1 外景/Exterior view

尼科米普沙漠文化中心的設計是對其特殊環(huán)境采取的獨特而可持續(xù)的回應——與眾不同的加拿大式沙漠位于不列顛哥倫比亞奧索尤斯的南奧卡諾根山谷。基地比鄰大盆地沙漠的一處遺址，這座展示中心是面積超過80hm2的總體規(guī)劃當中的一部分。尼科米普是加拿大逐步興起的地區(qū)，通過探索建筑方面豐富的潛力，土著文化希望傳遞深厚的歷史積淀，改變其文化的未來。

建筑設置了室內(nèi)與室外部分的展覽，以彰顯其原住民的文化與歷史，反映了該部落作為土地管理者的角色。沙漠特有的景觀漫過建筑的種植屋面，后面由夯土墻支撐。建筑局部植入地下，使參觀者的視線遠離奧索尤斯不斷向西侵蝕的景象。借助墻的高度形成不同層次的景觀，沙漠景觀于中間地帶得到提升，漸漸消隱于鄰近的濱水景觀和遠處的群山之中。

進入建筑的序列始于停車區(qū)，參觀者經(jīng)過一系列重疊的混凝土墻，到達位于夯土墻末端的入口廣場。從廣場沿著一道低矮的混凝土墻進入建筑，墻面將原有的沙漠景觀與建筑分隔開來。這條路徑更是利用水渠加以定義，將人群引導至入口，途經(jīng)耐候鋼制成的服務區(qū)大門和管理區(qū)的入口。進入展示中心的入口設置在微呈弧形的墻面的中點。在內(nèi)部，一座劇場和“黑盒子”展覽空間展現(xiàn)了關(guān)于這個部落及其與這片土地的歷史關(guān)系。圓形體量的“窖屋”（當?shù)貍鹘y(tǒng)原住民房屋類型）位于展覽空間的中心，使人聯(lián)想到圍火交談的體驗。從這里，參觀者通過一面玻璃墻，到達室外展覽空間。這一區(qū)域也是一條長50km的橫穿沙漠的小路的起點。

極端的氣候條件使可持續(xù)設計面臨巨大的挑戰(zhàn)。夏季炎熱而干旱，冬季寒冷而干燥，平均溫度從-18℃－33℃，夏季甚至達到40℃。建筑選址和朝向的首要依據(jù)就是建筑的可持續(xù)性：將部分建筑植入地下，緩解了極端溫度對建筑的影響，其建筑朝向最大限度地利用了被動式太陽能的性能，在南面和西面則盡量減少使用玻璃面。

可持續(xù)設計中最引人注目的部分就是這片北美最大的夯土墻，長80m，高5.5m，厚600mm。該保溫隔熱墻體起到調(diào)節(jié)溫度變化的作用。墻體是由當?shù)氐哪嗤良尤牖炷梁筒噬砑觿┗旌隙?。在冬季，它可以保持室?nèi)的溫度。夏季，其熱惰性可以讓室內(nèi)保持涼爽。

夯土墻為建筑的室外賦予了獨特而充滿詩意的材料質(zhì)感。其逐層累加而成的土層以一種清晰的當代建筑語言使人聯(lián)想到地質(zhì)沉積。墻面既賦有手工質(zhì)感，又顯得十分精致——其層次是不規(guī)則的，而整體的形狀則為鮮明的幾何形狀。

2 外景/Exterior view

夯土建筑結(jié)構(gòu)是一種傳統(tǒng)的建筑技術(shù)，多采用于干旱且木材缺乏的地區(qū)。這種現(xiàn)代的土質(zhì)墻體系統(tǒng)包括2道250mm厚的密實沙子和水泥，之間夾層為100mm厚的隔熱材料。顏色不同的當?shù)啬嗤帘恢饘臃胖糜?00mm 厚的模塊中用力壓縮夯實，形成連續(xù)的層面，厚度為夯實之前的50%。暴露在外的表面具有如同沉積巖一般的質(zhì)感，起到了飾面的作用。該飾面穩(wěn)定且不會散發(fā)有毒氣體或者溫室氣體。該技術(shù)生成了一種具有優(yōu)秀熱性能的可持續(xù)墻面——白天在炎熱的奧卡諾根地區(qū)日照下緩慢升溫，在夜晚則釋放熱量。

