中國美術(shù)館改造裝修工程，北京，中國

Renovation of the National Art Museum of China (NAMOC), Beijing, China, 2003

工程背景及概況

中國美術(shù)館位于北京市東城區(qū)五四大街1號，主樓竣工于1962年，面積17,051m2。主樓設(shè)計(jì)出自戴念慈先生之手。整體建筑仿敦煌密檐造形，輪廓線豐富，恢弘大氣。濃郁民族風(fēng)格與綠樹成蔭的環(huán)境使其成為北京的標(biāo)志性建筑，也是國際上80個著名美術(shù)館之一。由于當(dāng)時投資所限，一些功能和配套設(shè)施在主樓竣工后陸續(xù)完善。自1960年以來，先后建成宿舍、食堂等附屬用房2470m2。1980年代末進(jìn)行過抗震加固和局部改造，1995年加建4143.5m2的畫庫。2001年12月通過方案投標(biāo)清華院中標(biāo)，承接美術(shù)館改造裝修工程。

設(shè)計(jì)指導(dǎo)思想及主要內(nèi)容

保持風(fēng)格，提高標(biāo)準(zhǔn)，完善功能。美術(shù)館改造裝修工程，由主樓改造裝修、新建地下設(shè)備用房及地上職工餐廳三部分組成，主要內(nèi)容包括完善總平面及功能分區(qū)、優(yōu)化觀展及交通流線，擴(kuò)建部分展廳，整合內(nèi)部空間，優(yōu)化展陳方式及觀展序列，改造展廳照明系統(tǒng)，內(nèi)部裝修及結(jié)構(gòu)加固，改造外立面裝修材料，增加和改造恒溫恒濕的空調(diào)系統(tǒng)、增加和改造樓宇自控及消防防盜監(jiān)控系統(tǒng)，充分發(fā)掘地下空間，新建地下室設(shè)備用房、展品包裝周轉(zhuǎn)庫及職工餐廳。改造后的總建筑面積22,379m2，形成一個嚴(yán)整對稱、疏密有致、氣勢恢弘的藝術(shù)殿堂。

改造設(shè)計(jì)的幾個關(guān)鍵點(diǎn)

（1）將新增功能設(shè)于北庭院地下室，整合北庭院綠化廣場，使美術(shù)館建筑群趨于完整

原主樓為均衡對稱的建筑形式。將新增功能設(shè)于北庭院地下室，重新進(jìn)行功能分區(qū)，在老館東北角擴(kuò)建展品包裝周轉(zhuǎn)庫和職工餐廳，其造型與主樓西北角的畫庫形成均衡對稱之勢，既完善和整合了原有主樓及北庭院的空間功能，又使整個美術(shù)館建筑群趨于完整。

（2）展陳及參觀流線環(huán)通并延長，各條流線互不交叉

a.參觀路線

將主樓北側(cè)半圓展廳兩側(cè)廳向北擴(kuò)建，形成兩個多功能展廳，通過連廊將參觀人流形成環(huán)狀流線，改擴(kuò)建后展線總長度約2100m。

b.工作人員流線

后勤辦公與服務(wù)設(shè)施入口設(shè)在建筑物北側(cè)與西側(cè)，交通流線在展廳外側(cè)，不與參觀人群交叉。

c.展品貨運(yùn)路線

展品運(yùn)輸由東門進(jìn)出，在東北側(cè)新建部分首層進(jìn)行裝卸，通過垂直交通運(yùn)輸?shù)降叵抡褂[準(zhǔn)備間，與參觀區(qū)域不交叉。

（3）增加展陳空間，完善內(nèi)部設(shè)施

在原主樓半圓廳兩側(cè)新增兩個專題展室和多功能展廳。多功能展廳以羅馬洞石裝飾墻面、地面，既可作為展陳空間，又可作為展品發(fā)布、會議、演講及冷餐宴會廳。東西門廳增設(shè)大型無機(jī)房電梯兩部，改善垂直交通并兼作消防梯。4層改造為美術(shù)者之家及學(xué)術(shù)研討廳。

4個角廳去除原有32根柱子，設(shè)置靈活隔斷。東西門廳增設(shè)4個衛(wèi)生間。通過主門廳進(jìn)入寬敞明亮的大堂。改擴(kuò)建后參觀流線循環(huán)連續(xù)，展廳由14個增加到21個。

（4）外立面改造保持風(fēng)格，提高標(biāo)準(zhǔn)

