溧阳博物馆,江苏 / CROX闊合

悬歌: 以焦尾琴作为溧阳人文精神的象征



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Appreciations towards CROX for providing the following description:

《后汉书•蔡邕传》:“吴人有烧桐以爨者,邕闻火烈之声。知其良木,因请而裁为琴,果有美音,而其尾犹焦,故时人名曰焦尾琴焉。” 以焦尾琴作为溧阳人文精神的象征,打造这座城市气质的原点,建筑师林琮然以此故事进行创作,概念上借由历史古物转化为建筑形式。


According to a book of the Later Han dynasty: the story of Yong Cai writes—a man was burning paulownia to make dinner. Yong Cai passed by and heard wood cracking in the fire. Suddenly he knew it was a nice piece of wood. He explained to that man and took out the wood. And made a musical instrument by using it. What surprised people was that the sound of instrument was really beautiful. The end of the wood was burned so it was called “Jiaoweiqin”.  Regarding Jiaoweiqin as a symbol of humanistic spirit of Liyang, that’s the origin to build the city temperament. The architect C.R. Lin created the concept in the background of this story and transformed from historical antiquity into architectural form.

▼鸟瞰图,aerial view

▼方案以焦尾琴作为溧阳人文精神的象征,the project regards Jiaoweiqin as a symbol of humanistic spirit of Liyang



From an oriental point of view, architecture is seen as a spatial whole which contains both inner and outer space; a space that connects human, earth and universe. We have considered relationship between melody and nature, human and architecture interaction, deliver a poetic visualization process of culture and life senses. Design concept contains: KEJING (visualize & scenarize), XUANGE (hang & sing), LIUZHUANG (flow), it helps to creates discussion of what is essential space and what is oriental architecture.

▼东北侧视角,view from the northeast side

▼东南视角,view from the southeast side

溧阳博物馆是个多面向量体的漂浮建筑,如同真空妙语般简单却又不简单的悬歌,中空的体态包容“现代”、“过去”与“未来”展厅,开放的基地与燕湖公园融为一体,场域提供多元的入园路径,量体交错与视觉的穿越,符合建筑学者-科林•罗(Colin Rowe)所强调建筑空间的“穿越性”与其概念的多重组合。

Liyang Museum’s top part is a floating architecture. It feels like poetry, smooth and thoughtful. Its hollowed body contains “present, past and future” exhibition halls. It locates besides lake provides multiple access and crossing views, refers to architecture scholar Colin Rowe’s theory. Liyang Museum’s design emphasizes in buildings accessibility and combination of multiple concepts.

▼博物馆入口,entrance of the museum

▼多面向量体的漂浮建筑,a floating architecture

▼入口阶梯,entry staircase


▼建筑体量借由有机元素的并列与地景整合,the organic shape blends and extends into surrounding landform

▼近景,a close view


▼荫蔽的空间,the sheltered space


▼天井俯视,atrium top view

That floating architectures sits on hills. Hills become museum’s bottom. Its organic shape blends and extends into surrounding landform. It feels natural and welcoming. People can visit architecture causally. Entrance plaza locates in south/west right under museum’s floating body. It is roomy and covers in shades. Plaza is utilized as museum’s main entrance which connects and brings visitors to museum’s central courtyard. The Central courtyard has its own climate. We assume it will become a popular meeting spot. At night, the water drop shape patio sits on the top of courtyard acts like an open window, pushes light out to the sky. It sparks; attracts people’s attention.

▼湖岸视角,view from the lake front

▼夜间鸟瞰,aerial view by night

▼场地鸟瞰,site aerial view

▼1层平面图,1F plan

▼屋顶平面图,roof plan




Project name: Liyang Museum
Client: Suwan China Cooperation Demonstration Area Construction Co., LTD
City cultural consultant and system service design: Shangyuan Academy
Architecture and landscape design firm: CROX (http://www.crox.com.tw/)
Design team: C.R. Lin, Darcy Chang, Dr. Zheng-Hao Song, Yue Jiang, Saunaam Yip, Tian-Ye Zhou, Jia-Yi Zhu, Li-Dong Sun, Nicky Ni
Location: Liyang City, Jiangsu Province, China
Completion time: 2019.09
Area: Above Ground Floor Area: 12,000 m2;Underground Area: 7,000 m2
LDI: Nanjing Yangtze River Urban Architectural Design Co., LTD.
Photographer: Xia Zhi
Curtain wall design consultant: Schmidlin Curtain Wall Technology Co., Ltd.
Design Materials: Glass Curtain Wall, Aluminum Plate
Brand: Hai Tai, Tai Shan, TOTO
Tecent video link: https://v.qq.com/x/page/s0685laxhm7.html
Youtube link: https://youtu.be/jLHgNTeaqTI

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