桑珠孜宗堡復原工程設計，日喀則，西藏

1 從袞沙林村望桑珠孜宗堡View of the Sangzhutse Fortress from Dagon Salin village

設計主持：常青，丁潔民，華耘

方案設計：常青

合作設計：嚴何，胡濤，殷勇

結構設計：萬月榮

設備設計：杜文華，周謹，謝文黎

室內設計：張栩

結構形式：框架結構

場地面積：44,000m2

建筑面積：8236m2

建筑高度：18m

設計時間：2004-2007

建竣工時間：2009

攝影：張嗣燁，項目工作組

Principal Architects: CHANG Qing,

DING Jiemin, HUA Yun

Schematic Design: CHANG Qing

Cooperative Architects: YAN He,

HU Tao, YIN Yong

Structural Engineer: WAN Yuerong

Mechanical Engineers: DU Wenhua,

ZHOU Jin, XIE Wenli

Interior Design: ZHANG Xu

Structure: Frame structure

Site Area: 44,000 m2

Floor Area: 8236 m2

Building Height: 18 m

Design Period: 2004-2007

Completion Time: 2009

Photos: ZHANG Siye, Project team

西藏日喀則的桑珠孜宗堡 （當地亦稱宗宮）曾是老城天際線的制高點，初建于元末，是全藏宗山建筑的典范，可能也是晚于其330年的拉薩布達拉宮祖型。 “文革”初期，宗堡作為農奴制的象征被搗毀，木結構主體已無存，僅剩石墻殘墟。近40 年后，在日喀則各界呼吁下，宗堡復原工程成為上海市最大的單項援藏項目。

2004 年同濟設計院受上海市政府委托，作為代理甲方執行這一重任，由常青教授率同濟跨專業團隊以實存遺址、歷史圖像和文獻為依據，以現代建筑技術結合當地傳統材料、工藝，完成復原設計，并密切配合了施工。設計重點可概括為：

第一，把控宗堡遺址現狀，確定其范圍和邊界，分析地貌、堡臺和堡樓的空間關系，以虛擬建模生成復原模型，對之反復校正，直至與歷史影像趨于一致，并確定保留一段東端廢墟作為變遷印痕。

第二，對堡臺廢墟的墻墩及堆積層進行清理，對殘墻表面裂縫作壓力灌漿充填處理，對其旁外露的基巖進行裂縫修補和加固，在殘墻內側另立樁基礎的框架柱，嵌入山體巖層，以外挑梁承托上部復原荷載。

第三，功能定位為后藏民俗博物館，空間布局按廢墟限定分為兩個層級：第一層級堡臺（天臺）南面為不同標高的天井、院落，用于人流集散，包括一座梯形的“德央夏”（集會場所）庭院；第二層級北面為主體堡樓，紅樓居中，為中心展示空間，以兩翼白樓拱衛，堡樓內外關系及入口位置貼近歷史原貌。

第四，裝修以木質和石材為主，彩畫、唐卡及其他飾面做法、母題選擇均以當地傳統建筑的材料、工藝為基調，包括墻面“手撥紋”和地面“阿尕土”等傳統匠作技藝，有藏匠參與施工。與此同時，設計還體現了裝飾藝術化的藏式韻味，造型敦厚簡練，色彩純正明麗。

桑珠孜宗堡復原工程竣工后一舉恢復了日喀則市的歷史城市天際線，并為民族地區建筑遺產的保存、修復和利用提供了探索經驗?！?/p>

Initially constructed in the late Yuan Dynasty (1271-1368), the Sangzhutse Fortress (also known locally as Dzong Palace)in Shigatse, Tibet Autonomous Region, China,once dominated the skyline of the old city, and served as the model for dzong-style architecture throughout Tibet. It may have also been the prototype for the Potala Palace, which was built 330 years later in Lhasa. The fortress was demolished as a symbol of serfdom at the outset of the "Cultural Revolution"; none of its original wooden structures survived, leaving only stone walls in its place. Over 40 years later, it was reconstructed due to the appeal from all sectors of society in Shigatse, being the largest Aid-Tibet program in Shanghai.

