照明設(shè)計(jì)：張昕

Lighting Design: ZHANG Xin

故宮倦勤齋光環(huán)境保護(hù)設(shè)計(jì)，北京，中國(guó)

Preservation of the Luminous Environment of the Juanqin Studio in the Palace Museum, Beijing, China, 2008

照明設(shè)計(jì)：張昕

Lighting Design: ZHANG Xin

1 戲臺(tái)/Opera stage

2 用于研究透光材料性能的1:10采光模型/1:10 mock up for studying the performance of translucent materials

倦勤齋位于寧壽宮花園的北端，是乾隆皇帝為其歸政后的生活而預(yù)建的，歷時(shí)8年完成（1771-1779年）。建筑面闊九間，由東五間（明間）和西四間（戲院）兩部分組成。內(nèi)檐裝修出自江南工匠之手。郎世寧的弟子王幼學(xué)等宮廷畫(huà)家將西洋畫(huà)法與中國(guó)畫(huà)法結(jié)合，配合室內(nèi)裝修繪制了通景畫(huà)和天頂畫(huà)，創(chuàng)造了將自然景色移入室內(nèi)的幻覺(jué)。倦勤齋是典型的清代宮廷逸樂(lè)建筑，體現(xiàn)了乾隆對(duì)于空間趣味的追求。

光環(huán)境保護(hù)與照明設(shè)計(jì)的目的是實(shí)現(xiàn)內(nèi)檐文物整體開(kāi)放展示的功能訴求，呈現(xiàn)乾隆時(shí)期的室內(nèi)氛圍，并保證相關(guān)文物的光輻射安全?！白钌俑深A(yù)”原則被闡釋為室內(nèi)視覺(jué)環(huán)境的真實(shí)性原則、照明的文物安全優(yōu)先原則、展示照明的可逆性原則和可識(shí)別性原則?；诮?jīng)由采光系數(shù)實(shí)測(cè)和采光模型實(shí)驗(yàn)獲取的數(shù)據(jù)，項(xiàng)目組提出如下設(shè)計(jì)策略：

（1）通過(guò)維持天然光形成的室內(nèi)亮度布局保護(hù)空間固有的視覺(jué)趣味。以從“明間”到“秘室”的過(guò)渡為例，采光系數(shù)經(jīng)歷了由1%（年均200 lx）到0.001%（年均0.2 lx），再到1%（年均200 lx）的變化，光的戲劇性與空間的戲劇性完全吻合。如果按博物館照明標(biāo)準(zhǔn)為暗區(qū)補(bǔ)充均勻的人工照明，空間的趣味性將喪失。為保障參觀者和科學(xué)家在空間中移動(dòng)的安全，最暗處的地面照明提高為2 lx。對(duì)于室內(nèi)文物陳設(shè)表面均執(zhí)行5 lx（僅為博物館照明標(biāo)準(zhǔn)的1/10），藝術(shù)品與地面的照度比例仍為5:2，完工后的主觀評(píng)價(jià)表明，暗環(huán)境中的室內(nèi)陳設(shè)仍呈現(xiàn)了較好的視覺(jué)效果，證明了參觀者的視覺(jué)能力具有極大的彈性。

（2）通過(guò)特制的紙百葉窗還原通景畫(huà)與天頂畫(huà)的創(chuàng)作情境。倦勤齋早期的透光材料為窗紙（均勻漫透射材料），日光和天光的透射光將直達(dá)畫(huà)面，因此在戶外陰晴變化下，室內(nèi)光線呈現(xiàn)出“呼吸”狀態(tài)，與規(guī)則透射的玻璃材質(zhì)（改造前）形成的靜態(tài)氛圍大不相同。晴天時(shí)天頂畫(huà)和通景畫(huà)的畫(huà)面亮度大幅提升，其與暗處1000倍以上的亮度差異與“室外聽(tīng)?wèi)颉钡膬?nèi)檐裝飾構(gòu)思相吻合。

（3）通過(guò)保持雙面繡隔斷兩側(cè)的亮度關(guān)系維系倦勤齋特有的細(xì)膩視覺(jué)意味。雙面繡兩面的創(chuàng)作選題包含了匠人對(duì)于不同視角方向的考慮，從亮側(cè)看為前側(cè)照明的不透光表面，從暗側(cè)看為背光照明的透光表面，人工照明應(yīng)嚴(yán)格控制暗側(cè)空間的亮度。

