Contemporary Architecture in China - Cultural Architecture [PDF]

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中国 当代 建筑 大系



CULTURAL ARCHITECTURE



表达方式，它们也是中国最具国际影响力、一流的建筑师们为世界打造的、了解中国文化的平台。



文化建筑



CONTEMPORARY ARCHITECTURE IN CHINA



本书收录了中国一流建筑师们自2000年起建成的、别具匠心和具有高超建筑表达艺术的文化类建筑。这些 建筑是中国建筑发展成就的代表，是中国文化传承与发展的见证，是新中国人民精神文明与民族气质的最佳



中国 建筑 当代 大系



文化建筑



In this book, Chinese star architects/architectural design firms present their works completed since 2000. These buildings are created with innovative concepts and unique architectural languages for cultural events, such as museums, art galleries, and memorials. They witness the inheritance and development of Chinese culture in contemporary China, and they are the windows created by Chinese leading architects for the world to know Chinese culture.



CONTEMPORARY ARCHITECTURE IN CHINA



辽宁 科学技术 出版社



CULTURAL ARCHITECTURE 祝晓峰/编



常文心/译



Edited by ZHU Xiaofeng Translated by Catherine Chang



辽宁科学技术出版社



中国 当代 建筑 大系



CULTURAL ARCHITECTURE



表达方式，它们也是中国最具国际影响力、一流的建筑师们为世界打造的、了解中国文化的平台。



文化建筑



CONTEMPORARY ARCHITECTURE IN CHINA



本书收录了中国一流建筑师们自2000年起建成的、别具匠心和具有高超建筑表达艺术的文化类建筑。这些 建筑是中国建筑发展成就的代表，是中国文化传承与发展的见证，是新中国人民精神文明与民族气质的最佳



中国 建筑 当代 大系



文化建筑



In this book, Chinese star architects/architectural design firms present their works completed since 2000. These buildings are created with innovative concepts and unique architectural languages for cultural events, such as museums, art galleries, and memorials. They witness the inheritance and development of Chinese culture in contemporary China, and they are the windows created by Chinese leading architects for the world to know Chinese culture.



CONTEMPORARY ARCHITECTURE IN CHINA



辽宁 科学技术 出版社



CULTURAL ARCHITECTURE 祝晓峰/编



常文心/译



Edited by ZHU Xiaofeng Translated by Catherine Chang



辽宁科学技术出版社



Cultural Architecture 文化建筑 Author: Xiaofeng Zhu Print version (Hardcover) - 2012 ISBN 9787538177237 Published by Liaoning Science & Technology Publishing House Shenyang, Liaoning, China eBook version - 2012 ISBN 9781619870765 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：祝晓峰 纸质书（精装）- 2012 书号：9787538177237 出版商：辽宁科学技术出版社 中国辽宁沈阳 电子书 - 2012 书号：9781619870765 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。



CONTEMPORARY ARCHITECTURE IN CHINA



中国 建筑 当代 大系 文化建筑



CULTURAL ARCHITECTURE 祝晓峰/编



常文心/译



Edited by ZHU Xiaofeng Translated by Catherine Chang



辽宁科学技术出版社



FOREWORD



As an integrated word, “culture” appeared in Chinese biblios as early as Han Dynasty (B.C. 202 - A.D. 220), and the original meaning was “to make society civilized through knowledge and etiquette”. Buildings in traditional architecture history of China, such as public-used wooden structures on high rammed loam constructions and ancestral halls, can be included as “architecture for cultural events”; however, the special concept of “cultural architecture” has never been used. On one hand, this was caused by the form’s oneness and multiple functions of architecture, and as a craft, architecture was inferior in Chinese history. On the other hand, the public feature of cultural events has not been strengthened or promoted consciously through public buildings. Nowadays, the relevant concepts of “culture” in Chinese language are too much to be exactly defined after hundred years of “modernization”. Almost everything can be called “culture”. However, “cultural architecture” introduced into China from Western countries has a comparatively clear scope for cognizing. Because in architecture field, people reach a mutual agreement by usage that “cultural architecture” in which cultural events take place has an exact definition, for instance, libraries, art museums and those which are included in this book are named based on function of use. Entering the 21st century, rapid development of Chinese economy brings on lag of spiritual civilization, and both citizens and governments call for development and prosperity of “cultural construction”. The real improvement of “culture” cannot be done speedy. However, as the “carrier of culture”, “cultural architecture” presented a splendid sight in a short time, and with the support from present economic power, it is welcoming a prosperous period in China, which will last for years. It leads us to think about the challenges and crisis that “cultural architecture” would face in contemporary Chinese society. In my view, it mainly involves two aspects: Firstly, more specialized functional classification of “culture architecture” has gradually become a new shackle. While planning buildings for culture, many cities try to cover all types of cultural events, for instance, opera house, concert hall, and library, and each cultural event has a special building.



Architects have to comply with relevant architectural criteria, which are more specialized according to function (e.g. design criterion of theatre) during the design stage. Today, when land resources and material resources become less and less in China, I’m expecting complex and multi-functional development of cultural architecture, trying to combine with regional master plan, and consciously using new media to integrate and develop cultural activities, in order to avoid resource waste and repeated construction. This is the essential sustainable strategy for developing cultural architecture. Secondly, imbalance between the architectural form and connotation of cultural architecture. Cultural construction has been a national development strategy, so competition-like comparison for achievements among different governments, limited design and construction time lead to an externalism crisis of overemphasis on external appearance but neglecting meaning and connotation, no matter the architects’ design skill is good or bad. On the other hand, mid and small cultural facilities in residential communities, villages and counties or private-invested facilities were mainly built up according to need, without exorbitant demand for building’s external appearance, so it’s comparatively easy for excellent architects to create innovative works with kind and natural feeling. Prosperity comes with crisis, and opportunity exists with challenge. Through 27 completed projects included in this book, we may get to know how architects in China respond to the theme of “cultural architecture” since 21st century, to know their nearly-ten-year’s efforts, compromise and insistence under present conditions, which bring an effect like double-edged sword. Hope this book not only presents the achievement of cultural architecture practice in contemporary China, but also helps us to take reference with each other to urge us to think with a critical attitude, to explore the future of cultural architecture. ZHU Xiaofeng Design Principal of Scenic Architecture Harvard University Graduate School of Design, Master of Architecture



前



作为一个完整的词，“文化”从汉代开始出现在中国的典籍里，原本确 切的意思是“以文教化”。在中国传统建筑漫长的历史中，高台、祠堂、书 院、戏台等在当代可以被归纳为文化建筑，但从来没有出现过“文化建筑” 这一专属概念，这一方面是由于建筑形制的单一性和功用的多元性，以及建 筑在中国历史上作为一门技艺的次等地位，使得这种归类没有必要和需求， 另一方面是因为文化活动的公共性从没有在公共建筑层面上受到有意识的 强化和推广。20世纪前，除了礼乐、教育等制度性的活动之外，观赏、交 流、分享等自由的文化行为对室内建筑空间很少有专门的需求，这些行为要 么发生在户外的集市和山野，要么就是以私宅雅集的方式浸润在日常生活当 中。 在今天，中文里“文化”一词的概念在经历了百多年的“现代化”之 后，已经广泛到无法进行确切定义。几乎什么都可以被称作“文化”。而 “文化建筑”这个近现代从西方舶来的词组，反倒拥有了相对清晰的认知范 畴，因为在建筑界，大家对“文化建筑”中容纳的文化活动都有着相对狭义 的、约定俗成的共识，比如本书中选择的图书馆、美术馆、纪念馆、剧院、 音乐厅、社区文化活动中心等。这些专项建筑称谓来源于现代建筑体系中以 使用功能为原则的分类法。 进入21世纪，中国持续高速的经济发展客观导致了更多精神文明的滞 后，无论是自下而上的实际需要，还是自上而下的政治诉求，都呼唤“文化 建设”的发展和繁荣。“文化”的真正提升不可能一蹴而就，作为其硬件载 体的“文化建筑”却可以通过短期的努力而蔚为大观，加之现有经济力量的 支持，“文化建筑”在中国的繁荣期已经到来，而且相信还会持续多年。这 一方面为建筑师的实践和中国现代建筑的发展提供了广阔的舞台和良好的机 遇，另一方面也必然会引发我们进一步思考“文化建筑”在当代中国社会所 面临的挑战和危机。我认为主要表现在两个方面： 其一，文化建筑中越来越专门化的功能分类已经逐渐形成了新的桎梏。 许多城市在规划文化建筑时都力求“专业种类齐全”，歌剧院、音乐厅、美 术馆、图书馆、城市规划馆一个不能少，每项都要一个专门的建筑单体。建 筑师也只能遵照越来越专门化的、与功能分类对应的建筑规范（比如剧场设 计规范、图书馆设计规范等）来进行设计。在土地资源和材料资源都愈发紧 缺的当代中国，规划者和建筑师是否应该对此进行反思和修正？面对各种文



言



化行为走向多元和跨界的趋势，规划者和建筑师能否予以积极主动的回应？ 我期待文化建筑向多功能和复合型发展，努力结合区域规划，并有意识地运 用新媒介来整合、拓展文化活动，从而避免资源浪费和重复建设。对文化建 筑而言，这才是根本的可持续策略。 其二，文化建筑的硬件和软件处于失衡状态。由于文化建设已上升到 国家战略的高度，许多投资人特别是地方政府，都在计划兴建文化建筑。 在各种级别的文化建筑中，省市级的新建大型文化设施主要集中规划在新 城区的“主轴”上，有很强的“地标性”和“纪念性”诉求，加上各地间 的政绩攀比、设计和建造周期短暂，无论负责项目的建筑师水准高低，都 难免陷入重形象、轻内容的形式主义危机。而社区级、村镇级或民营投资 的中小型文化设施基本上按需建设，在建筑形象上也无过高诉求，优秀的 建筑师在设计这些项目时反而较容易从实际的空间需求和文化体验出发， 呈现出相对亲切自然的创新作品。然而，有“文化建筑”的地方不等于就 有“文化”。无论规模大小，大部分文化建筑都面临运营管理方面的缺 失。日常运作需要改善效率，有水准的策展人、演艺策划更是凤毛麟角。 可以预计，这种软件发展明显落后于硬件发展的状态仍将持续很久。如果 长期缺乏对运营理念的理解，我们很难期待建筑师能设计出建筑语言与文 化体验高度融合的水准之作。 繁荣与危机俱在，机遇和挑战共存。通过本书中27件在中国建成的作 品，我们可以约略描绘21世纪初近十年以来建筑师们回应“文化建筑”这 一命题的图景，可以解读他（她）们在这些双刃剑般的条件下所付出的努 力、妥协与坚持。希望这本合集不仅能够呈现中国当代文化建筑实践的成 果，更能帮助我们相互学习和借鉴，促使我们以批判性的态度积极思考，并 不断追问文化建筑的未来。



祝晓峰 哈佛大学建筑学硕士 山水秀建筑事务所主持建筑师



CONTENTS



008



SHANXI GRAND THEATRE 山西大剧院



018



SERVICE COMPLEX BUILDING FOR STUDENTS OF BUCEA 北京建筑工程学院新校区学生综合服务楼



024



FEI XIAOTONG MEMORIAL IN JIANGCUN VILLAGE 费孝通江村纪念馆



032



359TH BRIGADE ARAR SETTLEMENT MEMORIAL HALL AND PLAZA 三五九旅屯垦纪念馆和纪念广场



040



MASSACRE NANJING MEMORIAL HALL EXTENSION 侵华日军南京大屠杀遇难同胞纪念馆扩建工程



052



ZHUJIAJIAO MUSEUM OF HUMANITIES & ARTS 朱家角人文艺术馆



062



G-DOT ART SPACE 贵点艺术空间



070



JIA PINGWA LITERARY ART MUSEUM 贾平凹文学艺术馆



076



ZHENGDONG DISTRICT URBAN PLANNING EXHIBITION HALL 郑州郑东新区城市规划展览馆



084



MOUNT HUA VISITOR CENTRE 华山游客中心



094



CULTURE AND SPORTS CENTRE, ANTING 安亭镇文体活动中心



104



JINTAO VILLAGE COMMUNITY PAVILION 金陶村村民活动室



112



NORTHSTAR DELTA PROJECT EXHIBITION CENTRE 北辰长沙三角洲项目展示中心



118



N4A JIANGNAN HEADQUARTERS MUESUM 新四军江南指挥部展览馆



006



目



124



录



YINCHUAN CULTURE AND ART CENTRE 银川文化艺术中心



136



NEW JIANG WAN CULTURAL CENTRE 新江湾文化中心



148



BAOTOU CHILDREN’S PALACE AND LIBRARY 包头市少年宫、图书馆



158



NEW LIBRARY OF CONGHUA CITY (PHASE I) 从化市图书馆新馆（首期）



168



LIBRARY IN CHONGQING UNIVERSITY HUXI CAMPUS 重庆大学虎溪校区图书馆



178



ZHEJIANG ART GALLERY 浙江美术馆



190



SPSI ART MUSEUM 上海油雕院美术馆



200



NINGBO MUSEUM OF ART 宁波美术馆



210



DAFEN ART MUSEUM, SHENZHEN 深圳大芬美术馆



220



SHANGHAI MUSEUM OF CONTEMPORARY ART 上海当代艺术馆



232



SONGZHUANG ART CENTRE 宋庄美术馆



240



ERDOS ART GALLERY, INNER MONGOLIA 内蒙古鄂尔多斯美术馆



250



INSIDE-OUT ART CENTRE 中间艺术馆



256



INDEX 索引



007



SHANXI GRAND THEATRE



Taiyuan, Shanxi Province ZHOU Wenyi, Chambron Pierre / ARTE-Charpentier 山西大剧院 山西省 太原市 周雯怡，皮埃尔·向博荣 / 夏邦杰建筑设计公司 Gross Floor Area: 72,100m2 Design/Completion Time: 2008/2012 Architect : ZHOU Wenyi, Chambron Pierre / ARTE-Charpentier Design Team: SUN Hongliang, Antonio Frausto, LAI Xiangbin, SONG Yang, FENG Yiqin Associate Architect: Shanxi Architectural Design Institute Photographer: SHEN Zhonghai, ZHOU Wenyi, Chambron Pierre 建筑面积：72100平方米 设计/建成时间：2008年/2012年 建筑设计：周雯怡，皮埃尔·向博荣 / 夏邦杰建筑设计公司 设计团队：孙宏亮，安东尼奥·福罗斯托，赖祥斌，宋扬，冯一秦 合作单位：山西省建筑设计研究院 摄影师：沈忠海，周雯怡，皮埃尔·向博荣



Located in Changfeng Culture and Business District in Taiyuan, in the centre of the Cultural Green Island on the riverside of Fen River, Shanxi Grand Theatre is not only the visual focus, but also transparent for the landscape to extend. It forms an ordered enclosure space with other cultural architectures on Green Island. They process a unified yet changeable visual relationship. The architects imagine the space as a window open to Fen River, or a viewing frame, which frames the nearby Fen River and the distant West Mountain. The main building is 57.5 metres high, 210 metres long. The rising terraces on which it lies form a feeling of gradually accessing the lofty art world and also provide a viewing terrace for Green Island and Fen River. The gate-type space is divided into a main theatre with 1,600 seats and a music hall with 1,200 seats. Under the terrace is a 600-seat small theatre, an exhibition hall, a ticket lobby, a sharing hall, a gift shop, a bookshop, a coffee shop and other service facilities. The architecture, the city plaza and the landscape of Fen River form a fluid, common and unified relationship. When holding large-scale outdoor events, the gate-type space and entrance terrace can be taken as an open stage to the city. Paved with red carpet, this space will become a brilliant place for famous cultural events such as famous film festivals.



Site Plan 区位图



008



1



009



2



The architecture is designed in a modern sculpture form, whose folded surface is precisely cut in rational geometric patterns. It stretches like an ancient architecture in Shanxi and uses a modern way to symbolize the deep and rich culture of Shanxi. The skin treatment achieves a nearly monumental pure effect. The main façade and the top employ light-coloured stone curtain wall, which is combined with transparent glass screen to create a strong contrast between solidness and transparency. According to different lighting conditions during a day, the façade will present various effects.



Focus of Axis and Perspective 轴线的焦点和通透



010



Standing right on the bank of Fen River, in the centre of the city axis, it seems like an art entrance open to the city, which leads people into the palace of culture and is a shared stage for public events. It is also a city gate with the decent Civic Plaza to the west and the lush Green Island Park to the east. Furthermore, it is a bridge between them and is a viewing frame for Fen River and East and West Mountains of Taiyuan.



3 1. Theatre entrance hall detail 2. Aerial view of overall building 3. Façade facing the park and Fen River 1. 大剧院室内门厅一侧 2. 总体鸟瞰图 3. 面向公园和汾河



山西大剧院位于太原长风文化商务区内，汾河畔的文化绿岛中央，它 既是视觉的焦点又必须是通透的，使景观得以延伸。它与绿岛其他文化建筑 一起形成有秩序的空间围合，使其相互之间拥有既统一又富有变化的视觉关 系，建筑师把它设想成一个对汾河敞开的窗口，一个取景框，它将近处的汾 河和远处的西山一并框入构图中。 主体建筑高57.5米，长210米，位于层层平台上，形成渐渐进入崇高艺 术世界的效果，也为绿岛和汾河提供观景平台。门式空间两侧分别为1600 座主剧场和1200座音乐厅，平台下布置有600座小剧场和展览大厅，以及售 票厅、共享大厅、纪念品店、书店、咖啡厅等配套设施。建筑与城市广场、 汾河景观之间形成流动的、共融的、浑然一体的关系。在举行大型露天活动 时，门式空间和入口平台可以作为向城市敞开的舞台，在这里将铺起众星璀 璨的红地毯，举办国内外著名电影节等文艺活动的场所。 整体造型拥有现代雕塑般的力度，折叠的界面形式具有一定的严谨的理 性几何性，如同山西古建筑那么舒展大度，以神似的方式，现代的手法象征 着山西凝重渊远的文化。表皮的处理上达到一种近乎纪念性的纯净效果，主 体立面和顶部采用浑然一体的浅色石材幕墙，与局部透明玻璃幕结合，形成 强烈的虚实对比的效果，在一天中不同的时间与光照条件下，产生不同的光 线效果。 屹立在汾河之畔，城市轴线的中心，山西大剧院是一扇向城市敞开的艺 术之门，引导人们进入文化的殿堂，是市民共享的公共活动舞台。它也是一 座城市之门，其西侧是庄重肃穆的市政广场，东侧是郁郁葱葱的文化绿岛公 园，它在两者之间形成一种沟通，成为太原市东西山脉和汾河的取景框。



011



4 4. West view 5, 6. Night view of exterior 7. Entrance hall of theatre 8. Interior view of theatre 9. Interior view of entrance hall of concert hall 4. 西侧实景照片 5,6. 外观夜景 7. 大剧院门厅 8. 大剧院内景 9. 音乐厅室内门厅一侧



5



012



Structural Concept 穿越建筑的构思



6



Sections



剖面图



013



7



8



014



9



015



016



Standard Floor Plans 标高平面图



017



SERVICE COMPLEX BUILDING FOR STUDENTS OF BUCEA Beijing HU Yue / Beijing Institute of Architectural Design 北京建筑工程学院新校区学生综合服务楼 北京 北京市建筑设计研究院 Gross Floor Area: 4,443m2 Completion Time: 2011 Architect: HU Yue / Beijing Institute of Architectural Design Photographer: CHEN Su 建筑面积：4443平方米 建成时间：2011年 建筑设计：胡越 / 北京市建筑设计研究院 摄影师：陈溯



The building is located at the Daxing new campus of Beijing University of Civil Engineering and Architecture, which is a small public building in the student's dormitory area. The main issue is function transformation. In the early stages of the campus construction, the building will be utilized as a commercial facility, and then the function of the building will be converted into a multi-functional architecture after the completion of campus construction. Thus the client proposed many ideas: exhibition hall, multi-function hall, activity centre, indoor stadium... In view of this



situation, the architects hold the free switch of function as the starting point of the design and formulate the following key points: single-storey / no column; unit module combination; the electrical equipment will provide favourable conditions for function conversion; the interlayer will use easily removable and recyclable materials; increase the energy conservation and environmental protection facilities. According to the key points of the design, the architects put forward a 60 metres x 60 metres square layout, which is formed by 10 metres x 10 metres units, and each unit is composed of a skylight in the middle and four sides of sloping roof. On the basis of the basic shape, considering the requirement of energy-saving, they put forward a couple of main measures, and finally take form of the current shape. Measures 1: Since the building is only a single-storey one, the thermal insulation of the roof is tough. Therefore, the architects decided to add a layer of concrete roof right above the four-side slope roof in opposite direction, and at the same time, they hided a 2-metre-high beam between two layers of the roof. Measure 2: The skylight in the middle is openable for ventilation.



1



018



Measure 3: The architects designed a porch along the outside of the building to provide shade for the big windows that connect with the surroundings, and meanwhile provide a semi-open space for shops and students activities. Another important function of the porch is to provide support for the largespan beam. In order to enrich exterior elevation, the porch was processed by cutting the outside unit after turning around the axis.



2



019



该建筑位于北京建筑工程学院大兴新校区内，是学生宿舍区内的一个 小型公共建筑。它面临的最主要的问题是功能转变。该建筑在校园建设的 初期，将做为宿舍区的配套商业设施，校园基本形成后的功能将转换成一 个多功能建筑。就此校方提出了多种设想：多功能厅、展厅、活动中心、 室内体育馆……针对这种情况，我们将功能的自由转换做为设计构思的出 发点，并制定了下列设计要点：一层；无柱；单元式模块组合；电气、设 备为功能转换提供有利条件；内部夹层采用较易拆除和可回收的材料；增 加节能环保设施。根据设计要点，我们提出了一个由10米×10米单元排列 形成的60米×60米的正方形平面，每个单元由中间的一个天窗和四坡屋顶 组成。在这个基本形状下，结合节能要求提出几个重要措施，最后形成了 现在的造型。



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措施1：由于该建筑是一个单层建筑，屋顶的保温隔热是一个不好解决 的问题。因此，我们在四面坡的屋顶上又增加了一层混凝土的反向四面坡 屋顶，同时将2米高的大梁隐藏在两层屋顶之间。 措施2：中间天窗采用可开启的方式以便通风。 措施3：在建筑外侧设置了一层外廊，为外侧的大窗户提供了遮阳，同 时也为店铺和学生活动提供了一个半室外空间，外廊的另一个重要的功能 是为大跨度的梁提供了支撑。另外，为了丰富外立面，将外廊处理成在轴 网旋转后将外侧单元进行切割的形式。



1. Aerial view of overall building 2. Exterior detail 3. Overall view of exterior 1. 鸟瞰透视图 2. 外立面局部 3. 外观全景



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Volume Relation Analysis Drawing 体量关系分析图



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4. Perspective drawing from south-west 5. Perspective drawing from north-east 6. East façade 7. Interior rendering 4. 西南人视点透视图 5. 东北人视点透视图 6. 东立面图 7. 室内效果图



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Ground Floor Plan: 1. Multi-function hall 2. Entrance lobby 3. Porch



一层平面图: 1. 多功能厅 2. 门厅 3. 外廊



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FEIXIAOTONG MEMORIAL IN JIANGCUN VILLAGE



Kaixiangong Village, Qidu Town, Wujiang City, Jiangsu Province LI Li 费孝通江村纪念馆 江苏省 吴江市 七都镇 开弦弓村 李立 Site Area: 10,000m2 Gross Floor Area: 2,234m2 Design/Completion Time: 2009-2010/2010 Architect: LI Li Design Institute: Suzhou 9-Town Design Studio for Urban Architecture, Architecture and Urban Design School of Tongji University Photographer: YAO Li 占地面积：10000平方米 建筑面积：2234平方米 设计/建成时间：2009-2010年 / 2010年 建筑设计：李立 设计单位：苏州九城都市建筑设计有限公司， 同济大学建筑与城市规划学院 摄影师：姚力



Fei Xiaotong Memorial in Jiangcun Village is located at the starting point of Mr. Fei Xiaotong’s sociology studies – Kaixiangong Village. The project consists of Fei Xiaotong Memorial Hall, Fei Dasheng Memorial Hall and Jiangcun Village History and Culture Hall. The site is an abandoned land on the edge of the village, with complicated surroundings. The designers realize that with the improvement of the surrounding traffic condition, this site has a potential to become the public centre of the village. Therefore, with the fundamental goal of improving people’s life and serving the village, the design strategy takes the development of this memorial as a great chance for optimizing Kaixiangong Village’s public space. With an analysis of site characters, the designers decide to take the camphor trees on the north as the key elements for the architectural layout. These camphor trees are important landscape signals for the village, as well as a hub connecting bridges in the village. So the architecture is divided into different parts, with a layout of central visual corridors. The architectural complex is arranged along the site, and in consequence there leaves an empty space in the centre of the site. The project is not isolated from the surrounding market, village committee and primary school, but connects to them moderately, making this memorial a real public space for the village. In terms of building types, the elements of hall, corridor, pavilion, lane and courtyard respond to the gardens in South China, while the precise opposite scenery treatments of reverses and intervals add visual tension for the scattered building groups and enrich the space experience in the process. The interior design is smooth and fluid, creating continuous and unified spaces.



