廊橋遺夢
——徐州萬科未來城示范區規劃與建筑單體設計

建筑方案設計：久舍營造工作室

設計團隊：范久江、翟文婷、余凱、沈逢佳、董潤進（實習）

項目地點：江蘇·徐州

項目規模：約1200㎡，其中展示中心600㎡

項目類型：銷售展示中心/社區中心

建成時間：2017年3月

建設單位：徐州萬科

顧問咨詢：上海萬晟建筑設計顧問有限公司

景觀設計：廣州山水比德景觀設計有限公司

室內設計：嶺界建筑設計咨詢（上海）有限公司

照明設計：上海品光照明設計

幕墻設計：上海安詢外墻工程設計有限公司/弗思特工程咨詢南京有限公司

照片拍攝：范翌、球爺（SHIROMIO工作室）

Architects: Continuation Studio

Lead Architects: Fan Jiu-Jiang, Zhai Wen-Ting, Yu Kai, Shen Feng-Jia, Dong Run-Jin(intern)

Location: Xuzhou, Jiangsu

Area: Approx. 1200㎡ (incl. 600㎡Exhibition Centre)

Genre: Sales Exhibition Centre / Community Centre

Completed Time: 03/2017

Client: China Vanke Co., Ltd. (Xuzhou Branch)

Consultants: Shanghai Wansheng Architectural Design Consultant

Landscape Designer: Guangzhou S.P.I Landscape Group

Interior Designer: VVS Architect (Shanghai Branch)

Lighting Designer: Shanghai Pinguang Lighting Design

Curtain Wall Designer: Shanghai Anxun Exterior Wall Engineering Design, Forster Engineering Consulting (Nanjing)

Photographs: SHIROMIO Studio

徐州萬科未來城，是萬科在徐州云龍湖畔已經啟動的超百萬方山水文化大城。而未來城的示范區，做為未來城地塊上第一個亮相的建筑群，某種意義上將為整座“未來城”的性格定下基調。

鑒于未來城巨大的建設體量，我們認為，展示區的主體建筑——銷售展示中心（未來的社區活動中心）必須回應大的城市山水地理結構關系。

在建筑功能布置上，我們將入口門廳、放映室、獨立洽談及后勤等所有需要小尺度空間的功能壓縮到主體建筑東側的附樓中，從而在主體建筑內部形成單一的大尺度展示空間。這樣的平面功能分布，不僅使主體建筑獲得最大的平面自由度，以適應前期銷售展示和未來業主社區中心的多功能要求；而且通過全立面玻璃幕墻的設置，使得主體建筑的體積感被消解，內部活動得以最大限度的向城市展現，建筑的公共屬性得到強化。

而與這樣純粹的建筑外部形態相匹配的，是一個極其繁復的內部構造。

2009年，我曾經探訪過溫州泰順及周邊山水之間的幾座木拱廊橋（北澗橋、溪東橋、薛宅橋和三條橋等等），站在廊橋下，仰望橋底那由短木構巧妙搭接組構而成的大跨，一種工匠智力與結構尺度產生的絕美令人驚嘆。之后的七八年間，我專程或路過，又進行了多次重訪。

2016年，其中的薛宅橋在我們最后一次到訪不到一個月后不幸毀于臺洪。

出于對廊橋這種中國傳統工匠技藝與短構大跨木結構之美的敬意，工作室在接觸徐州萬科未來城項目之前，就已經將這種結構體系制作成手工模型學習，并且希望有機會能在合適的項目里再現這種木構之美。

因此，在這個既具備單一大空間的展示性，又需要通過建筑語言對萬科的價值觀和技術實力進行展示的項目中，廊橋下仰視的構件表現力就成為了我們的首選。而大空間前設置的水院將會把仰視的圖像在水中二次呈現。

我們用不同長度的600mmx200mm長方形截面的現代集成木材（膠合木）為基本構件，將原本廊橋體系中上下木構件之間的橫向支點構件（大牛頭/小牛頭），用前后木構件重疊處橫向貫穿木構件的小截面鋼管代替。通過這個方式，突破了傳統廊橋結構體系受壓的單向起拱特性，使得正反連續三角體系得以成立，也獲得與傳統廊橋結構坡度相比較為平緩的起伏，以適應建筑形體舒緩的屋面線性，木構架整體單向涌動的動勢也更為直接與流暢。

最終，當四面通透的玻璃幕墻將木構架作為這個殿堂的永久展品展示出來的時刻，一種隱匿的過去仿佛如幽靈般被呼喚召回。

結構真實與場所再現

在這個項目方案過程中，結構的真實性與場所再現的問題在工作室內部其實經過了反復的討論。

木構架自身的剛度和屋面承載力經過計算是足夠的，但是為了將木構架推向空中，四面臨空，獨立的單跨柱子難以形成有效的框架對抗側向力。加上在初始方案中，幕墻中的上下兩塊玻璃是「上部受拉，下部受壓」的玻璃肋體系（但最終因為結構變形和造價控制等原因加了型鋼立柱，幕墻的重量完全落地），當屋面加上上部玻璃的重量都施加在懸挑木結構的端部時，木結構的截面尺寸和節點做法都會有較大改變，對形式的影響太大。因此，木構架在本案中最終并沒有作為主體結構體系的角色呈現，真實的結構是八根鋼結構柱與屋面內暗藏的鋼梁框架體系（有效抵抗了木構架缺失的抗側向力的能力），木構架由柱子和頂部框架內的吊索固定在空中。廊橋木拱的受力體系在這個方案中并沒有發揮原有的結構作用，這對于建筑師來說畢竟是無法忽視的遺憾。

