賈平凹文學藝術館，西安，陜西，中國

項目設計：劉克成/西安建筑科技大學

賈平凹文學藝術館，西安，陜西，中國

項目設計：劉克成/西安建筑科技大學

賈平凹先生是有廣泛世界影響的中國當代著名作家和藝術家。為了展示作家的成長過程和創(chuàng)作經歷，展示作家的文學成就和創(chuàng)作生活，并為文學愛好者提供一個學習文學、交流經驗的場所，西安建筑科技大學決定在校園內為著名作家賈平凹先生建立“賈平凹文學藝術館”。

賈平凹文學藝術館選擇1970年代建設的一棟舊樓進行改建。原建筑為磚混結構，上下2層，局部3層，整體平淡無奇，但地處校園歷史地段，為學校的歷史建筑之一。

我們認為此館應當繼承1970年代學校的遺產，并一直延續(xù)下去；它應當保持1970年代的真實性，拒絕粉飾；它應當將老建筑合法化，并結合新的功能，予以全面提升，賦予它新的生命力。因此，我們確定這樣一個原則——在改造完成以后，這棟建筑還應當保持1970年代的面貌和特征。在這里，歷史和現實應當是一種對話關系，而不是服從關系。

設計的最初啟示來源于陽光。經過多次現場體驗，設計者發(fā)現：對這個平淡、樸實無華的建筑，光影的流盼是其最具魅力的特征。從早晨6∶00到下午19∶00，每隔一小時拍一張照片，然后進行連續(xù)播放，可以看到由陰影構成的一個體量發(fā)生著一個有趣的變化。光影是隱藏在這個建筑中的靈魂。于是建筑師選擇光影作為設計的重點，在原建筑東南面增加了一個曲折的光廊。光廊造型來源于一天24小時建筑光影的疊加，也象征賈平凹故鄉(xiāng)起伏的山川和鄉(xiāng)村。當時光流轉，光廊形成的長長的影子，劃過舊建筑的墻面，撫摩鐫刻在墻上的作家詩句，爬上書架——光與影，新窗與老墻，微風與綠樹，城市與鄉(xiāng)村，文學與藝術，時間與空間，拼織出一幅豐富的圖像，一種文學的詩性油然而生。

建筑保留原有的清水磚墻、外刷深色涂料的基底，選擇玻璃、鋼架和混凝土3種原建筑沒有的詞匯作為新因子介入。老建筑基本維持不變，新構件以對話的方式與老建筑并置。

鋼架、玻璃與混凝土依據光影變化，統(tǒng)一到同一形式邏輯，打破原建筑的平庸和呆板。鋼架分主框架、次框架和裝飾性框架3層，以不同角度和密度，形成新老元素的和諧對話。

鋼筋混凝土墻采用俯首可得的建筑廢料——竹條作為模板澆注，形成粗糙而又富于肌理的表面，在密度上與清水磚墻和諧，在文化上造成一種與陜西農村普遍使用的“干打壘”墻體類似的效果。

正如一個文學評論家所說：賈平凹文學藝術館就像作家本身外表樸實、內心空靈的性格，它為愛好文學藝術的人們，提供一個觸摸賈平凹靈魂的場所，在貌似平淡的空間中，感受到了世界的精彩！

項目信息/Credits and Data

總建筑面積/Gross Floor Area：2000m2

建筑高度/Building Height：地上最高點10.1m/10.1 m for the highest point above ground

建筑層數/Number of Floors：地上3層/3 floors above ground業(yè)主/Client：西安建筑科技大學/Xi'an University of Architecture and Technology

建筑設計公司/Company for Architectural Design：西安建筑科技大學/Xi'an University of Architecture and Technology

JIA Pingwa is a worldwide influential, wellknown contemporary Chinese writer and artist. In order to display his upbringings, creative experience and life and literary achievements as a writer, and in order to provide lovers of literature with a site for literary study and scholarly exchange, Xi'an University of Architecture and Technology decided to build the Jia Pingwa Literature and Art Gallery on its campus for Mr. JIA.

An old building constructed in the 1970s was chosen to be remodeled into Jia Pingwa Literature and Art Gallery. The original building, with its brickconcrete structure, had 2 floors as a whole, a part of which had 3 floors. The whole building was one of the University's historic buildings by virtue of its prestigious location, although it appeared to be trite and insignificant.

We thought that this gallery should inherit the university's heritage of the 1970s and carry it forward; it should keep the truth of the 1970s instead of whitewashing; it should make the old building lawful, refresh the building in all aspects by combining new functions, and give new vitality to the building. Therefore, we ensured that the building should still keep the appearances and characteristics of the1970s after its reconstruction. With regard to this gallery, history and reality should be put in a relation of dialogue other than subordination.

