建筑設(shè)計：劉家琨/家琨建筑設(shè)計事務(wù)所A

rchitects: LIU Jiakun/Jiakun Architects

水井街酒坊遺址博物館，成都，中國

Shuijingfang Museum， Chengdu， China， 2013

建筑設(shè)計：劉家琨/家琨建筑設(shè)計事務(wù)所A

rchitects: LIU Jiakun/Jiakun Architects

基地概述

水井坊遺址位于成都市水井坊歷史文化街區(qū)內(nèi)，基地周圍為保留民居（后周邊民居被逐步拆除，擬仿造翻建）?；貎?nèi)有古井、門樓、民國時期木屋架釀酒生產(chǎn)車間、元代酒窖遺址等文物古跡。

項目宗旨

水井坊遺址博物館屬于酒類主題博物館，主要功能是展示水井坊的悠久歷史和珍貴出土文物，保護(hù)與傳承傳統(tǒng)工業(yè)文明遺產(chǎn)。水井坊遺址博物館既展示了成都平原傳統(tǒng)酒文化，又提升了整個水井坊片區(qū)的社區(qū)文化氛圍。

建筑與街區(qū)

建筑整體以民居建筑尺度為基礎(chǔ)，采用聚合的小體量，縫合相鄰歷史街區(qū)肌理。設(shè)計師以錯動的手法柔化建筑邊界，使之與保護(hù)區(qū)肌理平滑過渡，融為一體。屋頂以周邊民居重疊往復(fù)的屋頂為原型，進(jìn)行變形錯動，以連續(xù)折線的坡屋頂，形成與民居肌理一致的屋頂景觀，使建筑融入水井坊歷史文化街區(qū)。

新建與保護(hù)

基地內(nèi)部有文物建筑——民國時期的釀酒作坊廠房和明清時期晾堂挖掘遺址現(xiàn)場，其中的酒窖仍在使用中，是博物館展示工業(yè)文明遺產(chǎn)的重要部分。這些重要的文物一起構(gòu)成了博物館的遺址展示區(qū)。一切以對文物遺址的保護(hù)與尊重為前提，進(jìn)行穩(wěn)妥謙遜的加建設(shè)計，既不能簡單仿造以假亂真，又不能突兀張揚喧賓奪主，應(yīng)在繼承傳統(tǒng)氣質(zhì)的基礎(chǔ)上有所創(chuàng)新，探討新舊共處的關(guān)系。

新建博物館以“襯托”為原則，新建部分與老作坊之間的保護(hù)帶，形成與老民居片區(qū)相似縱橫街巷，以“合抱”的姿態(tài)對遺址展示區(qū)進(jìn)行保護(hù)。新建建筑以單一的材料弱化立面表現(xiàn)性，達(dá)到襯托文物本體（原有廠房及遺址）的目的。

木構(gòu)架老廠房內(nèi)部仍以傳統(tǒng)釀酒工藝進(jìn)行生產(chǎn)，當(dāng)代釀酒工藝被置于新建混凝土廠房內(nèi)。新建廠房采用清水混凝土和單向梁框架結(jié)構(gòu)，而不是原有廠房的傳統(tǒng)木構(gòu)架。新建筑的“獅子口”屋頂形式是老廠房采光口的提煉與組合，以形成與老廠房一致的通風(fēng)、采光環(huán)境（窖菌的發(fā)酵依賴特定的空氣、光照、土壤條件），光線幽暗，糟香氤氳，新老建筑共同延續(xù)了釀酒工藝的歷史發(fā)展脈絡(luò)，使水井坊遺址博物館成為集保護(hù)、展示、生產(chǎn)、交流于一體的活著的文化遺產(chǎn)。

建筑處理

博物館沿街設(shè)置矮墻，結(jié)合現(xiàn)狀槐樹，保持原有街道尺度，維持水井坊街區(qū)尺度和氛圍。

博物館入口謙遜平和，其尺度接近民居。矮墻與入口圍合出入口庭院。院內(nèi)以舊磚鋪地，形成喧鬧城市一角安靜之地。

沿參觀流線交替設(shè)置的天井院落與展廳，營造了氣氛張弛有度的參觀節(jié)奏。各具特色的天井也成為豐富蜀文化的載體。古井庭院、牌坊庭院，均設(shè)置有獨立的院落天井，既強(qiáng)調(diào)了文物的重要性，也是轉(zhuǎn)換室內(nèi)外空間、豐富參觀體驗的重要手段。