另一個具有地域可持續(xù)性的例子是采用了“藍變”松木。近期，不列顛哥倫比亞地區(qū)受到了病蟲害的侵襲，導致 “藍變”松木（被蟲害致死）過剩。該項目則是在室內(nèi)和室外都使用了藍變松木。盡管藍變松木是一種當?shù)氐牟牧希⒉怀Ｓ糜诮ㄖ?。尼科米普沙漠文化中心可以說是一個示范性項目，展示了如何將這種材料應用于室內(nèi)和室外，并彰顯其獨特的視覺效果。正如它的名字所暗示的那樣，這種木材由于經(jīng)過藍色洗液的清洗，具有藍色的印記，而并不是通常松木所呈現(xiàn)的黃色。

種植屋面減少了建筑在視覺上對于景觀的影響，使其具有更高比例的沙漠景觀環(huán)境，使基地的環(huán)境得到恢復（重新種植本地的物種）。屋面也可以提供更好的溫度穩(wěn)定性和保溫隔熱性能。

天花板與樓板的混凝土板內(nèi)嵌制冷和加熱系統(tǒng)，創(chuàng)造出舒適而穩(wěn)定的環(huán)境，避免產(chǎn)生氣流、噪聲和灰塵。再加上100%的室外新風循環(huán)，該體系將比強迫通風系統(tǒng)節(jié)約30%－50%的能量。

建筑的功能還包括該部落出色的響尾蛇研究項目，以及公共的觀察區(qū)域。在這里，參觀者可以看到瀕臨滅絕的響尾蛇被捕獲并加以標簽和微型芯片，用于更進一步的研究與保護。

可持續(xù)設計的最后一個方面是關(guān)于水的處理。水在沙漠中尤為珍貴。入口處沿夯土墻設置的是水的備用河道，也引出了這一主題。其次，通過采用節(jié)水龍頭、無水小便池和復式節(jié)水馬桶，基地內(nèi)的用水需求量減少了40%?！酰ㄍ跣×?譯）

3 外景/Exterior view

The Nk’Mip Desert Cultural Centre is designed to be a specific and sustainable response to the building’s unique context－the unusual Canadian desert found in the South Okanagan Valley in Osoyoos,British Columbia. Sited adjacent to a remnant of the Great Basin Desert, this interpretative centre is part of a larger 80 hectare master plan. Nk’Mip is part of a growing Canadian trend to explore the expressive potential of architecture to convey the rich past and the transforming future of aboriginal culture.

The building features indoor and outdoor exhibits that celebrate the culture and the history of the aboriginal group and reflects the band’s role as stewards of the land. The desert landscape flows over the building’s green roof, held back by a rammed earth wall. The partially submerged building is sited to focus the visitor’s eye away from the encroaching development of Osoyoos to the west, with the height of the wall set to create a layered view of the desert rising up in the middle ground, receding to the riparian landscape adjacent, and the mountains in the distance.

The entry sequence from the parking area moves visitors through a series of nested concrete walls up to an entry plaza at the end of the rammed earth wall.The plaza leads along a low concrete wall that separates the original desert landscape and the building. This route is further defined by channel of water that draws people towards the entry, past the cor-ten steel gate of the service court and administration access.Entry into the interpretive centre occurs at the midpoint of the gently arcing wall. Inside, a theatre and “black box” exhibition space present information about the band and its historical relationship with the land. The round volume of the“pit house”(a local historic aboriginal housing type) at the centre of the exhibition space invokes the experience of conversation around a fire. From here, visitors move through a glazed wall into exterior exhibit space. This area also serves as a trailhead for walks along 50 kilometres of paths through the desert.

