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1、68 世界建筑 2012/05 该项目是 2001 年接受宁波市政府委托，将宁波 港废弃的航运楼改造成一座当代美术馆。和拆毁重造 相反，建筑师要求把场地上的所有码头设施保留下来。 这座被城市抛弃的航运大楼，曾经是城市在 1970、1980 年代的标志性建筑。是众多市民前往大都 市上海或普陀烧香的登船之地。 对这座航运大楼做保护性的改造，它的大型候 船空间正适合大型当代艺术作品展出，但这座建筑 历经几次装修改造，其全预制装配式的混凝土结构 难以满足今天的建筑抗震法规。为了保持城市建筑 模式的延续性，设计者提出像保护古建筑一样对这 座建筑落架重建，它的内部空间结构被一柱不动地 原样保持，因为这些空
2、间印象已经印刻在几代宁波 宁波美术馆，宁波，浙江，中国 NINGBO CONTEMPORARY ART MUSEUM, NINGBO, ZHEJIANG, CHINA, 2005 建筑设计：业余建筑工作室 ARCHITECTS: Amateur Architecture Studio 人的记忆之中。 美术馆的另一典型特征是它在垂直向度上的两段式 处理。双重性地暗示了中国传统以及当代城市功能与经 济上的需要。下段为“经济基础” 。入口高台院落下内 含可停 150 辆汽车的车库，以满足未来爆炸性的城市停 车需要。主体建筑的下部青砖基座中设有 2 000m2的开 放展厅，可举办含艺术展在内的各种展览
3、活动，以解 决中国城市大型美术馆和博物馆都面对的问题只 有建筑投入但缺乏后期运作与维护费用。二层以上为 “上层建筑” ，布置各类纯艺术展览空间。 建筑表皮材料的使用同样暗示了城市记忆线索的 混合性。基座青砖是传统宁波的建筑主材，而上部钢 木材料则是船与港口的建造主材。 建筑师 /Architects: 王澍，陆文宇 /WANG Shu, LU Wenyu 设计团队 /Design Team: 陈柯，宋曙华，陈立超，蒋 伟华，陈卓，国戈 /CHEN Ke, SONG Shuhua, CHEN Lichao, JIANG Weihua, CHEN Zhuo, GUO Ge 规模 /Total Fl
4、oor Area: 24 000m2 地点 /Location: 宁波， 甬江边老外滩 /Ningbo Portarea 合作设计单位/Coopration Design Institute:中国美术 学院风景建筑研究院，宁波明州建筑设计院，中国美 术学院建筑营造研究中心 代建单位/Contraltor: 宁波城市投资建设发展有限公司 设计时间 /Design Period: 2001 2004 建成时间 /Completion: 2005.9 摄影 /Photographor: 吕恒中 /LV Hengzhong 1 1 高台入口大院与主体建筑间的城市街道/The city street b
5、etween the high foundation platform entrance courtyard and the main building 2 从甬江码头看主体建筑，左侧是城市规划馆/View of the main building from the Yongjiang dock, on the left is the urban planning hall 3 从内院可看到保存下来的原航运大楼信号塔/From the interior courtyard, the former shipment company building signal tower could be s
6、een 69 王澍 ： 差异的世界 /WANG SHU: WORLD OF DIFFERENCE The project is located in the Ningbo Port area. The whole harbor area was faced to a functional reconstruction, because the shipping industry was moved to the rural area. As a part of an overall protective plan of this historic block, the waiting room
7、 of the former port was reconstructed into a large modern art museum by the participation of architects and the promotion of the Amateur Studio. At the very beginning, it was considered to protect the building, which was the legacy of the 1980s; however, as the construction went on, it was found tha
8、t after several times of reconstruction, the building had been seriously destroyed that cannot suit for the latest architectural regulations in China. Thus the designer decided to demolish the whole building, except a beacon tower. By plan, the interior special pattern, which had been a part of the
9、citys shared memory, was kept, for that the building was a set-out place for the people in Ningbo to ship for Shanghai or for the holy land of Buddism, Putuoshan, to pilgrimage. The final constructional plan contains multiple design clues. It first reduplicated the relationship between the port and
10、the ship by a high platform and a building form. Two loading stages are situated roughly in the place that the former air landing stage was in. It secondly reduplicated the relationship between the local traditional courtyard and the building. Along the street, an access into the museum was through
11、the high platform. Theres no magnificent square or broad steps, which has become the most controversial part in the design. Nevertheless, the desire of the designer is to rebuild a Chinese ceremonial space. The building was departed into substratum and upper part in perpendicular direction, which on
12、 one hand is by the Chinese tradition, and on the other implies the contemporary conscious structure and the economical need. The lower part is “economical foundation“, including a garage under the platform that can hold 150 cars. It is for the explosive need of the development in the future. The te
13、mporary exhibition hall in the substratum of the main hall can hold various commercial exhibition activities in order to settle the problem that museums in China only have the constructional funds but lack of management funds. The upper part is only for pure art exhibitions and activities. The appli
14、cation of material also reveals the multiplication of clues. The gray brick in the foundation is the main building material of the former block; the steel and timber in the upper part is the main material of the port and ships. There is a caves group laid up by bricks along the river with figures of
15、 Buddha to hint that the building. 2 3 70 世界建筑 2012/05 8 6 4 5 4 高台入口大院，重新设计了原航运大楼的登船栈桥，作为出入口/ High foundation entrance courtyard, the boarding bridge of the former shipment company building was redesigned 5 从高台大院入口看美术馆主体建筑/View of the main building of the museum from the high foundation courtyard e
16、ntrance 6 门厅室内，钢栈桥穿入内部/Inside of the entrance hall, the steel bridge crosses the interior 7 美术馆俯瞰/Bird-eye view of the museum 8 美术馆一层平面/First floor plan of the museum 9 美术馆二层夹层平面/Second floor interlayer plan of the museum 10 美术馆二层平面/Second floor plan of the museum 11 美术馆三层平面/Third floor plan of the museum 71 王澍 ： 差异的世界 /WANG SHU: WORLD OF DIFFERENCE 11109 7 72 世界建筑 2012/05 13 12 73 王澍 ： 差异的世界 /WANG SHU: WORLD OF DIFFERENCE 14 15 12 王澍草图，从甬江角度/Aa sketch by WANG Shu, from the Yongjian pe
