馆通过有力的建筑语言表达了 与周围自然景物的关系,它与环境相结合然而又充满现代感,代表了现代 重庆科技发展的新气息。为了满足可持续发展的要求,达到节约能源的目 的,重庆科技馆的设计和建造也考虑到城市环保的特点。

1. Exterior view 2. Bird’s-eye view 3. Distant overview 4. Exterior view 1. 建筑外观 2. 全景俯瞰 3. 远观全景 4. 建筑局部

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7 5. Front plaza 6. Façade detail 7. Entrance 8. Interior

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LIANGZHU MUSEUM

Hangzhou, Zhejiang Province David Chipperfield Architects 良渚文化博物馆 浙江省 杭州市 大卫·奇普菲尔德建筑事务所 Gross floor areaa: 9,500m2 Design/Completion Time: 2003/2007 Architect: David Chipperfield Architects Collaborator: Architectural Design & Research Institute of Zhejiang Sci-tech University Photographer: Christian Richters 建筑面积:9500平方米 设计/建成时间:2003年/2007年 建筑设计:大卫·奇普菲尔德建筑事务所 联合设计:浙江理工大学建筑设计研究院 摄影师:克里斯琴·里希特

The museum houses a collection of archaeological findings from the Liangzhu culture, also known as the Jade culture (3000 BC). It forms the northern point of the Liangzhu Cultural Village, a newly created park town near Hangzhou. The building is set on a lake and connected via bridges to the park. The sculptural quality of the building ensemble reveals itself gradually as the visitor approaches the museum through the park landscape. The museum is composed of four bar-formed volumes made of Iranian travertine stone, equal in 18 metres width but differing in height. Each volume contains an interior courtyard. These landscaped spaces serve as a link between the exhibition halls and invite the visitor to linger and relax. Despite the linearity of the exhibition halls, they enable a variety of individual tour routes through the museum. To the south of the museum is an island with an exhibition area, linked to the main museum building via a bridge. The edge areas of the surrounding landscape, planted with dense woods, allow only a few directed views into the park. The entrance hall can be reached via a courtyard, the centrepiece of which is a reception desk of Ipe wood, lit from above. The material concept consists of solid materials that age well, Ipe wood and travertine stone, and extends to all public areas of the museum.

Site Plan 总平面图

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2 博物馆是杭州附近的良渚文化村的一部分,用来展览良渚文化的考古 学发现,这个时期也被称为“玉文化”时期(公元前3000年)。 博物馆位于湖上,以桥和公园连接,游客在公园中会逐步感受到建筑 雕塑般的体量。博物馆由4个平行的体量构成,建筑表皮是灰黄色石灰石, 每一个体量内都设有一个内院。内院作为展厅之间的连接,更起到供游人

休息的作用。每个馆之间是连通的,不过,游客可以有不同的参观流线。 博物馆的南面有一个岛,通过桥与主馆连接。建筑周围植物繁茂,景观优 美,遮挡了视线。 通过一个院子到达入口大厅,中心是接待桌,天井采光。建筑的所有 公共区域采用坚实和古老概念的材料—木和石灰石—打造而成。

Front Elevation 正立面图

Side Elevation 侧立面图

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3 1. Atrium waterscape 2. Exterior overview 3. Exterior view 1. 中庭景观池 2. 外观全景 3. 外观局部

Elevations 立面图

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4 4. Exterior view 5. Façade detail 4. 墙面局部 5. 入口

Detail Drawings 节点图

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7 6. Atrium view from interior 7. Parlour 6. 从内部看中庭 7. 会客区

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Floor Plan: 1. Entrance courtyard 2. Courtyard 1 3. Courtyard 2 4. Courtyard 3 5. Courtyard 4

楼层平面图: 1. 入口庭院 2. 庭院1 3. 庭院2 4. 庭院3 5. 庭院4

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FUPING MUSEUM OF CERAMIC ART

Fuping, Shaanxi Province LIU Kecheng Studio in the Architectural Design and Research Institute of Xi'an University of Architecture and Technology 富平陶艺博物馆 陕西省 富平 西安建筑科技大学建筑设计研究院刘克成工作室 Gross Floor Area: 2,400 m2 Design/Completion Time: 2008/2010 Architect: LIU Kecheng Studio in the Architectural Design and Research Institute of Xi'an University of Architecture and Technology Photographer: LIU Kecheng 建筑面积:2400 平方米 设计/建成时间:2008年/2010年 建筑设计:西安建筑科技大学建筑设计研究院刘克成工作室 摄影师:刘克成

What’s interesting is the construction process, in which mistakes happened frequently due to the constructors’ inadequacy of experience. Sometimes the baselines were set inaccurately, or the brickwork was not trimmed well. Fortunately, the project didn’t require much accuracy. The varied diameters of the long dome produce a dynamic rhythm, which happened to offset the disadvantages of the raw material, the rough brickwork and the mistakes in construction. The rhythm endows the building with a strong artistic sense. In the architects’ initial proposal, the roof of the main building is covered with bricks as the final finishes. However, the International Ceramic Art Magazine Conference was approaching, and after completing the cement mortar waterproof layer, the architecture was soon put into use. After that, some friends of the architects suggested that it would be better to leave it uncovered because it seemed full of power and energy. Moreover, the architects were hesitating about their initial proposal; they had not decided the final solution.

Architectural design of the Fuping Museum of Ceramic Art is based on two points: 1. The architecture must be integrated into the site. 2. The architecture itself should be a piece of contemporary ceramic art.

The project is outstanding in energy-saving. Fuping County has hot summers and cold winters. Therefore, the architects designed a building resembling the structure of brickkiln and acting as an air channel. The doors and windows can help adjust the ventilation. With thick cob walls, the building is proved to have a good thermal performance and energy efficiency.

Brick dome structure is adopted for the main building, accidentally yet predestined. Brick comes naturally as the main material because ceramic factories produce bricks and they are really cheap. The brick domes are constructed with 49-thick bricks, with a span ranging from 10 metres to 3.6 metres. Finally we see the two 72 metre-long giant domes.

