姓名:劉克成
出生年份:生于1963年
工作單位:1984年畢業于西安建筑科技大學建筑系并留校任教,現為西安建筑科技大學建筑學院教授、院長,國際建筑師協會亞澳區建筑遺產工作組主任,DOCOMOMO中國工作組主任,國際古跡遺址?;だ硎祿嵋挪陀胝絞靠蒲被嶂泄?。
從事工作:主要從事文化遺產?;?、博物館建筑設計。2006年入選為“新世紀百千萬人才工程國家級人選”。2012年入選當代中國百名建筑師。


Name: Liu Kecheng,
Year of birth: born in 1963,
Work unit: Graduated from the Department of Architecture of Xi'an University of Architecture and Technology in 1984 and stayed on to teach.
He is currently a professor and dean of the School of Architecture of Xi'an University of Architecture and Technology, director of the Architectural Heritage Working Group of the Asia-Australia Association of the International Architects Association, director of the DOCOMOMO China Working Group, and representative of the International Commission for the Protection of Heritage and the Chinese Committee of the Warrior Science Committee.
Engaged in work: mainly engaged in cultural heritage protection, museum architectural design. In 2006, he was selected as the "national candidate for the 100 million talent project in the new century." In 2012, he was selected as one of the 100 architects in contemporary China.

▲ 富平國際陶藝博物館群主館,法國館0097 // Fuping international Ceramics Museum Group Main Building, French Pavilion 0097


黃土高原由于其特殊的歷史過程,形成了天高地厚,溝壑縱橫的那種大地景觀。陶藝博物館地處鄉野,基地周圍有果林、農田和墳?;啡?,一年四季,景色各有不同,生機盎然。我希望博物館的侵入,不要打破土地原有的景觀邏輯,避免城市建筑對鄉村的殖民,但也不希望簡單拷貝鄉村傳統建筑。因此建筑必須服從于土地的肌理,貼近土地,融合在基地的鄉村景觀之中。


建筑本身就應當是一個現代陶藝作品。


我對陶藝最為迷戀的是陶藝器皿的孔洞??錐囪叵咝畏較蟶煺?,曲曲仄仄,光線從一個不知道的地方反射進來,給人一種遐想、一種奇妙,洞外可以看到不同的風景。試想一只田鼠或螞蟻穿越孔洞,在田間忙碌的樂趣。


博物館采用磚拱既出自偶然,也有必然。某天,我與一個建筑工頭聊天,他告訴我在富平農民最擅長地就是砌磚拱,許多農村住房就是磚窯,拱跨最大可以達到10米。我推翻了以往的構思,花了一晚上畫了幾張草圖,然后在賓館的廚房找了兩根白蘿卜,請廚師均勻地切成片,重新組合,就完成了主館的方案模型。


Due to its special historical process, the Loess Plateau has formed a kind of earthy landscape with thick and thick gullies. The Pottery Museum is located in the countryside, surrounded by fruit trees, farmland and tombs. The scenery varies from season to year. I hope that the museum will invade, do not break the original landscape logic of the land, avoid the colonization of the city buildings to the countryside, but do not want to simply copy the traditional village buildings. Therefore, the building must be subordinated to the texture of the land, close to the land, and integrated into the rural landscape of the base.


The building itself should be a modern ceramic work.


What I am most obsessed with in pottery is the hole in the pottery utensils. The holes stretch in the direction of the line, and the light is reflected from an unknown place, giving people a kind of delusion, a kind of wonder, and different scenery can be seen outside the hole. Imagine a field mouse or ant crossing a hole and having fun in the field.


The use of brick arches in museums is both accidental and inevitable. One day, I chatted with a construction worker. He told me that the farmers in Fuping are best at building brick arches. Many rural houses are brick kilns, and the arch span can reach up to 10 meters. I overthrew the previous idea, spent a few nights drawing a few sketches, and then found two white radishes in the hotel kitchen, asked the chef to evenly cut into pieces, recombined, and completed the main hall model.


▲ 西安世界園藝博覽會灞上風情服務區 // Xi'an World Horticultural Exposition


世園會灞上風情服務區位于世園會以東,與世園會主入口隔塔相望,東臨灞河景觀帶,西依世園會標志性建筑──天人長安塔所在小山丘?;匚黃勻黃鴟牧值?,中間有一條小溪貫穿流過,自然環境良好。


“象天法地”——中國人的環境圖像
“田園風光”——中國人的生活夢想
“新四合院”──中國人生活的小宇宙
“舊材新用”──會呼吸的墻面


服務區的設計構思來源于基地的啟示。中國哲學講究“天法地,地法人,人法道,道法自然”,中國智慧強調“因勢利導”,中國境界追求“天人合一”,古長安營建無不體現這樣的東方思想,漢長安城就以渭水象征銀河,以宮室及陵墓象征星辰,造就了天人合一、以象天翰的宏大格局。而灞上風情服務區基地的溪流及其地形地勢恰巧與“天翰”的意象一致,為此設計者象天法地,圍繞溪流──銀河,所有建筑采用單元星座方式布局,既因地制宜保持了基地原有自然環境的起伏,又繼承了古長安的偉大傳統,并凸顯了西安世園會“天人長安,創意自然”的主題。象天法地的手法不僅表現在建筑布局,灞上風情服務區周圍的燈光照明設計、綠化設計也采用星象布局,如果晚上去看,會發現庭院里的燈也像星宿,與建筑、溪流一道組成一個完整的星像圖。


The World Expo’s Shangshang Service Area is located to the east of the World Expo, facing the main entrance of the World Expo, across the tower from the Weihe River in the east, and the landmark of the World Garden Association, the hills where the Chang'an Tower is located. . The base is a natural undulating forest land with a small stream running through it, and the natural environment is good.


