橋館，四川，中國

Museum Bridge, Sichuan, China, 2010

評論

郭屹民：從“橋館”的得名開始，“橋”所承載著“連接”，與“館”充盈的“記憶”之間的邂逅便賦予了這座既非純粹的建筑，又非純粹橋梁的構(gòu)筑物以雙重的性格。從“純粹”到“混合”，猶如打開了豐富性的潘多拉魔盒一般，它讓人們在對比的視線交織中來獲取超越原先事物本體概念之上的意義?！霸汀迸c“創(chuàng)造”，更為本質(zhì)的說是“過去”與“未來”的同時注入使得形式的深度與廣度獲得了某種微妙的平衡。它或許是“橋館”之所以給人一種緊張之感的緣由吧！

土木與建筑的混合，在“橋館”之中被演繹成為“古典主義”所展開的構(gòu)圖與“粗野主義”所固有的肌理之間的碰撞。設(shè)計始終沿續(xù)著非單一的雙重線索來展開，并且經(jīng)由一種源自于抽象的與具象的游離與交錯，從而構(gòu)筑起被“陌生化”的平常性。

形態(tài)上源自古典構(gòu)圖的幾何與肌理上遍布著手工作業(yè)的建造痕跡，這一清晰的疊合可以從透著正面表情的東側(cè)立面當(dāng)中輕易捕捉到。與其說感受不如說是意圖的表露，清晰與模糊、端莊與狂放、精確與隨性都會在一念之間轉(zhuǎn)瞬即變。

籍由底部斜柱撐起的建筑給建筑注入了浮游的意象。在讓人略感意外之余，意圖化的倒置“三段式”卻更是強(qiáng)化了對“支撐”性格的顛覆。不過，一旦意識到原本輕盈的橋被“館”略顯厚重的體量所替代時，也就大致上能洞悉設(shè)計的初衷了?！爸巍敝诮ㄖ?，“浮游”之于橋面的意義，在這里顯然被刻意地通過置換的操作，被異常強(qiáng)烈地獲得了感知。

與此同時，館陳空間精神性的記憶喚起與屋面平臺日常性的環(huán)境融合之間被通過頂光的攝入獲得了某種微妙的穿插與聯(lián)系。超越了功能性的意圖，光線在這空間中呈現(xiàn)出的是時間的厚度。過往與現(xiàn)時、歷史與當(dāng)下，都能在被黑暗包裹的亮光之中仿佛被觸摸到。

幾何與技藝、浮游與支撐、精神與日常，抽象與具象的組合所打造的陌生化并非是無中生有，在“橋館”中，既有的概念與性格在被疊加、置換、并置的操作中，重新組合成新的意義。它們不需要通過謳歌，抑或是新奇來獵取視覺，卻能夠獲得一種具有平常性的、觸手可及般的新鮮之感。

“橋館”是一座“橋”的“館”?！皹颉保ㄍ聊荆┑男揶o為“館”（建筑）的結(jié)構(gòu)提供了更加豐富的外延?！皹颉辈辉偈悄亲鶚颍梆^”卻變得與眾不同！

項目信息/Credits and Data

客戶/Client: 四川安仁建川文化產(chǎn)業(yè)開發(fā)有限公司/Sichuan Anren Jianchuan Cultural Industry Development Co. Ltd.

地點/Location: 四川省大邑縣安仁鎮(zhèn)建川博物館聚落/Anren Township, Dayi County, Chengdu City, Sichuan Province, China

建筑設(shè)計/Architets: 非常建筑/Atelier FCJZ

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

項目團(tuán)隊/Project Team: 劉魯濱，吳瑕，郭慶民，梁小寧，馮博/LIU Lubin, WU Xia, GUO Qingmin, LIANG Xiaoning, FENG Bo

合作設(shè)計單位/Collaboration: 深圳市鑫中建建筑設(shè)計顧問

有限公司/Shenzhen Xing Zhong Architectural Design Ltd.

基地面積/Site Area: 2403.2m2

建筑面積/Floor Area: 2114m2

建筑層數(shù)/Building Stories: 1

建筑高度/Height: 5.2m

結(jié)構(gòu)與材料/Structure and Material: 鋼筋混凝土巨型框架結(jié)構(gòu)，竹模清水混凝土/Reinforced concrete framework,bamboo form-work concrete

設(shè)計時間/Design Period: 2009-2010

建造時間/Construction Period: 2010-2012

攝影/Photos: 曹揚/CAO Yang

Comment

GUO Yimin:From the name "Museum Bridge", we can see that the encounter between the "bridge"and the "museum" gave the building a double character. Since the bridge carries the meaning of the connection and the museum is a place full of memory,the Museum Bridge is neither a pure building nor a pure bridge. From "pure" to "mixed", just like opening Pandora's box, it gives people a feeling beyond the original meaning. The juxtaposition of the "prototype"with the "creation", or the "past" with the "future",strikes a subtle balance between the depth and breadth of the form. This might be the reason why the "Museum Bridge" could give us a sense of tension.In terms of the combination of civil engineering and architecture, "Museum Bridge" is interpreted as the collision between the composition of classicism and the inherit spirit of brutalism. The design is continually unfolded along a non-single clue, and is constructed by both abstract and figural, thus constructing the "unfamiliar" usual.

