內(nèi)蒙古昭君博物院 中國內(nèi)蒙古

業(yè)主：內(nèi)蒙古青山文化旅游投資有限責(zé)任公司

設(shè)計(jì)單位：中國建筑設(shè)計(jì)研究院有限公司

設(shè)計(jì)團(tuán)隊(duì)：曹曉昕、尚蓉，梁力，宋濤，詹紅，范佳

用地面積：120 000 平方米

建筑面積：15 092 平方米

設(shè)計(jì)時間：2015年

竣工時間：2018年

Client: Nei Monggol Qingshan Cultural Tourism Investment Co.,Ltd

Architect: China Architectural Design and Research Group

Design team: Cao Xiaoxin,Shang Rong,Liang Li,Song Tao,Zhan Hong,Fan Jia

Site area: 120,000 m2

Built: 15,092 m2

Design Date: 2015

Completion Date: 2018

設(shè)計(jì)與構(gòu)思

阡陌平陽，草木蒼茂，這是內(nèi)蒙古呼和浩特市南郊昭君博物院所處自然環(huán)境的寫照。新建昭君博物院的擇址幾經(jīng)反復(fù)論證與比較，最終戲劇般地回到了昭君青冢南軸線的起點(diǎn)設(shè)計(jì)為昭君博物元 本身賦予了更多功能，一是為適應(yīng)整個景區(qū)提升至5A 級，增設(shè)了園區(qū)票務(wù)、游客中心、餐飲服務(wù)、旅游商店及停車等混合性功能；二是由于龐大的建筑體量設(shè)置在甬道起端和景區(qū)的南沿，它將重塑景區(qū)形態(tài)，形成新的中軸線秩序，并和景區(qū)核心——建于兩千多年前的昭君青冢形成距離與時空的對話。

再現(xiàn)與再造根據(jù)考古研究，昭君青冢始建于西漢時期，距今已有兩千余年的悠久歷史。堆土成山，夯土成冢，推斷其上曾有木構(gòu)樓閣建筑，經(jīng)年毀敗已不復(fù)存，現(xiàn)有青冢高度約31 米。昭君青冢具有極高的歷史地位，歷代曾有眾多帝王名士來此祭祀，現(xiàn)有軸線為近現(xiàn)代多次迭建而成。新建博物館力圖通過再現(xiàn)“土木之像”“土木之情”表達(dá)后人對昭君青冢的敬意，“土木”既作為一個中國傳統(tǒng)抽象化的文化符號，同時又作為一種具體的建筑材料表征而存在。它在項(xiàng)目設(shè)計(jì)中有特殊的意義，材料工藝的現(xiàn)代性和材料質(zhì)感的審美習(xí)慣在設(shè)計(jì)中常常被轉(zhuǎn)換為“再造”和“再現(xiàn)”的哲學(xué)性思考：時間跨越兩千年的“再現(xiàn)”必然是一種有距離感的差異映射，其距離感是以“再造”為基礎(chǔ)的，此時的“造”和彼時的“造”所處的技術(shù)環(huán)境不同，技術(shù)倫理讓“再現(xiàn)”本能地和“原像”保持距離。

協(xié)同與不同當(dāng)代工藝的現(xiàn)代性呈現(xiàn)往往是輕薄、高調(diào)和失重的，這并不符合團(tuán)隊(duì)設(shè)想的博物院與龐大沉重的青冢協(xié)同的初衷，因而團(tuán)隊(duì)在設(shè)計(jì)上采用了不同于現(xiàn)代建筑經(jīng)典語言的方式，在近似沒有手法的狀態(tài)中讓材料語言成為建筑的空間語言主體。黏土是一種冷膠凝性材料，而混凝土恰巧也是冷膠凝性材料，團(tuán)隊(duì)對此產(chǎn)生了興趣。經(jīng)年的風(fēng)雨在夯土中留下的夯痕讓材料具有故事性，憑借這些年對混凝土工藝的研究，團(tuán)隊(duì)意識到通過模具和緩凝劑可以讓混凝土掛板具有夯土的相應(yīng) 特征，暗示當(dāng)代工藝的時代性。項(xiàng)目采用了膠合竹材料作為“木”的對應(yīng)，不僅因?yàn)椴牧系目裳h(huán)性和木質(zhì)外觀，更是因?yàn)樗鼉?yōu)于木材的力學(xué)性能。膠合木搭建的寬大室外雨棚，構(gòu)件的搭建方式與受力結(jié)構(gòu)要求相吻合，將材料受拉性能佳的直觀地表現(xiàn)在形式上。節(jié)點(diǎn)設(shè)計(jì)并未采用古法的榫卯結(jié)構(gòu)，而是采用當(dāng)代的金屬角接件栓固方式。通過巧妙地設(shè)計(jì)，大量的金屬件并未顯露，表達(dá)了對傳統(tǒng)木工藝的敬意，成為求溯當(dāng)代工藝的機(jī)巧所在。似拙實(shí)巧一種浪漫的隱喻，同時也是一種博弈，讓當(dāng)代工藝表達(dá)存在于“像”與“不像”、“熟悉”與“不熟悉”之間。