The building made some exploration in material aesthetics. Knowing that the main building was liable to constructive errors, the architects tried to take advantage from the brickwork aesthetics. As for the French Pavilion, the façade was clad in reversed recycled tiles, creating random patterns, crude yet delicate, just like contemporary ceramic art.

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陶艺博物馆设计之初有两点基本设定: 1. 建筑必须属于这片土地。 2. 建筑本身就应当是一个现代陶艺作品。

按照最初的设计,陶艺博物馆主馆的屋面还要走一层砖。但由于当时 国际陶艺杂志主编会议迫在眉睫,在完成水泥砂浆防水层以后,就开始使 用了。在此之后,有一部分朋友说:不要再动了,就这样有力量。同时, 设计师对原来设计的方案也有一些犹豫,思路尚未肯定。

主馆采用砖拱既出自偶然,也有必然。用砖是一件最自然的选择,陶 艺厂自己生产砖,砖也最便宜。砖拱厚49厘米,每49厘米一道,一端对 齐,另一端沿长轴变径。砖拱的最大跨度10米,最小3.6米。这样两条长72 米的变形“长虫”就出现了。 有趣的是施工过程,工人们由于施工经验不足,经常出错,或放线不 准,或砌筑有出入,但这个方案均予以包容。变径砖拱所形成的强烈的韵 律,使材料的粗糙、工艺的简陋、施工的错误得以合法化,并丰富了建筑 的整体艺术感染力。

建筑在节能方面也作了很多考虑。富平地区夏季闷热,冬季寒冷,建 筑的整个建筑形体设计的像窑炉一样,成为一个良好的风道,门窗风量可 以调节,建筑墙体采用半掩土厚墙。从实际使用情况检测,热工性能良 好,节能效果显著。 建筑在材料美学方面也做了一些试验。主馆将建筑在施工方面可能出 现的错误,有意识地纳入建筑的美学表现;法国馆外墙选取窑变面砖废 品,正砖反贴,不同组合,形成一种粗旷而又细腻的趣味,与现代陶艺的 美学追求同出一辙。

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1. Skylight brings out light and shadow 2. Distant overview 1. 天窗投射的光影 2. 博物馆远观全景

South Elevation 南立面图

West Elevation 西立面图

North Elevation 北立面图

Sections (Below) 剖面图(下方图)

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Sketches 草图

3. Exterior view of the main building 4. Exhibition hall 5-7. Interior of the main building 3. 主馆外景 4. 展区空间 5-7. 主馆内景

Models 模型图

In construction 建造过程

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EMPEROR OF MING DYNASTY CULTURAL MUSEUM Zhongxiang City, Hubei Province SHAN Jun, LU Xiangdong, TIE Lei, WANG Xin, SUN Xian, LUO Jing, LIU Si 明代帝王文化博物馆 湖北省 钟祥市 单军,卢向东,铁雷,王鑫,孙显,罗晶,刘思 Gross Floor Area: 6,200m2 Design/Completion Time: 2007/2010 Architect: SHAN Jun, LU Xiangdong, TIE Lei, WANG Xin, SUN Xian, LUO Jing, LIU Si Landscape Design: ZHU Yufan, LIU Jing Collaborator: Architectual Design and Research Institute of Tsinghua University Photographer: Courtesy of the architect Structure: Reinforced Concrete Frame Main Materials: Paint, copper, fibre-concrete slabs, bluestone 建筑面积:6200平方米 设计/建成时间:2007年/2010年 建筑设计:单军,卢向东,铁雷,王鑫,孙显,罗晶,刘思 景观设计:朱育帆,刘静 施工图设计:清华大学建筑设计研究院 摄影师:图片由建筑师提供 建筑结构:钢筋混凝土框架 主要材料:涂料、铜、纤维水泥板、青石

A Garden or A Yard, Embedded In Landscape Located in Zhongxiang, Hubei Province, Emperor of Ming Dynasty Cultural Museum stands north to the Xian Mausoleum of Ming Dynasty, which is listed as the World Cultural Heritage, and west to the Mochou Lake. The whole museum is situated within a fantastic environment, surrounded by splendid mountains and shadowed by a lush forest.

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In order to highlight the theme – Jiajing emperor and Ming Dynasty, the architects proposed a general layout simulating the Chinese character “Ming”, which is composed of two characters meaning “sun” and “moon” respectively. The site plan takes the geometry of the Chinese character of “sun” as the main exhibition hall while “moon” is secondary to it, and the space between the two halls together with the loggia provides public and outdoor exhibition spaces that people can freely walk through, making a perfect combination between the character’s structure and the museum programmes. The building complex, with a base area of 6,400 square metres, is located in a square pool of 14,400 square metres. By melting into the surroundings, the architecture revealed the poetic conception of “garden as well as yard” resembling traditional Chinese gardens and courtyards. Chinese character is also used in the three stones that symbolize the word “mountain” in front of the museum, and the skylight symbolising the word “dragon” in the exhibition hall. The former one is the finishing touch of the landscape theme, while the latter creates an abstract image of caisson, which used to be widely used in traditional Chinese architecture.

Site Plan 总平面图

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Elevations Diagram 立面展开示意图

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With an attempt to mix Chinese traditional garden into contemporary regional architecture, the architects hope to reinterpret the vocabularies such as loggia, window, pavilion and yard in a modern context, reaching a state of “designing with nature” as suggested in the book named “The Art of Garden”, which has been taken as a classic treatise on Chinese garden design. A magnificent white wall acts as an icon of the museum, with square openings creating ever-changing shadows in the interiors. A giant copper gate is placed at the main entrance, bringing out both the feeling of the imperial palace and an artistic air.