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Site Plan of the Village



村落总平面



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2 费孝通江村纪念馆位于费孝通先生社会学调查的起点— 开弦弓村。 在建筑功能上，由费孝通纪念馆、费达生纪念馆以及江村历史文化馆三部 分组成。 建筑选址位于村落边缘的一处废弃用地，周边环境混杂。设计者认识 到随着村落周边交通条件的改善，这块废弃用地存在着转化为新的村落公 共中心的潜力，所以设计策略立足于改善民生、服务乡村这个根本目标， 将纪念馆建设视为优化开弦弓村落公共空间的重要契机。设计充分研究了 场地特点，基地北侧的香樟树成为决定建筑布局的最关键因素。这几株香 樟树是村落的重要景观标识节点，也是连接村内跨河桥梁的枢纽，于是建 筑化整为零、让出中间视廊的布局形成。 建筑群体沿基地周边布置，空出了中心场地。建筑没有与周边的农贸 市场、村委会和小学校隔离，而是适度连通，使得纪念馆作为必经之路真 正成为村落的公共场所。 在建筑类型构成上，堂、廊、亭、弄、院等元素回应了江南园林特 点，并通过形体扭转与扭转间隙精确的对景处理给分散的建筑群体增强了 视觉张力，丰富了行进中的空间体验。建筑室内外设计一气呵成，创造出 完整连贯的空间意象。



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Site Plan 总平面图



1. The gap 2. Main building with inverted reflection in water 3. Camphor trees deciding the layout of the building 4. Corresponding volumes



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1. 缝隙 2. 主馆安静的倒影 3. 香樟树主导了建筑布局 4. 建筑群体的对应



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Floor Plan: 1. Entrance plaza 2. The pond 3. Fei Xiaotong Memorial Hall 4. Fei Dasheng Exhibition Hall 5. Courtyard 6. Jiangcun Village History and Culture Exhibition Hall 7. Entrance hall 8. Auditorium 9. Corridor of steles 10. Teahouse 平面图： 1. 入口广场 2. 池塘 3. 费孝通纪念厅 4. 费达生江村陈列馆 5. 庭院 6. 江村历史文化陈列馆 7. 门厅 8. 报告厅 9. 碑廊 10. 茶室



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5 5. Architectural elements in South China 6. Dusk view of exterior 7. Entrance hall of main building 8. Views of the building group 9. The hanging wall and perspective view of interior 5. 江南建筑元素 6. 黄昏外景 7. 主馆入口门廊 8. 建筑洞口对周边景物的截取 9. 悬挂的四壁与透视的迂回折叠



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359TH BRIGADE ARAR SETTLEMENT MEMORIAL HALL AND PLAZA



Arar, Xinjiang Chambron Pierre, Sanchez Luis / ARTE-Charpentier 三五九旅屯垦纪念馆和纪念广场 新疆 阿拉尔市 皮埃尔·向博荣，路易斯·桑切斯 / 夏邦杰建筑设计公司 Gross Floor Area: 10,000m2 Design/Completion Time: 2008-2009 / 2010 Architect: Chambron Pierre, Sanchez Luis / ARTE-Charpentier Design Team: YAN Meng, SUN Hongliang, FENG Yiqin Photographer: Chambron Pierre, ZHOU Wenyi 建筑面积：10000平方米 设计/建成时间：2005年/2009年 建筑设计：皮埃尔·向博荣，路易斯·桑切斯 / 夏邦杰建筑设计公司 设计团队：严萌，孙宏亮，冯一秦 摄影师：皮埃尔·向博荣，周雯怡



Located in Arar, a city in the south of Xinjiang, on the riverside of Tarim River, the memorial hall composes an urban axis with the City Hall, City Park and the well-known Tarim River. The original plan was to build a memorial hall, a memorial tablet and a city plaza. After various considerations, the architects decided to put the three together, forming a group of “urban sculptural architecture”, which both processes a strong visual shock and is a functional public place. The inspiration comes from stately Mount Tianshan and the vital glaciers. The architects used rising slanted shapes to form a terraced pyramid, with water features surrounded, sybolizing glaciers and exuberant vitality. The plaza pavement and rising roofs are both made of granite, as if they are rising from the ground. The interior glass surfaces enclose a raised terrace as a new public plaza, from where people can overlook the whole park. The main spaces are located semi-underground, corresponding with the local weather conditions of large temperature differences and drought



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desertification, achieving an energy-saving effect - cool in summer and warm in winter. The natural light brought in by the glass pyramids guides the public to the underground space. Visitors enter the under-water space from the descending ramp and enter the memorial hall from north to south. On the other side is a rising ramp leading to the outdoor central plaza and the altitude difference forms an outdoor terraced theatre. In the desert, direction plays an important role; here the paths among pyramids all lead to the centre of the hall. The site plan looks like a radiating brilliant star, guiding people from different directions. In the landscape design, the architects used linear water channel running through the park and drew two time lines representing the past, today and the future. The memorial hall witnesses the history, the city hall represents today, and the park facing Tarim River reflects the future. The urban axis transgresses the space time from north to south. The memorial hall is peacefully reflected in the surrounding ponds, sybolizing meditation on history.



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2 纪念馆位于新疆南部塔里木河畔的阿拉尔市，与已建成的市政府大 楼、城市公园和著名的塔里木河共同构成城市的中轴线。最初的设想是建 设一座纪念馆、一座纪念碑和一个城市广场。经过多轮设计构思，最终建 筑师将这三者合为一体，成为了一组“城市雕塑建筑”，使之既具有强烈 的视觉震撼力，又是一处公共活动场所，同时又满足使用功能要求。 设计构思源自雄伟的天山和为万物带来生机的冰川。建筑师采用了升 起斜面的造型手法，形成错落有致的金字塔体量，周边以水景围绕，象征 了冰山和顽强的生命。广场铺地和渐渐升起的屋顶同为花岗岩石材，使建 筑本身犹如地面渐渐升起。内侧玻璃面围合出一个抬高的平台，是一个新 的公共活动广场，从这里人们可以眺望整个公园。 主要功能空间位于半地下，正好符合该地区温差极大、干旱沙化等气 候条件，达到天然的夏凉冬暖的节能效果。玻璃锥体带来的自然采光引导 着地下公共活动空间。参观者通过渐渐下降的坡道进入水面之下，从北向 南进入纪念馆。在其一侧另有一条逐渐上升的坡道，引导人们到室外的中 心广场，同时，在另一侧利用高差形成一个室外阶梯剧场。在沙漠中，方 向至关重要，在这里，在各个三角锥体之间的小径都导向纪念馆的中心， 使整个总平面看上去像一颗光芒四射的北极星，引导来自各方的人们。 在周边的景观设计中，建筑师采用直线型水渠贯穿整个公园，在沙漠 中刻画出两条时间轴，体现了过去、今天和未来的主题。纪念馆见证了历 史，市政府代表了今天，而面对着塔里木河的公园则体现了未来。整组城 市轴线从北到南逾越时空，纪念馆静静地倒映在周边的水池中央，象征着 对历史的沉思。



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1. Waterfront of memorial plaza - meditation history 2. Overall view of building 3. The building seems rising up from the ground 1. 纪念广场水景—对历史的沉思 2. 建筑全景 3. 建筑如从地面升起



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区位图



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4 4. Concept model 5. Terrace enclosed by cone structures 6. Site plan 7. Ample lighting of interior 4. 构思草模 5. 锥体围合出的平台 6. 总平面图 7. 内部充足的自然采光



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Ground Floor Plan: 1. Exhibition hall 2. Administration 3. Auditorium 4. VIP room 5. Projection room 6. Stage 7. Central exhibition 8. Exhibition hall 9. Reception desk 10. Media-tech centre 11. Main entrance



一层平面图： 1. 展览厅 2. 办公后勤 3. 演播大厅 4. 贵宾室 5. 放映室 6. 舞台 7. 中心展厅 8. 展览厅 9. 接待台 10. 媒体中心 11. 主入口



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First Floor Plan: 1. Entrance 2. Exhibition hall 3. Media-tech centre



Second Floor Plan: 1. Coffee bar 三层平面图： 1. 咖啡厅



二层平面图： 1. 入口 2. 展览厅 3. 媒体中心



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MASSACRE NANJING MEMORIAL HALL EXTENSION Nanjing, Jiangsu Province Architectural Design and Research Institute of SCUT 侵华日军南京大屠杀遇难同胞纪念馆扩建工程 江苏省 南京市 华南理工大学建筑设计研究院



Site Area: 74,000m2 Gross Floor Area: 20,000m2 Design/Completion Time: 2005/2007 Architect: Architectural Design and Research Institute of SCUT Design Team: HE Jingtang, etc. Photographer: Courtesy of the architect Award: First Prize in International Competition, 2005 Grand Prize, ASC Architecture Creation Awards in Celebration of China’s 60th Anniversary, 2009 Excellence Prize, ASC Architecture Creation Awards, 2008 Gold Pr ize, ASC Blue Star Cup 5th China Weihai I nter national Architecture Design Award, 2009 First Prize, Ministry of Education Excellent Architecture Design Award, 2009 Guangzhou Registered Architects Association Excellent Architecture Creation Award, 2007



占地面积：74000平方米



Located on the east and west sides of the existing Memorial Hall, the extension includes new addition of Memorial Hall, renovation of Skeletal Remains and Peace Park. Highlighting the historic site theme and respecting the existing architecture, the architects create an overall atmosphere, with wall, scars, courtyard of death, memorial ceremony courtyard and path of candles as architectural elements to express a unique sense of place. The concept combines war, massacre and peace from east to west, with “Broken Sword”, “Courtyard of Death” and “Casting Sword into Plough” as counterparts. The three spaces form a complete spatial sequence of “Prelude - Bedding - Climax - Ending”. From the enclosure and isolation in the east to the opening in the west, the spaces are integrated with the urban and natural environments.



Respecting the Existing Building Since it is an extension project, the architects always focus on keeping harmony with the existing building. The architects adopted a “volume elimination” design method, and buried the main body of new building underground when they decided the building shape, reducing influence of this new building towards the existing one. The new building gradually rises to the east, and the roof is treated as memorial plaza, which emphasizes the special features of the new memorial and reduces pressure that the new building brings to the existing one. In addition, the architects take the existing memorial building scale as model, and arrange a series of small volumes with similar size, including Skeletal Remains Protection



建筑面积：20000平方米 设计/建成时间：2005年/2007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 等 摄影师：图片由建筑师提供 奖项：国际竞赛第一名 (2005年)； 中国建筑学会建国60周年建筑创作大奖（2009年）； 中国建筑学会建筑创作奖 优秀奖 (2008年)； 中国建筑学会蓝星杯第五届中国威海国际建筑设计大奖金奖 (2009年)； 教育部优秀建筑设计奖一等奖 (2009年)； 广东省注册建筑师协会优秀建筑创作奖 (2007年)



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2 building and Meditation Hall, which are connected by a central axis, to achieve unification of space scale and order. The memorial collection communication area in the west was also divided into smaller volumes. Meanwhile, the new and existing buildings have the same architectural language and design methods, which bring the impression of whole building to visitors. Creating a Memorial Place The architects thought that this extension project was not only an architectural design, but also a series creation of memorial places, in order to emphasize the spirit of the place. In the entrance plaza, the architects use lifeless-featured detritus to pave the plaza, in order to express the spirit theme of “life and death”. The interior space of the new building is unified with the building shape, and uses gradient wall and ramp floor to composite a kind of unusual inner spaces with disorder and conflict, to express the space spirit, which meets the exhibition theme. In the Peace Park, the architects use a huge strip-like pool to directly lead people’s eyes to the statue of Irene at the end of the pool, expressing the space spirit of “yearning towards peace”. The architects re-adjusted design connecting with the skeletal remains, which was found while constructing, and added transparent flooring and skylight to show the original remains. The length of south elevation of the new building is more than 180 metres. The architects specially think about the stone skin and unit size change to meet the required feeling of strength and vicissitudes. In this skeletal remains protection building, sand-stone flooring, aged steel bridge and dim lighting were used to show the historic feeling coming from the spot of the victims.



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1. West view of the building 2. East view of the building 3. Bird’s-eye view of overall building 1. 纪念馆西侧 2. 纪念馆东端 3. 纪念馆全景鸟瞰



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北立面图



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4. Exterior wall detail 5. Peace Park 4. 纪念馆外墙局部 5. 和平公园



Sections 剖面图



Roof Plan (Below): 1. Exit & entry of garage 2. Parking zone for coaches 3. Exit of underground 4. Theme sculpture 5. Torch platform 6. Main entrance 7. Pool



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屋顶平面图（下图）： 1. 车库出入口 2. 大客车停车场 3. 地铁出口 4. 主题雕塑 5. 火把台 6. 主入口 7. 水池



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Ground Floor Plan: 1. Main entrance 2. Entrance hall 3. VIP reception hall 4. Theatre 5. Path 6. Void over scene atrium 7. Cross hall 8. Void 9. Theme exhibition area



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10. Basic exhibition area 11. Void over exhibition hall 12. Storage 13. Void over remembrance hall 14. Power room 15. Void over foyer 16. Exterior pathway 17. Exit & entry of garage 18. Exit



一层平面图： 1. 主入口 2. 门厅 3. 贵宾接待 4. 影视厅 5. 栈道 6. 情景中庭 的上空 7. 过厅 8. 上空



9. 专题陈列区 10. 基本陈列区 11. 展厅上空 12. 储藏间 13. 国殇厅上空 14. 强电间 15. 休息厅上空 16. 室外通道 17. 车库出入门 18. 出口



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6 6. Side view of the building 7. Entrance hall of the memorial 8. Inner porch of sacrifice yard 9. Roof memorial plaza 10. Overall view of sacrifice yard 11. Prologue hall 12. Interior of skelecton remains 13. Atrium exhibition hall



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6. 建筑侧景 7. 纪念馆入口门厅 8. 祭奠庭院内廊 9. 纪念馆屋顶纪念广场 10. 祭奠庭院全景 11. 纪念馆序厅 12. 万人坑室内 13. 纪念馆中庭展厅



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9 扩建范围位于现有纪念馆的东西两侧，主要包括新扩建纪念馆、万人 坑遗址改造以及和平公园三部分。本设计主要希望突出遗址主题，尊重原 有建筑，塑造整体氛围，以墙、伤痕、死亡之庭、祭奠庭院、烛之路等为 建筑元素表现特定的场所精神；总体构思以战争、杀戮、和平三个概念组 合，由东到西顺序而成，与此相对应的是“断刀”、“死亡之庭”、“铸 剑为犁”三个空间意境的塑造，形成序曲—铺垫—高潮—尾声的完整空间 序列；建筑空间从东侧的封闭、与世隔绝过渡到西侧的开敞，与城市、自 然融为一体。



精心处理细节 结合施工过程中现场发现的骸骨遗址，建筑师重新调整设计，加做了 透明地面和天光，使这一遗迹原貌展示。新馆南立面长度达到180米以上， 建筑师就重点考虑石材文理和单元尺寸的变化组合使其达到力度感和沧桑 感的要求。重新设计的万人坑遗址保护建筑内，采用了沙石地面、锈蚀钢 桥与昏暗的灯光的组合，充分表达了遇难现场的历史感。



尊重原有建筑 作为扩建工程，建筑师始终注意与原有纪念馆保持协调。在建筑尺 度上，为避免新建部分对原有纪念馆的影响，建筑师在确定建筑形体效果 时采用了“体量消隐”的设计手法，将新建的纪念馆主体部分埋在地下， 向东侧逐渐升高，屋顶作为倾斜的纪念广场。既突出了新馆的特殊风格， 又减少了对原有纪念馆的压迫感。再次，建筑师以原有纪念馆的体量为模 数，在扩建工程的设计中安排了 “万人坑”遗址保护建筑、冥思厅等一系 列尺度相近的小型建筑体量，并在设计中用一条中轴线将这些主要体量统 一起来，形成空间尺度和秩序的统一。此外，园区西侧的馆藏交流区也采 用了化整为零的手法。新老纪念馆建筑语言和手法统一，令参观者感觉浑 然一体。 营造纪念性场所 建筑师认为，这项扩建工程重要的不只是设计建筑，而是要营造一系 列纪念的场所，形成突出的场所精神。在入口纪念广场部分，建筑师以无 生命特质的级配碎石铺装广场，通过这一特殊的铺装材料来反映 “生与 死”的场所精神主题。新馆建筑内部空间结合形体特点，运用倾斜的墙体 和缓坡的地面，组合成一种错乱、冲突的非常态空间，表达同展览主题相 适应的场所精神。在和平公园，建筑师用巨大的长条形水池将人们的视线 直接引向水池终点的和平女神塑像，映衬出向往和平的场所精神。



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14 Basement Floor Plan (Below): 1. Corridor 2. Utility room 3. Monitor room 4. Cross hall 5. Cleanness 6. Electric 7. Void over scene atrium 8. Ac room 9. Communication room



14. New skelecton remains hall detail 15. Exit detail of the memorial 14. 新发现骸骨遗址展厅一角 15. 纪念馆出口局部



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10. Water treatment room 11. Atria 12. Service 13. Power room 14. Fire control duty room 15. Basic exhibition hall 16. Prologue hall 17. Storage 18. Lounge 19. Emergency evacuation path



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负一层平面图 （下图）： 1. 走廊 2. 杂物间 3. 控制室 4. 过厅 5. 清洁间 6. 配电 7. 情景中庭上空 8. 空调机房 9. 交流室



10. 水处理机房 11. 前室 12. 服务间 13. 强电间 14. 消防值班室 15. 普通陈列厅 16. 序厅 17. 贮藏室 18. 休息厅 19. 安全疏散 通道



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ZHUJIAJIAO MUSEUM OF HUMANITIES & ARTS Zhujiajiao Town, Shanghai Scenic Architecture Office 朱家角人文艺术馆 上海 朱家角古镇 山水秀建筑事务所 Site Area: 1,448m2 Gross Floor Area: 1,818m2 Design/Completion Time: 2008/2010 Architect: Scenic Architecture Office Design Team: ZHU Xiaofeng, LI Qitong, XU Lei, DONG Zhiping, ZHANG Hao Structural & MEP: Shanghai Xiandai Huagai Architectural Design Ltd. Materials: White painted wall, glass, zinc panel roofing, granite Photographer: Iwan Baan 占地面积：1448平方米 建筑面积：1818平方米 设计/建成时间：2008年/2010年 建筑设计：山水秀建筑事务所 设计团队：祝晓峰，李启同，许磊，董之平，张昊 结构与机电设计：上海现代华盖建筑设计有限公司 材料：白墙、玻璃、锌板屋面、锈石 摄影师：伊万·班



As the most integrally preserved canal-town in Shanghai, Zhujiajiao attracts an increasing number of visitors every single year with its authentic tradition of eastern China. The site, located at the entry of the old town, faces two 470-year-old ginkgo trees. This 1,800-square-metre museum will house paintings and other art works related to the history of Zhujiajiao. The design approach is to delineate an art-visit experience that is rooted in Zhujiajiao. The architecture will be the carrier of this experience. In the spatial allocation, the central atrium becomes the heart of the circulation. On the ground floor, the atrium brings natural light into the surrounding galleries through carefully positioned openings. On the first floor, a corridor around the outskirt of the atrium links several dispersed “small-house” galleries and courtyards, which can provide diverse spaces for small exhibitions and events. This building-courtyard layout makes a clear reference to the figure-ground texture of the old town, and orientates visitors to wander between the art works and the real sceneries with an experience of intimate interactions between matter and thought. A reflecting pool, laid in the east courtyard on the first floor, accomplishes an ultimate collection by "borrowing" the reflection of the ginkgo tree into the museum.



Site Plan



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2 作为上海保存最完整的水乡古镇，朱家角以传统的江南风貌吸引着日 益增加的来访者。人文艺术馆位于古镇入口处，东邻两棵470年树龄的古银 杏。这座1800平方米的小型艺术馆将定期展出与朱家角人文历史有关的绘 画作品。 我们希望在此营造一种艺术参观的体验，它将根植于朱家角，而建筑 是这一体验的载体。



在空间组织中，位于建筑中心的室内中庭是动线的核心。在首层，环 绕式的集中展厅从中庭引入自然光；在二层，展室分散在几间小屋中，借 由中庭外圈的环廊联系在一起，展厅之间则形成了气氛各异的庭院，适合 举办多个小型的展览活动。这种室内外配对的院落空间参照了古镇的空间 肌理，使参观者游走于艺术作品和古镇的真实风景之间，体会物心相映的 情境。在二楼东侧的小院，一泓清水映照出老银杏的倒影，完成了一次借 景式的收藏。



1. Path between water courtyard and north courtyard 2. Afterlight in Gingko Plaza 3. Bird's-eye view from south 4. Night view from Meizhou Lane 1. 连接水庭与北院的通道 2. 银杏广场黄昏 3. 北向鸟瞰 4. 美周弄夜景



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Axonometric Drawing



5. North courtyard 6. East courtyard 7. Water courtyard 8. Interior stairs 9. Exhibition hall 10. Interior stairs 11. Perspective view of interior 12. Lobby 13, 14. Interior detail 15. Reading room



鸟瞰轴测图



5. 北院 6. 东院 7. 水院 8. 室内楼梯 9. 展厅 10. 室内楼梯 11. 室内透视效果 12. 大厅 13, 14. 室内局部 15. 阅览室



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Layout Diagrams 平面分析图



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Ground Floor Plan (Above) and First Floor Plan (Right): 1. Entrance hall 2. Exhibition hall 3. Atrium 4. Checkroom 5. Administration office 6. Equipment 7. Café 8. Courtyard 9. Water courtyard



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一层平面图（上图）和 二层平面图（右图）： 1. 门厅 2. 展厅 3. 中庭 4. 存取 5. 管理办公室 6. 设备用房 7. 咖啡厅 8. 庭院 9. 水院



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G-DOT ART SPACE Beijng Atelier 100s 1 贵点艺术空间 北京 北京百子甲壹建筑工作室 Site Area: 2,664m2 Gross Floor Area: 1,500m2 Height: 10m Completion Time: 2010 Architect: Atelier 100s 1 Design Team: PENG Lele, HUANG Yi, LIN Chunguang, WANG Tiantian Photographer: ZENG Renzhen, HUANG Yuan 占地面积：2664平方米 建筑面积：1500平方米 建筑高度：10米 建成时间：2010年 建筑设计：北京百子甲壹建筑工作室 设计团队：彭乐乐，黄燚，林春光，王田田 摄影师：曾仁臻，黄源



Building Blocks Many artists rent houses in Songzhuang for living and painting. When the architects saw the first time that artists painted on the building blocks in the forms of grass and flowers of enclosing walls constructed by farmers with green and red colours, they found that it is very commonly seen in Songzhuang. Inspired by this, the project was finally realized with building blocks with patterns of grass and flower. Volume The project is composed of two buildings respectively on the north and south of the site. The south building as exhibition space presents the form of “the southern part being higher than the northern part”, accommodating



East Elevation



东立面图



South Elevation 南立面图



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exhibition in the higher space and office, storage and washroom in the lower part. The north building as residence shows a totally different form with sitting room and reading room in the higher part, living room and private gallery in the lower part. Light In the exhibition space, all the natural light comes from skylights to leave the wall for exhibiting. In order to differentiate the spatial features among lobby, small exhibition hall and large exhibition hall, the skylights are distinctly defined and combined. Living room and private gallery are also designed with skylights to make light well distributed.