Its design was initially inspired by sunshine. After several field trips, the designer found that light and shade were the greatest fascination of the simple, unadorned building. Photos are shot hourly from 6:00 to 19:00 and are continuously screened, portraying an interesting, dynamic picture of changing light and shade. Considered as the soul of the building, light and shade are chosen as the design focus by the architect, who also added a serpentine light corridor to the southeast side of the building. The profile of the light corridor originates from the superposition of light and shade of the building within 24 fours of a day, and also is a symbol of the rolling mountains and villages of JIA's hometown. As time flies, the long shadow of the corridor sweeps over the walls of the old building, strokes the writer's verses carved on the wall, climbs onto bookshelves - light and shade, new windows and old walls, breeze and trees, town and countryside, literature and art, time and space, make a colorful composite whole and convey poetic feelings spontaneously.

The plain brick walls of the old building are kept and painted with dark coatings, and three new factors, the glass, steel frame and concrete are introduced. The old building is basically unchanged, while new components are compatible with the old building by way of dialogue.

Steel frame, glass and concrete are unified in the aspects of the form and logic according to changing light and shade, and break the commonplace and stiffness of the old building. The steel frame is divided into three layers, the primary frame, the secondary frame and the decorative frame, forming a harmonious dialogue between the old and new elements from different angles and with different densities.

The reinforced concrete walls are cemented with a type of easily available architectural waste - bamboo strips as the template, forming a coarse texture for wall surfaces. It harmonizes with the plain brick walls in density and has a cultural effect similar with the "Gan Da Lei" (a simple walling method, which fills the gap between two fixed wooden boards with clay soils) walls which are normally used in the rural areas of Shaanxi.

As a literary critic once said, "Jia Pingwa Literature and Art Gallery is just like the writer's simple appearance and dreamlike inner world; it provides a site to touch JIA's soul and to feel the brilliance in a seemingly plain space for the people who are keen on literature and art."

Comments

WEI Haobo: When the two heterogeneous spatial types, i.e., L-shaped brickwork with intensive historical implication, and a topological folding glass + steel structure+ concrete polyhedron, get "married," an architectural tension is created: (1) A temporal disparity between these two spatial types; (2) A spatial combination mode composed of emotional and functional elemements: the polyhedron adjusts viewers' emotions through light and shadow projection, while the L-shaped brickwork is mainly used for exhibition and office; (3) The folding glass roof decorated by metal louvers tries to imply timeliness by means of the changing and intertwining shadows of lines and planar; the particular texture of the surface layer of the concrete material is trying to indicate some countryside state; the brickwork of the 1970s vaguely discloses a specific historical background. In a word, the three different materials are used to construct a narrative structure with the superimposition of some scene fragments; (4) In environmental response, the Gallery shows a subtle yet somehow domineering attitude.

ZHANG Jin: As a project of old building renovation, Jia Pingwa Literature and Art Gallery retains the original form of the old building and adds the necessary entrance hall and public space by constructing new structures. It not only shows the respect to the historic building, but also meets the requirements of function and comfort. The lighting design changes the dull atmosphere of the original building and creates a vibrant space, which reflects that the cultural root of the gallery lies in the literary and life intention in JIA Pingwa's works. The application of steel and bamboo template concrete creates a contrast between fineness and roughness, forming a similar feeling to JIA Pingwa's literary texture.

評論

魏浩波：一個“L”型的有歷史含量的磚砌體，與一個拓撲折疊的玻璃+鋼構+混凝土組合的多面體這兩類異質的空間類型“嫁”在一起的時候，張力出現了：（1） 在二者間拉開了時間差。（2） 一種情緒體+功能體的空間組合模式：多面體通過對光與影的投射，調節(jié)觀者的情感狀態(tài)；“L”型磚砌體則主要用于展示與辦公。（3） 玻璃折疊屋面配金屬百葉，試圖以線條狀陰影群與面狀陰影交織變化的方式影射時間性；混凝土材料表層特殊的肌理質感則試圖反射某種鄉(xiāng)野的狀態(tài)；1970年代的磚砌體暗示著特定的歷史背景；3種意味的材料處理機制共同建構著某種情景斷片疊加著的敘事結構。（4） 在環(huán)境應對上，含蓄中透著某種張揚。

張謹：賈平凹文學藝術館是一個舊建筑利用改造的項目。對原有建筑給予了原狀保留與利用，并采取加法的方式，以新建結構增添了必要的展館入口與公共空間，體現了對文物建筑的尊重，同時也滿足了功能舒適度的要求。光影的設計一改原有建筑的沉悶氣息，營造了躍動的氣氛，映射了藝術館的文化內核即賈平凹的文學與生命意象。鋼與竹模板混凝土材料的運用使細膩與粗糙對比，形成了對賈平凹文學質感的通感效應。

Jia Pingwa Literature and Art Gallery, Xi'an, Shaanxi, China, 2007

Project Design: LIU Kecheng/Xi'an University of Architecture and Technology