南迦巴瓦接待站，林芝，西藏，中国

林芝南迦巴瓦接待站是标准营造继雅鲁藏布江小码头之后，在西藏建成的另一个房子。在西藏做建筑需要面对很多挑战，首要的问题是应该用怎样的态度来对待西藏文化？如何对待本地原有的、带有强烈色彩和装饰性的建筑传统？新建筑与周边原有建筑形成怎样的关系？如何处理建筑与基地、建筑与大范围地形及自然景观的关系？建造过程如何考虑当地工匠、当地技术的参与？在恶劣的气候和有限的资金条件下，哪些材料和建造方式是可行的，而哪些是不现实的？是否可以用一种平视和平等的态度对待西藏的文化？是否可以既不俯视又不仰视特有的西藏文化？在强调保护传统西藏文化的同时，当代西藏文化有没有发展空间？如果有，作为当代西藏文化重要组成部分的当代西藏建筑在哪里？

2007年6月，我们几个人带着所有这些的问题，辗转来到了西藏林芝地区雅鲁藏布大峡谷中的南迦巴瓦雪山脚下，开始了雅鲁藏布江沿线从林芝机场到雪山脚下的直白村约80km的公路、水路交通设施的规划设计踏勘工作。并没有详细任务书，也没有建筑选址，只知道要为雅鲁藏布大峡谷和南迦巴瓦雪山景区建造一个游客接待站。在精疲力竭地走了3天的江边徒步转经线之后，终于在地图上确定了接待站的详细位置。

接待站位于藏东南林芝地区米林县境内的一个小集镇，名叫派镇，小镇海拔约2900m，东面是海拔7782m的南迦巴瓦雪山和加拉白垒雪山，北面紧邻雅鲁藏布江，南面是多雄拉雪山，镇的主街正对着由多雄拉雪山延伸下来的高坡。小镇的前身是经过雅鲁藏布江往全国唯一不通公路的墨脱县运送物资的转运站，有一个简易码头和几十户人家，由于是水路和陆路交通的交汇点，近些年逐渐成为林芝地区一个旅游小集镇，这里不但是雅鲁藏布大峡谷的入口，也是重要的宗教转经线——“转加拉”的起点，还是通往墨脱徒步旅行的出发点。

接待站就坐落在小镇入口的山坡上，面对着雅鲁藏布江和公路的方向，西面是一条由多雄拉雪山溶化流下来的溪流，再往西是农田和名叫“派村”的原始村落。接待站总面积约1500m2，功能较为复杂，包括一个大峡谷综合信息展厅、一组公共厕所、徒步装备及食品小卖部、背包客的行李物品存放处、网吧、急救医务室、大峡谷景区的售票检票点、旅游公司办公室和司机导游休息室等等，同时还设置了一个为全镇服务的集中配电房。

我们显然对本地建筑形式的模仿和拼凑不感兴趣，也显然对移植一个时尚的外来建筑不感兴趣。接待站是一个形式上很不显眼的建筑，远远看去，当地人甚至看不出它有什么新奇，它随行就势，由几个高低不一、厚薄不同的石头墙体从山坡不同高度随意地生长出来的体量构成，墙体内部是相应的功能空间，这样多数功能空间实际上是半掩藏在山坡下的。

建筑随着基础的标高不同分为3层，地下一层是储藏室和集中配电房；一层主要是各种接待空间，大峡谷信息展厅、厕所、医务室、网吧小卖部、景区售票检票都在这一层；二层是后勤办公室和可供游客休息观景的屋顶平台。建筑的采光主要通过两种天窗解决：为接待大厅采用屋顶凹陷形成的高侧窗，楼梯、网吧和办公室采用的是细长的天窗。整个建筑只在一层接待大厅朝向雅鲁藏布江及加拉白垒雪山的方向和二层办公室朝向南迦巴瓦雪山的方向开了两个明确的景观视窗。

建筑的结构体系是传统砌筑石墙和混凝土混合结构。墙体从60cm、80cm到1m厚不等，全部由当地石材砌筑而成。石头墙是自承重的，墙内附设构造柱、圈梁和门窗过梁，起到增强石墙整体性的抗震作用，同时用来支撑混凝土现浇的屋顶。砌筑石墙的藏族工匠主要是来自日喀则，他们在石墙的砌筑上有很特别的习惯和方法，这一点是我们在图纸上设计不出来的。

建筑的门窗和室内没有使用任何常见的“西藏形式”的门窗装饰，我们毫不回避南迦巴瓦接待站是一个当代建筑，如果人们可以感受到特殊的本地气质，我们希望这种气质是通过本地的材料以真实而朴素的建造过程自然形成的，而不是“乔装改扮”的结果。□

The visitor centre is the second building designed by standardarchitecture in Tibet after the Yalung Zangbo Boat Terminal. It is located in a small village called Pai Town in Linzhi, southeastern part of Tibet Autonomous Region. The building sits on a slope along the road leading to the last village Zhibai deep in the Yalung Zangbo River Grand Canyon , facing the Yalung Zangbo River to its north and with the 7782-metre-high Mount Namchabarwa at its background in the east.