綜上，光環(huán)境保護(hù)與照明設(shè)計(jì)的內(nèi)容包括：保護(hù)原有光環(huán)境包含的豐富歷史信息和視覺(jué)信息；將經(jīng)過(guò)過(guò)濾（最大限度隔絕紫外輻射、紅外輻射）、降強(qiáng)度且“啟閉可控”的天然光作為室內(nèi)照明的主要光源，在雙層窗中間采用可啟閉的紙百葉；在妨礙參觀安全的“暗區(qū)”補(bǔ)充功能性的電氣照明，對(duì)于內(nèi)墻通景畫(huà)、天頂畫(huà)和部分重要文物補(bǔ)充低強(qiáng)度展示照明；在所有照明改造部位保護(hù)文物的深層歷史信息?！?/p>

項(xiàng)目信息/Credits and Data

客戶/Client: 故宮博物院/The Palace Museum

設(shè)計(jì)團(tuán)隊(duì)/Project Team: 張昕，詹慶旋，王時(shí)偉，劉暢，杰夫·伯格，托馬斯·凱文·麥克林托克，王東寧，韓曉偉/ ZHANG Xin, ZHAN Qingxuan, WANG Shiwei, LIU Chang, Jeff Berg, Thomas Kevin Mcclintock, WANG Dongning, HAN Xiaowei

電氣設(shè)計(jì)與照明施工/Electrical Design and Construction:北京賽恩電氣安裝工程有限公司/Beijing Sign Electrical Installation Engineering Co., Ltd.

建筑面積/Floor Area: 338m2

設(shè)計(jì)時(shí)間/Design Period: 2005.01-2008.01

建成時(shí)間/Completion: 2008.11

攝影/Photos: 徐冰/XU Bing

3 觀戲的寶座/ The throne for watching opera

4 戲臺(tái)北側(cè)/The north of opera stage

Juanqin Studio is located in the north of Ningshougong Garden. It was originally built by Emperor Qianlong for his political life, and the construction lasted for 8 years (1771-1779). The whole building contained 9 bays: 5 east bays (exoteric halls) and 4 west bays (theater). The interior decoration was designed by craftsmen from the South. Some court painters, e.g. WANG Youxue (disciple of Giuseppe Castiglione) fused Western painting with Chinese painting to paint the panoramic views and ceiling frescos, creating the illusion of indoor natural sceneries. Juanqin Studio was one of the most representative pleasure houses built by the Qing court and reflected Emperor Qianlong's pursuit of spatial interest.

The purpose of luminous environment preservation and lighting design is to meet functional demands of the open exhibition of interior cultural relics, so as to re-present the interior atmosphere of Qianlong's era and ensure the radiation safety of involved cultural relics. The principle of "minimum intervention" can be interpreted as reflecting such principles as the authenticity of interior visual environment, the security priority of relics, and the reversibility and legibility of exhibit lighting. Based on the data collected from actual measuring of daylight factor and model test, the project team proposed the following design strategies:

(1) To protect the original visual taste in the space by maintaining the indoor luminance layout formed by natural light. Taking the transition from the "open hall" to the "secret room" as an example: its daylight factor changed from 1% (average 200 lx) to 0.001% (average 0.2 lx), and then back to 1% (average 200 lx), the theatricality of light is perfectly consistent with that of space. Had artificial lighting been supplemented in the dark areas following museum lighting standard, spatial taste would have been lost. To ensure safety of visitors and scientists moving in the space, floor lighting in the darkest area is increased to 2 lx. The interior exhibition surface for relics is set to 5 lx (only 1/10 of museum lighting standard), while the luminanceratio between artworks and floors remains 5:2. As post-construction subjective assessments indicate, interior exhibition in the dark environment still achieved fine visual effects, which attests to the great elasticity of visitors' sight.

5 從二層俯瞰戲臺(tái)/Looking down to opera stage from the first floor

(2) To restore the original context of the panoramic views and ceiling frescos through customized paper blinds. In the early time, the translucent material of the Juanqin Studio was paper (a type of even-diffusion material), and pictures were illuminated directly by the diffused sunlight and skylight, thus interior light seemed to "breathe" as time and weather changed, which was significantly different from the static atmosphere formed by the regular diffusion of glass (before reconstruction). On sunny days, the luminance of ceiling frescos and panoramic views would increase greatly. The 1000 times luminance difference between them and the dark areas is consistent with the interior decoration concept of "seeing from the outside".

