In the late 19th and early 20th centuries, Chinese architectural history had not yet formed an independent discipline, and its voice over Chinese architectural history was completely in the hands of Western and Japanese scholars. In 1930, Mr. Zhu Qiqiun published the "Holding Lyrics of the Chinese Creation Society ". As the first academic institution in modern times to study ancient Chinese architecture, the "China Creation Society" was established in Peking. Architects Liang Sicheng and Liu Dunzhen became the actual host of the society's research work. In 1931, Japanese imperialism brazenly launched the "September 18th" Incident. In a period when Chinese society is facing tremendous changes, how to correctly understand Chinese history and how to correctly understand the status of Chinese architecture in world architecture is the original intention of the establishment of the "Creation Society".
Zhu Qiqiqian, founder of China Construction Society,
Image source: China Construction Society Memorial Hall, School of Architecture, Tsinghua University, School of Architecture,
China Construction Society was established in 1930 and ended in 1945. In the fifteen years, the pioneers of the Creation Society represented by Liang Sicheng, Liu Dunzhen, Lin Huiyin, Mo Zongjiang, and , surveyed a total of 190 counties and cities, including 2,738 ancient buildings before 1937, and 206 large and large buildings were surveyed in detail, and 1,898 surveying and mapping artworks were completed. After 1937, due to displaced, the accurate data was untestable. They combined Western architecture, surveying and mapping with Chinese bibliography, and under difficult conditions, they independently created the disciplines of Chinese architectural history and cultural relics protection.
1934 Lin Huiyin was at Lingyan Temple in Xiaoxiang Village, Fenyang , Shanxi. She participated in the Construction Society’s field inspections and published articles in the Society’s publications. (Photo source network)
html Looking back after 90, the work of creating a society is still talked about by today's architectural history scholars, and provides important reference value for the current research and protection of ancient architectural culture. 2020 is the 90th anniversary of the founding of the China Construction Society. Here we share and excerpt the article "Space Narrative of Museums Exhibition in Ancient Architecture" (Fourth Edition of "HTM1 Beijing Ancient Architecture Museum Literature Series", published by Xueyuan Publishing House), and enter the research and protection of ancient architectural culture in the new era and feel the charm of Chinese ancient architectural culture.
spatial narrative (excerpted)
text/Cheng Xu (Associate Researcher of Capital Museum)
According to statistics, there are nearly 100 museums in Beijing alone for display in ancient buildings. In recent years, with the renovation and update of ancient buildings museums, its exhibition content has undoubtedly enriched the cultural diversity of Beijing area. The organic combination of modern exhibition design style and ancient building space constitutes cultural quality, which is more necessary to summarize the regularity.
1,
Spatial ideas for display of ancient buildings
In the past decade, a batch of Chinese ancient buildings exhibitions have been completed. It is also obvious that there is still a gap in the concept of renovation of museums in ancient buildings in the same period. , especially in the issue of ancient buildings heritage, we adhere to the protection method of repairing the old as the old, coexisting the original Western style of the new and old, and even in the traditional ancient building museums in ethnic areas. , but the way of preserving heritage is unified and the last spiritual pure land that we adhere to. In the ancient building space design , our traditional museum performance is "new wine in old bottles", and we hardly dare to step beyond the line of innovation and change in the ancient building itself. Especially in the application for World Heritage, Japan's performance also gave the world an inspiration. Japan's famous ancient building Ise Shrine applied for World Heritage. First, it weakened the relationship between the building entity and the city coordinates, and demolished the temple every 20 years. It was called "Shi Nian Moving Palace" in Japan, decomposing wood and transmitting it to temples across the country for worship. The reconstruction is strictly followed by the methods handed down from ancient times. Japan's application for World Heritage Heritage to the World Cultural Heritage refers specifically to the construction process, rather than the building itself. The difference is that they value invisible spiritual wealth such as craftsmanship and methods, which triggers the nation's thinking on spiritual beliefs.
