业主：内蒙古青山文化旅游投资有限责任公司

设计单位：中国建筑设计研究院有限公司

设计团队：曹晓昕、尚蓉，梁力，宋涛，詹红，范佳

用地面积：120 000 平方米

建筑面积：15 092 平方米

设计时间：2015年

竣工时间：2018年

Client: Nei Monggol Qingshan Cultural Tourism Investment Co.,Ltd

Architect: China Architectural Design and Research Group

Design team: Cao Xiaoxin,Shang Rong,Liang Li,Song Tao,Zhan Hong,Fan Jia

Site area: 120,000 m2

Built: 15,092 m2

Design Date: 2015

Completion Date: 2018

设计与构思

阡陌平阳，草木苍茂，这是内蒙古呼和浩特市南郊昭君博物院所处自然环境的写照。新建昭君博物院的择址几经反复论证与比较，最终戏剧般地回到了昭君青冢南轴线的起点设计为昭君博物元 本身赋予了更多功能，一是为适应整个景区提升至5A 级，增设了园区票务、游客中心、餐饮服务、旅游商店及停车等混合性功能；二是由于庞大的建筑体量设置在甬道起端和景区的南沿，它将重塑景区形态，形成新的中轴线秩序，并和景区核心——建于两千多年前的昭君青冢形成距离与时空的对话。

再现与再造根据考古研究，昭君青冢始建于西汉时期，距今已有两千余年的悠久历史。堆土成山，夯土成冢，推断其上曾有木构楼阁建筑，经年毁败已不复存，现有青冢高度约31 米。昭君青冢具有极高的历史地位，历代曾有众多帝王名士来此祭祀，现有轴线为近现代多次迭建而成。新建博物馆力图通过再现“土木之像”“土木之情”表达后人对昭君青冢的敬意，“土木”既作为一个中国传统抽象化的文化符号，同时又作为一种具体的建筑材料表征而存在。它在项目设计中有特殊的意义，材料工艺的现代性和材料质感的审美习惯在设计中常常被转换为“再造”和“再现”的哲学性思考：时间跨越两千年的“再现”必然是一种有距离感的差异映射，其距离感是以“再造”为基础的，此时的“造”和彼时的“造”所处的技术环境不同，技术伦理让“再现”本能地和“原像”保持距离。

协同与不同当代工艺的现代性呈现往往是轻薄、高调和失重的，这并不符合团队设想的博物院与庞大沉重的青冢协同的初衷，因而团队在设计上采用了不同于现代建筑经典语言的方式，在近似没有手法的状态中让材料语言成为建筑的空间语言主体。黏土是一种冷胶凝性材料，而混凝土恰巧也是冷胶凝性材料，团队对此产生了兴趣。经年的风雨在夯土中留下的夯痕让材料具有故事性，凭借这些年对混凝土工艺的研究，团队意识到通过模具和缓凝剂可以让混凝土挂板具有夯土的相应 特征，暗示当代工艺的时代性。项目采用了胶合竹材料作为“木”的对应，不仅因为材料的可循环性和木质外观，更是因为它优于木材的力学性能。胶合木搭建的宽大室外雨棚，构件的搭建方式与受力结构要求相吻合，将材料受拉性能佳的直观地表现在形式上。节点设计并未采用古法的榫卯结构，而是采用当代的金属角接件栓固方式。通过巧妙地设计，大量的金属件并未显露，表达了对传统木工艺的敬意，成为求溯当代工艺的机巧所在。似拙实巧一种浪漫的隐喻，同时也是一种博弈，让当代工艺表达存在于“像”与“不像”、“熟悉”与“不熟悉”之间。

穿越与汇聚公共行为的趣味性在于人群的多样性和交互性。团队在博物馆南侧即园区入口处设计了巨大的漏斗形楔状下沉广场，将远方的游客略带有强制意味地引导至入口空间，有意制造更多的交互可能：或穿越至甬道之中，或滞散于咖啡厅或游客中心，或疏解于博物馆之中。博物馆谦和地让出中央轴线，使青冢在大门外乃至道路上依旧可见，远处的昭君青冢亦在人的穿越过程中实现和人的互动：窥见—窥不见—消失—显露—全部呈现。在博物馆室内设计中，强调线性的坡道元素在公共汇聚空间的介入，让人在限定的空间中体验自由。

