設(shè)計(jì)主持：常青

方案設(shè)計(jì)：常青，劉偉，劉瀛澤

合作設(shè)計(jì)：吳雨航，顧金怡

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：44,594m2

建筑面積：32,610m2

建筑高度：89m

設(shè)計(jì)時(shí)間：2022

Principal Architect: CHANG Qing

Schematic Design: CHANG Qing,LIU Wei, LIU Yingze

Cooperative Architects: WU Yuhang,

GU Jinyi

Structure: Steel structure + reinforced

concrete structure

Site Area: 44,594 m2

Floor Area: 32,610 m2

Building Height: 89 m

Design Time: 2022

歷史上的大觀樓是常州府衙前的門(mén)樓，故址在北大街西側(cè)健身路與大觀路相交處，始建于唐末，后毀，明正統(tǒng)重建。史載高逾百尺，登上可盡覽周邊常州風(fēng)光，故號(hào) “三吳第一樓”，惜毀于民國(guó)初戰(zhàn)火。盡管常州社會(huì)各界對(duì)重建大觀樓的呼聲不斷，但由于歷史圖像資料的缺失和建成環(huán)境現(xiàn)狀，已不可能在大觀樓原址實(shí)現(xiàn)這一愿景了。但重建方案選址仍在老城廂西側(cè)，較好的選擇是在古運(yùn)河與關(guān)河交匯的三角狀城市公共綠地內(nèi)，重建后的大觀樓將集城市景觀、豎向會(huì)展、文化消費(fèi)于一體。

由于其不可替代的歷史文化價(jià)值和城市記憶載體，重建大觀樓勢(shì)在必行。設(shè)計(jì)主持人常青認(rèn)為，重建不是復(fù)原，不應(yīng)把大觀樓做成隨處可見(jiàn)的平庸仿古建筑，而是應(yīng)“與古為新”，將這座歷史地標(biāo)以現(xiàn)代方式再現(xiàn)出來(lái)，創(chuàng)造出常州特色、古韻今風(fēng)的新大觀樓，并與天寧寶塔東西照應(yīng)，遂將之概括為：

“東塔西樓，極目常州，洋洋大觀，亦壯亦秀”。

也就是說(shuō)，第一要符合“三吳第一樓”的地標(biāo)身份，登臨其上，可望盡老城廂周邊的常州風(fēng)光和古今景觀；第二要具有令人嘆為觀止的磅礴大氣和前無(wú)古人；第三要兼有常州傳統(tǒng)樓閣的壯美和秀美，突顯其風(fēng)采和神韻。

樓體采用鋼結(jié)構(gòu)，層數(shù)外五內(nèi)九，突出古典形式美的創(chuàng)造性轉(zhuǎn)化和創(chuàng)新性類(lèi)比。設(shè)計(jì)創(chuàng)意再現(xiàn)了明代大觀樓重建時(shí)期，江南盛行一時(shí)的盝頂+歇山十字脊造型（見(jiàn)于廣為流傳的明代仇英等人的此類(lèi)樓閣畫(huà)作），以及出檐深遠(yuǎn)、回廊角亭、屋面抱廈等細(xì)部特征，均與國(guó)內(nèi)現(xiàn)有傳統(tǒng)樓閣造型不相雷同?！?/p>

Located at the intersection of today's Jianshen Road and Daguan Road on the west side of Beida Avenue, the former Daguan Tower (Grand Prospect Tower) was the gate tower in front of the Changzhou Prefectural Government Site. It was originally built during the late Tang Dynasty(618-907), destroyed, and reconstructed during the reign of Ming Emperor Zhengtong (1435-1449). Historical records show that it stood over 100 chi high and boasted a view of Changzhou and its environs, earning it the name "Number One Tower in the Wu Region". Nonetheless, it was destroyed during the civil war in the early Republic of China (1912-1949). Due to the lack of historical visual materials and current built environment, it is difficult to realise this vision on the original site despite repeated appeals for its reconstruction from all sectors of Changzhou society.

However, the Daguan Tower must be rebuilt due to its irreplaceable historical and cultural value and its ability to evoke urban memory. The proposed site for its reconstruction is still on the west side of the old walled city, where a triangleshaped urban public green at the confluence of the old Grand Canal and the Guan River is the preferred choice. Urban landscape, vertical exhibition space and cultural consumption will be incorporated into the reconstructed Daguan Tower. The chief architect CHANG Qing holds the view that reconstruction is not restoration,so instead of erecting a trite pseudo-classical building that has been sprouting up everywhere,architects should "collaging the new with the old"(yugu weixin), recreate this historical landmark in a modern way, and design a new Daguan Tower full of local characteristics, ancient charm and contemporary flavours, as well as matching the pagoda of Tianning Temple, its counterpart in the east. The design concepts can be summarised in the following manner:

"To the east a pagoda, to the west a tower,Changzhou lies before one's eyes. This view so vast and billowing, possessed of grace and power."

In other words, the new tower must first confirm its status as the "Number One Tower in the Wu Region", from which you can obtain a full view of the scenery of Changzhou, both ancient and contemporary. Second, it should show breathtaking grandeur and pathbreaking originality.Third, it should possess the power and grace of Changzhou's traditional towers and pavilions,accentuating their imagery and charm.