West Elevation



North Elevation



西立面图



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2 砌块 在宋庄，有许多艺术家租用农民的房子居住、画画。当发现第一块农 民用于围墙上的花、草图案的砌块被艺术家用红、绿颜料描绘出花、草之 后，发觉这在宋庄以及周边区域应用得非常普遍。 “贵点艺术空间”坐落 在宋庄，因此选用花、草图案的砌块。 布局 在长方形的地块上南北两边各布置一栋建筑。南侧建筑为展览空间， 北侧建筑为居住功能。展览空间主体要求为高空间，为了不遮挡北侧居住



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剖面图



部分的阳光，将展览空间设计为南高北低，高的部分为展示，低的部分为 办公、储存、卫生间等辅助功能。居住部分北高南低，高的部分为小起 居、主人读书室等；低的部分为单层通高的客厅、私人画室等。 光线 为了留出更多的墙面给展览，展览部分的建筑光线全部来自于屋顶。 为了让走进门厅、小展厅、大展厅的观众能分辨出每个空间的特质，设计 了不同的天窗大小以及组合方式。居住部分起居、画室除了有南向光以外 也设计了天光，目的是为了让高深空间里的光线更加均匀。



3 1. Street side façade 2. Overall exterior 3. East façade 4. Street side façade 1. 沿街立面 2. 整体外观 3. 东侧立面 4. 沿街立面



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5 Space (Sunlight and Sightline) Relation (Below): 1. Sunlight from south 2. Sunlight from north 3. Bedroom 4. Horizontal sightline to tile roof 5. Living room 6. Vertical sightline to tile roof 7. Assistant 8. Exhibition hall



5. Courtyard 6. Overall view of courtyard 5. 庭院 6. 庭院全景



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空间（光线、视线）关系 （下图）： 1. 南向光 2. 北向光 3. 卧室 4. 平视瓦屋顶 5. 起居 6. 仰视瓦屋顶 7. 辅助 8. 展厅



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Roof Plan 屋顶平面图



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7 7. Entrance hall interior 8. Skylights in entrance hall 9. Interior of small exhibition hall 10. Interior of large exhibition hall



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7. 门厅室内 8. 门厅天窗 9. 小展厅室内 10. 大展厅室内



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Ground Floor Plan



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First Floor Plan 二层平面图



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JIA PINGWA LITERARY ART MUSEUM Xi'an, Shaanxi Province LIU Kecheng 贾平凹文学艺术馆 陕西省 西安市 刘克成 Gross Floor Area: 2,000m2 Completion Time: 2006 Architect: LIU Kecheng Design Firm: School of Architecture, Xi'an University of Architecture and Technology, Shaanxi Provincial Engineering and Technical Research Centre of Historical Site and Ruin Conservation Photographer: LIU Kecheng 建筑面积：2000平方米 建成时间：2006年 建筑设计：刘克成 设计单位：西安建筑科技大学建筑学院， 陕西省古迹遗址保护工程技术研究中心 摄影师：刘克成



The museum is located on one side of the central axis of the campus of Xi’an University of Architecture and Technology, which belongs to a historical site. This project is renovated from a printing factory built in 1970s. The structure of the printing factory used to be a simple two-storey brick and concrete building. The surface of the building is plain brick wall with grey paint.



a rough but fine-textured surface, which is in harmony with the plain brick wall in density. At the same time, the design also achieves an effect of “dry brick building” wall commonly used in the rural areas of Shaanxi Province from the aspect of culture.



The brief is that the building for Jia Pingwa Literary Art Museum should retain the look and features of 1970s after renovation. The relationship between history and reality should be dialogue rather than submission. The original inspiration of the design comes from the sunlight. Through several investigations on the spot, the designer finds that the lingering look of the shadow is the most appealing feature of the plain and simple building. The designer then takes photos of the building from six o’clock in the morning to seven o’clock in the afternoon. The shadow area changes in a very interesting way if you play the photos continually. The renovation retains the original plain brick wall and the deep colour painting. Glass, steel frame and concrete are introduced as the new elements of the old building. The structure of the old architecture remains almost as it used to be, and the new elements are positioned together with the old building in dialogue way. Steel frame, glass and concrete are unified into identical form logic according to the changes of the shadow, which breaks the mediocrity and stiffness of the old building. The steel frame includes three layers, namely, the main frame, the second frame and ornamental frame. Harmonious dialogue between the old and new elements is set up from different angles and densities. The reinforced concrete wall uses the common building waste material – bamboo splint – as the template to form



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South Elevation 南立面图



East Elevation



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West Elevation 西立面图 Design Sketches – Changing Volume of Light and Shadow



设计草图—变化的光影体积图



馆址位于西安建筑科技大学校园中轴线的一侧，属于学校的历史地 段。选择学校历史地段中建于20世纪70年代的印刷厂进行改造。印刷厂建 筑是一栋朴素的二层小楼(局部三层)，砖混结构，局部框架。表面清水砖 墙，外刷灰色涂料。



1. Light corridor interior view 2. Southeast façade 3. Entrance plaza 1. 光廊内景 2. 东南侧外景 3. 艺术馆入口广场



贾平凹文学艺术馆基于这样一种定位，在改造完成以后，这栋建筑还 应保持20世纪70年代的面貌和特征。在这里，历史和现实应当是一种对话 关系，而不是服从关系。 设计的最初启示来源于阳光。经过多次现场体验，设计者发现：对这 个平淡、朴实无华的建筑，光影的流盼是其最具魅力的特征。从早晨6：00 到下午7 : 00，每隔一小时拍一张照片，然后进行连续播放，可以看到由阴 影构成的一个体量发生着有趣的变化。



建筑保留原印刷厂老建筑清水砖墙、外刷深色涂料的基底，选择玻 璃、钢架和混凝土三种原建筑没有的词汇作为新因子介入。老建筑基本维 持不变，新构件以对话的方式与老建筑并置。钢架、玻璃与混凝土依据光 影变化，统一到同一形式逻辑，打破原建筑的平庸和呆板。钢架分主框 架、次框架和装饰性框架三层，以不同角度和密度，形成新老元素的和谐 对话。钢筋混凝土墙采用俯首可得的建筑废料— 竹条作为模板浇注，形 成粗糙而又富于肌理的表面，在密度上与清水砖墙和谐，在文化上造成一 种与陕西农村普遍使用的“干打垒”墙体类似的效果。



Sections 剖面图



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5 4. Lobby 5-7. Light corridor interior view 8. Exhibition hall on the ground floor 4. 门厅 5-7. 光廊内景 8. 一层展厅



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Ground Floor Plan (Left): 1. Lobby - Pingwa Hall 2. Light corridor - The Road of Literature 3. Exhibition hall 1 - Countryside 4. Exhibition hall 2 - Image 5. Exhibition hall 3 - City 6. Exhibition hall 4 - The World 7. Book room & Teahouse 8. Office 9. Service



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First Floor Plan (Left): 1. Exhibition hall 5 - Manuscript 2. Exhibition hall6 - Works 3. Exhibition hall 7 - Research 4. Exhibition hall 8 - Social Activity 5. Exhibition hall 9 - Calligraphy and Painting 6. Void over lobby 7. Void over light corridor 8. Writers Studio 9. Office



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一层平面图（左图）： 1. 门厅—平凹厅 2. 光廊—文学之路 3. 展厅1—乡村 4. 展厅2—映像 5. 展厅3—城市 6. 展厅4—世界 7. 书屋茶舍 8. 办公室 9. 服务



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二层平面图（左图）: 1. 展厅5—手稿 2. 展厅6—著作 3. 展厅7—研究 4. 展厅8—社会活动 5. 展厅9—书画 6. 门厅上空 7. 光廊上空 8. 作家工作室 9. 办公室



Roof Plan (Left) 屋顶平面图（左图）



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ZHENGDONG DISTRICT URBAN PLANNING EXHIBITION HALL Zhengzhou, Henan Province ZHANG Lei, QI Wei, GUO Donghai, CAI Zhenhua 郑州郑东新区城市规划展览馆 河南省 郑州市 张雷，戚威，郭东海，蔡振华 Gross Floor Area: 8,450m2 Completion Time: 2011 Architect: ZHANG Lei, QI Wei, GUO Donghai, CAI Zhenhua Photographer: YAO Li 建筑面积：8450平方米 建成时间：2011年 建筑设计：张雷，戚威，郭东海，蔡振华 摄影师：姚力



Zhengdong District Urban Planning Exhibition Hall, sited close to the completed school building on the north and east and the main arterial roads of the city on the south and west, is a rarely seen landmark building located in a street corner.



Site Plan 总平面图



The specific location defines the open structure of the building to show the welcoming gesture to the city. The ground floor was elevated to form a void space between the city and the building, bringing the lively atmosphere of the street to the site. The building was divided into two parts - the open exterior and the secrete interior. The interior space was wrapped by the solid walls while the exterior space seemed to be insubstantial. Inside, the independent circulation is actively linked to the dynamic one defining the exterior space. The entrance was designed in the traditional manner, making visitors' coming and exiting gesture become more interesting. The building itself resembles the gardens and squares in the city. 0



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East Elevation 东立面图



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Axonometric Drawing 鸟瞰轴测图



1. Northeast façade 2. Aerial view of overall building 3. North façade 4. Transparent building skin of south façade 5. Roof yard 1. 东北面 2. 全景鸟瞰图 3. 北立面 4. 南面透明性 建筑表皮 5. 顶层庭院



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郑东新区城市规划展览馆基地东面和北面紧邻已建成的学校，南面和 西面是主要的城市道路。这是一幢不多的位于街角的标志性公共建筑。角 部开敞是基地在特定位置向城市开放所表现的姿态，展览馆首层局部架空 形成了城市与建筑之间的灰色区域，通过它很快将街道的活力注入场地。 公共性的策略将建筑切分成反差极大的两部分，私有化的内部展览被 墙体的包裹而固化、公共性的漫步因为开放而虚空。展览馆内部空间在具 备独立完备动线的同时，其核心功能与穿越建筑体量的开放动线始终存在 着积极的交织，传统的标志性独立入口被分解成更多有趣的进入方式。开 放和漫游使得内外动线因为界面开合视线互动而成为不确定行为的事件空 间，建筑如同立体主义式的城市街边闲散游园和小广场。



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6. Public traffic 7. Steps at the entrance 6. 公共动线 7. 入口大台阶



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7 Ground Floor Plan, First Floor Plan, Third Floor Plan and Second Floor Plan (Right, clockwise): 1. Entrance lobby 2. Duty room 3. Reception 4. Fire control 5. Toilet 6. Exhibition hall of urban master plan 7. Exhibition hall of new zone layout 8. Exhibition hall of traffic model 9. Prologue hall 10. Multi-media classroom 11. Waiting area of meeting room 12. Meeting room 13. VIP lounge 14. Terrace 15. Void 16. Entrance hall of VIP zone 17. VIP lounge 18. Office 19. Changing room 一层平面图， 二层平面图， 四层平面图， 三层平面图 （右侧，顺时针）： 1. 入口大厅 2. 值班室 3. 接待室 4. 消防控制室 5. 卫生间 6. 城市规划展厅 7. 新区规划展厅 8. 交通沙盘展厅 9. 序厅 10. 多媒体教室 11. 会议室等候厅 12. 会议室 13. 贵宾休息室 14. 露台 15. 上空 16. 贵宾区门厅 17. 贵宾休息室 18. 办公室 19. 更衣室



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MOUNT HUA VISITOR CENTRE



Huayin, Shaanxi Province Architectural Design and Research Institute of Tsinghua University Co., Ltd. 华山游客中心 陕西省 华阴市 清华大学建筑设计研究院有限公司 Site Area: 9,165m2 Gross Floor Area: 8667.5m2 Design/Completion Time: 2008-2009/2011 Architect: Architectural Design and Research Institute of Tsinghua University Co., Ltd. Design Team: ZHUANG Weimin, ZHANG Kui, CHEN Qi, ZHANG Yuben Interior Design: Guangdong Huaxi Architectural Design Co., Ltd. Photographer: ZHANG Guangyuan, WANG Chenggang 占地面积：9165平方米 建筑面积：8667.5平方米 设计/建成时间：2008-2009年/2011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，张葵，陈琦，章宇贲 室内装饰设计：广东华玺建筑设计有限公司 摄影师：张广源，王成刚



Mount Hua Visitor Centre is located on the north foot of the famous national 5-A Mount Hua Scenic Spot, with Mount Hua on the south and Greeting Avenue of Huayin on the north, facing Huayin Railway Station at the north end of Greeting Avenue. The famous Xiyue Temple is 4 kilometres to the northeast of the site, so the visitor centre is connected with it through Gubai Pedestrian Street. The overall site area is 408,008.7 square metres. In design of this site backing to a mountain and facing to the city, the architects think that even there exists a certain axis, Mount Hua should be the eternal opposite scenery of the city and the architectural layout should give way to the main axis. Then, in the scale of the project, considering the tourist development, the client hopes that the visitor centre can combine some functions of hotel, restaurant and theatre. On one hand, the architects respect the function requirements of the project; on the other hand, according to Mout Hua Scenic Spot’s master plan and the future need to apply for World Cultural Heritage, they propose to build the hotel, restaurant and theatre on another site and only retain the basic functions for the visitor centre. So the architectural volume is minimized, and the design can meet the requirement of the master plan - better small than large, better low than high, better concealed than exposed. In addition, the design of Mount Hua Visitor Centre has considered the following three principles: first, it is a high-profile complex with certain cultural contents; secondly, the plan and design coexist with the surroundings; thirdly, with the principle of people first and protection of Mount Hua’s natural environment, the visitor centre will provide convenient amenities for visitors. N



The total construction area of Mount Hua Visitor Centre is 8,667.5 square metres, with its highest point at 13,565 metres. According to different functional requirements, the project is divided into two parts – east and west. The smaller west part is the visitors’ entrance, with functions of



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2 ticketing, consulting and guiding. The east part contains restaurant, gift shop, administrative office and other support facilities, as well as the exit. While the two individual buildings are located on two sides, the connection in the middle is a terrace with steps. The design not only echoes with the natural topography, but also is an effective connection between Mount Hua’s landscape on the south and the urban landscape on the north. On the terrace with different sizes of steps, you will enjoy Mount Hua’s magnificence on the south and urban and modern culture on the north. The design allows



West Elevation



East Elevation



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South Elevation



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visitors to enjoy an unobstructed view of Mount Hua’s elegance and beauty, wherever they stand. In the sense of architectural form, since the complex makes room for the main axis, the remarkable Mount Hua becomes an opposite scenery for the city, highlighting the existence of the mountain. The complex lies on the ground, softly touching the earth, while the sloped form merges into Mount Hua’s undulate topography. The grey tone of the stone used in the terrace and roof is reminiscent of the residences in central Shaanxi. The whole complex takes a simple and concise form and shows



respect for the environment and the site, and it is truly a carrier to connect the natural landscape and humanity, traditional culture and modern culture.



1. Roof detail 2. South-facing perspective 3. South view of the building



Undoubtablly, the majestic character of Mount Hua is "a miracle of God and boundless in the scale… once seeing it, you will totally be refreshed." In consideration with Mount Hua’s magnificence and its rich human landscape and history, the design process of this centre is accompanied with admire, respect and awe. The architects hope it suit Mount Hua’s natural magnificence.



1. 屋面局部 2. 南向透视 3. 建筑南侧效果



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4 4. North view 5. Bird’s-eye view - rendering 6. Sunken plaza and overall view of the building 4. 北侧效果 5. 鸟瞰效果图 6. 下沉广场及建筑全景



Commercial, service 商业、服务



Reception, service 前台、服务



Lobby, exhibition hall 门厅、展厅



Food court 餐饮



Restaurant 厨房



Toilet



卫生间



Backstage, administration 后台、管理



Assistant space Sections



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剖面图



辅助空间



华山游客中心项目用地位于著名的国家级风景名胜区华山的北麓，南 依华山，北侧正对华阴市迎宾大道，与迎宾大道北端的火车站遥遥相望。 用地北侧偏东约四公里处为著名的文物古迹西岳庙，并且在规划中通过古 柏步行街与西岳庙相连接。总用地面积408008.7平方米。对于这一背靠大 山、面向城市且处于城市干道尽端的特殊用地，建筑师认为即使存在某种 已有的轴线，但华山才应该是城市永恒的对景，而建筑的总图布局应该退 让主轴线。其次，在项目的规模上，基于旅游开发的角度，游客中心结合 了一定的酒店、餐饮及大型剧场等功能。一方面尊重项目的功能需求，另 一方面依据华山风景名胜区总体规划，同时考虑华山未来申遗的需要，建 筑师提出将酒店、餐饮、剧场等功能部分在核心景区之外异地重建，而在 原用地上仅仅保留游客中心最基本的功能，以便于将建筑的体量压缩至最 小。从而满足总体规划所要求的宜小不宜大、宜低不宜高、宜藏不宜露的 建筑设计原则。此外，华山游客中心的设计考虑了以下三个宗旨。首先， 它是具有高品位和一定文化内涵的综合性建筑；其次，在规划及建筑设计 上做到与周边环境相融共生；再次，以人为本，依托良好的自然环境,在保 护华山自然风貌的前提下，为游客提供便利服务的活动场所。 华山游客中心总建筑面积为8667.5平方米。建筑最高点高度13.565 米。在功能布局上，该项目结合不同的使用需求将建筑分为东西两个部 分。其中西侧部分体量较小，为游客进山通道，包括购票、咨询、导游服



务等功能。东侧为小型餐饮、纪念品购买、办公管理以及其他配套用房， 同时兼顾了出山通道。两个单体建筑拉向两侧之后，中间连接部分采用平 台拾级而上的设计手法既与自然地势相吻合，又是面南的华山景观与面北 的城市景观的一种有效衔接。在台阶宽窄、疏密相搭配的平台之上，向南 看到的是华山的雄姿，向北则回望城市，其面向的是城市和现代文明，背 靠着自然与人文历史传承。这样一种设计使得游客无论站在用地的入口或 者场地内的任何一个位置，均能够一览无余地看到华山嵯峨秀美的自然风 光。在建筑造型方面，由于建筑退让了主轴线，雄奇瑰伟的华山就成为城 市的对景，从而突显出山的存在。建筑则匍匐在大地之上，与大地轻触。 建筑斜坡顶的造型语言也与华山的山势起伏融为一体。平台和屋面的石材 色彩以关中地区民居建筑的灰色调为主，在颜色和质感上力求有文脉的呼 应。整座建筑造型简约朴素。其设计充分体现了对环境和建造场所的尊 重。使得建筑真正成为联系自然景观与人文特色、传统文化与现代文明的 一个载体。 华山风景名胜区自然景色的大气磅礴是毋庸置疑的，“洪炉作高 山，元气鼓其橐；俄然神功就，峻拔在寥廓；……能令下国人，一见换神 骨”。正是考虑到华山的这种磅礴气势以及它丰富的人文景观与历史传 承，华山游客中心设计的整个过程满怀仰慕之情、尊崇之感和敬畏之心， 希望贴近华山的自然大气。



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7 7. Terrace on the first floor 8. Interior restaurant



Commercial, service



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前台、服务



商业、服务



Reception, service Lobby, exhibition hall



8. 室内餐厅



门厅、展厅



Food court 餐饮



Restaurant 厨房



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卫生间



Backstage, administration -2.5~±0.00 Standard Floor Plan: 1. Entrance for office and reception 2. Entrance for logistics 3. Entrance for kitchen and cargo 4. Fire-fighting control 5. Storage 6. Office 7. Souvenir shop 8. VIP reception hall 9. Tourist service 10. Inner courtyard 11. Lounge room 12. Entrance hall 13. Void over restaurant 14. Main entrance for tourists 15. Picking-up waiting area 16. Restaurant 17. Enquiry and tour guidance 18. Ticket centre 19. Ticket hall 20. Lounge area 21. Path



-2.5~±0.00 标高层平面图： 1. 办公/接待入口 2. 后勤入口 3. 厨房/货物入口 4. 消防控制 5. 库房 6. 办公室 7. 纪念品商店 8. 贵宾接待厅 9. 旅游服务 10. 内庭院 11. 休息室 12. 门厅 13. 风味餐厅上空 14. 游客主入口 15. 候车区 16. 餐厅 17. 咨询区与 导游服务 18. 票务中心 19. 票务大厅 20. 休息区 21. 通道



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East (Service Hall) 4.80 Standard Floor Plan: 1. Storage 2. Information control 3. Meeting room 4. Office 5. Void over entrance hall and exhibition hall 6. Exit and entry of terrace on the first floor 东段（服务厅） 4.80标高层平面图： 1. 库房 2. 信息监控 3. 会议室 4. 办公室 5. 门厅、展示厅上空 6. 二层平台出入口



Commercial, service 商业、服务



Reception, service 前台、服务



Lobby, exhibition hall 门厅、展厅



Backstage, administration 后台、管理



Assistant space 辅助空间



East (Service Hall) -4.80 Standard Floor Plan: 1. Ventilation mechanical 2. Storage 3. Electric 4. Alarm valve room 5. Monitor 6. Restaurant 7. Kitchen 8. Food order area 9. Exit and entry for tourists 10. Leisure plaza



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东段（服务厅） -4.80标高层平面图： 1. 新风机房 2. 库房 3. 配电 4. 报警阀间 5. 管理 6. 风味餐厅 7. 厨房 8. 售餐 9. 游客出入口 10. 休闲广场



Restaurant



厨房



Toilet



卫生间



Food court



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093



CULTURE AND SPORTS CENTRE, ANTING Anting Town, Jiading, Shanghai ZHANG Bin, ZHOU Wei / Atelier Z+ 安亭镇文体活动中心 上海市 嘉定区 安亭镇 张 斌，周 蔚 / 致正建筑工作室 Site Area: 24,079m2 Building Area: 8,038m2 Gross Floor Area: 16,171m2 Storeys: 7 Storeys and 1-storey Penthouse Design/Completion Time: 2007-2010 / 2010 Architect: ZHANG Bin, ZHOU Wei / Atelier Z+ Design Team: WANG Jiaqi, LU Jun, LI Ying, LI Qin, ZHUANG Sheng, GUO Yue Design Institute: Architectural Design and Research Institute of Tongji University General Contractor: Shanghai Xinchang Construction Co., Ltd. Photographer: Atelier Z+ Client: The People’s Government of Anting Town, Jiading, Shanghai Structure: Reinforced Concrete Frame, Partly Steel Frame Principal Use: Indoor Swimming Pool, Ball Games Gym, Fitness Centre, Cinema, Exhibition, Discotheque, Restaurant, Café, Activity Room Primary Materials: Granite Panel, Steel Profile, Precoated Aluminium Sheeting with Saw-tooth, Aluminium Expanded Mesh Panel, Stainless Steel Cable Mesh, Glass, Timber Cost: 120,000,000RMB



基地面积：24079平方米



This project, with an extremely complex programme, is located in an irregular triangle site by a river in the northern part of Anting Town. It is surrounded almost exclusively by factory buildings and warehouses, with the only exception of a large supermarket to the northwest in its vicinity. Since a lot of spaces are required for outdoor activities, spaces available for construction are slightly tight. With the intent of keeping the relative independence for different internal use, simplifying space complexity and reducing external dimensions, the whole building is divided into four independent volumes. These four volumes of natatorium, gym, culture centre and cinema are of different sizes, heights and scales, and are arranged along the road by the side of the site from northeast to southwest in a saw tooth pattern. A semi-enclosed entrance plaza for pedestrian faces the main road on the west. Since the majority of the main spaces are located on the first floor, all four volumes are linked by an elevated compact public platform. This platform can be accessed freely via wide ramps on the west and north. Underneath the platform are supporting facilities such as bistros, café, shops, fitness rooms and parking lots.



Site Plan: 1. Gymnasium 2. Natatorium 3. Cultural centre 4. Cinema 5. Electric substation and garbage station 6. Children’s activity area 7. Parking 8. Plaza 9. Playfield



The four independent volumes have very strict functional and space requirements of their own, demonstrating themselves in a way strongly restraining the expressiveness. All external characteristics are merely direct representation of internal uses, making each volume tending towards an abstract autonomy, eliminating the respective unnecessary complicated expression, and presenting to the city a subtle yet interesting linkage



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建筑面积：8038平方米 占地面积：16171平方米 建筑层数：地上7层，机房1层 设计/建成时间：2007-2010年 / 2010年 建筑设计：张 斌，周 蔚 / 致正建筑工作室 设计团队：王佳绮，陆均，李莹，李沁，庄昇，郭钥 设计单位：同济大学建筑设计研究院 施工单位：上海新昌建筑工程有限公司 摄影师：致正建筑工作室 业主：上海市嘉定区安亭镇人民政府 结构形式：钢筋混凝土框架，部分钢结构 主要用途：游泳馆、球类馆、健身房、 电影院、展厅、舞厅、餐厅、咖啡、活动室 主要用材：花岗石板，型钢，预涂装折边铝扣板， 扩张铝板网，不锈钢索编织网，平板玻璃，木材 工程造价：1.2亿元人民币



总平面图： 1. 球类健身馆 2. 游泳馆 3. 文化馆 4. 电影馆 5. 变电所及 垃圾站 6. 儿童活动场地 7. 停车场 8. 广场 9. 室外运动场



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2 created by their respective locations and mutual relationships. In the natatorium, the swimming pool and locker rooms are located in two parallel volumes from south to north, and are connected by a series of glass bridges through a narrow courtyard. Above the swimming pool is a movable roof with skylights. This roof can be opened and closed as a whole. Between the pedestal as fitness centre at the bottom and the roof on the top, extending eastward over the public platform is the gym. Here, two volumes in different sizes are juxtaposed from north to south. The larger one on the north is a triple-storey high indoor ball game court with high sidelights facing north; and the smaller one on the south with backward-terraced garden houses dedicated activity rooms and management offices wrapped by a semi-transparent metal mesh net and vertical green plants. The cultural centre is a seven-storey cubic volume with the ground floor being a bistro facing the plaza and the first to fourth floors being superimposed exhibition hall and discotheque, each with a double-storey height. The cultural activity rooms on the fifth and sixth floors of the cultural centre are arranged around



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an elevated open-air central courtyard that opens to the riverside landscape to the east on the sixth floor. The cinema is the smallest two-storey volume at the southwest corner, with the audience hall accessible via either a twostorey high side entrance lobby on the ground floor facing the plaza, or a cantilevered foyer on the first floor facing the river that links the cultural centre exhibition hall. The individual abstractness and overall richness are enhanced by the use of restrained yet unified materials. Large-area stone cladding acts a steady background. Transversal long windows, seemingly distributed freely but actually controlling indoor lighting and vision, pre-coated aluminium cladding, and metal mesh nets with vertical plants wrapping movable roof and terrace garden have become intense focus of perceiving. Thus people can feel the tension and dialogue between individual volumes from various points of view. Also, the characteristics of simple and pure volumes well reflect the interior activities.