1. Corridor 2. Exterior overview 1. 廊道 2. 外观全景

Due to the limited budget, most areas of the museum’s façade are painted white. Indeed, the method of blank-leaving, together with the hues of black, white and grey, reproduces the image of Chinese landscape painting.

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3. Exterior view 4. Detail of the wall 5. View of the “dragon” skylight 3. 外观局部 4. 墙面局部 5. 从内部看顶端龙字天窗

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4 山水之印,院园之间 明代帝王文化博物馆位于湖北省钟祥市,北邻世界文化遗产— 明显 陵,西临莫愁湖,周围有起伏的山丘,绿树成荫,自然景观优美。该博物 馆既是钟祥市博物馆,又是以明代嘉靖皇帝及相关展陈为主体的主题馆。 为凸显出生于钟祥的嘉靖皇帝的帝王主题和“明代”的历史主题,设 计采用汉字“明”的总体布局,“日”“月”分别对应主馆和次馆,两 馆之间以及围绕主馆的敞廊是可供游人穿越漫步的公共开放和室外展陈空 间,整体汉字结构的疏密错落与博物馆的功能流线相契合。建筑以方形的 园墙围合展馆,80米见方的建筑群体置于120米的方形水池中,与周围景 观融为一体,宛如自然山水画中的印鉴,形成介乎中国传统院落空间和园 林意象之间的、“亦院亦园”的诗情画意。 汉字的运用还体现在建筑正立面三个景石形成的“山”字组合,以及 主序厅12米见方的“龙”字天窗等设计中。前者是对山水主题的点睛之 笔,后者则旨在抽象地塑造一种中国传统建筑的藻井空间意象。三块姿态

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各异的叠石作为白墙的前景,通过墙上的光影和池中的倒影在极简中产 生变化;叠石取意“癸山敦(殷)”的山字刻文,与水景共同寓意山水意 象。“钟聚祥瑞”为嘉靖皇帝所赐,嘉靖十年承天府因之得名“钟祥”。 博物馆主次连廊分别设计有“锺聚”和“祥瑞”两组刻字变形的景窗,通 过远近组合形成“钟聚祥瑞”的题名。 设计者试图探讨一种将中国传统园林意境融于当代地域建筑中的设计 理念,希冀通过对廊、窗、榭、院等传统园林语汇的现代诠释,达到明代 计成所著的中国造园经典《园冶》中所谓“窗牖无拘,随宜合用;栏杆信 画,因境而成。……纳千顷之汪洋,收四时之浪漫”的境界。建筑外部白 墙随景窗而透出内部墙体的阴影变化,在主要出入口处点缀巨大铜门,在 园林气氛中体现帝王气象和亦庄亦谐的艺术效果。 由于低造价的制约,建筑的外立面选择了大面积的白色涂料,而大面 积的留白,以及黑白灰的色调则是对中国传统山水画意境的整体再现。

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Ground Floor Plan: 1. Pre-function room 2. “Dragon” copper gate 3. “Mountain” scenic stone

一层平面图: 1. 序厅 2. “龙”字铜门 3. “山”字景石

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CHINA XUXIAKE TOURISM MUSEUM Jiangyin, Jiangsu Province W&R Group 中国徐霞客旅游博物馆 江苏省 江阴市 水石国际 Gross Floor Area: 6,000m2 (Museum) + 1,700m2 (Tea Rooms) Landscape Area: 70,000m2 Design/Completion Time: 2008/2010 Architect: W&R Group Landscape Design: W&R Group Photographer: LUO Pengfei Client: Jiangyin City Government Awards: The First “Yushan Cup” Top 10 Landmark Architecture in Jiangyin, 2011 建筑面积:6000平方米(博物馆)+1700平方米(茶室) 景观规模:70000平方米 设计/建成时间:2008年/2010年 建筑设计:水石国际 景观设计:水石国际 摄影师:罗鹏飞 建设单位:江阴市政府 奖项:“敔山杯”江阴市首届十佳标志性建筑称号

This project located in Jiangyin City, Jiangsu Province is themed on Xu Xiake, a famous geographer, traveller, and explorer in Ming Dynasty. The landmark complex is organised with “Beilin” and “tourism” as two keys. China Xu Xiake Tourism Museum and the Tea Rooms are important components of the complex.

Master Plan 总效果图

Beilin Park The Stone Tablets Exhibition Park is organised by the journey of Xu Xiake, completing a perfect combination of nature and artificiality, tradition and modernity. As you move forward, the scene changes constantly – a traditional design approach for Chinese gardens. With plenty of vertical design, the architects incorporated the art of stone tablet into the park, which is thus endowed with its unique characteristics. The park is an ideal place for culture diffusion, visiting and leisure. Museum The main building of the museum is planned in an “L” shape, with its façades resembling the natural ridge. The architecture is closely connected to the surrounding environment by turfed slops, landscape courtyards and waterscape galleries. For the museum, the architects adopted a new style that is derived from traditional architectural style in the regions south of the Yangtze River, and combined it with contemporary and simplistic approaches. The result is a complex in which architecture and landscape correspond with each other in a harmonious way. Tea Rooms The new style is also applied to the Tea Rooms. With modern approaches and contemporary materials, the spatial characteristics of Chinese garden is reinterpreted. Different programmes are “scattered” along the visiting line, resembling the visiting experience in Chinese gardens, including pavilions, terraces, verandas, sheds, and galleries. The water courtyard, stone courtyard and bamboo courtyard are positioned at corners to barrier the see-through view, and they also help integrate the architecture into the context.

