牛首山景區(qū)是南京市“十二·五”期間的重大文化項(xiàng)目，以長(zhǎng)期安奉釋迦牟尼佛頂骨舍利為主題。本項(xiàng)目是牛首山東麓入口處的標(biāo)志性建筑，總用地面積6.99hm2，總建筑面積91,670m2。

建筑形態(tài)之于自然地形特征和地域性表達(dá)的自明性

建筑設(shè)計(jì)根據(jù)場(chǎng)地地形標(biāo)高的變化，采用了兩組在平面上和體型上連續(xù)折疊的建筑體量布局，高低錯(cuò)落、虛實(shí)相間。起伏的屋面和深灰色鈦鋅板的使用，是對(duì)山形的呼應(yīng)和江南靈秀婉約建筑氣質(zhì)的演繹，也隱含了“牛首煙嵐”的意境。

建筑意向之于佛教文化主題的視覺相關(guān)性

場(chǎng)地形態(tài)上是佛教“卍”的拆解與變形，“卍”的分離所形成的兩條建筑主體蜿蜒匍匐，象征佛門開啟，也創(chuàng)造了游客進(jìn)山的通路。審美意象上考慮了佛祖舍利和牛首山佛教發(fā)展的年代屬性，總體抽象擷取簡(jiǎn)約唐風(fēng)，并在游客的路線設(shè)計(jì)上融入禪宗文化要素，風(fēng)鈴塔、景觀水面、星云廣場(chǎng)、八寶花壇等景觀要素與建筑相互映襯，回應(yīng)了社會(huì)各界和公眾心目中所預(yù)期的集體記憶。

建筑功能之于景區(qū)入口容量和城市公共廣場(chǎng)的合理性

作為牛首山景區(qū)的主要入口，該服務(wù)中心承擔(dān)著景區(qū)大部分的接待量————近期達(dá)90%，遠(yuǎn)期達(dá)50%～60%。建筑功能包括售票、電瓶車換乘、展覽、小型放映、售賣、辦公及停車等。兩組建筑圍合出的公共空間從城市道路延伸至景區(qū)內(nèi)部，不同層次的場(chǎng)所設(shè)計(jì)兼顧了參禪人流的禮儀性空間和市民休閑的親和性空間，建筑、景觀的一體化設(shè)計(jì)使整個(gè)場(chǎng)地具有整體秩序和可識(shí)別感?！?/p>

1 總平面/Site plan

2 鳥瞰/Aerial view（攝影/Photo: 許昊皓/XU Haohao）

3 入口水池/Pool at the entrance（攝影/Photo: 張明/ZHANG Ming）

The Niushou Mountain Scenic Area is a major cultural project during the "Twelfth Five-Year Plan"period in Nanjing, with the theme of the long-term worship of Buddha's parietal relics. This tourist centre is a landmark at the entrance of the eastern foot of Niushou Mountain Scenic Area, with a total land area of 6.99 hectares and a total construction area of 91,670 square metres.

Self-evidence of Form-natural Topography and Regional Characteristics

The design takes the form of two sets of successively folded shapes, according to the changes in the elevation of the site's topography. The rise and fall of the roof and the dark grey titanium-zinc roof panels echo the landscape and the spirit of exquisite Jiangnan architecture.

Architecture Image: Visual Relationship With the Buddhist Theme

The two sets of building meandering and creeping,formed by the dismantling and deformation of the Buddhist "卍", symbolising the opening of the Buddhist gate and creating a pathway for tourists to enter the mountain. Considering the age of the Buddhist history in Niushou Mountain Scenic Area and the Buddhist relics, the design takes an abstract style of the Tang Dynasty and combines Zen culture elements with the tourist circulation. Landscape elements such as the Wind Chime Tower, the vast pond, the Nebula Plaza and the Buddhist Flowerbed respond to the citizens' collective memory along with the building.

Architecture Function- Rationality of a Scenic Entrance and a City Plaza

As the main entrance, currently this tourist centre welcomes almost 90 percent of all the tourists who come to visit Niushou Mountain Scenic Area, and 50-60 percent in the long-term. Programs including ticket-selling, shuttle buses, exhibitions,video halls, souvenir shops, offices and parking lots are concluded in this building. The public space surrounded by the two groups of building extend from the city road to the inner space of the scenic area. The different levels of the site design take account of both the religious worshiping space and the public leisure space. The integrated design of architecture and landscape gives the site a sense of order and recognisability.□

項(xiàng)目信息/Credits and Data

設(shè)計(jì)團(tuán)隊(duì)/Design Team: 王建國(guó)，朱淵，吳云鵬，姚昕悅等/WANG Jianguo, ZHU Yuan, WU Yunpeng, YAO Xinyue,et al.

