巴米扬文化中心 I
1 Siting | Mass:
The building of Bamiyan Cultural Center occupies the Northwest edge of the hill to obtain the prime view. Its mass is broken down into a series of one story blocks, which are connected by covered walkways and terraces. Carved into the landscape and clad in stone, the architecture evokes ruins of nearby World Heritage property.
2 Village | Court :
The Cultural Center is conceived as a “village” and a “court”.
Entry sequence begins from the entry forecourt. A tree-line road, a shallow pool and rill lead visitors to the entrance. The lobby opens to the tea house directly. The tea house, outdoor deck and the performance hall, form the a South-North axis of the center. Exhibition space is placed to west side, with access from administrative office and research, while workshop and classrooms are arranged to the east side with views overlooking the garden.
The “village” is comprised of exhibition spaces, a tea house, a performance hall, a workshop and classrooms. Reminiscent of layout of adjacent village farmhouses, these spaces are organized centrically around an amphitheater, and on different elevation levels. The amphitheater space unifies the entire project and emphasizes a strong sense of community. The performance hall is kept low and engaged in the land to preserve views of the valley and Buddha cliffs from amphitheater. The space in front of performance hall serves as the stage where outdoor cultural events are held. Covered walkways connect all buildings. Walking through the complex, one senses the inseparable linkage between the center and the World Heritage site.
The “court” contains “quite” function including research, study, library and administrative offices. These rooms are open to the patio where a monastic and serene atmosphere is established. By resembling the reversed configuration of cave architecture, a dialogue is set between the Cultural Center and Buddha cliffs.
3. Materiality | Facade:
Considering cost efficiency and ease of construction, all materials are traditional and from local. Field stone and local wood, the most accessible the renewable construction resource in the region, is the principal material in use. The juxtaposition of weight and lightness, opacity and transparency, combines an air of modernity with vernacular character.
4. Ecology | Landscape:
The indoor space is illuminated by natural light distributed via windows, clerestories and skylight. The horizontal overhang window frames provide shading on summer sun and let low winter sun in. In summer the rooms are cross-ventilated through the opening.
The outdoor garden is planned throughout the site and is comprised of 3 parts: an entry forecourt at upper terrain, featured with the pathway, a pool and rill; An educational garden laid out in front of the classrooms, emphasizing the important role of nature in the teaching program; and a field of Ecological Restoration is designed at lower terrain, which focuses on local vegetation and soil restoration. One can descend from the building to lower terrain from path on the hill or from the long stair structure. Rain water is collected from building roof and landscape to irrigate the plants and grass.
The building of Bamiyan Cultural Center occupies the Northwest edge of the hill to obtain the prime view. Its mass is broken down into a series of one story blocks, which are connected by covered walkways and terraces. Carved into the landscape and clad in stone, the architecture evokes ruins of nearby World Heritage property.
2 Village | Court :
The Cultural Center is conceived as a “village” and a “court”.
Entry sequence begins from the entry forecourt. A tree-line road, a shallow pool and rill lead visitors to the entrance. The lobby opens to the tea house directly. The tea house, outdoor deck and the performance hall, form the a South-North axis of the center. Exhibition space is placed to west side, with access from administrative office and research, while workshop and classrooms are arranged to the east side with views overlooking the garden.
The “village” is comprised of exhibition spaces, a tea house, a performance hall, a workshop and classrooms. Reminiscent of layout of adjacent village farmhouses, these spaces are organized centrically around an amphitheater, and on different elevation levels. The amphitheater space unifies the entire project and emphasizes a strong sense of community. The performance hall is kept low and engaged in the land to preserve views of the valley and Buddha cliffs from amphitheater. The space in front of performance hall serves as the stage where outdoor cultural events are held. Covered walkways connect all buildings. Walking through the complex, one senses the inseparable linkage between the center and the World Heritage site.
The “court” contains “quite” function including research, study, library and administrative offices. These rooms are open to the patio where a monastic and serene atmosphere is established. By resembling the reversed configuration of cave architecture, a dialogue is set between the Cultural Center and Buddha cliffs.
3. Materiality | Facade:
Considering cost efficiency and ease of construction, all materials are traditional and from local. Field stone and local wood, the most accessible the renewable construction resource in the region, is the principal material in use. The juxtaposition of weight and lightness, opacity and transparency, combines an air of modernity with vernacular character.
4. Ecology | Landscape:
The indoor space is illuminated by natural light distributed via windows, clerestories and skylight. The horizontal overhang window frames provide shading on summer sun and let low winter sun in. In summer the rooms are cross-ventilated through the opening.
The outdoor garden is planned throughout the site and is comprised of 3 parts: an entry forecourt at upper terrain, featured with the pathway, a pool and rill; An educational garden laid out in front of the classrooms, emphasizing the important role of nature in the teaching program; and a field of Ecological Restoration is designed at lower terrain, which focuses on local vegetation and soil restoration. One can descend from the building to lower terrain from path on the hill or from the long stair structure. Rain water is collected from building roof and landscape to irrigate the plants and grass.
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