The geometrical form is derived from classical composition, while the trace of hand making can also be seen. This overlap can be clearly captured from the east fa?ade, which shows a positive expression. The form can reveal its own character.From clear to vague, from dignified to wild, or from precise to casual, sometimes it can give people a rather instant change of feeling.

The building, which was lifted by the bottom pillar, fl oats in the air. Slightly surprised, the inverted"three longitudinal zones" further strengthens the subversion of the intension of "support". However,once we realized that the original light bridge is replaced by the slightly heavy museum, we could get an insight into the original intention of the design.The support function of a building and the floating character for a bridge is deliberately replaced, which lead to an exceptionally strongly perception.

Meanwhile, through the skylight there is a subtle connection between the spiritual museum space and the daily environment of the roof platform. Beyond the functional intention, the light in this space shows the thickness of time. Past and present, history and the moment, it seems that they all can be touched through the light in the dark.

Geometry and technology, floating and support, the spiritual and the daily life, the abstract and concrete, the defamiliarization created by these composition of opposing characters is not coming from nowhere. In the "Museum Bridge", through a series of manipulation such as superposition,replacement and juxtaposition, the original concept and character have been turned into new meanings.They do not need to be praised or to be eye-catching,however it can get people a fresh feeling more ordinary and accessible.

"Museum Bridge" is a "bridge" for the"museum." The rhetoric of the "bridge" (civil engineering) provides a richer extension for the structure of the "museum" (architecture). "Bridge" is no longer the bridge, but the "museum" has become different! (Translated by QI Yiyi)

1

2

類型

橋館，是兩種建筑類型的結(jié)合：它是四川安仁建川博物館聚落中的博物館之一；同時也是聚落中的基礎(chǔ)設(shè)施，一座步行橋。我們把橋看作是城市公共空間的一部分，是街道的延續(xù)，而博物館既是橋的組成元素又是兩岸城市肌理的聯(lián)系。因此橋館具有博物館的穩(wěn)重和薄拱橋的拱起兩種特性。

形式

博物館在形式語言上呼應(yīng)著1950-1960年代的中國建筑，更是其社會主義現(xiàn)實主義風(fēng)格背后的古典基因——三段式構(gòu)圖，但我們對三段分別進(jìn)行了重新定義：頂，作為中國傳統(tǒng)木作建筑的挑檐處理；身，構(gòu)成承載文物的封閉箱體，只被屋頂四道天窗穿透；臺，被徹底轉(zhuǎn)化為作為橋墩的混凝土束柱群。我們希望橋館獲得一種時間上的兩重性：它既屬于當(dāng)代，也屬于過去。

結(jié)構(gòu)+材料

橋館整體上是混凝土結(jié)構(gòu)：在建筑底層，共設(shè)置了13組不同斜度的束柱，基礎(chǔ)避開河道，撐起上面箱形的博物館。立面材料為小竹模清水混凝土，由于其粗糙的施工質(zhì)量，產(chǎn)生了強(qiáng)烈的質(zhì)感。□

Type

The Museum Bridge is a combination of two building types. Apart from being one museum in the Sichuan Anren Jianchuan Museum Cluster, it is also a basic piece of infrastructure, namely a pedestrian bridge in the museum cluster. We consider bridges as a part of urban public space as well as an extension of the streets. In this case, the museum is not only a component of the bridge, but also a linkage between two sides of the riverbank. Therefore, the Museum Bridge possesses both the gravitative tendency of a museum and the uplifting quality of an arch bridge.

Form

In terms of formal language, this museum echoes the style of Chinese architecture from the 1950s to the 1960s. Moreover, it reflects the classical DNAs of the Socialist Realism: a tripartite composition. However, each of the three elements has been redefined: the roof became cantilever eaves of traditional Chinese wooden architecture; the body, penetrated on the roof by four skylights only,took the form of a closed box carrying cultural relics;the base was transformed into a group of concrete columns on the bridge piers. We hope the Museum Bridge could attain a form of temporal duality: both modern and historical.

3

4

Structure + Materials

The Museum Bridge was made entirely of concrete. At the bottom of the building, situated 13 groups of columns in different angle on the river banks and supports the box-shaped museum above.The material of the fa?ade is fair-faced concrete moulded by bamboo splits lined formwork. Due to the coarse construction quality, an intense textural tactile quality is generated.□

5

6

7

8

9

10

11

12

13

14

15