建筑設(shè)計(jì)：標(biāo)準(zhǔn)營(yíng)造

這座展示畫(huà)家肖峰作品的藝術(shù)館位于著名的西湖以南數(shù)公里處，在杭州大慈山腳下。建筑的平面從一座中心園林出發(fā)，以強(qiáng)烈的內(nèi)向性體現(xiàn)出中國(guó)傳統(tǒng)文人園林的關(guān)鍵特征。布局自然地順應(yīng)場(chǎng)地邊界，在展覽空間中形成了線性的流線。沿著外緣蜿蜒的展廳空間，一連串凸起的矩形房間可供人向內(nèi)欣賞園景，有些地方還能看到后面的群山。建筑的屋頂設(shè)計(jì)在景觀中營(yíng)造出一種層次感與動(dòng)勢(shì)。有機(jī)的體塊從正面緩緩升起，形成了園林的入口通道，而建筑的主入口掩映在樹(shù)木與竹林之后。這樣，藝術(shù)館就成了景觀的一部分，并使置身于大自然中的感受得以升華?！酰ㄉ袝x 譯）

The museum for the work of the painter XIAO Feng is located a few kilometres to the southern side of the famous West Lake, at the foot of Daci Mountain in Hangzhou. The plan of the building is based on the idea of a central garden, with a strong introversive sense reflecting a character that is key to traditional Chinese intellectual gardens. The layout naturally follows the site boundary and forms a linear circulation route through the exhibition spaces. Alongside the winding gallery spaces on the outside edge, a series of projecting rectangular rooms looking inside provide views of the garden and, in some cases, also views towards the mountains at the back. The roof of the building was designed to generate a sense of layering and movement in the landscape. The organic volume rises gradually at the front to form an entryway to the garden, where the main entrance of the building is hidden behind trees and bamboo groves. Thus the museum becomes a part of the landscape and enhances natural feelings. □

1 草圖/Sketch

2 模型/Model

1-入口大廳/Entrance hall

2-第二入口廳/Secondary entrance foyer

(1)speaking to journalists after talks with DPRK envoys,Richardson(former U.SAmbassador of the UN)said the consultations werepositiveand constructiveand helped easethetension concerning the DPRK’s nuclear program.(Beijing Review January 23,2003 Vol 46)

5.5 鼓勵(lì)企業(yè)提高科研投入 通過(guò)科研項(xiàng)目引導(dǎo)企業(yè)提升自主創(chuàng)新能力，通過(guò)稅收、中小企業(yè)研發(fā)基金等政策增加企業(yè)自身科研投入。組織工業(yè)領(lǐng)域，甚至軍工領(lǐng)域從材料、工藝、設(shè)計(jì)研究單位、轉(zhuǎn)制企業(yè)等方面，共同針對(duì)關(guān)鍵技術(shù)持續(xù)集中攻關(guān)，并形成市場(chǎng)化供應(yīng)能力。

2-3號(hào)廳/Hall 3

7.8 立面/Elevations

9.10 剖面/Sections

試驗(yàn)設(shè)計(jì)采用室內(nèi)盆栽試驗(yàn)，試驗(yàn)設(shè)置6個(gè)不同處理：未添加化學(xué)修復(fù)劑(CK)、2%骨炭(A)、2%活性炭(B)、2%磷礦粉(C)、2%土壤修復(fù)劑Ⅰ(D)和2%土壤修復(fù)劑Ⅱ(E)。每個(gè)處理4次重復(fù)。土壤培養(yǎng)容器為1 500mL塑料盆，每盆置入1 000g自制混合土樣，按照試驗(yàn)設(shè)計(jì)的比例稱(chēng)取相應(yīng)的化學(xué)修復(fù)劑(各20g)加到土壤中，并混合均勻，恒溫恒濕(20℃-22℃，濕度65%)。在每個(gè)塑料盆中分別種植已篩選出的富集鄉(xiāng)土植物油菜、馬鈴薯、狼尾草、小麥、刺兒菜、巴天酸模，在戶(hù)外栽培100d，測(cè)定土壤中重金屬含量，評(píng)價(jià)試驗(yàn)用的修復(fù)劑對(duì)重金屬污染土壤的修復(fù)效果。

3-接待處/Reception

5-倉(cāng)庫(kù)/Storage

6-5號(hào)廳/Hall 5

表2表明，不同存續(xù)周期區(qū)間內(nèi)少數(shù)民族傳統(tǒng)體育微信公眾號(hào)的數(shù)量存在非常顯著性差異(P<0.01)，存續(xù)周期0～5個(gè)月以?xún)?nèi)的占樣本總量的50.7%，說(shuō)明少數(shù)民族傳統(tǒng)體育微信公眾號(hào)存在開(kāi)通之后疏于管理、未能及時(shí)推送消息的管理缺陷。

