▲ 項(xiàng)目視頻? ?Lukas Schmid

改造設(shè)計(jì)? gmp

合作設(shè)計(jì)? 中國建筑科學(xué)研究院（CABR）

1959年設(shè)計(jì)? 張開濟(jì)，北京建筑設(shè)計(jì)研究院與清華大學(xué)

項(xiàng)目地點(diǎn)? 中國北京

完成時(shí)間 2011年

本文文字由gmp提供。

為了滿足這座世界最大博物館的巨大空間需求，gmp在位于天安門廣場的歷史建筑立面后方建造了一座規(guī)模相匹配的新建筑。它的設(shè)計(jì)充滿自信、現(xiàn)代感十足，但又融合了對中國建筑歷史和原建筑的多種借鑒，從而形成了一個(gè)層次豐富且緊密相連的建筑群。

To meet the enormous space requirements of the world’s largest museum, an appropriately dimensioned new building was inserted behind the historic facades on Tiananmen Square. Its design is deliberately contemporary, although it also makes numerous references to Chinese architectural history and to the old building, thus creating an ensemble with multilayered connections.

1959年—2004年

天安門廣場或是世界上最大的鋪磚地面廣場，它無疑也是中國和北京最重要的廣場之一：北面是天安門，西面是人民大會(huì)堂，東面是中國國家博物館，南面是毛主席紀(jì)念堂和前門。人民大會(huì)堂和中國國家博物館的前身——中國革命歷史博物館建于1959年中華人民共和國成立十周年之際，都屬于北京“十大建筑”，年輕的共和國首次通過這些建筑向公眾展示了自己的形象。

Besides being the largest fortified square in the world, Tiananmen Square is also one of the most important squares in China and Beijing. On its north side is the Gate of Heavenly Peace. The Great Hall of the People is on its west side, with the National Museum of China to the east and the Mausoleum of Mao Zedong and Qianmen Gate to the south. Two of these buildings – the great hall and the museum – were built in 1959 to commemorate the 10th anniversary of the founding of the People’s Republic of China. They were also among the Shi Da Jianzhu, Beijing’s “Ten Great Buildings,” which represented the young republic’s first efforts at establishing a public image.

國家博物館最初的建筑由兩個(gè)獨(dú)立的博物館組成，即中國歷史博物館和中國革命博物館。該建筑在最短時(shí)間內(nèi)建成，距當(dāng)年國慶節(jié)僅有十個(gè)月的時(shí)間。建筑采用蘇式社會(huì)主義古典主義風(fēng)格，全長313米，高大宏偉的柱廊面向廣場，表達(dá)了新生國家的理念以及共產(chǎn)主義“兄弟國家”的團(tuán)結(jié)。不過，中國革命歷史博物館也采用了眾多中國傳統(tǒng)建筑的風(fēng)格元素。

The National Museum of China’s original building housed two separate museums: the Museum of Chinese History and the Museum of the Chinese Revolution. Construction was extremely rapid in order to complete the building in time for the national anniversary just ten months away. The 313-meter-long building with its tall, majestic colonnades facing the square was built in the socialist-classicist style as a way of expressing the philosophy of the new state and its ties with all its communist “brother and sister states.” However, the museum also borrowed many stylistic elements from traditional Chinese architecture.

作為深受歡迎、參觀人數(shù)眾多的國家博物館，經(jīng)過40年的運(yùn)營，2001年展廳和館舍最終被視為不再符合時(shí)代要求。面臨2008年即將舉辦的奧運(yùn)會(huì)，2004年舉行了博物館全面改擴(kuò)建的國際建筑設(shè)計(jì)競賽。設(shè)計(jì)任務(wù)明確規(guī)定保留建筑天安門廣場一側(cè)的特色柱廊和南北立面，而在柱廊后應(yīng)建造一座世界上最大的博物館，將用于展示中國五千年歷史的原有展覽空間擴(kuò)大三倍。

After 40 years of operation as a popular and highly frequented national museum, the exhibitions and rooms were judged to be outdated in 2001. In 2004, in the run-up to the 2008 Olympic Games, an international architectural competition was held for its general refurbishment. The brief stipulated that the characteristic colonnades on Tiananmen Square and the north and south facades should be preserved, while the original exhibition space dedicated to China’s 5,000-year history should be tripled to make it the world’s largest museum.

2004年—2011年

我們的設(shè)計(jì)方案在2004年的國際競賽中中標(biāo)。我們與中國建筑科學(xué)研究院（CABR）合作，共同制定了一個(gè)方案，在精心處理原建筑保留部分的同時(shí)以一座新建筑完全取代其后側(cè)的核心部分，可以說將新建筑嵌入原建筑的三面“框架”中，以此營造所要求的空間體量：博物館總建筑面積達(dá)19.7萬平方米，容納了48個(gè)展廳、一個(gè)科研圖書館、一座擁有712個(gè)座席的劇場和一個(gè)264座的電影院，除此之外還設(shè)有眾多咖啡廳、工作室、服務(wù)空間、輔助用房、庫房、會(huì)議室和辦公室等功能。

In the international competition in 2004, our design emerged the winner. Together with CABR, we developed a proposal that treated the section of the old construction that was be retained with the utmost care but completely replaced the central structure behind it with a new building. Basically, the new building would be inserted into the three-sided “frame” of the old building. This made it possible to create the necessary space: 197,000 square meters of gross floor area for 48 exhibition galleries, a research library, a 712-seat theater, a 264-seat movie theater, and numerous cafés, workshops, and restrooms, as well as auxiliary rooms, storerooms, conference rooms, and offices.

