設計主持：常青

方案設計：常青，劉偉

合作設計：張鵬，門暢，趙英亓，辛靜，崔梓祥，張子儀，馬松瑞，毛燕，林笑涵，張雨慧，劉瀛澤，顧金怡，吳雨航

景觀設計：何強，聶婷婷，范先庭

結構設計：何忻煒，劉佳星

設備設計：徐鐘駿，張萍，代鵬，

徐曉明，張馨皓

結構形式：鋼筋混凝土結構，鋼結構，木結構

場地面積：63 hm2

建筑面積：23,418m2

建筑高度：18m以下

設計時間：2017

Principal Architect: CHANG Qing

Schematic Design: CHANG Qing, LIU Wei

Cooperative Architects: ZHANG Peng,MEN Chang, ZHAO Yingqi, XIN Jing,CUI Zixiang, ZHANG Ziyi, MA Songrui,MAO Yan, LIN Xiaohan, ZHANG Yuhui,LIU Yingze, GU Jinyi, WU Yuhang Landscape Design: HE Qiang,NIE Tingting, FAN Xianting Structural Engineers: HE Xinwei,LIU Jiaxing

Mechanical Engineers: XU Zhongjun,

ZHANG Ping, DAI Peng, XU Xiaoming,ZHANG Xinhao

Structure: Reinforced concrete structure,steel structure, wood structure

Site Area: 63 hm2

Floor Area: 23,418 m2

Building Height: Under 18 m

Design Time: 2017

道教“第二洞天”所在的臺州黃巖老城南郊委羽山公園設計項目，建筑占地僅略大于10,000m2，其余為山水和硬地。2004 年常青主持完成位于黃巖老城中心的孔廟及周邊地段保護規(guī)劃設計，2016 年重返黃巖主持孔廟地段工程設計并配合實施，同時率團隊接受了委羽山公園的設計任務。

孔廟南北空間布局與所在街區(qū)肌理有著約8°的水平傾角，與委羽山主峰金嶼形成南北景觀同軸，正應了“儒在鐘鼎、道在山林”的傳統(tǒng)說法。委羽山由南北排列的5 座小山丘組成，號稱“金、木、水、火、土”五嶼，其中較大的3 座在公園內，主要歷史景觀分布在金嶼及周邊。從入口北廣場開始，設計重塑了史地維度的委羽山“十二景”，包括原址原貌修復金嶼東麓省級文物的道觀“大有宮”；以黃巖風土匠為特征重塑金嶼東北已毀棄的“東仙源”；沿金嶼軸線修復或復建沿途的“東皇宮”“來鶴亭”“古樵隱者居”“騎鶴宮”等，以及嶼頂?shù)摹疤靿焙汀拔饦恰?；在金嶼東南麓原址復建“朱文公祠”和“朱子書院”。在金嶼西麓設計了層疊的現(xiàn)代廊式公園服務區(qū)建筑群。在金嶼和木嶼之間的東側，沿蜿蜒地形設計了“控鶴池”水景，及與之契合的草坡頂清水混凝土塑性地景建筑“大有公眾藝術中心”，半隱于地下，面積達5500m2，解決了山地公園地面用地窘迫的難題。此外，沿著公園周邊還設計了古韻新風的景觀小品和健身綠道。

總之，委羽山公園實際上被設計成了承載著黃巖歷史文化底蘊的城市公園，遵循了整舊如故、與古為新的造園宗旨。公園內的古今建筑均有鮮明的時空識別性，表達了新舊共生、和而不同的設計理念和實施策略?！?/p>

The Weiyu Park, located on the southern suburb of Huangyan's Old Town in Taizhou City,is the home of the Second Great Grotto-heavens.The built area is barely over 10,000 m2; therests are natural landscapes and outdoor grounds. In 2004, the team led by CHANG Qing completed the conservation design of the Temple of Confucius and its neighbouring district in the centre of Huangyan's Old Town. In 2016, they returned to Huangyan to implement the design for the temple and assumed the design of Weiyu Park.