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2 该项目坐落于江苏省江阴市,以“徐霞客”为主题,以“碑林”以及 “旅游”为线索,塑造了一个地标性的文化项目形象。其中,中国徐霞客 博物馆、茶室等点睛建筑作品成为传递徐霞客名人文化的重要环节。

筑中对景与借景的设计手法,使之在象征园林形态中“路径”廊上有机而 又自然和谐地排布。展现园林“亭”、“台”、“轩”、“榭”、“廊” 的空间性格。转角的水院、石院、竹园分隔了视线带来景观的共享,也把 建筑融入了环境之中。

碑林公园 碑刻博览园以徐霞客游历的地理区域为线索进行了总体园林布局,将 自然与人工相结合、传统与现代相融合,将中国古典造园的小中见大、步 移景异等手法运用其间,通过丰富的竖向设计,将书法碑刻艺术予以了多 样化体现,形成了非常个性化的环境品质,进而成为文化传播、休闲游憩 等功能于一体的综合性文化生态旅游园区。 博物馆 博物馆主体建筑呈L形布置,自西南角向东北端盘旋而起,形成自然的 山脊造型。建筑通过景观草坡、景观庭院、水景走廊,与环境完美融合。 设计手法采用新江南风格,塑造出将自然与人工相结合、景观与建筑相呼 应、传统与现代相融合的博物馆建筑。 茶室 通过提炼江南传统园林建筑的精髓,并运用现代简约的表现手法,体 现了新江南风格的建筑特色。以现代手法和新材料展现中国江南园林的空 间特色,重新诠释传统文化的内涵。各个主要功能空间布置采用了园林建

1. East façade 2. Museum overview 3. Front façade at dusk 1. 博物馆东立面 2. 博物馆全景 3. 博物馆正立面

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5 4. Teahouse 5. Inner courtyard of the teahouse 6. Pavement and planting 7. Beilin Plaza 8. Waterscape Plaza 9. Thatched pavilion 10. Sculptural installation

4. 休闲茶室 5. 休闲茶室内庭 6. 曲水流觞景观 7. 碑林广场 8. 临水广场 9. 景观小品 10. 室外家具

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Ground Floor Plan (Above): 1. Circular screen 2. Permanent exhibition hall 3. Office 4. Viewing platform 5. Outdoor lecture hall 6. Greenery 7. Lecture hall 8. Teahouse 9. Office entrance 10. Main entrance/exit 11. Waterscape

一层平面图(上图): 1. 环幕 2. 常展厅 3. 办公区 4. 观景平台 5. 露天讲座 6. 绿化 7. 报告厅 8. 茶室 9. 办公入门 10. 主出入口 11. 水景

First Floor Plan(Above): 1. Multi-function hall 2. Multi-function hall 3. Void of lecture hall

二层平面图(上图): 1. 多功能厅 2. 多功能厅 3. 报告厅上空

11. Sunken plaza 12,13. Ramp 14. Museum interior 15. Museum atrium 11. 下沉广场 12,13. 博物馆室外坡道 14. 博物馆室内

Top Floor Plan

15. 博物馆内庭

顶层平面图

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THE INSTITUTE OF ZOOLOGY IN CHINESE ACADEMY OF SCIENCES & THE NATIONAL ZOOLOGICAL MUSEUM Beijing Institute of Architecture Design and Research, Chinese Academy of Sciences 中国科学院动物所及国家动物博物馆 北京 中科院建筑设计研究院 Gross Floor Area: 42,900m2 Completion Time: 2004 Architect: Institute of Architecture Design and Research, Chinese Academy of Sciences Photographer: Courtesy of the architect 建筑面积:42900平方米 设计/建成时间:2004年 建筑设计:中科院建筑设计研究院 摄影师:图片由建筑师提供

The Institute of Zoology is a systematic structure of space integrated by nine units, which follow the growth of organisms and the source of logic. In this dynamic and balanced park, the main axis demands the need to form a space developed in depth. The main axis originates from the square in front of the museum at the southern side, developing through the open square in the three-section compound of the Institute, extending to the corridor courtyard garden in the north via the main courtyard, and ends in the inner courtyard of the Reproduction Building. In the south, the transition between the internal and external squares embodies the connection between the social square formed by the Zoological Museum and the Geological Museum and the southern main square of the Institute’s park, thus forming a square compound. At the second level, the corridor courtyard garden passes through the south compound square which links with the garden of the large park, forming a continuous green field view; and at the third level, the courtyard of the Reproduction Building in the north is embedded in the large garden.

Aerial View 地块航拍图

The astronomy, geography and life park of the Chinese Academy of Sciences, sited west of the Olympic Park and south of the Olympic Village, is a national-level scientific experiment park. As the largest park in the scientific community, the Institute of Zoology draws several attributes from the surrounding environment to transform it into a scientific research complex with unique scientific intentions.

Skeleton: Architectural form is the reflection of inherent structure and functions. Like the skeleton, the structure is the supporting system which pays more attention to transition and connection between the units in the architectural construction, functioning as “joints”. Joints: As the connection points, the joints integrate each unit into a complete skeletal system, and indicate the possibility of growth. Meanwhile, its particular functions are reflected in the delicate transition between two different units.

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Epidermis: The interface of buildings is like epidermis providing the true embodiment of skeletal system and functional logic and presenting the same skin and different skin textures in different units.

1. View from plaza 2. Entrance of the complex 1. 广场景观 2. 园区入口

Module: The epidermis unit for standard scientific research forms a multilevel module relationship in terms of changes in the mean value, so that the classification of a stone unit can meet the coordination and uniform requirement for window opening and the completion of lighting, ventilation, and shading systems. DNA: The National Zoological Museum is harmonious but different in form, as it is a true restoration of the large-space museum building. Because of its study of life sciences, the Museum applies a bent structure to construct a grand space in a gradual, regulated transformation.

