▲ 项目视频  ©Lukas Schmid

改造设计  gmp

合作设计  中国建筑科学研究院（CABR）

1959年设计  张开济，北京建筑设计研究院与清华大学

项目地点  中国北京

完成时间 2011年

本文文字由gmp提供。

为了满足这座世界最大博物馆的巨大空间需求，gmp在位于天安门广场的历史建筑立面后方建造了一座规模相匹配的新建筑。它的设计充满自信、现代感十足，但又融合了对中国建筑历史和原建筑的多种借鉴，从而形成了一个层次丰富且紧密相连的建筑群。

To meet the enormous space requirements of the world’s largest museum, an appropriately dimensioned new building was inserted behind the historic facades on Tiananmen Square. Its design is deliberately contemporary, although it also makes numerous references to Chinese architectural history and to the old building, thus creating an ensemble with multilayered connections.

1959年—2004年

天安门广场或是世界上最大的铺砖地面广场，它无疑也是中国和北京最重要的广场之一：北面是天安门，西面是人民大会堂，东面是中国国家博物馆，南面是毛主席纪念堂和前门。人民大会堂和中国国家博物馆的前身——中国革命历史博物馆建于1959年中华人民共和国成立十周年之际，都属于北京“十大建筑”，年轻的共和国首次通过这些建筑向公众展示了自己的形象。

Besides being the largest fortified square in the world, Tiananmen Square is also one of the most important squares in China and Beijing. On its north side is the Gate of Heavenly Peace. The Great Hall of the People is on its west side, with the National Museum of China to the east and the Mausoleum of Mao Zedong and Qianmen Gate to the south. Two of these buildings – the great hall and the museum – were built in 1959 to commemorate the 10th anniversary of the founding of the People’s Republic of China. They were also among the Shi Da Jianzhu, Beijing’s “Ten Great Buildings,” which represented the young republic’s first efforts at establishing a public image.

国家博物馆最初的建筑由两个独立的博物馆组成，即中国历史博物馆和中国革命博物馆。该建筑在最短时间内建成，距当年国庆节仅有十个月的时间。建筑采用苏式社会主义古典主义风格，全长313米，高大宏伟的柱廊面向广场，表达了新生国家的理念以及共产主义“兄弟国家”的团结。不过，中国革命历史博物馆也采用了众多中国传统建筑的风格元素。

The National Museum of China’s original building housed two separate museums: the Museum of Chinese History and the Museum of the Chinese Revolution. Construction was extremely rapid in order to complete the building in time for the national anniversary just ten months away. The 313-meter-long building with its tall, majestic colonnades facing the square was built in the socialist-classicist style as a way of expressing the philosophy of the new state and its ties with all its communist “brother and sister states.” However, the museum also borrowed many stylistic elements from traditional Chinese architecture.

作为深受欢迎、参观人数众多的国家博物馆，经过40年的运营，2001年展厅和馆舍最终被视为不再符合时代要求。面临2008年即将举办的奥运会，2004年举行了博物馆全面改扩建的国际建筑设计竞赛。设计任务明确规定保留建筑天安门广场一侧的特色柱廊和南北立面，而在柱廊后应建造一座世界上最大的博物馆，将用于展示中国五千年历史的原有展览空间扩大三倍。

After 40 years of operation as a popular and highly frequented national museum, the exhibitions and rooms were judged to be outdated in 2001. In 2004, in the run-up to the 2008 Olympic Games, an international architectural competition was held for its general refurbishment. The brief stipulated that the characteristic colonnades on Tiananmen Square and the north and south facades should be preserved, while the original exhibition space dedicated to China’s 5,000-year history should be tripled to make it the world’s largest museum.

2004年—2011年

我们的设计方案在2004年的国际竞赛中中标。我们与中国建筑科学研究院（CABR）合作，共同制定了一个方案，在精心处理原建筑保留部分的同时以一座新建筑完全取代其后侧的核心部分，可以说将新建筑嵌入原建筑的三面“框架”中，以此营造所要求的空间体量：博物馆总建筑面积达19.7万平方米，容纳了48个展厅、一个科研图书馆、一座拥有712个座席的剧场和一个264座的电影院，除此之外还设有众多咖啡厅、工作室、服务空间、辅助用房、库房、会议室和办公室等功能。

In the international competition in 2004, our design emerged the winner. Together with CABR, we developed a proposal that treated the section of the old construction that was be retained with the utmost care but completely replaced the central structure behind it with a new building. Basically, the new building would be inserted into the three-sided “frame” of the old building. This made it possible to create the necessary space: 197,000 square meters of gross floor area for 48 exhibition galleries, a research library, a 712-seat theater, a 264-seat movie theater, and numerous cafés, workshops, and restrooms, as well as auxiliary rooms, storerooms, conference rooms, and offices.

