中國文化中心，曼谷，泰國

建筑設(shè)計(jì)：崔彤/中科院建筑設(shè)計(jì)研究院有限公司

中國文化中心，曼谷，泰國

建筑設(shè)計(jì)：崔彤/中科院建筑設(shè)計(jì)研究院有限公司

1 外景/Exterior view

2 地段位置/Site location

項(xiàng)目信息/Credits and Data

客戶/Client: 中華人民共和國外交部/Ministry of Foreign Affairs of the People's Republic of China

項(xiàng)目團(tuán)隊(duì)/Project Team: 崔彤，桂喆，王一鈞，呂僖，陳希/CUI Tong, GUI Zhe, WANG Yijun, LU Xi, CHEN Xi

合作建筑師/Collaborators: Plan Architect Co.Ltd.

建筑面積/ Floor Area: 7650m2

設(shè)計(jì)時(shí)間/Design: 2008

位于泰國曼谷的中國文化中心，由兩組建筑單元錯(cuò)動連接成“Z”形體塊，構(gòu)成兩個(gè)外部空間：一個(gè)外向型的面向社會和民眾的廣場；一個(gè)內(nèi)向型的靜謐的中國園林。建筑與外部空間的嵌套式關(guān)系使之成為整體。庭院和廣場與建筑內(nèi)部空間的聯(lián)系，通過內(nèi)外空間不斷地過渡與轉(zhuǎn)化形成具有“東方時(shí)空”理念的場所。

“文化中心”作為一種特殊類型的外交空間，是中國文化傳播和中泰文化交流的重要場所，它不可避免地要回答“中國化”“泰國性”等問題。盡管“圖像式”“形式化”的語言是一種常用表征手段，但“標(biāo)簽”終歸不能全面回答“中國化”問題。在異邦的中國文化中心首先體現(xiàn)在為“活動者”提供一個(gè)吸引人的、滲透著中國文化的探訪空間，它既不應(yīng)該是強(qiáng)加式的，也不應(yīng)該是簡單復(fù)制出來的，而應(yīng)該是在特殊的土壤中被培養(yǎng)出來，并或多或少具有改良的特質(zhì)，好像是中國的“種子”被移植到異國他鄉(xiāng)存活后才顯示出活力。文化中心的建構(gòu)也同樣基于“生物學(xué)”的生存方式，并對當(dāng)?shù)氐臍夂?、環(huán)境做出回應(yīng)。在這一過程中，不可缺少的環(huán)節(jié)包括生長、適應(yīng)、改良、變異，正如同佛教進(jìn)入中國和泰國被改良為非“范式”的佛教，其基因的改變是自我生存機(jī)能的調(diào)節(jié)，以便得到進(jìn)化和重生，因此文化中心的建構(gòu)其實(shí)在于場所的重構(gòu)，包含著適應(yīng)環(huán)境、改造環(huán)境和表達(dá)環(huán)境，這一過程伴隨著謹(jǐn)慎“優(yōu)選”傳統(tǒng)文化的基因，在地脈與文脈的培養(yǎng)中，促進(jìn)一種交融的文化。

建筑形態(tài)通過水平密檐尋求中國古典建筑的相關(guān)性，正面的中國建筑形態(tài)特征體現(xiàn)在水平向的延展，側(cè)面關(guān)注垂直向度上的重疊，尋找與泰國寺廟建筑的相關(guān)性。而這一形態(tài)的根本出發(fā)點(diǎn)是對當(dāng)?shù)貪駸釟夂虻幕貞?yīng)。

泰國曼谷屬低緯度熱帶氣候，特殊環(huán)境也孕育了特殊的種群和文化。作為建筑的基本設(shè)計(jì)架構(gòu)，“防雨”“遮陽”“通風(fēng)”，其實(shí)早已存在于林木之中。我們的設(shè)計(jì)程序是觀察、發(fā)現(xiàn)，并選取最具生命特征的自然建構(gòu)體；設(shè)計(jì)的方法論源于自然秩序而發(fā)展至輝煌的中國木構(gòu)體系，重新還原給自然。在這個(gè)重構(gòu)空間的過程中， 中國式的建構(gòu)體系在“進(jìn)化”，仿佛于熱帶叢林中的造物，架構(gòu)的空靈、懸挑的技藝、生長的邏輯，在這片溫潤的地脈中衍生出一股東方的豪勁。

3 外景/Exterior view

The Chinese Cultural Center in Bangkok is a Z-shaped complex composed of two building shifting in plan. There are two exterior spaces, including an external plaza open to the general public, and an internal tranquil Chinese garden. The buildings and the exterior spaces are well positioned, forming an integrated whole. The connection between the interior space, the courtyard, and the plaza is realized by constant transitions between the interior and the exterior, thus creating a place with a typical Asian style.