In 2004, the Shanghai Municipal Government entrusted The Tongji Architectural Design Group with the responsibility of carrying out the project. The reconstruction design was accomplished by a multidisciplinary team led by Professor CHANG Qing. The design team drew inspiration from the existing site, historical photos and archives, and merged contemporary building technology with local traditional materials and techniques. They also worked closely with the construction team. Its design characteristics can be summarised as follows:

Firstly, the current state of the fortress site was deliberately determined by verifying its scope and boundaries, and analysing the spatial relationship between the topography,castle terraces and towers. A restoration model based on virtual modelling was then generated and constantly adjusted until it was consistent with the historical images. A section of the ruins on the eastern end was preserved to mark the passage of time.

2 桑珠孜宗堡建成后恢復的天際線Skyline after the restoration of the Sangzhutse Fortress

Secondly, the wall pier platforms and foundations of the castle ruins were cleaned up,the fractures on the surface of the ruined walls were filled with pressure grout, and the exposed bedrock next to it was reinforced and its cracks repaired. The team also erected frame columns with the pile foundation on the inner side of the ruined wall, embedded them into the rock layer of the mountain, and supported the weight of the restored upper structure with outward projecting beams.

Thirdly, the function of fortress is set as a Shigatse folklore museum. Its spatial layout is divided into two levels according to the ruins'boundaries. The castle terraces rest on the first level, whose southern end consists of variedheight skywells and courtyards, notably the trapezoidal courtyard of Deyang Shar, where crowds congregate. The second level is located on the northern side and is dominated by the main castle towers, with the Red Palace accommodating the middle exhibition space and being guarded by white towers on its wings.The internal and external relationship of the castle towers, as well as the location of the main entrance, closely resemble their original appearance.

Fourthly, the decoration is composed mostly of wood and stone. Paintings, thangka and other decorative methods and motifs are all based on the materials and techniques of local historic architecture, including Tibetan traditional craftsmanship such as the "hand-turning patterns" on the walls and the "aga rammed earth" on the ground, and are produced in part by local Tibetan artisans. Simultaneously, the design embraces the Tibetan-flavoured "art deco"style with its simple, concise looks and pure,vibrant colours.

The completion of the Sangzhutse Fortress restored the historical skyline of Shigatse and provided an exploratory experience for the preservation, restoration and utilisation of architectural heritage in the ethnic areas.□

( Translated by ZHU Yayun)

3 廢墟Ruins of the old castle

項目評論

在日喀則桑珠孜宗堡復原工程中，同濟大學常青教授團隊所展現出的保護與傳承理念以及相關支撐技術，都達到了一種近乎完美的程度，堪稱“文化遺產保護與傳承”的工程典范。設計基于價值保護與傳承工程技術展開，可依據遺址的歷史文化價值分為三個組成部分：

一是作為歷史遺存實體的自然山體與建筑遺址，設計者首先對具有神圣含義的整個自然山體予以了完整且毫無干預的保留。然后對大量處于坍塌狀態的堡墻廢墟建筑堆積進行了壓力灌漿充填處理。更值得關注的是，設計者同時在建筑廢墟的東段完整保留了一段30m長的遺址原狀，為曾經的桑珠孜宗堡提供了無可置疑的物證，值得稱贊。

二是具有重大文化象征意義的宗堡歷史形象，是設計者用心最為精到之處，整個設計過程如同饕餮大餐般過癮。更令人意外的是，設計者竟然收集到清末印度、瑞典和德國探險家有關宗堡的圖文資料，對其外觀“復原”或“再現”設計提供了“言之鑿鑿”的證據。為了在廢墟無荷復原的前提下進行施工，采用了在殘墻內側由框架柱外挑梁承受修復部分荷載的結構設計方法，使新舊結構和材料質感之間既和諧又可識別。

4.5 桑珠孜宗堡設計草圖Sketch of the Sangzhutse Fortress

6 總平面Site plan

7 宮墻Palace Wall

Comments

In restoring the Sangzhutse Fortress in Shigatse, Tibet Autonomous Region, the conservation and inheritance principles and the supporting technology demonstrated by Professor CHANG Qing's team from Tongji University have nearly reached perfection, making the project a paragon for "cultural heritage conservation and inheritance". In consideration of the site's historical and cultural significance, the design is composed of three sections based on value conservation and heritage engineering technology.