. We value tangible things more: a Buddha's temple, a yellow crane tower, and the internal reconstruction of Juanqinzhai in the Forbidden City must be kept to be visible and tangible. The entertainment reporting model that is eager for quick success and instant benefits has cultivated that Chinese people only focus on results and only look at conclusions. Those invisible craftsmanship, crafts and processes have been greatly ignored and downplayed.
Japan Ise Shrine
With the advent of the digital media era, how to design an ancient building exhibition under digital informationization? How to mobilize artistic language? Jiang Xun said: No matter how much knowledge without a knowledge system is, it is garbage. Similarly, our museums have a large number of non-utilized "information islands" phenomena. How to avoid the blind spots of knowledge hidden and unused in the vast heritage treasure house? is also the current excavation content of museum people who have "large investment and small results". Therefore, the task of revitalizing the heritage stock and creating cultural productivity is very arduous.
digitalDunhuang Museum and scenic spot tourism promotion, followed by digital images of Longmen Grottoes and Datong Yungang Grottoes. These ideas tell the stories behind ancient architectural heritage and cultural relics, integrating universal resources with urban cultural highlights, and tells the remains of the relics on the original immovable remains, which in turn prompts the local heritage consciousness.
Luoyang Longmen Grottoes Night View
Many practices of holding exhibitions in the space of ancient buildings in my country are still being explored, especially the traditional exhibition model has formed a bottleneck for holding exhibitions in the building of ancient buildings. vigorously develops museum construction, and has not forgotten the museum display and updates in ancient buildings and promotes it to the community. It has always assumed the responsibility of using ancient buildings to spread the museum's heritage to protect its heritage. This also reminds us of an eternal proposition of ancient buildings: a city and a museum are so closely related.
2,
The design composition of Western ancient buildings
The ancient buildings museums that are eye-catching in the West include Louvre , Orange Museum, Osay Museum , etc. What surprised us the most is that gathers all the heritage resources of the ancient building heritage and pays tribute to the classic museum, instead of demolishing or recreating new ancient buildings on the spot.
Liang Sicheng pointed out very early: Western palace architectural planning is actually consistent with China, with symmetry, stone and wood structure, transparent lighting; then when studying exhibitions in ancient architectural spaces, they all have consistent social value in the use space. The designs in ancient Western buildings are much better than us. Why is this? In the design of interior facade space, ancient Western buildings can be subdivided into:
(I) Space-time continuous
Continuous space-time environment is also a feature of ancient palace groups, and design innovation is internationally recognized. Several renovations of the metropolis were all centered on public service. The director changed the original door to the front of the traffic to the street, and strengthened the gorgeous decorative effect of the palace building. This move is unusual and the audience praises it, indicating that citizens recognize the new entrance and new image of the city landmarks.
New York Metropolitan Museum interior
(II) Mobile space
Characteristics of Western ancient building space: tall and well-connected without beams and columns, adhere to the node modulus, and interspersed with multiple relationships in the space content. However, it is very inspiring to see exhibition design and curatorial planning in ancient Western buildings. Looking back at the British Museum, the V&A Museum built in 1853 and the British Natural Museum, the buildings and ruins of the old museums are now well preserved, but the mobile spaces for visitors to see exhibitions in ancient buildings are relatively calm, and the behavioral norms show a viewing model of early museums. We can’t see any exhibition boards in the interior wall design of the exhibition, but they are all on the wall in real objects and are placed in a classified manner layer by layer.
Total view: The physical display of the exhibition in the ancient building is very dense, but the flow space left for the audience from the experience is obviously loose, and the time of viewing the exhibition is calm, which shows that the design pays great attention to the relative spatial scale of the ancient building.
Lushun Museum Wooden display cabinet exhibition area
(III) Flexible partition
In the mid-1980s, the old station was transformed into an art palace. The Orsay Museum is a cultural focus in Paris. The successful experience still has research value. Italian female designer Gallant found a design starting point for urban museums from the industrial context of postmodern metaphor, with city squares and ships full of treasures, with narratives ready to go.The exhibition space combines French industrial civilization with the glory of the seven World Expo, which has produced a practical role in promoting Paris urban tourism.