4 1. The public platform on the first floor 2. East façade 3. Natatorium, viewed from south on public platform 4. View from northwest 5. The gym, viewed from southeast on public platform 6. Gym on the public platform on the second floor 1. 二层公共平台 2. 东侧外观 3. 从二层平台看游泳馆南侧 4. 西北侧局部 5. 从二层平台看球类 健身馆东南侧局部 6. 设立在三层平台 的球类健身馆



Axonometric Drawings 轴侧图



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这是一个功能极端复合的项目，位于安亭镇区北部一块临河的三角形 不规则基地内，周围基本都是厂房和仓库，唯西北角临近一处大型超市。 由于众多户外活动场地的要求，使基地可建部分略显局促。顺应内部使用 状态的相对独立性、简化空间复杂程度及减小外部尺度的意图，整个建筑 被分为游泳馆、球类健身馆、文化馆和电影馆四个大小、高度和尺度各不 相同的独立体量，沿基地周边城市道路从东北向西南曲尺状错落分布，并 面向西侧城市主干道留出一个半围合的步行入口广场。四个单体建筑的主 要使用空间都在二层及以上，它们被一个紧凑的架空公共活动平台联系成



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一体，并能从西侧和北侧通过宽大的坡道自如上下出入；平台下部安排有 餐厅、咖啡、商店、健身房和停车等辅助设施。 四个独立体量各自具有高度严格的功能及空间要求，它们遵循一种非 常克制表现性的操作方式呈现自己，所有的外部特性都只是内部要求的无 修饰的直接表达— 使每个单体都趋向一种抽象的自主性，消灭各自不必 要的复杂表情，转而向城市呈现由各自的位置关系及相互起承转合所营造 的微妙而有趣的勾连状态。游泳馆的泳池和更衣室分布在南北平行叠合的



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两个体量中，之间用穿过狭长庭院的一组玻璃廊桥连 接；泳池上方是一个可以整体平移开合的带天窗的活 动屋顶。球类健身馆在作为健身中心的基座和上部向 东侧公共平台整体出挑的屋顶之间叠合了南北分置的 大小不等的两个体量，北侧较大的是三层通高的带有 北向高侧天窗的球类活动场地，南侧较小的是被半透 明金属编织网和垂直绿化所包裹的带有空中退台花园 的专项活动室和管理用房。文化馆是一个七层的立方 体，首层是面向广场的餐厅，二到五层为叠合的双层 高的展厅和舞厅，六、七层的文化活动室围绕中央的 透天空中庭院布置，这个庭院在七层向东侧的滨河景 观敞开。电影馆是居于西南角最小的一个两层体量， 由底层面向广场的两层高侧向进厅和二层连通文化馆 展厅的向河道方向出挑的前厅联系内部的观众厅。 个体的抽象性和总体的丰富性通过统一而克制的 材质使用而得到强化。大面积的石材墙面构成沉稳的 背景，看似自由分布、实则控制室内采光和视野景象 的横向长窗，以及在活动屋顶、景观庭院处出现的预 涂装铝板表皮和编织金属网垂直绿化成为强烈的认知 焦点，使得使用者在不同的位置可以体认到个体之间 的张力和对话，同时单纯化的体量特点能很好地反映 出建筑内部的使用状态。



7. The steps at the north natatorium 8. Natatorium, viewed from northeast 9. Natatorium 10. Ball Hall in Gym 11. Foyer of cinema 7. 游泳馆的北侧大台阶 8. 游泳馆的东北侧局部 9. 游泳馆



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10. 球类健身馆之球类馆 11. 电影馆之休息厅



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Ground Floor Plan: 1. Entrance 2. Lounge 3. Gym 4. Training 5. Table tennis 6. Office 7. Changing room 8. Shower 9. Restaurant 10. Kitchen 11. Café 12. Shop 13. Ticket 14. Fire control 15. Stage 16. Storage 17. Toilet 18. Electric 19. Pump 20. Water treatment 21. Geyser



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22. Constant temperature and humidity 23. Device service 24. Gas 25. Sports equipment management 26. Courtyard 27. Security 28. Plaza 29. Terrace 一层平面图： 15. 舞台 16. 储藏 1. 门厅 17. 卫生间 2. 休息室 18. 电气 3. 健身房 19. 水泵 4. 训练室 20. 水处理 5. 乒乓房 21. 热水设备 6. 办公 22. 恒温恒湿 7. 更衣 23. 设备维修 8. 淋浴 24. 燃气表房 9. 餐厅 25. 器械管理 10. 厨房 26. 庭院 11. 咖啡厅 27. 门卫 12. 商店 28. 广场 13. 售票 14. 消防控制 29. 平台



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First Floor Plan: 1. Entrance 2. Ball games 3. Indoor swimming pool 4. Exhibition 5. Stage 6. Auditorium 7. Snooker 8. Table tennis 9. Changing room 10. Shower 11. Office 12. Projection room 13. Foyer 14. Broadcast / coach 15. Medical life-saving 16. Corridor 17. Dressing 18. Toilet 19. Void 20. Terrace



二层平面图： 1. 门厅 2. 球类馆 3. 游泳池 4. 展厅 5. 舞台 6. 观众厅 7. 台球室 8. 乒乓房 9. 更衣 10. 淋浴 11. 办公室 12. 放映室 13. 前厅 14. 广播室 /教练室 15. 医疗救生 16. 通道 17. 化妆间 18. 卫生间 19. 上空 20. 平台



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Third Floor Plan: 1. Office 2. Ballroom 3. Rehearsal 4. Lounge 5. Changing room 6. Bar 7. Roof garden 8. Toilet 9. Balcony 10. Meeting room 11. Void



四层平面图： 1. 办公室 2. 舞厅 3. 排练厅 4. 休息厅 5. 更衣 6. 吧台 7. 屋顶花园 8. 卫生间 9. 阳台 10. 会议室 11. 上空



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Fifth Floor Plan: 1. Classroom 2. Office 3. Toilet 4. Roof garden



六层平面图： 1. 教室 2. 办公室 3. 卫生间 4. 屋顶花园



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JINTAO VILLAGE COMMUNITY PAVILION



Dayu Village, Malu Town, Jiading District, Shanghai Scenic Architecture Office 金陶村村民活动室 上海嘉定区 马陆镇大裕村 山水秀建筑事务所 Site Area: 1,260m2 Gross Floor Area: 234m2 Design/Completion Time: 2009/2010 Architect: Scenic Architecture Office Design Team: ZHU Xiaofeng, DING Penghua Structure: Brick-concrete load-bearing wall + steel roof Materials: Plain concrete, black brick finishing, fir, aluminium board and Chinese-style tile Photographer: ZHU Xiaofeng, SU Shengliang 建筑面积：1260平方米 建筑面积：234平方米 设计/建成时间：2009年/2010年 建筑设计：山水秀建筑事务所 设计团队：祝晓峰，丁鹏华 结构：砖混承重墙＋钢结构屋面 材料：素混凝土、青砖饰面、杉木、铝板、小青瓦 摄影师：祝晓峰，苏圣亮



Jintao Village is one of the natural villages in Dayu Village, Malu Town of Jiading District in Shanghai, with a creek and bamboo groves surrounding. The village is composed of Jin Village and Tao Village. Therefore, the architects choose the connecting area of the two villages as the site for the community pavilion, which is a piece of community land at the river mouth. Due to the open environment and assembly sense of place, the design applies a hexagonal ring architecture. The six radial walls divide six spaces. Three spaces contain the activity room, tea room and a stage facing the barnyard; the other three semi-outdoor spaces face three kinds of landscape respectively: the cement bridge to the northwest, the river mouth to the southwest and the stone bridge to the southeast, which three become places for villagers to have a rest and gather to meet. The six spaces is organized around a patio, which is the focal point of the design. The six roofs follow the principle of traditional inner courtyards, forming a “six to one” patio - rainwater from the six roofs will be collected by the patio in the centre. The architects blur the differences between the interior and the exterior of the six spaces and don’t care about whether it is inside or outside, nor the space functions. The existing rooms divided by wood windows may be changed, added or abolished by functional requirements in the future. Therefore, the architects take these six spaces as a flexible space structure. Seen from the surrounding environment, the flexibility seems an expression of leisure rural life; but they believe the flexibility and ambiguity is also meaningful in contemporary urban life. On one hand, the community pavilion’s design incorporates local construction methods; on the other hand, the space structure can be abstracted as a prototype experiment.



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The architecture uses concrete foundation, blue-brick load-bearing walls and light wood window partitions. The aluminium-wrapped steel roof is completed with lath ceilings and Chinese-style tiles. The built-in fittings inside the load bearing walls connect with the steel roof, forming a steel and concrete structure. In material selection, the design considers both the structural logics and southern village styles. The method of putting the walls between the roof and the foundation implies the attempt to become a space prototype. The architects hope the figurative materials and abstract spaces can be combined in the project. As the community pavilion is prepared with furniture and programme plans, the architects are waiting nervously. Will the villagers love here? How will they use this space? The small patio is now empty; when it is appropriate for planting, the architects plan to plant a sapling in it and wait for it growing into a grand tree.



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4 金陶村是嘉定马陆大裕村里的自然村之一，小河环绕、绿竹漪漪。 村子由挨在一起的金村和陶村组成，建筑师为新建村民活动室的选址 在两村的连接处，是三岔河口旁的一块集体用地。由于四周环境开阔、有 聚合焦点的场所感，因此设计了一座六边形的环状建筑。由六片放射状的 墙体划分出六个空间，其中三个空间容纳了活动室、茶室和一个面向谷场 的小舞台；另外三个半室外空间则分别面向三幅风景：西北方向的水泥路 桥、西南方向的河口以及东南方向的石板小桥，这些面向各异的空间成为 村民休息纳凉和聊天聚会的场所。六个空间的当中围着一个天井，它是空 间聚集的中心，六片屋顶也遵从了传统内院的理制，形成了“六水归堂” 的天井，承担屋面雨水的收集工作。 建筑师淡化了这六个空间室内外属性的差异，并不在意哪里是室内、 哪里是室外，也不在意每个空间的功能应该为何。现在用木窗隔墙分出的 房间也许在将来会根据使用的需要而变动位置、增加或者取消。因此，建 筑师视这六个空间的整体为一个弹性的空间结构。从建筑所属的环境来



1. Overall view of east side 2. Overall view of southeast side 3. South entrance 4. Patio 5. Courtyard 6. Courtyard 7. West entrance



看，这种弹性似乎是乡村生活闲散松弛的一种表现，但建筑师认为，这种 空间体验的弹性和多义性对当代的城市生活来说，同样具有重要的意义。 这座活动室的建构嫁接了地域性的建造方式，但它的空间结构却可以被抽 象出来，成为一种类似原型 (prototype)的实验。 混凝土基座、青砖表面的承重砌体墙、墙之间的轻质木窗隔断、铝板 包敷的钢结构屋顶由木板条吊顶、小青瓦做屋面。承重墙内的构造柱顶部 放预埋件，和钢结构屋顶连接，形成了“钢混结构”。材料的选择兼顾了 建构的逻辑和江南村落的风貌，而墙体夹在屋顶和基座之间的做法则暗示 了成为空间原型的企图。设计师希望：材质的具象和空间的抽象在此融为 一体。 活动室正在准备家具和各种活动计划，建筑师怀着无法预知的心情等 待着。村民是否会喜欢这里？他们会如何使用这些空间？小小的天井暂时 空着，等候着适宜种植的季节，建筑师计划在里面种一棵小树，并期待着 小树长成大树的一天。



1. 东侧全景 2. 东南侧全景 3. 南侧入口 4. 内院天井 5. 内院 6. 内院 7. 西侧入口



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NORTHSTAR DELTA PROJECT EXHIBITION CENTRE Changsha, Hunan Province ZHANG Lei, ZHOU Suning, WANG Liang 北辰长沙三角洲项目展示中心 湖南省 长沙市 张雷，周苏宁，王亮 Gross Floor Area: 3,000m2 Completion Time: 2010 Architect: ZHANG Lei, ZHOU Suning, WANG Liang Photographer: YAO Li 建筑面积：3000平方米 建成时间：2010年 建筑设计：张雷，周苏宁，王亮 摄影师：姚力



Northstar Delta Project, located in the flat area to the east of Xiangjiang River and to the south of Liuyang River, is an urban complex programme with a site area of one square kilometres and a gross construction area over 5000,000 square metres. The northern part as well as the future development of Changsha City will be endowed with a new face after the realization of this project.



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The exhibition centre is located opposite to the west of Xiangjiang River and unfolds to the city centre. The sunshade system on the western façade is a requisite in the city where the summer is extremely hot. The west elevation of the horizontal volume as well as the four elevations of the slanting structure besides is required to install LED media wall, which poses a visible contrast with the concept of “overlooking the Xiangjiang River”. To solve this problem, acrylic sunshade screen is adopted. What’s more, the application of translucent sunshade media wall and Corten steel plate enhances the juxtaposition and contrast between space form and material language and expresses the authenticity and complexity of the material itself. In such a way, experience in the architecture becomes more interesting and mysterious.



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3 北辰长沙三角洲项目是一个占地1平方千米、建设量超过500万平方米 的大型城市开发项目，位于当地著名的湘江以东和浏阳河以南一片平坦的 区域。它的实施将极大地改变长沙城市北部的面貌并影响到未来长沙城市 的发展格局。



和斜塔的四个面按照要求同时必须设置面对城市的LED媒体墙，建筑遮阳 与媒体墙这些使用要求和西立面基本的观江理念之间的矛盾显而易见，白 色亚克力（Acrylic）遮阳格扇在立面的采用巧妙而有效地解决了这一难 题。展示中心通过外部倾斜的几何关系与内部正交格构，半透明遮阳格扇 媒体墙和锈蚀耐候钢板的运用，强化了空间和材料语言之间的形态并置和 对比，表达了其内在的真实性和复杂性。建筑体验自此变得更加有乐趣和 充满遐思。



该展示中心面对西侧湘江，同时也是面向城市主要的展开面，西向遮 阳的设置对于像长沙这样夏季炎热的城市是必不可少的，横向体量的西面



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6 1. Distant view 2. Canopy at the main entrance 3. Main façade facing Xiangjiang River 4. Exhibition hall and experience tower 5. Northeast façade 6. South façade



1. 湘江二桥远景 2. 主入口雨篷 3. 朝向湘江主立面 4. 展示厅与体验塔 5. 东北面 6. 南立面



West Elevation 西立面图



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7 7. Exhibition hall viewed from entrance hall 8. Exhibition hall 9. Detail of exhibition hall 7. 从门厅看展示厅 8. 展示厅 9. 展示厅一角



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N4A JIANGNAN HEADQUARTERS MUESUM Liyang, Jiangsu Province ZHANG Lei, SHEN Kaikang 新四军江南指挥部展览馆 江苏省 溧阳市 张雷，沈开康 Gross Floor Area: 4,200m2 Completion Time: 2007 Architect: ZHANG Lei, SHEN Kaikang Photographer: LV Hengzhong, JIA Fang 建筑面积：4200平方米 建成时间：2007年 建筑设计：张雷，沈开康 摄影师：吕衡中，贾方



Located at Shuixi Village in Liyang, 70 kilometres southeast to Nanjing, N4A Jiangnan Headquarters Muesum plays a unique and historic meaning for Liyang, which process a population of 300,000. Letters and courtyards are atoms of the architecture, representing some fundamental materials that cannot further depose. In the design of N4A Jiangnan Headquarters Muesum, the visual elements are almost completely signified. The geometric volume indicates that the architecture itself is a monumental; the slate veneering symbolizes the monumental meanings of the stele. The red aluminium façade of the sculpture courtyard symbolizes the revolution and blood, while also emphasize the meaning of history.



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Several grooves on the east, facing the courtyard, abstractly illustrate the “N4A” on the façade. In this museum, people can also see the connection between sign activities and architectural contexts, and the connection between fragmented modernism and contemporary Chinese condition. Furthermore, it also could be seen that the independent history of the Chinese Revolution with absolute values, pure contents and single orientation gradually begins to walk into the broader human history. Unlike some other conventional museums which only emphasize the original trauma or just contributes to consolidate the reality, this museum enables the Chinese history to participate in the general human history.



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2 新四军江南指挥部展览馆坐落于距南京城东南70公里的溧阳市水西 村，对于这个拥有30万人口的溧阳市而言，该纪念馆有着特殊而重要的历 史意义。 字母和院落都是建筑的原子，是代表某种无法深入分解的基础物质。 新四军江南指挥部展览馆设计中的视觉要素几乎完全符号化了。几何母体 表示建筑本身就是纪念物，石板贴面则象征着石碑的纪念性经典含义。用



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1. Red metal panel courtyard 2. Distant view of northeast side 3. South façade 4. East façade



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1. 红色金属板内院 2. 东北面远景 3. 南立面 4. 东立面



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红色铝板做成雕塑庭院的表皮象征着革命和鲜血，也有铭刻历史的意象。 东面几个与院落对应的凹槽把正立面用“N4A”三个字母抽象性地图解出 来。在展览馆中，我们也看到符号活动和建筑内容的连接、破碎的现代主 义和中国当下现实的连接。更重要的是，我们还看到了拥有绝对价值、纯 粹内涵、一维方向的独立革命史开始逐渐走向更为广阔的人类史。已不再 像很多老式纪念馆建筑那样仅是关于原始创伤的纪念，或是关于现实秩序 的巩固。



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5 5. Stone façade detail 6. Glass courtyard 5. 石材立面近景 6. 玻璃内院



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YINCHUAN CULTURE AND ART CENTRE



Yinchuan, Ningxia Hui Autonomous Region China United Zhujing Architecture Design Co., Ltd 银川文化艺术中心 宁夏回族自治区 银川市 中联筑境建筑设计有限公司 Site Area: 28,000m2 Design/Completion Time: 2006/2008 Architect: China United Zhujing Architecture Design Co., Ltd Design Team: ZHOU Xuhong, YUAN Xiaoqing, WANG Jibin Photographer: Courtesy of the architect 占地面积：28000平方米 设计/建成时间：2006年/2008年 建筑设计：中联筑境建筑设计有限公司 设计团队：周旭宏，袁晓庆，王纪斌 摄影师：图片由建筑师提供



Located in the administrative centre of Yinchuan, Yinchuan Culture and Art Centre is an important cultural architecture. It contains an art gallery, an acrobatic performance hall, a public cultural activity training centre, a culture supermarket and some administrative offices. The architectural composition respects the whole plan, presenting an "L" shape. The architectural form is simple, clean and pure yet changeable, trying its best to take root in the “Gobi Desert” and expressing local style.



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2 1. Art museum viewed from acrobatics hall 2. Front plaza of art museum 3. Acrobatics viewed from southwest 1. 从杂技厅看美术馆 2. 美术馆前广场 3. 从西南看杂技厅



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West Elevation



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4 银川文化艺术中心位于银川市行政核心区，是一个重要文化建筑。其 中包括美术馆、杂技表演厅、群众文化活动培训中心、文化超市、办公等 功能。建筑布局尊重整体规划呈L形，造型简单、干净、混厚单纯并富有变 化，力求使建筑根植于“戈壁”之中，体现地域风格。



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South Elevation



南立面图



North Elevation



北立面图



5 4. Overall building viewed from southeast 5. Overall building viewed from northeast 6. Overall building viewed from northwest 7. Façade detail of acrobatics performance hall 8. Roof yard 9. Office and acrobatics group’s courtyard 10. Front lobby of art museum 11. Lobby of art museum 4. 从东南侧看整体 5. 从东北侧看整体 6. 从西北侧看整体 7. 杂技表演厅立面局部 8. 屋顶庭院 9. 文联办公及杂技团内院 10. 美术馆前厅 11. 美术馆大厅



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Basement Plan: 1. Culture supermarket entrance 2. Lower plaza 3. Office in supermarket 4. Culture supermarket 5. Entrance of Art Museum 6. Storage room 7. Water pump room 8. Freezing mechanical and heat exchange station 9. Renovation 10. Temporary storage room 11. Security 12. Performing 13. Retail zone 14. Duty room 15. Precious collection 16. Art works collection 17. Professional art works collection 18. Flower pond 19. Execution Studio 20. Storage room for culture supermarket 21. AC device room 22. Toilet



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地下室平面图: 1. 文化超市入口 2. 下层广场 3. 超市办公室 4. 文化超市 5. 美术馆入口 6. 库房 7. 水泵房 8. 冷冻机房和换热站 9. 修复 10. 临时库房 11. 安保 12. 观演 13. 零售区 14. 值班室 15. 珍品收藏 16. 艺术品收藏室 17. 专业艺术品收藏室 18. 花池 19. 制作间 20. 文化超市库房 21. 空调机房 22. 卫生间



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Standard Floor Plan 标高层平面图



Ground Floor Plan: 1. Main entrance of the centre 2. Entrance hall 3. Reception room 4. Duty room 5. Office 6. AC device room 7. Subsidiary entrance of the centre 8. Garage 9. Entrance for office 10. Exhibition hall 11. Truck passage 12. Lower-floor plaza



13. Void over culture supermarket 14. Storage 15. Exhibition hall of Hui ethnicity 16. Landscape 17. AC device room 18. Foreign exchange exhibition hall 19. Temporary storage 20. Auditorium 21. Research room 22. Main entrance of art museum 23. Entrance of arts service centre



一层平面图： 1. 中心主入口 2. 门厅 3. 接待室 4. 值班室 5. 办公 6. 空调机房 7. 中心次入口 8. 车库 9. 文联办公入口 10. 展览大厅 11. 货车坡道 12. 下层广场



13. 文化超市上空 14. 储藏 15. 回族风情馆 16. 景观 17. 空调机房 18. 对外交流 展览厅 19. 临时库房 20. 报告厅 21. 研究室 22. 美术馆主入口 23. 文艺服务 中心入口



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First Floor Plan: 1. Open-air theatre 2. Entrance of acrobatics group 3. Ticket 4. Reception room 5. Performing hall of acrobatics 6. Dressing-up 7. Changing 8. Shower 9. Rehearsal hall of acrobatics 10. Exterior terrace



11. Meeting room 12. Office 13. Storage room of acrobatics group 14. Chinese drama rehearsal room 15. Dancing classroom 16. Professional classroom 17. Resting platform 18. Void over entrance hall 19. Resting zone 20. Storage room 21. Exhibition hall 22. Void



二层平面图： 1. 露天剧场 2. 杂技团入口 3. 售票 4. 接待室 5. 杂技团 表演大厅 6. 化妆 7. 更衣 8. 淋浴 9. 杂技团 排练大厅 10. 室外平台



11. 会议室 12. 办公室 13. 杂技团 储藏室 14. 戏曲练习室 15. 舞蹈教室 16. 专业教室 17. 休息平台 18. 门厅上空 19. 休息区 20. 库房 21. 展厅 22. 上空



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Second Floor Plan: 1. Void over rehearsal hall of acrobatics 2. Void over entrance hall 3. Void over acrobatics performing hall 4. Chinese drama rehearsal hall 5. Vocality mix rehearsal hall 6. Band rehearsal hall 7. Complex rehearsal hall 8. Roof terrace



三层平面图： 1. 杂技团 排练大厅上空 2. 入口大厅上空 3. 杂技团 表演大厅上空 4. 曲艺排练厅 5. 声乐合成排练厅 6. 乐队综合排练厅 7. 综合排练厅 8. 屋顶平台



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Third Floor Plan: 1. Void over acrobatics rehearsal hall 2. Void 3. Void over Chinese drama rehearsal hall 4. Void over vocality mix rehearsal hall 5. Void over band rehearsal hall 6. Void over complex rehearsal hall 7. Void over acrobatics performing hall 四层平面图： 1. 杂技团排练大厅上空 2. 上空 3. 曲艺训练厅上空 4. 声乐合成排练厅上空 5. 乐队综合排练厅上空 6. 综合排练厅上空 7. 杂技团表演大厅上空



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NEW JIANG WAN CULTURAL CENTRE Shanghai LIU Xiaoguang / RTKL International Ltd. 新江湾文化中心 上海 刘晓光 / RTKL国际公司 Gross Floor Area: 6,800m2 Completion Time: 2006 Architect: RTKL International Ltd. Coordinate Design: Shanghai Institute of Architectural Design and Research Co., Ltd. Photographer: Fuxing Architecture Photography Studio, Shanghai Institute of Architectural Design and Research Co., Ltd. 建筑面积：6800平方米 建成时间：2006年 建筑设计：刘晓光 / RTKL国际公司 合作设计 ：上海建筑设计研究院有限公司 摄影师：傅兴建筑摄影工作室，上海建筑设计研究院有限公司



Artificial and Natural With the rapid increase of China’s economy, there come issues such as excessive development, improper use of land, and environmental contamination. Now, Shanghai will start a sustainable development on its last wetland reserve. Formerly an abandoned military factory, New Jiang Wan Town is located on the northeast of Shanghai downtown. It is one of the closest site to the city centre with a comparably large scale. New Jiang Wan Town's goal is to become a 21 st-century garden town and eco living community of Shanghai. This multi-functional cultural facility is located in the wetland central park in the centre of New Jiang Wan Town, with a total area of approximately 30,000 square metres. The culture centre is on the southwest of the park, with an artificial lake on the east and streets on the west and north. Using landscape design method, the architectural design incorporates 6,000 square metres of exhibition, education, performance, leisure, entertainment and office into an artificial landform, extending to the surrounding open environment. In fact, how to deal with the relationship between artificiality and nature is not the most direct nor the ultimate problem. In normal life, we seldom face the real nature. Hunam beings are all separated from nature. This sense of alienation is also a reflection of the relationship between human and society. With the change of social ideology, the formation of public space depends on new public topics and shared experience. The public concern to environmental issues provides a pointcut and strong point for the design. Through a shared social consciousness to provide a new public space and a new kind of social living form – that is where the design lies. Although not located on the boundar y between urban and natural environment, the project is a meeting point of various artificial and natural elements. Therefore, the building is expected to reflect and unify various



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2 contradictory elements, being a shining point connecting the artificial and the natural, as well as showing its environmental and community guidance. This means that both the form and function of the building should be open and composite. It not only provides architectural volumes or spaces, but also is a public space that attracts and supports various social activities. Besides its regular architectural functions, the design should pay some, even more, attention to the informal and “occasional” spaces. Furthermore, the design should highlight the continuous popularity tendency of architecture, which means the architecture could be approached by multi-levels and multi-ways from both the aspects of image and entity.



