成都金沙遺址博物館，四川，中國

Chengdu Jinsha Site Museum, Sichuan, China, 2007

1 外景/Exterior view

金沙遺址博物館作為城市建成區(qū)的遺跡博物館,周邊有大量的城市街區(qū)和建筑，故而需要解決兩個層面的問題：一是規(guī)劃層面，如何最大限度減少對文物遺存的影響，同時滿足保護、展示需要及持續(xù)發(fā)展的平衡；二是建筑層面，即建筑形式如何體現(xiàn)金沙文明同時融入城市環(huán)境。

設(shè)計理念

（1）以積極姿態(tài)保護歷史遺存，實現(xiàn)教育公眾、傳承文化、經(jīng)營城市的目的。

（2）以有限的建造最低程度擾動遺跡,盡可能消解建筑體量使其融入整個遺址公園的環(huán)境。

（3）以中性的手段應(yīng)答時空的矛盾，不追求對應(yīng)具體歷史時段的建筑形象。

規(guī)劃方案以橫貫用地東西的摸底河為橫向景觀軸，以南北軸線的開放空間形成縱向文化軸，入口廣場為序幕，遺跡館為發(fā)展，文物陳列館為高潮。

通過金沙遺址博物館項目，我們嘗試了一種不同于純粹的郊野遺址博物館或城市建成環(huán)境博物館的設(shè)計策略，探索了一條新的道路。建筑建成后取得了很好的社會效益，獲得了文物界和建筑界的好評。經(jīng)過2008年汶川大地震后，金沙遺址博物館經(jīng)各方面檢驗，安然無恙，甚至外墻石材都無一脫落，成為金沙文物的安全庇護所，而整個園區(qū)在地震當日即開放，臨時收容受災(zāi)市民，很多市民在園區(qū)內(nèi)支起帳篷，度過余震不斷的日日夜夜，直至安全返家。金沙遺址博物館不但成為了文物的庇護所，還成為廣大市民躲避地震災(zāi)害的避難所。建筑超越了原設(shè)計的意圖，提供了更為廣闊的人文關(guān)懷。

建筑創(chuàng)新

一是規(guī)劃層面的，作為城市建成區(qū)的遺跡公園，采用恰當?shù)慕ㄖ季趾徒Y(jié)構(gòu)方式，最大限度地減少對文物遺存的影響，同時又不阻礙城市的正常生活，取得資源的適度利用與可持續(xù)發(fā)展的平衡；二是建筑層面的，跳出了遺址類博物館大多采用民族或傳統(tǒng)風格的思路，即建筑形式既滿足使用功能又體現(xiàn)金沙文化，同時還要融入城市建成環(huán)境。3000年前的古蜀文化建筑形象現(xiàn)在無從求證，我們提出以一種中性的手段，即不強調(diào)具體歷史時間段或具象建筑特征的形象來應(yīng)答時空的矛盾，強調(diào)當下，追求建筑空間的本原。

功能創(chuàng)新

設(shè)計中還致力于使博物館超越原有的收藏、展示、研究、教育等功能，更成為公眾交往和社會活動的場所，使博物館在市民生活中更加鮮活。同時為了減少博物館建成后的財政負擔，設(shè)計考慮了陳列館內(nèi)部公共空間的多種利用可能，如慶典活動、新聞發(fā)布會、時裝發(fā)布會、企業(yè)酒會等多種方式，使公共空間的利用在更加多元化的同時盡可能創(chuàng)造收益，使以館養(yǎng)館成為可能。2006年6月10日，中國的首個文化遺產(chǎn)日慶典在金沙博物館成功舉行；2008年，金沙遺址現(xiàn)場發(fā)掘由中央電視臺現(xiàn)場直播，舉國關(guān)注。設(shè)計中的多功能考慮使得博物館成為公眾事件中的重要場所和角色。

構(gòu)造創(chuàng)新

陳列館外墻為開放式石材幕墻的設(shè)計，在石材和土建墻體之間形成一個空氣間層，通過石材縫隙與室外大氣相通，滿足了采風和排煙需要。在陳列館傾斜外墻維護材料、保溫防水材料和構(gòu)造方面，設(shè)計中也做了較為大膽的嘗試。國內(nèi)很多傾斜外墻建筑的墻體都是混凝土直接澆筑，但是陳列館主體結(jié)構(gòu)為鋼結(jié)構(gòu)，混凝土外墻與鋼梁鋼柱難以交接，且因為膨脹系數(shù)的不同，很難整合。設(shè)計中我們對比了預(yù)制混凝土掛板、成都當?shù)氐慕斩挵宓榷喾N材料，最終選擇了與鋼結(jié)構(gòu)配合較好的夾心鋼板。同時，為了解決傾斜墻體和屋面的一體化防水問題，設(shè)計中選取了硬泡聚氨酯防水保溫一體化材料作為外墻面的保溫防水層，這種材料能夠較好地實現(xiàn)保溫防水的整體性，好比給整個博物館穿上了一層防護服，既保暖又防水，一舉兩得。