"Like Heaven and Earth" - Chinese Environmental Image
"Outoral scenery" - the dream of Chinese people's life
"New Quadrangle" - the small universe of Chinese life
"New materials for old materials" - walls that will breathe


The design concept of the service area is derived from the enlightenment of the base. Chinese philosophy pays attention to "the heaven and the earth, the land legal person, the human law, the Tao law and nature". The wisdom of China emphasizes "taking advantage of the situation", the Chinese realm pursues "the unity of heaven and man", and the ancient Chang'an construction reflects such oriental thoughts. Han Chang'an City It symbolizes the Milky Way with the water, and symbolizes the stars with the palace and the tomb. It creates the grand pattern of the unity of heaven and man and the image of heaven. The stream and its topography of the base of the Shangshang service area coincides with the image of “Tianhan”. For this reason, the designer is like a heavenly land, surrounded by streams—the Milky Way. All buildings are arranged in a constellation manner, which is maintained according to local conditions. The ups and downs of the original natural environment of the base have inherited the great tradition of ancient Chang'an and highlighted the theme of the Xi'an World Expo “Heaven and Man, Creative and Natural”. The method of heaven and earth is not only reflected in the architectural layout. The lighting design and greening design around the Shangri-style service area also adopts the astrological layout. If you look at it at night, you will find that the lights in the courtyard are also like stars, along with buildings and streams. Make up a complete star map.


▲ 賈平凹文學藝術館 // Jia Pingwa Literature and Art Museum


賈平凹文學藝術館選擇上世紀70年代建設的一棟舊樓進行改建。原建筑為磚混結構,上下兩層,局部三層,整體平淡無奇,但地處校園歷史地段,為學校的歷史建筑之一。


我們認為此館應當繼承1970年代學校的遺產,并一直延續下去;它應當保持1970年代的真實性,拒絕粉飾;它應當將老建筑合法化,并結合新的功能,予以全面提升,賦予它新的生命力。因此,我們確定這樣一個原則——在改造完成以后,這棟建筑還應當保持1970年代的面貌和特征。在這里,歷史和現實應當是一種對話關系,而不是服從關系。


設計的最初啟示來源于陽光。經過多次現場體驗,設計者發現:對這個平淡、樸實無華的建筑,光影的流盼是其最具魅力的特征。從早晨6:00到下午19:00,每隔一小時拍一張照片,然后進行連續播放,可以看到由陰影構成的一個體量發生著一個有趣的變化。光影是隱藏在這個建筑的靈魂。于是建筑師選擇光影作為設計的重點,在原建筑東南面增加了一個曲折的光廊。光廊造型來源于一天24小時建筑光影的疊加,也象征賈平凹故鄉起伏的山川和鄉村。當時光流轉,光廊形成的長長的影子,劃過舊建筑的墻面,撫摩鐫刻在墻上的作家詩句,爬上書架——光與影,新窗與老墻,微風與綠樹,城市與鄉村,文學與藝術,時間與空間,拼織出一幅豐富的圖像,一種文學的詩性油然而生。


Jia Pingwa Literature and Art Museum chose to rebuild an old building built in the 1970s. The original building is a brick-concrete structure with two floors above and below, and three floors in total. The overall layout is unremarkable, but it is located in the historical part of the campus and is one of the school's historic buildings.


We believe that this museum should inherit the legacy of the school in the 1970s and continue it; it should maintain the authenticity of the 1970s and refuse to whitewash; it should legalize the old building and combine it with new functions to give it a new upgrade and give it new Vitality. Therefore, we have established a principle that the building should retain its appearance and characteristics in the 1970s after the renovation. Here, history and reality should be a dialogue, not a relationship.


The original revelation of the design came from the sun. After many live experiences, the designers found that for this dull and unpretentious building, the hope of light and shadow is its most attractive feature. From 6:00 am to 19:00 pm, taking a picture every hour and then playing it continuously, you can see an interesting change in the volume made up of shadows. Light and shadow is the soul hidden in this building. So the architect chose light and shadow as the focus of the design, adding a tortuous gallery to the southeast of the original building. The shape of the light gallery comes from the superposition of the building's light and shadow 24 hours a day, and it also symbolizes the rolling hills and villages of Jia Ping's hometown. At that time, the light flowed, the long shadow formed by the light gallery, crossed the wall of the old building, stroked the writer's verses engraved on the wall, climbed the bookshelves - light and shadow, new windows and old walls, breeze and green trees, the city and The country, literature and art, time and space, weaving a rich image, a poetic character of literature.


