建筑設(shè)計：馬曉東/東南大學(xué)建筑設(shè)計研究院有限公司Architects： MA Xiaodong/Southeast University Architectural Design Institute Co.， Ltd.

馬子山回民公墓服務(wù)站，南京，江蘇，中國

建筑設(shè)計：馬曉東/東南大學(xué)建筑設(shè)計研究院有限公司
Architects： MA Xiaodong/Southeast University Architectural Design Institute Co.， Ltd.

1 東側(cè)全貌/Panoramic view from the east

2 總平面/Site plan

回民公墓坐落在一個東西狹長的西向坡地上，墓區(qū)周邊丘陵起伏，散布著農(nóng)田、村舍和一片磚瓦廠。墓區(qū)大門設(shè)在墓區(qū)西端，通過引道連接鄉(xiāng)間公路。墓區(qū)服務(wù)站房位于基地西側(cè)坡底，主入口呈不均衡對稱狀呼應(yīng)墓區(qū)東西向軸線。回族的喪葬禮俗有速葬、薄葬、土葬三個特點。依照伊斯蘭教的教義，“安拉”用泥土造化了人的生命，又回歸于泥土之中，然后再從泥土中復(fù)活。在古蘭經(jīng)的指引下，穆斯林葬禮崇尚簡樸。這項設(shè)計旨在傳達穆斯林平和的生死觀，而非莊嚴宏大的紀念性。設(shè)計試圖通過空間營造和材質(zhì)處理表現(xiàn)出特定地域條件和文化背景下回民墓地的環(huán)境特質(zhì)。

墓區(qū)服務(wù)站房的平面原型源于回族的“回”字，以契合公墓主人的民族與文化屬性?！霸郝洹币彩墙蟼鹘y(tǒng)建筑的核心元素?！盎亍弊謨?nèi)院保持正南北向方位，而建筑外部形體順應(yīng)基地邊界，扭轉(zhuǎn)并與原正交邊界疊合，形成五邊形外廓。雙坡屋面隨正交與扭轉(zhuǎn)方形的控制邊線而起伏，由此產(chǎn)生隨機變化的屋面輪廓。站房中心院落類似江南傳統(tǒng)的四合院空間，周邊還留有小天井與邊緣小院，透出江南園林邊角天井的空間意趣。東側(cè)院墻與建筑外墻合為一體，并與其余三面院墻共同圍合形成建筑外部院落空間。

薄片望磚曾是江南一帶傳統(tǒng)民居屋蓋建造中鋪設(shè)于木椽之上的通用材料，是傳統(tǒng)粘土磚中的一種。粘土磚取自于土，由此契合了伊斯蘭教義的生命觀，并獲得了與鄉(xiāng)土景觀天然和諧的品質(zhì)。薄片望磚對建筑外墻面和屋面形成整體包裹，獲得了這個小尺度建筑所需要的純粹性。對應(yīng)于墻面與屋面兩種不同的界面屬性，設(shè)計采用了不同的構(gòu)造肌理：實墻面選擇錯縫貼面，避免望磚尺寸差異所帶來的混亂。屋面通縫拼貼，每壟之間立砌一片望磚，產(chǎn)生出類似于瓦壟的光影效果。大面積窗洞口用清水望磚作格柵式砌筑，中心內(nèi)院地面采用清水磚立鋪，進一步強化了院落空間界面的材質(zhì)一致性。

墓區(qū)大門混凝土門架仍以薄片望磚貼面，門架以內(nèi)用H型鋼構(gòu)成伊斯蘭尖券樣式，尖券與框架間填充經(jīng)過變形操作的古蘭經(jīng)文圖案。圖案用鋼板制成，帶有明顯手工痕跡。鋼構(gòu)尖券和鋼板圖案表面施以伊斯蘭文化的代表性綠色。類似的手法再現(xiàn)于內(nèi)院軸線上的兩個窗洞，其間填充的鋼板幾何花飾運用了伊斯蘭典型圖案。這兩個窗洞與其他玻璃窗的差異性使服務(wù)站與室外墓區(qū)獲得了恰當(dāng)?shù)目臻g聯(lián)系。

中心內(nèi)院周邊的檐廊頂棚是唯一采用小木作的地方。人字形木格柵表面飾清漆，格柵內(nèi)嵌入筒燈。清水木質(zhì)的暖性特質(zhì)恰當(dāng)?shù)仄鸬綋嵛咳诵牡淖饔茫瑫r也呈現(xiàn)出傳統(tǒng)院落檐廊的意象?！?/p>

項目信息/Credits and Data

客戶/Client： 南京市民族宗教事務(wù)局/Nanjing Municipal Bureau of Ethnic and Religious Affairs

位置/Location： 南京市江寧區(qū)湖熟鎮(zhèn)新躍村馬子山地塊/Mazishan Block， Xinyue Village， Hushu Town， Jiangning District， Nanjing

設(shè)計單位/Design Company： 東南大學(xué)建筑設(shè)計研究院有限公司/Southeast University Architectural Design Institute Co.， Ltd.

