One continuous line of spirit. There are distinct characters and distinct identities, yet One whole. The overall composition is linear and follows a hierarchical sequence, but the hidden interior spaces are paradoxically multidirectional and organic. This tension between inside and outside is the tension between the Cocoon and the Dragon.
它体现了 种完整延续的设计理念,不同的特点及个性组合后变成 个整体。流线型的设 计层次鲜明, 隐藏的内部空间看似 盾多向,却 有机地统 。这种内外反差的张 就 如同包裹着的茧与腾 的 般。
The overall structure is defined by the North-South axial connection to the pagoda, and by the cumulative series of gateways, courtyards and character of each gallery object. The main axis with the pagoda defines everything. It is a singular line, a thread, infinite time. It connects the five gallery blocks into one larger whole. This larger whole becomes the ‘Cocoon Dragon’. The ‘Cocoon’ is the internal unity of the whole. The ‘Dragon’ is the external force which emerges from this unity.
与塔相连的南北轴线、序列的 、庭院以及各个具体的建筑构成了整个结构。其中由塔 延伸出的主轴线将 切统 在 起,它是 条线,也是整个结构的思路。它连接了五个部 分从 形成了 个巨 的整体,便是所谓的“ 之茧”。“茧”是指内部的统 性, “ ”便 是这个统 整体向外部释放的 量。
The concept for the building form is a continuous, multi-layered fabric of frames, cuts and stitches. Each form is tailored to the specific environmental conditions and to the specific gallery programs. Overall, it is a single fabric, yet each part has its own character and identity. It is a metaphor for a cooperative community and a harmonious landscape of diversity. The whole and the parts are always influencing each other, even while the parts remain independent.
整个建筑形态的概念体现的是 个连续的、多层次肌理的组织、裁剪和拼接。每个部分的 形式都是根据其特定的环境背景与各 的项 进 的定制。总的来说,它是 个建筑,但 其各个部分都有各 的特 。它喻 着 个合作的整体, 番和谐却 充满多样性。即便 各个部分是独 的,但它们仍旧和整体之间相互影响着。
While the overall apparent volume is quite large, in fact the total volume is composed mostly of voids. The weaving together of these void spaces produces complex natural lighting effects within the courtyards. Taken as a whole, the internal network of void spaces produces a woven spatial fabric that interconnects with the outside environment in multiple directions. This concept of creating a greater openness through weaving links and crossings, is a metaphor for the symbolic cultural value of the Silk Road project.
整个结构的体积是 常巨 的,但其实它的 部分都是空的。这些空间的编织产 了庭院 内复杂的 然照明效果。总的来说,这些内部空间的交织使得其可以从各个 向与外部环 境进 联系, 这种通过各种交错连接使空间更加宽 的概念则是对丝绸之路 化价值的 体现。
There is a continuous spatial sequence, which crosses through each of the inner courtyards. Its organization is two-directional, and there is an ambiguous and ever- changing center throughout the whole. In this sense, all the Galleries are equal.
整个结构通过各个部分的交错创造出了 个连续的空间顺序,它的内部组织是双向的,具 有 个模糊 时刻在变化的中 ,从这个 度来说,所有的部分都是同等的。
The urban design is composed rationally through positioning 5 urban blocks (5 Galleries), and key points of infrastructural connection. Each block originated as a 100 meter grid, and each was adapted specifically in response to environmental conditions and to its internal program. Each of the 5 Galleries - the Outdoor-Show Venue, the Hotel, the Museum, the College, the Research Center - can be defined as a perimeter volume and a courtyard. Each is a form of Cocoon. Yet, each of these specific figures is articulated by smaller volumes, which create a more intimate environment and pleasant barrier-free landscape at ground level which has a pedestrian space that is 100% car-free within 15 meters of the island’s perimeter edge, (with exception to one bus route).
城市设计是由五个街区(5个艺术展览馆),以及他们之间关键节点的链接系统有序并置 组成的。每个街区都是在 个100 边 的 格内 成,并且都根据其独有的环境特点与 各 的项 进 了调整。展馆、宾馆、博物馆、 学以及研究中 这五个部分中的任意 个都可以看做是 个结构体。它们都被设计成了茧的外形,并且每 个都是由更 的茧体 构成的,从 创造了更加温馨的环境以及 个 障碍的舒适的 空间,并且在整个岛外 围15 范围内都是百分之百 的(除了 条巴 路线)。
Courtyards and Connections:
In addition to each gallery’s distinct courtyard, there are also ’space links’ along the central axis, which stitch the entire building fabric together through shared activities. The Hotel and the Outdoor-Show Venue are linked by bridges. The Hotel and the Museum are linked by a restaurant. The Museum and the College are linked by a gallery space. The College and the Research Institute are linked by a presentation hall and auditorium. The Research Institute and the Pagoda are linked by the lake. All the galleries are linked by a common ground.
除了每个画廊所在的不同庭院,也有沿着中轴线的空间连接,它往往通过共同开展的活 动将整个建筑结构紧密的结合起来。酒店通过桥梁与室外展馆连接,同时和博物馆之间由 间餐厅相连,博物馆和学院之间是 处画廊空间, 该学院经演讲 厅和礼堂通往研究 所,再经过 座湖便可以由研究所直达塔。所有的画廊由 个共同点联系在 起。
The Hotel rooms all look South, the hotel corridors look West. The Museum looks inward towards its own courtyard. The Academy looks in all directions, and is in crescendo towards the North. The Research Institute looks both South and North, and is defined by a series of east-west lines that open towards the pagoda. The Northern building line is set back in order to respect the landscape around the lake.
酒店的客房都坐北朝南, 廊则为东 向。博物馆向内可直接看到内部庭院,学院向 各个 向辐射开来,并且由南及北逐渐增强, 研究所为南北朝向,由 系列朝向塔的东 向的线界定。考虑到尊重环湖景观的原因,北建筑边线特意折回。
The courtyard spaces are all pedestrian areas. A new bus route from the NorthWest crosses the island at the College and continues both West and South. Car routes wrap the island’s edge, with greatest density on the East edge of the island. A new tunnel, between the Museum and the College, allows for East-West traffic connections below ground to connect with underground parking access. Secondary access to underground parking is from street level. Car traffic at the lake is reduced, and the Northern road is replaced with the pedestrian ‘Water Dragon Bridge’.
整个庭院内部都属于步 区域。 条新的巴 路线将穿过岛上的学院,并且延伸向 部和 南部地区。汽 路线分布于岛的边缘,其中在东部沿岸最为密集,同时 条连通博物馆和
学院的新的隧道将使得东 部地下交通 同地下停 场进出 连接起来,地下停 场的 号出 通往地 ,此时湖边的汽 流量将会减少, 北部的道路将被替换为 便 通过 的“ 桥”。