▲ 西安大唐西市博物館 // Xi'an Datang West City Museum


西安大唐西市博物館建于原隋唐長安城西市遺址之上,項目包括隋唐長安城西市十字街遺址?;?、西市出土文物展示、絲綢之路歷史文化展示以及相關輔助內容。


西市遺址是隋唐絲綢之路的起點和重要標志,“絲綢之路”商貿交流的重要文化遺產之一。西安大唐西市博物館作為絲綢之路的起點和物質載體,將對絲路五國正在進行的聯合申報世界文化遺產工作具有重要的意義和作用。


建筑設計在切實?;に逄莆魘械纜?、石橋、溝渠和建筑等遺址的基礎上,通過合理布局,創造性地?;ず駝故玖慫逄莆魘惺紙忠胖芬約笆紙衷械纜犯窬?、尺度、規模及氛圍。運用新的地域建筑語言解讀大唐西市的歷史,襯托和展示文物與遺址環境,為人們認識和了解文物提供多種視角;表現商業博物館的獨特性,表現西市以及私人收藏文物的獨特性;結合國內外博物館發展的趨勢,賦予遺址和文物以新的生命力,寓教于樂,結合城市客廳功能和絲綢之路起點標志,文化活動與休閑博覽,促進博物館可持續發展。


建筑落成以及建設過程中,得到了來自國際古跡遺址理事會、國家文物局領導專家和建筑專家同行的高度贊揚。國際古跡遺址理事會主席米歇爾佩賽特指出:大唐西市是絲綢之路的起點。它不僅是中國的,也是世界的。大唐西市博物館為中國文化遺產?;ぬ峁┝艘桓齔曬Φ姆獨?。


Xi'an Datang West City Museum was built on the site of the former city of Chang'an City, Chang'an City. The project includes the protection of the cross street ruins of the Chang'an City in the Sui and Tang Dynasties, the cultural relics unearthed in the West City, the historical and cultural display of the Silk Road and related auxiliary content.


The West City Site is the starting point and important symbol of the Sui and Tang Dynasties Silk Road, and one of the important cultural heritages of the “Silk Road” trade exchange. As the starting point and material carrier of the Silk Road, Xi’an Datang West City Museum will play an important role in the joint declaration of the World Cultural Heritage work of the five Silk Road countries.


On the basis of effectively protecting the roads, stone bridges, ditches and buildings in the west of Sui and Tang Dynasties, the architectural design creatively protects and displays the crossroads of the West Cross Street and the original road pattern, scale and scale of the Sui and Tang Dynasties through rational layout. Atmosphere. Use the new regional architectural language to interpret the history of Datang West City, set off and display the cultural relics and site environment, provide a variety of perspectives for people to understand and understand cultural relics; express the uniqueness of commercial museums, and express the uniqueness of the western city and private collections. Combining the development trend of domestic and foreign museums, giving the sites and cultural relics a new vitality, teaching and learning, combining the functions of the urban living room and the starting point of the Silk Road, cultural activities and leisure exhibitions to promote the sustainable development of the museum.


During the completion and construction of the building, it was highly praised by the leaders of the International Council of Monuments and Sites, leading experts from the State Administration of Cultural Heritage and construction experts. Michel Pesset, chairman of the International Council on Monuments and Sites, pointed out that Datang West is the starting point of the Silk Road. It is not only Chinese but also the world. The Datang West City Museum provides a successful example of the protection of Chinese cultural heritage.


部分作品
- 秦始皇陵百戲俑遺址博物館設計
- 秦始皇陵文官俑遺址博物館設計
- 西安碑林石刻藝術館設計
- 西安大唐西市博物館設計
- 西安漢陽陵帝陵外藏坑遺址博物館設計
- 西安碑林博物館新館設計
- 四川劍南春古酒窖遺址博物館設計
- 西安星巴克旗艦店設計
- 西安唐大明宮國家遺址公園規劃設計
- 首鋼博物館建筑設計
- 南京中國科舉制度博物館設計
- 南京金陵美術館設計
- 賈平凹文學藝術館設計
- 西安歷史文化名城?;す婊?/span>
- 富平國際陶藝博物館設計


some of the works
- Design of the Museum of the Qin Dynasty Emperor's Mausoleum
- Design of the Museum of the Emperor Qin Shihuang's Mausoleum
- Xi'an Beilin Stone Carving Art Museum Design
- Xi'an Datang West City Museum Design
- Xi'an Hanyang Mausoleum Mausoleum Waikengkeng Site Museum Design
- Xi'an Beilin Museum new hall design
- Sichuan Jiannan Chungu Wine Cellar Site Museum Design
- Xi'an Starbucks flagship store design
- Xi'an Tang Daming Palace National Heritage Park planning and design
- Shougang Museum Architectural Design
- Nanjing China Imperial Examination System Museum Design
- Nanjing Jinling Art Museum design
- Design of Jia Pingwa Literature and Art Museum
- Xi'an historical and cultural city protection planning
- Fuping International Ceramics Museum Design