赤峰市红山风景区位于赤峰市红山西南侧，占地面积为3.3平方公里。红山风景区是红山遗址群保护范围和红山国家森林公园的外围边缘地带。“红山文化”内涵丰富，最具代表性的就是被誉为“中华第一龙”的红山文化玉龙，是我国历史上最早的龙形玉器造型之一。为进一步推进红山文化申遗工作，提升景区文化景观和旅游价值，考虑拟在红山公园内建造红山文化展示中心。展示中心设计总用地面积约30100平方米，总建筑面积约8000平方米。

Red Mountain Scenic Spot is located on the southwest of Red Mountain in Chifeng City, covering an area of 3.3 square kilometers. Hongshan Scenic Spot is the protection area of Hongshan Site Group and the fringe area of Hongshan National Forest Park. “ongshan Culture” is rich in connotation, and the most representative is the Hongshan Jade Dragon, known as “the first dragon in China”, which is one of the earliest dragon-shaped jade shapes in Chinese history. To further promote the application of Hongshan culture as a world heritage site and enhance the cultural landscape and tourism value of the scenic area, it is considered to build a Hongshan Culture Exhibition center in Hongshan Park. The design area of the exhibition center is about 30100 square meters, and the total building area is about 8000 square meters.

形式的意义
Meaning of form

“缘起”——“红山文化”是一个距今五、六千年间在燕山以北、大凌河与西辽河上游流域活动的部落集团创造的农业文化，全面反映了中国北方地区新石器时代文化特征和内涵。红山文化的发现和被真正认识是中华文明史上一件划时代的大事，红山文化的发现则有力地证明，早在5000年前，我国东北辽西与内蒙古东部一带,确曾存在一个初具国家雏型的古老文明社会，这就把我国古文明社会的历史向前提了一千多年，翻开了中华文明新的篇章。

“Yuanqi” — “Hongshan Culture” is an agricultural culture that has been active in the upper reaches of the Daling River and Xiliao River in the north of Yanshan Mountain for five or six thousand years, which fully reflects the cultural characteristics and connotation of the neolithic culture in northern China. The discovery and real recognition of Hongshan culture is an epoch-making event in the history of Chinese civilization. The discovery of Hongshan culture effectively proves that as early as 5000 years ago, there was indeed an ancient civilized society in the northeast of Liaoning and the eastern part of Inner Mongolia, which premised the history of China’s ancient civilized society for more than 1000 years. It opened a new chapter of Chinese civilization.

1探索历史现场  掀起文明篇章
Exploring historical sites and setting off a new chapter of civilization

“考古现场”：赤峰的红山文化、考古文化有着独特的历史性、地域性，设计考虑将这种历史文化隐喻在建筑之中，通过建筑空间的营造，提供一处可以感受历史、认知文明的场所空间，建立一个与历史互动亲和的纽带，扩展展示中心这一场所的公共参与性。

“Archaeological Site”: Hongshan culture and archaeological culture have unique historical and regionalism. The design considers this historical and cultural metaphor in the building. The construction of architectural space, it provides a place to feel history and recognize civilization, establishes a bond that interacts with history, and expands the public participation of the exhibition center.

建筑设计顺着这样的思路，在建筑中间设计一条开裂、迭落的广场空间，通过向下的斜坡将游人引领入地下广场，营造一种考古的场景特征，犹如一次考古之旅，组织参观人流开始探索红山文化的历史深度。两侧的红色锈钢板墙体通过一些连续生动的墙体浮雕等展示手段，让游客在进入展馆之前就开始领略红山文化。

The architectural design follows this idea, designing a cracked and overlapping square space in the middle of the building. Through the downward slope, visitors are guided into the underground square to create an archaeological scene feature, like an archaeological journey. On both sides of the red rust steel wall through some continuous vivid wall relief and other display means, visitors begin to enjoy the Hongshan culture before entering the exhibition hall.

