尼洋河游客中心，林芝，西藏，中國(guó)

建筑設(shè)計(jì)：標(biāo)準(zhǔn)營(yíng)造+趙揚(yáng)工作室

米瑞公路是318國(guó)道（川藏線）在林芝縣分出的一條旅游公路，這條公路沿著尼洋河谷東岸婉蜒起伏的河岸線向南延伸，在通往雅魯藏布江大峽谷的20km距離內(nèi)，尼洋河谷獨(dú)特的地貌一覽無(wú)余。公路沿線的達(dá)則村被選為這條觀光線路的起點(diǎn)，達(dá)則村的可建設(shè)用地所剩無(wú)多，村口的一片灘涂因此成為修建游客接待站的不二選擇。

公路切斷了河灘和山體的聯(lián)系。于是，如何把一個(gè)孤立場(chǎng)地和它周?chē)沫h(huán)境重新聯(lián)系起來(lái)成為這個(gè)設(shè)計(jì)的首要問(wèn)題。從平面上看，建筑的外輪廓，在西、北兩面以肯定的直線朝向開(kāi)闊的河谷；東南面以一條連續(xù)的折線呼應(yīng)公路的走向和山體的轉(zhuǎn)折。而建筑內(nèi)部空間的輪廓是從外輪廓包裹的不規(guī)則形體中“切割”出來(lái)的。內(nèi)部空間以1個(gè)不規(guī)則四邊形庭院為中心，連接了建筑的4個(gè)開(kāi)口，呼應(yīng)了景觀朝向和流線安排?！扒懈睢笔Ｏ碌氖覂?nèi)空間分別容納建筑的3個(gè)部分功能——售票、漂流活動(dòng)更衣室和衛(wèi)生間。這個(gè)看似隨意的平面實(shí)際上是被流線、功能和場(chǎng)地條件限定的結(jié)果。形體和空間的幾何特征把建筑和環(huán)境聯(lián)系起來(lái)。

整個(gè)工程采用并發(fā)展了西藏民居的傳統(tǒng)建造技術(shù)?；炷粱A(chǔ)以上便是600mm厚的毛石承重墻體。大部分門(mén)窗洞口都深深地凹入墻面，洞口兩側(cè)的墻體作為扶壁墻在結(jié)構(gòu)上增加了建筑的整體剛度，同時(shí)也減小了室內(nèi)空間跨度，屋面采用簡(jiǎn)支梁和檁條體系的木結(jié)構(gòu)，局部跨度較大的木梁用200mm×300mm的木材拼合而成。卷材防水以上覆蓋了150mm厚的阿嘎土。阿嘎土是西藏建筑中常見(jiàn)的屋面防水材料，疏松的粘土在加水反復(fù)拍打后板結(jié)，形成可靠的屋面防水層和保溫層。我們還利用阿嘎土的塑性在槽口內(nèi)側(cè)拍打出檐溝，并用槽鋼加工的雨水口形成有組織排水。顏色是西藏視覺(jué)文化傳統(tǒng)的重要元素，在進(jìn)行多種顏色試驗(yàn)之后，我們選擇了給石頭墻刷上當(dāng)?shù)爻Ｒ?jiàn)的純潔的白色。純凈的顏色強(qiáng)化了空間的幾何轉(zhuǎn)換。從日出到日落，不同方向和高度角的陽(yáng)光射入各個(gè)洞口。從建筑中穿過(guò)時(shí)，人們可以在不同的角度和時(shí)刻體驗(yàn)到建筑的戲劇性空間，建筑在傳遞強(qiáng)烈當(dāng)代性的同時(shí)仍然保持了其純樸的本質(zhì)。□

Mirui Road is a tourist road that meets Highway 318 connecting Tibet and Sichuan. This road winds southwards along the Niyang River.Within this 20km distance to the Yarlung Zangbo Grand Canyon, the specific terrain and landscape of Niyang River can be enjoyed from the road. Daze Village was chosen to be the entrance to this tourist site. There is little land left for further development in this village, therefore the river beach along the road was the only choice for a tourist centre.

The road separates the river beach from the nearby mountain. How to establish relationships between an isolated building and its surroundings is the main concern of our design. The building's exterior boundary is a response to the border conditions. The inner public space is "carved" out from the irregular-shaped volume. The central courtyard connects four openings, responding to the orientations and circulation. The volume left from "carving" accommodates three major interior functions – a ticket offce, a dressing room for rafting and toilets. This seemingly arbitrary plan is actually shaped by circulation, program and site conditions.The geometric character of the volume and space forms a dialogue with the surrounding landscape.