The Gold Peak, the highest point of Mount Weiyu, forms a coaxial arrangement with the Temple of the Confucius' north-south axis which has an approximate eight-degree inclination with its surrounding built fabric, in accordance with the Chinese proverb "Confucians serving the state and Daoists living in the mountains". From north to south, the mountain comprises five peaks known as Gold, Wood, Water, Fire, and Earth, respectively.Three larger ones are situated within the park,and the most significant historic landscapes are dispersed around the Gold Peak.

Starting from the North Square of the entrance, the design re-creates the "Twelve Scenes"of Mount Weiyu in historical and geographical dimensions, including the restoration of the Dayou Palace (Palace of Great Measure), a Daoist temple and a provincial-level heritage site, in situ and in its original form at the eastern foot of the Gold Peak. The destroyed Dong Xianyuan (Eastern Immortals' Spring) will be rebuilt in the style of Huangyan's vernacular craftsmanship. Along the axis of the Gold Peak, the East Imperial Palace,Laihe Pavilion (Visiting Cranes Pavilion), Guqiao-yinzhe Residence (Residence of Old Woodcutter and Recluse),Qihe Palace (Palace of Riding Cranes), and other buildings will be restored or reconstructed, along with the Temple of Heaven and the Weiyu Tower (Tower of Fallen Plumes)atop the Gold Peak. Zhu Xi Ancestral Hall and Zhu Xi Academy will be rebuilt at their original locations on the southeastern foothill of the mountain. At the western foot of the Gold Peak, a multi-layered building complex of modern verandah-style park services is planned. To the east, between the Gold and the Wood peaks, a water feature named the Konghe Pond (Pond of Guiding Immortal Cranes) is delineated according to the meandering topography. It is accompanied by the compatible Dayou Public Arts Centre, a building with grass roofs and plastic raw concrete that conceals a 5,500 m2subterranean space to alleviate the problem of the park's limited surface area.In addition, miscellaneous landscape features express a"new style with ancient resonance" and an exercise trail is laid out for the park's perimeter.

2 委羽山公園鳥瞰效果Aerial view rendering of Weiyu Cultural Park

3 大有宮修繕后鳥瞰Aerial view of Dayou Palace after renovation

5 大有藝術中心草圖Sketch of Dayou Public Arts Centre

6 大有藝術中心室內方案Indoor design of Dayou Public Arts Centre

7 大有藝術中心首層平面Ground floor plan of Dayou Public Arts Centre

8 大有藝術中心剖面Section of Dayou Public Arts Centre

In essence, the Weiyu Park is de facto designed as an urban park that manifests the historic and cultural significance of Huangyan, following the principles of"restoring the old as it was" (zhengjiu rugu) and "collaging the new with the old" (yugu weixin). The ancient and contemporary structures in the park all exhibit distinctive temporal and spatial characteristics, embodying the design ideals and implementation strategies of "coexistence of the old and the new" (xinjiu gongsheng) and "in harmony yet be different" (he er butong).□ ( Translated by ZHU Yayun)

項目評論

委羽山公園文化景觀再生工程，是黃巖城市整體山水格局和景觀軸線系統(tǒng)研究及再生工程的重要組成部分，以物化的方式，與已基本完成的孔廟景區(qū)共同體現(xiàn)“儒在鐘鼎，道在山林”的文化地景范型，其立意之博遠，落地之深切，遠非一個普通的城市古跡公園所能比擬。

公園景區(qū)的空間結構和諸景點設計，遵循“新舊共生、和而不同”的理念，以敬畏之心修復古跡，賦交融之意與古為新，“標本性保存”和“適應性再生”同步，從容應對歷史環(huán)境再生工作中的文化身份、現(xiàn)實挑戰(zhàn)和永恒主題，突出了“延續(xù)地志、保持地脈、保留地標”的再生途徑，實現(xiàn)了保護、修復、加建和新建等一體化的再生目標。

委羽洞、大有宮及三清殿等是遺址整理、修繕及重建，北廣場及金嶼景觀軸、古樵隱者居、東仙源、書院及朱文公祠等是仿古復建，道文化服務區(qū)是“新中式”加建，大有藝術中心是隱而不彰的現(xiàn)代地景式建筑新建——種種不同的設計策略，是在梳理、遵循并恰當拓展原有文化地景脈絡的基礎上，依據設計對象的不同特征，既是慎重而為、一氣呵成的，又是一脈貫通、有機共生的。