“文明篇章”：斜坡屋面形成连续的草坡状，与周边环境自然衔接，使之隐入自然环境之中，两侧屋面的弧形起翘，有如翻开一页历史书篇，寓意红山文化掀起了中华文明历史长河之中一页新的篇章。

“Civilization chapter”：The slope roof forms a continuous grassy slope shape, which is naturally connected with the surrounding environment so that it is hidden into the natural environment. The arcs of the roof on both sides are upturned, like opening a page of a history book, implying that Hongshan culture has set off a new chapter in the long history of Chinese civilization.

红山文化展示中心立意为“探索历史现场. 掀起文明篇章”，不仅点明了展示中心所在地赤峰的场址特征，抽象概括并彰显了赤峰红山文化作为中华文明重要发祥地之一的历史地位。

Hongshan Culture Exhibition Center stands for “Exploring historical sites and setting off a new chapter of civilization”, which not only points out the site characteristics of Chifeng, the location of the exhibition center, but also abstractly summarizes and highlights the historical status of Chifeng Hongshan culture as one of the important birthplaces of Chinese civilization.

2提炼红山文化  再现实景红山
2.Refining Hongshan culture and reproducing real scenes of Hongshan Mountain

红山文化：建筑形体通过抽象提炼的方式，以简洁的半围合几何形体隐喻中华玉龙的形态，体现一种理性、唯实、简约的建造精神；内外界面的实虚变化也使建筑体现了强烈的形体张力；设计在建筑外实体立面选择了红色锈钢板，一方面反应赤峰的地方色彩文化，另一方面通过抽象的手法，提炼出文化元素，将赤峰独特的中华玉龙的图案以及其他红山文化应用于建筑表皮，形成一个富有地方文化内涵的肌理，集中体现了红山文化的深厚底蕴。

Hongshan culture：Using abstraction and refinement, the architectural form metaphorizes the form of a Chinese jade dragon with a concise semi-enclosed geometric form, reflecting a rational, realistic and simple construction spirit. The real and virtual changes of the internal and external interfaces also make the building reflect a strong physical tension. The design selects a red rust steel plate on the facade of the building, which reflects the local color culture of Chifeng. On the other hand, it extracts the cultural elements through abstract techniques, the unique Chinese jade dragon pattern of Chifeng and other Hongshan culture are applied to the building surface, forming a texture rich in local culture, reflecting the deep heritage of Hongshan culture.

实景红山：红山是展示的核心所在，因此展览馆最好要处于“隐”的状态，要给参观者造成一种良好的氛围，而不是喧宾夺主。建筑设计考虑融入景观大地之中，主体展示空间放在地下一层，整个建筑屋面采用绿化覆土种植，与整体环境有机结合。展览的高潮为一观景平台，参观者到达观景平台远观红山，感受红山强烈的冲击力，参观主题升华到红山本身。

Real scenes of Hongshan Mountain：Hongshan Mountain is the core of the exhibition, so the exhibition hall is best in a “hidden” state, to create a good atmosphere for visitors. The architectural design is considered to be integrated into the landscape of earth, the main exhibition space is placed on the underground floor, and the whole building roof is planted with green soil cover, which is integrated with the overall environment. The highlight of the exhibition is a viewing platform. Visitors arrive at the viewing platform to view the Hongshan Mountain and feel the strong impact of the Mountain. The theme of the visit is sublimated to the Hongshan Mountain itself.

3融入传统文化因素  展现时代文明魅力
3.Integrate traditional cultural factors to show the charm of civilization of The Times

传统文化：红山文化展示中心禀承了中国传统的自然观、建造观，抓住中国文化内向性的特点，把场所和意境作为展示中心设计的主体，使建筑在景区中以一种相对静默的姿态出现。这静默的简单形体，内含庭院，丰富开敞，自成天地。设计通过这种处理使合院传统、虚实空间在建筑中有所体现，使建筑在更广阔的文脉中引起共鸣，从而体现出强烈的地域精神传承。

Traditional culture：Hongshan Cultural Exhibition Center has followed the traditional Chinese view of nature and construction, seized the introverted characteristics of Chinese culture, and took the place and artistic conception as the main body of the design of the exhibition center, so that the building appears in a relatively low profile attitude in the scenic spot. This low profile simple form, containing the courtyard, rich and open, self-made world. Through this treatment, the traditional and virtual space of the courtyard is reflected in the building, and the building resonates in a broader context, thus reflecting a strong regional spiritual inheritance.