在原美術(shù)館主樓磚墻外干掛國產(chǎn)銹石花崗巖，以長寬2∶1的比例分格，琉璃花飾按原樣翻新，經(jīng)公示和專家論證，力求保持原風(fēng)格的統(tǒng)一協(xié)調(diào)感，同時體現(xiàn)國家美術(shù)館的歷史性、文化性和厚重感。所有外窗更新為深色鋁合金窗，內(nèi)外門按原風(fēng)格翻新為鑄銅裝飾玻璃門并達(dá)到防火門的要求。

（5）保留綠化，美化環(huán)境，新增完善室外展場

在主樓北側(cè)新建區(qū)，最大限度地保留了原有樹木。將原封閉的東西外廊徹底打開，露出原設(shè)計(jì)中的竹園，既豐富了東西立面景觀，增加了層次，又體現(xiàn)了原設(shè)計(jì)的思想。改造后的美術(shù)館庭院綠蔭成片，竹林環(huán)抱，環(huán)境幽雅，景色宜人。

（6）結(jié)構(gòu)加固，設(shè)備更新，恒溫恒濕，防紅防紫，安全防盜

對4個角廳屋頂重新改造，封閉中央天窗，沿展墻四周新設(shè)自控調(diào)光百葉采光天窗，營造天然光展廳效果。結(jié)構(gòu)樓板、梁、柱全面加固，達(dá)到國家抗震要求。增加消防電梯和疏散樓梯，符合高層建筑防火規(guī)范。更換改善展品照明設(shè)計(jì)，設(shè)置進(jìn)口防紅防紫專業(yè)照明燈具。更換全部空調(diào)系統(tǒng)、恒溫恒濕系統(tǒng)、變配電系統(tǒng)。增加消防自動噴灑和火災(zāi)報(bào)警系統(tǒng)、安全防盜系統(tǒng)。

（7）改善展廳照明，提高展陳標(biāo)準(zhǔn)，以人為本的人性化設(shè)計(jì)

展廳自然光與人工光結(jié)合，智能調(diào)節(jié)照度，滿足多種展示需求。強(qiáng)調(diào)以人為本，新增設(shè)存衣間、接待室、咨詢處，展線流暢合理，多功能展廳可為參觀者提供多種服務(wù)；增設(shè)無障礙電梯、坡道、高標(biāo)準(zhǔn)衛(wèi)生間、庭院室外展場以及休息座椅等等。

（8）主要材料

一層大廳地面、墻面選用深米黃色羅馬洞石，以灰白色錯縫敷設(shè)，突出藝術(shù)殿堂的厚重和文化感。展廳墻面為亞光灰?；纪苛细郊诱故九浼粚?xùn)|西側(cè)廳沿展墻做玻璃展柜和活動展板。部分展廳增設(shè)軌道隔斷，形成多種展示流線。中央大廳和東西側(cè)門廳采用進(jìn)口吸聲板材吊頂，維持原有花飾及燈飾保留原風(fēng)格，滿足展覽開幕式及展品發(fā)布典禮儀式的聲學(xué)要求。□

項(xiàng)目信息/Credits and Data

項(xiàng)目負(fù)責(zé)人/Principals in Charge: 莊惟敏，汪曙/ZHUANG Weimin, WANG Shu

結(jié)構(gòu)設(shè)計(jì)/Structural Engineers: 姚衛(wèi)國，李鈾，殷忠生/ YAO Weiguo, LI You, YING Zhongsheng

室內(nèi)設(shè)計(jì)/Interior Designers: 宿利群，林洋，蘭海/SU Liqun, LIN Yang, LAN Hai

合作/Collaborators: 清華工美建筑裝飾工程有限公司/The Architectural Ornamental Engineering Co.,Ltd of Beijing Tsinghua Gongmei

場地面積/Site Area: 25,400m2

總建筑面積/Total Floor Area:22,379m2（地上/Aboveground, 15,177m2; 地下/Underground, 7202m2）

建筑高度/Height:31.12m

設(shè)計(jì)時間/Design Period: 2001.1-2002.4

竣工時間/Completion: 2003.3

攝影/Photos: 傅興、莊惟敏/FU Xing, ZHUANG Weimin

1 總平面/Site plan

2 改造后南立面外景/South fa?ade after renovation

3 改造前南立面外景/South fa?ade before renovation

4 平面/Plan

Project background and general situation

The National Art Museum of China is located at No.1 Wusi Street, Dongcheng District, in Beijing. Originally completed in 1962, its main building covers an area of 17,510 square meters, and was designed by Mr. Dai Nianci. The architecture, with its dense eaves, imitates the style found in Dunhuang (a city on the Silk Road), and the rich details of the building outline contribute to make a grand image. Becoming symbolic in Beijing due to its rich ethnic style and tree-lined surroundings, it is also one of the top eighty most famous art galleries worldwide. Resulting from a limited initial investment, some facilities were improved after the completion. From 1960, 2470 square meters of dormitories and dining areas were built successively. In the late 1980's, a partial modification and seismic strengthening project was conducted. Ultimately, in 1995, a 4143.5 square meter storehouse for artwork was built. In December 2001, we won the bidding process and undertook the renovation of the National Art Museum of China.