Design Concept

The natural environment of Zhaojun Museum in the south suburb of Hohhot City,Inner Mongolia,is characterized by the flat landscape and lush vegetation.After repeated argumentation and comparison,the site selection of the new Zhaojun Museum finally returns to the starting point of the south axis of the Zhaojun Green Tomb,perhaps due to the consideration of land constraints,or the enlightenment of modern sequential construction on both sides of the 400-meter-long axis,which makes such a challenging site selection possible for implementation.It is believed that with the completion of the project,it will write a pioneering page in the case of China's conservation plan of historic sites.This is not only because the plan demolishes the original menque (gate) (built in modern and contemporary times) and hopes to improve the environment of the original conservation area (which also includes the axis of the corridor that was gradually built and shaped in modern times and is not appropriate in scale),but also gives the new museum building itself additional functions:on the one hand,to accommodate the upgrading of the whole scenic area to 5A level,the park ticketing,visitor center,catering services,tourist stores,parking and other hybrid functions are added;on the other hand,because of the huge building volume set at the beginning of the corridor and the southern edge of the scenic area,it will reshape the form of the scenic area,form a new central axis order,and form a distance and time dialogue with the core of the scenic area,the Zhaojun Green Tomb,which was built more than 2000 years ago.

Reproduction and ReconstructionAccording to archaeological research,Zhaojun Green Tomb was built in the Han Dynasty more than two thousand years ago.It was built by piling earth into mountains and ramming earth into a tomb.It is inferred that there were wooden buildings on it,which have been destroyed for years and no longer exist.The height of the existing green tomb is about 31 meters.Zhaojun Green Tomb has a very high historical status.Many emperors and famous people have come to sacrifice here in the past dynasties.The existing axis is built repeatedly in modern times.The new museum tries to show the respect of future generations to Zhaojun Green Tomb by reproducing "the image of civil engineering"and "the feeling of civil engineering".Civil engineering "not only exists as an abstract cultural symbol of Chinese tradition,but also as a representation of concrete building materials.It is of special significance in project design.The modernity of material technology and the aesthetic habit of material texture are often transformed into the philosophical thinking of "reconstruction" and "reproduction": the "reproduction" that spans two thousand years must be a differential mapping with a sense of distance.Its sense of distance is based on"reconstruction".At this time,the "creation" and the "creation" at that time are located in different technological environments,where the technological ethics keeps the "reproduction"instinctively away from the "original image".

Coordination and GameThe modernity of contemporary technology is often light,highprofile and weightless,which is not in line with the original intention of the coordination between the new museum and the huge and heavy green tomb.Therefore,we have adopted a way different from the classical language of modern architecture in the design,and let the material language become the main body of the space language of architecture in the state of almost no means.Clay is a kind of cold cementitious material,and concrete happens to be a kind of cold cementitious material,so we became interested in it.The ramming marks left by years of wind and rain in the rammed earth make the materials have a story.However,based on the research on concrete technologies in these years,we realize that the concrete pegboards can have corresponding characteristics through the mold and retarder,and the non-treatment way of slab joint implies the era of contemporary technology.In the project,we use glued bamboo material as the "wood" correspondence,not only because of the recyclability and wooden appearance of the material,but also because it is superior to the mechanical properties of the wood.The wide outdoor canopy is completely formed by the stress structure,which directly displays the good tensile properties of the material in the form.For the joint design,we did not adopt the tenon and mortise structure of the ancient method,but adopted the contemporary metal corner joint bolting method.Through ingenious design,a large number of metal parts have not been exposed,which shows our respect for traditional wood technology,and is also the ingenuity to trace contemporary technology.Craftsmanship is not only a romantic metaphor,but also a game,which makes the expression of contemporary craft exist between "like" and "unlike","familiar" and "unfamiliar".

