姓名:刘克成
出生年份:生于1963年
工作单位:1984年毕业于西安建筑科技大学建筑系并留校任教,现为西安建筑科技大学建筑学院教授、院长,国际建筑师协会亚澳区建筑遗产工作组主任,DOCOMOMO中国工作组主任,国际古迹遗址保护理事会遗产阐释与战士科学委员会中国代表。
从事工作:主要从事文化遗产保护、博物馆建筑设计。2006年入选为“新世纪百千万人才工程国家级人选”。2012年入选当代中国百名建筑师。


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.


▲ 富平国际陶艺博物馆群主馆,法国馆0097 // Fuping international Ceramics Museum Group Main Building, French Pavilion 0097


黄土高原由于其特殊的历史过程,形成了天高地厚,沟壑纵横的那种大地景观。陶艺博物馆地处乡野,基地周围有果林、农田和坟冢环绕,一年四季,景色各有不同,生机盎然。我希望博物馆的侵入,不要打破土地原有的景观逻辑,避免城市建筑对乡村的殖民,但也不希望简单拷贝乡村传统建筑。因此建筑必须服从于土地的肌理,贴近土地,融合在基地的乡村景观之中。


建筑本身就应当是一个现代陶艺作品。


我对陶艺最为迷恋的是陶艺器皿的孔洞。孔洞沿线形方向伸展,曲曲仄仄,光线从一个不知道的地方反射进来,给人一种遐想、一种奇妙,洞外可以看到不同的风景。试想一只田鼠或蚂蚁穿越孔洞,在田间忙碌的乐趣。


博物馆采用砖拱既出自偶然,也有必然。某天,我与一个建筑工头聊天,他告诉我在富平农民最擅长地就是砌砖拱,许多农村住房就是砖窑,拱跨最大可以达到10米。我推翻了以往的构思,花了一晚上画了几张草图,然后在宾馆的厨房找了两根白萝卜,请厨师均匀地切成片,重新组合,就完成了主馆的方案模型。


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.


▲ 西安世界园艺博览会灞上风情服务区 // Xi'an World Horticultural Exposition


世园会灞上风情服务区位于世园会以东,与世园会主入口隔塔相望,东临灞河景观带,西依世园会标志性建筑──天人长安塔所在小山丘。基地为一片自然起伏的林地,中间有一条小溪贯穿流过,自然环境良好。


“象天法地”——中国人的环境图像
“田园风光”——中国人的生活梦想
“新四合院”──中国人生活的小宇宙
“旧材新用”──会呼吸的墙面


服务区的设计构思来源于基地的启示。中国哲学讲究“天法地,地法人,人法道,道法自然”,中国智慧强调“因势利导”,中国境界追求“天人合一”,古长安营建无不体现这样的东方思想,汉长安城就以渭水象征银河,以宫室及陵墓象征星辰,造就了天人合一、以象天翰的宏大格局。而灞上风情服务区基地的溪流及其地形地势恰巧与“天翰”的意象一致,为此设计者象天法地,围绕溪流──银河,所有建筑采用单元星座方式布局,既因地制宜保持了基地原有自然环境的起伏,又继承了古长安的伟大传统,并凸显了西安世园会“天人长安,创意自然”的主题。象天法地的手法不仅表现在建筑布局,灞上风情服务区周围的灯光照明设计、绿化设计也采用星象布局,如果晚上去看,会发现庭院里的灯也像星宿,与建筑、溪流一道组成一个完整的星像图。


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.


▲ 贾平凹文学艺术馆 // Jia Pingwa Literature and Art Museum


贾平凹文学艺术馆选择上世纪70年代建设的一栋旧楼进行改建。原建筑为砖混结构,上下两层,局部三层,整体平淡无奇,但地处校园历史地段,为学校的历史建筑之一。


我们认为此馆应当继承1970年代学校的遗产,并一直延续下去;它应当保持1970年代的真实性,拒绝粉饰;它应当将老建筑合法化,并结合新的功能,予以全面提升,赋予它新的生命力。因此,我们确定这样一个原则——在改造完成以后,这栋建筑还应当保持1970年代的面貌和特征。在这里,历史和现实应当是一种对话关系,而不是服从关系。


设计的最初启示来源于阳光。经过多次现场体验,设计者发现:对这个平淡、朴实无华的建筑,光影的流盼是其最具魅力的特征。从早晨6:00到下午19:00,每隔一小时拍一张照片,然后进行连续播放,可以看到由阴影构成的一个体量发生着一个有趣的变化。光影是隐藏在这个建筑的灵魂。于是建筑师选择光影作为设计的重点,在原建筑东南面增加了一个曲折的光廊。光廊造型来源于一天24小时建筑光影的叠加,也象征贾平凹故乡起伏的山川和乡村。当时光流转,光廊形成的长长的影子,划过旧建筑的墙面,抚摩镌刻在墙上的作家诗句,爬上书架——光与影,新窗与老墙,微风与绿树,城市与乡村,文学与艺术,时间与空间,拼织出一幅丰富的图像,一种文学的诗性油然而生。


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.


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


西安大唐西市博物馆建于原隋唐长安城西市遗址之上,项目包括隋唐长安城西市十字街遗址保护、西市出土文物展示、丝绸之路历史文化展示以及相关辅助内容。


西市遗址是隋唐丝绸之路的起点和重要标志,“丝绸之路”商贸交流的重要文化遗产之一。西安大唐西市博物馆作为丝绸之路的起点和物质载体,将对丝路五国正在进行的联合申报世界文化遗产工作具有重要的意义和作用。


建筑设计在切实保护隋唐西市道路、石桥、沟渠和建筑等遗址的基础上,通过合理布局,创造性地保护和展示了隋唐西市十字街遗址以及十字街原有道路格局、尺度、规模及氛围。运用新的地域建筑语言解读大唐西市的历史,衬托和展示文物与遗址环境,为人们认识和了解文物提供多种视角;表现商业博物馆的独特性,表现西市以及私人收藏文物的独特性;结合国内外博物馆发展的趋势,赋予遗址和文物以新的生命力,寓教于乐,结合城市客厅功能和丝绸之路起点标志,文化活动与休闲博览,促进博物馆可持续发展。


建筑落成以及建设过程中,得到了来自国际古迹遗址理事会、国家文物局领导专家和建筑专家同行的高度赞扬。国际古迹遗址理事会主席米歇尔佩赛特指出:大唐西市是丝绸之路的起点。它不仅是中国的,也是世界的。大唐西市博物馆为中国文化遗产保护提供了一个成功的范例。


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
- 秦始皇陵百戏俑遗址博物馆设计
- 秦始皇陵文官俑遗址博物馆设计
- 西安碑林石刻艺术馆设计
- 西安大唐西市博物馆设计
- 西安汉阳陵帝陵外藏坑遗址博物馆设计
- 西安碑林博物馆新馆设计
- 四川剑南春古酒窖遗址博物馆设计
- 西安星巴克旗舰店设计
- 西安唐大明宫国家遗址公园规划设计
- 首钢博物馆建筑设计
- 南京中国科举制度博物馆设计
- 南京金陵美术馆设计
- 贾平凹文学艺术馆设计
- 西安历史文化名城保护规划
- 富平国际陶艺博物馆设计


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