喬波冰雪世界滑雪館及配套會議中心，北京，中國

Beijing Qiaobo Ski Museum, Beijing, China, 2005

喬波冰雪世界滑雪館的設(shè)計(jì)是一個從最初的復(fù)雜構(gòu)想到最后的簡單邏輯的思維發(fā)展過程，也是一個設(shè)計(jì)者與業(yè)主不斷互動、又不斷達(dá)到新平衡點(diǎn)、最終實(shí)現(xiàn)設(shè)計(jì)目標(biāo)的創(chuàng)作過程。設(shè)計(jì)過程中投資者、使用者的參與以及因市場和投資的變化而不斷修改和調(diào)整的隨機(jī)性使得建筑創(chuàng)作的過程充滿了不定性的誘惑，建筑師在不斷否定自身先前構(gòu)想又萌發(fā)新的理念這樣一種不斷尋求新的平衡點(diǎn)的狀態(tài)中體味著創(chuàng)作的樂趣。

在最初的任務(wù)接觸中，結(jié)合項(xiàng)目特點(diǎn)和與環(huán)境的關(guān)系，我們首先要解決的問題是如何將這一龐大的體量盡量減小，弱化對環(huán)境的壓力。我們以斜置正交的鋼筋混凝土框架體系作為主體結(jié)構(gòu)的維護(hù)體系。格構(gòu)的空隙以輕質(zhì)保溫墻板填充。隨著主體建筑自下而上空間采光需求的逐漸減小，格構(gòu)中填充墻上開啟的窗洞也自下而上地由大變小，整個立面的窗洞形成一個褪暈變化的完整效果，延伸到頂部形成一個整體。下部通透開敞消弱了對環(huán)境的壓力，夜晚內(nèi)部燈光從大小褪暈變化的窗洞中透出，仿佛是天空飄落的雪花，融入大地。這種與結(jié)構(gòu)邏輯相符、與內(nèi)部采光保溫相適應(yīng)的構(gòu)筑特征反映了建筑表層的結(jié)構(gòu)邏輯，同時也傳達(dá)了我們將建筑與環(huán)境、與自然對話和融入自然、回歸自然的富有浪漫詩意的文化暗含。最初的創(chuàng)意受到了業(yè)主的一致認(rèn)可。

然而，這一構(gòu)思創(chuàng)意的實(shí)現(xiàn)是不簡單的。斜置正交的鋼筋混凝土框架如何與主體結(jié)構(gòu)相連？每一個格構(gòu)中隨開窗大小的不同而帶來的多規(guī)格墻板如何定位與施工？以及窗洞中透出的燈光如何表達(dá)“雪花”？更關(guān)鍵的是項(xiàng)目投資的壓縮，使我們不得不承認(rèn)，當(dāng)初的構(gòu)想過于浪漫而復(fù)雜了。在比較了常規(guī)的梁板柱體系后，我們決定放棄這個方案?！帮w雪”的創(chuàng)意變成了圖板上的遐想。

第二次構(gòu)思，首先我們明確大原則，即在投資的控制下，運(yùn)用成熟的技術(shù)和經(jīng)濟(jì)的結(jié)構(gòu)體系，首先如實(shí)地反映建筑的架構(gòu)和空間邏輯，而后在此基礎(chǔ)上發(fā)掘建筑的文化表現(xiàn)力?！鞍讟辶帧钡膭?chuàng)意出現(xiàn)在我們的腦海，結(jié)合結(jié)構(gòu)體系的架構(gòu)，通過增加部分斜置的雨落管，形成一個連續(xù)的建筑表皮界面。在南入口正立面，結(jié)合接待大堂的實(shí)墻，將窗開成斜向不規(guī)則構(gòu)圖，夜晚燈光透出，與主體的連續(xù)表皮形成一片“白樺林”的效果，同樣達(dá)到將建筑融于環(huán)境、弱化體量的目的，同時傳達(dá)一種與功能相適應(yīng)的回歸自然、與自然對話的文化含義。

然而，實(shí)施設(shè)計(jì)中“白樺林”的創(chuàng)意顯現(xiàn)了致命的弱點(diǎn)。首先白樺林的模擬物是雨落管和結(jié)構(gòu)柱，兩者截面尺寸相差極大，要達(dá)到視覺統(tǒng)一，雨落管的直徑須達(dá)到約300mm，這是不現(xiàn)實(shí)的。此外，為達(dá)到“林子”的效果需增加相當(dāng)數(shù)量的裝飾性管材，且部分斜置的雨落管會影響到下部空間的再利用。顯然創(chuàng)意與功能技術(shù)、構(gòu)筑邏輯發(fā)生了矛盾。最終我們放棄了“白樺林”的創(chuàng)意。