建筑面積/Floor Area: 91,670 m2

設(shè)計(jì)時(shí)間/Design Period: 2013-2014

竣工時(shí)間/Completion Time: 2015

攝影/Photos: 許昊皓，王建國(guó)，張明/XU Haohao, WANG Jianguo, ZHANG Ming

4 抬升的建筑和場(chǎng)地/Raised building and site（攝影/Photo: 許昊皓/XU Haohao）

5.6 轉(zhuǎn)折的屋面（圖片來源/Sources: 德國(guó)萊茵辛克/Rheinzink）

7 首層平面/Ground floor plan

8 兩組建筑的呼應(yīng)/Echoes of two groups of buildings（攝影/Photo: 王建國(guó)/WANG Jianguo）

9 二層平面/First floor plan10 剖面/Section

評(píng)論

韓冬青：“牛首煙嵐”是古金陵勝景之一，再以佛祖頂骨舍利安放地加持，靈秀之氣又添厚厚禪意。該景區(qū)游客中心地面上下共計(jì)逾90,000m2面積之巨，無疑是個(gè)極具風(fēng)險(xiǎn)的設(shè)計(jì)挑戰(zhàn)。即便地上只露出1/9的建筑，對(duì)于柔綿的江南丘陵地景而言，也是個(gè)“巨制”規(guī)模。透過這個(gè)作品溫潤(rùn)無聲的場(chǎng)所品貌，可以參悟一套互為支持的設(shè)計(jì)“組合拳”：其一，以隱為上。曲折的平面輪廓形成相互間的自我遮掩，以連續(xù)的屋面褶皺獲得山形的擬態(tài)，再以通透的檐廊使形體掩于陰影之中；其二，循序見景。如果說，折線的運(yùn)用首先是出于體量的退避，那么平面折線所確立起來的空間秩序則是為了在引導(dǎo)登山動(dòng)線的同時(shí)，主動(dòng)經(jīng)營(yíng)出“觀”與“景”的辯證關(guān)系。平仰俯察之間，牛首黛色、山巔華宮，猶抱琵琶，正合了山門場(chǎng)所的故意；其三，雅俗共賞。建筑形式取盛唐意象，檐廊、藻井、柱頭、石礎(chǔ)，寓現(xiàn)代工法中尤見唐風(fēng)遺韻。質(zhì)樸含蓄中又能省卻耗神的疑猜，文人雅士亦或普羅大眾都能心得一二。

牛首東門是城市通往近郊勝景的過渡地帶，游客中心正是要擔(dān)當(dāng)起承轉(zhuǎn)合的序章和收官之責(zé)。眾多矛盾的調(diào)和與各種要素的統(tǒng)合，需要敏銳的洞見和嫻熟的駕馭，而其背后所依托的根本應(yīng)該是對(duì)中國(guó)式人文地景的深刻領(lǐng)悟。

11 標(biāo)準(zhǔn)墻身軸測(cè)/Standard wall axonometry

12 立面韻律/Fa?ade rhyme（攝影/Photo: 許昊皓/XU Haohao）

13 構(gòu)架與水池/Structures and pools（攝影/Photo: 張明/ZHANG Ming）

14 茶室內(nèi)景/Interior view of Tea Room（攝影/Photo: 許昊皓/XU Haohao）

Comments

HAN Dongqing: As one of the scenic spots in ancient Nanjing, the "Niushou Mountain in Haze" is further blessed with the Buddha's parietal relics, which add a sense of Zen to the delicate scenery. The Tourist Centre in this scenic spot covers an area of more than 90,000 m2above and below the ground, which proves to be a very risky design that full of challenges. The above-ground part, which only accounts for 1/9 of the building volume, is a "gigantic" construction compared to the gentle hilly landscape in regions south of the Yangtze River. As sedate as it is, this existence reveals a combination of interactive and inspiring designs:Firstly, the principle of concealing. The contours of the zigzagged plans are mutually concealing with continuous roof folds of mountain-shaped mimicry, and the shape is concealed in the shadows under transparent eaves gallery. Secondly, progressive scenery. If broken lines are meant to set a threshold, then the spatial order established by the broken lines of plans is to present the dialectical interaction between "seeing" and "sightseeing"while guiding the mountaineering. Looking up and down, we see a building half-emerging at the peak of dark-green Niushou Mountain, which coincides with the ups and downs of mountainous surroundings.Thirdly, universal appeal. As for the architectural style,it borrows images from the prosperous Tang Dynasty,including eaves gallery, caisson, stigma and stone foundation. In this way, the charm of Tang style can be seen in this modern construction, and such combination of simplicity and lucid implicitness appeals both refined scholars and the general public.

The East Gate of Niushou Mountain is the transition zone from the city to this scenic spot in the suburb, and the Tourist Centre has a transitional function throughout the process to resolve contradictions and integrate various elements with proper insights, harnessing skills and profound understanding of Chinese humanistic landscape.