建筑設計：標準營造

Architect: ZAO/standardarchitecture

小碼頭位于西藏雅魯藏布大峽谷南迦巴瓦雪山腳下的派鎮(zhèn)附近，派鎮(zhèn)是林芝地區(qū)米林縣的一個村級小鎮(zhèn)，不僅是雅魯藏布大峽谷的入口，還因為是通往全國唯一不通公路的墨脫縣的陸路轉(zhuǎn)運站而早就成為終極徒步旅行者的勝地。自從大峽谷被認定為世界第一大峽谷、中國國家地理雜志將其中海拔7782m的南迦巴瓦雪山選為“中國最美的山峰”之首，逐漸成為普通徒步旅行者的目的地。

設計是從地段的選擇開始的。我們從派鎮(zhèn)出發(fā)沿岸一路向下游方向?qū)ふ液线m的位置，我們需要一塊水流相對較緩同時有一定水深的河岸。走到大約2km外的江面拐彎處，我們一眼看中了這個位置，這里有形態(tài)特別的4棵胸徑都超過1m的大楊樹，旁邊還有幾塊巨大的巖石，站在巖石上順著江流的方向看過去，隨時可以看到峽谷背后高聳的加拉白壘和南迦巴瓦雪山。

碼頭的規(guī)模很小，只有430m2，功能也很樸素，主要為水路往返的旅行者提供基本的休息、候船、衛(wèi)生間及惡劣天氣情況下臨時過夜等功能。建筑是江邊復雜地形的一部分，一條連續(xù)曲折的坡道，從江面開始沿岸向上，在幾棵樹之間曲折纏繞，坡道與兩棵大樹一起，圍合成面向江面的小庭院，庭院由碎石鋪成，可以供乘客休息觀景。由庭院再向上，坡道先穿過上層坡道形成的一個挑空過道，經(jīng)兩次左轉(zhuǎn)懸空越過自己，然后再次右轉(zhuǎn)，并在高處從兩棵大樹之間穿出懸挑到江面上，成為一個飄在江面上的觀景臺。

碼頭的室內(nèi)空間分為兩部分，一塊是候船廳，一塊是售票室和守候人員臨時臥室，分別利用地形和坡勢，隱藏在坡道的下面。候船廳面對的是低一點的小庭院和兩棵大楊樹，廳內(nèi)有供休息喝茶的條桌條凳和冬季燒火取暖的石頭爐子，盡端是兩個衛(wèi)生間。售票室和臨時臥室位于最高標高的坡道下面，是部分懸挑的部分，臥室外有木平臺，從木平臺上看出去有很好的視野，可以觀察江面的船只情況和遠處的加拉白壘雪山。

建筑的材料，從墻面到坡道的地面，全部是來自附近的石頭，墻體的砌筑全部由當?shù)毓そ巢捎盟麄兪煜さ姆绞酵瓿?，室外和室?nèi)都統(tǒng)一采用粗糙的石墻；門窗和室內(nèi)的天花、地面自然是用當?shù)厮赡疽援數(shù)氐姆绞皆诂F(xiàn)場加工的。□

The small boat terminal is located near to the small village named Pai Town in the prefecture of Linzhi in Tibet Autonomous Region. As the remotest stop along the Yarlung Zangbo River, it allows both local people and travelers from outside to transport by water deep into the valley and come to the foot of the Namchabarwa Snow Mountain.

With a total area of only 430m2, the building programme is quite basic. It has a few toilets, a waiting lounge, a ticket office and a room for people to stay overnight in case the weather goes too fierce to travel on the river. The programmes are covered by a series of ramps rising from the water and winding around several big poplar trees, and ends up suspending over the water. Looking from a distance, the building is completely merged in the riverbank topography and becomes part of the greater landscape.