Premier plan in Paris Osay Museum
(IV) Space utilizes the excavation space of the Singapore History Museum. It is the content of the hollowing out of the mountain behind the palace building "hidden" to form the new museum, and has become the best interpretation of the museum's renovation and expansion. This is also a huge project in the history of the renovation of old museums in ancient buildings. The public space is equally wonderful as the exhibition area. As a surrounding university campus, the cultural value of this museum has also been greatly improved.
The spaces in the ancient building museums of the East and the West have been promoted in cultural design, opening up the principles of change and technical standards for us. In this conversation, we clearly discovered that the value of ancient architectural heritage is the cultural heritage of the whole world and the common wealth of mankind. Let Westerners understand our cultural communication and also make Beijing go to the world . As a cultural export, ancient buildings are the best way to export culture, and they are also the best communication medium and bridge to bring them closer to Eastern and Western cultures.
Singapore National Museum Appearance
Singapore National Museum Hall
3,
Three-dimensional expression of modern ancient buildings
Restored and transformed from the Shouhuang Hall of Jingshan Park to the north starting point, Shenwumen large space held a large-scale weather of "Zhang Ting Jiao Ink Landscape", the Meridian Gate Exhibition Hall designed by Lang Hongyang team, the Digital Forbidden City Exhibition at Duanmen, Zhongshan Park Zhongshan Hall Memorial Hall, Zhengyangmen Historical and Cultural Exhibition, and the Old Beijing Folk Fair of Zhengyangmen Arrow Tower, etc. These rich exhibition cases push Beijing's central axis to the cultural peak.
Through outstanding performance in ancient Chinese buildings in recent years, it has shown continuous innovation trends and trends, which also provides Chinese expressions and national images for the renovation of museums in ancient Chinese buildings in the world.
Beijing Time Museum
(I) Feeling shape
Modern architect Ma Yansong 's "hutong base" is a master of expressing the texture of the capital. We found a kind of humor and shape of the spatial scale dialogues with our mutated home and courtyard through reflecting the curved mirror, exaggerating the familiar space into a mirror, which brings endless imagination to life.
Mayansong Hutong Big Eyes
(II)Print of Transparency
Continuous transparency is also a visual experience that can be used in the exhibition halls of ancient Chinese buildings. Unlike palaces, continuous space can make the story form interesting. In Yili Grand General Mansion Exhibition, uses continuous advancement and series of spaces to read a story about the General Mansion exhibition during the process of moving. viewers also forgot the time and space. As soon as they went out, they turned out to be the main hall of the office office, and these stories were all implemented in the court.
Yili General's Mansion Exhibition
(III) Structural exposure
Structural exposure is a legacy of ancient architectural exhibitions. We found that when displaying ancient architectural models, the expression of architectural structure has been a highlight of spatial design, especially the understanding of processing the structural atmosphere into a construction site, including building products, architectural processes, paint paintings, architectural skeletons, building cutouts, building stacking materials, building raw materials, architectural drawings, architects, etc. In this way, the understanding of an ancient building is three-dimensional. deconstructionist architects were also inspired by this, deconstructing several different fragments and structures of the building and reorganizing and proposing related highlights to form a new architectural context.
Beijing Ancient Architecture Museum Construction Exhibition Area
(IV) Light use
The main hall of the ancient building is very poorly transmitted, and the lighting requirement for the exhibition hall is far from enough.On both sides of the front, either the sun is hotter, the sun is hotter in the morning, or the shade is shining at night, all have a direct impact on the exhibits and the facade. However, in order to avoid contradictions, most museums have completely closed the dark room and illuminated them with lights, wasting natural light given by nature for free.
The exhibition hall windows of the Beijing Ancient Architecture Museum retain the light transmittance, and the morning light first shot into the exhibition hall. In order to protect the exhibits, the frosted glass is designed to provide variable angle shading.
Beijing Ancient Architecture Museum Glass Window
4.