因?yàn)楣て诰o張，確定材料也不等人，所以建筑主要的構(gòu)筑方式和主要材料都先期確定下來。雪道上部的維護(hù)結(jié)構(gòu)采用3層保溫復(fù)合金屬墻面，內(nèi)外表面為自鎖邊式鋁鎂錳合金屋面，保溫材料為擠塑板。雪道底板為雙層鋼筋混凝土樓板，中間夾擠塑板保溫材料。雪道下部為梁板柱鋼筋混凝土框架結(jié)構(gòu)體系，支撐整個雪道，二期將改造成度假休閑酒店。

為了趕在入夏前完成雪道制冷造雪，項(xiàng)目的立面調(diào)整被甩在了開工之后。盡管設(shè)計(jì)尚未統(tǒng)一，但迫于工期的壓力，工地開始砌筑了。盡快拿出一個既能跟上工期、遵循構(gòu)筑邏輯、又能具有一定意義表達(dá)的可實(shí)施的方案刻不容緩。面對工期的要求，施工的可操作性、立面造型意義的表達(dá)成為設(shè)計(jì)成敗的重要因素，我們從兩方面進(jìn)行了努力：一是，靈活、適度地處理好窗洞的開啟；二是，對純粹功能化的屋面及外墻的復(fù)合鋁板進(jìn)行表皮肌理的設(shè)計(jì)。墻體的砌筑高度一天天增長著，在達(dá)到窗洞標(biāo)高處時我們一定要拿出設(shè)計(jì)圖紙。

我們決定集中精力，回歸設(shè)計(jì)的起點(diǎn)。結(jié)合項(xiàng)目的特點(diǎn)和業(yè)主的要求，同時考慮室內(nèi)的使用功能和施工的可操作性。簡單的建構(gòu)邏輯的表達(dá)，放松、隨機(jī)而活躍的立面開窗，正好給了我們不曾想過的立面效果。我們最終將南立面處理成大小不等的不規(guī)則排列的方窗，在窗框分格和開啟扇設(shè)置上進(jìn)行精細(xì)的組合搭配，并在窗洞側(cè)壁涂刷紅、黃、藍(lán)、綠等顏色。靈活的方窗在設(shè)計(jì)確定標(biāo)高和尺寸后方便施工。變化的窗子與大面的實(shí)墻對比富于表情，傳達(dá)著活潑動感的意味；對正立面復(fù)合鋁板進(jìn)行中軸線對稱的斜向排布，增加立面的變化和豐富光影效果，將板材400mm間隔突起的肋在立面斜墻陽角處進(jìn)行對角拼縫處理，強(qiáng)化金屬板材的精細(xì)度，細(xì)部突出材料的特性。

如此設(shè)計(jì)后的立面精細(xì)別致，表情豐富。最終外立面結(jié)構(gòu)的整體感、邏輯的表現(xiàn)、內(nèi)在功能的反映以及追求輕松變化的開窗比例和精細(xì)的金屬墻面肌理，都體現(xiàn)了一種簡單而富有邏輯的創(chuàng)作過程。簡單的表達(dá)并不是簡陋，它同樣實(shí)現(xiàn)了設(shè)計(jì)者追求理性、邏輯、求實(shí)的創(chuàng)作理念以及通過建筑語言傳達(dá)文化內(nèi)涵的思考。

在投資、工期、施工工藝等客觀制約條件下，不夸大所謂建筑的創(chuàng)意，適度理性地處理客觀制約條件與創(chuàng)作的矛盾，如實(shí)地反映結(jié)構(gòu)的邏輯關(guān)系和內(nèi)在功能要求，并在此基礎(chǔ)上對建構(gòu)意義和文化意象進(jìn)行恰如其分的發(fā)掘和表達(dá)，用簡單而貼切的手法實(shí)現(xiàn)設(shè)計(jì)的目標(biāo)，這是我們在此項(xiàng)目設(shè)計(jì)中獲得的最深刻的感悟。□

1 “白樺林”概念草圖/Concept of "Birch Woods"

2 滑雪館外景/Exterior view of Ski Hall

3 滑雪館外景/Exterior view of Ski Hall

4.5 設(shè)計(jì)草圖/Sketch

項(xiàng)目信息/Credits and Data

1）微機(jī)繼電保護(hù)裝置與傳統(tǒng)普通的繼電保護(hù)裝置相比，其在運(yùn)行過程中性能可靠度更加穩(wěn)定，同時在維護(hù)和調(diào)試上也更為簡單。微機(jī)繼電保護(hù)裝置所具有的遠(yuǎn)程控制功能，使得其在運(yùn)行期間可以由相關(guān)程序控制其保護(hù)動作，其在記性保護(hù)分析、判斷、診斷時能夠直接對外界干擾進(jìn)行自動識別并及時排除，進(jìn)行自身硬件異常情況監(jiān)測時較傳統(tǒng)普通繼電保護(hù)裝置更具可靠性。

