釣魚臺國賓館3號樓和網(wǎng)球館，北京，中國

釣魚臺國賓館3號樓和網(wǎng)球館，北京，中國

Tennis Hall of Villa 3 in Diaoyutai State Guest House, Beijing, China, 2011

釣魚臺國賓館坐落于北京三里河路西側(cè)的古釣魚臺風(fēng)景區(qū)，始建于1958年，是國家領(lǐng)導(dǎo)人外事接待的重要場所。國賓館全園占地42hm2（湖水面積約7hm2），初期建成15棟別墅式接待樓，總建筑面積16.5萬m2。原3號樓即為其中之一，后又就近增建了網(wǎng)球館。隨著國賓館使用需求的不斷發(fā)展，原3號樓和網(wǎng)球館功能、規(guī)模及服務(wù)標(biāo)準(zhǔn)也迫切需要改善。

原址重建的新3號樓和網(wǎng)球館建筑地上3層，地下一層，3號樓主要功能包含首層獨立使用的大會客廳，大、中、小餐廳各一處以及廚房、接待大堂和部分客房；二、三層主要為包含團(tuán)長房等在內(nèi)的共計26自然間的客房。網(wǎng)球館包含兩塊室內(nèi)標(biāo)準(zhǔn)場地及更衣間、休息區(qū)等必要的配套設(shè)施。國賓館園區(qū)整體規(guī)劃延續(xù)了中式造園理念，湖島相間；建筑布局主次分明， 3號樓用地位于園區(qū)主軸線東側(cè)，面西而立，處于從屬地位。新建筑的設(shè)計，充分尊重園區(qū)整體規(guī)劃的空間序列，定位“背景建筑”，服從全局，烘托環(huán)境主題。

為契合整體規(guī)劃思想，維護(hù)園區(qū)已有的尺度和肌理，新建筑采用化整為零的辦法減小建筑的體量感，圍合內(nèi)院、體塊咬合搭接形成退臺，避免了大體量的出現(xiàn)，客房樓單走廊模式布置滿足了其良好的采光和通風(fēng)需求。

新建筑的造型采用紅磚坡屋頂?shù)男问?，呼?yīng)原3號樓具有民族特點的設(shè)計。在歇山頂山墻設(shè)置建筑主入口，白色門廊、磚飾面線腳等元素的應(yīng)用，延續(xù)了建筑環(huán)境的記憶，對國賓館建筑文化的傳承起到重要的積極作用。建筑局部三層部分向后退讓，避免了由于規(guī)模增加帶來的擴(kuò)張感，疊落的平緩四坡屋頂使建筑體量層次更加豐富。網(wǎng)球館主體造型為四坡盝頂，檐下內(nèi)收，從視覺上降低了高度。

新建筑外墻采用了“夾心”磚幕墻搭配石材干掛的作法，立面效果立體、細(xì)膩。建筑窗上、下及層間部位逐層出挑的豎磚腰線，調(diào)整了立面豎向比例；主入口部位及墻面盲窗部位采用丁頭磚裝飾，避免了立面過于呆板壓抑，光影生動。局部銅質(zhì)裝飾烘托出建筑整體的文化氣質(zhì)。

古樹植物是建筑環(huán)境歷史的重要組成，設(shè)計和建造中保留了原建筑入口處標(biāo)志性的古松，留下了記憶。

建筑室內(nèi)注重表現(xiàn)民族特色的建筑文化，設(shè)計定位 “高大敞亮、莊重典雅”，以考究的陳設(shè)形成大氣的文化品位。接待大廳的設(shè)計簡約現(xiàn)代，通過光影變化烘托空間意境。內(nèi)院作為大廳的空間延續(xù)，很好地增加了對景的層次感。網(wǎng)球館室內(nèi)簡潔、動感，局部的裝飾紋樣，增加了文化氣氛，避免了體育活動場地千篇一律的單調(diào)感?！?/p>

2 主入口/Main entrance

項目信息/Credits and Data

項目負(fù)責(zé)人/Principal in Charge: 莊惟敏/ZHUANG Weimin

設(shè)計團(tuán)隊/Design Team: 莊惟敏，任飛，蔡俊，杜爽等/ ZHUANG Weimin, REN Fei, CAI Jun, DU Shuang, et al.

建筑基地面積/Building Area: 4379m2

總建筑面積/Total Floor Area: 12,129m2

建筑高度/Height: 17.7m

設(shè)計時間/Design Period: 2009.3-2009.8

竣工時間/Completion: 2011.5

攝影/Photos: 張廣源/ZHUANG Guangyuan

3 鳥瞰效果圖/Bird's eye view rendering

4 網(wǎng)球館內(nèi)景/Interior view of Tennis Hall

Diaoyutai State Guest House is located at the Diaoyutai scenic area, west of Sanlihe Road in Beijing. Originally built in 1958, this complex of houses continues to serve an important role in receiving official foreign guests. The site's area is 420,000 square meters, of which 70,000 square meters is water. Villa 3 is one of the earliest completed of the cluster of 15 houses, and the tennis hall was built as a later addition. As the usage demand increases, the old building needed to be upgraded and renovated.

the rehabilitated building features the following changes: the first floor has an meeting room, three restaurants of different configurations, a reception hall, and several guest rooms. the second and third floor has 26 guest rooms. The Tennis hall has two standard courts and accessories such as dressing room and a lounge. While the surrounding landscape inherits the traditional Chinese garden typology with water and island intertwining between other, Villa 3 is placed into a subordinate hierarchy on the east end of a main visual axis facing west. the new design pays respect to this planned sequence of space, and acts as a "background" building.

