設(shè)計(jì)主持：常青

方案設(shè)計(jì)：常青，劉偉

合作設(shè)計(jì)：張雨慧，劉瀛澤，趙英亓，顧金怡

結(jié)構(gòu)設(shè)計(jì)：何忻煒

設(shè)備設(shè)計(jì)：秦卓歡，安世超，楊勇

泛光照明設(shè)計(jì)：楊秀

幕墻設(shè)計(jì)：田利軍

結(jié)構(gòu)形式：鋼結(jié)構(gòu)+鋼筋混凝土結(jié)構(gòu)

場(chǎng)地面積：5460.00m2

建筑面積：5590.86m2

建筑高度：36.73m

設(shè)計(jì)時(shí)間：2021-2022

Principal Architect: CHANG Qing

Schematic Design: CHANG Qing,LIU Wei

Cooperative Architects: ZHANG Yuhui,

LIU Yingze, ZHAO Yingqi, GU Jinyi

Structural Engineer: HE Xinwei

Mechanical Engineers: QIN Zhuohuan,

AN Shichao, YANG Yong

Floodlight Design: YANG Xiu

Curtain Wall Design: TIAN Lijun

Structure: Steel structure + reinforced concrete structure

Site Area: 5460.00 m2

Floor Area: 5590.86 m2

Building Height: 36.73 m

Design Period: 2021-2022

“龍門閣”基地位于奉賢新城“上海之魚”景觀公園內(nèi)，東依文耀路，南臨浦南運(yùn)河，西靠支流水道，北接秀竹路。2021 年，常青教授領(lǐng)銜設(shè)計(jì)了藏書閱覽屬性的“龍門閣”實(shí)施方案，將其作為公園地標(biāo)性建筑，輔以周邊配套功能與相關(guān)業(yè)態(tài)建筑群，為奉賢增添一處具有歷史人文意涵和現(xiàn)代城市功能的公益休閑場(chǎng)所。

登閣人流從秀竹路和文耀路廣場(chǎng)引入，匯聚于中央書吧廳和閣前廣場(chǎng)；車輛由地塊西北側(cè)機(jī)動(dòng)車坡道（原有機(jī)動(dòng)車入口）至龍門閣西側(cè)地面停車場(chǎng)，沿浦南運(yùn)河北岸設(shè)置景觀廊及濱水步道，與其他地塊綠地相連。

主體建筑龍門閣南北兩面臨水，被置于矩形疊轉(zhuǎn)的三重臺(tái)座上，臺(tái)座底層轉(zhuǎn)角臨水面以航標(biāo)燈座收頭。東西軸線上的書吧廳 （聚賢堂）與龍門閣在構(gòu)成元素和手法上互動(dòng)互涵。一層為公共接待功能，二層為電子閱覽功能，三、五層為藏書展覽展示功能及觀景外廊，四層為館藏閱覽功能，六層為文化沙龍功能。

閣體外觀表達(dá)了外三內(nèi)五的古典樓閣構(gòu)成特征，以鋼結(jié)構(gòu)及建造方式進(jìn)行重塑。一、二層為舒展的平屋頂，轉(zhuǎn)角以鋼拉桿形成翼角戧脊意象，三層采用抽象提煉的十字脊屋頂，檐下鋪?zhàn)饕惨袁F(xiàn)代方式表達(dá)，整座樓閣不直接出現(xiàn)古建筑構(gòu)件或裝飾，以體現(xiàn)古韻新風(fēng)的設(shè)計(jì)理念：“奉賢長(zhǎng)渠一字開，新城美景兩岸排。錦鯉循影覓躍處，龍門登閣聞天籟”。工程已進(jìn)入施工階段?！?/p>

Longmen Pavilion (Pavilion of Dragon Gate)is located in the "Shanghai Fish" scenic park of the Fengxian New Town which is bordered by Wenyao Road to the east, Punan Canal to the south, the tributaries to the west, and Xiuzhu Road to the north. In 2021, Professor CHANG Qing of Tongji University oversaw the design of the Longmen Pavilion, which will serve as a public library and become a landmark in the park. It will become Fengxian's new public recreational area, replete with historic and humanistic values as well as modern urban functions, when accompanied by the nearby supporting infrastructures and commercial facilities.

Visitors approach the pavilion from two entrances, one on Xiuzhu Road, the other on the public square on Wenyao Road, and congregate in the central cafeteria and the square in front of the pavilion. Motor vehicles enter the underground parking garage through the ramp (formerly the car entrance) located in the northwest corner of the site. Along the north bank of the Punan Canal, a scenic gallery and a waterfront pathway are constructed to connect the site with other public green space.

1 龍門閣建筑群鳥瞰Rendering of aerial view of Longmen Pavilion

2 龍門閣首層平面Ground floor plan of Longmen Pavilion

3 龍門閣東立面East Elevation of Longmen Pavilion

4 龍門閣剖面Section of Longmen Pavilion

5 總平面草圖Site plan sketch

The main body of the Longmen Pavilion,which faces the waterways to the south and the north, rests atop a rectangular, threelayered podium whose water-facing corners are decorated with beacon lights. The cafeteria (Hall for Meeting the Worthies) on the east-west axis echoes and interacts with the Longmen Pavilion compositionally and stylistically. The ground level of the pavilion serves as a public reception space, the first level is an electronic reading area,the second and fourth level are for book displays and exhibitions, as well as a sightseeing gallery,the third level houses library holdings, and the fifth level is a cultural salon.