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Duality According to Chinese philosophy, harmony is the result of two different powers’ dynamic balance, such as Yin and Yang. The design is used to express a duality between dynamic and tension, or a “split unity”. It consists of contradictory features and is defined by a series of dual relationships. In allusion to New Jiang Wan’s landform and its continuation, the building imitates the twining between trees’ roots and stones, takes that as its interpreting point of public image, and then evolves around the contradiction between the artificial and the natural, the organic and the



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5 inorganic. The diversity of functions makes it possible to break up the architectural volumes into parts. The design uses multi-centre and multiarea arrangement to achieve several individual core spaces and connecting supporting spaces, creating a basic dual structure. The exterior forms are interpreted from the interior logics directly, consisting of unbounded “stone” volumes and trailing “rootstalks”. The form’s duality is emphasized by the contrast between organic and inorganic materials. The architec ture stands in a relative dynamic balance, while the unstable structures reflect its functions. Various functional spaces and communications, formal spaces and informal spaces, as well as the divisions between interior and exterior, dynamic and stillness, brightness and dark, these are not absolute and invariable. The uncertainty, intercommunication and transformation are as important as the design’s clarity. None of the individual aspect can express the reality and richness of the actual state. In many scales and levels, the contrast of forms and the contrast between materials twine with each other, creating various complex relationships around organic and inorganic concept: Glass and wood are used to emphasize the contrast between basic forms, while the unified division in surfaces connect them potentially; the inorganic glass with plant patterns is somewhat organic; the “rootstalks” combined with wood and stone wander between the organic and the inorganic; the glass and lighting effect express immediate vigour, while the combination of wood and stone brings timelessness; the inorganic is life green, while the organic is in stillness; the replacement of wood and stone is an formal expression of cycle concepts while the compositive “wood” is a verification of recycle concept; the roof greening introduces real organism, reflecting its all “organic and inorganic” forms…



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This multi-level weaving is used to point out the unity of opposites of duality repeatedly; therefore it could rebuild the architectural unity. Under the entirely different appearances, there are the connecting and transformable forms and appearances, prompting an interdependent and coexisting relationship. From Eco Science and Technology to Eco Consciousness In order to evoke the interdependency consciousness in public, the project evolves from a living environment into a social ecology of human, places, nature and society. The designers apply various positive and passive eco solutions in the experimental project, including recycle materials, architectural orientations, and use of solar power. The public consciousness and involvement are important to promote eco science to eco consciousness. The architecture encourages public involvement and intervention by combining the architecture into the landscape and connects the interior and the exterior. The design both provides formal gathering places and intentionally creates informal encounter opportunities. The aim is to maintain not only the connection between human beings and nature, but also social communications.



1. Exterior wall detail 2. Courtyard 3. Close shot of exterior 4. Main entrance 5. Aerial view rendering of overall building



1. 外墙局部 2. 庭院 3. 外观近景 4. 主入口 5. 全景鸟瞰 效果图



Ground Floor Plan (Right) and First Floor Plan(Below): 1. Lobby 2. Central hall 3. Gallery 4. Multi-function room 5. Conference room 6. Office 7. Courtyard 8. Auditorium 9. Classroom 10. Music studio 11. Art studio 12. Stage 13. Amphitheatre 14. Cafeteria 15. Library



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一层平面图（右图）和 二层平面图（下图）： 1. 大厅 2. 中央大厅 3. 画廊 4. 多功能室 5. 会议室 6. 办公 7. 内庭 8. 报告厅 9. 教室 10. 音乐工作室 11. 艺术工作室 12. 舞台 13. 阶梯教室 14. 自助餐厅 15. 图书室



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6 人工与自然 伴随着中国经济的快速增长，过度开发、土地使用不当和环境污染等 问题接踵而至。现在，上海将在其最后一块湿地保护区上进行可持续性开 发。新江湾城原是废弃军用机场，位于上海中心城东北部，是一片最接近 市中心的、规模较大的建设用地，其规划目标是21世纪上海的花园城市和 生态居住区。这座多功能文化设施坐落在新江湾城中心位置的湿地中央公 园内，占地约3万平方米，基地位于公园西南角，东面是人工湖，西、北临 街。建筑设计采用景观设计手法，将6000平方米的展览、教育、表演、休 闲、娱乐和办公设施置入一个人造地形，匍匐延伸至周边开放的环境中。 事实上，如何处理人造物与大自然的关系并不是最直接的、也不是最 终的问题。在生活常态中直接面对真实自然的情况并不多见。人们只不过 是在不同距离、层次和形式上被隔离在自然之外。这种疏离感其实也是人 与社会关系的写照。随着社会意识形态的改变，公共空间的形成有赖于新 的公共话题和共同经验。公众对于环境问题的关切提供了一个设计的切入 点和支撑点。而通过一个共同的社会意识，提供一个新的公共空间和社会 生活模式，才是设计的用意所在。



6. Courtyard 7. Interior wall detail 8. Lobby 9. Lobby and roof 10. Entrance hall 11. Interior of the ground floor



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6. 内庭 7. 内部墙体局部 8. 大厅 9. 大厅及屋顶 10. 入口大厅 11. 一层内部效果



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13 这个项目虽然不在都市环境和自然环境的临界点，却是一个各种人 工和自然元素的汇聚点。因而，期望这栋建筑有能力反映并统筹各种矛盾 因素，成为连接人工和自然的新城镇的一处亮点，并展示其环保和社区导 向。这也意味着建筑的形态和机能都应该是开放和复合的。它所提供的不 仅仅是建筑实体或空间，也是吸引和支持多种社会活动的公共场所。除了 正式的建筑功能外，设计要对非正式和“偶然”的空间给予同样、甚至更 多关注。另外要强调的一点，也是一贯所坚持的，就是建筑的大众化倾 向。这意味着建筑从意象和实体上均可以被多层面、多途径解读和接近。 二元性 根据中国古代哲学的观点，和谐是两种不同力量动态平衡的结果，如 阴阳。建筑设计被用以展示一种动态和张力的二元性，或是一个“分裂的 统一体”。它由对比的特征构成，并且由一系列二元关系所界定。 针对新江湾地貌及沿革，建筑拟态了自然界里树根与石砾之间的交错 盘绕，以此作为其大众意象的解读起点，进而继续围绕人工与自然、有机 与无机的矛盾发展演化。建筑功能的多样化使建筑体量有了“化整为零” 的可能。设计采取多中心、多区域的散点布局方式，由若干独立的核心空 间和相关联的辅助性空间构成一个基本的二元结构。外部形式直接转译 内部逻辑，由游离的“石砾”体块和蔓延的“根茎”构成静与动的形式组 合，并借由有机与无机的材质对比来强化二分的形式感。 建筑处在一种相对的动态平衡状态，不稳定的结构反映了建筑的机 能特征。各种功能空间和交通空间、正式空间和随意空间，以及内外、动 静、明暗之间的划分都不是绝对的和一成不变的。这种不确定性、共通性 和可转化性与设计的明晰性同样重要。单独某一种方面都不足以体现现实 状态的真实和丰富。在多个尺度和层次上，形式对比与材质对比交错重 叠，围绕有机与无机的概念形成多种复杂的关系：玻璃与木材被用来强化 基本的形式对比，统一的表面划分又使两者具有潜在的关联；无机的玻璃



采用植物图样的组合，带有些许有机特征；“根茎”则由木与石材穿插组 合，游走于有机和无机之间；玻璃体与灯效透出即时的活力，木石组合带 来历久的时间感；“无机体”呈现生命的绿色，“有机体”则处于静止的 沉寂；木与石的置换是循环概念的形式表达，合成的“木材”则是再生概 念的应用验证；屋面绿化引入真实的有机体，反衬出其他所有“有机与无 机”形式操作的概念性…… 这种多层次的编织为的是反复提示二元结构的对立统一特征，并借此 重建建筑的整体性。在泾渭分明外表之下，是相互连通的空间和可相互转 换的形式和外表，提示着一种相互依赖、同源共生的共存关系。 从生态科技到生态意识 为在公众中唤起相互依存的意识，项目从一个有生命的环境，演化成 一个人、场所、自然和社会和谐共生的社会生态。在整个试验性项目中采 取了各种主动和被动的生态措施，包括再生材料、建筑朝向、太阳能利用 等。从生态科技上升到生态意识，公众的意识和参与是至关重要的。将建 筑融于景观、将室内与室外连通，建筑以此鼓励公众的介入和参与。设计 既提供了正式聚会场所，也刻意创造非正式的碰面机会，为的是不仅要保 持人与自然的联系，更要保持社会交流。



12. Corridor 13. Interior view 12. 走廊 13. 室内效果



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BAOTOU CHILDREN’S PALACE AND LIBRARY



Baotou Rare-earth Hi-tech Zone, Baotou Qi Studio of China Architecture Design and Research Group 包头市少年宫、图书馆 包头市 包头城市稀土高新区 中国建筑设计研究院器空间工作室（第七工作室） Site Area: 52,987m2 Gross Floor Area: 52.046m2 Design/Completion Time: 2007/2011 Architect: Qi Studio of China Architecture Design and Research Group Design Team: CAO Xiaoxin, ZHOU Xuan, SHEN Xiaolei Photographer: ZHANG Guangyuan 占地面积：52987平方米 建筑面积：52046平方米 设计/建成时间：2007年/2011年 建筑设计：中国建筑设计研究院器空间工作室（第七工作室） 设计团队：曹晓昕，周萱，沈晓雷 摄影师：张广源



Because of historical reasons, in China, the library is always simply defined as a place for collections of books and readings. These traditional concepts generate a large amount of relatively closed buildings, which are only space for extracurricular teaching or providing book collection and reading spaces. Children’s palace is a concept borrowed from the former Soviet Union. It is a type of architecture with strong ideology, which directively explores and fosters small groups of gifted students, in order to foster excellent human resources. It is more like a training place out of school. The old Baotou Children’s Palace and Library is a typical complex with simple functions. Although they are geometrically connected, the two buildings are completely isolated with each other in the sense of architectural language and space. They are just two individual buildings, without any potential spaces for more social activities. However, there is a 100m wide urban green platform between the two buildings, which is an extension of the children’s palace and the library. With a large flow rate, the platform provides spaces for people waiting, relaxing, reading and communicating. With the rise of economic level and the development of social activities, singular architectural function can no longer meet people’s requirements. Architects have to provide composite designs for users’ potential activities in a more social and urban view. Located in Baotou Rare-earth Hi-tech Zone, the new Baotou Children’s Palace and Library project is an architectural complex with comparably small site and construction areas. The client’s brief is actually limited to some specific functions. There is a public road across the site, which divides the building into two parts along east-west direction. In case the two buildings are simply located into the two sites and further developed, each individual building could be excellent, but they lack communications. Even worse,



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because the site shrinks due to the relocation, the place between the old palace and library will no longer exist and people will lose their territory for activities. If so, the buildings will lose publicity and more importantly, the opportunity of activating the city. To solve this problem, after site investigation and analysis of the zone and its surrounding traffic situation, the architects thought that the road between the two parts of the site contributes few to the urban traffic. If they turn the road into pedestrian-only, plus the width of the existing building’s recessions on each side, they could build a large inward square between the palace and the library, and in this way, the two buildings are connected just as the old square. In the design process, they intentionally emphasized the building’s public character and their contribution to the city. They created obscurity of the boundaries between square and building, square and road, even internal open space and public square. This will continue the interfaces and at the same time make the public space and functional space interpenetrate. It produces a large amount of fluid and qualified public and multi-functional spaces for users’ activities. The inspiration of the design is the waving topography of the Inner Mongolia prairie. From east to west, the site looks like a dancing curve of more than 400 metres and the complex seems to grow up from the ground. The curved recession design enhances the interaction between users, public square and buildings to the largest extent. The atrium expanding from the interior to the exterior introduces natural light. The open staircase and vestibule, together with the interior streamlined green area and paving, will enhance the visual connectivity, providing a dramatic obscure space. The façades of the new children’s palace and library use a variety of materials: stone, composite eco-panel, aluminium profile, pre-set glass block concrete panels, etc. All the materials are



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Elevation of the Children’s Palace



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少年宫立面图



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1. Entrance 2. Aerial view of overall building 3, 4. Overall view of exterior 5. Exterior detail 6. Courtyard 7. Exterior detail 8. Façade detail, courtyard 1. 入口 2. 全景鸟瞰图 3, 4. 外部全景 5. 外观局部 6. 庭院 7. 外观局部 8. 外立面局部、庭院



3 highly coordinated in the same context, promoting the integrity and combination. At the same time, they are independent with each other. According to different functions, the library mainly consists of large spaces while the children’s palace emphasizes smaller spaces. For the children’s palace, the internal C-shape courtyard and the central public square form a circular communication space. Within the circular space, sculpture forms of different heights, colours and forms will form a visual signage for children to play. On the other hand, as an empty space, the



central plaza will highlight the volume of the library. On the west façade of the library, the stone slopes with different angles express a welcome gesture, conveying a strong sense of publicity to the city. Deriving from a small public plaza, the publicity concept is implanted into not only the architectural form, but also the interior spaces. Even the signage continues the publicity. To think over problems and solve them is the best part of being an architect.



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城市公共性的建筑表达 图书馆在国内由于历史的原因常常被简单定义为一个藏书和阅读的场 所，这些传统观念的根深蒂固，大量功能单一的又相对封闭的建筑应运而 生，它们存在的基本意义就是完成课外教学或者提供藏书、阅览的功能性 空间，仅此而已。少年宫则是一个从前苏联舶来的具有很强意识形态概念 建筑，有方向性地发掘和培育资赋优异的少数学生，从而达到培养优秀人 才的目的，它更像是义务制教育学校以外的教育场所。 旧包头少年宫和图书馆就是这样一组典型的单一功能性的建筑，虽然 从位置的几何上是关联的，但是从建筑语言和空间关系上完全没有交流， 只是作为单独两栋建筑孤立的存在，同时原有的设计也没有考虑提供更多 社会活动的可能性。不过，在这两栋建筑之间，有一个宽近百米的城市绿 化广场，人流量很大，实际上成为了少年宫和图书馆的延伸，为等候、阅 读、休闲、交谈等进行各种不同活动的人提供了一个承载其活动的平台。



随着经济水平的提高和社会活动的发展，单一的建筑功能已经无法全 面满足人们的需求，建筑师需要更多的站在社会学和城市的角度，为使用 者各种潜在的行为活动进行复合的设计。 新的包头少年宫和图书馆项目位于内蒙古包头市稀土高新区，作为一 个建筑群，占地面积和建筑面积都不大，甲方对我们所提出的要求实际上 也仅限于一些具体的使用功能，项目基地中间有一条市政路穿过，将基地 人为的分成东西两个地块。如果简单的将少年宫和图书馆布置在两个地块 里，各自深化设计，也许作为单体建筑本身可能是精彩的，新的建筑会又 一次成为独立而毫无交流的两栋房子。而且更糟糕的是，由于搬迁以后基 地的缩小，老少年宫和图书馆之间那样的广场也没有了存在的可能，人们 将彻底失去承载其活动的平台，从而降低建筑的公共性，失去新建筑为城 市注入活力的机会。



Children's Palace Elevation 少年宫立面图



Library Elevation



图书馆立面图



Section of the Library



图书馆剖面图



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为了解决这一问题，在实地踏勘、分析新区详规及周边道路交通情 况后，我们认为基地中间的规划道路对城市交通的贡献较小，如果改为限 制机动车通行的步行道路，加上两侧原有建筑退线的宽度，则可在少年宫 和图书馆之间形成一个面积较大并且积极的内向型的广场空间，可以同时 有效的串联起两栋建筑，这一点和老馆之间广场的作用非常类似。在设计 中，我们着意强调建筑的公共性及对城市的贡献，广场和建筑、广场和道 路、内部广场和公共广场之间的界限柔化模糊使相互间的界面不断延续， 公共空间和功能空间相互渗透，产生大量流动的、有质量的公共空间和复 合使用空间，从而为使用者的活动提供更多承载的平台。 设计的灵感来自于内蒙古大草原的起伏延绵的特殊地貌特征，场地自 东向西形成了400余米巨大的跃动曲线，整个建筑群就像从地面生长出来一 样。图书馆和少年宫曲线型的退台设计，最大程度地促进了使用者、公共 广场和建筑之间的互动。由室内延伸至室外的中庭最大程度地导入阳光， 开放式的楼梯和连廊以及延伸进两栋建筑内部的流线型绿化区域和铺装部 分，增强了空间上的视觉连贯性，为人们提供了一个充满戏剧感的模糊空 间。新的图书馆、少年宫的外立面运用了多种材料：石材、复合生态板、 铝型材和预嵌玻璃砖混凝土挂板等，各种材料特征被高度地协调在同一个 语境下，加强了他们之间的整体性与交融感。同时它们又彼此独立，根据 其各自不同的功能，图书馆集中式大空间少年宫多为单元式小空间，结合 中央公共广场产生了不同的形式特征。对于少年宫来说，内部C形院落与中 心公共广场组成了一个环形交流空间，并且在环形的空间界面上通过不同 高度、不同色彩以及不同体块的造型进行视线引导，产生出适合儿童嬉戏 游玩的各个平台。而中心广场作为一个虚空间正好能衬托出图书馆的体积 感，站在中心广场之上，迎面而来的是图书馆西侧主立面不同角度的石材 缓坡，它们以一种热情开放的姿态呈现着，向城市传递着强烈的场域公共 性。



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从一个公共的小广场开始构思，这种公共性不仅植入到了建筑形态本 身，建筑室内空间甚至标识指示也得以在设计上将公共性延续下去。这样 想了，又这样做到了，这对于建筑师就是最过瘾的事。



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Floor Plan of the Library 图书馆平面图



Floor Plan of the Children’s Palace 少年宫平面图



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9 9. Ground floor of the library 10. Interior lobby and connecting bridge 9. 图书馆一层 10. 室内大厅和内部天桥



Floor Plan of the Children’s Palace



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少年宫平面图



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NEW LIBRARY OF CONGHUA CITY (PHASE I) Conghua, Guangdong Province Atelier Y 从化市图书馆新馆（首期） 广东省 从化市 东意建筑 Site Area: 40,000m2 Phase I Total Building Area: 10,000m2 Design/Completion Time: 2005/2010 Architect: Atelier Y Collaboration: Architectural Design and Research Institute of SCUT Photographer: CHEN Zhong Client: Peole's Government of Conghua City 用地面积：40000平方米 首期总建筑面积：10000平方米 设计/建成时间：2005年/2010年 建筑设计：东意建筑 合作单位：华南理工大学建筑设计研究院 摄影师：陈中 业主：从化市人民政府



This project is the new library of Conghua, Guangdong. It is located in the northeast part of Conghua and next to the Guangdong Green Belt as well as the Liuxi River, which runs across the city. According to the design, the new library occupies 20,000 square metres, half of which is completed in phase one. Due to the phasing nature of this project, the design takes into account a variety of factors including the utilization of the building, the construction cycle and the sustainability of functionality. Furthermore, phase one, which consists of two parts, namely, the main building of the library as well as the auditorium that is for the purpose of cultural events and training hall, is distinguishably differentiated from phase two in terms of architectural morphology.



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The site lies adjacent to, as well as lower than the riverbank of Liuxi River. In order to provide unobstructed views of the river, the main building is elevated to two storeys. The entrance lobby, which is located directly beneath the main building, the atrium courtyard and the roof terrace in the yard collaboratively form a cubic courtyard. On the other hand, the main building, the auditorium, and the courtyard enclosed in between them properly assimilate the innate irregularity of the site. In the main building, the fact that the circulation core and service area intergrated next to each other significantly increases the flexibility of the space, making it adaptable to possible future changes in spatial function. The construction cost of the building including basic finishing is only 2000RMB per square metre. Cost effectivity and energy efficiency are achieved by innovative design. The double-skin façade of the main building, coupled with the combination of horizontal and vertical panels, brings about favourable insulation effect; while the inner courtyard enclosed contributes positively to the excellent natural ventilation conditions in the building.



