1 從袞沙林村望桑珠孜宗堡View of the Sangzhutse Fortress from Dagon Salin village

設(shè)計(jì)主持：常青，丁潔民，華耘

方案設(shè)計(jì)：常青

合作設(shè)計(jì)：嚴(yán)何，胡濤，殷勇

結(jié)構(gòu)設(shè)計(jì)：萬月榮

設(shè)備設(shè)計(jì)：杜文華，周謹(jǐn)，謝文黎

室內(nèi)設(shè)計(jì)：張栩

結(jié)構(gòu)形式：框架結(jié)構(gòu)

場(chǎng)地面積：44,000m2

建筑面積：8236m2

建筑高度：18m

設(shè)計(jì)時(shí)間：2004-2007

建竣工時(shí)間：2009

攝影：張嗣燁，項(xiàng)目工作組

Principal Architects: CHANG Qing,

DING Jiemin, HUA Yun

Schematic Design: CHANG Qing

Cooperative Architects: YAN He,

HU Tao, YIN Yong

Structural Engineer: WAN Yuerong

Mechanical Engineers: DU Wenhua,

ZHOU Jin, XIE Wenli

Interior Design: ZHANG Xu

Structure: Frame structure

Site Area: 44,000 m2

Floor Area: 8236 m2

Building Height: 18 m

Design Period: 2004-2007

Completion Time: 2009

Photos: ZHANG Siye, Project team

西藏日喀則的桑珠孜宗堡 （當(dāng)?shù)匾喾Q宗宮）曾是老城天際線的制高點(diǎn)，初建于元末，是全藏宗山建筑的典范，可能也是晚于其330年的拉薩布達(dá)拉宮祖型。 “文革”初期，宗堡作為農(nóng)奴制的象征被搗毀，木結(jié)構(gòu)主體已無存，僅剩石墻殘墟。近40 年后，在日喀則各界呼吁下，宗堡復(fù)原工程成為上海市最大的單項(xiàng)援藏項(xiàng)目。

2004 年同濟(jì)設(shè)計(jì)院受上海市政府委托，作為代理甲方執(zhí)行這一重任，由常青教授率同濟(jì)跨專業(yè)團(tuán)隊(duì)以實(shí)存遺址、歷史圖像和文獻(xiàn)為依據(jù)，以現(xiàn)代建筑技術(shù)結(jié)合當(dāng)?shù)貍鹘y(tǒng)材料、工藝，完成復(fù)原設(shè)計(jì)，并密切配合了施工。設(shè)計(jì)重點(diǎn)可概括為：

第一，把控宗堡遺址現(xiàn)狀，確定其范圍和邊界，分析地貌、堡臺(tái)和堡樓的空間關(guān)系，以虛擬建模生成復(fù)原模型，對(duì)之反復(fù)校正，直至與歷史影像趨于一致，并確定保留一段東端廢墟作為變遷印痕。

第二，對(duì)堡臺(tái)廢墟的墻墩及堆積層進(jìn)行清理，對(duì)殘墻表面裂縫作壓力灌漿充填處理，對(duì)其旁外露的基巖進(jìn)行裂縫修補(bǔ)和加固，在殘墻內(nèi)側(cè)另立樁基礎(chǔ)的框架柱，嵌入山體巖層，以外挑梁承托上部復(fù)原荷載。

第三，功能定位為后藏民俗博物館，空間布局按廢墟限定分為兩個(gè)層級(jí)：第一層級(jí)堡臺(tái)（天臺(tái)）南面為不同標(biāo)高的天井、院落，用于人流集散，包括一座梯形的“德央夏”（集會(huì)場(chǎng)所）庭院；第二層級(jí)北面為主體堡樓，紅樓居中，為中心展示空間，以兩翼白樓拱衛(wèi)，堡樓內(nèi)外關(guān)系及入口位置貼近歷史原貌。

第四，裝修以木質(zhì)和石材為主，彩畫、唐卡及其他飾面做法、母題選擇均以當(dāng)?shù)貍鹘y(tǒng)建筑的材料、工藝為基調(diào)，包括墻面“手撥紋”和地面“阿尕土”等傳統(tǒng)匠作技藝，有藏匠參與施工。與此同時(shí)，設(shè)計(jì)還體現(xiàn)了裝飾藝術(shù)化的藏式韻味，造型敦厚簡(jiǎn)練，色彩純正明麗。

桑珠孜宗堡復(fù)原工程竣工后一舉恢復(fù)了日喀則市的歷史城市天際線，并為民族地區(qū)建筑遺產(chǎn)的保存、修復(fù)和利用提供了探索經(jīng)驗(yàn)?！?/p>

Initially constructed in the late Yuan Dynasty (1271-1368), the Sangzhutse Fortress (also known locally as Dzong Palace)in Shigatse, Tibet Autonomous Region, China,once dominated the skyline of the old city, and served as the model for dzong-style architecture throughout Tibet. It may have also been the prototype for the Potala Palace, which was built 330 years later in Lhasa. The fortress was demolished as a symbol of serfdom at the outset of the "Cultural Revolution"; none of its original wooden structures survived, leaving only stone walls in its place. Over 40 years later, it was reconstructed due to the appeal from all sectors of society in Shigatse, being the largest Aid-Tibet program in Shanghai.