In order to cooperate with the overall plan and retain an appropriate scale and texture, the new building breaks down scale by providing an inner courtyard and setback terraces. A single row of side rooms provides good lighting and ventilation.

The Building adopts an original ethnic style, characterized by an untidy roof and red bricks. Its entrance is located at Xieshan gabled wall, and with its white porch and brick, it invokes the memory of the original design. A third floor setback breaks down the building's volume, while its hipped roof creates a rich, layered facade. the tennis hall's Lu-shaped roof is setback under the eave to make the building appear lower.

the building's facade uses a "sandwich-like"brick wall with dry-hanging stone panels. In order to create a vivid shadow effect, the lintel and sill bricks cantilever out, while false windows are detailed with header brick. Bronze detailing is also utilized to connote a traditional atmosphere.

The existing pine trees at the entrance have been preserved to retain the memory of the site.

the interior is also national style oriented. Its design is focused to bring brightness and elegance to the building, and the furnishings help to create a high-end atmosphere. The reception hall is simple, modern, and the landscape of the courtyard acts an extension of the hall itself. The tennis hall has a concise interior design, with decorative patterns emphasizing movement in order to avoid the conventional tedium of sports buildings.□

5 首層平面/Floor 0 plan

6 內(nèi)庭院/Inner courtyard

7 二樓接待室/Reception room on the second floor

8 網(wǎng)球館外景/Exterior view of Tennis Hall

評論

黃居正：作為一種傳統(tǒng)的民間建筑材料，紅磚所散發(fā)出的溫暖、親切的手工感，以及通過砌筑工藝形成的各種獨特的肌理感，逐漸為現(xiàn)當(dāng)代建筑師所青睞，使它不再局限于民間建造中的使用。阿爾瓦·阿爾托的塞納特塞羅市政廳、夏季別墅，勒·柯布西耶的加烏爾別墅，都是實驗性地使用紅磚砌筑建造的現(xiàn)代建筑佳例。

釣魚臺國賓館3號樓的外墻采用了“夾心”磚幕墻的技術(shù)，磚墻從支撐性的承重結(jié)構(gòu)中解放出來，獲得了一種表現(xiàn)的自由。主入口部分為了強(qiáng)調(diào)空間的豎向性，并調(diào)整立面比例關(guān)系，玻璃門窗的兩邊采用丁頭磚的砌筑方式，所形成的凹凸表面產(chǎn)生了豐富的光影效果。在大面積一丁一順砌筑的磚幕墻上，淺淺地凸出了一條有兩重層次、豎向砌筑的帶狀水平線，這條帶狀水平線從視覺上區(qū)分了上下兩個樓層。窗的部位，上下都使用了白色石材干掛。在窗上部梁的位置，通常建筑師會把兩端延伸至兩邊墻中，以暗示結(jié)構(gòu)和力的傳遞邏輯，但在這里，“梁”卻與窗邊沿及下部的白色“陽臺”等齊，清楚地告訴你，這根白色的“梁”是裝飾。同樣，在丁頭磚砌筑的盲窗部位，邊緣留出了一條窄窄的縫隙，似乎也在提醒你，外墻只是一片裝飾墻。建造的真實性以一種反向的姿態(tài)呈現(xiàn)了出來。

平面上，兩個不同功能的方形體量咬合在一起，客房部分采用合院式布局。由于建筑外部有十分幽美的景觀，內(nèi)院僅需承擔(dān)通風(fēng)和采光的需求，因此，地面基本采用硬地化處理，局部點綴竹、石和草坪。

Comments

HUANG Juzheng: Red bricks are utilized as a traditional building material in folk architecture for numerous reasons. Their hand-made texture gives a feeling of warmth and amiability, which is complemented by the special touch left by the bricklaying process. Brick's popularity as a building material for contemporary architects has now surpassed its primary usage in folk architecture. there are several excellent works of modern architecture that utilize brick, such as, Alvar Aalto's S?yn?tsalo Town Hall, his Muuratsalo Experimental House, as well as Le Corbusier's Maisons Jaoul.

Villa 3 of the Diaoyutai State Guest House utilizes a technique called "sandwich", which consists of a brick curtain wall that serves as its external wall. this allows the brick wall to be liberated from being merely a supporting structure, providing an opportunity to freely express a design. Visitors to Villa 3 are immediately met by the main entrance – which emphasizes the vertical nature of the building's exterior, while modifying its overall proportions. Header bricks flank two sides of the glass window. the peculiar characteristics of this style of bricklaying allow the elements of light and shadow to work their magic. there are also two layers of horizontally-laid structure facing upwards and slightly protruding from the brick curtain wall; this separates the building visually into two stories. Stone Cladding is applied above and below the building's windows. Generally, architects tend to extend the upper beam into either side of a wall, in order to give the image of the transmissibility of force and structure. In the case of this building, the upper beam aligns with the lower beam, and a white balcony is placed to show that the upper beam is merely decoration. In this way, the narrow gap between the header bricks and the false window implies that the external wall is also for decorative purposes only and serves no function. this goes against the conventions of conventional construction.

Looking at the plan, there are two square buildings, which despite having different functions, are linked with one another. The guest quarters are located within the courtyard house, and only require minimal ventilation and lighting as the landscape outside of the building is rather scenic. Within the courtyard itself, beautifying methods include bamboo, stone paving, and a glass lawn, all of which have been used sensibly and without excess.(English translation by Dandan WANG)

9 剖面/Section

10.11 丁頭墻設(shè)計圖/the renderings of the wall with header bricks

12 丁頭磚墻/Wall with header bricks

13 立面細(xì)部/Fa?ade detail