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Main building of the library - phase one 一期图书馆主楼



Auditorium and traing hall - phase one 一期报告厅及培训区



Reading area and book collection area - phase two 二期阅览室及藏书区



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Site Plan (Left): 总平面图（左图）： 1. 河堤 1. Riverbank 2. To Liuxi River 2. 流溪河方向



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2 项目为广州区级市从化市的图书馆新馆。位于城市东北部，临近穿越 城市流溪河及广东省绿道。规划新馆规模为2万平方米，首期建设1万平方 米。因项目分期建设，设计充分考虑了建筑的使用、建设周期及与功能可 持续性等因素。将一、二期的建筑形态作了明显的区分。首期建筑包括两 部分，分别为图书馆主楼和作为文化活动功能的报告厅及培训功能区。



建筑含基本装修造价仅为2000元/平方米。建筑师通过设计手段实现建 筑的节约和节能。主楼立面采用双层外表面处理，通过水平板和垂直板的 组合，形成良好的防热效果；平面围合成内庭，形成良好的建筑自然通风 条件。



建筑用地紧临高出的流溪河河堤，设计将建筑主体架空于两层以上， 使得建筑的阅览空间得到良好的沿河景观视野。图书馆主楼下部设置为门 庭，架空庭院与内庭的屋顶平台形成了一个立体化庭院的布局。主体建筑 与报告厅形成一个庭院，较好地处理了不规则的用地关系。图书馆主楼平 面集中交通核心和服务用房，使得平面具有良好的灵活性，适应建筑的功 能变化需要。



1. Green courtyard 2. Main building of library and main entrance 3. Night view of the main building



Façade of the Main Building



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主楼立面图



1. 绿化庭院 2. 图书馆主楼及主入口 3. 主楼夜景



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3-5 floors for reading space and office



1. River views 2. Riverbank 3. Wind in summer



3-5层主要阅览区及办公



1-2 floors for entrance lobby and other communal area 1-2层门厅等公共性区域



1. 流溪河景观 2. 河堤 3. 夏季主导风



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Vertical circulation core 竖向交通核心



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Concept Drawing of Relation between Building and River 建筑与河流关系示意图



Section of the Main Building 主楼剖面图



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Concept of Overall Structure: 总体布局构思：



3-5 floors for reading space and office 3-5层主要阅览区及办公



1-2 floors for entrance lobby and other communal area 1-2层门厅等公共性区域



Vertical circulation core 竖向交通核心



Courtyard 庭院



Activity space with void 架空活动区



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4. Night view of mezzanine 5. Air courtyard on the second floor of the main building 6. Entrance hall skylight in the main building 4. 架空层夜景 5. 主楼三层空中庭院 6. 主楼门厅天窗



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Ground Floor Plan (Left), First Floor Plan (Facing below left), and Second Floor Plan (Facing below right): 1. Parking zone for the non-motorized 2. Parking zone for motor vehicle 3. Entrance hall 4. Checkroom 5. Duty room 6. Children’s reading room 7. Exhibition hall 8. Lounge room 9. Training classroom 10. Logistics 11. Interviewing and editing 12. Children’s entertainment space 13. Newspaper and periodical reading room 14. Studio 15. Academic auditorium 16. Contemporary literature borrowing and reading area 17. Equipment



首层平面图（左图）， 二层平面图（对页左下图）， 三层平面图（对页右下图）： 1. 非机动车停车场 2. 机动车停车场 3. 门厅 4. 寄存处 5. 值班室 6. 儿童阅览室 7. 展览厅 8. 休息室 9. 培训教室 10. 后勤 11. 采编 12. 儿童活动场地 13. 报纸期刊 阅览区 14. 工作间 15. 学术报告厅 16. 现代文献 借阅区 17. 设备



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7. Entrance lobby on the first floor of the main building 8. Entrance hall on the ground floor of the main building 9. Central stairs of the main building 7. 主楼二层门厅 8. 主楼首层门厅 9. 主楼中央楼梯



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10 10. Night view of auditorium 11. Phase one main building of library and auditorium 12. Linkage bridge between the main building and auditorium 10. 报告厅夜景 11. 首期图书馆主楼与报告厅 12. 主楼与报告厅之间的连桥 1



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S Temperature coordinates diagram on the Summer Solstice: 夏至日环境温度坐标图:



Possible activity phase 可能活动阶段



Routine open phase 常规开放时段



Non-routine open phase 非常规开放时段



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Sun-Shield Chamfer Structure (Above): 1. Direct sunlight 2. Diffused light from surrounding 遮阳板切角构造（上图）： 1. 太阳直射光 2. 环境漫射光



Sun-Shield Connect With Wall, Sun-Shield Plan Drawing (Above): 1. Exterior sunlight from west 2. Sun-shield chamfer 3. Wall between windows 遮阳板与墙体结合， 遮阳板平面示意图（上图）： 1. 室外西晒阳光 2. 遮阳板 3. 窗间墙



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West Elevation of Auditorium



报告厅西立面



South Elevation of Auditorium



报告厅南立面



Section of Auditorium 报告厅剖面



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LIBRARY IN CHONGQING UNIVERSITY HUXI CAMPUS Chongqing TANG Hua, HU Zheng, etc. / Tang Hua Studio 重庆大学虎溪校区图书馆 重庆 汤桦，胡铮 等 / 深圳汤桦建筑设计事务所有限公司 Gross Floor Area: 37,123.07m2 Design/Completion Time: 2005/2009 Architect: TANG Hua, HU Zheng, etc. / Tang Hua Studio Construction Design: Liu Zhengrong / China CTDI Engineering Corporation Structure: Reinforced concrete frame structure Photographer: Courtesy of architect 总建筑面积：37123.07平方米 设计/建成时间：2005年/2009年 建筑设计：汤桦，胡铮 等 / 深圳汤桦建筑设计事务所有限公司 工程设计：重庆机械工业第三设计院 建筑结构：钢筋混凝土框架 摄影师：图片由建筑设计者提供



Located in the centre in Chongqing University Huxi Campus, the library is an important architecture along the axis of the campus, with the main roads on the west and south and central landscape garden on the north. The library is connected conveniently to the other public buildings in the campus, and directly leads to the south and north dormitories. With a slope descending from the northwest to the southeast, the site is north to Huxi Park, a continuous urban green belt. As the heart of a university, the library is no doubt the symbol of a university’s spirit. The architects hope to integrate the building into the historic continuity. Although it’s a new site, the natural relationship between the new and old campuses shouldn't be ignored. The architects extract some architectural elements from the old campus of Chongqing University. After some abstracting and transforming work, they use them in the new building. The traditional campus like an ivory tower no longer meets the social requirements. The closed architecture seems to belong to the past. As the most important architecture in the campus, the library has the highest frequency of utilization. It is not only a palace of knowledge, but also a communication space for students and teachers; it works as a restless heart and absorbs streams of people from all directions like a sponge. The architects hope this architecture not only is a transportable station, with fluid dialogues with the site, but also has its own open structure. They hope it is flexible and dynamic in both space configuration and function. The requirement of integrity comes from the judgment in the macro scale. Compared to the surrounding small-volume buildings, the architects hope that make a change through large-scale architecture. Therefore, it will not only be good for a unique image, but also provide an entire boundary for



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Sections 总平面图



the city. The library stands as a simple form with rich functions, abstract and meaningful: it can be regarded as an open book, a pair of palms, or just a meaningful "L" shape. Heidegger once pointed out, “Location is primary, and space exists for its location.” Soaked in Bashu Culture, Chongqing has various architecture types for thousands of years, such as hanging house, mountain-climbing road, and dock. After restoration, they reoccur in design. The architects hope to recover their rituality in daily life and make them monumental. Located along the main axis of the campus, the library provides us a unique opportunity to connect the two green belts – the campus Central



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2 Landscape Garden and Huxi City Park. According to the changes of the existing elevations, they treated the landform as a large-scale platform and achieve a necessary balance between the magnificent campus axis. They left a large area in the west for a plaza and raise the bottom of the building above the earth. So the plaza could penetrate into the building and form a dynamic space, together with the platform, water features and bridges. There is a ceremonial plaza to the north of the building. Facing the axis, the plaza seems like a dock in a mountain city. The architecture establishes the basic direction of the site and ensures the connection and penetration between the green systems.



1. Overall view of library 2. Overall view of west façade 3. Side view of west façade 4. Close shot of east façade 1. 图书馆全景 2. 西立面全景 3. 西立面侧景 4. 东立面近景



West Elevation 西立面图



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The whole building expresses a vertical layered relationship. From bottom to top, they are the site, the base and the main volume. The site wedges into the two large green landscapes. The base combines into the landform, half under the ground. It mainly contains reporting rooms, lecture rooms, conference rooms, network information centre and machine rooms. The main volume lies on the base, partly raised from the ground, like a hanging house. The architecture spreads to the landscape garden and forms an L-shape. Inside, it contains complex space structures and functions.



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In the treatment of both the base and the main volume, the architects intend to separate the massing according to functions. This method not only provides necessary circulation and service space, but also increases the opportunity for lighting and ventilation. Furthermore, it is good for the comfortable reading and office environment. There are several vertical connecting spaces for multi-level activities.



the horizontal and vertical directions of the building, so that the greening landscape can spread and penetrate upward and form different courtyards, terraces and patios inside the building. In this way, the greening can spread to every single corner in the building. The whole building is a perforated window, through which the view and landscape can pass without any obstacles.



There are two levels of greening system. One is the site greening landscape. Different from gardens, the site greening landscape takes hard site as its foundation to form a large plaza and incorporate regular plants and water features, creating several activity spaces with proper scales. The other level is the greening in the architecture. There are several openings both on



The architecture uses frame construction system, with a standard column grid of 8X8m and podium reading room of 4.8 metres high. In consideration of ventilation ducts, it maintains more than 3 metres of clear height. The level height, column grid and load can achieve a unity, fulfilling the requirements of a modulus library.



South Elevation



南立面图



North Elevation



北立面图



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Outdoor Terrace 室外平台



Office Area 行政办公区域



Archives 档案馆区域



Reading Room 图书阅览空间



Structural Diagram: 1. Building skin 2. Temporary administration office 3. Archives 4. Office of library 5. Reading room 6. Lobby of library 7. Academic events Library business room Internet information centre Mechanical room 8. Site



空间结构分析: 1. 建筑表皮 2. 临时行政办公 3. 档案馆 4. 图书馆办公 5. 阅览室 6. 图书馆大厅 7. 学术活动 图书馆业务用房 网络信息中心 机房 8. 场地



Internet Information Centre 网络信息中心



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Horizontal Circulation



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水平交通



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Conference 会议区域



Vertical Circulation 垂直交通



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A. 建筑表皮：外表使用的传统红砖贴面与内部玻璃盒体产生强烈对比，让人直接体会到历史向度 B. 建筑主体：建筑主体承托于基座之上，局部架空，犹如吊脚楼。建筑主面朝向山水公园展开， 是一个由密肋包裹的L形体，外形简洁，其内包含着复杂的空间结构和机能。 C. 基座：基座结合地形，部分埋入地下，主要包含报告厅、讲座厅、会议室、图书馆业务用房、 网络信息中心和机房等功能 D. 场地：场地的处理采用地景式的方法，希望能自然楔入两侧大尺度的景观中去。



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Circulation Diagram: 1. Exit & entrance to library 2. To lobby and reading space 3. Exit & entrance of basement parking lot 4. Main exit & entrance of offices 5. To reading space on the first, second and third floor 6. Basement parking lot 7. Exit & entrance of academic events 8. To reading space on the first, second and third floor 9. To reading space on the first, second and third floor 10. Main exit & entrance of lobby 11. Lobby of library 12. To reading space on the second and third floor 交通分析图： 1. 图书馆出入口 2. 到大厅及阅览空间 3. 地下车库出入口 4. 办公主要出入口 5. 到二、三、四层阅览空间 6. 地下车库 7. 学术活动出入口 8. 到二、三、四层阅览空间 9. 到二、三、四层阅览空间 10. 大厅主要出入口 11. 图书馆大厅 12. 到三、四层阅览空间



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A: Building Skin: exterior surface was finished with traditional red brick, strongly contrasting with inner glass box, which makes people directly catch the historic development direction. B. Main Building: the main building was supported by the foundation, partly void like stilted house. Facing to the park, the main façade is an L-type body, which is enveloped by ribbed material. Concise shape wraps complicated space sturcture and functions. C. Pedestal: the pedestal combines with landform and partly embeded into ground, mainly including auditorium, lecture hall, conference room, library business room, internet information centre and mechanical room. D. Site: the site was processed with the method of landscaping, aiming to integrate with surrounding large-scale landscape naturally.



Landscape Diagram: Greening of the building: the building forms some openings on the vertical and horizontal direction, which not only lead greening landscape on the ground to extend upward, but also create different side court, terrace and patio; therefore, the greening can be applied at any corner. The whole building looks like an ornamental perforated window; line of sight and landscape can go through without barriers. 景观分析： 建筑中的绿化：建筑在水平方向和垂直方向都形成了若干开口，这样不仅地面层的绿 化景观可以向上延伸渗透，在建筑中还可形成性质不一的边庭、露台和开井，由此绿 化可充盈于建筑的每一个角落，整个建筑就像是一扇漏窗，视线和景观可以不受遮挡 地穿越过去。



Ground Floor Plan 一层平面图



Rendering and Model 效果图及模型图



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5 重庆大学虎溪校区图书馆位于虎溪校区中心区，是校园中轴线边的重 要建筑。西侧和南侧为校区主干道，北侧面对中央山水公园。建筑位置与 校区公共教学组团均有便捷的联系，并且南区和北区学生宿舍亦有直接的 交通到达。场地自西北向东南逐渐降坡，其北侧的虎溪公园为绵长的城市 绿带。图书馆作为大学的心脏，不容置疑的成为大学精神的象征。 建筑师希望将建筑置于历史的连续性之中— 尽管是全新的场地，但 无法忽视新老大学之间天然生成的关系；提取重庆大学老校区的一些建筑 元素，将其经过抽象和转化后运用到新建筑中。 传统象牙塔式的校园生活已不适合社会需要，封闭式的建筑模式似乎 已属于过去的时代。图书馆作为校园中最重要的建筑，使用频率将是最高 的。它不仅是知识的殿堂，也是师生间的交流场所，它既像心脏一样活动 不息，同时又能像海绵一样吸纳各方人流。建筑师希望这个建筑不仅是一 个能被自由穿越的驿站，与场地保持流畅的对话关系，而且自身也具有开 放的结构，无论是在空间配置还是功能使用上，都灵活多样，富有活力。



场地西侧留出较大的广场，加上建筑底层大面积的架空，广场向建筑内部 渗透，结合台地、叠水、廊桥，形成一些极有活力的空间。在建筑北侧设 置具有仪式感的广场。面对校园中轴，形成类似山城码头的效果。建筑确 立了场地基本的方向性，并且保证了绿地系统的连接和渗透。 整个建筑在大的空间结构上呈现出垂直分层的关系，由下至上分别是 场地、基座和建筑主体。场地的处理采用地景式的方法，楔入两侧大尺度 的景观中去。基座结合地形，部分埋入地下，主要包含报告厅、讲座厅、 会议室、网络信息中心和机房等功能。建筑主体承托于基座之上，局部架 空，犹如吊脚楼。建筑朝向山水公园展开，是一个由密肋包裹的L形体，外 形简洁，其内包含着复杂的空间结构和机能。



整体性的要求来自于对建筑宏观尺度上的判断。相对于用地周边组团 式布局的小体量建筑群，建筑师希望以大体量的集中布局产生差异，由此 不仅利于形成独特的形象，而且还能为城市提供一个整体有力的边界。以 包含丰富机能的简洁形体屹立于此，抽象而又富有多重意蕴：一本摊开的 书，一双合托起的手掌，或者仅仅只是一个有意味的L形。 海德格尔曾经指出，地点是第一性的，空间因地点获得其存在。重庆 深受巴蜀文化的浸染，那些积淀了数千年生活经历的建筑物，如吊脚楼、 登山道、码头，经过还原，重新出现在我们的方案中，建筑师希望恢复日 常生活的仪式性，使其具有纪念性的意义。 图书馆位于教学中心区校园主轴的一侧，南北临近校园中央山水公园 和虎溪城市公园。图书馆特殊的场地位置为建筑师提供了再次连接两大绿 带的机会。依循现有的标高变化，建筑师将地形处理为大尺度的台地，结 合集中体量的建筑处理，与宏大的校园主轴在尺度上达到必要的均衡。在



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Section 剖面图



6 5. Main entrance 6. Exterior façade detail 5. 主入口 6. 外立面局部



无论是基座还是建筑主体，建筑师都倾向于将体块按功能分离开，由 此不仅获得了必要的交通及服务空间，也为采光、通风增加了机会，而且 还利于创造适宜的阅览和办公环境。从场地到建筑主体设有若干垂直贯通 的空间，有利于形成多层次的活动场所。 绿化系统为两个大的层次，其一是场地绿化景观。场地处理与园林化 方式不同，以硬地为底，形成大片的广场，结合规则的植栽和叠水，形成 若干尺度适宜的活动空间。其二是建筑中的绿化。由于建筑无论是在水平 方向还是垂直方向上都形成了若干开口，这样地面层的绿化景观可以向上 延伸渗透，在建筑中还可形成性质不一的边庭、露台和开井，由此绿化可 充盈于建筑的每一个角落，整个建筑就像是一扇漏窗，视线和景观可以不 受遮挡地穿越。 建筑采用框架结构体系，标准柱网为8米×8米，裙房阅览室的层高为 4.8米，其上则为4.2米。考虑到安装通风等管道之后，仍存留3米以上的净 高，层高、柱网和荷载可以实现三统一，满足模数式图书馆的要求。



Section 剖面图



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Detail of Stainless Steel Handrail: 1. Drip line 不锈钢栏杆节点图： 1. 滴水线



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Cross Section of the Preforated Sound-Insulation Wall: 1. Expanded bolt 2. Wall 3. U100 partition wall framing 4. Infill 50mm glass wool (volume 24kg/m 3) 5. Calcium silicate preforated board 6. Diametre 8mm bolt 7. C100 partition upright framing 8. L50x50x50mm angle iron seat



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穿孔吸声墙 横截面构造图： 1. 膨胀螺栓 2. 墙体 3. U100隔墙天（地）龙骨 4. 填充50mm厚玻璃棉 （容重24kg/m3) 5. 埃特穿孔板 6. 直径8mm螺栓 7. C100隔墙竖龙骨 8. L50x50x5mm角钢支座



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1. Flashing 2. Sealing with compound 3. Flashing 4. Glass curtain wall 5. 100x100 water resistance brick Combination layer of cement mortar and brick sticking 15mm 1:2.5 cenment mortar protection layer 35mm extruding plate polystyrene foam board 40mm pea gravel concrete rigid water-proof 10mm lime mortar partition layer 1.5mm BP-S one-side self-stick waterproof roll 15mm 1:3 cement mortar screed Fly ash cement shale Reinforced concrete roof panel



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1. 泛水做法 2. 密封膏封严 3. 泛水做法 4. 玻璃幕墙 5. 100x100耐水面砖 水泥砂浆专用面砖粘胶剂结合层 15厚1:2.5水泥砂浆保护层 35厚挤塑聚苯乙烯泡沫塑料板 40厚细石混凝土刚性防水 10厚白灰砂浆隔离层 1.5厚BP-S单面自粘防水卷材 15厚 1:3水泥砂浆找平 水泥粉煤灰页岩 钢筋混凝土屋面板



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1. 泛水做法 2. 不锈钢外包 3. 密封膏封严 4. 玻璃幕墙 5. 泛水做法 6. 密封膏封严 7. 贵宾休息室 8. 25厚1:2.5水泥砂浆保护层 35厚挤塑聚苯乙烯泡沫塑料板 1.5厚BP-S单面自粘防水卷材 1.5厚SPU防水涂料 15厚1:3水泥砂浆找平 水泥粉煤灰页岩 钢筋混凝土屋面板



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7, 8. Close shot of exterior 7,8. 外观近景



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ZHEJIANG ART GALLERY



Hangzhou, Zhejiang Province CHENG Taining, QIAN Bolin, WANG Dapeng, ZHENG Maoen, HU Yang, GUO Li 浙江美术馆 浙江省 杭州市 程泰宁，钱伯霖，王大鹏，郑茂恩，胡洋，郭莉



Gross Floor Area: 31,550m2 (Underground: 15,338m2, Aboveground: 16,212m2) Design/Completion Time: 2004/2008 Architect: CHENG Taining, QIAN Bolin, WANG Dapeng, ZHENG Maoen, HU Yang, GUO Li Planning Design: WU Jian, CHEN Yuantao Photographer: Courtesy of the architects 总建筑面积：31550平方米（地下：15338平方米，地上：16212平方米） 设计/建成时间：2004年/2008年 建筑设计：程泰宁，钱伯霖，王大鹏，郑茂恩，胡洋，郭莉 方案设计：吴健，陈渊韬 摄影师：图片由建筑师提供



The art gallery is located on the shore of West Lake. With verdant Yuhuang Mountain foot as its background, the architecture stands near the mountain and by the river, with a total construction area of 31,550 square metres - 15,338 square metres underground and 16,212 square metres on the aboveground. The architecture spreads according to the mountain topography and falls down to the lake surface layer by layer. The undulate architectural outline achieves a harmonious coexistence between architecture and nature. The natural architectural form expresses the unique styles of South China. The design introduces the colour palette of pink walls and black tiles and the architectural form of slanted roof, expressing a fresh and reserved cultural taste. The designers use white walls as the background and black roof components to draw the outlines; the free and easy lines have some certain principle, revealing the unique aesthetic charms of traditional Chinese painting and calligraphy. The use of steel, glass and stone emphasizes the contrast in materials; the roof is a combination of various cones and horizontal blocks, fulfilling the architecture with strong sense of sculpture and modernity. The unique architecture form and space fully express the deep combination of traditional styles and modern spirits, quite originative.



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2 浙江美术馆位于西子湖畔，背靠翠绿的玉皇山麓，建筑依山傍水，环 境得天独厚。总建筑面积31,550平方米，其中地下15,338平方米，地上 16,212平方米。



1. Exterior detail 2. Overall view of exterior 3. Distant view 4. Main entrance 5. Landscape surrounding the building 6. The building and courtyard 7, 8. Exterior detail 9. Top floor interior view and roof detail 10. To the gallery on the second floor from the first floor 11. Roof detail



该建筑依山形展开，并向湖面层层跌落。起伏有致的建筑轮廓线达到 了建筑与自然环境共生的和谐状态。建筑的造型自然而又充分地流露了江 南文化特有的韵味，粉墙黛瓦的色彩构成、坡顶穿插的造型特征，在“似 与不似之间”被带入了创作中，体现出一种清新脱俗又空灵含蓄的文化品 位。特别是以大片白色墙面为图底，以黑色屋顶构建勾勒，线条张扬、洒 脱而又不失法度，并且极富中国传统水墨画和书法的审美韵味；钢、玻璃 以及石材的运用，强调了材质的对比，坡顶变形生成的多种形态的锥体与 水平体块的穿插组合又使该座建筑充满了强烈的雕塑感和现代感。 独特的建筑形体和空间充分体现了传统意韵与现代精神的深层次融 合，具有原创性。



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1. 外观局部 2. 外观全景 3. 远景 4. 主入口 5. 建筑周围景观 6. 建筑和庭院 7,8. 外观细部 9. 顶层室内效果 及屋顶细部 10. 由二层通往三层展廊 11. 屋顶细部



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总平面图



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12. Interior view of central hall 13. Night view of lobby 14-16. Exhibition hall 12. 中央大厅内景 13. 大厅夜景 14-16. 展厅



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17. Inner corridor 18. Narrow courtyard 19. Corridor 20, 21. Interior detail 17. 内廊 18. 窄院 19. 走廊 20,21. 室内局部



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First Floor Plan 二层平面图



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SPSI ART MUSEUM



Shanghai WANG Yan / Architects Ring 上海油雕院美术馆 上海 王彦／上海绿环建筑设计事务所 Site Area: 5,000m2 Gross Floor Area: 3,000m2 Design/Completion Time: 2008/2010 Architect: WANG Yan / Architects Ring Design Team: HUA Li, Huang Tianju, Li Guofa Photographer: LV Hengzhong Cost: 8 Million RMB 占地面积：5000 平方米 建筑面积：3000 平方米 设计 / 建成时间：2008 年 /2010 年 建筑设计：王彦 / 上海绿环建筑设计事务所 摄影师：吕恒中 工程造价：800 万元人民币



Design work of the SPSI Art Museum began in February 2007. The architects decided to renovate the old building instead of creating a new one, for that of at least 1/3 the area size would have to be reduced and based on the urban-planning conditions for setting up new building on the site. After more than one year of careful study and warm debate, construction started at the end of 2008. Unfortunately it had to be stopped for about four months during the summer of 2009 because of an unpredictable catastrophe of fire. The workers’ dormitory was totally burned down, while the structure of Art Museum remained undamaged. On 19th October 2010, the Museum has been finished and had the first exhibition - Modern Art Works Marsaille. SPSI The thinking of architectural design of SPSI Art Museum started from environment and architecture itself, and the architects found the result during the process of answering the basic architectural questions. The final result even surprised the architects themselves. The effect of its volume, space, material and structure has touched them deeply, which turns out to be a kind of pure power. Location Jinzhu Road is located in Changning District in Shanghai, no more than 300 metres long in total, but buildings of different time and style stand along, including modern architecture of the 1980s with small brick façades, office buildings of the 1990s with aluminium and glass curtain walls, fake antique houses of the 2000s, as well as the recently finished sky-scraper designed by Gensler Architects, the highest reaching more than 100 metres and the lowest one only 10 metres. Different languages of architecture gather here, and form the streetscape clearly. The scale of the street remains quite comfortable.



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The original building was accomplished in 1989. The bee-shape plan of structure had formed a fuzzy entrance space in the southeast of the building, which caused the feeling of missing to the street and city. The design of new Art Museum has set up a clear volume parallel to the street and cancelled the fences, in order to create a complete open entrance space between the city and building, which is much more reachable and public. The size of the entrance square appears just suitable and comfortable to the Museum. Volume Like a polygonal stone, the Museum lies along Jinzhu Road, calm and angular, simple but powerful, which rescues people from decorating façade of the neighbourhood. The wall between the Museum and its neighbouring East Centre had to be remained. A piece of wall standing alone cannot form the feeling of volume, which is uncoordinated to the Museum main volume. The architects continued the wall back into the main body of the Museum so that it creates an impressive entrance space and at the same time a nice inside garden, which provides good view for the VIP room on the first floor. Half-transparent weaved stainless steel panels make the inside garden and outside street both visible. Space The smoother the surfaces, the clearer the volume and the purer the space. To the interior, smooth wall inside-surfaces create pure interior space, while to the city, smooth wall outside-surfaces define clear open spaces. So the architects abandon all decoration on both sides of wall, trying to create the atmosphere of pure spaces, in order to highlight the art works at the same time.