項(xiàng)目負(fù)責(zé)人/Principals in Charge: 莊惟敏，張葵/ZHUANG Weimin, ZHANG Kui

設(shè)計(jì)團(tuán)隊(duì)/Design Team: 莊惟敏，杜爽，姚虹，張葵等/ ZHUANG Weimin, DU Shuang, YAO Hong, ZHANG Kui, et al.場地面積/Site Area: 48,048m2

總建筑面積/Total Floor Area: 滑雪館/Ski Hall, 31,043m2；會議中心/Conference Center, 26,700m2

建筑高度/Height: 54.36m

設(shè)計(jì)時間/Design Period: 2003-2004

竣工時間/Completion: 2005

the design process of the Qiaobo Ski Museum shows a progression from a complex initial scheme to a refined final iteration. Its design process involved continuous interactions between designers and clients to reach a consensus. the participation of investors and user groups, together with the numerous modifications resulting from the random shifts in the market, created an great uncertainty in the design process. the joy of creation was found by the architect in the reciprocation of denying and rescheming.

At the first project briefing, which considered the nature of the project and the surrounding environment, the first challenge to be tackled was to scale down the volume and to minimize the project's relationship to its surroundings. The building's envelope was intended to be made of a rotated orthogonal framework of reinforced concrete, with gaps filled by lightweight insulation. As the building rises up, the need for natural lighting goes down, and window openings on the envelope scale down accordingly to form a gradient effect along the entire envelope. the openness at the lower levels befriends the environment. At night, light from the gradient openings was to resemble falling snowflakes. This construction feature adapts to the functional needs of skylights and insulation, reflects the building’s structural logic, while expressing a poetic metaphor that speaks to nature at the same time. this initial idea gained strong approval from the clients.

6.7 滑雪館外景/Exterior view of Ski Hall

However, to realize this proved to be problematic. Several questions had to be answered: First, how does the rotated concrete framework connect to the main structure? Second, how can the positioning and construction of wall plates with multiple specifications result in variable openings? Third, how can one express snowflakes through lighting effects? With crucial issues of investment adding to the burden, we had to admit that the initial concept was overly romantic and complicated. After comparison with a typical beam-pillar system, the "Snowflake" proposal was abandoned, remaining only an idea.

For the second concept, we set a goal right from the beginning, which was to take advantage of highly refined technologies and economical structural systems under the constraints of the budget, and to develop artistic expressions only on the basis of structural and spatial logic. An concept of "Birch Woods" came into mind. By adding partially tilted drainage pipes which are integrated into the structure, we attempted to create a continuous facade. At the south entrance of the main elevation, we also created an irregular composition in relation with the main entrance hall. Outflowing light at night was to create the "Birch Woods" effect, reaching the dual goals of blending into the surroundings and creating a dialogue with nature.

However, during the design development phase, fatal weaknesses were exposed in the "Birch Woods" concept. Firstly, the analogy utilizes drainage pipes as well as columns, which typically differ greatly in size. The drainage pipes had be at least 300 millimeters in diameter in order to be visually unified with the columns. Secondly, to create the"woods" effect, a large number of the drainage pipes had to be added merely as decoration; so many of these pipes may have affected the use of the lower spaces. Apparently, the "Birch Woods" concept reduced functionality, and in the end, this idea was discarded as well.

Under increasing pressure from the schedule and the materials suppliers, the main tectonic methods and materials were selected in advance. The envelope above the ski track was made of insulated tri-layered composite metal plates, with inter-locking alloy panel finish on both sides. The insulation used were XPS boards made by Ovens Corning. the ski track consists of a double reinforced concrete floor filled with insulation and supported by a typical frame structure. the second phase of the Qiaobo Ski Museum would enlarge the complex into a resort.

In order to finish snow-making before the beginning of the summer, the facade's adjustment was left aside. Without the permission of the design department, construction began under a pressing schedule. It was particularly urgent to reconcile the schedule with ongoing construction and a design proposal that had artistic meaning. Efforts were made in two aspects: First, to make the openings flexible and proper. Second, to texturize the function-oriented composite panels on the roof and the building envelope. As the building rose, a solution had to be found that considered both the client's expectations and functionality before the opening levels were reached.

We therefore decided to return to the origin of the design. Simple tectonics and unrestrained openings ended up inspiring us more than we expected. We populated the south elevation with irregularly positioned rectangular openings, with delicate combinations of window divisions. Strong colors such as red, yellow, blue, and green coated the sides of each of these openings. These flexible openings benefited the construction once the windows' levels and sizes were known. A lively and dynamic expression was made in the contrast between the varied windows and the solid walls. the composite panels along the main elevation were cladded in a took a symmetric diagonal pattern, adding to the shaded texture. The ribs, each with 400mm spacing, were aligned at the corner, and emphasized this exquisite detailing and materiality.

