南京城墻博物館改擴(kuò)建工程，南京，中國(guó)

“跡”是一種活動(dòng)模式或內(nèi)在邏輯的外化。南京城墻博物館在設(shè)計(jì)之初以“跡”作為出發(fā)點(diǎn)，試圖建立起博物館與參觀者在活動(dòng)模式上的關(guān)聯(lián)，以及與場(chǎng)所在邏輯上的契合。

南京城墻博物館位于南京中華門(mén)西側(cè)的南京歷史文化風(fēng)貌展示區(qū)，它南望大報(bào)恩寺塔，北接內(nèi)秦淮碼頭。方案尋“跡”主要從兩個(gè)方面展開(kāi)，一方面是如何設(shè)計(jì)使用者的參觀線路，另一方面是如何建立與中華門(mén)的對(duì)應(yīng)關(guān)系。在分析了展覽活動(dòng)的內(nèi)容之后，方案試圖將戶外的實(shí)景展納入?yún)⒂^線路之中，形成由內(nèi)到外、由文獻(xiàn)到實(shí)景的互動(dòng)參觀模式。沿著這條線索，再結(jié)合場(chǎng)地對(duì)尺度的特殊要求，將主要展覽部分置入地下，而將臨時(shí)展廳設(shè)在地面之上；并在屋頂設(shè)計(jì)了3個(gè)平臺(tái)，供參觀者觀望中華門(mén)城墻、秦淮實(shí)景和門(mén)外的大報(bào)恩寺塔，巧妙地將建筑植入整體場(chǎng)地的景觀中。進(jìn)而借用中華門(mén)的馬道形式，將3個(gè)平臺(tái)聯(lián)系、構(gòu)形，在分解體量的同時(shí)，也與中華門(mén)城墻建立起一種關(guān)聯(lián)，使建筑形式有“跡”可循。立面材質(zhì)的選擇基于兩點(diǎn)：尊重，求新。方案采用了一種具有漫反射的玻璃作為立面外表皮，將建筑物周邊的場(chǎng)景，特別是古城墻映射其中，產(chǎn)生出一種微妙的時(shí)間對(duì)比，讓建立在此地的博物館成為場(chǎng)景的一部分。坡道和觀景平臺(tái)鋪地則沿用了古城墻的鋪砌方式，適度引入了古城墻上“草”的印跡，將綠色從場(chǎng)地向屋頂逐級(jí)延伸，也為市民和參觀者在閉館期提供了一處在不同高度和角度觀賞老城區(qū)景觀的活動(dòng)平臺(tái)。

在一個(gè)歷史文化內(nèi)涵相對(duì)豐富的地方，如何通過(guò)設(shè)計(jì)對(duì)場(chǎng)地謹(jǐn)慎而又微妙地介入，創(chuàng)造出新的體驗(yàn)?zāi)Ｊ胶徒ㄖ坝^，是對(duì)特定場(chǎng)所進(jìn)行營(yíng)造的一種嘗試?！?/p>

1 室內(nèi)透視/Interior perspective

2 坡道透視/Ramp perspective

3 西南側(cè)透視/Southwest perspective

6 二層平面/1st floor plan

4 地下一層平面/Floor B1 plan

5 首層平面/Ground fl oor plan

7 剖面/Section

"Trace" is the externalization of active mode or internal logic. At the beginning of the design of Nanjing City Wall Museum, we took "trace" as the starting point, and tried to establish the relevance between museum and visitors' activity mode, as well as the logical agreement between museum and site.

Nanjing City Wall Museum is located in the Nanjing historical and cultural feature exhibition area on the west side of the Zhonghua Gate in Nanjing, on its south side there is the Porcelain Tower, and the north side is the Inner Qinhuai dock. The search for "trace" was mainly from two aspects, on the one hand, it was how to design the visitors' tour route; on the other hand, it was how to establish the corresponding relationship with the Zhonghua Gate. After analysing the contents of exhibition, the programme tried to bring outdoor real landscape exhibition into the tour route, formed an interactive tour mode from inside to outside and from document to real landscape. Following this clue, combining with the special requirements of the scale of the site, the main part of the exhibition hall has been set under the ground. On the contrary, the temporary exhibition hall has been arranged on the ground. Meanwhile, we designed three platforms on the roof for visitors to enjoy the sight of the Zhonghua Gate and the Qinhuai Creek, as well as the Porcelain Tower outside the wall, ingeniously implanted the building in the overall site-landscape.Then we imitated the form of ramp of the Zhonghua Gate, and connected three platforms together, while weakening the volume, it established a connection with the Zhonghua Gate, made the architectural form to follow the "trace" logically. The choice of facade material was based on two points: respect and innovation. The project employed a kind of diffuse reflection glass as the outer skin of the facade and it could re fl ect the scene around the site,especially the ancient city wall, thus generating a subtle contrast of times and making the museum become a part of the scene. The ramp and landscape platform followed the paving method of ancient city wall. And the imprint of the grass on the city wall was appropriately adopted in the design and it extended the green from the site to the roof stepby-step, providing the citizens and visitors with a platform to enjoy the sight of the landscape of the old city from different heights and viewpoints.

In a place with rich historical and cultural connotation, how to get involved in the place prudently and subtly, as well as create a new experience model and a new architecture landscape is an attempt in constructing a speci fi c place.□

項(xiàng)目信息/Credits and Data

業(yè)主/Client: 南京城墻保護(hù)管理中心/Nanjing City Wall Protection Management Centre

設(shè)計(jì)團(tuán)隊(duì)/Design Team: 何鏡堂，倪陽(yáng)，何熾立，何小欣，吳中平，劉濤，楊浩騰，馬辰龍，鄭惠婷，蘇皓，陳志東，徐好好，謝燮，黃瑩，謝敏奇，陳志彪，張麗斯，韓謹(jǐn)如，陳鵬，原瑋，吳鳴，方舟/HE Jingtang, NI Yang, HE Zhili, HE Xiaoxin, WU Zhongping, LIU Tao, YANG Haoteng, MA Chenlong, ZHENG Huiting, SU Hao, CHEN Zhidong, XU Haohao, XIE Xie, HUANG Ying, XIE Minqi,CHEN Zhibiao, ZHANG Lisi, HAN Jinru, CHEN Peng, YUAN Wei, WU Ming, FANG Zhou

建筑面積/Floor Area: 12,000m2

設(shè)計(jì)時(shí)間/Design: 2016.10 -2017.01

計(jì)劃建成時(shí)間/Planned Completion: 2019