流線與功能

參觀流線按照兩條線索設(shè)置：一是釀酒工藝的先后順序，二是從傳統(tǒng)到當(dāng)代的時間順序。參觀棧道架空于酒窖區(qū)與遺址之上，棧道下生產(chǎn)可順利進(jìn)行，生產(chǎn)流線與參觀流線互不交叉干擾。沿參觀流線可縱覽酒窖發(fā)酵、基酒儲存、勾兌、包裝等生產(chǎn)全過程。

遺址展示區(qū)北側(cè)為酒文化中心，以天井為主題進(jìn)行空間組織，形式靈活多變，可以用作臨時主題展覽、學(xué)術(shù)會議交流活動等，并設(shè)計有單獨的出入口，方便獨立運作。

建筑材料

建筑采用當(dāng)代材料“轉(zhuǎn)譯”傳統(tǒng)材料，以再生磚對應(yīng)青磚，重竹對應(yīng)木板，瓦板巖對應(yīng)小青瓦，是對傳統(tǒng)建筑氣質(zhì)的繼承和更新，以此構(gòu)建出手法現(xiàn)代、韻味傳統(tǒng)的建筑群落。

1　鳥瞰/Aerial view

2　總平面/Site plan

3　入口/Entrance

項目信息/Credits and Data

客戶/C lient: 四川水井坊股份有限公司/Sichuan Shuijingfang Company Ltd.

主創(chuàng)建筑師/Principle Architect: 劉家琨/LIU Jiakun

設(shè)計團(tuán)隊/Design Team: 蔡克非，華益，楊東/CAI Kefei，HUA Yi， YANG Dong

結(jié)構(gòu)/Structure: 鋼筋混凝土框架/Reinforced concrete frame

主要材料/Material: 再生磚，防腐重竹/Rebirth brick and antiseptic consolidated bamboo

場地面積/Site Area: 12，148m2

建筑面積/Floor Area: 8670m2

設(shè)計時間/Design Period: 2008.08 – 2011.09

施工時間/Construction Period: 2011.09 – 2013.04

攝影/Photos: 存在建筑/ARCHEXIST

4　首層平面/Floor 0 plan

An Overview of the Site

Located in Shuijinfang Historic District in Chengdu， Shuijingfang Museum is surrounded by preserved folk houses （later the surrounding dwellings were gradually demolished and will be replaced by rebuilt houses in imitation of the old ones）. In this area， there also are a number of cultural relics and historic sites such as ancient well，gate tower， wooden-roof-truss liquor brewing and production workshop of the Republican Period， and liquor cellar ruins of Yuan Dynasty.

Project Purpose

As a liquor-themed museum， the museum mainly demonstrates the long history and precious unearthed relics of Shuijingfang， and intends to preserve and inherit traditional industrial heritages. It not only demonstrates the traditional liquor culture of the region of Chengdu Plain， but also enhances the cultural environment of the whole neighborhood.

Architecture and the Neighborhood

Based on the size and style of the surrounding residential buildings， the museum adopts aggregated small-volume structure to fit into the texture of the adjacent historic district. Designers use the technique of dislocation to soften building boundaries， and embed the building in the preserved area smoothly. The design of the roof takes the overlapping and cyclical roofs of surrounding folk houses as the prototype， and makes variations and dislocation to form a continuous zigzag pitched roof，so as to create a rooftop view that is consistent with neighborhood texture and to integrate the museum into Shuijingfang Historic Neighborhood.

New Construction and Preservation

There are historic buildings inside the site: the workshop of liquor brew house of the Republic and the excavation site of the drying house of Ming and Qing dynasties. The liquor cellar is still in use， which is an important part of the exhibition of industrial civilization heritages in the museum. These valuable historic relics altogether constitute the museum's exhibition area of heritages.

On the premise of preserving and paying homage to the historic site， safe and modest new buildings are designed， which should be neither simple imitation of the genuine folk houses， nor too abrupt to overshadow the surrounding houses. The design should be innovative on the basis of inheriting the traditional quality， and explore the coexistence between the new and old buildings.

Adopting a low profile as a principle of design，vertical and horizontal alleys are formed in the preservation zone between the newly built part and the old workshop， which protects the relic exhibition area with an "encircling" gesture. The new buildings use a single material to weaken the facade expression， so as to achieve the effect to foreground and highlight the cultural relics （i.e.， the original workshop and ruins）.