結(jié)構(gòu)創(chuàng)新

金沙遺址博物館的結(jié)構(gòu)，巧妙運用建筑空間，以節(jié)能、環(huán)保及高可靠性為設(shè)計標準，將表達建筑造型藝術(shù)的維護次結(jié)構(gòu)與展廳主結(jié)構(gòu)集成為一體，共同工作，形成大斜屋面、不規(guī)則、大跨度鋼框架結(jié)構(gòu)體系。內(nèi)部柱網(wǎng)10m×10m，展廳部分為30m以上的無柱大空間，以滿足大型遺址保護博物館場景復原展示的需要，并為未來博物館的發(fā)展創(chuàng)造了極強的靈活性與操作性。周邊及中庭為斜柱、斜梁，中庭斜面玻璃屋頂為直徑23.5m的輪輻式雙層索網(wǎng)結(jié)構(gòu)?！?/p>

2 總平面/Site plan

3 建筑立面/Facade

項目信息/Credits and Data

項目負責人/Principal in Charge: 莊惟敏/ZHUANG Weimin

設(shè)計團隊/Design Team: 莊惟敏，莫修權(quán)，張晉芳等（清華大學建筑設(shè)計研究院）；葛家琪（中國航空規(guī)劃建設(shè)發(fā)展有限公司）；張謹，白雪（泛道[北京]國際設(shè)計咨詢有限公司）；何偉嘉，董大陸，張春雨（北京中元工程設(shè)計顧問公司）/ZHUANG Weimin, MO Xiuquan, ZHANG Jinfang (Architectual Design and Research Institute of Tsinghua University); GE Jiaqi (China Aviation Planning and Design Institute Co.Ltd); ZHANG Jin, BAI Xue (PANSHA); HE Weijia, DONG Dalu, ZHANG Chunyu (Beijing Zhongyuan Engineering Design Consultant Company)

合作/Collaborators: 中國航空規(guī)劃建設(shè)發(fā)展有限公司，北京中元工程設(shè)計顧問公司，泛道（北京）國際設(shè)計咨詢有限公司/China Aviation Planning and Design Institute Co.Ltd, Beijing Zhongyuan Engineering Design Consultant Company, PANSHA

場地面積/Site Area: 29hm2

總建筑面積/Total Floor Area: 36,000m2

建筑高度/Height: 22.98m

設(shè)計時間/Design Period: 2005.1-2005.10

竣工時間/Completion: 2007.5

攝影/Photos: 舒赫，莫修權(quán)/SHU He, MO Xiuquan

4 首層平面/Floor 0 plan

5 外景/Exterior view

Jinsha Site Museum is located in city district with massive buildings and city blocks surrounded. thus questions on two levels need to be answered: On planning level, how to reduce impact to cultural relic to minimum while balance the need of protection, exhibition, and sustainable development. On architecture level, how can a form convey Jinsha local culture and blend in with the city.

Design concept

(1) Seek to preserve historic relics for the benefit of public education, culture inheritance, and city management.

(2) Constrain construction disturbance for the relics and dissolve building volume into nature environment.

(3) the architectural image does not correspond to any specific era but a neutral expression.

When we planned the master plan, we took Modi River as the east-west landscape axis, while the open space along north-south direction as the cultural axis, the entrance plaza as the prologue, the site museum as the development, and exhibition hall the climax.

A new strategy, similar to neither rural nor urban museum, is used in the project. Upon finished, the building is well-received in both heritage and architecture field. During Wenchuan earthquake in 2008, the museum completely withstands the shock, not even one stone panel on the outer wall fell. Museum served as shelter and camp place for citizens during the period of aftershock, which make the building went beyond the original purpose into showing a wider humanistic care.

Architectural innovation

On planning level, we reduced impact on cultural relics to the minimum by properly configure building layout and structural system, while maintaining the normal city life and balancing the rational consumption of resource with sustainable development. On architecture level, we avoid the conventional ethnic and traditional style, the building should convey Jinsha culture and establish dialogues with city environment. Since it is unable to trace the architecture style of 3000 years ancient Shu tribe, we propose a neutral treatment of not mimicking style of any specific era, but focus on presenting the origin of an architectural space.

Functional innovation

The design not only fulfills normal museum functions such as collection, exhibition, research and education, but also creates social and public space so that the museum is a dynamic place in urban life. Multi-use exhibition space for events such as press conference, fashion show and corporate parties are designed to promote various usage of public space and bring more revenue during operation, eventually to make "self-financial support museum" possible. In June 2006, it held the opening of the first Cultural Heritage Day of China. In 2008, the relic exploitation was broadcast live on CCTV. The Museum has played an important role in public events because of the multi-use design consideration.

