蚌埠博物館及規(guī)劃?rùn)n案館，安徽，中國(guó)

蚌埠博物館及規(guī)劃?rùn)n案館，安徽，中國(guó)

當(dāng)前中國(guó)各地新城的規(guī)劃普遍傾向于將文化建筑集群與行政中心并置，試圖塑造一個(gè)在軸線控制下的政治文化中心，往往導(dǎo)致文化建筑的設(shè)計(jì)首先要服從政治審美的需求。面對(duì)這種矛盾，我們的設(shè)計(jì)試圖在兼顧建筑的中正布局和莊重的政治形象的同時(shí)，從中尋找文化建筑的公共性、開放性和親民性表達(dá)。

項(xiàng)目由博物館和規(guī)劃兼檔案館兩棟建筑組成，總建筑面積約69，000m2。我們首先考慮將平民化的公共活動(dòng)引入場(chǎng)地，為政治性的中央廣場(chǎng)注入活力。建筑主體布置在地塊南側(cè)，在北側(cè)完整地退讓出一大片城市綠地，在建筑之間置入城市廣場(chǎng)，容納當(dāng)?shù)卮笮兔耖g藝術(shù)“花鼓燈”的表演以及市民日常的休閑娛樂活動(dòng)。

兩棟建筑統(tǒng)一為方形空間布局，同時(shí)采用差異化的設(shè)計(jì)原則。博物館形體效仿層巖斷面，折疊交錯(cuò)，與玻璃幕墻形成強(qiáng)烈的虛實(shí)對(duì)比，強(qiáng)調(diào)雕塑感和厚重感。規(guī)劃?rùn)n案館的屋面彎曲傾斜，中央矗立圓筒狀核心空間，勾勒出獨(dú)特的建筑輪廓。兩個(gè)建筑交相輝映，以實(shí)對(duì)比虛，厚重對(duì)比輕盈，歷史對(duì)比現(xiàn)在，形成一種和諧的對(duì)話關(guān)系。

博物館采用回字形的空間布局，并向東側(cè)廣場(chǎng)敞開，將活力引入室內(nèi)，同時(shí)廣場(chǎng)也成為展覽空間的延伸和補(bǔ)充。主入口空間與中庭空間相連，斜撐支柱支撐起36m×36m的井字桁架屋頂，5折的蛇形廊道通過10m左右跨度的拉桿從屋頂懸下，并通過斜拉桿形成超靜定結(jié)構(gòu)避免晃動(dòng)。在光的中庭中，吊橋既是可以漫步的交通空間，又成為一個(gè)藝術(shù)化的空間雕塑；中庭也不再是空白的視覺空間，而成為一個(gè)城市客廳。

規(guī)劃?rùn)n案館由公共性較強(qiáng)的規(guī)劃館和相對(duì)私密的檔案館組成。設(shè)計(jì)根據(jù)兩館的特性在空間組織上進(jìn)行了區(qū)分。建筑東側(cè)臨近城市道路部分為檔案館，為市民提供便捷的公共服務(wù)。西側(cè)緊鄰廣場(chǎng)部分設(shè)置規(guī)劃館，通高的公共空間連通廣場(chǎng)空間，增強(qiáng)建筑的公共性。設(shè)計(jì)改變傳統(tǒng)的沙盤觀景模式，以大跨的圓形柱網(wǎng)支撐起銅色圓筒，圓筒下即為規(guī)劃館的沙盤區(qū)，游客可通過緩緩上升的螺旋坡道從不同角度、不同高度觀看城市模型的全貌。

在空間設(shè)計(jì)中，我們受德勒茲“平滑”理論的啟發(fā)，試圖突破勒·柯布西耶的“漫步建筑”的模式，探索坡道空間敘事的可能，讓使用者的參與賦予空間更多的意義。當(dāng)訪客行走在博物館折疊迂回的坡道和規(guī)劃?rùn)n案館螺旋上升的坡道時(shí)，強(qiáng)烈的指向性讓線性的敘事模式與連續(xù)因果的空間感知轉(zhuǎn)化為一種令人驚嘆的心理體驗(yàn)和戲劇性的空間營(yíng)造。

1 總平面/Site plan

2 鳥瞰/Aerial view

China's contemporary urban planning in various locations currently reflects a general preference for the establishment of cultural architectural designs alongside administrative centers， in an attempt to portray a political and cultural union controlled by a central power. This often leads to such cultural architectural designs prioritizing political aesthetics. Faced with this contradiction， our design aims to retain the central architectural layout and solemn political image，while simultaneously expressing the public nature，openness， and intimacy with people that is typical of cultural architecture.