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Today how the architect displays art works, such as paintings, sculptures, installations, and movies, is totally different and even unpredictable, which requires different spaces and conditions. We should not limit the creation work of artists, and the only thing the architect can do is to give a large free space with enough equipment and supporting devices to meet the different requirements of exhibitions. The stair space looks like a long square cover hanging from the ceiling. It is regarded as a natural part of interior building structure growing down from above. A 1.4-metre-high gap has been cut away at the height of the handrail on the first floor, which makes the inside space of the square cover visible. Stairs fly down directly on the ground, without any other structure support, which makes itself look like a piece of sculpture work. The top of handrail has been designed as a 45 degree triangular form, in order to minimize the width of the cover, which makes it look very light, as if the cover is made of paper. The feeling of an abstract surface appears when the width disappears. In the inside garden there are only two windows. One is 4 metres wide and 1.9 metres high down to the ground, which makes people concentrate on the white stones on the ground in the garden. The 4-metre-high stainlesssteel wall separates the loud city outside from the quiet inside garden. Another window is regarded as a hole to let the wall spread inside, which strengthens the feeling of insertion of the wall. Material Every material has its own unique character. Though lots of concrete-imitating materials can be found in the market, imitation is never the origin, so the architects finally choose the real concrete material. Due to the tiny difference of the conditions when every piece is produced, the colour and texture of each piece appear different, like stones, natural and live. Smooth surface of wall has defined the open city-space clearly, and the protective agent on the concrete panel surface protects the concrete against the corrosion of sour rain. Every concrete panel is around 3 metres long and 2 metres high, with a kind of public temperament. At the building corner, L-shape panels stack above each other like jigsaw, which make the whole volume look heavier and stronger. The colour of stainless steel panel seems coordinated with the concrete wall, and has a little metal reflection effect under the sunlight. From the front people can observe things behind ambiguously. The light, thin, transparent texture feeling contrasts to the heavy, thick, solid character of concrete panel very much, but seem coordinated to both. There is no material texture inside the exhibition hall; only white space, and black in toilet. Black, white and grey are no colour, so that the art works in display will seem more prominent.



1. Entrance 2. Entrance plaza on Jinzhu Road 1. 入口 2. 金珠路入口广场



Section 剖面图



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3 Details The grid of concrete panel curtain wall is cast on the water-brushed stone ground, in order to form a grid net of 1cm bride stainless steel. The sizes of both grids are ver y similar, exactly meeting each other at the corner of ground and façade, just like a shadow following its volume; the grid of stainless steel follows the slope of the ground, up and down. When it hits the 50cm high low-wall, it just climbs over like the shadow, until vanishing.



3. SPSI courtyard 4. Entrance 5. Entrance 3. 油雕院内 4. 入口 5. 入口



Stainless steel panel grid is as well aiming at the position of concrete panel grid. Grid climbs through the wall over the ceiling and again onto the concrete façade surface. The severe construction relationship of different materials has united different elements as one body under the same construction logic; each of it cannot be seperated.



South Elevation 南立面图



Thinking The whole design work starts totally from location and the concrete conditions of the building itself, abandoning the design method derived from other relative subjects such as imaging, informatics, sociology, and psychology. During the process of answering the basic questions of location, volume, space, material, and details of structure, the architects reached the proper spirit of Art Museum step by step. Today, when many architects seek answers by studying other subjects, Architects Ring still stick to the architectural thinking itself and believe that it is already charming enough.



North Elevation 北立面图



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4 开始着手上海油雕院美术馆(SPSI美术馆)设计要追溯到2007年初，由 于拆除老建筑并按现有规划退界要求新建美术馆，可建面积将被迫减少近 三分之一，业主最终决定改造现有建筑。之后经过一年多的斟酌，甚至激 烈争论，美术馆工程终于在2008年底动工。2009年夏又曾一度因大火暂停 施工，所幸建筑主体结构没有受损。2012年10月19日，美术馆终于在世博 会期间迎来开馆首展—法国马赛艺术展。 SPSI美术馆设计完全从建筑本身出发，在回答建筑基本问题的过程 中，逐渐接近设计师想要的答案。而结果其实令他们自己都感到惊讶。建 筑本身的体量、空间、材质及构造都展现出了一种质朴纯净的力量。 场所 金珠路位于上海市长宁区，总长不过300米，街道两旁的建筑却各自 迥然不同，有80后小瓷砖贴面的现代建筑，90后铝板和玻璃幕墙装饰立 面的多层办公楼，有00后仿砖贴面假古董洋房，也有2009年才落成的由 Gensler建筑事务所设计的两座高层玻璃塔楼—东银中心；沿街建筑最高 100米，最矮的10米。各时代各样式的建筑在这里碰撞，彼此冲突，却也 彼此遵守着城市道路界面，金珠路的城市空间尺度倒也亲切。



East Elevation 东立面图



5 美术馆原有建筑建于1989年，蜂窝状平面布局在东南沿街处留出了不 规则形状的入口广场，使道路空间界面突然变得模糊与缺失；新馆设计主 张重视道路空间界面的完整，填补缺失，建筑明确地平行于街道；并且取 消沿街围墙，留出尺度适宜的开放的公共入口广场。 体量 美术馆如一块被切割成几何多边形的坚硬石块横卧于金珠路旁，它沉 稳而棱角分明，简洁而厚重有力的体量让人们从相邻建筑的装饰化立面感 受中解脱出来。美术馆南侧与东银中心接壤，由于地界划分的需要，分界 墙必须保留。单片矗立的墙无法形成体量感，与建筑主体极不协调。因此 建筑师设计将围墙折向延伸，顺势直接斜插入建筑主体，巧妙地形成了入 口空间，同时围合了一个内院，为接待厅提供了室外景观。半透明的不锈 钢编织网并不隔断内院与墙外绿地之间的视觉联系，院中情景隐约可见。 空间 墙面越平滑，体量越清晰，空间越纯净。对于室内来说，平滑的墙 面围合纯净的室内空间，对于城市来说，平滑的外墙限定了明确的室外空



West Elevation 西立面图



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6 间。所以无论内外墙面的处理，建筑师都力求平滑，去掉一切不必要的装 饰，最大限度地营造出干净的空间体验，同时也突出了艺术作品本身。现 代艺术的展示形式多样，绘画的、雕塑的、装置的、影像的……无法预 计，我们更不应限制艺术家们的表现形式，因此留出一个尽可能灵活自由 的大空间是唯一的选择， 尽可能适应各种布展的需要。



而然注意到室外院子的细白石铺地，室内白色环氧树脂地面与之协调，使 空间仿佛延伸至室外；内院不锈钢网围墙高4米，将外界的纷繁芜杂一概遮 挡住，留下一份内心的宁静。另一处落地窗仿佛是斜墙插入室内的洞口， 高4米宽1.8米，让人在室内能感受到斜墙的来龙去脉，强化了斜插的内外 空间感受。室内光影变化也显得异常生动。



楼梯空间仿佛是反扣的长方形光罩，从建筑顶部垂直向下生长，在二 楼围廊扶手处仅断开不足1.4米有限高度，方便人的视觉，以控制光线对周 围展示作品的影响，同时加强了光罩悬空的重力感。楼梯轻盈落地，在地 面仅有一个支撑点，它的形体本身就如同一件现代雕塑作品。建筑师特意 将扶手的剖面设计成45度尖角向上的形式，这样从内部看来，光罩给人的 体量感受薄而且轻，就像是用纸折叠出来的。当厚度消失，抽象的面的感 受就出现了。整个建筑展厅部分只有面对内院的角落里有两处自然采光， 一处是南侧4米宽1.9米高的落地窗，近1米进深的窗洞水平展开，让人自然



材质 每一种材质都有一种性格，无法复制；虽然可以找到很多模仿混凝土 效果的材料，但模仿终究是模仿，建筑师因此选择了真实预制混凝土挂板 作为墙面材料。混凝土板由于浇注条件的细微差别，呈现出随机的色差与 不尽相同的模板肌理，显得自然生动。光滑无凹凸的混凝土板表面对建筑 体量及体外的城市空间都是一种清晰的表述，同时板表面的防护剂也是应 对城市恶劣大气条件对建筑立面腐蚀和污染的有效手段。每块混凝土板近3 米宽2米高，大尺度营造出公共开放的建筑气质。转角处采用犬牙交错的累



6. Courtyard 7. Stairs space 8. Lobby 9. Space inside 10-13. Exhibition hall 6. 内院 7. 楼梯空间 8. 大厅 9. 内部空间 10-13. 展厅



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7 叠方式，让材料有了厚度及明晰的构造，使建筑显得更加厚重。斜墙不锈 钢编织网板与混凝土板色泽接近却非常细腻，在阳光下有着金属反光的质 感。正面观看时可隐约透过网格洞悉到内部，如薄纱般轻曼灵动，与混凝 土浑厚的实体形成鲜明对比，又在整体上相互协调统一。室内没有材质， 只有白色空间，院中白色细沙通过落地窗将空间延伸到室外；而洗手间采 用黑色系。建筑所有材质都以黑白灰为主调，金属与混凝土、实体与半透 明，自然和谐地统一，避免因色彩过分突出，冷落了所展示的艺术作品。 细部构造 立面干挂混凝土网格分缝“投影”在入口广场水刷石地面上，形成由 1厘米宽不锈钢分割条编织的网格，其大小与立面分缝尺寸相仿，如影子般 在平立面交接处精确对位；不锈钢网格顺地面的坡度转折而略有起伏，造 成细微动感。当网格延伸至斜墙前50厘米高的矮墙时，不锈钢条按照几何 投影规律“爬”过，直至隐没。斜墙不锈钢网板分缝与混凝土板的分缝也



精确对位，缝从不锈钢墙面爬上不锈钢吊顶底面，又转至混凝土墙面，严 谨的对位关系使不同建筑材料间的构造关系变得密切，建筑成为有着统一 营造逻辑关系的整体，各部分彼此间不可分割。 感言 整个建筑设计语言与构思完全从建造场所以及建筑本身出发，摒弃了 如影像、信息、社会和心理等其他学科的理念主导建筑设计理念的方法。 建筑师在对场所、体量、空间（序列）、材质及细部构造等建筑本质问题 的回答过程中，自然地推敲出建筑本身应有的气质。在其他许多建筑师试 图跨界寻求设计答案时，他们仍然坚信着— 建筑自身语言魅力足够打动 人的心灵。



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Ground Floor Plan: 1. Lobby 2. Exhibition space 3. VIP room 4. Pump room



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一层平面图： 1. 进厅 2. 展厅 3. 贵宾休息室 4. 水泵间



First Floor Plan: 1. Stairs space 2. Exhibition space 3. Office room 4. Bridge to office building



二层平面图： 1. 楼梯空间 2. 展厅 3. 办公室 4. 天桥通往 办公楼方向



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First and Mezzanine Floor Plan: 1. Office room 2. Void over exhibition space 3. Store room



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Terrace Floor Plan: 1. Device area 2. Terrace space



二层平面图和 夹层平面图： 1. 办公室 2. 展厅上方 的空间 3. 储藏室



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屋顶平台平面图； 1. 设备区 2. 屋顶平台



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NINGBO MUSEUM OF ART



Ningbo, Zhejiang Province WANG Shu / Amateur Architects 宁波美术馆 浙江省 宁波市 王澍 / 业余建筑工作室 Gross Floor Area: 23,100m2 Completion Time: 2006 Architect: WANG Shu / Amateur Architects Photographer: LÜ Hengzhong, PENG Nu 建筑面积：23100平方米 建成时间：2006年 建筑设计：王澍 / 业余建筑工作室 摄影师：吕恒中，彭怒



Sketch 建筑师草图



The Ningbo Museum of Art is converted and rebuilt from a port control building, which used to be the landmark building of the city during the 70’s and 80’s of the last century. Many citizens came here to get on board leaving for the metropolis Shanghai or Putuo to burn joss-sticks. As a typical downtown port, it was situated neighbouring the cluster of architecture in the colonial times. This area in Ningbo people’s memories shall be similar with the Bund in Shanghainese’s minds. As originally planned, the port control building would be protectively rebuilt, whose large waiting space is just suitable for large-scale exhibition of contemporar y art works. However, having been decorated and repaired for several times, its prefabricated concrete structure can no longer meet the standard of structural aseismatic design. In order to be consistent with the architectural style of the city, the architect proposed to rebuild the building as protecting an ancient architecture, and keep the interior spatial structure remain



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the same, because the image of the interior space has been impressed in the memories of Ningbo people for generations. The final implementing scheme integrates the considerations on various sites. The high entrance platform along the urban arterial road and the steel-timber structure beside the river, being shaped in rectangles, parallelling each other and lying beside the river, indicate again the syntactic structure of ships and dock to the Yong River. While facing to the city, they imply and re-present the Chinese traditional urban courtyards and urban structures. When entering the Museum, people must first pass through a high-platform courtyard with a zigzag entrance ramp. There is no normal public square or great step at the side of the architecture facing to the street, which has caused many disputes during the process of design and construction. In fact, the designer’s purpose is to re-present the ceremonial style of Chinese urban life. In the early morning, people walk up the courtyard, pass through a



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landing stage across the architecture, and then enter the riverside corridor on the first floor. In this 100m long, 8m high and 6m wide space, 100 firmade doors with a height of 8 metres open gradually at the same time, and simultaneously the sunlight and the view of Yong River pour into the space. In this ceremonial style place, the ruptured way of life is likely to be rebuilt. Another typical feature of the Museum is the two-stage process in vertical direction, which implies the needs of functions and economy of Chinese traditional and contemporary cities. The lower stage indicates the “economic base”. Under the high-platform courtyard at the entrance, a large garage that can park 150 cars is set up in order to meet the explosive future need of car parking in the city. Inside the blue-brick base under the main building, a 2,000m2 open exhibition hall is placed, which can be used for exhibition activities including art fair. By doing so, the common problem faced by museums and museums of art in Chinese cities, which is short of fund for operation and maintenance except the construction input, can be solved. The second stage and the above are “superstructure”, which are used for various exhibitions of fine arts. The skin materials of the architecture also imply the mix of the memories of the city. The blue brick used for the base is traditionally the main building material in Ningbo, while steel and timber are mainly used for building ships and ports. The design of grottoes on the blue-brick base beside the river is copied from Dunhuang Caves, which implies that here is the departure place for Ningbo people to Putuo to burn joss-sticks.



1. Lane between the main building and the raised courtyard 3. Bird's-eye view 1. 上抬大院和美术馆主楼之间的“巷” 2. 美术馆鸟瞰



West Elevation



西立面图



North Elevation



北立面图



East Elevation 东立面图



South Elevation 南立面图



203



3 宁波美术馆的所在位置原为航运大楼，它曾经是该城市在20世纪 70至80年代的标志性建筑，是众多市民前往大都市上海或普陀烧香的 登船之地。典型的市中心港口，处在一片殖民地时代的建筑群边缘，这 块地在宁波人的记忆中的地位应如上海人心目中的外滩。最初的设想是 对这座航运大楼做保护性改造，它的大型候船空间正适合大型当代艺术 作品展出，但发现这座建筑历经几次装修改造，其全预制装配式的混凝 土结构已难以满足今天的建筑抗震法规。为了保持城市建筑模式的延续 性，设计师提出像保护古建筑一样对这座建筑落架重建，它的内部空间 结构被一柱不动地原样保持，因为这些空间印象已经印刻在几代宁波人 的记忆之中。最终的实施方案是多种场所线索的混合。通过沿城市干道 的入口高台和沿江钢木结构单纯体量，两个扁平长方形互相平行，横卧 江边，再次向甬江暗示和重构了码头与船的语句结构。面向城市则暗 示和重建了传统中国城市院落与城市的结构。人们进入美术馆，必须 先经过一个入口坡道曲折的高台院落。建筑沿街既无常见的广场也无 宏大台阶，这在整个设计和建造过程中曾多有争议。而设计者的意图



Section 剖面图



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则在于重建中国城市生活的仪式性。清晨，当人们走上大院，走过穿 越建筑的栈桥，走进建筑二层的沿江长廊，在这个100米长，8米高、6 米宽的空间，100扇高8米的杉木板门同时缓缓打开，甬江和阳光同时 倾泻而入，已断裂的生活方式可能在这种仪式性的场所被重建起来。 美术馆的另一典型特征是它在垂直向度上的两段式处理。双重性地暗 示了中国传统与当代城市功能与经济上的需要。下段为“经济基础”。入 口高台院落下内含可停150辆汽车的车库，以满足未来爆炸性的城市停车需 要。主体建筑的下部青砖基座中设有2000平方米的开放展厅，可举办含艺 术展在内的各种展览活动，以解决中国城市大型美术馆和博物馆都面对的 问题— 只有建筑投入但缺乏后期运作与维护费用。二层以上为“上层建 筑”，布置各类纯艺术展览空间。建筑表皮材料的使用同样暗示了城市记 忆线索的混合性。基座青砖是传统宁波的建筑主材，而上部钢木材料则是 船与港口的建造主材。沿江青砖基座的洞窟直接取材于敦煌片断，指出这 里曾是宁波人去普陀进香的出发之地。



4 3. View of the main façade from the raised courtyard 4. East façade of the museum 5. Lane between the main building and the raised courtyard 6. Courtyard view 7. Entrance hall 8. Main exhibition hall 9. East corridor



5



3. 从上抬大院看美术馆 4. 美术馆东立面 5. 上抬大院和美术馆主楼 之间的“巷” 6. 改建后的 内院景致 7. 入口门厅 8. 主展厅 9. 东侧走廊



Sections



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Mezzanine of the Ground Floor



Ground Floor Plan



一层夹层平面图



一层平面图



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Mezzanine of the First Floor



First Floor Plan



二层夹层平面图



二层平面图



1. Entrance hall 2. Regular exhibition hall (exhibition preparation area) 3. Arts salon 4. Arts bookshop 5. Gallery 6. Bamboos in courtyard 7. Exhibition preparation area 8. Garage 9. Exhibition hall of Chinese painting 10. Entrance hall of training centre 11. Training centre 12. Reception preparation 13. Office area 14. Entrance for VIP



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15. VIP room 16. Roof terrace 17. Bar 18. Garden 19. Pool 20. Entrance hall 21. Hall 22. Small exhibition hall 23. Main exhibition hall 24. Studio area 25. Auditorium 26. Lounge room 27. Meeting room 28. Roof (AC device) 29. Void



1. 门厅 2. 普通展厅 （备展区） 3. 艺术沙龙 4. 艺术书店 5. 画廊 6. 内院竹林 7. 备展区 8. 车库 9. 中国画展厅 10. 培训中心门厅 11. 培训中心 12. 接待准备室 13. 办公区 14. 贵宾入口



15. 贵宾接待室 16. 屋顶平台 17. 酒吧 18. 花园 19. 水池 20. 门厅 21. 大厅 22. 小展厅 23. 主展厅 24. 工作室区 25. 报告厅 26. 休息室 27. 会议室 28. 屋顶（空调设备） 29. 上空



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DAFEN ART MUSEUM, SHENZHEN Shenzhen, Guangdong Province URBANUS 深圳大芬美术馆 广东省 深圳市 都市实践 Gross Floor Area: 17,000m2 Completion Time: 2007 Architect: URBANUS Photographer: CHEN Jiu 建筑面积：17000平方米 建成时间：2007年 建筑设计：都市实践 摄影师：陈旧



Dafen Village is located in Buji Town, Longgang District, Shenzhen. Best known for its replica oil painting workshops and manufacturers, its exports to Asia, Europe and America bring in billions of RMB each year to the area. Design concept focuses on reinterpreting the urban and cultural implications of Dafen Village, which has long been considered as a strange mix of pop art, bad taste, and commercialism. A typical art museum would be considered out of place in the context of Dafen’s peculiar urban culture. The question is whether or not it can be a breeding ground for contemporary art and take on the more challenging role of blending with the surrounding urban fabric in terms of spatial connections, art activities, and everyday life. Therefore the strategy is to create a hybridized mix of different programmes, like art museums, oil painting galleries and shops, commercial spaces, rental workshops, and studios under one roof. It also creates maximum interaction among people by creating several pathways in the building’s public spaces. Th e ar t mu seum is sandwiched by co mmercial and o th e r publi c programmes which intentionally allow for visual and spatial ivnteractions among many different functions. Exhibition, trade, painting, and residence can happen simultaneously, and can be interwoven into a whole new urban mechanism. Site Plan



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总平面图



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2 位于深圳市龙岗区布吉镇的大芬村，是深圳著名的油画产业村，村中 遍布油画复制品的创作坊。这里的油画出口到亚、非、欧、美各大洲，每 年创造数亿元人民币的销售额。 然而，大芬村的油画长久以来是被视为一种低俗艺术，是庸俗品位与 商业运作的奇妙混合体。但政府看到这种创意产业的价值，于是在一个似 乎最不可能出现美术馆的地方，大芬美术馆出现了。这一决策引发了另一 个问题，作为一项政府行为是否能在另一层面上促成当代艺术的介入，并 且通过这一公众设施将周边的城市肌理进行调整，使日常生活、艺术活动 与商业设施混合成新型的文化产业基地。设计策略是把美术馆、画廊、商 业、可租用的工作室等等不同功能混合成一个整体，让几条步道穿越整座



Patio Analysis 天井分析图



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建筑物，使人们从周边的不同区域聚集于此，从而提供最大限度的交流机 会。美术馆在垂直方向上被夹在商业和各种公共功能之间，并且允许在不 同的使用功能之间有视觉和空间上的渗透。其结果是展览、交易、绘画和 居住等多种活动可以同时在这座建筑的不同部位发生，各种不同的使用方 式可以通过不断的渗透和交叠诱发出新的使用方式，并以此编织成崭新的 城市聚落形式。 以肯定大芬村油画产业为初衷的大芬美术馆的产生，如果机构化的气 氛太浓，或许会不经意地埋葬大芬村油画产业。将美术馆与村落结合，既 是一种形式上的调和，也是从本质上让自发的生活形态能在被设计的环境 中得以延续和发展的策略。



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Basement Plan: 1. Oil painting sale 2. Service 3. Conversation room 4. Café 5. Auditorium 6. Photography 7. Mounting 8. Fire control 9. Appraisal



10. Duty room 11. Unloading 12. Standby storage 13. Warehouse 14. Room for administration 15. Meeting room 16. Office 17. Curator room 18. Storage 19. Void



地下一层平面图： 1. 油画销售 2. 服务台 3. 交流洽谈 专用室 4. 咖啡休闲 5. 报告厅 6. 摄影 7. 装裱 8. 消防控制 9. 鉴定



10. 值班 11. 卸货口 12. 待藏 13. 仓库 14. 管理用房 15. 会议 16. 办公 17. 馆长的 办公室 18. 储藏 19. 上空



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Sections



剖面图



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5



Design Concept of Façade



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立面构思



1. Exterior wall detail 2. Bird’s-eye view of main entrance 3, 4. Model 5. Bird’s-eye view of the museum 6. Situation of the site 1. 外墙局部 2. 主入口鸟瞰 3,4. 模型 5. 美术馆鸟瞰图 6. 基地现状



Design Concept of Façade



立面构思



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Ground Floor Plan: 1. Studio 2. Café 3. Void 4. Roof plaza



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一层平面图： 1. 工作室 2. 咖啡室 3. 上空 4. 屋顶广场



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7. Leaning interior wall 8. Interior stairs 9. Exhibition hall 10. Patio 7. 倾斜的内墙 8. 室内楼梯 9. 展厅 10. 天井 1



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First Floor Plan: 1. Exhibition hall 2. Assistant 3. Gallery 4. Reception 5. Mechanical



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二层平面图： 1. 展厅 2. 辅助 3. 展廊 4. 接待 5. 机房



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SHANGHAI MUSEUM OF CONTEMPORARY ART People's Park, Shanghai Atelier Liu Yuyang Architects 上海当代艺术馆 上海 人民公园 刘宇扬建筑事务所



Site Area: 1,800m2 Gross Floor Area: 3,900m2 Design/Completion Time: 2003-2005/2006 Architect: Atelier Liu Yuyang Architects Design Team: LIU Yuyang, Keith Yee, Tynnon Chow, Larry Tsoi Photographer: Jeremy San Client: Samuel Kung Foundation, Shanghai MOCA 占地面积：1800平方米 建筑面积：3900平方米 设计/建成时间：2003年-2005年/2006年 建筑设计：刘宇扬建筑事务所 设计团队：刘宇扬，余振明，周天朗，蔡晖 摄影师：Jeremy San 业主：龚明光基金会，上海当代艺术馆



The story of the Shanghai Museum of Contemporary Art (Shanghai MOCA) is about how the architectural “Cinderella” - an abandoned flower pavilion - was transformed into a “Princess” of contemporary art. The role of the architect in this case was more akin to that of a “make-up artist”. The design of the Shanghai MOCA was so not much about establishing a new manifesto, but instead to exploit the notion of duality, mediating between an existing form and new intentions. The original structure was an un-utilized but structurally intack glass and concrete building. A series of geometric glass volumes were introduced to replace the main entrance and to extend part of the second floor, dissolving the predictable form of the original glass pavilion. The diagonally-laid “Mongolian Black” stone cladding over the existing concrete building gives a much subdued yet differentiated expression, highlighted by the deep-recessed stainless steel window frames that are intentionally mis-aligned. The resulting work could neither be defined as a new building, nor a mere addition. The new programme mediates between the requirements for art exhibition - the need for a generic white box, and the desire for an appropriate architectural expression - one which celebrates the intrinsic quality of architecture, be it tectonic, spatial, structural, or material. The design of the ramp is one such example. Thanks to an elegantly resolved structural model, the ramp connects the two principal exhibition floors at a maximum span with a minimum usage of steel ( just under 3 tons), producing a sweeping curvature that “dances” through the existing reinforced concrete



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columns in different tangential relationships, and allows for a circumscribed and ascending viewing of large-scale installations placed in the centre of the main exhibition space. The new museum mediates between landscape and city. Because of its unique location within the People’s Park, visitors are required to meander through the "garden of the proletariats" before arriving at the institution that is paradoxically more akin to the consumerist nature of the city outside. The largely unobstructed glazing of the glass pavilion and the roof deck of the second floor bring together a view of the park with the images of the city. Here the former function of the building as a flower pavilion is somewhat re-incarnated; instead of housing the flowers, the new one affords visitors a view of the Park’s lush vegetation from its galleries, café, and sun deck. The building mediates between metaphor and reality. A gem, a stealth bomber, a collage of deconstruction meets minimalism; these are some of the possible metaphoric descriptions of the project. However, it is far more intriguing to adopt the views of a reality that is emerging through the building itself. There is in fact a multiple reality, with apertures to the art exhibited, the city being constructed, and the garden to seek refuge in. When the building finally becomes a part of the city, how the art affects one’s life is no longer limited to the physical “exhibition” space. Rather, it’s how the museum as an institution lays the ground for a new culture of the city. What the building can provide, besides a shelter for rain and sun, is the possibility of the events and the creation of a genuine culture.