7-新風(fēng)/Air renewal

8-安保監(jiān)控室/Security monitoring room

9-弱電室/Low voltage room

10-強(qiáng)電室/High voltage room

1-2號(hào)廳/Hall 2

微課展示的內(nèi)容生動(dòng)形象，但是仍需要注意一些問(wèn)題，比如：一是微課時(shí)間較短，內(nèi)容應(yīng)該呈現(xiàn)課程重點(diǎn)，并不是要將整節(jié)課程減短；二是在高職院校的德育課堂上展示的內(nèi)容不能一遍過(guò)，而應(yīng)該同時(shí)用于學(xué)生自主學(xué)習(xí)、提前預(yù)習(xí)、課后復(fù)習(xí)；最后是微課設(shè)計(jì)內(nèi)容要根據(jù)高職學(xué)生的情況及其學(xué)習(xí)特點(diǎn)進(jìn)行制作，播放的內(nèi)容要切合實(shí)際、貼近生活，將教材內(nèi)容和實(shí)際生活相結(jié)合，引起學(xué)生的注意，激發(fā)學(xué)生學(xué)習(xí)德育課程的興趣，展現(xiàn)微課在德育課堂的教學(xué)效果。

海德格爾自身的言說(shuō)也是如此。海德格爾那里的語(yǔ)言言說(shuō)了世界，語(yǔ)言讓世界顯現(xiàn)出來(lái)。在《舊約全書(shū)》和《新約全書(shū)》中，上帝說(shuō)要有光，于是便有光，上帝創(chuàng)造世界，是通過(guò)他的語(yǔ)言、道開(kāi)啟出來(lái)的。但海德格爾所講的語(yǔ)言并不是上帝的話語(yǔ)，更不是上帝的“道”。海德格爾的世界有一個(gè)獨(dú)特的說(shuō)法：“四元”，即大地、天空、諸神和人（能死者）。語(yǔ)言召喚出天地人神四元。這里探討的不是發(fā)生論或者自然科學(xué)上天地人之間的先后關(guān)系，而是語(yǔ)言和世界的本源性關(guān)系。語(yǔ)言呼喚天地人神的到來(lái)，并不是簡(jiǎn)單的生產(chǎn)、創(chuàng)造天地，而是將天地人神構(gòu)成一個(gè)整體，將四者以各自本性、本然的面貌和方式納入一個(gè)整體之中共存。

3-4號(hào)廳/Hall 4

在不考慮阻尼的情況下，在式(58)中令右邊項(xiàng)為零，同時(shí)令那么可以得到一個(gè)以ω為特征值為特征向量的特征值問(wèn)題，即

4-5號(hào)廳/Hall 5

5-辦公室/Offce

復(fù)雜地區(qū)地震勘探的一個(gè)重要問(wèn)題是噪聲問(wèn)題，對(duì)復(fù)雜地區(qū)的地震勘探而言其噪聲類(lèi)型繁多，嚴(yán)重影響資料品質(zhì)，因此，如何壓制干擾波是復(fù)雜區(qū)地震勘探的主要問(wèn)題之一。山地地震勘探中的干擾大致可分為環(huán)境干擾和激發(fā)后的半生與次生干擾2大類(lèi)。因此，要進(jìn)行波場(chǎng)調(diào)整，并針對(duì)資料影響較大的干擾設(shè)計(jì)組合圖形，壓制干擾，提高資料的信噪比。根據(jù)干擾波的特征，把沿測(cè)線方向最強(qiáng)的一束干擾波作為主測(cè)線組合檢波的壓制對(duì)象或組合檢波縱向組合基距的考濾對(duì)象；把垂直測(cè)線方向最強(qiáng)的一束干擾波作為聯(lián)絡(luò)測(cè)線組合檢波的壓制對(duì)象或組合檢波橫向組合基距的考濾對(duì)象；還可以通過(guò)適當(dāng)?shù)奶岣叩卣饍x器低截濾波參數(shù)或使用高頻檢波器進(jìn)行壓制。

