林芝南迦巴瓦接待站是標準營造繼雅魯藏布江小碼頭之后，在西藏建成的另一個房子。在西藏做建筑需要面對很多挑戰(zhàn)，首要的問題是應(yīng)該用怎樣的態(tài)度來對待西藏文化？如何對待本地原有的、帶有強烈色彩和裝飾性的建筑傳統(tǒng)？新建筑與周邊原有建筑形成怎樣的關(guān)系？如何處理建筑與基地、建筑與大范圍地形及自然景觀的關(guān)系？建造過程如何考慮當?shù)毓そ?、當?shù)丶夹g(shù)的參與？在惡劣的氣候和有限的資金條件下，哪些材料和建造方式是可行的，而哪些是不現(xiàn)實的？是否可以用一種平視和平等的態(tài)度對待西藏的文化？是否可以既不俯視又不仰視特有的西藏文化？在強調(diào)保護傳統(tǒng)西藏文化的同時，當代西藏文化有沒有發(fā)展空間？如果有，作為當代西藏文化重要組成部分的當代西藏建筑在哪里？

2007年6月，我們幾個人帶著所有這些的問題，輾轉(zhuǎn)來到了西藏林芝地區(qū)雅魯藏布大峽谷中的南迦巴瓦雪山腳下，開始了雅魯藏布江沿線從林芝機場到雪山腳下的直白村約80km的公路、水路交通設(shè)施的規(guī)劃設(shè)計踏勘工作。并沒有詳細任務(wù)書，也沒有建筑選址，只知道要為雅魯藏布大峽谷和南迦巴瓦雪山景區(qū)建造一個游客接待站。在精疲力竭地走了3天的江邊徒步轉(zhuǎn)經(jīng)線之后，終于在地圖上確定了接待站的詳細位置。

接待站位于藏東南林芝地區(qū)米林縣境內(nèi)的一個小集鎮(zhèn)，名叫派鎮(zhèn)，小鎮(zhèn)海拔約2900m，東面是海拔7782m的南迦巴瓦雪山和加拉白壘雪山，北面緊鄰雅魯藏布江，南面是多雄拉雪山，鎮(zhèn)的主街正對著由多雄拉雪山延伸下來的高坡。小鎮(zhèn)的前身是經(jīng)過雅魯藏布江往全國唯一不通公路的墨脫縣運送物資的轉(zhuǎn)運站，有一個簡易碼頭和幾十戶人家，由于是水路和陸路交通的交匯點，近些年逐漸成為林芝地區(qū)一個旅游小集鎮(zhèn)，這里不但是雅魯藏布大峽谷的入口，也是重要的宗教轉(zhuǎn)經(jīng)線——“轉(zhuǎn)加拉”的起點，還是通往墨脫徒步旅行的出發(fā)點。

接待站就坐落在小鎮(zhèn)入口的山坡上，面對著雅魯藏布江和公路的方向，西面是一條由多雄拉雪山溶化流下來的溪流，再往西是農(nóng)田和名叫“派村”的原始村落。接待站總面積約1500m2，功能較為復(fù)雜，包括一個大峽谷綜合信息展廳、一組公共廁所、徒步裝備及食品小賣部、背包客的行李物品存放處、網(wǎng)吧、急救醫(yī)務(wù)室、大峽谷景區(qū)的售票檢票點、旅游公司辦公室和司機導(dǎo)游休息室等等，同時還設(shè)置了一個為全鎮(zhèn)服務(wù)的集中配電房。

我們顯然對本地建筑形式的模仿和拼湊不感興趣，也顯然對移植一個時尚的外來建筑不感興趣。接待站是一個形式上很不顯眼的建筑，遠遠看去，當?shù)厝松踔量床怀鏊惺裁葱缕?，它隨行就勢，由幾個高低不一、厚薄不同的石頭墻體從山坡不同高度隨意地生長出來的體量構(gòu)成，墻體內(nèi)部是相應(yīng)的功能空間，這樣多數(shù)功能空間實際上是半掩藏在山坡下的。

建筑隨著基礎(chǔ)的標高不同分為3層，地下一層是儲藏室和集中配電房；一層主要是各種接待空間，大峽谷信息展廳、廁所、醫(yī)務(wù)室、網(wǎng)吧小賣部、景區(qū)售票檢票都在這一層；二層是后勤辦公室和可供游客休息觀景的屋頂平臺。建筑的采光主要通過兩種天窗解決：為接待大廳采用屋頂凹陷形成的高側(cè)窗，樓梯、網(wǎng)吧和辦公室采用的是細長的天窗。整個建筑只在一層接待大廳朝向雅魯藏布江及加拉白壘雪山的方向和二層辦公室朝向南迦巴瓦雪山的方向開了兩個明確的景觀視窗。

建筑的結(jié)構(gòu)體系是傳統(tǒng)砌筑石墻和混凝土混合結(jié)構(gòu)。墻體從60cm、80cm到1m厚不等，全部由當?shù)厥钠鲋伞Ｊ^墻是自承重的，墻內(nèi)附設(shè)構(gòu)造柱、圈梁和門窗過梁，起到增強石墻整體性的抗震作用，同時用來支撐混凝土現(xiàn)澆的屋頂。砌筑石墻的藏族工匠主要是來自日喀則，他們在石墻的砌筑上有很特別的習慣和方法，這一點是我們在圖紙上設(shè)計不出來的。

建筑的門窗和室內(nèi)沒有使用任何常見的“西藏形式”的門窗裝飾，我們毫不回避南迦巴瓦接待站是一個當代建筑，如果人們可以感受到特殊的本地氣質(zhì)，我們希望這種氣質(zhì)是通過本地的材料以真實而樸素的建造過程自然形成的，而不是“喬裝改扮”的結(jié)果?！?/p>

The visitor centre is the second building designed by standardarchitecture in Tibet after the Yalung Zangbo Boat Terminal. It is located in a small village called Pai Town in Linzhi, southeastern part of Tibet Autonomous Region. The building sits on a slope along the road leading to the last village Zhibai deep in the Yalung Zangbo River Grand Canyon , facing the Yalung Zangbo River to its north and with the 7782-metre-high Mount Namchabarwa at its background in the east.