主持建筑師/Principal Architect： 馬曉東/MA Xiaodong

設(shè)計團隊/Design Team： 馬曉東，顧燕，譚亮，趙謙/MA Xiaodong， GU Yan， TAN Liang， ZHAO Qian

場地面積/Site Area： 34，800m2

建筑面積/Floor Area： 320m2

材料/Materials： 鋼筋混凝土，薄片望磚，鋼板，H型鋼/ Reinforced concrete， thin sheathing brick， steel plate， H-shaped steel

設(shè)計時間/Design Period： 2006.11-2007.11

建造時間/Construction Period： 2008.04-2008.11

攝影/Photos： 耿濤，馬曉東/GENG Tao， MA Xiaodong

3 概念生成/Concept generation

4 薄磚包裹形體/Form wrapped with bricks

5 中心合院/Central courtyard

The Mazishan Muslim Cemetery is located on the west-facing slope in a narrow strip of land stretching east-west. It is surrounded by undulating hills dotted with farms， cottages and a brick plant. The cemetery gate is located at the western end of the complex， leading to the country road through a connector road. The service building of the cemetery is located at the bottom of the slope in the west of the project site， with an asymmetrical main entrance along the east-west axis. Muslim funeral rites have three characteristics which are quickness， simplicity and in-ground burial. In accordance with the Islamic doctrines， human life is created by “Allah” with earth， returns to the earth and then revives from the earth. Under the guidance of the Koran， Muslims uphold the simplicity of their funerals. This design is intended to convey a peaceful conception of life and death of Muslim， rather than solemnity and grandeur of commemoration. Through spatial arrangement and material usage， the design seeks to highlight the distinctive environment of Muslim Cemetery in its specific regional and cultural background.

The plan of the cemetery service building originated from the Chinese character of ethnic minority group of Hui， "回"， to be in line with the ethnic and cultural attributes of the cemetery owners. “Courtyard” is the core element of traditional Chinese architecture to the south of Yangtze River. A"回"-shaped courtyard takes an absolute north-south orientation， while the exterior of the building twists to be in conformity with boundaries of the project site and overlaps with the original orthogonal shape to form a pentagonal outline. The double-slope roof has a changing profile coordinating with the edges of the orthogonal and twisted square shapes， creating random variations of the roof contour. The central courtyard of the building is similar to the traditional courtyards to the south of Yangtze River with small yards along the edges， revealing the spatial charm of corner yards in southern Chinese gardens. The east wall of the courtyard is jointed with the exterior walls of the building， together with walls on the other three sides， forming the courtyard space outside of the building.

Thin sheathing bricks are materials commonly used in southern traditional houses to be laid on top of the roof rafters， a kind of traditional clay bricks. Clay bricks are made of earth， thus complying with the doctrines of Islamic view of life， while achieving harmony with the local landscape. Thin sheathing bricks provide holistic coverage for the exterior walls and roofs of the building， exhibiting the purity needed in this small-scale building. Corresponding to the two different interface attributes of walls and roofs， the design requires different configuration textures： the solid walls are built with staggeredjoint veneer to avoid confusion caused by brick size differences. The roof bricks are laid with aligned joints with one row of sheathing bricks set vertically in between two rows， creating shadow effect similar to that of tile ridges. Large window openings are built with dry sheathing bricks in grille style，while the ground of the central courtyard is also paved with dry bricks， to further strengthen the material consistency of the spatial interfaces of the courtyard.

The concrete frame of the cemetery gate is also veneered with thin sheathing bricks. Inside the frame，H-shaped steel beams are used to constitute Islamicstyle pointed arch. Between the arch and the frame，patterns of transformed Koran doctrines are used to fill the space. The pattern is made of steel plates with obvious handcraft traces. The steel pointed arch and pattern plates are painted with green， representative color of Islamic culture. Similar approaches are adopted in two windows on the axis of the inner courtyard， where steel plates are made with the typical Islamic geometric floral patterns. The difference between these two windows and the other glass ones provides the proper spatial connection between the service building and the outdoor cemetery.