穿越與匯聚公共行為的趣味性在于人群的多樣性和交互性。團(tuán)隊(duì)在博物館南側(cè)即園區(qū)入口處設(shè)計(jì)了巨大的漏斗形楔狀下沉廣場，將遠(yuǎn)方的游客略帶有強(qiáng)制意味地引導(dǎo)至入口空間，有意制造更多的交互可能：或穿越至甬道之中，或滯散于咖啡廳或游客中心，或疏解于博物館之中。博物館謙和地讓出中央軸線，使青冢在大門外乃至道路上依舊可見，遠(yuǎn)處的昭君青冢亦在人的穿越過程中實(shí)現(xiàn)和人的互動：窺見—窺不見—消失—顯露—全部呈現(xiàn)。在博物館室內(nèi)設(shè)計(jì)中，強(qiáng)調(diào)線性的坡道元素在公共匯聚空間的介入，讓人在限定的空間中體驗(yàn)自由。

Design Concept

The natural environment of Zhaojun Museum in the south suburb of Hohhot City,Inner Mongolia,is characterized by the flat landscape and lush vegetation.After repeated argumentation and comparison,the site selection of the new Zhaojun Museum finally returns to the starting point of the south axis of the Zhaojun Green Tomb,perhaps due to the consideration of land constraints,or the enlightenment of modern sequential construction on both sides of the 400-meter-long axis,which makes such a challenging site selection possible for implementation.It is believed that with the completion of the project,it will write a pioneering page in the case of China's conservation plan of historic sites.This is not only because the plan demolishes the original menque (gate) (built in modern and contemporary times) and hopes to improve the environment of the original conservation area (which also includes the axis of the corridor that was gradually built and shaped in modern times and is not appropriate in scale),but also gives the new museum building itself additional functions:on the one hand,to accommodate the upgrading of the whole scenic area to 5A level,the park ticketing,visitor center,catering services,tourist stores,parking and other hybrid functions are added;on the other hand,because of the huge building volume set at the beginning of the corridor and the southern edge of the scenic area,it will reshape the form of the scenic area,form a new central axis order,and form a distance and time dialogue with the core of the scenic area,the Zhaojun Green Tomb,which was built more than 2000 years ago.

Reproduction and ReconstructionAccording to archaeological research,Zhaojun Green Tomb was built in the Han Dynasty more than two thousand years ago.It was built by piling earth into mountains and ramming earth into a tomb.It is inferred that there were wooden buildings on it,which have been destroyed for years and no longer exist.The height of the existing green tomb is about 31 meters.Zhaojun Green Tomb has a very high historical status.Many emperors and famous people have come to sacrifice here in the past dynasties.The existing axis is built repeatedly in modern times.The new museum tries to show the respect of future generations to Zhaojun Green Tomb by reproducing "the image of civil engineering"and "the feeling of civil engineering".Civil engineering "not only exists as an abstract cultural symbol of Chinese tradition,but also as a representation of concrete building materials.It is of special significance in project design.The modernity of material technology and the aesthetic habit of material texture are often transformed into the philosophical thinking of "reconstruction" and "reproduction": the "reproduction" that spans two thousand years must be a differential mapping with a sense of distance.Its sense of distance is based on"reconstruction".At this time,the "creation" and the "creation" at that time are located in different technological environments,where the technological ethics keeps the "reproduction"instinctively away from the "original image".

Coordination and GameThe modernity of contemporary technology is often light,highprofile and weightless,which is not in line with the original intention of the coordination between the new museum and the huge and heavy green tomb.Therefore,we have adopted a way different from the classical language of modern architecture in the design,and let the material language become the main body of the space language of architecture in the state of almost no means.Clay is a kind of cold cementitious material,and concrete happens to be a kind of cold cementitious material,so we became interested in it.The ramming marks left by years of wind and rain in the rammed earth make the materials have a story.However,based on the research on concrete technologies in these years,we realize that the concrete pegboards can have corresponding characteristics through the mold and retarder,and the non-treatment way of slab joint implies the era of contemporary technology.In the project,we use glued bamboo material as the "wood" correspondence,not only because of the recyclability and wooden appearance of the material,but also because it is superior to the mechanical properties of the wood.The wide outdoor canopy is completely formed by the stress structure,which directly displays the good tensile properties of the material in the form.For the joint design,we did not adopt the tenon and mortise structure of the ancient method,but adopted the contemporary metal corner joint bolting method.Through ingenious design,a large number of metal parts have not been exposed,which shows our respect for traditional wood technology,and is also the ingenuity to trace contemporary technology.Craftsmanship is not only a romantic metaphor,but also a game,which makes the expression of contemporary craft exist between "like" and "unlike","familiar" and "unfamiliar".