As a type of special space with diplomatic functions, the cultural center is an important place to spread Chinese culture and for Sino-Thai culture exchange. Therefore, it is inevitable to answer questions about expressing Chinese or Thail characteristics in design. Although the languages of "image" and "shape" are common means of representation, labels can never fully carry out the Chinese characteristics. As a Chinese cultural center in a foreign country, it shall firstly provide visitors with an attractive visiting place rich in Chinese culture. It shall not be forcefully imposed or simply copied; instead, it shall grow out of the specific local soil and be adjusted more or less, as if a Chinese "seed" showing its vitality after being transplanted to a foreign land.

The design of the cultural center is also based on the biological model for survival, responding to the local climate and environment. There are four indispensable steps, including growth, adaptation, modification and variation. As an example, Buddhism has adjusted away from the simple paradigm since its entering into China and Thailand, and its genes changed as part of its survival effort for further evolution and rebirth. Therefore, the design of the cultural center is about the re-composition of the site, including adaptation, transformation, and expression of the environment. During this process, the genes of the traditional culture are cautiously "prioritized". Through cultivation of the genes of local environment and culture, a fused culture is promoted.

The architectural form seeks relevance with the traditional Chinese architecture through dense horizontal roof lines. The front facade expressing the Chinese architectural style with horizontal extension, while the side facades concentrate on vertical superposition, taking on relativity with the architectural form of Thai temples. However, the primary concern for this form is to adapt to the local climate which is humid and hot.

Thailand is located at low altitudes in a tropical climate zone. Its unique environment gives birth to unique species and culture. The fundamental design concepts for the buildings, including protection from rain, shade-providing and ventilation, have existed in the forest for a long time. Our design process was to observe, discover and select natural forms with the strongest vitality. The design methodology is derived from the Chinese timber system, which was generated from the natural order, developed into a glorious system, and eventually restored itself back to nature. During this process of space re-composition, the style of Chinese building system is evolving, just as creatures in the tropical forest. Through spacious structures and cantilever techniques, a type of Asian vigor is generated in this enriched land.

4 首層平面/Floor 0 plan

5 內(nèi)院/Courtyard

評論

吳鋼：雖然臨近地鐵和城市，中國文化中心的用地確實(shí)是“a place of nowhere”。在這樣的地方打造一個(gè)識別性超強(qiáng)的中國文化中心，崔彤建筑師一定是煞費(fèi)苦心。兩個(gè)平行錯(cuò)開擺布的梭形建筑在形態(tài)上奇妙地同時(shí)將建筑師所說的“中國性”“泰國性”表達(dá)出來；通過“錯(cuò)動”這一干凈直接的動作也清楚地建立起場地上從公共廣場到內(nèi)向園林的空間序列。雖然沒有現(xiàn)場感受，但圖片中那種大方而靜謐的氣質(zhì)已經(jīng)躍然紙上。

張悅：作為中國文化在異域傳播交流的載體，該建筑面臨著兩個(gè)挑戰(zhàn)：其一是關(guān)于博大多元的中國文化如何表達(dá)；其二是在表達(dá)中國文化的同時(shí)如何融入泰國本土語境。對于前一問題，建筑在錯(cuò)動中收獲了一“放”一“收”兩個(gè)空間，兼顧了“禮儀/壯大”和“隱逸/幽深”雙重文化屬性；而對于后一問題，建筑長、短兩個(gè)方向異性的特征令人印象深刻，長向剖面空間和側(cè)立面造型呈現(xiàn)出中國傳統(tǒng)建筑特征，而短向剖面空間和長立面造型又具有泰式寺廟的風(fēng)情。

Comments

WU Gang: The Chinese Cultural Center in Bangkok, though close to the subway and the downtown area, is indeed located in "a place of nowhere." The architect must have tried hard to design a distinctive center in such a place. The two parallel shuttle-shaped buildings are a wonderful interpretation for both what the architects called "Chinese characteristics" and "Thai characteristics"; and the space sequence from the external public plaza to the internal Chinese garden is established through the "dislocation" of the two units. Although without on-site experience, the magnificent and tranquil quality of the center can be even perceived from the pictures.

ZHANG Yue: As a messenger to spread Chinese culture in another country, the Chinese Cultural Centre faces two challenges of expressing the Chinese culture and integrating into the local context of Thailand. To tackle the former challenge, the design creates two external spaces in the building complex with enclosed and open characteristics respectively through dislocation of two volumes, which present the duality of both the grand/ritual and the tranquil/private. For the latter one, it is impressive that the longitudinal section and side facade present features of the traditional Chinese architecture, while the cross section and long facade possess characters of Thai temple.

Chinese Cultural Center, Bangkok, Thailand, 2012

Architects: CUI Tong/Institute of Architecture Design and Research, Chinese Academy of Sciences

6 內(nèi)景/Interior view

7 橫剖面/Cross section

8 縱剖面/Longitudinal section