特別令人印象深刻和難能可貴的是其中仿古復建及加建景點的設計，在對歷史經典原型和氣韻精到認知、體宜和拿捏的基礎上，結合了對文獻記載的閱讀、想象和對地方傳統(tǒng)的吸收和融入，同構而有變異，古韻而蘊新風，地域而感當代，是高水準的古意相通而非簡單化的風格仿造，展現(xiàn)出研究和設計者反思傳統(tǒng)觀與現(xiàn)代性的矛盾及其在當代建筑中的智慧呈現(xiàn)和化解方式。這一歷史環(huán)境再生工程是解決中國城鄉(xiāng)建設中保護與發(fā)展矛盾沖突的范例，期待早日落成，眾得勝景一覽。

李興鋼

全國工程勘察設計大師中國建筑設計院副總建筑師

9 大有藝術中心人視效果Rendering of Dayou Public Arts Centre

11 配套區(qū)接待中心效果Rendering of reception centre

Comments

The regeneration of the cultural landscape in the Huangyan Weiyu Park is an integral part of the systematic research and regeneration project of the overall landscape layout and scenic axis in Taizhou city, Zhejiang Province, which embodies the cultural landscape prototype of "Confucians serving the state and Daoists living in the mountains", along with the nearly completed Temple of Confucius scenic area. The park's profound mission and deep connection to local cultural roots go far beyond what can be achieved by an average park with a historic site.

The design of the park's spatial structure and various scenic attractions adheres to the principles of "coexistence of old and new"(xinjiu gongsheng) and "in harmony yet be different"(he er butong), restores the ancient sites with a sense of reverence, integrates and collages the new with old, and strikes a balance between "exemplary preservation" and"adaptive regeneration". The design addresses the cultural identity, practical challenges and eternal themes arising from the regeneration of the historic environment in a controlled manner, and highlights the approach of"maintaining the topography (dizhi), protecting geographical context (dimai), and preserving the landmarks (dibiao)", achieving the goal of integrating protection, restoration, expansion and reconstruction.

12 東仙源鳥瞰效果Aerial view rendering of Dong Xianyuan

13 古樵隱者居鳥瞰效果Aerial view rendering of Guqiao-yinzhe Residence

14 文獻書院人視效果Rendering of Literary Academy

15 文獻書院鳥瞰效果Aerial view rendering of Literary Academy

16 天壇-委羽樓鳥瞰效果Aerial view rendering of Temple of Heaven and the Weiyu Tower

For example, the Weiyu Grotto (Fallen Plumes Grotto), Dayou Palace (Palace of Great Measure), Sanqing Hall (Hall of Three Purities)and other buildings are cleaned, repaired and rebuilt as heritage sites; the North Square, the scenic axis of the Gold Peak, Guqiao-yinzhe Residence (Residence of Old Woodcutter and Recluse), Dong Xianyuan (Eastern Immortals'Spring), Zhu Xi Academy and Ancestral Hall are new constructions in antique architectural styles; the Daoist Cultural Service Area is an addition with "new Chinese style"; while the Dayou Arts Centre is a freshly created,understated modern landscape architecture. All these design strategies are produced prudently,comprehensively, consistently, and organically,based on reorganising and following, as well as appropriately exploring the original cultural landscape context in accordance with the distinctive characteristics of the design objects.

The most impressive and commendable design ideas are the re-creation of historic sites and the expansion of scenic sites. Incorporating precise understanding, appropriate application and sophisticated mastery of the classic exemplars, as well as a close reading of the pertinent textual records, imagination, and the absorption and integration of local traditions,these ideas emulate the old prototype but contain variations, intermingle new styles with ancient resonance, and combine the vernacular flavour with the contemporary zeitgeist. Instead of being a simplistic aesthetic copy, they are a nuanced dialogue with the past, revealing how a scholar-designer can reflect on the dichotomy between tradition and modernity and represent and resolve it in contemporary architecture.This project exemplifies how to reconcile preservation and development in China's urban and rural development. I eagerly anticipate its early completion and the opportunity to view its magnificence.(Translated by ZHU Yayun)