The 1500m2building serves as a visitor centre providing comprehensive information about Mount Namchabarwa and the Yalung Zangbo Grand Canyon.It serves also as the "town centre" for the villagers as well as the supply base for the backpack hikers exploring the canyon. Therefore the programme is quite complicated. It includes a reception/information hall, public toilets, a supply store,an internet bar, a medical centre, locker room for backpackers, meeting rooms, offces for tour guides and drivers, a water reservation tank and a central electrical switch house for the village.

Like a few slices of rock extending out of the mountains, the building is conceived as a series of stone walls merging into the slope, with no windows facing the incoming road in the west, almost scale-less,an abstract landscape in the natural landscape. Looking from afar it neither hides itself, nor stands out from its background as a piece of "Tibetan" architecture.

Approaching from a distance on the road, people cannot be sure if this is a building or a set of retaining wall or even a "Mani" wall at the foot of the mountain.After getting out of cars, visitors will follow a pathway led by a stone retaining wall up the hill, where they find the main entrance to the reception/exhibition hall.The main hall is lit by sky lights and has a view window facing north towards the village and the Yalung Zangbo River. Entering the second layer of the 1-metre-thick stone wall, visitors find the public toilets and the public luggage storage room, going further through another layer of stone wall they find the internet café, medical clinic and a rest area for drivers. Halfway they have the choice of taking the "stair way to heaven" up to the second floor for the roof garden and the meeting rooms. The water tank is hidden beneath the stairs and the electric switch room takes the underground space.

After a brief rest, gathering necessary information of the area and other supplies, sending out emails to friends and relatives, visitors are again led by a zigzagged stone path way down the hill into the village,and the start to explore the Mount Namchabarwa,disappearing into the no-man-forest of the Yalung Zangbo valley for days and weeks. □

1.2 外景/Exterior views

3 总平面/Site plan

4 外景/Exterior view

5 东立面/East Elevation

6.7 剖面/Sections

8 鸟瞰/Aerial view

9 内景/Interior view

评论

赵扬：这个建筑的用意似乎更倾向于和周边自然景观的对话，而不是从内部功能和内部空间体验出发。建筑的表情是抽象而极简的。因为将建筑体量都归纳成长短宽窄不同的长方体，而且统一使用当地比较常见的毛石来覆盖或砌筑，整个建筑的立面也尽可能减少了门窗开洞可能附加的表情（主要的室内空间都采用天光照明）。唯一被建筑师强调的“建筑手段”是这些毛石体量在平面进退、立面高低上错落安排出的有机形态。而这一形态却没有被僵化成一个或若干个固定的构图，也没有暗示任何确定的观察角度，似乎是在回避任何可能的概念性或形式化的解读。也许建筑师最大的用心处和着力点就是在于这“回避”二字。

回避了所有可能的概念性解读，也许我们会忘记这个房子的时代，我们的感受开始和那些古老而原始的人类经验相接。我们体会到一种类似“纪念性”的东西。这种纪念没有具体的对象和所指，是一种比较“无心”的庄严。让我想起阿道夫·路斯那段著名的话：“如果我们在树林里碰到一个土堆，六英尺长，三英尺宽，用泥土堆成的一个金字塔形，我们心中升起一种肃穆的情绪，它会告诉我们‘有人葬于此地’。这是建筑。”

Comment

ZHAO Yang:The intention of this building seems to be more about the conversation with the surrounding natural landscape than starting from the internal functions and experience of the interior space. The expression of the building is abstract and minimalist by nature, because the volume of the building is categorised into cuboids of different sizes, the building is uniformly covered or built with ashlar, which is common in the local area, and the openings of doors and windows are also minimised all over on the facades to reduce the possibility of additional expression (main parts of the indoor space are illuminated by skylight). The only "architecture measure" emphasised by the architect is the organic form arranged through the horizontal and vertical shuラing of the ashlar. But this form is not rigidified into one or more fixed compositions, nor does it imply any definite perspective of observation, as if to be avoiding any possible conceptual or formal interpretation. Perhaps the architect's greatest concern and focus is the word "avoidance".

Avoiding all the possible conceptual interpretations, we may forget the time of this building,and our feelings begin to connect with those ancient and primitive human experiences. We experience something similar to "commemoration". This kind of commemoration has no specific object or reference.It's a relatively "unintentional" solemnity. It reminds me of Adolf Loos's famous words: "If we were to come across a mound in the woods, six foot long by three foot wide, with the soil piled up in a pyramid, a somber mood would come over us and a voice inside us would say, 'There is someone buried here.' That is architecture."(Translated by CHEN Yuxiao)