时代文化：作为景观性公共建筑，展馆是现当代“体验式展览馆”和“文化客厅”的有力实践。从一般性的保存藏品、公开展示为重点继而发展到重视观众的参与与体验的方向，开展工作坊，增加一些咖啡茶座、观景平台，让观众停留在馆内，将博物馆建为一个双向交流的公共客厅。设计通过大开间为展览陈设提供了高适应性的可能；展示空间模式可分可合，利于提高观众参观的选择性与自由度，具自然采光与外望视野的交通空间也更人性化；室外场院为观者提供了游憩、思索的场所，是对展示中心建筑类型的重要创新与补充。

Epoch culture：As a landscape public building, the exhibition hall is a powerful practice of modern and contemporary “experiential exhibition hall” and “cultural living room”. The general preservation of collections and public display as the focus and then developed to pay attention to the direction of the audience’s participation and experience, to carry out workshops, increase some coffee and tea sets, and viewing platform, so that the audience can stay in the museum, and building the museum into a public living room for two-way communication. The design provides the possibility of high adaptability for exhibition furnishing through large opening rooms, the exhibition space can be divided and combined, which is conducive to improving the choice and freedom of visitors to visit, and the traffic space with natural lighting and external vision is more humanized. The outdoor courtyard provides a place for the viewer to relax and think, which is an important innovation and supplement to the building type of the exhibition center.

4景观、建筑、文化共生
4.Symbiosis of landscape,architecture and culture

景观建筑一体化设计，建筑整个屋面做覆土绿化种植，与景观自然过渡，展示中心外部绿化主要依托展示中心配置，作为展示中心的外部背景，广场绿化主要以大面积草坪为主，与草坡屋面有机结合，将整个建筑更好的隐入环境之中。内部庭院则相对内向，设计以内敛的手法，适当配置绿化植被，求其宁静致远。建筑既是被看的一组大地景观，同时也是观看红山的观景场所。

Integrated design of landscape architecture, the entire roof of the building is covered with soil greening and planting, which makes a natural transition with the landscape. The external greening of the exhibition center mainly relies on the configuration of the exhibition center. As the external background of the exhibition center, the greening of the square is mainly dominated by a large area of lawn, which is organically combined with the grassy slope roof to better hide the entire building into the environment. The internal courtyard is relatively introverted, the design is introverted, and the appropriate configuration of green vegetation is to seek its tranquility. The building is not only a set of earth landscapes to be seen, but also a viewing place to watch the red mountain.

对于展示内容及红山而言，展示中心最好要处于“隐”的状态，要给参观者造成一种良好的氛围，而不是喧宾夺主。建筑设计考虑融入景观大地之中，主体展示空间放在地下一层，整个建筑屋面采用绿化覆土种植，与整体环境有机结合。

For the display content and Hongshan Mountain, the exhibition center is best in a “hidden” state, to create a good atmosphere for visitors. The architectural design is considered to integrate into the landscape. The main exhibition space is placed on the ground floor, and the guiding space of the entrance creates a trench shape. The entire roof is planted with green soil cover, which is organically integrated with the overall environment.

思考：
Thoughts：

建筑创作虽说是主观性为主的设计活动，但其也不可避免的会有其自身的方法论，一般我们所熟悉的建筑创作的方法可归纳为三种：第一种是以“形”为主导的方案创作；第二种则是以“意”为主导的方案创作；第三种则是以“理”为主导的方案创作。