The project is comprised by two buildings -the Bengbu Museum and the Archive and Planning Exhibition Building， with a total floor area of 69，000m2. We began by allowing for popular public activities within the establishment， to infuse vigor into the politically centered plaza. The main establishment is situated on the southern side，conceding a large parcel of city greenery on the northern side. A park square is positioned between the two buildings， to accommodate large-scale folk arts， such as "flower-drum lantern" performances，and day-to-day recreational activities for the public.

The two buildings share a square-shaped layout， while also reflecting the design principle of differentiation. The architectural design of the museum mimics a cross-sectional stratified rock，which folds and intertwines. This forms a stark contrast with the glass wall， thereby emphasizing the sculptural features and a profound sense of depth. The roof of the Archive and Planning Exhibition Building is curved and tilted， with a cylindrical core space in the center， thus outlining a unique silhouette. The two buildings enhance each other's beauty by contrasting the real with the imaginary， immensity with lightness， and past with present， thereby forming a harmonious dialogic relationship.

The museum employs a homocentric squareshaped layout， which opens to the plaza to the east，inviting vitality indoors. The plaza also serves as a supplement and extension to the exhibition halls. The spaces between the main entrance and the courtyard are connected， the cross-bracing pillars supporting the 36m×36m grid-shaped trussed roof. The five-piece S-shaped gallery is drapedfrom the roof using tension bars of approximately 10m. Rocking movements are avoided by the use of diagonal members to form a statically indeterminable structure. In the empty courtyard，the hanging bridge is an open space for wandering，and also becomes another artistic spatial sculpture；the courtyard is no longer an empty visual space，but an urban living room.

3.4 博物館外景/Exterior views of the Museum

5 博物館二層平面/Floor 2 plan of the Museum

6 博物館首層平面/Floor 1 plan of the Museum

Te Archive and Planning Exhibition Building is composed of a more public Planning and Exhibition House and the comparatively more private Archives House. Te design diferentiates the characteristics of the two houses based on spatial organization. Te east side of the building， which is closer to the city streets， houses the Archives， providing the public with a convenient service. The west side of the structure， which is closer to the plaza， comprises the Planning and Exhibition House. Te high public space is connected to the plaza space， enhancing the public nature of the building. Te design transforms the traditional sandbox panorama. Large， circular column grids support bronze cylinders， with the sandbox area below， such that visitors can use the gradually rising spiral ramp to view different perspectives of the city model from diferent angles.

In terms of spatial design， we were inspired by Deleuze's "Smooth Space" Teory. We aimed to break through Le Corbusier's "architectural promenade" by exploring narration in the ramps， and imparting users with greater meaning for the space through their participation. When visitors walk through the intertwining gallery in the Museum， and the gradually rising spiral ramp of the Archive and Planning Exhibition Building， the strong sense of direction transforms the linear narrative model and continuous spatial layout into a unique psychological experience and a dramatic space.

項(xiàng)目信息/Credits and Data

設(shè)計(jì)團(tuán)隊(duì)/Design Team: 孟建民， 邢立華，徐昀超，周富，李松名，曾智，劉瑞平等/MENG Jianmin， XING Lihua， XU Yunchao， ZHOU Fu， LI Songming， ZENG Zhi， LIU Ruiping， et al.