Design principals and main contents

We were required to maintain the museum's style, enhance its standards, and improve its function. The project included the renovation of the main building, the construction of new underground facilities, and a new above-ground cafeteria. The main contents of the renovations are as follows: improving the master plan and function division; optimizing of the exhibit circulation; expanding several exhibition halls; rearranging internal spaces; improving exhibition methods and overall experience; remodeling the lighting system; remodeling interior decorations; structural strengthening; remodeling decorations on the facade; adding a constant temperature and constant humidity system, adding an automated fire alarm system; making full use of the underground space; constructing new underground facilities, storehouses, and adding a cafeteria. After renovation, The building will take up a total of 22,379 square meters. The museum will once again become a grand art palace of neat symmetry, uniformity and magnificence.

Critical points in the renovation project

1) We developed new functions in the underground space of the northern side, and integrated a garden open space. Due to the symmetrical shape of the original building, we placed new functions underground, and rearranged the division of functions. This included building new temporary storehouses and a cafeteria at the northeast corner of the old building, which is symmetrical to the drawing storehouses on the northwest corner. This was done so that the entire complex is more unified.

2) The exhibition circulation and the visiting circulation are connected and extended, but do not meet.

a. Tourist Circulation

We extended the two wings of the northern semicircular exhibition hall further north, forming two multi-functional exhibition halls. The tourist flow is now circular with the new corridor, and the whole length of the extended tour is more than 2100 meters.

b. Staff Circulation

the staff and facilities entrances are located on the north and west sides of the building. The flow is outside the exhibition halls, therefore it does not intersect with the tourists.

c. Service/Exhibit Circulation

The service entrance is located on the east. Loading and unloading takes place on the first floor of the newer addition, located on the northeast end. Exhibits are then transported to the underground preparation area; with vertical transportation, they do not intersect with the tourist circulation.

3) Expand exhibition space and improve inner facilities

As previously mentioned, we extended the two wings of the northern semicircular exhibition hall further north, forming two multi-functional halls, which also serve as themed exhibition spaces. these halls are decorated with Romano travertine on the walls and floors. Both can be used for exhibitions, or press briefings, conferences, lectures or banquets. Two large elevators (which do not require a machinery room) were added in the west and east hallways, improving vertical transportation and serve as emergency elevators as well. The fourth floor has been transformed into spaces for visiting artists and academic halls.

We removed 32 columns in the four corner halls, and added removable partitions. We also added four restrooms in the east and west hallways. Visitors will enter the grand lobby through the main hallway, and with the new continuous tour circulation , the overall number of exhibition halls has increased from 14 to 21.

4) Facade renovation preserves the original style while enhancing standards

We used dry-hanging domestic rust stone granite curtain walls outside the original brick walls of the museum, divided in a 2:1 ratio. The glazed ornaments have been restored strictly following the original patterns. We have tried our best to keep the architectural styles similar and harmonious, as well as to represent the museum's historical, and cultural characteristics. All of the external windows were replaced with dark aluminum alloy windows, and all doors were replaced with glass doors with cast copper decorations, which also meets the fire resistance requirements.

5) Keep the original open spaces, improve the environment, and add new outdoor exhibition space.

Adjacent to the new additions to the north of the main building, we kept as many of the original trees as possible. the formerly closed east and west corridors are now completely open, revealing the bamboo garden that was part of the original design. this was done to better incorporate the surrounding environment and to embody ideas found in the original design. The museum garden after the renovation is shady, surrounded by bamboo, and is truly enjoyable.

6) the original structure was strengthened, and the equipment was upgraded. the building now has a constant temperature and humidity system, and features an infrared ray and ultraviolet ray shielding system for anti-burglary purposes.

Each of the four corner halls have been remodeled. The skylights in the middle of the roof have been covered, replaced with automatic controlled dimmer shutter day lighting lights along the walls, imitating natural lighting. the structural floorboards, beams and columns have all been strengthened to meet national seismic guidelines. We have added more emergency elevators and escape stairs, in order to meet the Fire Prevention Norms of Highrise Buildings. the lighting design of the exhibits has been upgraded with imported professional infrared and ultraviolet ray shielding lights. The entire air conditioning system, the constant temperature and humidity system and the transformers and electrical distribution system have been replaced. We also added an automatic fire sprinkler system, a fire alarm system, and an anti-burglary system.