This facade design brought delicateness and expressiveness. As a result, a unified facade, an expression of construction logic, a reflection of functionality, lively opening proportions, and the delicate metal finish texture, all together connote a simple and rational design process, though in this case, simple does not equal simplistic. This is another way to reach rationality, practicality, and cultural meaning.

Under the restraints of budget, schedule, and tectonics, design concepts should not be overemphasized. Conflicts between ideas and reality should be reconciled in a sensible way, to balance issues of structural logic and functionality with the development and articulation of images with cultural meanings, thereby reaching design goals with simple and proper methods. These were the most profound lessons we learned from this project.□

8 剖面/Section

9 南入口/South entrance

10 會議中心外景/Exterior view of Conference Center

11 滑雪館首層平面/Floor 0 plan, Ski Hall

12 滑雪館二層平面/Floor 1 plan, Ski Hall

13 會議中心首層平面/Floor 0 plan, Conference Center

14 會議中心二層平面/Floor 1 plan, Conference Center

評論

孫一民：內(nèi)斂含蓄中的激情與奔騰

談起體育運(yùn)動、冰雪運(yùn)動，詞匯大都是速度與激情、奔騰與動感。說得久了，繪聲繪色，好像體育建筑也必須與此相關(guān)。滑雪建筑，看過北歐的幾個項(xiàng)目，造型奔騰、跳躍，淋漓盡致得幾乎不像建筑物。帶著這種印象，初看喬波滑雪館，不解其形態(tài)的原因，心中略有所失。讀了建筑師設(shè)計(jì)回顧的文字，才理解了設(shè)計(jì)歷程的艱辛。這是怎樣一種壓力啊：投資壓縮，“雪花”消融；不能自主，“白樺”凋零；施工在先，設(shè)計(jì)隨后……

60后建筑師，成功者不少，也如本案設(shè)計(jì)師，負(fù)責(zé)主創(chuàng)了奧運(yùn)建筑、國家美術(shù)館改造等國家重大工程，似乎順風(fēng)順?biāo)?，然而對于一個負(fù)責(zé)任的人來說，工作的艱辛，除非身處其中，否則是無法被常人理解的。往往是貌似平順，實(shí)則處處受到牽制。就這項(xiàng)“喬波滑雪館”工程而言，在造價、材料、結(jié)構(gòu)、工期多個方面處處掣肘的情況下，建筑師不僅沒有放棄，反而屢屢在無奈中化腐朽為神奇，能夠保持如此專業(yè)精神的建筑師，恐怕不多見，否則我們眼中就不會有那么多的“奇奇怪怪”了。

建筑，對于建筑師而言，首先是一項(xiàng)專業(yè)服務(wù)，然后才是個人的表達(dá)。當(dāng)許多條件不允許建筑形態(tài)進(jìn)行個性化表達(dá)的時候，建構(gòu)的過程就成了建筑師自己日常的詩篇。透過喬波滑雪館內(nèi)斂、含蓄的外觀，你可以看到運(yùn)動員酣暢的滑行，更可以感受建筑師內(nèi)心的激情與奔騰。

Comments

SUN Yimin: Passion and gallop in restrain and implication

Speaking of athletics and winter sports, we often hear of such descriptions as "the fast and the furious", gallop and movement, so often that sports architecture seem to have a legitimate relation to such vividness. I have seen some skiing sites in Northern Europe whose styles are too vivid and galloping to be considered as buildings. With this impression, I felt a bit lost on first encounter with the Qiaobo Ski Museum and did not understand the rationale of its restrained form. It is after reading the architect's retrospective notes on the design that I began to see the hardships on the designer's part. Squeezed investments, "melting snow", deprived autonomy, "withering birch", reversed order of design and construction...What a pressure!

There are many successful architects among the post-1960s generation. The designer of this work, for example, has completed such important national projects as the Olympic buildings and the renovation of the National Art Museum, which seems to represent an enviably smooth career. And yet, the hard work of an responsible architect can hardly be understood by the common people, unless one is part of the game. More often than not, a seemingly smooth project is hampered by all sorts of practical matters. So far as the Qiaobo Ski Museum is concerned, despite multiple constraints from construction costs, materials, structure, work schedule, etc. the architect never gave up; on the contrary, he often turned the hard into the possible. It is rare to see an architect so dedicated to his profession. Otherwise we would not have had so much "weirdness".

For an architect, architecture is first and foremost a professional service, its role as a personal statement only secondary. When various conditions render such expression impossible, the construction process becomes the architect's everyday poetry. through the restrained and implicit appearance of the Qiaobo Ski Museum, one sees not only the easy and swift movement of the athlete's gliding, but also the passion and gallop of the architect's mind.(English translation by LIU Chen)

15 滑雪館內(nèi)景/Interior view of Ski Hall