In 2004, the Shanghai Municipal Government entrusted The Tongji Architectural Design Group with the responsibility of carrying out the project. The reconstruction design was accomplished by a multidisciplinary team led by Professor CHANG Qing. The design team drew inspiration from the existing site, historical photos and archives, and merged contemporary building technology with local traditional materials and techniques. They also worked closely with the construction team. Its design characteristics can be summarised as follows:

Firstly, the current state of the fortress site was deliberately determined by verifying its scope and boundaries, and analysing the spatial relationship between the topography,castle terraces and towers. A restoration model based on virtual modelling was then generated and constantly adjusted until it was consistent with the historical images. A section of the ruins on the eastern end was preserved to mark the passage of time.

2 桑珠孜宗堡建成后恢復(fù)的天際線Skyline after the restoration of the Sangzhutse Fortress

Secondly, the wall pier platforms and foundations of the castle ruins were cleaned up,the fractures on the surface of the ruined walls were filled with pressure grout, and the exposed bedrock next to it was reinforced and its cracks repaired. The team also erected frame columns with the pile foundation on the inner side of the ruined wall, embedded them into the rock layer of the mountain, and supported the weight of the restored upper structure with outward projecting beams.

Thirdly, the function of fortress is set as a Shigatse folklore museum. Its spatial layout is divided into two levels according to the ruins'boundaries. The castle terraces rest on the first level, whose southern end consists of variedheight skywells and courtyards, notably the trapezoidal courtyard of Deyang Shar, where crowds congregate. The second level is located on the northern side and is dominated by the main castle towers, with the Red Palace accommodating the middle exhibition space and being guarded by white towers on its wings.The internal and external relationship of the castle towers, as well as the location of the main entrance, closely resemble their original appearance.

Fourthly, the decoration is composed mostly of wood and stone. Paintings, thangka and other decorative methods and motifs are all based on the materials and techniques of local historic architecture, including Tibetan traditional craftsmanship such as the "hand-turning patterns" on the walls and the "aga rammed earth" on the ground, and are produced in part by local Tibetan artisans. Simultaneously, the design embraces the Tibetan-flavoured "art deco"style with its simple, concise looks and pure,vibrant colours.

The completion of the Sangzhutse Fortress restored the historical skyline of Shigatse and provided an exploratory experience for the preservation, restoration and utilisation of architectural heritage in the ethnic areas.□

( Translated by ZHU Yayun)

3 廢墟Ruins of the old castle

項(xiàng)目評(píng)論

在日喀則桑珠孜宗堡復(fù)原工程中，同濟(jì)大學(xué)常青教授團(tuán)隊(duì)所展現(xiàn)出的保護(hù)與傳承理念以及相關(guān)支撐技術(shù)，都達(dá)到了一種近乎完美的程度，堪稱“文化遺產(chǎn)保護(hù)與傳承”的工程典范。設(shè)計(jì)基于價(jià)值保護(hù)與傳承工程技術(shù)展開，可依據(jù)遺址的歷史文化價(jià)值分為三個(gè)組成部分：

一是作為歷史遺存實(shí)體的自然山體與建筑遺址，設(shè)計(jì)者首先對(duì)具有神圣含義的整個(gè)自然山體予以了完整且毫無干預(yù)的保留。然后對(duì)大量處于坍塌狀態(tài)的堡墻廢墟建筑堆積進(jìn)行了壓力灌漿充填處理。更值得關(guān)注的是，設(shè)計(jì)者同時(shí)在建筑廢墟的東段完整保留了一段30m長(zhǎng)的遺址原狀，為曾經(jīng)的桑珠孜宗堡提供了無可置疑的物證，值得稱贊。

二是具有重大文化象征意義的宗堡歷史形象，是設(shè)計(jì)者用心最為精到之處，整個(gè)設(shè)計(jì)過程如同饕餮大餐般過癮。更令人意外的是，設(shè)計(jì)者竟然收集到清末印度、瑞典和德國(guó)探險(xiǎn)家有關(guān)宗堡的圖文資料，對(duì)其外觀“復(fù)原”或“再現(xiàn)”設(shè)計(jì)提供了“言之鑿鑿”的證據(jù)。為了在廢墟無荷復(fù)原的前提下進(jìn)行施工，采用了在殘墻內(nèi)側(cè)由框架柱外挑梁承受修復(fù)部分荷載的結(jié)構(gòu)設(shè)計(jì)方法，使新舊結(jié)構(gòu)和材料質(zhì)感之間既和諧又可識(shí)別。

4.5 桑珠孜宗堡設(shè)計(jì)草圖Sketch of the Sangzhutse Fortress

6 總平面Site plan

7 宮墻Palace Wall

Comments

In restoring the Sangzhutse Fortress in Shigatse, Tibet Autonomous Region, the conservation and inheritance principles and the supporting technology demonstrated by Professor CHANG Qing's team from Tongji University have nearly reached perfection, making the project a paragon for "cultural heritage conservation and inheritance". In consideration of the site's historical and cultural significance, the design is composed of three sections based on value conservation and heritage engineering technology.