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Diagram 1: 1. Science and Research Building 2. Specimen Building 3. Museum 4. Science and Research Units 5. Supporting facilities for science and research 6. Science and Research Cooperation Units 7. Science and Research Documents Building 8. Scientific research achievements exhibition 分析图1: 1. 科研楼 2. 标本楼 3. 博物馆 4. 科研单元 5. 科研辅助用房 6. 合作科研单元 7. 科研典藏 8. 科研成果展示

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Site Plan 总平面图

Diagram 2 分析图2

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Museum Section 博物馆剖面图

Museum South Elevation 博物馆南立面图

Museum Ground Floor Plan 博物馆一层平面图

Museum Level -1 Plan

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博物馆地下一层平面图


4 3. Exterior view from southeast 4. Entrance plaza 5-7. Exterior view 3. 博物馆东南外景 4. 入口广场 5-7. 外景

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8 8. Science and Research Building exterior 9. Plaza in the complex 8. 科研楼外景 9. 园区广场

Science and Research Building Section 科研楼剖面图

Science and Research Building Elevation

科研楼立面图

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Museum+Science and Research Building +Specimen Building Ground Floor Plan

Museum+Science and Research Building +Specimen Building First Floor Plan

Science and Research Building +Specimen Building Fourth Floor Plan

博物馆、科研楼、标本楼一层平面图

博物馆、科研楼、标本楼二层平面图

科研楼、标本楼五层平面图

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位于奥体公园西、奥运村南的中国科学院天文、地理、生命园区是国家 级科学实验园区,其布局依据不同的实验单元和公共空间,确立研究所为复 合园区。

10. Main entrance of Science and Research Building 11. Façades 12. Museum interior

开放体系:动物所由9个单元集成为系统的空间结构,并遵循有机生长 和衍生逻辑。这组动态均衡的园区中,有一根主轴线统领形成纵深发展的空 间序列。主轴线起始于南侧博物馆前广场;发展于研究所三合院的外向型广 场;通过主门庭延伸至北端廊院花园;终结于生殖楼的内庭院。内外广场的 过渡体现在南部由动物博物馆和地理博物馆形成的社会性广场与动物所园区 南端主广场的联系,而形成的复合广场。穿越南端复合广场的第二个层次是 廊院花园,与大园区的花园沟通,形成连续的绿野景观;第三个层次是北端 生殖楼的庭院嵌入到大花园中。

10. 科研楼主入口 11. 外景 12. 博物馆室内效果

建筑形态: 骨骼:建筑形态是内在结构和功能的反映,建筑结构如同骨骼,作为支 撑体系在关注单元体建构中更强调单元之间的过渡和联系。 关节:关节作为连接点,将各单元组合为完整的骨架系统,预示着生长 的可能性自身机能的特殊性则体现在两个不同单元之间的微妙过渡,如门庭 和交通核心或公共空间。 表皮:建筑的界面作为有意味的表皮,是骨骼系统和功能逻辑的真实体 现,在不同的单元中呈现出相同的皮肤和不同的肌理。 模数:标准的科研单元表皮,在均值变化中形成一个多层次模数关系, 以求石材单元划分与开窗的协调统一,兼顾采光、通风、遮阳系统的完整。 DNA:国家动物博物馆的形态是对大空间博览建筑的真实还原。它借助 仿生学应用连续的排架结构,建构一种渐变韵律的宏大空间。

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CHINA NATIONAL FILM MUSEUM Beijing RTKL Associates Inc. 中国电影博物馆 北京 RTKL国际有限公司 Site Area: 43,333m2 Gross Floor Area: 30,000m2 Completion Time: 2005 Architect: RTKL Associates Inc. VP-in-Charge: Richard Yuan Collaborator: Beijing Institute of Architectural Design Photographer: FU Xing 占地面积:43333平方米 建筑面积:30000平方米 建成时间:2005年 建筑设计:RTKL国际有限公司 项目负责人:袁孝楠(RTKL国际有限公司副总裁) 联合设计:北京建筑设计研究院 摄影师:傅兴

The China National Film Museum is the biggest national professional film museum in the world. It was built for the 100 th anniversary of Chinese film and soon became an iconic building in Beijing. The museum exhibits the history of Chinese film, film technology and culture, and encourages academic communication and research on film. RTKL, in a joint venture with the Beijing Institute of Architectural Design, won an international competition to design the new China National Film Museum in Beijing. The museum, inspired by and integral to the artistic medium of film, stands as a tribute to the history and accomplishments of the Chinese film industry. The crown jewel of a new entertainment district near the Beijing airport, the museum is part of a ten-monument cultural and civic improvement programme initiated by the city in anticipation of the 2008 Summer Olympics. RTKL’s design applies a synthetic approach that takes direct inspiration from popular art by restructuring a mixture of the basic characteristics of film and architecture. In addition, it offers a design language that expresses local experience, and maximises self-sustained integrity, flexibility and environmental friendliness. The museum exterior is a magnificent mass which has its unique artistic characteristics. In front of the main building, the large screen and the sloping

wall on the plaza form a configuration that looks like clapboard. Black is the basic colour scheme for the exterior façades, on which hollowed-out metal panels are adopted for decoration, giving the architecture a mysterious veil. On the neutral black background, large colourful glazing is adopted on the four façades at different positions according to interior functions. Red, green, blue and yellow represent exhibition, fair, theatre, and integrated services respectively. As for the interior, the colour scheme of black, white and grey sets an elegant and calm tone. All the other colours in such a background appear eye-catching: the giant colourful glazing reflects natural light; the circular wall in the central hall can change its colour constantly; the ornamental lights in lifts offer an enjoyable visiting experience. All in all, the museum not only provides three-dimensional visual impact, but also converts the intense impact into an integrated experience. The China National Film Museum totals 30,000 square metres in building area, with a site area of 43,333 square metres, and has a visiting route of 2,970 metres long, covering more than 1,500 films, 4,300 pictures and 450 film workers. The museum includes exhibition halls for film history, film technology and temporary exhibits; offices for collection, storage, research and administration; and a cinema complex composed of an IMAX theatre, a 4-D theatre, a small review hall and a multi-functional hall.

