-
Architects: TJAD Rurban Studio
- Area: 32986 m²
- Year: 2022
-
Photographs:Li Yao
-
Lead Architect: Li Li
Text description provided by the architects. The Sui and Tang Grand Canal is the earliest and largest canal in the world. Sui-Tang Dynasties Grand Canal Culture Museum is an important node project of the national canal culture strategy. The architectural design mainly has the following characteristics:
The site is located in triangular land at the intersection of Luo River and Chan River, and the spatial organization is inherently limited. On the one hand, the architectural layout of the museum respects and echoes the central axis of the Tang Dynasty-style buildings that have been formed on the Luo River embankment. On the other hand, in terms of the internal space organization, it uses the progressive functional space layout layer by layer to avoid adverse terrain effects, forming a complete and continuous exhibition hall unit and a variable internal space experience.
In terms of architectural style, the museum is located within the scope of Luoyang City ruins in the Sui and Tang Dynasties, and a large number of landscape buildings imitating the Tang Dynasty style are planned around it. According to the usual thinking, this canal museum must be a Tang Dynasty-style building, Our design attempts to break away from the encirclement and bondage of imitating the style of the Tang Dynasty and look for different perspectives on the history and culture of the Sui and Tang Dynasties.
The Sui and Tang Dynasties was a peak period of the development of ancient technology in China. We grasped the technical characteristics of the ancient water conservancy projects of the Grand Canal in the Sui and Tang Dynasties, took the arch bridge structure erected on the Luo River as the prototype, and replaced the concrete imitation of the traditional style with the natural presentation of modern construction technology, so as to realize the dialogue between ancient and modern civilizations.
Dual application of structure: in the plane organization, the arch shear wall with transverse and longitudinal interweaving is adapted to form an effective two-way seismic structure system. In the section organization, the upper roof adopts prestressed concrete suspension plate & end concrete "Tang Dynasty tile" and the arched shear wall of the lower base to form a closed shear wall force transmission system. The structural features of plane duality form a clear indoor space structure through the pouring of fair-faced concrete with large formwork, while the structural relationship of section duality endows specific historical memory and cultural connotation through the combination of ceramic and blue brick materials.
The layout of the exhibition space breaks through the closed exhibition mode of traditional museums. Except for the exhibits sensitive to the influence of temperature and humidity, most of the exhibition halls are open and integrated with public space and park landscape. In terms of functional organization, the design especially strengthens the public conference area open to the Luo River in the South and the cultural and creative exhibition and education experience area open to the Grand Canal Park in the north, making the museum a veritable city living room.
The selection of main building materials emphasizes the principle of locality, i.e. "made in Luoyang". A large number of indoor and outdoor uses of the improved Luoyang three-color ceramic cladding, which better alleviates the alienation caused by the fair-faced concrete buildings and the defects in the internal space acoustics. Among them, the ceiling "Yunfan" is the world's largest ceramic ceiling artwork composed of 126986 three-color ceramic units. During the design process, we repeatedly discussed the samples with local craft artists in Luoyang, and combined traditional ceramic crafts with modern design and processing techniques to promote the innovative development of Luoyang's traditional ceramic industry.