Firstly, because the natural hill and the ruins of the old fortress are both exsting historic heritage entities, the design left the entire sacred hill intact and preserved it without any intervention, and then a considerable part of the wall ruins were pressure grouted and filled. A more remarkable and commendable accomplishment is that the design preserved a 30-metre segment of the original site in the eastern section of the ruins, providing indubitable physical evidence for the erstwhile Sangzhutse Fortress.

Secondly, the design treated the historical images of the fortress, which are replete with significant cultural symbolism, with great attention. The entire design process was aesthetically pleasing. Even more astonishing is the fact that the design managed to collect visual and literary resources on the fortress by Indian, Swedish and German explorers from the late Qing period (1644-1911), providing "conclusive"evidence for the design of its exterior "restoration"and "re-appearance". In order to carry out the work without additional weight on the ruins, the design adopted a structural design method that utilised framed columns and outwardly projecting beams to support the weight of the reconstructed upper structure. The new and old structures, as well as the textures of materials, are consistent yet distinct.

三是基于文化價(jià)值闡釋功能的建筑內(nèi)部設(shè)計(jì)。竊以為在復(fù)原依據(jù)如此充分、民族意義如此重要的前提下，建筑的內(nèi)部空間與功能也會(huì)依舊修復(fù)。直到看到項(xiàng)目介紹，才知道該工程的功能定位為西藏第二歷史博物館。由于沒有去過現(xiàn)場(chǎng)，無法領(lǐng)略和評(píng)述展陳的闡釋體系和傳播效果。

綜上，這是一座絕妙的“歷史建筑復(fù)原”設(shè)計(jì)作品：作為民族地區(qū)具有重要象征意義的歷史地標(biāo)建筑，它經(jīng)由直接留存的廢墟證據(jù)、形象可信的建筑整體與空間布局、富有文化含義的色彩運(yùn)用、融入傳統(tǒng)的線路流程等一系列手法，不僅實(shí)現(xiàn)了城市制高點(diǎn)的空間關(guān)系修復(fù)，更實(shí)現(xiàn)了信仰存續(xù)的重大象征功能。在兼顧遺址保護(hù)的同時(shí)，再現(xiàn)了山巔城堡這一獨(dú)特的青藏高原文化景觀。這是一項(xiàng)極有思辨和示范意義的工程項(xiàng)目，其文化的象征意義遠(yuǎn)大于建筑的技術(shù)創(chuàng)新。

陳同濱

中國(guó)建筑設(shè)計(jì)研究院總規(guī)劃師

建筑歷史研究所名譽(yù)所長(zhǎng)

中國(guó)文物學(xué)會(huì)副會(huì)長(zhǎng)

8 外景Exterior view

9 宮門Palace gate

Thirdly, the interior design of the building is based on the interpretation of its cultural value. I had assumed that the interior space and function of the building would have been restored to its original state,given that the evidence for restoration is so strong and the building's cultural significance is so evident. Not until I perused the project's introduction did I realise that the project's objective was to accommodate the Second Historical Museum in Tibet. Since I have never visited the site, I am unable to appreciate and comment on the interpretation system and communication effectiveness of the exhibition.

Overall, this is an ingenious example of"historic building restoration" design. As a historically significant landmark in an ethnic region, it not only restores the spatial relationship of the city's commanding position, but also realises the symbolic value of the continuity of faith. Several technical treatments, such as direct preservation of the ruins' evidence, convincing overall architectural and spatial layout, culturally informed use of colours, and integration of traditional route flow, are employed to achieve these goals. As well as protecting the antiques, the design re-created a mountaintop fortress, a cultural setting unique to the Qinghai-Tibetan plateau. The cultural significance of this highly reflective and exemplary project goes far beyond the technological breakthrough. (Translated by ZHU Yayun)

CHEN Tongbin

Chief Planner, China Architecture Design & Research Group Honorary Director, Institute of Architectural History Deputy Director, China Cultural Relics Academy

10 堡臺(tái)與主體建筑Platforms and the main building

11 西側(cè)蹬道Stepped road on the west side

12 觀演廳Performance hall

13 過廳Hallway