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2 中国电影博物馆是目前世界上最大的国家级专业博物馆,是纪念中国 电影诞生100周年的标志性建筑,是展示中国电影百年发展历程、博览电影 科技、传播电影文化和进行学术交流研究的艺术殿堂。 中国电影博物馆由美国RTKL国际有限公司与北京建筑设计研究院合作 设计,该方案在国际竞标中一举胜出。设计从电影这种艺术媒介中汲取灵 感,同时又与之紧密结合,对中国电影史和电影业的成就进行了充分的展 现。项目选址邻近北京机场,是一个新兴娱乐区。为迎接2008年北京奥运 会,北京市开展了十大文化项目计划,这座博物馆就是计划的一部分。 中国电影博物馆的建筑设计手法体现了电影艺术与建筑语言的平衡, 其设计语言表达了充分融入当地环境氛围的一种体验感,同时建筑又自成 一体,独立存在,兼具灵活性与环境意识。 中国电影博物馆的建筑外观不仅气势宏伟,而且充满了独特的艺术特 色。在主体建筑的前方,巨大的银幕与广场上一道断续的斜墙构成了形如

咔打板的平面组合。建筑采用黑色作为基础色,并使用镂空图案的金属板 作为外层装饰,为这座光影的殿堂蒙上了神秘的面纱。在统一、中性的黑 色背景上,四个立面根据建筑的内部公共空间的位置分别开辟一片大型彩 色玻璃面。红、绿、蓝、黄分别代表的展览、博览、影院、综合服务四个 部分。 中国电影博物馆内部采用黑、白、灰三色作为基调,典雅而沉静,其 他一切色彩在这样的基调下显得更加五彩斑斓:巨型彩色玻璃在自然光的 照射下,投射出多彩的个性;能够不断变换色彩的中央圆厅环形墙壁,华 美鲜艳;电梯内的装饰灯流光溢彩,让观众在游览过程中体验视觉享受带 来的惊喜。总之,这座博物馆不仅可以让观者感受立体的视觉冲击,而且 令其仿佛置身于电影之中,将强烈的视觉效果升华为综合的全方位体验。 中国电影博物馆占地65亩,建筑面积近30000平方米,展线长度2970 米,其中涉及电影1500余部、图片4300余张、介绍电影工作者450多位, 分为电影史、电影科技和临时性展览等多个展厅。中国电影博物馆的展

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览、博览内容是由国家广电总局组织的一大批我国电影业最具权威性的专 家、学者精心制作完成的,集权威性、知识性、艺术性于一体。此外,博 物馆内还设有收藏室、储藏室、研究室、管理室等空间,包括一系列影 院,如IMAX影院、4D影院、小报告厅、多功能厅等。

1. Lobby 2. Front view 1. 大厅内景 2. 正面外观

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3 3. Entrance 4,5. Entrance details 6. Escalator 7. Exhibition hall 3. 入口近景 4,5. 入口局部细节 6. 电梯 7. 展示大厅

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North East Elevation 东北立面图

South West Elevation 西南立面图

South East Elevation 东南立面图

North West Elevation 西北立面图

Sections 剖面图

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Ground Floor Plan: 1. IMAX huge screen cinema (600 seats) 2. Supporting room 3. 4D cinema (400 seats) 4. Small room for display 5. VIP room 6. Guard room 7. Washroom 8. VIP entrance 9. Tickets 10. Administration office 11. Central hall 12. Temporary exhibition hall 13. Unloading area /office entrance 14. Research and office 15. Collection storage 16. Shop 17. Main entrance

一层平面图: 1. IMAX巨幕影院 (600座) 2. 辅助用房 3. 4D立体电影院 (400座) 4. 小型观摩厅 5. 贵宾厅 6. 门卫 7. 卫生间 8. 贵宾入口 9. 售票区 10. 行政办公 11. 博物馆中央大厅 12. 临时展厅 13. 卸货区、办公入口 14. 业务科研办公 15. 藏品库 16. 商店 17. 主入口

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First Floor Plan: 1. IMAX huge screen cinema (600 seats) 2. Supporting room 3. 4D cinema (400 seats) 4. Multi-function hall 5. VIP room 6. Above guard room 7. Corridor 8. Prelude 9. The invention of movie 10. The introduction of movie to China: silent movies 11. Above atrium 12,13. 1930-1949: talking pictures in China 14. 1949-1966: movies in China and the Cultural Revolution 15,16. 1976-2005: movies in China 17. Void

Second Floor Plan: 1. IMAX huge screen cinema (600 seats) 2. Supporting room 3. 4D cinema (400 seats) 4. Above multi-function hall 5. Poster exhibition room 6. Above guard room 7. Hong Kong & Macau movie 8. Taiwan movie 9. News record 10. Science & education hall 11. Above atrium 12. Animation 13. Dubbed movies 14. Void

二层平面图: 1. IMAX巨幕影院 (600座) 2. 辅助用房 3. 4D立体电影院 (400座) 4. 多功能厅 5. 贵宾厅 6. 门卫上空 7. 廊道 8. 总序言 9. 电影发明 10. 电影传入中国 和无声电影 11. 中厅上空 12,13. 1930-1949的 中国有声电影 14. 1949-1966的 中国电影及文革 15,16. 1976-2005的 中国电影 17. 上空

三层平面图: 1. IMAX巨幕影院 (600座) 2. 辅助用房 3. 4D立体电影院 (400座) 4. 多功能厅上空 5. 电影海报厅 6. 门卫上空 7. 港澳厅 8. 台湾厅 9. 新闻纪录 10. 科教厅 11. 中庭上空 12. 美术片厅 13. 译制厅 14. 上空

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CHINA SCIENCE AND TECHNOLOGY MUSEUM Beijing LIU Xiaoguang / RTKL International Ltd. 中国科学技术博物馆 北京 刘晓光 / RTKL国际有限公司 Site Area: 48,492m2 Gross Floor Area: 101,540m2 Greening Area: 9,600m2 Site Coverage: 44.5% Plot Ratio: 1.63 Greening Rate: 20% Building Height: 45m (32 m at the west) Completion Time: 2008 Architect: LIU Xiaoguang / RTKL International Ltd. Collaborator: Beijing Institute of Architectural Design Photographer: Fu Xing and Shu He Photography 用地面积:48492平方米 建筑面积:101540平方米 绿化面积:9600平方米 建筑密度:44.5% 容积率:1.63 绿化率:20% 建筑高度:45米(其中西侧32米) 建成时间:2008年 建筑设计:刘晓光 / RTKL国际有限公司 合作设计:北京市建筑设计研究院 摄影师:傅兴建筑摄影工作室,舒赫建筑摄影工作室

