建筑設(shè)計：韓冬青/東南大學(xué)建筑設(shè)計研究院有限公司Architects: HAN Dongqing/Architects & Engineers Co., Ltd. of Southeast University

筆架山景區(qū)一期服務(wù)設(shè)施，井岡山，江西

Phase-I Infrastructures of Bijiashan Scenic Spot in Jinggang Mountain, Jiangxi, China, 2008

建筑設(shè)計：韓冬青/東南大學(xué)建筑設(shè)計研究院有限公司Architects: HAN Dongqing/Architects & Engineers Co., Ltd. of Southeast University

1 下站房和游客服務(wù)中心鳥瞰/The aerial view of Bottom Station & Tourist Reception Centre

該項目位于中國江西省的國家級風(fēng)景名勝區(qū)井岡山的筆架山景區(qū)。筆架山景區(qū)以綺麗的高山景觀和亞熱帶植物多樣性為特色。游客接待中心和建于不同高度的3個索道站房是筆架山景區(qū)開發(fā)中基礎(chǔ)設(shè)施建設(shè)的一期工程。其中，游客接待中心位于進入景區(qū)的主入口。索道站房的功能包括游客候車、纜車庫房、設(shè)備機房、控制室、辦公、茶室和貴賓接待等。建筑設(shè)計的構(gòu)思基于對兩個關(guān)鍵問題的思考:其一，如何使建筑與山形地貌和景觀建立起最恰當(dāng)?shù)男螒B(tài)聯(lián)系？其二，如何延續(xù)鄉(xiāng)村的建造文化并使之滿足新功能和技術(shù)的要求？

建筑的基地位于地形變化十分復(fù)雜的山坡上。在盡力維護原地形高差、樹木、水體等環(huán)境要素的基礎(chǔ)上，設(shè)計借鑒臺地建造和干闌建造的傳統(tǒng)，采用小體量組合的方法。小尺度策略弱化了建筑自身的表現(xiàn)，從而使自然景觀成為這里的主角。為保護和延續(xù)日漸式微的民間建造文化，建筑師采用了鄉(xiāng)間傳統(tǒng)的木構(gòu)技術(shù)。應(yīng)對索道機械設(shè)備所產(chǎn)生的動力荷載及基地潮濕的氣候，設(shè)計選擇了鋼筋混凝土框架結(jié)構(gòu)作為建筑的基座，其上疊加民間木構(gòu)。就地取材的竹、石、磚瓦被組合運用，強化了建筑作為地方景觀的認(rèn)知影響力。這些建筑的木構(gòu)部分由地方工匠完成，他們的勞動為建筑注入了更多的文化感染力。

該項目設(shè)計的核心議題是自然景觀的保護和地方文化的延續(xù)。項目組投入數(shù)月的時間理解山地景觀的結(jié)構(gòu)和要素，對當(dāng)?shù)氐拇迓浜兔窬舆M行了深入的調(diào)查和研究，探尋了地域傳統(tǒng)聚落的自發(fā)生長方式和建造技術(shù)特征。設(shè)計基于整體景觀的形體處理、傳統(tǒng)地方木構(gòu)與現(xiàn)代鋼筋混凝土框架結(jié)構(gòu)的組合和地方材料的運用，表現(xiàn)了自然優(yōu)先和自明建構(gòu)的設(shè)計理念?！?/p>

2 上站房室外平臺/Outdoor platform (Upper Station)

3 筆架山景區(qū)入口服務(wù)區(qū)規(guī)劃總平面/Site plan, the phase 1 of development of Bijiashan Scenic Spot

The project is located at Bijiashan Scenic Spot of Jinggang Mountain Scenic Area, a National Scenic Area in Jiangxi Province of China. The area features attractive mountain scape and diversified subtropical plants. The Phase-I project of the infrastructures construction in the development of Bijiashan Scenic Spot is composed of a tourist reception center and three cable stations built at different altitudes. The tourist reception center is set at the entrance of the scenic area. The functions of the cable stations include a tourist waiting space, a cable car storeroom, an equipment room, a control room, an office, a tea room, and a VIP reception. The design is based on the consideration of two key questions: first, how to establish the most appropriate morphological connection between the architecture and the mountainous landforms? Second, how to maintain the rural construction culture and make it fulfill the demand of new functions and techniques?

The base of the building is located on the hillside where the landform is quite complicated. On the basis of preserving to the maximum extent various environmental elements such as altitude disparity, trees and waters, the design borrows from highland and stilts construction traditions, and uses the combination of small structures. The small-structure strategy reduces the sense of architectural presence, thus affording the leading role to nature. In order to protect and maintain the increasingly declining local construction culture, the architect adopts the traditional wooden structural techniques. To cope with local humid climate and the dynamical load produced by the cable machinery, the design chooses reinforced concrete structure as the base of the building, with local wooden structure layered over. The mixed application of such local materials as bamboo, stones and bricks strengthens the cognitive influence of the construction as a part of the local landscape. The wooden structure of the building is completed by local craftsmen, whose work adds more cultural appeal to the architecture.

