中國版畫藝術博物館

地點：廣東省深圳市觀瀾湖地區

用地面積：16 800平方米

建筑面積：18 680平方米

主要功能：美術館、博物館、交易中心、研究和教學

建筑設計：CCDI 悉地國際

結構設計/機電設計：CCDI 悉地國際

設計/竣工：2009/2014年

Location: Guanlanhu, Shenzhen, Guangdong Province, China

Site Area: 16,800 m2

Floor Area: 18,680 m2

Function: Art Gallery, Museum, Trading Center, Research And Teaching

Architectural Design: CCDI

Structural Design/M&E Design: CCDI

Design/Completion: 2009/2014

作為一門藝術、一個時代、一片產業的某種象征，深圳與版畫，彼此有著暗合的機緣。位于深圳城市北郊的觀瀾版畫原創基地，在原深圳客家村落大水田村的基礎上改擴建而成，這里也是中國新興木刻運動的先驅者、中國第一代版畫大師陳煙橋的故鄉。占地30 萬平方米的版畫村，將現代版畫工坊與和客家古村落融合，以一種自發而完善的市場化機制進行運作。大水田村依山傍水，水塘、古井、碉樓構建成獨特的客家風情，成為都市繁華之外隱藏的一塊凈土。

設計方案包含了兩條重要的軸線：其一是由現有村落（一條客家古街和一組舊廠房）向內延伸，形成一條貫穿基地南北的“時光軸”，以示歷史文脈的留存，舊建筑前的月牙形水塘正代表了客家文化的特征；其二是與基地上兩座山丘制高點連線垂直的“景觀軸”，遙望高爾夫球場。美術館主體被抬高架設于兩個山丘之間，美術館形體折起，形成虛空的體量，讓出時光軸，使之延續和山體相連。建筑主體的折起，為南方氣候下的場所提供一個有陰影的覆蓋，與“時光軸”垂直相交，成為一個匯集展覽、工坊、咖啡廳等多種功能活動的、多元的公共開放空間。主入口廣場選擇靠近古碉樓與水塘的地方，成為舊建筑與新建筑戲劇性碰撞的交點。

As a symbol of art, era and industry, it is coincidental to witness print art in Shenzhen. Guanlan Original Print Art Base on the northern suburb of Shenzhen was rebuilt on the basis of the original Hakka village named Dashuitian, which is also the hometown of Chen Yanqiao, a pioneer of China's new woodcut movement and one of the first generation of Chinese printmaking masters. Covering an area of 300,000 square meters,the printmaking village integrates the modern printmaking workshop with the ancient Hakka village and operates with a spontaneous and perfect market-oriented mechanism. The Dashuitian Village nestles under a mountain and near a river, in which the ponds, ancient wells, and watchtowers form a unique Hakka style,becoming a secluded land outside the hustle and bustle of the city.

The design plan contains two important axes: one is to extend inward from the existing village including a Hakka ancient street and a group of old factories to form a "time axis" that runs through the north and south of the base, so as to show the preservation of the historical context. For instance, the crescent-shaped pond in front of the old building represents the characteristics of Hakka culture; the second is the "landscape axis",that is perpendicular to two hilltops on the base overlooking the golf course. The main body of the museum is elevated and erected between two hills. The shape of the museum is folded up to form a void volume,giving way to the time axis, making it extend to connect with the mountain. The folded main body of the building provides shelter for this place in south China which is exposed to direct sunlight for long periods. It is perpendicular to the "time axis", becoming a multifunctional public space integrating exhibition, workshop and cafe. The plaza at the main entrance is adjacent to the ancient watchtower and pond, serving as the dramatic intersection of the old building and the new one.

建筑的公共空間設有展廳、畫廊、藝術書吧、手藝工作室、多功能學術報告廳等多種功能；北部的工作區域則設有辦公室、學術交流部、展覽部、典藏研究部、公共教育推廣部等部門。相應的交通流線也比較復雜。展廳雖設有電梯，但我們更提倡以內部慢行交通組織作為體驗這座建筑的最佳方式，折疊的體量下，存在幾條不經意的漫游流線，印證著這座建筑與周邊環境的歷史新舊關系。除了多種參觀路徑外，建筑師為科研辦公人員設置了從東北側二層進入的專屬流線；為版畫展品設置了從地下車庫通過貨梯抵達各層展廳的專屬流線；位于東南側的文化服務空間，可以作為重大節事的主入口。

為了實現架空層的大跨空間體驗，博物館主體采用鋼桁架的結構體系，通過四個核心筒支撐。出于功能需求，版畫交易大廳采用局部大跨，8.4m×8.4m 的柱網在局部升級為8.4m×16.8m,結構相應局部采用寬扁梁結構體系以獲得更好的內部空間。既然鋼結構桁架是保障建筑的架空和抬起的力學邏輯，那么，這一結構本身也應該成為建筑體驗的一部分。展廳室內桁架在滿足展墻功能需求的同時，盡可能暴露在觀眾視線中，成為空間的視覺重心，體現出結構力學的真實性。這里，結構與建筑是一種有機關系，暗指整體與局部、構架與細部之間存在必然的、不可分離的聯系。

The public space of the building is complete with exhibition hall, gallery, art book bar, craft workshop,multifunctional academic lecture hall and other functions. The work area has several departments such as office, academic exchange department, exhibition department, collection research department, public education promotion department. The corresponding traffic lines are complicated. Although there is an elevator in the exhibition hall, it is advocated that walk serves as the best way to experience in the building.Under the folded architecture, there are several inadvertent roaming traces, which manifest the relationship between the building and surroundings. In addition to a variety of visitors’ passages, the architects set up an exclusive path for office staff engaged in scientific research to enter from the second floor at the northeast side. They also set up an exclusive path for printmaking exhibits from the underground garage to the exhibition halls of each floor through cargo elevator. The cultural service space on the southeast can serve as the main site for events.

In order to realize the large-span space experience of empty space, the main body of the museum adopts a structure system of steel truss, supported by four core tubes. Out of functional requirements, the trading hall of print art adopts big-span structure partly. Some column grids of 8.4m ×8.4m are upgraded to 8.4m×16.8m,and the structure adopts a wide flat beam for a better internal space. Since the steel structure truss is the mechanical logic that guarantees the overhead and lifting of the building, then this structure itself should also become part of the architecture. While meeting the functional requirements of the exhibition wall, the indoor truss of the exhibition hall is exposed to the audience's sight as much as possible, becoming the visual focus of the space, reflecting the authenticity of structural mechanics. Here, structure and architecture are an organic relationship, implying that there is an inevitable and inseparable connection between the whole and parts, the framework and details.