7) Improve exhibition hall lighting, enhance exhibition standards, and design with user-friendly principles.

The lighting of the exhibition halls combines natural light and artificial light, and adapts illumination accordingly. With consideration of user-friendly principles, we added changing rooms, a reception room, and an information center. The exhibition flow is fluent and reasonable, and the multi-functional halls provide various services to visitors. We also added barrier-free elevators, ramps, upper-level restrooms, outdoor exhibition spaces, benches, etc.

8) Main materials

The walls and floors of the lobby on the first floors use deep beige Romano travertine with gray caulking and staggered placement, stressing the art palace's sense of culture. the walls of the exhibition halls are coated with matte gray Heikki cloth. The east and west wings use glass showcases and movable panels. Some exhibition halls are equipped with orbit partitions, in order to create multiple exhibition flows. In the central lobby and the west and east hallways, we used sound-absorbing ceiling tiles, keeping the original decorations and lights to maintain the original style, while meeting the acoustic requirements of opening ceremonies and press conferences, and other events.□

5 南立面入口/Main entrance in the south

評論

趙敏：中國美術(shù)館·整容記

現(xiàn)代醫(yī)學(xué)研究表明，整容的女性較一般人平均壽命延長了10年。世界上沒有百分百的美麗，越來越多的美女選擇“微雕”整容，讓自己更完美。

竣工于1962年的中國美術(shù)館是中國現(xiàn)代主義建筑大師戴念慈先生的代表作品。它有精致的細(xì)節(jié)、高度完美的比例，堪稱標(biāo)準(zhǔn)的新古典主義建筑的“美女”。時過境遷，“美女”過了青春妙齡，改造裝修工程選擇了“微雕”整容術(shù)。建筑師莊惟敏主持的這次設(shè)計(jì)，完全尊重了建筑原有的文化基因：抗震加固、消防措施升級，無疑促進(jìn)了建筑自身機(jī)能的更迭；內(nèi)部收藏、展陳空間的擴(kuò)建與改造，每個細(xì)節(jié)，都在貼切與適度上追求與原有美術(shù)館的高度吻合，以致于人們在改造前后沒有察覺到建筑師們?yōu)榇烁冻龅木薮笈Α?/p>

然而，大量游客在參觀后對中國美術(shù)館的便利、周到留下了美好印象。這是一座典雅的新中式美術(shù)館，它承載了半個多世紀(jì)以來中國人的審美訴求。改造裝修工程通過盡量克制的、對原有建筑的“補(bǔ)白”與“整合”完成，這種“無為而治”的設(shè)計(jì)手法贏得了社會廣泛的好評，它體現(xiàn)了建筑師對別人的尊重和對專業(yè)的敬畏！

無疑，這是一次成功的建筑“微雕整容”實(shí)踐！

6 剖面/Section

7 改造前大堂入口大門/Door in the lobby before renovation

8 改造前有柱子的角廳/Corner hall with columns before renovation

9 改造后大堂銅門及花飾/Door with cast copper decorations in the lobby after renovation

10 改造后角廳天窗自然采光/Corner hall with skylight after renovation

11 改造后圓廳/Exhibition hall after renovation

12 改造后角廳/Corner hall with skylight after renovation

13.14 夜景/Night views

Comments

ZHAO Min: The National Art Museum of China –Plastic Surgery

Modern medical studies have indicated that women who have undergone cosmetic surgery live ten years longer than the average lifespan. there is no absolute beauty standard in the world, therefore an increasing number of women choose to use "miniature cosmetics" to perfect their look.

the National Art Museum of China was completed in 1962. It is the representative work of the Chinese modernist architect, Mr.DAI Nianci. the museum is an example of archetypal neoclassical architecture, with its fine detail and ideal proportions. As time has passed and as its beauty has faded away, "miniature cosmetics" have been utilized as a method to renovate the building. Leading architect ZHUANG Weimin has created a design that faithfully follows the original architecture, and preserves it by implementing seismic reinforcement measures and upgrading the fire protection. These methods have doubtlessly improved the functionality of the building. Each detail of the extension and renovation work for the museum collection and display space has brought the new design into correspondence with the original. Consequently, people have not noticed the great efforts that the architects have made.

Visitors are left with a good impression, thanks to the thoughtful redesign of the museum, modeled on the elegant neo-Chinese style that has represented Chinese aesthetic appeal for over half a century. The renovation project was minimally invasive, dubbed a "filling and integrated design", it respected the original architects work and paid due reverence to the architectural profession. This hands-off approach to the renovation has been widely acclaimed.

Unquestionably, the renovation of the National Art Museum of China is a highly successful application of "miniature cosmetics" of the architecture practice. (English translation by Dandan WANG)