Wall decoration of ancient building space
Compared with the complex structure of beams and caissons, the facade of the inner space of the ancient building is surprisingly simple. The reason is that during the construction of ancient buildings, the walls assume the load-bearing role. Many ancient building restoration projects see the final wall enclosure, which also shows that the walls have not changed much. The function of the inner wall of ancient building is to serve as a dividing line of the building boundary, or a whole container. There are also divisions and spaces for lifting frames, three or five entering the courtyard, and nine widespreads between the Taihe Hall, reflecting the modulus relationship of ancient buildings.
(I) Mural decoration
entrance has a compendium hall, and the combination of ancient building exhibition murals and exhibition walls is essential. The auxiliary space for large-scale landscape background paintings and character scene settings also requires the implantation of murals. The main reason is that the decorative form of the museum and the landscape are becoming more and more popular with the audience.
However, there are many conditions and restrictions on murals in ancient building museums, requiring the original appearance of the wall to be preserved, and the fake wall enclosure display boards are rebuilt, which is completely separated from the ancient building. Some experts in criticized this as building a house in a house and taking off his pants to fart. The long scroll of the mural is horizontal and horizontal, and the span is passed through several compartments, which is the exhibition's modulus system, and designers should pay special attention.
Beijing Fahai Temple mural
(II) Linear and surface combination
The most typical one is the caisson in the Longfu Temple in Beijing Ancient Architecture Museum. The surrounding steel beams are erected and hung up in the air to display them in the sky. This renovation is the first time that LED lighting is used to make the sky inside the well crystal clear and brilliant. The "caisson" is the most advanced form of ceiling in ancient buildings, very much like the dome in the west. However, the hollow design of the caisson and the complex wooden structure make it one of the most flammable parts of the building. "Using water to avoid fire" often goes against your wishes.
After the exhibition and renovation of the Dazhong Temple Museum, what impressed the most was the hanging ancient bells, which echoed from the original sound of knocking and firing "points" to the boundary inscription records of the border inscriptions. This is the relationship between the line and the surface covering the capital. If the ancient bells of Dazhong Temple are ringing one by one, then it is the origin of the ancient craftsman casting masters who communicate with us.
Beijing Ancient Architecture Museum in Longfu Temple Cachariot
Beijing Dazhong Temple Ancient Clock Architecture Museum Exhibition Area
(III) Wall Decoration
Beijing Jingshi University Hall Lobby renovation is to use a new space box, and the wall decoration is clean and white, improving the reception and display functions. The design only leaves the original architectural symbols of the representative meaning, and the planning of the reconstruction and dialogue of the heritage space has enhanced the value of the original space.
We are integrating into the ancients, and colorless repair is a tribute to the ancients. Therefore, it is said that the restoration of the Peking University is to some extent salute to the philosophers of the Republic of China.
年大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大� From this, the Qinglongqiao Station, which was the route of the Beijing-Zhangjiakou Railway in 1905, was the parking lot of the "herringbone" railway. The station was also fully restored and renovated. The exhibition and display of the station restored the office of the President, the waiting room for men and women, ticket room, etc. After the station was renovated, the Beijing Railway Bureau made the deployment of the tourism dedicated line for this purpose. Swipe the bus card to get off at Qinglong Bridge and stop for 8 minutes to take a photo with Zhan Gong. The terminal station was climbed to Badaling Great Wall and visited the Zhan Tianyou Memorial Hall. In this way, the three-point cultural facilities of the former Beijing-Zhangjiakou Railway were connected. In order to enhance the image memory of young people in urban memory and national heritage, the design grasps the entire color of modern industrial heritage and follows historical heritage.
Interior view of the exhibition area of the Beijing Railway Architecture Museum
Beijing Qinglong Bridge waiting room exhibition area planning map
5,
Conclusion
As a unique "spatial art" heritage, ancient Chinese architecture casts a majestic and majestic silhouette on the eastern horizon. is a systemic and unique in the history of world architecture, and is an important part of the splendid culture of ancient China. The magical civil structure, outstanding scientific and technological achievements and charming artistic style make China create a beautiful philosophical spirit, serious ethical thoughts and brilliant human brilliance everywhere.