Construction materials are mainly local. All the walls and roofs are made of rocks collected from nearby. Walls are built by Tibetan masonry builders in their own pattern. Window and door frames,ceilings and floors are all made of local timber by a local method.□

1.2 外景/Exterior views

3 模型/Model

4.5 立面/Elevations

6 鳥瞰/Aerial view

7 外景/Exterior view

8 平面/Plan

9 剖面/Section

10 外景/Exterior view

11 外景/Exterior view

12 內(nèi)景/Interior view

評論

王碩：2006年，標準營造開始為雅魯藏布江河谷地區(qū)旅游產(chǎn)業(yè)進行一系列基礎設施建筑的規(guī)劃。這一系列項目的契機是林芝地區(qū)落成了一座機場。而隨著雅魯藏布江大峽谷被認定為“世界第一大峽谷”、南迦巴瓦雪山被選為“中國最美的山峰”之首，這里逐漸成為徒步旅行者的目的地。派鎮(zhèn)作為整個雅魯藏布江大峽谷景區(qū)的起始點，往下游不遠處的小碼頭是張軻西藏系列建造的第一個，有著特別的開端意義。

整個建筑幾乎就是由一條從河岸延升上來的連續(xù)而曲折的坡道定義而成的。順著這條無盡折疊的坡道，可以從?？康拇伴_始，途經(jīng)建筑兩塊基本的功能：候船廳和售票室，并從其間穿越而過，進而轉(zhuǎn)身從坡道走上屋面越過自己的頭頂……一路走來，仿佛布達拉宮前綿長曲折的臺階，在露臺上望向同樣蜿蜒盤旋的江面，建筑的存在反而不再是關注點。通過順應地勢的扭轉(zhuǎn)傾斜，建筑很好地嵌入了周邊的地形，與它背靠的山崖融為一體，包括建筑外立面所使用的本地石材、木材及本地工藝，都明確地指向了這一設計所采取的基本策略，即與周圍的自然環(huán)境及文化由一種平視的角度謀求新的契合點。

平視并不等于平淡。整座建筑的體驗中有兩個“懸浮的時刻”，分別對應兩個方向的到訪者。第一個在來路方向建筑形體的銳角處，這里建筑被切削成很薄的懸挑；第二個則是連續(xù)坡道的盡端——面向江面懸挑而出的有陽臺開口的眺望空間。這一懸浮的建筑體量與周邊層疊厚重的擋土墻以及濃茂的山林產(chǎn)生了一種精巧的反差，從江中看去，小碼頭既融入環(huán)境又跳出背景。這不由讓人想到羅伯特·史密森的“螺旋防波堤”，小碼頭仿佛一個隨時要消失的地景標志建筑[1]——“Land(scape) Mark”，只在地景中留下一個輕巧的痕跡。

從“平視”的角度出發(fā)，藉由建造所呈現(xiàn)出來的“懸浮”感，小碼頭創(chuàng)造了新的形式邏輯，打破了藏區(qū)近年來形成的用新材料模仿藏族風格建筑的定式，不去破壞當?shù)匚幕谋菊妗堓V所提出的介入策略，將關注點放在如何使“中國的當代性”這一新的時代價值最大化——通過削減重量，抬升到一種很輕的懸浮狀態(tài)。這種懸浮，既是操作層面的，也是視覺層面的。從當代空間生產(chǎn)角度而言，他引出的實踐方向具有雙重穿透性。這些建筑物/空間在當?shù)夭刈迦丝磥砼c傳統(tǒng)不是同質(zhì)化的，于本地建成環(huán)境而言有一種蜻蜓點水的跳脫感；而從旅行者來看，它又深刻地鑲嵌在周邊環(huán)境和文化中，仿佛是從地景中生長出來的“水晶”。

如果說標準營造第一個5年的實踐實現(xiàn)了一種在中國多變的城市環(huán)境中對設計品質(zhì)的“現(xiàn)代性”革新追求，那么從雅魯藏布江小碼頭開始展開西藏系列實踐的張軻，已經(jīng)更加能夠自由并打破“現(xiàn)代性”既定標準地來進行空間實踐了。用他自己的話來說，已成為“標準的對立面，目標就是打破現(xiàn)有標準”。至此，張軻從具有“普遍性”的城市中跳轉(zhuǎn)到更有“特定性”自然環(huán)境/文化傳統(tǒng)的地區(qū)，并由此展開了一系列具有積極的“當代性” 意義的空間生產(chǎn)探索。

Comment

WANG Shuo:In the year 2006, ZAO/standardarchitecture began to plan a series of infrastructural buildings for the tourism industry in the valley area of Yarlung Zangbo River. The momentum for this series of projects is a result of a recently completed airport in Linzhi. Since the Yarlung Zangbo River Grand Canyon was recognised as the world's largest canyon, and the Namchabarwa Mountain chosen as the first among the "most beautiful peaks in China,"it has gradually become the hikers' destination. The little boat terminal not far downstream from Pai Town, the starting point of the whole scenic area of the Yarlung Zangbo River Grand Canyon, is the first of ZHANG Ke's Tibetan construction series, and has a special significance of inception.