(3) To maintain fine visual effects by keeping luminance relationship between the two sides of the double-faced embroidery partition. The themes of double-faced embroidery reflected the craftsmen's consideration of different perspectives. Seen from the bright side under front light, its surface is opaque; seen from the dark side against the light, it becomes transparent. Artificial lighting should exercise strict control over the luminance of the dark side.

In summary, the contents of the luminous environment preservation and lighting design include: preserving the rich historical and visual information contained in the original luminous environment; using "switchable", intensity-reduced and filtered natural light (maximum insulation of ultraviolet radiation and infrared radiation) as major interior illumination source; installing switchable paper blinds in between double windows; supplying functional electric lighting in dark areas that affect visit safety; supplying lowintensity exhibition lighting for the panorama views, ceiling frescos and other important relics; and, finally, preserving deep historical information of relics in the renovated areas. □

6 南向夾紙窗/South paper blinds

7 改造前的采光系數(shù)實(shí)測(cè)偽彩度圖/False-color image for daylight factor measuring before reconstruction

8 從戲臺(tái)內(nèi)部看北墻通景畫(huà)/Looking at north panorama views from the inside of opera stage

評(píng)論

郝琳：關(guān)于性情的策展

我十分有幸拜訪過(guò)改造后的倦勤齋。那是一個(gè)晴朗冬日的上午，低角度太陽(yáng)的柔和光線，穿越了花窗的素紙，撒在精巧的空間里，呈現(xiàn)出一派微妙的古典氣質(zhì)。環(huán)境抑揚(yáng)頓挫，光線明暗有秩，物料真誠(chéng)細(xì)膩。特別是那些蔭翳而隱秘的空間，與性情玩味更是相得益彰。保護(hù)的巔峰，我想，無(wú)疑是讓后來(lái)者，在時(shí)過(guò)境遷之后，尚可撫摩舊有的時(shí)光，卻不著痕跡。而這一切的穿針引線，又是通過(guò)小心翼翼的策展完成的，最終以科學(xué)的態(tài)度和人文的素養(yǎng)，再現(xiàn)了乾隆的秘密花園。

青鋒：高聳的屋頂與深遠(yuǎn)的出挑造成建筑室內(nèi)光線的暗淡，這是在東方建筑實(shí)體性的建筑元素之外極為重要的光線特征。這一點(diǎn)早已被從賴特到王澍的一系列建筑師所注意，成為塑造獨(dú)特東方式建筑氛圍的絕妙路徑。對(duì)于倦勤齋光環(huán)境的設(shè)計(jì)者來(lái)說(shuō)，黑暗也同樣是建筑歷史價(jià)值的一部分，為之可以犧牲常規(guī)博物館的光照標(biāo)準(zhǔn)，維護(hù)明暗之間時(shí)間的沉淀。

Comments

HAO Lin: Curating and representing a disposition

It was an exclusive experience visiting the restored Juan Qin Studio in a clear winter morning: soft low-angle sunlight, through the plain paper of lattice window, shed into the exquisite space, presenting a subtly elegant atmosphere. The orderly play of light and shade, together with fine and genuine materiality, endowed the environment with a rhythmical cadence. Retreat spaces hidden seclusively in dense shades are particularly suited to the contemplation of such disposition. The poetics of the conservation, I trust, is about the art to allow us to savor memories of a bygone era in the otherwise traceless passage of time. All these were knitted together through the careful threads of curating, which ultimately re-presented the Secret Garden of Emperor Qianlong with a scientific attitude and humanist spirit.

QING Feng: The high roof and deep eave produce a dim interior. This is a crucial lighting characteristic of Oriental architecture besides its material components. Architects from F. L. Wright to WANG Shu have paid serious attention to this phenomenon, and used it as an exquisite approach to create an architectural atmosphere of distinctive Oriental temperament. For the lighting designer of Juanqin Studio, darkness is also an integral part of the building's historical value. It is worthwhile to sacrifice common standards of museum lighting for the preservation of time between light and dark.

9 從二層俯瞰戲臺(tái)/Looking down to opera stage from the first floor

10 南向夾紙窗與竹籬/South paper blinds and bamboo fence

11 電氣布線與燈位圖/Electric circuit and lighting plan