但也正是因為這樣的取舍，屋蓋和木構架得以分離。在設計施工周期壓縮在七個月的超短時間內，各專業才有可能實現最終的效果。在最終的呈現中，木構架和屋頂獲得了某種「懸浮」的直觀感受，屋面的「輕」與木構架的「重」形成了強烈的反差，一種廊橋下的場所氛圍被神話般的再現。

Located by the Yunlong Lake in Xuzhou, occupying over a million square metres, the launched project Vanke Future Town is a grand community with abundant landscape resources, wherein the demonstration area, as thefirst set of architectures to make an entrance to the land, will set the tone for the whole ongoing project.

The sales exhibition centre (which will later be converted into a community centre) is designed to be in proportion with and refiects the vast scale of Future Town and the geographical structure of the city.

Small spaces for the entrance hall, screening rooms, separate meeting rooms and rear services, etc., is compressed into the east wing, ensuring a single piece of large – scale space for exhibition in the main building.This layout has granted the main building an openfioor plan to achieve the multiple functions that it requires for exhibitions and as a community centre. Meanwhile, the abundant glazing of the facade gives views out to the city, reducing the architectural volume as it connects with the external space, enhancing its public characteristic.However, in contrary to its sheer appearance, inside of the main building is a set of exceedingly complex and exquisite structure.

In 2009, I visited a few ancient timber arch bridges (Beijian Bridge, Xidong Bridge, Xuezhai Bridge and the Santiao Bridge) in Taishun, Wenzhou, and its surrounding area in person. Looking up to the overlapping short timbers constructing a long-span structure, I was smitten by the beauty of its form, scale and the wisdom of the craftsmen. I since then had been revisiting them in later years.

Yet, unfortunately, in 2016, less than a month later after my last visit, Xuezhai Bridge was demolished by thefiood.Our studio has since then been studying these traditional bridges and hand modelling their long-span structure constructed of short timbers, as a tribute to the traditional Chinese craftsmanship, in order to apply its structural beauty to our projects in the future.

As in this project, the bridge structure is introduced into the large-scale exhibition space, as a piece of expressive element to be viewed from below, as a demonstration of Vanke’s technical strength and value. It is also refiected in the water patio in front of the main space.

600mmx200mm glued laminated timbers with different lengths are used as basic components. Moreover, the part works as a horizontal fulcrum between the upper and lower timbers in the original bridge structure is replaced by steel tubes, which now support the timbers by weaving in where they interlock together. With this approach,different from the unidirectional arch the original structure performs for pressure-bearing, it establishes a system of continuous triangles and inverted triangles, which slopes rather gently in comparison to the original.

When this set of wood structure isfinally put up as a permanent art piece inside of the showcase that is this exhibition space with pellucid glass curtain walls on all sides, it is felt as though the history and traditions had been lost in time is recalled to our present.

The Authenticity of the Structure and the Recreation of the Spatial Impression

The authenticity of the structure and the recreation of the spatial impression have been discussed repeatedly in the studio as the project progresses.As we attempted to apply the structure as a ceiling that acts as a part of a force bearing structure, its stiffness and bearing capacity has gone through calculation to meet the requirements. However,the force bearing structure it forms with a group of pillars is still not able to resist lateral force when being up in mid-air. In addition,in our original proposal, the glass curtain walls with group of glass ribs was adopted, which was suspended from the timber structure ceiling (said approach was eventually replaced by the current proposal that is to support the glass curtain walls with steel studs). To achieve this vision, the requirements on the timber structure’s bearing capacity would be raised, which would lead to the significant alteration of the piece’s appearance.

Therefore, the timber piece does not act as the major structure in the force bearing system. Instead, it is supported by a group of 8 steel columns and suspended from steel beams hidden in a roof above. The latter reinforcement dismisses the lack of lateral resistance in the previous approach as the piece hits mid-air. It,although, has been a great pity, since the timber piece does not physically act as a bridge, by which it is inspired.

If it weren’t for this trade-off, however, the construction wouldn’t have been simplified, in order to be accomplished with the given time as short as 7 months. It also endows a visual sensation of floating to the space, when the suspended lumbersome looking timber piece appears to be levitating in the air, making a striking contrast with the lightsome roof above. The recreation of impression on the place from where I gazed upon the bridge underneath is effectuated.

不同的結構形式對空間的限定

構件組合

受力體系的轉變