對我們來說，保留柱廊與廣場之間優(yōu)雅的通透性至為重要——廣場上沒有其他建筑擁有這樣的元素。柱廊后側(cè)的開放式庭院也予以保留，40米高的柱廊在廣場和博物館之間形成了一個(gè)虛實(shí)相間的過渡空間，在人們穿過新柱廊進(jìn)入博物館入口之前營造出一種靜謐和輕松的緩沖氛圍。在庭院四周，歷史柱廊與新柱廊相映成趣，形成一種對話式關(guān)系。我們更為簡潔的設(shè)計(jì)采用了與1959年相同的來自同一個(gè)采石場的石材。

Our goal was to preserve the elegant transparency of the colonnade on the square. No other building in the square has a comparable element. The open courtyard behind it was also retained so that the 40-meter-tall colonnade can act as a filter between the square and the museum. Visitors experience a moment of contemplation and of slowing down before passing through a new colonnade in front of the museum’s entrance. Around the courtyard, the historic and new columns engage in a dialog. We were able to construct our much more functional version from the exact same stone, from the same quarry that was used in 1959.

入口后側(cè)是巍峨莊嚴(yán)的入口大廳：長260米，高27米，面積近9000平方米。它作為室內(nèi)公共空間與前方天安門的尺度形成對應(yīng)關(guān)系，并為觀眾定向提供了便利條件，因?yàn)楦鳁l參觀路徑均一目了然，而且它將西面的主入口與南北兩側(cè)的側(cè)入口相互連接。在這里，即使較大的觀眾團(tuán)體也有足夠的活動(dòng)空間。

Behind the entrance, the vast entrance hall measures 260meters long and 27 meters high with a surface area of almost 9,000 square meters. As an interior forum, it responds to the dimensions of Tiananmen Square at its front door. It offers optimal conditions for navigation because all the routes are directly visible and connect the main entrance in the west to the secondary entrances on the north and south sides. Even large groups can be accommodated.

我們的建筑設(shè)計(jì)參考和借鑒了中國數(shù)千年之久的傳統(tǒng)建筑風(fēng)格，打造了一個(gè)相互交織的網(wǎng)絡(luò)。中國傳統(tǒng)建筑典型的三分法構(gòu)成大廳設(shè)計(jì)的特點(diǎn)：石材基座上方采用櫻桃木墻板，再之上是由雙梁支撐的藻井天花板，輕盈優(yōu)雅地橫跨大廳。在室外，可以看到屋頂?shù)狞S銅屋檐下，鋼筋混凝土橫梁層層疊疊，猶如傳統(tǒng)的斗拱結(jié)構(gòu)，這是中國建筑最重要的元素之一，幾個(gè)世紀(jì)以來一直不斷被重新詮釋。

Our architecture establishes a dense network of references to and references from China’s centuries-old architecture. The typical tripartite division of historic Chinese architecture determines the forum’s design. Above the stone base are cherry-wood wall panels, and above these, a coffered roof structure rests on a double system of beams, spanning the massive hall in what appears to be an effortless gesture. From outside the building, this arrangement is visible beneath the bronze eaves of the roof, where the reinforced concrete beams are stacked in open layers to resemble traditional dougong construction, one of the most important elements of Chinese architecture that has been subject to constant reinterpretations over the centuries.

博物館的室內(nèi)布局表現(xiàn)為大型展廳通向越來越私密的展覽空間，這也是對故宮布局的一種呼應(yīng)。在博物館中，這種布局方式將參觀者從宏偉的大廳空間逐步引領(lǐng)到四千年歷史過程中產(chǎn)生的玲瓏精美玉器、青銅器或石器珍品的展室。

The museum’s interior structure, which consists of large halls that lead to ever more intimate exhibition rooms, can also be seen as echoing the structures in the Forbidden City, among other things. Inside the museum, this structuring helps visitors to transition from the enormous dimensions of the square to displays of incredibly small and finely crafted jade, bronze, and stone jewelry pieces representing four centuries of Chinese history.

盡管采用了大量的傳統(tǒng)元素，對我們來說，一種不帶感情色彩、簡潔務(wù)實(shí)的建筑語言尤為重要。不然，如此眾多的參照和借鑒很快會(huì)產(chǎn)生虛浮夸張和華而不實(shí)的后現(xiàn)代混合物。我們從未忽略任何元素的現(xiàn)實(shí)功能。在所使用的表面材料中，花崗石、櫻桃木和黃銅這三種主要材質(zhì)決定了建筑整體外觀形象。由此而生成了適用于建筑各個(gè)空間的語匯，打造了一種和諧統(tǒng)一的連貫性。在這座巨大的建筑中，無論你身處何地，都能感受到與全局的關(guān)聯(lián)。

With so many historic references, we made sure to keep the architectural idiom unsentimental and functional. Otherwise, such a large number of references could quickly degenerate into an overly postmodern jungle of appliqued surface ornamentation and other bric-a-brac. We never lost sight of the current function of any element. Three of the visible materials – granite, cherry wood, and bronze – are so pervasive that they shape the overall impression of the whole. Out of these materials, we developed a vocabulary that applies to all the rooms in the building, thus establishing a connectedness. No matter where one stands in this massive building, connections to the larger whole can always be sensed.

設(shè)計(jì)圖紙 ▽

??????????????

項(xiàng)目信息

中國國家博物館

北京

2011年

業(yè)主：中國國家博物館

1959年設(shè)計(jì)：張開濟(jì)，北京市建筑設(shè)計(jì)研究院與清華大學(xué)

版權(quán)聲明：本文由gmp授權(quán)發(fā)布。歡迎轉(zhuǎn)發(fā)，禁止以有方編輯版本轉(zhuǎn)載。
投稿郵箱：media@archiposition.com