. We are greatly behind the renovation of Western palace museums, especially in investment and theoretical research. Domestic large, medium and small museums are also weaker than the West. 2013 Chinese architect Wang Shu Ningbo Museum, the intended urban wall is the decorative surface of Ningbo ancient city bricks. It uses the landscape intention of Chinese painting to combine spaces, abstractly extract Chinese elements and create a museum space needed by modern society, which often adds a bit of mysterious color to the exploration topic of ancient buildings. There is no doubt that the Pritzker Prize is a new starting point for my country to explore the integration of ancient building materials and new museum buildings, and it also continues for a new generation in the future, and will continue...
References:
1. Yang Yongchang "French Building Environment Design", China Construction Industry Press 1995 edition. 2. Wang Qijun's "Cultural Architectural Design", 2008 edition by Machinery Industry Press. 3. Philip Judideo's Complete Works of I.M. Pei, 2015 edition of Electronics Industry Press. 4. Beijing Archives Capital Museum "Beijing's Hutong Siheyuan", Beijing Yanshan Publishing House, 2012 edition. 5. Zhang Fu reviewed "History of Modern Architecture in Beijing", published by Tsinghua University in 2004. 6. "Xuannan Hongxue Tuzhi" by the Chinese Academy of Architectural Sciences, China Construction Industry Press, 2002 edition.
"Beijing Ancient Architecture Museum Literature Collection"
Beijing Ancient Architecture Museum Edited by
lock line glue 16 open
Xueyuan Publishing House Published by
Beijing Ancient Architecture Museum is the first thematic museum in my country to collect, study and display reflect the history, architectural art and architectural technology of ancient Chinese architecture. It is located in Xiannongtan on the west side of Yongdingmen Street. This series of books is a collection of papers from the Beijing Ancient Architecture Museum. It has been published in five volumes and is written by relevant experts and personnel organized by the museum. It includes research on the cultural theory of ancient Chinese architecture, historical traceability of cultural relics and ancient buildings, inspection records, research reports, and examples of ancient building repair projects, etc., and has certain academic value.
"Practice and Theory of Cultural Relics and Building Protection" series
This series includes the results of several generations of cultural relics workers' research and protection of cultural relics and buildings since the reform and opening up. This is the first attempt to edit and publish all types of cultural relics protection work, including the repair and protection of ancient buildings, the repair and protection of ruins, modern and modern buildings, the protection of stone cultural relics, structural inspection and protection, engineering record, protection theory, etc. The book contains the theory of cultural relics and building protection that has been tested over the years and the latest academic achievements. For example, the theory of industrial historical site protection and renewal methods for the first time is systematically proposed, which is of great reference value.The project record fully records the detailed project quantity information in the protection of cultural relics and buildings, providing precious historical materials for future research.
series organizes and records the protection and repair of cultural relics buildings from the perspectives of architectural history, preliminary research, field investigation, design and repair, engineering materials, etc. The book lists all the key cultural relics protection units in the country or the most representative cultural relics protection cases, such as: the first case of the country's overall relocation and protection project, the representative project of cultural relics protection work in the past 40 years, the Xiwo Grottoes in Xin'an, Henan; the only inverted tower with large tops and small bottoms seen in my country; the ancient building complex of Dagaoxuan Temple in Anyang, Henan, which records the original information of the first comprehensive renovation project in history in detail, etc. What is particularly precious is that the drawings of each protection case are fully presented.
has published "Research on the Overall Relocation Protection of Xiwo Grottoes in Xin'an, Henan", "Research on the Protection of Tianning Temple Pagoda in Anyang, Henan", "Research on the Repair and Protection of Zhujia Courtyard in Banan, Chongqing", "Research on the Repair and Protection of Peng Family Houses in Banan, Chongqing", and "Research on the Protection and Update Methods of Industrial Historical Areas", and plans to publish more than 100 kinds.
xueyuan Publishing House
Copyright cooperation/submission please send to the email