Technical innovation

6 二層平面/Floor 1 plan

7 三層平面/Floor 2 plan

An open seam stone panel system is applied for the facade. There is a void of ventilation between the panel and exterior wall, with air flow connecting with outside air through the open seams. For the inclined concrete wall, we made some innovation on the insulation and waterproof material and configuration. We abandoned the normal concrete casting on-site method, because the main structure system for exhibition halls is steel structure, which usually brings complicated joints with concrete structure elements, as steel and concrete have different rate of expansion. We compared precast concrete slab, local straw slab and several other materials and finally decided to use sandwich steel plate, which suits better with steel structure. Also, in order to solve holistic wall and roof waterproof problem, we use rigid foam polyurethane spray, it also serve the dual purpose of insulation and waterproof.

Structural innovation

A huge span, sloped roof and irregular steel frame structure is created to combine the primary structure with the secondary structure which express the art of form. The structure shares a high level standard of energy saving, ecology and reliability. The column grid is 10m×10m. The exhibition hall is a 30m span column-free space to match the need of relic preservation and restoration process, and opens flexibility to future layout adjustments. Atrium space has inclined columns and beams, and the glass roof is a 23.5m diameter spoke type double layer cable net structure.□

8 外景/Exterior view

評論

錢方: 每個建筑都該有自性

每個建筑都有“自性”，它是其承載功能和對應(yīng)環(huán)境所扮演的角色，盡管這種“自性”是建筑師賦予的。不知從何時開始，建筑成了建筑師放任表現(xiàn)自我的工具，面對博物館的設(shè)計通常都會以強力的視覺表現(xiàn)去貼上個人的標簽，卻忽視了對展陳內(nèi)容及其文化的尊重?？上驳氖窃谶@種被異化觀念影響的潮流中，有這樣一種力量實現(xiàn)了對歷史文化尊重的堅守。

莊惟敏的設(shè)計團隊在應(yīng)對具有厚重歷史文明的金沙遺址博物館設(shè)計時，采取了冷靜理性的策略，把建筑以自性的方式呈現(xiàn)在環(huán)境之中（設(shè)計者謂之“中性手段”）。設(shè)計以現(xiàn)代意識為基點，積極地看待歷史遺存，不惜以化整為零，甚至消隱設(shè)計者痕跡的方式回應(yīng)對遺存和歷史文化的尊重。創(chuàng)新以內(nèi)涵而非外顯方式還原建筑展陳功用的本質(zhì)，建筑的標志性自我表現(xiàn)被代之以服務(wù)于展陳及其使用運營的精細策劃、內(nèi)部空間的品質(zhì)塑造和文化隱喻，這無疑是建筑師的“自性”賦予建筑對歷史文化尊重的最好呈現(xiàn)方式。

建筑最終的效果仍能看到被眾人關(guān)注之后表現(xiàn)的“宏大”影子，這是與中國現(xiàn)行觀念角力導致的不得已的妥協(xié)，但不影響該建筑以（成都）溫潤的方式存在。

Comments

QIAN Fang: Every building should have its innate quality

Every building has its innate quality, which is reflected in the role it plays when serving its functions and responding to its environment, even though such "innate quality" is granted by the architect. But somewhere along the line, architecture became a means of indulgent self-expression for the architects, who in museum designs are often inclined to show off their personal identity through strong visual effects, but fail to pay due respect to the exhibited contents and their culture. Fortunately, against such trend of dissimilated ideas, there is a persistent force that holds fast to the values of history and culture.

In the design of the historically and culturally loaded Jinsha Site Museum, Mr. ZHUANG Weimin and his design team employed a calm, rational strategy by presenting the building's innate quality in its surroundings (a "neutral approach", as is called by the architect). the design was founded in modern thinking while taking a positive view towards historical relics. the decentralized scheme, in which to the designer's trace is deliberately concealed, pays respect to the relics and their cultural-historical values. Hence exhibition, the essential function of the museum, is restored in an innovative yet implicit way. Iconic self-expression is replaced with careful programme of exhibition and operation, quality control of the interior space, and realization of cultural metaphor. Unquestionably, it is through the architect's respect to history and culture in his design approach that a building's "innate quality" is best presented.

Upon its completion, the Jinsha Site Museum became the center of public attention and its grand signature effect is still perceptible. this may be the result of unavoidable compromise on the architect's part: despite his "neutral approach", he had to wrestle with current perception of our time. Nevertheless, the museum still fulfills its mild existence in the characteristic urban setting of Chengdu. (English translation by LIU Chen)

9 內(nèi)景/Interior view

10 遺址博物館內(nèi)景/Interior view of site museum

11.12 剖面/Sections

13 內(nèi)景/Interior view