尼洋河游客中心，林芝，西藏，中国

建筑设计：标准营造+赵扬工作室

米瑞公路是318国道（川藏线）在林芝县分出的一条旅游公路，这条公路沿着尼洋河谷东岸婉蜒起伏的河岸线向南延伸，在通往雅鲁藏布江大峡谷的20km距离内，尼洋河谷独特的地貌一览无余。公路沿线的达则村被选为这条观光线路的起点，达则村的可建设用地所剩无多，村口的一片滩涂因此成为修建游客接待站的不二选择。

公路切断了河滩和山体的联系。于是，如何把一个孤立场地和它周围的环境重新联系起来成为这个设计的首要问题。从平面上看，建筑的外轮廓，在西、北两面以肯定的直线朝向开阔的河谷；东南面以一条连续的折线呼应公路的走向和山体的转折。而建筑内部空间的轮廓是从外轮廓包裹的不规则形体中“切割”出来的。内部空间以1个不规则四边形庭院为中心，连接了建筑的4个开口，呼应了景观朝向和流线安排。“切割”剩下的室内空间分别容纳建筑的3个部分功能——售票、漂流活动更衣室和卫生间。这个看似随意的平面实际上是被流线、功能和场地条件限定的结果。形体和空间的几何特征把建筑和环境联系起来。

整个工程采用并发展了西藏民居的传统建造技术。混凝土基础以上便是600mm厚的毛石承重墙体。大部分门窗洞口都深深地凹入墙面，洞口两侧的墙体作为扶壁墙在结构上增加了建筑的整体刚度，同时也减小了室内空间跨度，屋面采用简支梁和檩条体系的木结构，局部跨度较大的木梁用200mm×300mm的木材拼合而成。卷材防水以上覆盖了150mm厚的阿嘎土。阿嘎土是西藏建筑中常见的屋面防水材料，疏松的粘土在加水反复拍打后板结，形成可靠的屋面防水层和保温层。我们还利用阿嘎土的塑性在槽口内侧拍打出檐沟，并用槽钢加工的雨水口形成有组织排水。颜色是西藏视觉文化传统的重要元素，在进行多种颜色试验之后，我们选择了给石头墙刷上当地常见的纯洁的白色。纯净的颜色强化了空间的几何转换。从日出到日落，不同方向和高度角的阳光射入各个洞口。从建筑中穿过时，人们可以在不同的角度和时刻体验到建筑的戏剧性空间，建筑在传递强烈当代性的同时仍然保持了其纯朴的本质。□

Mirui Road is a tourist road that meets Highway 318 connecting Tibet and Sichuan. This road winds southwards along the Niyang River.Within this 20km distance to the Yarlung Zangbo Grand Canyon, the specific terrain and landscape of Niyang River can be enjoyed from the road. Daze Village was chosen to be the entrance to this tourist site. There is little land left for further development in this village, therefore the river beach along the road was the only choice for a tourist centre.

The road separates the river beach from the nearby mountain. How to establish relationships between an isolated building and its surroundings is the main concern of our design. The building's exterior boundary is a response to the border conditions. The inner public space is "carved" out from the irregular-shaped volume. The central courtyard connects four openings, responding to the orientations and circulation. The volume left from "carving" accommodates three major interior functions – a ticket offce, a dressing room for rafting and toilets. This seemingly arbitrary plan is actually shaped by circulation, program and site conditions.The geometric character of the volume and space forms a dialogue with the surrounding landscape.

The construction of this building adopted and developed the techniques of the Tibetan vernacular.On top of the concrete foundation a 600mm-thick bearing wall is erected. Most openings have deep recessions. The 400mm-thick walls at both sides of the openings work as buttresses, increasing the overall structural stability and reducing the interior span as well. Beams for bigger spans are made from several small logs bonded together. A 150mm-thick layer of Aga clay covers the waterproof membrane.Aga clay is a vernacular waterproofing material. It stiffens when tampered with water and works as another layer of waterproofing and heat insulation.Its plasticity allows gutters to be shaped. Roof drainage is well organised with these gutters and channel steel scuppers.

Colour is a crucial element of Tibetan visual culture. After several experiments we decided to paint the stone walls as white as the Potala Palace.The pure white colour enhances the geometric transition of space. From dawn to dusk, sunshine changes its directions and altitudes, penetrating into different openings. When passing through the building, people perceive the spatial drama at different time. The building successfully maintains its humble essence at the same time passing out a strong sense of contemporariness.□

1 鸟瞰/Aerial view

2 平面/Plan

3.4 庭院/Courtyard

5.6 立面/Elevations

7.8 剖面/Sections

9.10 墙身大样/Wall section details

11 模型/Model

12 鸟瞰/Aerial view

13.14 庭院/Courtyard

评论

张宇星：建筑师内心深处的最大抵抗，是对建筑非纯粹性的抵抗。这种非纯粹性来自于各个方面：可能是每天轰炸视觉神经的全球图像污染，也可能是被某种话语体系赋予了权威力量的审美定式，或者，是一些似是而非的文化概念（比如所谓地域性、历史文脉等）。面对这些纷至冗来和纷繁复杂的世界幻像，建筑师就像是一个远古巫师，他需要以删繁就简的最大勇气来唤醒建筑（和土地）中隐藏的空间神性，就像是唤醒一颗草籽，从地表深处破土而出，然后演变成为一个“自生长空间构形”。某种意义上，好的建筑应该是具有“植物性”和“动物性”的。尼洋河游客中心就是这样一个可以称之为“自然结晶物”的原型空间，建筑师张轲所做的其实很简单，就是“在一团虚无缥缈中，把多余的空气去掉，剩下的就是建筑”。当然，在这个自然结晶过程中，最重要的手法是需要对空间进行不断提纯，同时赋予空间内在多重张力，使之获得语言逻辑和语言形式的极端抽象感。这种极端抽象感在本质上是感性（和性感）的，因为它投射了空间最深层次的生物学本性。