The 1500m2building serves as a visitor centre providing comprehensive information about Mount Namchabarwa and the Yalung Zangbo Grand Canyon.It serves also as the "town centre" for the villagers as well as the supply base for the backpack hikers exploring the canyon. Therefore the programme is quite complicated. It includes a reception/information hall, public toilets, a supply store,an internet bar, a medical centre, locker room for backpackers, meeting rooms, offces for tour guides and drivers, a water reservation tank and a central electrical switch house for the village.

Like a few slices of rock extending out of the mountains, the building is conceived as a series of stone walls merging into the slope, with no windows facing the incoming road in the west, almost scale-less,an abstract landscape in the natural landscape. Looking from afar it neither hides itself, nor stands out from its background as a piece of "Tibetan" architecture.

Approaching from a distance on the road, people cannot be sure if this is a building or a set of retaining wall or even a "Mani" wall at the foot of the mountain.After getting out of cars, visitors will follow a pathway led by a stone retaining wall up the hill, where they find the main entrance to the reception/exhibition hall.The main hall is lit by sky lights and has a view window facing north towards the village and the Yalung Zangbo River. Entering the second layer of the 1-metre-thick stone wall, visitors find the public toilets and the public luggage storage room, going further through another layer of stone wall they find the internet café, medical clinic and a rest area for drivers. Halfway they have the choice of taking the "stair way to heaven" up to the second floor for the roof garden and the meeting rooms. The water tank is hidden beneath the stairs and the electric switch room takes the underground space.

After a brief rest, gathering necessary information of the area and other supplies, sending out emails to friends and relatives, visitors are again led by a zigzagged stone path way down the hill into the village,and the start to explore the Mount Namchabarwa,disappearing into the no-man-forest of the Yalung Zangbo valley for days and weeks. □

1.2 外景/Exterior views

3 總平面/Site plan

4 外景/Exterior view

5 東立面/East Elevation

6.7 剖面/Sections

8 鳥瞰/Aerial view

9 內(nèi)景/Interior view

評論

趙揚：這個建筑的用意似乎更傾向于和周邊自然景觀的對話，而不是從內(nèi)部功能和內(nèi)部空間體驗出發(fā)。建筑的表情是抽象而極簡的。因為將建筑體量都歸納成長短寬窄不同的長方體，而且統(tǒng)一使用當?shù)乇容^常見的毛石來覆蓋或砌筑，整個建筑的立面也盡可能減少了門窗開洞可能附加的表情（主要的室內(nèi)空間都采用天光照明）。唯一被建筑師強調(diào)的“建筑手段”是這些毛石體量在平面進退、立面高低上錯落安排出的有機形態(tài)。而這一形態(tài)卻沒有被僵化成一個或若干個固定的構(gòu)圖，也沒有暗示任何確定的觀察角度，似乎是在回避任何可能的概念性或形式化的解讀。也許建筑師最大的用心處和著力點就是在于這“回避”二字。

回避了所有可能的概念性解讀，也許我們會忘記這個房子的時代，我們的感受開始和那些古老而原始的人類經(jīng)驗相接。我們體會到一種類似“紀念性”的東西。這種紀念沒有具體的對象和所指，是一種比較“無心”的莊嚴。讓我想起阿道夫·路斯那段著名的話：“如果我們在樹林里碰到一個土堆，六英尺長，三英尺寬，用泥土堆成的一個金字塔形，我們心中升起一種肅穆的情緒，它會告訴我們‘有人葬于此地’。這是建筑?！?/p>

Comment

ZHAO Yang:The intention of this building seems to be more about the conversation with the surrounding natural landscape than starting from the internal functions and experience of the interior space. The expression of the building is abstract and minimalist by nature, because the volume of the building is categorised into cuboids of different sizes, the building is uniformly covered or built with ashlar, which is common in the local area, and the openings of doors and windows are also minimised all over on the facades to reduce the possibility of additional expression (main parts of the indoor space are illuminated by skylight). The only "architecture measure" emphasised by the architect is the organic form arranged through the horizontal and vertical shuラing of the ashlar. But this form is not rigidified into one or more fixed compositions, nor does it imply any definite perspective of observation, as if to be avoiding any possible conceptual or formal interpretation. Perhaps the architect's greatest concern and focus is the word "avoidance".

Avoiding all the possible conceptual interpretations, we may forget the time of this building,and our feelings begin to connect with those ancient and primitive human experiences. We experience something similar to "commemoration". This kind of commemoration has no specific object or reference.It's a relatively "unintentional" solemnity. It reminds me of Adolf Loos's famous words: "If we were to come across a mound in the woods, six foot long by three foot wide, with the soil piled up in a pyramid, a somber mood would come over us and a voice inside us would say, 'There is someone buried here.' That is architecture."(Translated by CHEN Yuxiao)