The surrounding verandas and sheds in the central courtyard are the only architectural elements built with wood. Surfaces of the "人"-shaped wood grille are painted with clear paint. Tube-lights are embedded in the grilles. The warmth of wood appropriately pacifies one's heart， expressing the image of traditional courtyard verandas.□

6 南側(cè)局部/Partial view of south facade

7 小天井/Courtyard

8 首層平面/Floor 0 plan

9 二層平面/Floor 1 plan

10 屋頂平面/Roof plan

評論

袁野：作為公墓的附屬服務(wù)性建筑，建筑師對公墓服務(wù)站性格的恰當(dāng)拿捏顯得尤為重要——既要表達個性，又不能喧賓奪主；即要體現(xiàn)服務(wù)性特征，更要與公墓整體調(diào)性相協(xié)調(diào)。該設(shè)計顯然做到了這一點。通過灰色薄片望磚對建筑形體的整體包覆完成了對宗教生死觀的象征性表達，并通過局部點綴的民族圖案作為清晰的符號，讓這棟小房子很容易地被普通人讀懂，從而達到文化上的認同。

中心院落空間和邊角天井的設(shè)置及其適宜尺度、鏤空的灰磚墻、檐廊的木格柵吊頂，以及坡屋頂豎磚形成的瓦壟意味等“陌生化”的處理手法成功地詮釋了江南傳統(tǒng)建筑的地域性文化特征，并賦予該建筑以樸素的人文氣質(zhì)。

周漸佳：這座小巧的公墓服務(wù)站背靠開闊的墓區(qū)，是進入整個區(qū)域的起點。項目的平面由“回”字抽象而來，一方面是從字到建筑的圖示化轉(zhuǎn)變，直白易懂；另一方面由此形成的建筑格局與江南典型的院落平面自然地形成呼應(yīng)。歷史上數(shù)次的遷徙使來自西域的回民族最終扎根江南，南京因此有著悠久的回民聚居歷史。項目中對粘土磚的使用以及對各種砌法的實驗充滿著質(zhì)樸感，也存在著某種建筑材料上不分地域的通屬性，似乎是對遠方遙遙的應(yīng)答。這些空間上、細節(jié)上的考慮貫穿了整座小建筑，也讓我們看到宗教建筑在使用符號表征自己以外的其他諸種可能。

11 窗細部/Window detail

12 剖面/Sections

13 公墓大門/Cemetery gate

14 合院回廊/Courtyard cloister

Comments

YUAN Ye: Service buildings act as affiliated structures to a cemetery. It is very important for architects to determine the appropriate character of these building types. Service buildings should not overwhelm and should reflect the character of its function. They may express some individuality in proper coordination with the overall cemetery ensemble. This building acheives these guidelines. Sheathing tiles clad the whole building， expressing the symbology of the religious concept of life and death. The ethnic pattern on its surface is a clear symbol that ensures that this small building can easily be read， so as to achieve cultural recognition.

The suitable scale of the central courtyard space and the corner patios， and the treatments on the hollow gray brick wall， wooden veranda ceiling grilles，and vertical tiles on the sloping roof form represent tactics of "defamiliarization". These tactics successfully explain the traditional Southern regional architectural characteristics， and give the building a simple humanistic temperament.

ZHOU Jianjia: Resting within an open graveyard，this exquisite reception pavilion serves as the primary entry of the entire cemetery complex. The plan of this project was generated from the Chinese character"回"， representing the Hui Nationality， an ethnicity of Chinese Muslims. On one hand， this building is an easy to understand transformation from character to architecture； on the other hand， the character also echoes the layout of typical Jiangnan courtyard home. After multiple migrations over the centuries， the Hui，a ethnicity of Central Asian ancestry， firmly established an indigenous community in the Jiangnan area， and therefore Nanjing has a long history of Hui ethnicity settlement. Surfaced with unadorned clay bricks of varied courses， the pavilion is an experiment of an austere quality which expresses the universal characteristic of clay， but also evokes a response to faraway distance. Other meditations on space and detailing are used on this tiny pavilion， unfolding before us in a sacred space which takes an alternative design approach rather than utilizing a symbolic representation.

Service Building of Mazishan Muslim Cemetery， Nanjing， Jiangsu， China， 2008