The construction of this building adopted and developed the techniques of the Tibetan vernacular.On top of the concrete foundation a 600mm-thick bearing wall is erected. Most openings have deep recessions. The 400mm-thick walls at both sides of the openings work as buttresses, increasing the overall structural stability and reducing the interior span as well. Beams for bigger spans are made from several small logs bonded together. A 150mm-thick layer of Aga clay covers the waterproof membrane.Aga clay is a vernacular waterproofing material. It stiffens when tampered with water and works as another layer of waterproofing and heat insulation.Its plasticity allows gutters to be shaped. Roof drainage is well organised with these gutters and channel steel scuppers.

Colour is a crucial element of Tibetan visual culture. After several experiments we decided to paint the stone walls as white as the Potala Palace.The pure white colour enhances the geometric transition of space. From dawn to dusk, sunshine changes its directions and altitudes, penetrating into different openings. When passing through the building, people perceive the spatial drama at different time. The building successfully maintains its humble essence at the same time passing out a strong sense of contemporariness.□

1 鳥(niǎo)瞰/Aerial view

2 平面/Plan

3.4 庭院/Courtyard

5.6 立面/Elevations

7.8 剖面/Sections

9.10 墻身大樣/Wall section details

11 模型/Model

12 鳥(niǎo)瞰/Aerial view

13.14 庭院/Courtyard

評(píng)論

張宇星：建筑師內(nèi)心深處的最大抵抗，是對(duì)建筑非純粹性的抵抗。這種非純粹性來(lái)自于各個(gè)方面：可能是每天轟炸視覺(jué)神經(jīng)的全球圖像污染，也可能是被某種話語(yǔ)體系賦予了權(quán)威力量的審美定式，或者，是一些似是而非的文化概念（比如所謂地域性、歷史文脈等）。面對(duì)這些紛至冗來(lái)和紛繁復(fù)雜的世界幻像，建筑師就像是一個(gè)遠(yuǎn)古巫師，他需要以刪繁就簡(jiǎn)的最大勇氣來(lái)喚醒建筑（和土地）中隱藏的空間神性，就像是喚醒一顆草籽，從地表深處破土而出，然后演變成為一個(gè)“自生長(zhǎng)空間構(gòu)形”。某種意義上，好的建筑應(yīng)該是具有“植物性”和“動(dòng)物性”的。尼洋河游客中心就是這樣一個(gè)可以稱(chēng)之為“自然結(jié)晶物”的原型空間，建筑師張軻所做的其實(shí)很簡(jiǎn)單，就是“在一團(tuán)虛無(wú)縹緲中，把多余的空氣去掉，剩下的就是建筑”。當(dāng)然，在這個(gè)自然結(jié)晶過(guò)程中，最重要的手法是需要對(duì)空間進(jìn)行不斷提純，同時(shí)賦予空間內(nèi)在多重張力，使之獲得語(yǔ)言邏輯和語(yǔ)言形式的極端抽象感。這種極端抽象感在本質(zhì)上是感性（和性感）的，因?yàn)樗渡淞丝臻g最深層次的生物學(xué)本性。

應(yīng)當(dāng)說(shuō)，尼洋河游客中心的“空間提純實(shí)驗(yàn)”是非常成功的，它主要在6個(gè)方面探索了空間的張力平衡技巧。（1）重和輕：用非常重的石材來(lái)反向表達(dá)輕盈和懸浮，或者用非常輕盈的手法來(lái)切割石頭重塊，這種矛盾性消解了材料和結(jié)構(gòu)的文化地域符號(hào)特質(zhì)，突出了對(duì)地球重力“控制與反控制”的自由精神屬性；（2）光和暗：不規(guī)則的幾何形轉(zhuǎn)折系統(tǒng)消解了人對(duì)光線軌跡的定位感知，于是光和暗不再具有規(guī)規(guī)矩矩的太陽(yáng)方位屬性，而產(chǎn)生了一種奇妙的捉迷藏似的“游戲神性”；（3）實(shí)和空：實(shí)體內(nèi)部“整體包裹”了外部虛空（院落和室外開(kāi)放空間），同樣，在虛空中也可以體會(huì)到實(shí)體被虛空“整體分離”的沖突性力量；（4）內(nèi)和外：建筑的內(nèi)部不僅僅是“物理性的內(nèi)部”，而是“身體性的內(nèi)部”以及“心理性的內(nèi)部”，只有把內(nèi)部壓縮得具有足夠的“緊密感”和“內(nèi)視感”，外部才能獲得無(wú)限的延展性擴(kuò)張力；（5）景和觀：如果說(shuō)“景”是一種不加預(yù)設(shè)的由使用者自我定義的觀看系統(tǒng)，那么“觀”則是由建筑師精心預(yù)設(shè)的“內(nèi)心景觀”觀看系統(tǒng)。所以“觀”是與一些特定設(shè)計(jì)的“窗口”（洞口、縫隙）相關(guān)聯(lián)的，我們可以在尼洋河游客中心以及張軻后期設(shè)計(jì)的大量案例中，發(fā)現(xiàn)這種“觀景窗口原型”；（6）游和覽：具有不確定性特征的動(dòng)線設(shè)計(jì)常常會(huì)讓觀賞者感受神秘探幽的樂(lè)趣，但過(guò)于隱秘的空間邏輯也會(huì)使建筑變得玄妙難懂，因此布置一些總覽全局的“全景閱讀場(chǎng)景”（可能是制高點(diǎn)或者全景視點(diǎn)）變得尤為必要，它將成為整個(gè)游覽過(guò)程的真正高潮。

