Architects: Architectural Design and Research Institute of Tianjin University
Area: 34100 m²
Year: 2009
Photographs: Su Chen
Architect In Charge:Hua Zhang
Design Team:Yang Zhu, Yixun Zhang, Daxin Zhang, Shilei Liu, Cong Wang, Nan Chen
Engineering:Xiangliang Meng
Client:Baoji Cultural Heritage Bureau
City:Baoji
Country:China
建築師：天津大學建築設計研究院
面積：34100平方米
年：2009
攝影：蘇晨
負責建築師：張華
設計團隊：朱揚，張藝勳，張大新，劉詩磊，王聰，陳楠
工程：孟祥良
業主：寶雞市文化局
城市：寶雞
國家：中國
Land’s historical background
Baoji is the first ancestor Yan Di’s hometown, the scenic spot and historic resort is numerous, the designer decided that take the origin’s region culture of Chinese nation place, the local conditions and social customs and ecological environment as the creativity’s starting point, pays attention in the entire process to the transmission of historical culture, makes every effort to open new mentality that in the construction of Chinese culture.
土地的歷史背景
寶雞是炎帝的故鄉，風景名勝區眾多，設計師決定以中華民族的故鄉地域文化，地方情況和社會風俗和生態環境為創作出發點，關注 在歷史文化傳播的全過程中，千方百計努力開拓中國文化建設的新思路。
Historical background imageswitch
Design primary intention – bronze national treasure, breaking ground rebirth
Baoji is “the township of bronzeware” in our country. When the bronzeware is unearthed, it has always filled with vitality and mystical, and caused the people to feel deep shock to the ancient times civilization. Therefore, bronzeware museum must have the historical sincere feeling, makes every effort to construct for the multiple entity of profound connotation, stirring, the modeling dignified.
歷史背景圖片切換
設計的初衷-青銅國寶，破土重生
寶雞是我國“青銅之鄉”。 出土青銅器時，總是充滿了生機與神秘感，使人們對遠古文明產生了深刻的震撼。 因此，青銅器博物館要有歷史的真誠感，盡一切努力為深刻內涵，攪拌性，造型端莊的多重實體建構。
The form expressed – high platform door, bronze thick soil
China classical architecture design idea was the doctrine of the mean. That upright neat, the bilateral symmetry, the axle status was especially prominent, may understand as the concept of one kind “order”. Therefore the designer adopted a series of characteristic construction mark of the local characteristics and historical inheritance to expresses “order”:
表示形式–高平台門，青銅厚土
中國古典建築設計思想是中庸之道。 那種整潔，雙邊對稱，車軸狀態特別突出，可以理解為一種“秩序”的概念。 因此，設計師採用了一系列具有地方特色和歷史遺產的特色建築標誌來表達“秩序”：
Pile of soil and high platform: The designer starts from the foot of the hill, by the multiple stairs, layer upon layer to show the traditional construction image, makes every effort to mold the sincere and vicissitudes feeling of history simultaneously has also enriched visitor’s tour route.
一堆土高高的平台：設計師從山腳出發，以多重的樓梯，層層展現傳統的建築形象，盡力同時塑造真誠與滄桑的感覺，也豐富了遊客的遊覽 路線。
Entrance gate: The designer uses the construction of Zhou Qin imperial palace, and equipped with the imperial palace in the bronzeware museum entrance, on the one hand ,it can stress historical sincere feeling, on the other hand it has the meaning of implication of Zhou Qin culture. Simultaneously gate enters by three zone transfers, forms the sequence space, guides the visitor to enter the museum upwardly.
入口大門：設計者採用周欽皇宮的建築，並在青銅器博物館入口處配備了皇宮，一方面可以強調歷史的真實感，另一方面又具有周蘊的含義 秦文化。 同時門由三個區域轉移進入，形成層序空間，引導遊客向上進入博物館。
Soils construction: Loess is the commonly used building material in Shanxi area, the sincere loess wall is one of locality’s architectural features. The designer make the museum main body wall surface look closely to traditional wall. Close sincere, and afforest in the roof, which make the building base just like grows the common nature in the loess.
土壤建設：黃土是山西地區常用的建築材料，真誠的黃土牆是當地的建築特色之一。 設計師使博物館的主體牆壁表面看起來與傳統牆壁非常接近。 真誠的親密，屋頂綠化，使建築基礎就像在黃土中生長的共同特性。
Bronze culture: Bronzewareis emphasize in the design as the museum’s subject. The wall surface Outside the ellipse hall uses the bronze sheet, it looks like emerges of bronzeware. On the wall surfaces of entrance, the designer shows the collection famous bronzeware using the form of relief. ronzeware’s vein pattern also appears as decoration texture on the museum main body wall surface.
青銅文化：青銅器在設計中強調博物館的主題。 橢圓廳外的牆面使用青銅板，看起來像青銅器的出現。 在入口的牆面上，設計師使用浮雕的形式展示了著名的青銅器收藏。 在博物館主體牆壁表面上，ronzeware的靜脈圖案也作為裝飾紋理出現。
History manifests of spatial arrangement
Image mold – inherit history, merges the ancient and modern
Streamline organization: Before the entranceis the submersion square of “latitude and longitude vertically and horizontally”, causes the tourist realize the bronzeware culture without even enter the museum. Passing through the basin, arrives at the stairs, people are guided to enter the main entry door. The main entry door introduces the visitor half underground exhibition space, the tourist goes down steps, which is similar to enter the bronzeware bury place, the exhibition hall is all around .After visiting the exhibition hall, the tourist may go directly to the roof square, and enjoy Wei River beautiful scene.
空間佈局的歷史表現
形象塑造-繼承歷史，融合古代與現代
流線型的組織：入口前是“縱橫經度”的沉沒廣場，使遊客甚至沒有進入博物館就意識到青銅器文化。 穿過水池，到達樓梯，人們被引導進入大門。 主入口介紹遊客半地下的展覽空間，遊客下樓，類似於進入青銅器的掩埋處，展覽館四處。參觀展覽館後，遊客可直接前往屋頂廣場 ，欣賞渭河美景。
Where to go if you want to get to know Baoji and bronze ware in China?
Landscape design: The physique design of entire museum pursues one kind of earth landscape.Mountain is not beautiful without water, the museum is equipped with the shallow pool directly, and the surroundings are excellent, the mountain and water are like a whole.
景觀設計：整個博物館的體質設計追求的是一種地球景觀。沒有水的山地並不美麗，博物館直接配備了淺水池，周圍環境極佳，山水融為一體。
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