Firstly, because the natural hill and the ruins of the old fortress are both exsting historic heritage entities, the design left the entire sacred hill intact and preserved it without any intervention, and then a considerable part of the wall ruins were pressure grouted and filled. A more remarkable and commendable accomplishment is that the design preserved a 30-metre segment of the original site in the eastern section of the ruins, providing indubitable physical evidence for the erstwhile Sangzhutse Fortress.

Secondly, the design treated the historical images of the fortress, which are replete with significant cultural symbolism, with great attention. The entire design process was aesthetically pleasing. Even more astonishing is the fact that the design managed to collect visual and literary resources on the fortress by Indian, Swedish and German explorers from the late Qing period (1644-1911), providing "conclusive"evidence for the design of its exterior "restoration"and "re-appearance". In order to carry out the work without additional weight on the ruins, the design adopted a structural design method that utilised framed columns and outwardly projecting beams to support the weight of the reconstructed upper structure. The new and old structures, as well as the textures of materials, are consistent yet distinct.

三是基于文化價值闡釋功能的建筑內部設計。竊以為在復原依據如此充分、民族意義如此重要的前提下，建筑的內部空間與功能也會依舊修復。直到看到項目介紹，才知道該工程的功能定位為西藏第二歷史博物館。由于沒有去過現場，無法領略和評述展陳的闡釋體系和傳播效果。

綜上，這是一座絕妙的“歷史建筑復原”設計作品：作為民族地區具有重要象征意義的歷史地標建筑，它經由直接留存的廢墟證據、形象可信的建筑整體與空間布局、富有文化含義的色彩運用、融入傳統的線路流程等一系列手法，不僅實現了城市制高點的空間關系修復，更實現了信仰存續的重大象征功能。在兼顧遺址保護的同時，再現了山巔城堡這一獨特的青藏高原文化景觀。這是一項極有思辨和示范意義的工程項目，其文化的象征意義遠大于建筑的技術創新。

陳同濱

中國建筑設計研究院總規劃師

建筑歷史研究所名譽所長

中國文物學會副會長

8 外景Exterior view

9 宮門Palace gate

Thirdly, the interior design of the building is based on the interpretation of its cultural value. I had assumed that the interior space and function of the building would have been restored to its original state,given that the evidence for restoration is so strong and the building's cultural significance is so evident. Not until I perused the project's introduction did I realise that the project's objective was to accommodate the Second Historical Museum in Tibet. Since I have never visited the site, I am unable to appreciate and comment on the interpretation system and communication effectiveness of the exhibition.

Overall, this is an ingenious example of"historic building restoration" design. As a historically significant landmark in an ethnic region, it not only restores the spatial relationship of the city's commanding position, but also realises the symbolic value of the continuity of faith. Several technical treatments, such as direct preservation of the ruins' evidence, convincing overall architectural and spatial layout, culturally informed use of colours, and integration of traditional route flow, are employed to achieve these goals. As well as protecting the antiques, the design re-created a mountaintop fortress, a cultural setting unique to the Qinghai-Tibetan plateau. The cultural significance of this highly reflective and exemplary project goes far beyond the technological breakthrough. (Translated by ZHU Yayun)

CHEN Tongbin

Chief Planner, China Architecture Design & Research Group Honorary Director, Institute of Architectural History Deputy Director, China Cultural Relics Academy

10 堡臺與主體建筑Platforms and the main building

11 西側蹬道Stepped road on the west side

12 觀演廳Performance hall

13 過廳Hallway