Located in the centre of Olympic Village in Beijing, the China Science and Technology Museum expresses China's accomplishments in these fields through state-of-the-art exhibits, labs and training areas, retail, restaurants and a cinema. The innovative cubic design scheme for the 101,540-squaremetre facility composes exhibit blocks linked by central corridors, and is inspired by the creativity and logic of childhood puzzle games. To focus on the relationship between science and nature, the exterior includes colourchanging features that reflect shifts in the weather and the seasons. The building of the Museum was jointly designed by the Beijing Institute of Architectural Design and the US-based RTKL International Inc. Its main structure is in the shape of a single gigantic cube which combines the scientific thinking of the ancient Chinese with the features of a modern science and technology museum, and the entire structure is divided into a number of building blocks that occlude each other like toy bricks, making it appear like a huge cubic jigsaw puzzle. Such a structure is the embodiment of the intrinsic correlations between man and nature as well as science and technology; it is symbolic of the fact that science has no absolute boundaries and that different disciplines intermingle and promote each other. The conception of the New Museum is " to experience science and inspire innovations; to serve the general public and promote harmony". As the most prominent education vehicle for the New Museum, the permanent exhibitions will be organised in line with the thematic ideas of "innovation and harmony" and under six themes of display, namely

"Children's Science Paradise", "The Glor y of China", "Exploration and Discovery", "Science, Technology and Life", "The Challenges and the Future" and "The Beautifulness of Science", covering a total exhibition floorage of approximately 30,000 square metres. The New Museum will also feature such educational functions as short-term exhibitions, "News of the Day exhibitions", training and experiments, scientific and cultural exchanges, special-effect film and television, digitalised and cyber science and technology museum; such service functions as visitors' comprehensive services and services for science and technology museums nationwide; and such supporting functions as operation and evaluation, the development of exhibition education resources, and theoretical study and research.

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2 中国科技馆位于北京奥林匹克中心,是一座集展览、培训、实验、研 究、科技交流、零售、餐饮、观影等功能于一体的国家级大型公益性设 施。建筑以一个规则的长方体为基本体量。各个展区由多条中央走廊相 连,设计灵感来自于立体拼图和多种锁结等传统益智玩具。建筑外立面会 随着天气和季节的变化而变幻颜色,成为一大亮点,旨在反映科学与自然 之间密不可分的关系。 中国科技馆由北京市建筑设计研究院和美国RTKL国际有限公司联合设 计。其主体结构为一个巨大的规则长方体,既蕴涵了中国的古人对科学的 思考,又具备一座现代科技博物馆应有的特质。整个结构由若干个建筑模 块组成,构成方式就像积木一样彼此穿插、搭接、咬合,整个建筑看上去 仿佛一个巨型拼图玩具。这样的结构反映了人与自然、与科技之间和谐共

生的内在联系,也喻示了科学没有绝对的界限,各个学科相互交叉、彼此 促进。 中国科技馆的设计理念旨在表达“体验科学、激发创新;服务大众、 促进和谐”的主题。长期展厅是科技馆实现其教育功能的主要工具,展厅 的布局要与“创新与和谐”这一主题相呼应,设置6个展览主题,分别是 “科学乐园”、 “华夏之光”、“探索与发现”、“科技与生活”、“挑 战与未来”、“科学之美”,展区总面积约30000平方米。中国科技馆设 有短期展馆、“每日新闻展”、培训、实验、科技文化交流场所、特效影 院、数码与信息科技展等,提供了丰富多样的教育平台。此外,科技馆还 配有全面服务功能和设施,如访客服务处和全国科技博物馆服务处。其他 配套功能还包括运营、评估、展览教育资源开发、理论学习与研究等。

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Site Plan: 1. Main entrance 2. Parking lot 3. Entrance for goods 4. Entrance to the back of house 5. Wind power equipment 总平面图: 1. 主入口 2. 停车场 3. 货物入口 4. 后勤办公入口 5. 风力发电设备

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1. Glass curtain wall 2. Bird’s-eye view 3. Front view 4. Side view 1. 玻璃幕墙局部 2. 全景鸟瞰 3. 正面外观 4. 侧面外观

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Elevations 立面图

Sections 剖面图

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5 5. Front view by night 6. Side view by night 5. 正面夜景 6. 侧面夜景

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7 7. Glass curtain wall in front façade 8. Glass curtain wall at entrance 7. 正面玻璃幕墙 8. 入口玻璃幕墙

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9 9. Lobby interior 10. Interior space 11. Lobby 9. 大厅内部空间 10. 功能区局部 11. 大厅局部

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Ground Floor Plan: 1. Hall 2. Pre-function room for the projection room 3. Ticket-selling 4. Lecture hall 5. Temporary exhibition hall 6. Children hall 7. Children shop 8. Back of house 9. Reception 10. Air-conditioning

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6

一层平面图: 1. 一层集散厅 2. 影院前厅 3. 售票厅 4. 报告厅 5. 临时展厅 6. 儿童厅 7. 儿童商店 8. 后勤 9. 接待区 10. 空调机房

7

1

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3 2

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12. Exhibition hall 12. 展厅局部