6-VIP廳/VIP hall

3 總平面/Roof site plans

4 首層平面/Ground floor plan

5.6 平面/Plans

4-垃圾堆放/Garbage store

SAEW-2：ACC：（60.0±1.9）mg/L，p H:6.45±0.24，下述簡(jiǎn)稱(chēng)：SAEW（60）。

11-13 外觀概念/Exterior images

14.15 庭院概念/Courtyard images

16 內(nèi)景概念/Interior image

評(píng)論

陳忱：肖峰藝術(shù)館位于杭州西湖南畔大慈山腳下，掩映在一片密林中，建筑師試圖以一個(gè)環(huán)狀線性的展覽空間圍合出一個(gè)具有東方韻味的庭院。狹長(zhǎng)的場(chǎng)地被陡峻的山體包圍，在這樣致密的植被、精致的風(fēng)景中，這個(gè)近4000m2的建筑物呈現(xiàn)了一個(gè)不尋常的姿態(tài)——并非最大化向外的視野，而是著意塑造一個(gè)內(nèi)向的圍合。建筑師對(duì)于視野與光線的控制幾近嚴(yán)苛：只有4處景框允許望向山林；除了7個(gè)具有特定朝向的窗，整個(gè)建筑幾乎完全封閉，而屋面6個(gè)北向的凸窗限制室內(nèi)在特定的時(shí)間產(chǎn)生特定的光影效果。與在優(yōu)美的自然風(fēng)景地段常見(jiàn)的輕盈而通透的建筑物不同，藝術(shù)館粗糙的木紋混凝土以及體型的切削使它看起來(lái)格外厚重與封閉。外立面幾乎沒(méi)有一扇窗戶(hù)，僅在庭院入口處體型微微上掀處，才能窺見(jiàn)內(nèi)部別有洞天植物茂密的庭院。

整個(gè)建筑體量呈現(xiàn)一種無(wú)預(yù)設(shè)的有機(jī)狀態(tài)：這是一部由內(nèi)而外的構(gòu)筑物，空間大于形式，而體驗(yàn)又大于空間?？梢钥吹浇ㄖ煂?duì)于形式本身的放松：看似隨意的體形，實(shí)際上來(lái)源于對(duì)參觀動(dòng)線、體驗(yàn)序列的物化包裹，近100m的展覽動(dòng)線組成了室內(nèi)空間的全部。建筑師想要呈現(xiàn)的空間體驗(yàn)可被理解為一系列的關(guān)鍵剖面以極緩的上下起伏的坡道順接而成。這些剖面在厚與薄、寬與窄、高與低之間不斷變換，空間的收放產(chǎn)生了強(qiáng)烈的張力，讓通過(guò)本身成為一種令人印象深刻的體驗(yàn)。在7個(gè)取景框處，空間得到極致的放大，同時(shí)巨大的玻璃將空間進(jìn)一步向外部的景觀中延伸；而一些通道則非常狹窄，配合空間的擠壓狀態(tài)，墻體也更加封閉。整個(gè)室內(nèi)空間沒(méi)有絕對(duì)的動(dòng)線與房間的分別，各功能空間之間在沒(méi)有任何隔斷的條件下自由流動(dòng)。容納了后勤與機(jī)電空間的“加厚”墻體，使得主要的展覽空間獲得了最大程度的自由。

Comment

CHEN Chen:The Xiao Feng Art Museum is located at the foot of Daci Mountain on the south bank of West Lake in Hangzhou, hidden in a dense forest. The architect tries to enclose an Oreintal style courtyard with a circular linear exhibition space. The narrow site is surrounded by steep hills. Within such dense vegetation and exquisite landscape, the nearly 4,000m2building presents an unusual gesture – not maximising the outward view, but deliberately creating an inward enclosure. The architect's control of view and light is almost rigid: only 4 scenery frames are allowed to look to the woods; the entire building is almost completely secluded but for 7 windows with specific orientations,and the 6 north-facing oriels on the roof limitedly produce specific light and shadow effects at specific times. Unlike the lightweight and transparent buildings commonly seen in places with beautiful natural sceneries, the art museum's rough wooden-patterned concrete and the shape make it look particularly thick and enclosed. There is hardly any window on the outer facade, and only at the entrance of the courtyard where the shape is slightly lifted can it be seen that there is a whole flourishing courtyard inside.

The whole building volume presents an unexpected organic state: it is a structure from inside to outside,with space greater than form, and experience greater than space. We can see the architect's relaxation about the form itself: the seemingly arbitrary shape in fact comes from the physical package of the visiting route and the experience sequence. The exhibition route of nearly 100m constitutes the whole interior space. The spatial experience the architect wants to present can be interpreted as a series of key sections connected in order by extremely gentle slopes up and down. These sections are constantly changing between thick and thin, wide and narrow, high and low, and the retractions and releases of the space create a strong tension and make passing itself an impressive experience. At the seven scenery frames, the space is maximised, while the huge glass further extends the space to the outside landscape;some passageways, on the other hand, are very narrow,in combination with a pressing state of space and more enclosed walls. The whole indoor space has no absolute separation between the route and the rooms, and all the functional spaces flow freely without any partition. The"thickened" walls that accommodate both logistics and electromechanical space, give the main exhibition space maximal freedom. (Translated bo CHEN Yuxiao)