Inside the old wood-framed workshop， the traditional brewing technique is still used to produce liquor， while the modern brewing process is found in the newly built concrete plant. The new plant is built with fair-faced concrete and unidirectional beam frame structure rather than the traditionalwooden structure of the original workshop. The "lion's mouth-shaped" roof of the new building is the extraction and combination of daylight opening of the old workshop， so as to ensure environmentally consistence with the old workshop concerning ventilation and lighting （the fermentation of the bacteria in the cellar requires specific air， light， and soil conditions）. With the same dim lights and liquor aroma， new buildings and old buildings together pass on the historical development of the brewing technique， thus making Shuijingfang Museum a living cultural heritage that integrates the functions of preservation， exhibition， production， and cultural exchange.

Architectural Design

Surrounding the museum， low walls are built along the street， which， together with existing locust trees， preserves the original street scale and maintains the size and atmosphere of Shuijingfang neighborhood.

The entrance to the museum is modest， with a scale close to nearby folk houses. Low walls and the entrance enclose the access courtyard. The courtyard is paved with old bricks， forming a quiet place in the noisy city.

The alternately arranged courtyards and exhibition halls along the circulation for visitors create a well-balanced rhythm. Atriums with different characteristics also become carriers of rich Sichuan culture. The ancient well courtyard and the archway courtyard both have a separate atrium，which not only emphasizes the importance of cultural relics， but also acts as a way to switch indoor and outdoor spaces and enrich visit experience.

Circulation and Function

The circulation for visitors is set according to two clues: one is the sequence of the brewing process， and the other is the chronological order from the traditional to the contemporary. Visit walkway is built on top of the cellar and the ruins， so that production under the walkway can be processed smoothly. The production line and the visiting line do not interfere with each other. Follow the visiting line， visitors can walk through the museum and view the entire production process from brewing， basic liquor storage， blending， to packaging.

The northern part of the exhibition hall is the center of liquor culture. Spatial organization is based on courtyards with different themes，whose form is flexible and changeable. They can be used for temporary themed exhibitions， academic conferences and exchanges， etc. Separate entrances and exits are placed for different courtyards with convenience for independent operations.

Building Materials

The building uses contemporary materials to "translate" traditional materials， such as recycled bricks in response to traditional black bricks， anticorrosive bamboo panels to laminated wood boards，and roofing slates to Chinese-style tiles. It is the inheritance and update of traditional architectural temperament， based on which a building group with modern techniques but traditional charm is created.

5　前院/Front yard

6　剖面/Section

WA： 您曾經(jīng)說過材料是建筑師的語言，甚至是動機(jī)。您使用磚的動機(jī)是什么？地域、傳統(tǒng)、美學(xué)還是造價？

劉家琨：有時候你說的幾個因素都有。建筑設(shè)計本來就是要考慮綜合因素的。

WA： 有的建筑師格外注重砌磚的工藝和磚的藝術(shù)表現(xiàn)力。在您的建筑中，磚用得平鋪直敘，樸實無華，用您的話講就是家?！鞍自挕薄Ｔ谒志品贿z址博物館的設(shè)計中，又是如何通過這種“白話”式的材料語言與歷史建筑對話的？

劉家琨：怎么用要看各人的著力點和分寸在哪里。如果磚本身巳經(jīng)很好，我就表現(xiàn)它的本真性而不再用手法裝飾性了。有時候我會微微改變一下尺寸以強(qiáng)化密度感，有時候會用斷磚表現(xiàn)內(nèi)部的骨料。

水井坊用的是灰色再生磚，整磚斷磚都有，乍一看它和傳統(tǒng)青磚有點相像，有利于和原有的傳統(tǒng)青磚文物建筑協(xié)調(diào)，但其實它是我們研發(fā)的當(dāng)代新材料，又不會搞得和文物建筑新舊難辨；它的骨料成分有點復(fù)雜，和釀酒的糟糠土有些氣質(zhì)相通?！鞍自挕辈皇侵浮翱谒挕?，而是指它是當(dāng)下的語言，相對而言傳統(tǒng)青磚有點像“成語”。

7　立面/Facade

8　磚墻前的景觀/Landscape in front of brick wall

9.10　巷道/Alley

11　北立面/North elevation

12　南立面/South elevation

WA: You once said that the material is the architect's language， and it is even his/her motivation. What is your motivation for using bricks？ Is it for regional characteristics， tradition， aesthetic， or cost？

LIU Jiakun: Sometimes it is all the factors you have just said. Architectural design takes everything into account.

