設(shè)計(jì)主持：常青，華耘

方案設(shè)計(jì)：常青，劉偉，吳雨航

合作設(shè)計(jì)：張鵬，趙英亓，湯詩曠

結(jié)構(gòu)設(shè)計(jì)：熊本松，熊健

設(shè)備設(shè)計(jì)：繆斌，蔡龍俊，強(qiáng)建鶴，王銘

結(jié)構(gòu)形式：框架結(jié)構(gòu)

場(chǎng)地面積：55,876m2

建筑面積：11,445.5m2

建筑高度：21.6m

設(shè)計(jì)時(shí)間：2010-2018

竣工時(shí)間：2022

攝影：趙英亓，馬松瑞

Principal Architects: CHANG Qing,HUA Yun

Schematic Design: CHANG Qing,

LIU Wei, WU Yuhang

Cooperative Architects: ZHANG Peng,

ZHAO Yingqi, TANG Shikuang

Structural Engineers: XIONG Bensong,

XIONG Jian

Mechanical Engineers: MIAO Bin,

CAI Longjun, QIANG Jianhe,

WANG Ming

Structure: Frame structure

Site Area: 55,876 m2

Floor Area: 11,445.5 m2

Building Height: 21.6 m

Design Period: 2010-2018

Completion Time: 2022

Photos: ZHAO Yingqi, MA Songrui

“楚辭文化交流中心”為汨羅屈原博物館二期工程，位于一期的屈子書院東北200m 處的一座山丘上。設(shè)計(jì)順應(yīng)丘陵地形靈活多變地形成空間布局，主要包括：1）楚辭堂：由中央多功能廳、環(huán)廊、二層展廊等構(gòu)成；2）展館東區(qū)：由東展廳、東庭、報(bào)告廳、研習(xí)室、館藏室等構(gòu)成；3）展館西區(qū)：由接待廳、餐廳、西庭、辦公空間等構(gòu)成。

與一期的屈子書院不同，常青提出了以現(xiàn)代簡素形態(tài)詮釋傳統(tǒng)湖湘風(fēng)土的設(shè)計(jì)創(chuàng)意，包括以水平的頂面、連續(xù)等高的門窗上緣線和豎向收分的建筑邊際線，類比屈子流放地平坦的岡阜地貌和屈子名“平”字“原”的寓意。整個(gè)建筑群簇?fù)碇鳛闃?gòu)圖中心的“楚辭堂”，以這個(gè)主體建筑的形貌，隱喻屈子博雅的身份和“楚頌”繚繞的宮廷。由此，如何塑造楚辭堂，成為設(shè)計(jì)的焦點(diǎn)和挑戰(zhàn)，而以建筑上部處理首當(dāng)其沖。因而屋頂從雙向的前后坡到四維的十字脊，從安分的水平脊到桀驁的斜翹脊；屋面從上窄下寬的通常做法到上寬下窄的“長脊短檐”；門窗從排列有序的慣例到饕餮獰厲的聯(lián)想，都運(yùn)用了類比的設(shè)計(jì)手法。

主體建筑楚辭堂的鋼結(jié)構(gòu)歇山十字脊、鋼—玻璃博風(fēng)，兩翼研習(xí)空間和餐飲空間的疊套式懸山頂?shù)仍煨停c斜龕高窗的現(xiàn)代空間實(shí)體相互穿插、交融，以及臺(tái)階兩邊騷臺(tái)上的承露缽等，均是“古韻新風(fēng)”設(shè)計(jì)理念和手法的重點(diǎn)體現(xiàn)。該工程竣工在即?！?/p>

The Chu Ci (Songs of Chu) Culture Centre,as the second phase of the Qu Yuan Museum in Miluo, Hunan Province, is located on a hill 200 m northeast of the Quzi Academy, the first phase project. The design follows the hill's undulating topography to provide a flexible spatial layout that primarily comprises three parts. First is the Chu Ci Hall, containing a central multi-purpose hall, a circular corridor, and a second-floor gallery. Second is the east zone, including an east exhibition hall,an east courtyard, a lecture hall, a seminar room,and a collection room. Third is the west zone,composed of a reception hall, a restaurant, a west courtyard and offices among others.

The Chief Architect CHANG Qing proposed a relatively contemporary and simple design to interpret the vernacular Huxiang culture in contrast to the first phase project Quzi Academy.The adopted design methods includes horizontal rooftops, continuously levelling upper edges of doors and windows, and vertically battered building contours that are analogous to the flat hilly topography of the poet QU Yuan's exiled land and the implied meanings of his name "Ping"(literally "even") and courtesy name "Yuan" (literally"flat plain"). The centerpiece of the entire building complex is the Chu Ci Hall in the middle, whose form is a metaphor for QU Yuan's erudition and the imperial court encircled by "eulogies to the State of Chu". The form of the Chu Ci Hall, especially the treatment of the building's upper portion,has become the design's focal point and greatest challenge. Its design had undergone several phases.The vision for the rooftops changed from a twoslope roof to four-dimensional cross ridges, and settled on wild angled protruding ridges instead of a quiet horizontal ridge; the idea of the roof shapes shifted from the conventional "narrow upper and broad lower parts" style to the design of the inverse"long ridges and short eaves"; and the design of the doors and windows advanced from orderly placement to ferocious evocation - in the end, all have utilised the design manner of analogy.