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Site Plan: 1. Reception area of main entrance 2. Main exhibition hall 3. Large-scale installation exhibition area 4. Boutique shop 5. Exhibition hall 6. Storage 7. Equipment



总平面图： 1. 主入口 接待区 2. 主展厅 3. 大型装置 展示区域 4. 精品商店 5. 展厅 6. 仓储 7. 设备



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South Elevation 南立面图



这是一个如何把城市建筑的“灰姑娘”转变为当代艺术“公主”的故 事。在这个故事里, 建筑设计者的角色更像是一名建筑"化妆师"。原建筑由 于政策考量不好拆。但是，每个参与的人都希望看到一座被重新赋予生命 力的新建筑。 “上海当代艺术馆”的设计并不想要一个“宣言式”的建筑，而更多 的追求是其建筑语汇的“双重性”（duality）。 它是一座介于现有和新造 的建筑。首先，在原入口和三楼加建的部分，新设计加入了数个比较突出 的几何玻璃体来“融解”旧玻璃房原有的外形。在原水泥房的部分，外墙 以斜着排列的“蒙古黑”花岗岩配合了同样斜列的不锈钢窗框，体现出另 一种含蓄却与众不同的外观。 这结果既不是仅仅的装修，也不完全是单纯 的加建，而是在保留原结构体的条件下做彻底的改头换面。



新“艺术馆”的功能必须兼顾艺术展览空间— 所谓的白盒子— 的 要求，又欲求体现其建筑本质上的意义— 无论是建构、空间、结构、材 料等方面。其中，斜坡桥的设计可以算是一个例子。借由电脑结构模型的 辅助，斜坡桥的设计用最少量的钢材（不到3吨）和最大的跨距（近30米） 连接了两个主展览层。弧状的钢结构体从不同切面穿过有如树林般的混凝 土柱，提供了参观者从不同定点与高度观看大型艺术装置的可能性。 新“艺术馆”是一座介于园林和都市的建筑。由于它特殊的地理位 置，人们先穿越了这绿意盎然的人民公园，再抵达这座更近乎于当代城市 脉搏的机构。从展馆的主玻璃体内和三楼的大阳台向外望，参观者得到了 园林与都市的双重印象。在此，原“花卉馆“的功能得到了再生。人们不 再来看馆里的花，而是从这里向外看到所有公园里的花草。



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5 1. Entrance ramp 2. Neighbouring lotus pond 3. Front façade night view 4. Side view of the building 5. West façade



当这栋建筑已成为这个城市的一部分的时候，艺术如何走入生活，就 不仅限于狭义的硬体空间或“展览”空间。而更多的是这个机构所传达给 这个城市的讯息、所提供的活动、所创造的文化。 这栋建筑所能提供的， 除了遮风避雨外， 就是这些事件的可能性。



1. 入口坡道 2. 建筑毗邻莲花池 3. 建筑正面夜景 4. 建筑侧景 5. 西立面



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6 6. Reception area at the main entrance 7. Children studying and playing 6. 主入口接待大厅 7. 孩子们正在学习和游戏



Reception Area Axonometric 主入口接待处轴测图



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First Floor Plan: 1. Children’s space 2. Exhibition hall 3. Auditorium 4. Administration



二层平面图: 1. 儿童区 2. 展厅 3. 报告厅 4. 行政区



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Second Floor Plan: 1. Restaurant 2. Kitchen



三层平面图: 1. 餐厅 2. 厨房



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9 8. Gallery viewed from top 9. Interior ramp 8. 艺廊俯视图 9. 内部坡道



Transversal Section 横剖面图



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11 10. Children's space on the first floor 11. Roof terrace and art installation 10. 二层的儿童空间 11. 屋顶平台及艺术装置



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Axonometric of Entrance



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入口轴测图



三层轴测图



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SONGZHUANG ART CENTRE Beijing DnA_Design and Architecture 宋庄美术馆 北京 徐甜甜建筑事务所 Site Area: 6,000m2 Gross Floor Area: 5,000m2 Design/Completion Time: 2005/2006 Architect: DnA _Design and Architecture Design Team: XU Tiantian, CHEN Yingnan, ZHU Junjie Photographer: ZHOU Ruogu 占地面积：6000平方米 建筑面积：5000平方米 设计/建成时间：2005年/2006年 建筑设计：徐甜甜建筑事务所 设计团队：徐甜甜，陈英男，朱俊杰 摄影师：周若谷



Longitudinal Section



Songzhuang Art Centre is located in Xiaobu Village, Songzhuang Town in Beijing suburb, which is invested by the council of the village and covers an area of 5,000 square metres. It is the first completed work by DnA (Design and Architecture) studio since it was launched two years ago. The Centre is situated at the unused industrial land in the northwest corner of Xiaobu Village. Similar with the normal emerging towns in China, the village seems to be lacking in effective urban context. Besides the scattered industrial workshops, there is only the broad and flat land, for all that cannot prevent the architect from acquiring inspiration from this ordinary village. The design of the Centre, from exterior to interior (even the materials), is abstracted from the image of Xiaobu Village. Through simple architectural language and special concerns on environment, space, structure and material, the architect puts emphasis on the harmonious coexistence between the environment and the architecture, and promotes the merge of contemporary aesthetics and local culture. The first attractive image of the Centre is the walls made of red sliced clay bricks, whose surface is integrated, bright and lively. Looking far, the



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architecture seems as a huge red rock that rises straight above the ground, while looking closer, it looks like a huge red box floating on the square. Because at the ground floor there are glass-made enclosures that are thin and highly transparent, the original sense of heaviness and gravity is replaced by the sense of floatation. When passing by the glass wall at the entrance, the materials are transferred from red bricks to white wall of the indoor space. The indoor exhibition spaces, including the courtyard and the exhibition hall at the first floor, are white totally. The white selflevelling floor together with the white wall keeps the purity and simplicity of art exhibition space. Only at the ground floor, the small accessory space is covered with OSB that implies the industrial feature. Simultaneously, its bright yellow texture brings visitors a little bit of visual surprise. DnA has made transitions between the volume and the heaviness of the unadorned material, which not only highlights the visual effect of the architecture, but also implicates the dense rural architectures in and around Songzhuang and indicates that the Centre activates the inevitable urbanization of the circumjacent area.



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According to the design concept of Songzhuang Art Centre, the architecture is characterized by the sense of volume, specific space division and clearly discernible functions. Spaces are arranged in vertical level instead of the traditional planar exhibition in horizontal level. At the first level is a diaphanous and horizontally flowing space, which can either be a small flowing exhibition space or a comfortable intercourse space such as café or bookshop. Accessory spaces such as offices, storeroom, mechanical room and toilets are respectively compressed in small boxes that are placed scatteredly. Three main exhibition halls and the academic hall are placed at the second level, which are definitely enclosed. The enclosures not only can be exhibition walls, but also insulate interferes around. The first and the second levels are connected by a vertical space, which experiences the overlapping and transition of the two levels. The vertical space, either a high hall that connects the two levels or a courtyard that enjoys natural lighting and ventilation, can provide visual communication between the inside and the outside. The design of the Centre, including skip-floor space, vertical connection and lengthways slit, provides exhibition planning with more alternatives.



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Its large scale space can meet the requirements of various exhibition formats to a higher limit. Placing more emphasis on the sense of volume than the sense of format, the architects try to avoid the immoderate design and formal sense of the architecture. However, it dose not mean rough design and neglect of detail treatment. Take the design of steel stairs as an example. Many 2cm×2cm square pipes in different length are weaved on the 0.3m-wide girders. Just as creating an artwork, each square pipe is positioned by the architects personally on site. 1. Projecting eaves of the entrance 2. Overall view of the building 3. West façade 4. Distant view 1. 入口挑檐 2. 建筑全景 3. 西立面 4. 远景



宋庄美术馆位于北京市郊区宋庄镇小堡村，由小堡村村委会投资，建 筑面积约5000平方米，是徐甜甜建筑事务所成立两年来第一座落成作品。 美术馆位于小堡村西北角的闲置工业用地。如同中国普遍新崛起的城 镇一样，似乎缺乏有效的城市文脉，除了散落的工业厂房外，就是广袤平 坦的土地，但这并不影响建筑师从这个平淡无奇的村落中获取灵感。美术 馆从外形到内涵，以至建筑选材都是从小堡村的形象中提炼出来的，简洁 但不简单。建筑师运用质朴简约的建筑语言，通过环境、空间、结构、材 料的独特处理，强化了建筑与周围环境的和谐共生，促进了当代审美与本 土文化的融合。



的。白色的自流平地板配合纯白的墙体，以保持艺术展示空间的纯净性。 唯有在首层的小体块的辅助空间被包裹上了带有工业色彩的欧松板，明黄 色的木纹为参观者带来了小小的视觉惊喜。徐甜甜建筑事务所针对一种相 对朴实的材料进行的体量与重量的转换，这种对材料的娴熟运用不但强化 了建筑效果，而且上升到了隐喻的层次，暗示了宋庄及周围密集的乡土建 筑，也预示了美术馆将是周边地区不可避免的城市化的催化剂。



宋庄美术馆的建筑形象中最先吸引人的亦是大片的红色切片黏土红砖 墙体，这些建筑体块的表面完整、亮丽而生动。远看建筑物犹如一块巨大 的红岩拔地而起。然而近看之下，又像一个巨大的红色盒子飘浮于广场之 上，因为建筑底层设有高度透明而又单薄的玻璃围合，初始的异常的重力 感和重量感被悬浮感所取代。当你穿越美术馆入口的玻璃墙时，材料由红 砖转换成室内的白墙，室内的展示空间，包括中庭和二层的展厅都是白色



根据宋庄美术馆的设计构思，建筑强调其体量感，空间明确，功能 清晰。空间的组织突破传统水平向的平面式布展，通过竖向界面把设计意 念渗透到建筑内部。一层是通透的水平流动空间，既是小型的流动展览空 间，又可以是一个轻松的交流场所，包括咖啡厅、图书资料室；辅助空间 如办公室、储藏室、设备用房、卫生间等，都被压缩在一个个小盒子中， 零散地分布着。主要的3个展厅和学术厅设置在二层。二层则是明确的四面 围合，四面围合不仅是展览墙面，也阻挡周围的干扰; 艺术就是最纯粹的意 境深远的景观。一、二层通过竖向空间贯通，竖向空间体验了两层空间的 重叠和过渡：可以是联系交通的高厅，可以是提供自然光通风的内院，在 局部也会形成室内和室外的视觉交流。美术馆一系列的跃层空间、竖向联



Concept of Volumes 体量分析图



Concept of Circulation 流线分析图



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6 5. Courtyard 5. 内庭 6. Interior view of the ground floor 6. 一层内部空间



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Ground Floor Plan: 1. Entrance 2. Reception 3. Lobby 4. Café 5. Exhibition 6. Toilet 7. Office 8. Bookshop 9. Courtyard 10. Mechanical



一层平面图： 1. 入口 2. 接待 3. 大厅 4. 咖啡 5. 展览 6. 厕所 7. 办公 8. 书店 9. 内院 10 设备



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First Floor Plan 二层平面图



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系、纵向狭缝等综合方式，为策展提供更多的可能性，其大尺度的空间设 计将更大限度地满足不同展览形式的需求。



7. Interior view 8. Interior view from the stairs 9. Exhibition hall



宋庄美术馆设计者强调体量感比形式感更重要，尽量避免建筑过分的 设计感和形式感，但并不意味着设计的粗糙与细部处理的忽略。就如钢梯 的栏杆的设计，采用2cm x 2cm不同长度的方管，在0.3m宽的钢梁上穿插 编织而成。就如艺术品制作一样，每一根方管，都由建筑师亲自在现场摆 放定位而成。



7. 内景 8. 内景及楼梯 9. 展厅



Cross Sections



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ERDOS ART GALLERY, INNER MONGOLIA Ordos, Inner Mongolia DnA_Design and Architecture 内蒙古鄂尔多斯美术馆 内蒙古 鄂尔多斯 徐甜甜，纪尧姆·奥布里，陈英男 / 徐甜甜建筑事务所 Gross Floor Area: 2,700m2 Design/Completion Time: 2005/2007 Architect: XU Tiantian, Guillaume Aubry, CHEN Yingnan / DnA _Design and Architecture Photographer: ZHOU Ruogu 建筑面积：2700平米 设计/建成时间：2005年/2007年 建筑设计：徐甜甜，纪尧姆·奥布里，陈英男 / 徐甜甜建筑事务所 摄影师：周若谷



3D Model



3D模型图



The natural environment of the wild prairie in Erdos is an opportunity or rather a challenge to architects. It is purely natural and is hardly possible to meet with. As the launching project of the overall development of the district, the Gallery appears to be the first step of blending architecture into the landscape. As viewed from the project’s concept drawings, there is no design, no label, no image, and even no symbolical meanings. What the architect has done is just placing a tortuous route through the wild land and putting it into a box. Although the route is a little bit showy, the unadorned skin makes the architecture clear, which becomes the outstanding feature of the project. Inside the architecture, the exhibition is shown by a linear route: going through the horizontal and low entrance, zigzagging along the natural terrain of the dune slope, going up, and then turning back to the ground



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exhibition hall that is regarded as not only the end of the public exhibition, but also a start to search the internal data. The exit faces the entrance, which makes the circulation a double-loop route. The architectural volume winds the route on the dune, forming semi-enclosed courtyards or squares by interacting with the terrain. This linear space rolls all the way, forming cross sections different in size, height and width according to the terrain. Landscapes, spaces and terrain are blended with each other in various ways: overlooking the reservoir through the glazing wall; introducing the landscape of courtyards into the interior space through continuous glazing side walls; enclosing the exhibiting contents by window openings on the top. As a result, lighting become diversified as well. Light and shadow are interlaced in the space, in which the interior artistic scene and the exterior natural landscape are unfolded one after the other. Visitors can have a pleasant experience when transiting freely among artistic scene, architectural scale, and natural landscape.



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1. Exterior view 2. Distant view 3. Overall view of exterior 4. Exterior detail 5. Close shot of exterior 6. Façade viewed from inside



1. 外景 2. 远景 3. 外观全景 4. 外观局部 5. 外观近景 6. 从内部看建筑外立面



Elevation Diagram 立面展开示意图



在内蒙古的鄂尔多斯，荒原草场的自然环境对建筑师是一个“幸福 的”挑战。这是一个建筑师难得碰到的纯粹而且酷劲十足的自然环境。美 术馆作为该地区整个开发计划的开端，是建筑体介入地景的第一步。 从这个项目的概念图看，似乎完全没有设计，没有符号，没有形象， 甚至没有象征意味。建筑师只是做了“一条路”— 辗转迂回，徘徊在荒 原之上。水平线条的展开，充分契合了整个自然环境的气质。建筑师做的 无非是把“这条路”装在盒子里— 这是建筑师能做的和唯一需要做的。 虽然“这条路”在形式上有自我骄傲的成分，但是建筑的表皮非常诚实地 完成了自己的任务，毫无花哨，因此达成了建筑自身的明晰性，成为该项 目最突出的特点。



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进入建筑内部，展览的交通以线性展开，水平低矮的入口顺沿沙丘坡 地的自然地形扭转，在高处挑起，远望考考什那水库，继而反转，以建筑 自身作为结构承载，蜿蜒回落到地面展厅— 既是公共展览流线的结束高 潮，或又向下延续开始内部资料流线— 作为出口与入口相互对望，整个 公共交通呈现一个“8”字形的连续线路。建筑形体因此在沙丘上蜿蜒延 展，与地形相互作用形成半围合的院落或广场。这个流线空间一路上跌荡 起伏，根据高度和周边地势形成大小高宽尺度不同的横截面。沿路结合景 观、空间和地势，或以尽端点式玻璃幕墙远眺水库，或以侧墙连续玻璃引 入院落风景，或以顶部开窗围合展览内容。光线也因此多样化，光影和空 间交织出特有的节奏。在这个节奏里，建筑空间内的艺术情景和外部自然 风景交替呈现，参观者的心理空间在艺术情境、建筑尺度和自然风光之间 弹性转换。建筑师把感性带入到材料和节点设计中。这里，虚实之间并无 常理，青石的外墙并不一定厚重。建筑摆脱重力，凌空飞舞，自由伸展。



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Ground Floor (Left) and Underground Floor Plan (Above): 1. Lobby 2. Gallery 3. Office 4. Toilet 5. Research & Archive 6. Storage



一层展厅平面（左图）和 研究资料层平面（上图）： 1. 大厅 2. 展厅 3. 办公室 4. 卫生间 5. 研究资料 6. 贮藏



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8 7. Close shot of exterior 8. Courtyard 9. Lobby 10. Detail of interior stairs 7. 外部近景 8. 庭院 9. 大厅 10. 室内楼梯布局



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11. Exhibition hall 12. Stairs 13. Exhibition hall 11. 展示空间 12. 楼梯空间 13. 展示空间



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DN 下 First Floor Plan: 1. Gallery 二层展厅平面： 1. 展厅



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INSIDE-OUT ART CENTRE Beijing Atelier 11 中间艺术馆 北京 中国建筑设计研究院拾壹建筑工作室 Gross Floor Area: 2,400m2 Completion Time: 2007 Architect: Atelier 11 Design Team: XU Lei, YU Haiwei, LI Lei, MENG Haigang Photographer: ZHANG Guangyuan 建筑面积：2400平方米 设计/建成时间：2007年 建筑设计：中国建筑设计研究院拾壹建筑工作室 设计团队：徐磊，于海为，李磊，孟海港 摄影师：张广源



Section and Elevation



剖立图



As a renovation project, the renovation started from the west side of the building and converted that space into a sale office. The design intention during this step was to keep the original building envelope as much as possible and to use steel frame in the interior as structural elements. This allows the architects to add a box-shaped volume inside the existing building and create new rooms for sale service by extending the space outside the existing windows, as an experiment on new approaches for renovation. In the second stage of the renovation starting one year after the renovation of the sale office, a multi-functional art centre was built on the east part of the building. The Art Centre and sale office are connected by an external passage in the shape of a zigzag tube. It is not only a functional feature



250



for circulation, but also creates a twisted and narrow space that makes the eventual access to the grand exhibition hall an interesting experience for visitors, with a dramatic contrast of space scale. A simplistic aesthetic was adopted for the interiors of the Art Centre with the intention to keep some characteristics of the previous industrial building, as a reflection to the history of the site. The original windows, walls, and floors are kept well with modest renovation. The combination of daylights through the high side-windows and artificial lightings on steel-framed tracks fulfills the lighting requirement for exhibitions. As a supplement to the external passage, wide steps are also built to internally connect the spaces of the exhibition hall and the second floor of the sale office.



1



251



2 这是一个改造项目，先期在厂房的西半部分进行改造，成为整个大项目的



建筑内部通过简单的处理：封窗，刷白，做地面；再通过做高侧窗的光线



销售中心。这里采用的方法是保留原有的围护，在内部重新作钢结构，相当于



引导，作钢结构的葡萄架式承载照明等方法达到基本的物理要求。入口是从销



套进去一个新的盒子，再从厂房的大窗中伸出来一些房间，在改造的模式上尝



售中心引过来的，从厂房外部折过来，既是最简单的做法，也形成了一个曲折



试了一种新的模式。



逼仄的空间，和最终到达的展示空间形成戏剧性的对比。



厂房的东侧在一年以后开始考虑，最终决定做一个多功能的美术馆。设计 师通过砌筑的通宽台阶将东部大空间和西侧销售中心的二层联系起来，这不仅 仅作为流线通道，同时更形成了一个通往展示大厅的蜿蜒曲折的空间，通过空 间规模的对比为参观者营造了趣味十足的独特体验。 Detail Drawing: 1. Rusty slate 2. Plasterboard with white painting 3. Lamp 4. Plasterboard with white painting 5. Carpet in grey colour 6. Steel baseboard 7. Steel baseboard 8. Porch 9. Preparation room



2



1



3 8



7



3



252



局部图： 1. 锈板 2. 石膏板喷白 3. 灯管 4. 石膏板喷白 5. 灰色地毯 6. 钢踢脚 7. 钢踢脚 8. 过廊 9. 准备间



4



5 6



9



4 1. Exterior view of north façade 2. North façade 3. Exterior view of north façade 4. Outdoor bridge 1. 北侧连廊外景 2. 北立面 3. 北侧连廊外景 4. 室外连桥



North Elevation 北立面图



Section



剖面图



253



5 5. Exhibition hall viewed from west 5. 向东看展厅内景



10 11



1



2



1



3 8 7



4



5



1



9



6



1 1



1



1



N Standard Floor Plan: 1. Office 2. Changing room 3. Security 4. Archive 5. Mechanical 6. Checkroom 7. Service 8. Electric 9. Storage 10. Porch 11. Preparation (storage)



254



标高层平面图： 1. 办公室 2. 更衣室 3. 保安室 4. 档案资料室 5. 机房 6. 存衣间 7. 服务台 8. 配电间 9. 储藏间 10. 过廊 11. 准备间（库房）



3.6M Standard Floor Plan: 1. Exhibition hall 2. Room for signing 3.6米标高层平面图： 1. 展厅 2. 签约室



1



2



Ceiling Drawing 吊顶图



1



6



2



3 5 4



Roof: 1. This wall inward incline 15 degree 2. This wall inward incline 15 degree 3. This wall inward incline 10 degree 4. This wall inward incline 10 degree 5. 5.550 structure elevation 6. 3.000 structure elevation



屋面图： 1. 此墙内倾15度 2. 此墙内倾15度 3. 此墙内倾10度 4. 此墙内倾10度 5. 5.550结构标高 6. 3.000结构标高



255



INDEX 索



引



008／032



夏邦杰建筑设计公司



124／178



ARTE-Charpentier www.arte-charpentier.com.cn



018



北京市建筑设计研究院



136



Beijing Institute of Architectural Design www.biad.com.cn



024



李立／苏州九城都市建筑设计有限公司



华南理工大学建筑设计研究院



148



158



东意建筑



Atelier Y www.ateliery.cn



168 山水秀建筑事务所



深圳汤桦建筑设计事务所有限公司



Tang Hua Studio www. tanghua.net.cn



Scenic Architecture Office www.scenicarchitecture.com 190 062



中国建筑设计研究院器空间工作室（第七工作室）



Qi Studio of China Architecture Design and Research Group www.cadreg.com.cn



Architectural Design and Research Institute of SCUT www.scutad.com.cn



052／104



刘晓光 / RTKL国际公司



RTKL International Ltd. www.rtkl.com



LI Li / Suzhou 9-Town Design Studio for Urban Architecture www.9-town.com



040



中联筑境建筑设计有限公司



China United Zhujing Architecture Design Co., Ltd



北京百子甲壹建筑工作室



上海绿环建筑设计事务所



Architects Ring



Atelier 100s 1 www.100s-1.com 200



王澍/业余建筑工作室



WANG Shu / Amateur Architects 070



刘克成/西安建筑科技大学建筑学院



LIU Kecheng / School of Architecture, Xi'an University of Architecture and Technology



210



都市实践



URBANUS www.urbanus.com.cn 076／112／118



张雷联合建筑事务所



AZL Architects www.azlarchitects.com



220



刘宇扬建筑事务所



Atelier Liu Yuyang Architects www.alya.cn 084



清华大学建筑设计研究院有限公司



Architectural Design and Research Institute of Tsinghua University Co., Ltd. www.thad.com.cn



094



232／240



徐甜甜建筑事务所



DnA_Design and Architecture www.designandarchitecture.net



致正建筑工作室



Atelier Z+



250



中国建筑设计研究院拾壹建筑工作室



Atelier 11 www.atelier11china.com