|
01 这个方案是我在今年“八校联合毕业设计”时完成的。合作者是：张智敏、刘隆基。题目要求复兴北京天桥老民俗演艺区（其实只剩住宅楼）。我
们组申请把地段改到天坛与原山川坛之间的中轴狭长地带，提出了一个脱离经济限制的非常理想化的探讨。 通过罗德胤老师的“乡土建筑学”课程，我们了解到唐代以后的宗法社会中（古希腊情况类似）戏台通常与宗祠、庙宇等组织在同一个院落里，而
演出剧目也与信仰的对象有关。那么以庙会为载体的观剧活动实质上起到了在娱乐公众的同时将某个社会团体的核心价值观念传递给其成员的作用。 按照这个观点，目前的天坛的社会功能是不完整的。除了将其视作绿地和文物，普通游客很难感受到古人赋予天空山川的道德涵义。 “地载万物，天垂象，取财于地，取法于天，是以尊天而亲地也”。我们组提出在中轴上建设一个演艺综合体，打开两坛边界并与之形成整体。我 个人的部分以天空为主题。观众观看演出前漫步于屋顶布道，置身于天坛一望无际的绿地所留白的天穹和镜面屋顶中的天空镜像之间，产生对天空
的敬畏感和对自身的渺小认知与反思。而檐口均控制在18m限高以下，保证圜丘与祈年殿的原有景观。主要剧场总平面布局参考两坛现有空间秩序，
以圆弧控制曲面生成逻辑。屋顶步道中线留空，类似于传统祭祀空间中的“神道”。 我设计的室内剧场部分主要构思是公共空间结合发声构件，这样表演和其它仪式中人们可以和作为乐器的建筑互动。中心的星空大厅可以举行大型
的集体仪式（如婚礼、成人礼等），并通过弦乐器与上方的平台有音乐的联系。空间形态参考了同样源自天空崇拜的哥特教堂的剖面与清真寺广场
的平面原型。 This work was done during a joint-thesis-studio of eight Chinese architecture schools. Collaborator: Zhang Zhimin, Liu Longji. We moved our
site from the so called Tianqiao traditional performance area (actually only residential towers are left) to the narrow space between the Temple
of Heaven and the Temple of Mountain and Valley. We proposed a theoretical discussion regardless of economic limits. Through the course of study on rural architecture, provided by Prof. Luo Deyin, we learnt that in the ancient patriarchal societies, stage usually
stays together with temple (for God or ancestors) in the same courtyard. And the character and plot of the performance usually have something
to do with the God that people believe in. The activities to watch the drama, to some extent, played the role to pass on the core value of the
community to its members, while entertaining them. If this is true, the social role of the Temple of Heaven is incomplete now. Besides being seen
as an antique and woods, it doesn’t work so well to help tourists to understand the moral meanings, the way our ancestors thought about sky. “The mother earth gives birth to and nurtures all creatures while the heaven sends them warnings of disasters if they offend it. Thus, the
former is always affectionate towards man and animals, whereas the latter is often august. ” My team proposed a performance complex on the
southern part of Beijing central axis, opening up the boundary of the temples and connecting them. My part is about the sky. The visitors can
walk on the roof terrace, placing themselves between the empty sky upon the woods of temple of heaven and the mirrored image of the sky,
feeling about the greatness of the sky and reflecting on his/her own meaning. The roof edge is limited to 18m, to preserve the views from the
Yuanqiu and Qinian Hall. The layout of the most important theatres are arranged according to the hierarchies of the neighboring temples. Circles are used to control the roof surface geometry. The central axis allows no access, because it is traditionally preserved for God. My interior space design for theatres is based on the idea to combine the building with instruments, which allows interaction with the people. The central star hall hosts huge ceremonies like weddings, and connecting with the terrace above in sound. The space form originate from the
combination of a Gothic Church’s section, and an Islamic square’s plan, both forms have been devoted to the worship of sky.
| 
发表于 2014-12-31 00:41:18
发表于 2014-12-31 01:55:16
关注公众号