用地面積/Site Area: 95，499m2

建筑面積/Floor Area: 68，333m2

設(shè)計(jì)時(shí)間/Design Time: 2011

攝影/Photos: 張廣源，周富/ZHANG Guangyuan， ZHOU Fu

7-9 博物館內(nèi)景/Interior views of the Museum

10 博物館夜景/Night view of the Museum

評(píng)論

劉克成：紀(jì)念性的解構(gòu)

方和圓是古今中外紀(jì)念性建筑常用的圖式。蚌埠市博物館及規(guī)劃?rùn)n案館設(shè)計(jì)作為重要的城市公共建筑，城市規(guī)劃選擇方圓為基本圖式，左右對(duì)稱，軸線布局，使環(huán)境多了幾分莊重，產(chǎn)生了強(qiáng)烈的紀(jì)念性意境。

然而在現(xiàn)代社會(huì)，博物館和城市規(guī)劃?rùn)n案館都屬于公民的建筑，開放和自由是這個(gè)時(shí)代的基本特征，也是公民建筑的基本要求。如何平衡城市規(guī)劃的紀(jì)念性與公民建筑的開放性成為了對(duì)建筑師最大的挑戰(zhàn)。

建筑設(shè)計(jì)很有趣，建筑師在兩個(gè)相互對(duì)峙的方形體量中，分別植入了一個(gè)中庭。在博物館中是一個(gè)透明的方形中庭，設(shè)計(jì)安置一部非對(duì)稱的大臺(tái)階連接上下，3條懸掛的步道漂浮在空中。中庭雖然是空的，但是卻是喧鬧的，人是博物館中最精彩的展品，使博物館成為一個(gè)內(nèi)部開放的立體廣場(chǎng)，紀(jì)念性被消解。

規(guī)劃?rùn)n案館則是一個(gè)圓形中庭，設(shè)計(jì)將城市規(guī)劃模型安置其中，圓筒層層向上，指向天空，象一個(gè)巨大的孔洞，連接天與城。一條環(huán)形坡道逐步升高，為參觀者觀看城市模型提供不同視角。中庭雖然有物（城市模型），卻是寂靜的，城市似乎等待著來自天空的召喚，在中心感很強(qiáng)的空間中制造出一種離散性。

建筑師運(yùn)用高超的技巧，在一個(gè)有著濃郁現(xiàn)代與古典主義氣息的城市規(guī)劃中，創(chuàng)造極具當(dāng)代氣質(zhì)、開放而豐富的空間。

11 規(guī)劃館外景/Exterior view of the Archive and Planning Exhibition Building

12 規(guī)劃館首層平面/Floor 1 plan of the Archive and Planning Exhibition Building

13 規(guī)劃館二層平面/Floor 2 plan of the Archive and Planning Exhibition Building

14-16 規(guī)劃館內(nèi)景/Interior views of the Archive and Planning Exhibition Building

Comments

LIU Kecheng:

The Commemorative Decons truction

Square and round shapes are common patterns in commemorative architecture all over the world and at all times. As an important urban public building， the architect of the Bengbu Museum and Archive and Planning Exhibition Building have chosen to primarily employ square and round-shaped layouts， along with bilateral symmetry and an axial layout， which creates an environment of grandeur and a strong sense of monumental signifcance.

However， in modern society， museums as well as urban archive buildings belong in the realms of civil architecture. Openness and liberty are essential characteristics in this age， and are perhaps essential requirements for such buildings. Therefore， how can architects balance the commemorative connotations of urban planning with the openness of civil building has become one of their biggest challenges.

Te architectural design is quite intriguing. In these two square-shaped， opposing buildings， the architect places an atrium within each structure. There is a square-shaped transparent atrium within the museum， where huge asymmetrical stairs connect each floor and three hanging walkways float up high. Although the atrium is empty， it is still vibrant because people become the most marvelous exhibits in the museum，thus turning the museum itself into an interopened stereoscopic square and dissolving the commemorative elements of the building.

Te Archive and Planning Exhibition Building features a cylindrical-shaped atrium where a physical model of the urban city is showcased. Te cylinder of the atrium has been layered upwards，pointing to the sky， like an enormous opening，connecting the sky and the city. Tere is a circular ramp which rises up gradually， providing various viewing angles for audiences to view different perspectives of the city model. Although the atrium is flled with the model， it is quiet because the space possesses a strong sense of centrality creating an environment of discreteness. It seems that the city is waiting for a summoning from the sky.

The architect employed a skilled approach to create a very contemporary style， open and spacious urban planning combines both classical and modern features. （Translated by Dandan Wang）

Bengbu Museum and Archive and Planning Exhibition Building， Anhui， China， 2015