The central theme of the design is the preservation of natural landscape and the sustaining of local culture. The project team spent several months on understanding the structure and composition elements of the mountain landscape, conducted in-depth survey and research on local villages and houses, and explored the spontaneous growing mode and construction features of the region's traditional settlements. Every aspect of the project, from the morphology design based on the overall landscape, to the use of local materials and the combination of traditional wooden structure with modern reinforced concrete framework, reflects a central design concept, i.e. giving priority to nature and using self-evidence structure.□

4 索道區(qū)位及一期建筑總平面/Overall site plan

5 場地與形體解析/The volume and the existing topography

6 下站房臨水休息平臺/Waterside rest platform (Bottom Station)

項目信息/Credits and Data

客戶/Client: 井岡山市筆架山景區(qū)實業(yè)發(fā)展有限公司/ Jinggangshan City Bijiashan Scenic Spot Development Co., Ltd., China

設(shè)計單位/Design Institute: 東南大學(xué)建筑設(shè)計研究院有限公司/Architects & Engineers Co., Ltd. of Southeast University

建筑設(shè)計/Architectural Design: 韓冬青，馬曉東，顧燕，高崧，王鎧，鐘華穎/HAN Dongqing, MA Xiaodong, GU Yan, GAO Song, WANG Kai, ZHONG Huaying

索道設(shè)計/Cable Design: 法國波馬嘉仕其/Pomagalski S.A., France

場地面積/Site Area: 34,240m2

建筑面積/Floor Area: 13,580m2

設(shè)計時間/Design Period: 2006.01 -2007.02

建成時間/Completion: 2008.08

攝影/Photos: 耿濤，賴自力，馬曉東/GENG Tao, LAI Zili, MA Xiaodong

7 下站房結(jié)合攔水壩設(shè)計的出站棧道/The footpath on the dam (Bottom Station)

8 索道下站房建構(gòu)解析/Tectonic Analysis (Bottom Station)

9 索道下站房剖面圖/Section (Bottom Station)

10 索道下站房頂層平面圖/Top floor plan (Bottom Station)

11 游客服務(wù)中心外觀/Tourist Reception Centre

12 中站房外觀/Exterior view (Middle Station)

13 上站房站臺/Cable car platform (Upper Station)

14 游客服務(wù)中心外墻局部/Details, Tourist Reception Centre (Bottom Station)

評論

郭屹民：當(dāng)建筑遭遇風(fēng)景時，“混合”成為了設(shè)計在這里得以展開的線索。無論是在類型上，木構(gòu)民居風(fēng)格的坡屋頂與方正框架體量的公建基座的組合，還是在建造材料上，具有鄉(xiāng)土氣息的自然材料參差地散布于白飾墻面之間。從空間到細(xì)部，從抽象的結(jié)構(gòu)到具象的肌理，建筑以自律的形式來努力地彌合來自于與場地他律間的撕裂，并試圖在物質(zhì)層面的營造中，創(chuàng)造出可能的關(guān)聯(lián)性。

陳龍：這是3個復(fù)雜的建筑群落，分解的體量有效地響應(yīng)了基地特征和當(dāng)?shù)剜l(xiāng)土建筑尺度。地形的復(fù)雜性是建筑師設(shè)計山地建筑時面臨的非常實際的挑戰(zhàn)。順應(yīng)和利用地形而非簡單粗暴的處理方式，是更積極的設(shè)計態(tài)度。在此基礎(chǔ)上能夠建立起建筑與景觀、鄉(xiāng)土建造以及歷史文脈的積極關(guān)系，這對于建筑師而言需要大量細(xì)致耐心的工作、親歷其境的判斷和綜合的全局控制力。其具體難度遠比從概念設(shè)計出發(fā)并將其物化為建筑作品要大得多。

Comments

GUO Yimin: When architecture meets scenery, "hybridity" becomes the key to design. In the case of the architectural style, the sloping roof, representing vernacular wooden houses, is combined with the square framework commonly seen in public buildings; and in the case of construction materials, natural materials with strong local influences are distributed along the white walls. From the space to the details, and from the abstract structure to specific textures, the architecture tries to make up for the tearing between it and the other space of the place in a self-discipline manner. Moreover, the architect also tries to create a certain degree of connection at the level of material creation.

CHEN Long: This facility is composed of three complex building groups. The decentralized building volume effectively responds to the features of the topography and the scale of the local vernacular architecture. Topographical complexity is a real practical challenge that architects face when they design mountainous buildings. Complying with and taking advantage of the terrain, rather than treating it in a simple and rude way, is a more positive design attitude. On such a basis, establishing a positive relationship between building and landscape, as well as between local construction and historic context requires architects to have a great deal of patience while creating meticulous work, personal, experience-based judgment, and ability to overall control the project. The difficulty of this process is much greater than starting from a conceptual design and materializing it as architectural work.