WA: Some architects pay particular attention to the techniques of bricklaying and the artistic expression of bricks. In your projects， bricks are used in a simplistic and naturalistic way， which in your words is "layman's terms". So how do these "layman's terms" in material language achieve a dialogue with historical architecture in the design of the Shuijingfang Museum？

LIU Jiakun: That would depend on each architect's emphasis and what he/she sees as appropriate. If the brick itself is of good quality， I will show its naturalness and refrain from using decorations. Sometimes I will alter the size slightly to enhance the density， and other times I use broken bricks to show the texture.

Shuijingfang Museum uses gray recycled bricks –whole and broken. At first sight， they might resemble our traditional gray bricks， in favor of blending into historical buildings nearby， but in fact， they are a new material – distinguishable from that of historical monuments. They have a slightly more complex aggregate composition， bearing some similarity in temperament to the pit mud used in brewing Chinese liquor. "Layman's terms" are not "tasteless" but rather they are contemporary as a language. Traditional gray brick is like "old proverbs"， so to speak.

13　走廊/Corridor

14　老作坊/Old workshop

15　新車間/New-built museum

評論

郭海鞍：這是一座新與舊結(jié)合的項目，這種新與舊不僅體現(xiàn)在新舊建筑結(jié)合的方式上，同樣發(fā)生在新舊建筑材料的傳承過程中。對于新建筑的設(shè)計，采用了拆解的方式，將大的建筑功能需求化解成小組單元，以融入周邊環(huán)境尺度中，形成有機(jī)的城市更新。對于新材料的選擇，采用了繼承內(nèi)在建構(gòu)邏輯的方式，將傳統(tǒng)材料轉(zhuǎn)換為具有良好性能指標(biāo)的現(xiàn)代建筑材料，但是其質(zhì)感和建構(gòu)邏輯依然保持傳統(tǒng)的方式。整個項目于內(nèi)于外，都對當(dāng)?shù)氐臍v史和傳統(tǒng)做了清晰準(zhǔn)確的詮釋。

Comments

GUO Hai'an: This is a project relevant to the relationship to new and old， which is not only present in the organizational differences between new and old buildings， but also in the usage of the new materials that are inherited from the old. This new building is divided into smaller units which are more in scale to the surrounding buildings， merging into the old city.The materials utilized in the new building is identical to the old materials， which may not adapt the needs of modern life. However， the logic of the construction of the old material was inherited. Both in the inside and outside the building， there is an accurate interpretation of history and traditions.

范路：在水井坊遺址博物館項目中，新建博物館以當(dāng)代方式將場地中保留的老作坊和周邊老居民區(qū)整合起來。新建筑以老民居尺度為基礎(chǔ)，形成小體量的單元聚合，縫合了整個歷史街區(qū)的城市肌理。然而，這些單元形體的長軸，都與老作坊的長軸方向平行，賦予建筑群統(tǒng)一的空間向度，并以U型環(huán)繞布局強(qiáng)化了保留建筑的核心地位。此外，設(shè)計師用鋼筋混凝土框架、再生磚、重竹和瓦板巖的現(xiàn)代建構(gòu)，表達(dá)出了傳統(tǒng)建筑韻味。而天井與庭院、“獅子口”屋頂和沿街矮墻的設(shè)置，進(jìn)一步減小了展覽建筑的尺度，舒緩了空間節(jié)奏，帶入了民居式的親切感。

FAN Lu: In the project of Shuijingfang Museum，the newly-built museum integrates the preserved old workshop building on the site with the surrounding residential buildings in contemporary maneuvers. The new museum adopts the scale and style of surrounding residential buildings and harmonizes with the urban fabric of the historical district. Meanwhile the new building encircles the old workshop， and shares with it the same orientation of its long axis. In tectonic design， modern materials such as reinforced concrete，rebirth bricks and anti-corrosive bamboo are used but to create the aura of traditional construction. Furthermore， the adoption of patios， skylights and low courtyard walls reduces more the scale of the museum and brings about the sense of space in old dwellings.

16　內(nèi)院天井/Couryard