The design proposed a steel structure with five storeys on the exterior and nine on the interior,emphasising the innovative transformation and creative analogy of the classical form aesthetics.The design reproduces the lu-shaped (box-shaped)rooftop combined with a hip-and-gable roof and cross-shaped ridges, as seen in widely circulated paintings by Ming Dynasty painters such as QIU Ying (1494-1552), which were prevailing over the Jiangnan region at the time of the Tower's reconstruction during the Ming Dynasty. The design also recreates the intricate elements of far-reaching eaves, winding verandas, corniced pavilions and front porticos, distinguishing it from the styles of other existing ancient Chinese towers.□(Translated by ZHU Yayun)

4 總平面Site plan

項(xiàng)目評(píng)論

古風(fēng)古韻，此時(shí)此地——解讀常州大觀樓古韻創(chuàng)意設(shè)計(jì)

常州地處中吳，傳自春秋。大觀樓始建于唐，復(fù)建于明，惜毀于民國(guó)之初。今日常州，百業(yè)興盛，乃整理文史，修復(fù)景致，邀請(qǐng)常青院士，主持大觀樓重建設(shè)計(jì)。方案展現(xiàn)了3 個(gè)創(chuàng)新：選址、形制、做法。

（1）選址：東塔西樓，枕流此地

大觀樓原在府衙前，原址重建，已無(wú)可能。方案選擇用“東塔西樓”的布局方式，在老城廂西端古運(yùn)河與關(guān)河交匯的三角綠地內(nèi)（止園勝境將以“觀止園”名再現(xiàn)于此）確定新址，與天寧寺塔東西相望，大觀樓枕流而建，三面看水，兩邊倒影，成為城市景觀的新格局。

（2）形制：明風(fēng)尚在，古韻回響，

大觀樓的設(shè)計(jì)追求的是古韻，呼應(yīng)實(shí)存環(huán)境和時(shí)代精神。從明代仇英等畫(huà)家的作品中尋找要素，將當(dāng)時(shí)盛行的盝頂搭配歇山十字脊以及出檐深遠(yuǎn)、回廊角亭、屋面抱廈等形象特征一一再現(xiàn)。樓體采用鋼結(jié)構(gòu)，層數(shù)外五內(nèi)九，在傳承中呈現(xiàn)新的形制。

（3）做法：當(dāng)代表達(dá)，銘刻此時(shí)

材料和構(gòu)建形式的做法，是合乎當(dāng)代的。建筑立面，沒(méi)有用仿木的折衷暗示，而是刻下了時(shí)代的印記。屋頂、欄桿、寶瓶、斜脊等，與古風(fēng)照應(yīng)，用現(xiàn)代材料。最精彩的是檐下的處理，在古建筑斗栱處，用“鋪?zhàn)鳌钡乃悸吩O(shè)計(jì)了3 層依疊出挑的金屬板，板間有方塊構(gòu)建襯托，仿佛是斗栱的化身，是具有古典主義意味的創(chuàng)新做法。

李振宇

同濟(jì)大學(xué)建筑與城市規(guī)劃學(xué)院原院長(zhǎng)、教授

上海建筑學(xué)會(huì)副理事長(zhǎng)

5 鳥(niǎo)瞰日景Rendering of aerial view

6 剖面Section

7 平面Plan

8 夜景Night view

Comments

Ancient Imagery, Ancient Resonance;Right Here, Right Now: Explications of the Re-creative Design of Daguan Tower

Changzhou, situated in Central Wu region, can trace its history back to the Spring and Autumn period (770-476 BCE). The Daguan Tower (Grand Prospect Tower) was first constructed during the Tang Dynasty (618-907), rebuilt during the Ming Dynasty (1368-1644), and then tragically demolished at the beginning of the Republic of China (1912-1949). With its flourishing economy,today's Changzhou has started to assemble literature and history and restore its urban landscape. Therefore, Academician CHANG Qing was invited to preside over the reconstruction of the Daguan Tower. His design proposal demonstrates three innovations: site selection,form configuration, and treatment of the details.

(1) Site Selection: Pagoda to the East, Tower to the West, Lying Between Rivers

The original location of Daguan Tower was in front of the former prefectural administration,however, it is no longer possible to reconstruct it there. The design offers a "pagoda to the east and tower to the west" layout and selects a triangleshaped urban public green at the confluence of the old Grand Canal and the Guan River as the new site, being still on the western side of the old walled city. This area will be used for the scenic sites of the former Zhiyuan Garden(Garden of Repose), with the name changed to Guanzhi Garden (Garden of Supreme Prospect).The Daguan Tower will overlook waterways and face the pagoda of the Tianning Temple (Temple of Heavenly Peace). Surrounded by water from three sides, and with its shadow reflected on their surface, the tower will become a new urban landscape attraction for the city.

(2) Form Configuration: A Reimagination of Ming Imagery, An Echo of Ancient Charm

The design of the Daguan Tower pursues both the ancient charms and the living environment and the zeitgeist. It incorporates elements from the works of the renowned Ming Dynasty painters such as QIU Ying (1494-1552),and reimagines the then-popular lu-shaped (boxshaped) top combined with a hip-and-gable roof and cross-shaped ridges. In addition, it recreates the salient features of far-reaching eaves,meandering verandas, corniced pavilions and front porticos. The tower is made of steel and has five storeys on the exterior and nine on the interior, presenting an innovative form arising from the inherited tradition.

(3) Detail Treatment: Expressing the Contemporary, Celebrating the Present

Modern materials and construction techniques were utilised in the design of the Daguan Tower.Instead of adopting imitation wood, which conveys a sense of compromise, the fa?ade is composed of current flavour. Roofs, balustrades, the golden bottle mounted on the tower's finial, sloping ridges,and other elements are constructed with modern materials that complement the old imagery. The most remarkable characteristic is the design of the portion below the eaves. Inspired by the concept ofpuzuo(bracket layers), three overlapping layers of metal boards are constructed with supporting square blocks in between in the area where the dougong (bracket sets) shall have been positioned.They appear to be the manifestation of thedougong,an innovation grounded in tradition. (Translated by ZHU Yayun)