中軸對稱博物館，傳承中國禮序

最新 01-31

昭君博物館位於呼和浩特南郊9公里處，呼和浩特白塔國際機場的20公里處。博物館於2017年8月竣工，經過反覆論證和對比，昭君博物館新址最終被選定在昭君青冢南軸線的起點上。由於大規模的建築設置在鋪設道路的起點和風景名勝區的南端，將改造工地形成新的中軸線秩序，然後與兩千多年前的昭君青冢形成距離與時空的對話。

Text description provided by the architects. Zhaojun Museum locates 9 kilometers to the south Hohhot and 20 kilometers to Hohhot Baita International Airport. The museum was completed in August, 2017. After repeated verification and comparisons, the new site of Zhaojun Museum was eventually selected to locate at the starting point of Zhaojun Green Tomb south axis. Since the massive architecture is set at the origin of paved path and the south front of scenic spot, it will reform the site to create a new axis, and then be connected to the Zhaojun Aotsuka - built 2000 years ago in time and space.

再現和重造

根據考古研究，昭君青冢為距今兩千多年前的漢代所建，夯土成冢。其高度約31米。新建博物館將通過再現「土木之像」來表達對昭君青冢的敬意。

According to the archaeological researches, Zhaojun Aotsuka was built in Han Dynasty 2000 years ago and rammed with earth. The height of current Zhaojun Aotsuka is around 31 meters. The new museum intends to pay tribute to Zhaojun Aotsuka by representing construction statue and emotion.

穿越和整合

在博物館的南側設計了一個大型的漏斗形下沉廣場，是為了將遊客引導交匯到入口空間。它也為互動創造更多的可能性。博物館的體量讓位於中軸線，讓昭君別冢從外面，甚至從城市道路可見。在人的穿越過程中實現和人的互動：可見--不可見--消失--顯露--全部呈現。

The large funnel-wedge-shaped sunken plaza on the southern side of the museum is designed to gather visitors to the park』 s entrance space compulsively to a certain extend. It also intends to create more possibilities for interactivity. The massing of the museum makes way for the central axis, allowing the Zhaojun Aotsuka to be visible from the outside, and even from the city road. As people pass through the axis, the image of the Zhaojun Aotsuka varies from visible to invisible, from disappeared to exposed, which creates interactions with people.

協同與不同

當代工藝的現代性不符合新博物館的初衷，也不符合我們所設想的概念。因此，我們採取了與現代建築經典語言不同的方式，讓材料語言成為建築的空間語言主體。通過研究，我們意識到混凝土將通過模具和緩凝劑可以讓其具有相應的特徵，同時，我們展示了不固定板縫的當代技術。在項目中，我們使用膠合竹作為「木材」，不僅因為材料的可回收性和木質外觀，更是因為它優於木材的力學性能。寬大的室外雨棚完全由受力結構形成，將材料受拉性能直觀表現於形式上。

The modernity of contemporary craftsmanship does not fit the original intention of the new museum and the huge mound conceived by us. Therefore, we adopt a different approach from the classic language of modern architecture, and let the material be the main body of the space by the means of less artificial. Relying on research, we aware of the concrete will show the same characteristics by mold and retarder. At the same time, we show contemporary technology by not fixing slab joints. In the project, we used glued bamboo as "wood", not only because of the material"s recyclability and wood appearance, but also because it is superior to the mechanical properties of wood. Large canopy is completely formed by the structure, which performs a better tensile property of the glued bamboo

內部場景與外部環境

內飾材料的邏輯仍然延續了戶外「土木」的感知。我們提出了同一空間在不同角度形成不同空間「場景」的公共空間「室景」的概念。建築軸線處的「正負」三角窗貫穿景區軸線景觀，形成一個有趣的「畫框」，將建築內外連接起來。與內部相比，我們設計了一個更廣闊的外境：三角形的連續表皮是由草植和仿夯土的混凝土面組成，形成幾何的微觀地形，把建築的控制力散漫到更廣闊的大地上。

The interior material logic still extends the outdoor "earth and wood" feelings. We put forward the concept of "room scene" of public space that is forming different space "Scene" in the same space at different angles. The "positive and negative" triangular window at the axis of the building penetrates the axis landscape of the scenic spot, and gives an interesting "picture frame", it will connect the building interior and exterior together. Compared with the interior, we design a broader environment: The continuous epidermis of a triangle is formed by grass planting and imitation of rammed concrete surface, constructing the micro terrain ups and downs, spreading the control of the building over the wider earth.