總之，尼洋河游客中心通過(guò)對(duì)重和輕、光和暗、實(shí)和空、內(nèi)和外、景和觀、游和覽這一系列巧妙的張力平衡設(shè)計(jì)，使建筑從“地域性的概念化桎梏”中跳了出來(lái)，回歸到空間本原，讓我們領(lǐng)悟到源于地點(diǎn)又高于地點(diǎn)的空間神性。也許可以說(shuō)，這種空間本原和空間神性才是具有打動(dòng)人靈魂力量的真正地域性。

Comment

ZHANG Yuxing:The greatest resistance of architects is that against the non-purity of architecture. This kind of non-purity comes from various aspects: it may be the global image pollution that bombs the visual nerves every day, it may be an aesthetic stereotype that is endowed with authority by a certain discourse system,or, it may be some specious cultural concepts (such as the so-called regional, historical context, etc.). In the face of these redundant and complex phantoms of the world,the architect is like an ancient wizard who needs the greatest courage of condensation to awaken the hidden divinity of space hidden in architecture (and land), like awakening a grass seed to break through surface of the earth from deep in, and then evolves into a "self-growing space structural form". In a sense, good architectures should be "vegetative" and "animalistic". The Niyang River Visitor Centre is such a prototype space that can be called a "natural crystals". What the architect ZHANG Ke does is simple: "In a mass of vanity, remove the excess air, and the rest is architecture." Of course, in this natural crystallisation process, the most important method is to constantly purify the space and give the space inherent multiple tensions in the meantime, so that it can obtain the extreme abstraction of language logic and language form. This extreme abstraction is essentially perceptual (and sexy), because it projects the deepest biological nature of space.

It's safe to say that the "space purification experiment" of Niyang River Visitor Centre is very successful. It mainly explored the tension balance techniques of space in six aspects. (1) Heaviness and lightness: conversely expressing lightness and levitation with very heavy stones, or cutting heavy stone blocks with very light techniques,this contradiction dispels the cultural and regional symbolic characteristics of materials and structures,and highlights the spiritual attributes of freedom in the "control and anti-control" of the earth's gravity;(2) Light and shadow: the irregular geometric turning system eliminates people's location perception of light trails, so that light and darkness no longer have the regular properties of solar orientation, resulting in an intriguing "game divinity" like hide-and-seek;(3) Solidity and emptiness: the inner solid "wholly enwraps" the outer void (courtyard and outdoor open space),similarly, the conflicting forces of the solid being "wholly separated" by the void can also be experienced in the void; (4) Inside and outside: the inside of the building is not only "physical inside",but also "bodily inside" and "psychological inside",only by compressing the inside until it have enough"compact" and "insight" can the outside obtain infinite ductility and extensibility; (5) Scene and view:if the "scene" is a kind of unexpected user-defined viewing system, then the "view" is a "mind landscape"viewing system elaborately designed by the architect.So the "view" is associated with certain specially designed "windows" (openings, gaps), and we can find this "viewing window prototype" in the Niyang River Visitor Centre and a large number of later cases designed by ZHANG Ke; (6) Tour and Visit: the route design with uncertain characteristics often makes the viewer feel the fun of exploring mysteries, but spatial logic too secretive can also make the building abstruse and difficult to understand, so the setting of some "panoramic reading scenes" (may be high spots or panoramic viewing spots) that look onto the overall becomes particularly necessary as the real climax of the entire touring process.

In short, through a series of ingenious tension balancing designs of heaviness and lightness, light and darkness, solidity and emptiness, inside and outside, scene and view, tour and visit, the design of Niyang River Visitor Centre makes the building jump out from the "conceptual shackles of regionalism"and return to the space itself, so that we can feel the spatial divinity coming from the place but higher than the place. Perhaps it can be said that this kind of spatial primitive and spatial divinity is real regionalism with the power to speak to people's souls.(Tranlated by CHEN Yuxiao)