材料与建构

设计创新性地运用当代材料与技术重构土木，呼应青冢的历史意象，传承了中国古典建筑的精髓。“土与木”不仅是昭君青冢的场域特征，也是中国古代建筑的代名词。建筑以“再造土木”为设计线索，外墙采用仿夯土的特种混凝土挂板与“土”对应，通过模具和缓凝剂使挂板具有夯土的自然特征；宽大的室外雨棚采用胶合竹材料与“木” 对应，将材料受拉性能佳的特征直观地表现于形式上。每根立柱底部设置了排水系统并接入地下管网，使得雨棚的排水体系更加完整。

内景与外景

室内的材料逻辑依旧延续室外的“土木”情怀，与相对低调的建筑外表相比，建筑的室内设计更加体现了对当代技术表现的向往。团队对公共空间提出了“室景”的概念，即同一个空间里在不同角度形成不同的空间“景像”，恰如中国园林的步移景异。日光下的连续坡道成为了控制空间的有力工具，同时也明确了人的参观流线和导向。建筑轴线处的“正负”三角窗贯通了景区的轴线景观，并给予了有趣的“画框”，将建筑的内景与外景联系在一起。和两个巨大的建筑“土堆”相比，团队设计了更为广阔的外景 ：三角形的连续表皮由草植和仿夯土的混凝土面组成，建构了起伏不定的微观地形，将建筑的控制力延展到更广阔的大地之上。

Crossing and ConvergenceThe interest of public behavior lies in the diversity and interaction of people.We have designed a huge funnel-shaped wedge-shaped sinking square at the entrance of the park on the south side of the museum,which is designated to guide the tourists from afar to the entrance space with a little compulsion,intentionally creating more interaction possibilities: or crossing into the corridor,or staying in the coffee shop or tourist center,or relaxing in the museum.The museum modestly gives way to the central axis,so that the green tomb can still be seen outside the gate and even on the road.The images of the green tomb also realize the interaction with people in the process of people's crossing:glimpsing,disglimpsing,disappearing,revealing and all presenting.In the museum interior design,we emphasize the linear ramp element in the public convergence space,so that people can experience freedom in the limited space.

总平面图

南立面图

剖面图

Material and Construction

The design innovatively uses contemporary materials and techniques to reconstruct the earth and wood,echoing the historical intention of the green tomb and inheriting the essence of classical Chinese architecture."Earth and wood" is not only a field feature of Zhaojun Green Tomb,but also a synonym for ancient Chinese architecture.The building takes the "reconstruction of civil engineering" as the design clue.The exterior wall is made of a special concrete pegboard that imitates rammed earth and corresponds to "earth",and the mold and retarder make the pegboard with the natural characteristics of rammed earth;and the wide outdoor canopy is made of glued bamboo material corresponding to "wood",which visualizes the tensile properties of the material in the form.The outdoor main entrance canopy adopts glued bamboo material,not only because of its recyclability and wood appearance,but also because it is superior to the mechanical properties of wood.The wide outdoor canopy is completely formed by the stress structure,which directly displays the good tensile properties of the material in the form.A drainage system is set at the bottom of each column and connected to the underground pipe network to make the drainage system of the canopy more complete.

地下一层平面图

Inside and Outside

The interior material logic still continues the outdoor "civil engineering"feelings.Compared with the relatively low-key building appearance,the interior design of the building more embodies the yearning for the contemporary technical performance.We put forward the concept of "room view" for public space,that is,different space "scenes" are formed from different angles in the same space,just like changing of the views as you walk every step for Chinese gardens.The continuous ramp under the sun has become the most powerful tool for us to control the space,and at the same time,it also clarifies the flow line and direction of people's visit.The "positive and negative" triangle window at the axis of the building penetrates the axis landscape of the scenic spot and provides an interesting "frame",which connects the indoor scene and outdoor scene of the building.Compared with two huge building "mounds",we designed a more expansive outer context:a continuous triangular surface consisting of grass plantings and concrete surfaces that imitate rammed earth,creating an undulating microtopography that diffuses the control of the building into the wider earth.

一层平面图