The pavilion's outlook, which exemplified the "three levels outside and five levels inside"structural characteristics of the classical multistorey pavilion, is recreated using a steel framework and modern construction techniques.The ground and first levels have spread-out flat roofs with steel rods at the corners producing the imagery of diagonal ridges. The second level features the abstractly refined crossridge rooftop, while the bracket-layers (puzuo)are expressed in an innovative manner. No imitations of ancient architectural components or decorations are allowed in any aspect of the structure to embody the design concept of "new style with ancient resonance"(guyun xinfeng).

"A long canal in Fengxian extends, flowing from west to east,

The New Town's picturesque scenes greet us,ranging along each bank.

Many-hued carp swim joyously, seeking a place to jump.

To the Dragon Pavilion up they leap,hearkening to Nature's bounty released."

The project has entered the construction stage.□ (Translated by ZHU Yayun)

項(xiàng)目評(píng)論

閣，往往有其特定的型制和風(fēng)格，易使人形成固化認(rèn)知，所以閣的創(chuàng)新設(shè)計(jì)，較之其他類型的建筑有著更大的挑戰(zhàn)。挑戰(zhàn)的重點(diǎn)是建筑師敢于把熟悉的事物陌生化，以建立視覺與心理雙向的藝術(shù)性與體驗(yàn)性為目標(biāo)，營(yíng)造出場(chǎng)所的所謂“熟悉的陌生感”。

龍門閣設(shè)計(jì)從中國(guó)傳統(tǒng)古建筑中汲取精髓，“與古為新”，用現(xiàn)代創(chuàng)作手法和現(xiàn)代工藝重新詮釋中國(guó)古建筑的傳統(tǒng)之美和當(dāng)代價(jià)值。設(shè)計(jì)重視歷史的原型，將其看作文化延續(xù)的重要基因，但又不囿于原型，而是創(chuàng)新性地將古與新形成比對(duì)性的并置關(guān)系，既承續(xù)和演繹傳統(tǒng)形式中“閣”的物像擬態(tài)，同時(shí)又將現(xiàn)代技術(shù)和材料投射進(jìn)整體構(gòu)成系統(tǒng)中，形成寫意的幾何建構(gòu)形態(tài)。古代韻律與現(xiàn)代意向的疊合呈現(xiàn)出歷時(shí)的豐富性。

從奉賢龍門閣建筑群這個(gè)設(shè)計(jì)中可以閱讀出，歷史的原型不再以一種封閉的法則或系統(tǒng)呈現(xiàn)，而是在尊重范式的基礎(chǔ)上，當(dāng)下新的文本作者從他所處的歷史位置發(fā)出了應(yīng)有的聲音，進(jìn)而推動(dòng)歷史的當(dāng)下進(jìn)程。

眷顧過去，又映射當(dāng)下與未來，這樣的設(shè)計(jì)不僅與手法有關(guān)，更關(guān)乎于見識(shí)與情懷：了解的越多，思考的越多，越能從反觀的視角突破所了解、所熟悉的體系而探索出當(dāng)下的一種新可能。

章明

同濟(jì)大學(xué)景觀系系主任、教授原作建筑設(shè)計(jì)工作室主持建筑師

6 龍門閣中軸夜景Night view of the central axis of Longmen Pavilion

7 龍門閣及航標(biāo)燈夜景Night view of Longmen Pavilion and beacon lights

8 書吧廳草圖Sketch of the cafeteria

9 書吧廳西南透視Southwest perspective of the cafeteria

Comments

"Ge", or multi-storey pavilion, tends to be readily stereotyped by virtue of its distinctive form,structure, and style; therefore, its innovative design would be more difficult than that of other building types. The challenge focuses on whether or not the architects have the audacity to "unfamiliarise"familiar objects in order to gain both visual and psychological artistry and experience.

The design of the Longmen Pavilion draws inspiration from the very essence of traditional Chinese architecture. By adhering to the principle of "collaging the new with the old" (yugu weixin),the design reinterprets the traditional aesthetics and contemporary values of antiquity via the use of creative methods and craftsmanship. It gives the prototype a high priority, viewing it as a crucial gene for cultural continuity, but is not confined by it. Instead, the design ingeniously juxtaposes the ancient with the new, inheriting and interpreting the imagery of the cultural gene while also incorporating cutting-edge technology and new materials into the overall structural system to create an accommodating geometric framework.The overlapping of ancient rhythm and modern intention presents a diachronic richness.

The design of Longmen Pavilion suggests that the prototype is no longer represented by a rigid principle or system. Rather, historical authenticity in the present implies that the contemporary author, while respecting the paradigm, speaks with his authentic voice from his historical standpoint and thus makes history occur in the present.

This design, which honours the past while reflecting the present and the future, is more about insights and emotions than it is about techniques. The more we know and think, the better equipped we are to break through the known and familiar system and explore new potential for the present from an alternative perspective. (Translated by ZHU Yayun)