应当说，尼洋河游客中心的“空间提纯实验”是非常成功的，它主要在6个方面探索了空间的张力平衡技巧。（1）重和轻：用非常重的石材来反向表达轻盈和悬浮，或者用非常轻盈的手法来切割石头重块，这种矛盾性消解了材料和结构的文化地域符号特质，突出了对地球重力“控制与反控制”的自由精神属性；（2）光和暗：不规则的几何形转折系统消解了人对光线轨迹的定位感知，于是光和暗不再具有规规矩矩的太阳方位属性，而产生了一种奇妙的捉迷藏似的“游戏神性”；（3）实和空：实体内部“整体包裹”了外部虚空（院落和室外开放空间），同样，在虚空中也可以体会到实体被虚空“整体分离”的冲突性力量；（4）内和外：建筑的内部不仅仅是“物理性的内部”，而是“身体性的内部”以及“心理性的内部”，只有把内部压缩得具有足够的“紧密感”和“内视感”，外部才能获得无限的延展性扩张力；（5）景和观：如果说“景”是一种不加预设的由使用者自我定义的观看系统，那么“观”则是由建筑师精心预设的“内心景观”观看系统。所以“观”是与一些特定设计的“窗口”（洞口、缝隙）相关联的，我们可以在尼洋河游客中心以及张轲后期设计的大量案例中，发现这种“观景窗口原型”；（6）游和览：具有不确定性特征的动线设计常常会让观赏者感受神秘探幽的乐趣，但过于隐秘的空间逻辑也会使建筑变得玄妙难懂，因此布置一些总览全局的“全景阅读场景”（可能是制高点或者全景视点）变得尤为必要，它将成为整个游览过程的真正高潮。

总之，尼洋河游客中心通过对重和轻、光和暗、实和空、内和外、景和观、游和览这一系列巧妙的张力平衡设计，使建筑从“地域性的概念化桎梏”中跳了出来，回归到空间本原，让我们领悟到源于地点又高于地点的空间神性。也许可以说，这种空间本原和空间神性才是具有打动人灵魂力量的真正地域性。

Comment

ZHANG Yuxing:The greatest resistance of architects is that against the non-purity of architecture. This kind of non-purity comes from various aspects: it may be the global image pollution that bombs the visual nerves every day, it may be an aesthetic stereotype that is endowed with authority by a certain discourse system,or, it may be some specious cultural concepts (such as the so-called regional, historical context, etc.). In the face of these redundant and complex phantoms of the world,the architect is like an ancient wizard who needs the greatest courage of condensation to awaken the hidden divinity of space hidden in architecture (and land), like awakening a grass seed to break through surface of the earth from deep in, and then evolves into a "self-growing space structural form". In a sense, good architectures should be "vegetative" and "animalistic". The Niyang River Visitor Centre is such a prototype space that can be called a "natural crystals". What the architect ZHANG Ke does is simple: "In a mass of vanity, remove the excess air, and the rest is architecture." Of course, in this natural crystallisation process, the most important method is to constantly purify the space and give the space inherent multiple tensions in the meantime, so that it can obtain the extreme abstraction of language logic and language form. This extreme abstraction is essentially perceptual (and sexy), because it projects the deepest biological nature of space.

It's safe to say that the "space purification experiment" of Niyang River Visitor Centre is very successful. It mainly explored the tension balance techniques of space in six aspects. (1) Heaviness and lightness: conversely expressing lightness and levitation with very heavy stones, or cutting heavy stone blocks with very light techniques,this contradiction dispels the cultural and regional symbolic characteristics of materials and structures,and highlights the spiritual attributes of freedom in the "control and anti-control" of the earth's gravity;(2) Light and shadow: the irregular geometric turning system eliminates people's location perception of light trails, so that light and darkness no longer have the regular properties of solar orientation, resulting in an intriguing "game divinity" like hide-and-seek;(3) Solidity and emptiness: the inner solid "wholly enwraps" the outer void (courtyard and outdoor open space),similarly, the conflicting forces of the solid being "wholly separated" by the void can also be experienced in the void; (4) Inside and outside: the inside of the building is not only "physical inside",but also "bodily inside" and "psychological inside",only by compressing the inside until it have enough"compact" and "insight" can the outside obtain infinite ductility and extensibility; (5) Scene and view:if the "scene" is a kind of unexpected user-defined viewing system, then the "view" is a "mind landscape"viewing system elaborately designed by the architect.So the "view" is associated with certain specially designed "windows" (openings, gaps), and we can find this "viewing window prototype" in the Niyang River Visitor Centre and a large number of later cases designed by ZHANG Ke; (6) Tour and Visit: the route design with uncertain characteristics often makes the viewer feel the fun of exploring mysteries, but spatial logic too secretive can also make the building abstruse and difficult to understand, so the setting of some "panoramic reading scenes" (may be high spots or panoramic viewing spots) that look onto the overall becomes particularly necessary as the real climax of the entire touring process.

In short, through a series of ingenious tension balancing designs of heaviness and lightness, light and darkness, solidity and emptiness, inside and outside, scene and view, tour and visit, the design of Niyang River Visitor Centre makes the building jump out from the "conceptual shackles of regionalism"and return to the space itself, so that we can feel the spatial divinity coming from the place but higher than the place. Perhaps it can be said that this kind of spatial primitive and spatial divinity is real regionalism with the power to speak to people's souls.(Tranlated by CHEN Yuxiao)