The extreme climate made sustainable design a very particular challenge. Hot, dry summers and cool,dry winters see average temperatures ranging from -18 degrees to +33 degrees and often reaching +40 on summer days. The building’s siting and orientation are the first strategic moves toward sustainability:the partially buried structure mitigates the extremes in temperature, and its orientation optimizes passive solar performance, with glazing minimized on the south and west sides.

The most dramatically visible aspect of sustainable design is the largest rammed earth wall in North America.At 80m long, 5.5m high, and 600mm thick, this insulated wall stabilizes temperature variations. Constructed from local soils mixed with concrete and colour additives, it retains warmth in the winter, its substantial thermal mass cooling the building in the summer.

4 夜景/Night view

The rammed earth wall gives the building exterior a unique material and poetic sensibility, its graduated layers of earth shades evoking geological sedimentation within a distinctly contemporary architectural language. The wall has the appearance of being at once handmade and precise－its layers irregular,and its overall form sharp and geometrical.

Rammed earth construction is a traditional building technique found most often in dry regions where wood is scarce. The modern version of this earth-based wall system combines two－250mm wythes of compacted sand and cement with 100mm of insulation sandwiched between. Successive layers of differently coloured local soils were placed into the 600mm wide formwork and a pneumatically powered tamper was used to compress each layer to about 50 percent of its untamped height. Sedimentary-like in appearance, the exposed surface acts as the finished wall, is extremely stable and doesn’t off-gas toxic or greenhouse gas emissions. The technique results in a durable wall with excellent thermal qualities－h(huán)eating up slowly during the day in the hot Okanagan sun, and releasing its heat in the evening.

5 總平面/Site plan

6 細部/Detail

7 外景/Exterior view

Another example of regional sustainability is the use of “bluestain” pine wood. A recent infestation of pine beetles in British Columbia has led to an excess of“bluestain” pine (killed by the beetle), which here is used in interior and exterior applications. Although bluestain pine is a local material not normally specified for finished building use, Nk’Mip is something of a demonstration project, showing how it can be used both inside and outdoors to celebrate its unique visual qualities. As its name suggests, the wood has a blue-tinted cast as though a blue wash has been applied, rather than the typical yellow colour more typical of pine.

A habitable green roof reduces the building’s visual imprint on the landscape, and allows a greater percentage of the desert landscape habitat to be reestablished on the site (replanting uses indigenous species). The roof also provides further temperature stabilization and insulation.

In-slab radiant cooling and heating in both ceiling and floor slabs create an even, comfortable environment that avoids blasts of air, noise and dust.Coupled with 100% outdoor air displacement ventilation, the system will result in energy savings of 30 to 50% over a forced air system.

The building program also includes facilities for the band’s award-winning rattlesnake research project, as well as public viewing areas where visitors can see endangered rattlesnakes captured,tagged and micro-chipped for further study and protection.

The last aspect of sustainable design is responsible water management. Water is precious in the desert,and a spare channel of water at the entrance along the rammed earth wall introduces this theme. Less visibly,demand on the site fed well is reduced by 40% by incorporating low-flow faucets, waterless urinals, and dual flush toilets.□

業(yè)主/Client: Osoyoos Indian Band

業(yè)主團隊/Client Team: Margaret Holm, Brenda Baptiste, Charlotte Sanders, Chris Scott, Mel Wooley

面積/Size: 1 115m2

項目負責人/Principal-in-Charge: Bruce Haden

項目建筑師/Project Architect: Brady Dunlop

設計團隊/Project Team: Norm Hotson, Stephanie Forsythe, Tina Hubert, Julie Bogdanowicz

結(jié)構(gòu)設計/Structural Engineering: Equilibrium Consulting Inc.; Eric Karsh, Ivan Ursic, Ben Heath, Ann Tomlinson, Raymond Vitkauskas

景觀設計/Landscape Architecture: Phillips Farevaag Smallenberg

攝影/Photography: Nic Lehoux Photography