The whole building is almost defined by a continuous zigzagged ramp extending and rising from the riverbank. Going from the anchored boats along this endlessly folding ramp, you can pass by the two basic function of the building: the waiting room and the ticket offce, and keep walking through them,turning around and meandering on the ramp over your head... all the way up like the long and interlaced steps in front of Potala Palace. When you're looking at the similar winding river from the terrace, the existence of the building itself becomes not the main focus. By adjusting to the twisting landform, the building is well embedded in the surrounding terrain and blends with the cliffs against its back. Together with all the local stone on the facade, the timber and local craftsmanship used in the construction of the building, it clearly point to the basic strategy of the design, which is to negotiate a new dialogue with the surrounding natural environment and culture from a point of view that is on the "eye-level".

Eye-level view does not mean bland. There are two "moments of levitation" in the building experience that react to visitors from two directions.The first one is at the sharp corner of the building in the direction of arrival, where the building is cut into a very thin overhang. The second is at the end of the continuous ramp – a lookout space reaching out towards the river with balcony openings. This"suspended" building volume forms a delicate contrast to the heavy layers of retaining walls and lush forests around it. Looking from the river, the boat terminal is both blending into the environment and standing out from the background. Reminding one of Robert Smithson's Spiral Jetty, the boat terminal is like a "Land(scape) Mark"[1]that's going to disappear at any moment, leaving only a light trace on the landscape.

Start from the point of view on the "eye-level",further constructed with the sense of "levitation",the boat terminal has created a new kind of form logic, breaking the formula of imitating Tibetan style architecture with new materials which has became stereotype in the Tibetan region in recent years, without destroying the authenticity of the local culture. The interventional strategy ZHANG Ke put forward focuses on how to maximise "Chinese contemporaneity", the value of the new era, by reducing "weight" and lifting up to a very light"levitation" state. This levitation is both operational and visual. From the perspective of contemporary production of space, the direction of practice he points out has cross-penetration. From the local Tibetans' point of view, these buildings/spaces are not homogeneous with the tradition, so there is a sense of leaping out from the local built environment like "dragonfly dipping on water"; and from the travellers' point of view, it is deeply embedded in the surrounding environment and culture, as if it's a"crystal" growing out of the landscape.

If it could be said that ZAO/standardarchitecture's first five years of practice has realised a"modernity" in the pursuit of innovation and design quality in flexible urban environment in China, then after from the Tibetan practices beginning with the Yarlung Zangbo River Boat Terminal, ZHANG Ke has become more free and able to break the established standards of "modernity" to carry out spatial practices. In his own words, he has become the "antithesis of standard, and the goal is to break the existing standards". So far, ZHANG Ke has jumped from the "generalized" city to regions with more "specificality" in natural environment/cultural tradition, and thus unfolded a series of exploration of active contemporary production of space.(Translated by CHEN Yuxiao)

注釋/Note

[1] 地景標志建筑：筆者創(chuàng)造的一個詞匯，用于描述一種特殊類型的建筑。地景標志建筑通常是小尺度的并且處于自然環(huán)境中。它與周邊的地貌景觀進行對話，并從中確立它的意義。它并不試圖像“地標建筑”一樣宏大/浮夸，但它確在地景中留下了輕巧的痕跡，并因此而成為一個充滿意義的象征。/"Land(scape) Mark": A word that the writer coined to discribe a special typology of architecture. A "Land(scape) Mark" is usually small scale and sitting in a natural environment. While it is trying to be in dialogue with the surrounding landscape and defining its significance, it does not try to be as grandiose as a "landmark", yet it does leave an ethereal "mark" on the landform as a meaningful symbol.