故宮圍房文化區(qū)，北京，中國

故宮圍房文化區(qū)，北京，中國

Cultural Area of Encircled Houses in the Palace Museum, Beijing, China

評論

王欣：平常境界

1954年，天安門觀禮臺建成，中國現(xiàn)代建筑先輩張開濟先生主持設計。63年后，同樣在這條中軸線上，張永和先生主持設計了神武門外東西圍房的擴建。

一南一北兩極，一個起式，一個收式，皆是渾然天成，羚羊掛角，無跡可尋。兩代建筑師，兩代建筑，皆以素樸的態(tài)度，平常的境界，回應了特殊的場所，回應了各自所屬的建筑時代。

北京的氣候，有半年室外是待不住的，寒冷以及風沙。自古皆有將院子室內(nèi)化的傳統(tǒng)，宮廷中也常有這樣的做法。擴建的長廊，在我看來，就是一條長長的院子，一個可以應對北京氣候的院子，一個室內(nèi)的院子。現(xiàn)在的技術條件，可以將室內(nèi)外關系做一個更加細密的過渡劃分，“院子”可以重新定義。院子可以被當作建筑來思考，建筑也可以以院子的角度來理解。從表面看，這種擴建屬于傳統(tǒng)的“造連屋法”，即是小屋拼接大屋，以延綿室內(nèi)空間。但觀念遠非如此簡單，那一條長廊不是一個建筑，而是一種景觀，它依舊是屬于圍房與城墻之間的院子的一部分，如一種構筑物。玻璃表皮既是對城墻逼近的謙遜退讓，同時也是表明建筑的不存在，我們直接觀到了內(nèi)部的森森繁密，而忽略了它的形。

假如說天安門觀禮臺的消隱方式是一種渾然近似的話，那么圍房擴建就是一種對內(nèi)部質量的重視，對形的看淡。近乎消退的建筑，內(nèi)部卻是異常的豐富。中國的園林，在外面看不出什么，一推門，藏著一個世界。

15年前，一次飯后的閑談，張永和老師跟我說：想給工作室改一個名字。“非常建筑”，是一個很年輕很氣盛的名字，帶著一些驕傲的姿態(tài)，帶著抵抗。我們還是想蓋樸素的建筑，一種叫做“房子”的建筑，不如叫“平常建筑”吧。

這個時代，中國的建筑，有著太多叫囂的外部，而內(nèi)部極其的貧乏。

這個時代，還是需要有人做著安安靜靜的事情。

Comment

WANG Xin: Ordinary State

In the year of 1954, the stand on Tiananmen Square was built, with the design by Kaiji Chang, a predecessor of Chinese modern architecture. Sixtythree years later, on the same axis, Yung Ho Chang designed the west and east building extension outside Shenwu Gate.

Two polar of north and south, one starting, one ending, both are so natural and transcendental. Two generations of architects, two eras of architecture,both responded to special sites with plain attitudes and ordinary states, and responded to the architecture eras they belonged to.

In the climate in Beijing, there's half a year's time in one year that is too cold and dusty for people to stay outside. From the old times, there has been a tradition of making courtyards indoors. It's quite common in royal palaces too. In my point of view, the gallery in the extension is a long courtyard, a courtyard that can cope with the climate in Beijing, an indoor courtyard.With the modern technology, the relationship between indoor and outdoor can be more densely divided,and "courtyard" can be redefined. Courtyards can be considered as architectures, and architectures can be understood as courtyards. It seems like that this extension belongs to traditional method "creating connection buildings", which means connecting small buildings to large buildings to extend the indoor space.But the idea was far from this simple. The corridor is not a building, it's a landscape. It still belongs to the courtyard between the buildings and the walls, like a kind of structure. The glass skin is both a humble surrender to the pushing of the walls, and an indication of the inexistence of the building. We can straightly see the complication inside, and forget about the form.

If the way of disappearing of the stand on Tiananmen Square is a kind of imitation, the extension is focusing on the inside and minimizing the outside. A building that almost disappears has a rich inside, just like the Chinese gardens which you can't see much on the outside, but as you push open the door, hides a whole world inside.

Fifteen years ago, when I was chatting with Yung Ho Chang after a meal, he told me he wanted to change the name for the studio. "'Feichang Jianzhu'(Unordinary Architecture) is a very young and ambitious name, with some pride and resistance. We want to build plain architecture, a kind of architecture called 'house'. We'd better be named 'Pingchang Jianzhu' (Ordinary Architecture) instead."

In this era, the world of Chinese architecture is clamorous outside and weak inside. This era still needs someone to do things just peacefully. (Translated by CHEN Yuxiao)

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項目信息/Credits and Data

客戶/Client: 故宮博物館/The Palace Museum

地點/Location: 北京故宮博物館神武門外/Outside the Shenwu Gate of the Palace Museum

建筑設計/Architets: 非常建筑/Atelier FCJZ

主持建筑師/Principal Architect: 張永和/Yung Ho Chang

項目團隊/Project Team: 梁小寧，黃淑怡，王玥，陳優(yōu)尤，武竹青/LIANG Xiaoning, HUANG Shuyi, WANG Yue,CHEN Youyou, WU Zhuqing

結構咨詢/Structural Consultant: 北京中建恒基工程設計有限公司/Beijing Zhongjian Hengji Engineering Co., Ltd.

建筑面積/Floor Area: 1710m2

基底面積/Footprint Area: 1710m2

建筑高度/Height: 3.4m（加建屋脊/Additional roof ridge）結構材料/Structure and Material: 鋼結構，木框玻璃幕墻/Steel structure, wood frame with glass curtain wall

類型/Building Type: 商業(yè)/Commercial

設計時間/Design Period: 2016

施工時間/Construction Time: 2018

基地

故宮神武門外東西兩側的圍房，背靠護城河。

使用

將圍房轉化為在紫禁城外面推廣故宮文化的窗口，內(nèi)容包括文淵閣、造辦處、御茶房、全聚德。同時把沿護城河的綠地打造成為游客／市民的休閑場所。

空間

由于基地的特殊性以及新功能的需要，我們用傳統(tǒng)抱廈的形式建立起一層聯(lián)接空間。抱廈是用玻璃圍合的。透明的抱廈以自己的“虛”襯托出圍房的“實”。

結構

抱廈采用裝配式包木鋼框架結構，它的形態(tài)與圍房的木構架相呼應，其輕巧和纖細又與木的厚重形成對比。抱廈也就呈現(xiàn)出一種銜接不同時代的姿態(tài)。

目前階段

正在施工。□

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Site

The east and west peripheral houses, outside Shenwu Men (the Gate of Divine Might) of the Imperial Palace, along the moat.

Program

To convert the peripheral houses into a window that promotes the arts in the Imperial Palace outside of the Palace Museum, with contents including a bookstore, a design shop, a teahouse, and a restaurant. In addition, to turn the open space along the moat into an area of relaxation for tourists as well as local residents.

Space

Due to the distinctness of the site and the needs of the new programs, we adopt the form of Baosha, the traditional front porch to create a connection space. The Baosha is enclosed by glass,highlighting the "solidity" of the peripheral houses by its own "transparency".

Structure

The Baosha is supported by a prefabricated wood-clad steel frame structure. Its form responds to the wood post-and-beam system of the peripheral houses and its lightness and slenderness forms a contrast to the weightiness of traditional wood buildings. Therefore, we may suggest that the Baosha is positioned to make a connection between the past and the present.□

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