“形”：“形”是建筑创作最终的外在表现形式，它是设计者独创性的设计流露，它的形的生成贯穿于整个创作过程，它是建筑创作最活跃的因素；

“意”：“意”是指基于对方案创作的主题及相关文化内涵的深层次挖掘而形成的一种贴切并有说服力的创作立意，并以此形成方案创作的主要形式依据；

“理”：“理”基本上以分析推理为基础，按照理性推理的思维模式对建筑创作进行科学而理性的分析。其中有较大影响的有符号学、类型学、亚历山大模式语言以及参数化设计等，近些年尤其以BIG为代表的图示分析法，受到大量从业者的追捧，他们通过大量图形、数据和生成过程的图示分析，形成方案创作的的主要逻辑依据。

实际上在整个创作过程中，这三种方式并没有明显的次序和界限，特别是“意”和“理”，它们是理性思考与创意生成是一个互补的过程。“形”作为最基本的建筑创作的形象表达，虽然在构思的层级关系上并没那么高级，但是所有的“意”与“理”最终都必须以“形”的方式表达出来，因此，“形”又是所有创意的最终载体，因而显得又尤为的重要。

“形”“意”“理”三者是建筑师在方案创作中必须面对的设计因素，一件好的作品的产生必然是“形”“意”“理”的有机复合，完美的匹配。红山文化展示中心也是基于此的一次创作尝试…

Although architectural creation is a subjective design activity, it inevitably has its methodology. Generally, the familiar architectural creation methods can be summarized into three kinds: the “form” oriented scheme creation, the “form” oriented scheme creation and the “form” oriented scheme creation.

“Form”: “Form” is the final external performance of architectural creation. It represents the originality of the design. The formation of form runs through the whole creation process, which is the most active factor in architectural creation.

“Meaning”: “Meaning” refers to a kind of appropriate and persuasive creative conception based on the deep excavation of the theme of the scheme creation and the related cultural connotation, thus forming the main form basis of the scheme creation :

“Reason”: “Reason” is based on analytical reasoning, and makes a scientific and rational analysis of architectural creation according to the thinking mode of rational reasoning. Among them, the most influential ones are semiotics, typology, Alexander pattern language parametric design, etc. In recent years, especially the graphical analysis represented by BIG has been sought after by a large number of practitioners. The main logical basis for scheme creation is through graphical analysis of a large number of graphs, data and generation processes.

In fact, in the whole creative process, there is no obvious order and boundary between the three methods, especially “meaning” and “reason”, which is a complementary process of rational thinking and creative generation. As the most basic image expression of architectural creation, “form” is not so advanced in the hierarchical relationship of conception, but all “meaning” and “reason” must be expressed in the way of “form” in the end. Therefore, “form” is the final carrier of all creativity, so it is particularly important.

“Form”, “meaning” and “reason” are the design factors that architects must face in the scheme creation. The production of good work must be the combination of “form”, “meaning” and “reason”. Hongshan Cultural Exhibition Center is also a creative attempt based on this…

项目名称：红山文化展示中心
项目类型：公共建筑
设计方：杭州园林设计院股份有限公司
公司网站：https://www.hzyly.com
项目设计 & 完成年份 设计起止时间：2014年4月 项目竣工时间：2019年4月
设计团队：葛荣 侯方伟 朱君 于娜 李丽 高海防 王未池 邹汝波 陈芳琳 鲍侃袁 金爱雪 李伟强 鄂文汲 黄号 彭昌敏
项目地址：中国内蒙古赤峰市红山区
建筑面积：8422.30㎡
客户：红山区文物局
Project name:Hongshan Exhibition Center
Project type:Public Building
Design:Hangzhou Landscape Architecture Design Institute Co., Ltd.
Website:https://www.hzyly.com
Design year a& Completion Year Design completion: April 2014 Project completion time: April 2019
Leader designer & Team:Ge Rong,Hou Fangwei,Zhu Jun,Yu Na,Li Li,Gao Haifang,Wang Weichi,Zou Rubo,Chen Fanglin,Bao Kaiyuan,Jin Aixue,Li Weiqiang,E Wenji,Huang Hao,Peng Changmin
Project location:Hongshan District,Chifeng City,Inner Mongolia,China
Gross built area:8422.30㎡
Clients:Hongshan Cultural Heritage Administration