1 外景Exterior view

2 總平面Site plan

The steel-structured hip-and-gable roof with cross ridges and steel-glass bargeboards (bofeng)of Chu Ci Hall, along with the overhanging gable roofs of the study and dining space in both wings,intersect and interweave with the modern space featuring sloping niches and high windows, as well as a pair of sao-terraces with stoups atop flanking the main entrance of the hall, manifesting the design principles of "new style with ancient resonance" (guyun xinfeng). This project is near completion.□ (Translated by ZHU Yayun)

3 立面Elevation

4 剖面Section

項(xiàng)目評(píng)論

2021 年初冬，我與李翔寧院長等幾位同仁參觀屈原博物館二期工程——楚辭文化交流中心。當(dāng)時(shí)，屈原博物館一期的汨羅屈子書院已落成數(shù)年，雖未曾得見，但其名早已遐邇，這次參觀可以二期與一期對(duì)比著看了。

屈子書院是全國最大的穿斗式全木建筑群，采取湖湘?zhèn)鹘y(tǒng)意味的合院形制。沿著蜿蜒的山路前行，只見在空曠的山丘用地上，這組建筑選擇以依勢(shì)起臺(tái)、層層鋪陳的方式展開，順應(yīng)丘陵地形水平延展、布局靈動(dòng)、逐層而上、層次豐富；外墻以當(dāng)?shù)販\色石材為飾面，厚重扎實(shí)又與場(chǎng)地環(huán)境融和，在冬日午后的陽光下顯得渾厚而安靜。走近建筑主體，中央高聳核心“楚辭堂”十字脊中正雄渾、蔚為大觀，而四向十字屋脊撐起四向之窗，時(shí)間空間在此交匯，向過去、更向未來；兩側(cè)的屋頂疊套多重懸山靈動(dòng)多姿，與中央十字屋頂形成呼應(yīng)，形體節(jié)奏恰到好處。“重檐高脊” “平屋飛檐”，現(xiàn)代的建筑風(fēng)格中蘊(yùn)含著傳統(tǒng)的建筑語匯，楚辭文化交流中心找到了正確的打開方式。

回首再看，楚辭文化中心在空間形制、平面功能、立面風(fēng)格、主要用材、色彩細(xì)部等方面，都與一期屈子書院建筑形成了鮮明的對(duì)比，卻又毫無違和疏離之感，反而成就了與屈子書院遙相呼應(yīng)的建筑群落。很難想象，這是一座面積僅8500m2的“小”建筑，建筑以小見大，以靈動(dòng)蜿蜒的“匍匐之姿”延展于汨羅山丘，以蔚為壯觀的“四方之脊”彰顯楚文化的過去與未來，“古韻新風(fēng)”正是其精華所在。

湯朔寧

同濟(jì)大學(xué)建筑設(shè)計(jì)研究院有限公司總裁

同濟(jì)大學(xué)建筑與城市規(guī)劃學(xué)院教授

5 鳥瞰Aerial view

Comments

In the early winter of 2021, I accompanied Professor LI Xiangning, Dean of the College of Architecture and Urban Planning, Tongji University, and a few other colleagues to the Chu Ci Culture Centre, the second phase project of the Qu Yuan Museum in Miluo, Hunan Province. The Quzi Academy, the museum's first phase project, had been completed for a few years by that time. Despite its reputation, I had yet to visit the site, so my journey provided an opportunity to compare the two phases.

We started at the Quzi Academy, China's largest all-wooden column-and-tie-beam architectural complex built in the traditional Huxiang-style courtyard layout. As we travelled along the meandering mountain road, this cluster of buildings unfolded before eyes on the broad hill, rising in line with the terrain and spreading layer upon layer. Buildings expanded horizontally along the contour of the hill, with a lively pattern and rich, orderly layers. The exterior walls were adorned with light-coloured stones made locally that were durable and solid, blended with the surroundings, and appeared profound and serene in the winter afternoon sun. As we approached the main building of the second phase project,the cross ridges of the towering Chu Ci Hall in the centre appeared upright and majestic, making for a splendid view. The four-dimensional cross ridges lifted windows in all directions, where time and space intersected, and travelled back in time and further into the future. On the tops of both wings,sets of vibrant and exquisite overhanging gable roofs overlapped and echoed the core building's cross-ridged rooftop, forming a perfect form and rhythm. Traditional architectural vocabulary,such as "multiple eaves and high ridges" and "level roofs with flying eaves", is incorporated in the contemporary architectural style, which is the key to the success of the Chu Ci Culture Centre.

6 從屈子書院看楚辭文化中心The view of Chu Ci Culture Centre from Quzi Academy

With the benefit of hindsight, the Chu Ci Culture Centre stands in stark contrast with the Quzi Academy in terms of spatial configuration,building functions, fa?ade style, structural materials, colour details, and other elements,but it never causes a sense of incongruity and alienation. Instead, its building complex resembles the Quzi Academy at a distance. It is hard to believe that this is but a "small" building complex of 8500 m2, yet small is beautiful. This building complex, having absorbed the essence of "new style with ancient resonance"(guyun xinfeng),extends on the hills of Miluo in "undulating form"and reveals the past and the future of the Chu culture through its "all-encompassing ridges".(Translated by ZHU Yayun)

7 內(nèi)景Interior view

8 外景Exterior view