材料與建構(gòu)

設(shè)計(jì)創(chuàng)新性地運(yùn)用當(dāng)代材料與技術(shù)重構(gòu)土木，呼應(yīng)青冢的歷史意象，傳承了中國古典建筑的精髓?！巴僚c木”不僅是昭君青冢的場域特征，也是中國古代建筑的代名詞。建筑以“再造土木”為設(shè)計(jì)線索，外墻采用仿夯土的特種混凝土掛板與“土”對應(yīng)，通過模具和緩凝劑使掛板具有夯土的自然特征；寬大的室外雨棚采用膠合竹材料與“木” 對應(yīng)，將材料受拉性能佳的特征直觀地表現(xiàn)于形式上。每根立柱底部設(shè)置了排水系統(tǒng)并接入地下管網(wǎng)，使得雨棚的排水體系更加完整。

內(nèi)景與外景

室內(nèi)的材料邏輯依舊延續(xù)室外的“土木”情懷，與相對低調(diào)的建筑外表相比，建筑的室內(nèi)設(shè)計(jì)更加體現(xiàn)了對當(dāng)代技術(shù)表現(xiàn)的向往。團(tuán)隊(duì)對公共空間提出了“室景”的概念，即同一個空間里在不同角度形成不同的空間“景像”，恰如中國園林的步移景異。日光下的連續(xù)坡道成為了控制空間的有力工具，同時也明確了人的參觀流線和導(dǎo)向。建筑軸線處的“正負(fù)”三角窗貫通了景區(qū)的軸線景觀，并給予了有趣的“畫框”，將建筑的內(nèi)景與外景聯(lián)系在一起。和兩個巨大的建筑“土堆”相比，團(tuán)隊(duì)設(shè)計(jì)了更為廣闊的外景 ：三角形的連續(xù)表皮由草植和仿夯土的混凝土面組成，建構(gòu)了起伏不定的微觀地形，將建筑的控制力延展到更廣闊的大地之上。

Crossing and ConvergenceThe interest of public behavior lies in the diversity and interaction of people.We have designed a huge funnel-shaped wedge-shaped sinking square at the entrance of the park on the south side of the museum,which is designated to guide the tourists from afar to the entrance space with a little compulsion,intentionally creating more interaction possibilities: or crossing into the corridor,or staying in the coffee shop or tourist center,or relaxing in the museum.The museum modestly gives way to the central axis,so that the green tomb can still be seen outside the gate and even on the road.The images of the green tomb also realize the interaction with people in the process of people's crossing:glimpsing,disglimpsing,disappearing,revealing and all presenting.In the museum interior design,we emphasize the linear ramp element in the public convergence space,so that people can experience freedom in the limited space.

總平面圖

南立面圖

剖面圖

Material and Construction

The design innovatively uses contemporary materials and techniques to reconstruct the earth and wood,echoing the historical intention of the green tomb and inheriting the essence of classical Chinese architecture."Earth and wood" is not only a field feature of Zhaojun Green Tomb,but also a synonym for ancient Chinese architecture.The building takes the "reconstruction of civil engineering" as the design clue.The exterior wall is made of a special concrete pegboard that imitates rammed earth and corresponds to "earth",and the mold and retarder make the pegboard with the natural characteristics of rammed earth;and the wide outdoor canopy is made of glued bamboo material corresponding to "wood",which visualizes the tensile properties of the material in the form.The outdoor main entrance canopy adopts glued bamboo material,not only because of its recyclability and wood appearance,but also because it is superior to the mechanical properties of wood.The wide outdoor canopy is completely formed by the stress structure,which directly displays the good tensile properties of the material in the form.A drainage system is set at the bottom of each column and connected to the underground pipe network to make the drainage system of the canopy more complete.

地下一層平面圖

Inside and Outside

The interior material logic still continues the outdoor "civil engineering"feelings.Compared with the relatively low-key building appearance,the interior design of the building more embodies the yearning for the contemporary technical performance.We put forward the concept of "room view" for public space,that is,different space "scenes" are formed from different angles in the same space,just like changing of the views as you walk every step for Chinese gardens.The continuous ramp under the sun has become the most powerful tool for us to control the space,and at the same time,it also clarifies the flow line and direction of people's visit.The "positive and negative" triangle window at the axis of the building penetrates the axis landscape of the scenic spot and provides an interesting "frame",which connects the indoor scene and outdoor scene of the building.Compared with two huge building "mounds",we designed a more expansive outer context:a continuous triangular surface consisting of grass plantings and concrete surfaces that imitate rammed earth,creating an undulating microtopography that diffuses the control of the building into the wider earth.

一層平面圖