对我们来说，保留柱廊与广场之间优雅的通透性至为重要——广场上没有其他建筑拥有这样的元素。柱廊后侧的开放式庭院也予以保留，40米高的柱廊在广场和博物馆之间形成了一个虚实相间的过渡空间，在人们穿过新柱廊进入博物馆入口之前营造出一种静谧和轻松的缓冲氛围。在庭院四周，历史柱廊与新柱廊相映成趣，形成一种对话式关系。我们更为简洁的设计采用了与1959年相同的来自同一个采石场的石材。

Our goal was to preserve the elegant transparency of the colonnade on the square. No other building in the square has a comparable element. The open courtyard behind it was also retained so that the 40-meter-tall colonnade can act as a filter between the square and the museum. Visitors experience a moment of contemplation and of slowing down before passing through a new colonnade in front of the museum’s entrance. Around the courtyard, the historic and new columns engage in a dialog. We were able to construct our much more functional version from the exact same stone, from the same quarry that was used in 1959.

入口后侧是巍峨庄严的入口大厅：长260米，高27米，面积近9000平方米。它作为室内公共空间与前方天安门的尺度形成对应关系，并为观众定向提供了便利条件，因为各条参观路径均一目了然，而且它将西面的主入口与南北两侧的侧入口相互连接。在这里，即使较大的观众团体也有足够的活动空间。

Behind the entrance, the vast entrance hall measures 260meters long and 27 meters high with a surface area of almost 9,000 square meters. As an interior forum, it responds to the dimensions of Tiananmen Square at its front door. It offers optimal conditions for navigation because all the routes are directly visible and connect the main entrance in the west to the secondary entrances on the north and south sides. Even large groups can be accommodated.

我们的建筑设计参考和借鉴了中国数千年之久的传统建筑风格，打造了一个相互交织的网络。中国传统建筑典型的三分法构成大厅设计的特点：石材基座上方采用樱桃木墙板，再之上是由双梁支撑的藻井天花板，轻盈优雅地横跨大厅。在室外，可以看到屋顶的黄铜屋檐下，钢筋混凝土横梁层层叠叠，犹如传统的斗拱结构，这是中国建筑最重要的元素之一，几个世纪以来一直不断被重新诠释。

Our architecture establishes a dense network of references to and references from China’s centuries-old architecture. The typical tripartite division of historic Chinese architecture determines the forum’s design. Above the stone base are cherry-wood wall panels, and above these, a coffered roof structure rests on a double system of beams, spanning the massive hall in what appears to be an effortless gesture. From outside the building, this arrangement is visible beneath the bronze eaves of the roof, where the reinforced concrete beams are stacked in open layers to resemble traditional dougong construction, one of the most important elements of Chinese architecture that has been subject to constant reinterpretations over the centuries.

博物馆的室内布局表现为大型展厅通向越来越私密的展览空间，这也是对故宫布局的一种呼应。在博物馆中，这种布局方式将参观者从宏伟的大厅空间逐步引领到四千年历史过程中产生的玲珑精美玉器、青铜器或石器珍品的展室。

The museum’s interior structure, which consists of large halls that lead to ever more intimate exhibition rooms, can also be seen as echoing the structures in the Forbidden City, among other things. Inside the museum, this structuring helps visitors to transition from the enormous dimensions of the square to displays of incredibly small and finely crafted jade, bronze, and stone jewelry pieces representing four centuries of Chinese history.

尽管采用了大量的传统元素，对我们来说，一种不带感情色彩、简洁务实的建筑语言尤为重要。不然，如此众多的参照和借鉴很快会产生虚浮夸张和华而不实的后现代混合物。我们从未忽略任何元素的现实功能。在所使用的表面材料中，花岗石、樱桃木和黄铜这三种主要材质决定了建筑整体外观形象。由此而生成了适用于建筑各个空间的语汇，打造了一种和谐统一的连贯性。在这座巨大的建筑中，无论你身处何地，都能感受到与全局的关联。

With so many historic references, we made sure to keep the architectural idiom unsentimental and functional. Otherwise, such a large number of references could quickly degenerate into an overly postmodern jungle of appliqued surface ornamentation and other bric-a-brac. We never lost sight of the current function of any element. Three of the visible materials – granite, cherry wood, and bronze – are so pervasive that they shape the overall impression of the whole. Out of these materials, we developed a vocabulary that applies to all the rooms in the building, thus establishing a connectedness. No matter where one stands in this massive building, connections to the larger whole can always be sensed.

设计图纸 ▽

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项目信息

中国国家博物馆

北京

2011年

业主：中国国家博物馆

1959年设计：张开济，北京市建筑设计研究院与清华大学

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