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CHINA MUSEUM OF SEA SALTS

Yancheng, Jiangsu Province CHINA UNITED ZHUJING Architecture Design Co., Ltd. 中国海盐博物馆 江苏省 盐城 中联筑境建筑设计有限公司 Site Area: 57,198m2 Gross Floor Area: 17,800m2 Plot Ratio: Approx. 0.23 Greening Rate: Approx. 45% Design/Completion Time: 2007/2009 Architect: CHINA UNITED ZHUJING Architecture Design Co., Ltd. Design Team: CHENG Taining, CHENG Yuewen, WU Nina, YANG Tao, LI Shutian, WU Wenzhu Photographer: Courtesy of the architect Client: Construction Bureau of Yancheng City 用地面积:57198 平方米 建筑面积:17800 平方米 容积率:约0.23 绿地率:约45% 设计/建成时间:2007年/2009年 建筑设计:中联筑境建筑设计有限公司 设计团队:程泰宁,程跃文,吴妮娜,杨涛,李澍田,吴文竹 摄影师:图片由建筑师提供 建设单位:盐城市建设局

The China Museum of Sea Salts is located in Yancheng City, Jiangsu Province. Sitting on the east bank of Chuanchang River, an important river in the city, the museum totals 17,800 square metres in building area. The building draws inspiration from salt crystal. The extensive shoal along the sea provides the unique setting for sea salt production. How to integrate

these elements into the architectural design is the primary issue the architects confronted with. The rotating “crystals” on the top, combined with different base layers, seem like shining crystals scattered on the shoal along the Chuanchang River. The unique shape makes the building become a landmark of the city.

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2 中国海盐博物馆位于江苏省盐城市,基地位于贯穿盐城市的重要河流 “串场河”以东,总建筑面积17800平米。 建筑造型是海盐结晶体的演绎,广阔的海边滩涂为海盐的生产提供了 独特的环境,如何把这些元素融入到建筑设计之中,是建筑师首要研究的 课题。 旋转的晶体与层层跌落的台基相组合,就像一个个晶体自由地洒落在 串场河沿岸的滩涂上,造型独特。

1. Main entrance 2. Overview from river 3. Exterior view at dusk 4. Exterior view 1. 主入口局部 2. 串场河方向外景 3. 黄昏外观近景 4. 外景局部

Elevation 立面图

Elevation 立面图

0 Section 剖面图

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3

4

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5 5. Main entrance 6. Green courtyard 5. 主入口全景 6. 庭院景观

Site Plan 总平面图

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6

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8 7. Atrium 8. Interior view 7. 演示厅内景 8. 内部空间

Ground Floor Plan (Below): 1. Main entrance 2. Lecture hall entrance 3. City museum entrance 4. Green courtyard 5. Courtyard

一层平面图(下图): 1. 主入口 2. 报告厅入口 3. 市博物馆入口 4. 景观庭院 5. 庭院

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124

Architectural Design and Research Institute of Tsinghua University www.thad.com.cn office@thad.com.cn Tel: 86-10-62789999

引 中联筑境建筑设计有限公司

CHINA UNITED ZHUJING Architecture Design Co., Ltd. www.acctn.com sh@acctn.com sec@acctn.com hz@acctn.Com

138

152

西安建筑科技大学建筑学院刘克成工作室, 陕西省古迹遗址保护工程技术研究中心

162

172

178

都市实践(北京)建筑设计咨询有限公司 地址: 北京市朝阳区农展馆南路13号 瑞辰国际中心801 邮编: 100125

184

TAO迹·建筑事务所

206

216

中科院建筑设计研究院

Institute of Architecture Design and Research, Chinese Academy of Sciences www.adcas.cn jiangll@adcas.cn Tel: 86-10-62565107

同济大学建筑设计研究院(集团)有限公司

Architectural Design and Research Institute of Tongji University info@tjadri.com Tel: 86-21-65987788

水石国际

W&R Group www.shuishi.com marketing@shuishi.com Tel: 86-21-61248000

TAO (Trace Architecture Office) www.t-a-o.cn tao-media@vip.163.com 114

大卫·奇普菲尔德建筑事务所

David Chipperfield Architects www.davidchipperfield.co.uk info@davidchipperfield.co.uk

URBANUS Tel: 86-10-84033551 Fax: 86-10-84033561 104

AS建筑工作室

Architecture-Studio as.bj@architecture-studio.com.cn

土人景观规划设计研究院, 北京大学景观设计学研究院

Turen Landscape Planning CO.,Ltd.; The Graduate School of Landscape Architecture, Peking University www.turenscape.com 096

维思平建筑设计

WSP Architects www.wsp.com.cn bjo@wsp.com.cn Tel: 86-010-68482689

中国建筑设计研究院李兴钢工作室

Atelier Li Xinggang at China Architecture Design & Research Group lixg@cadg.cn Tel: 86-10-68302819 086

美国剑桥普雷斯顿·斯科特·科恩设计公司

Preston Scott Cohen, Inc., Cambridge, MA 179 Sidney Street, 1st Floor Cambridge, MA 02139 Tel: 1-617-441-2110 Fax: 1-617-441-2113

Shaanxi Provincial Historical Ruins Preservation Engineering Research Centre, Liu Kecheng Studio at Architectural Design & Research Institute at Xi’an University of Architecture and Technology dahan2005@vip.163.com Tel: 86-29-82202091 074

三磊设计

Sunlay Design www.sunlights.com.cn 4/F.Huatong mansion No.19 Chegongzhuang West Rd. Haidian District, Beijing, 100048 China Tel: 86-10-68730730

朱锫建筑设计事务所

Studio Pei-Zhu www.studiopeizhu.com office@studiozp.com 062/192

北京新纪元建筑工程设计有限公司

Beijing New Era Architectural Design Ltd. xinjiyuan@bjxinjiyuan.com Tel: 86-10-63483388 or 58891220

华南理工大学建筑设计研究院

Architectural Design Research Institute at South China University of Technology whguo@scut.edu.cn 052

许李严建筑师事务有限公司

Rocco Design Architects Ltd. www.rocco.hk 146

016/030

清华大学建筑设计研究院有限公司

226/234

RTKL建筑师事务所

RTKL Associates Inc. www.rtkl.com

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Contemporary architecture in china museums  
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