Architects: a9architects
Area: 13000 m²
Year: 2021
Photographs: ARCH-EXIST
Manufacturers: 上海摩索新型装饰材料有限公司, 成都丽彩美涂建材有限公司, 贵州建工集团有限公司
Lead Architects: Yuejiu Li
Design Team:Ale, Hao Zhu, Xinyi Shen
The Client:Yingjing County Culture&Tourism Development Co. Ltd
Structure Design:Architectural Design Institute of Chongqing University Liu Yucheng Su Zhiming Design Team
Interior Design:Architectural Design Institute of Chongqing University


The black sandware art inherited for 2000 years, the art and wisdom of fire and earth were passed down in Yingjing. Yingjing County Silk Road Shadu Complex Project is a strategic measure to build a “National Eco-cultural Tourism Integration Development Pilot Zone and a National Comprehensive Tourism Demonstration Zone” in Ya’an City under the background of this new era. Surrounding the core resources of black sand intangible cultural heritage, the design built a unique cultural tourism brand in the region.

黑色沙器藝術傳承了2000年,火與土的藝術和智慧在Ying經傳承了下來。 jing經縣絲綢之路沙都綜合項目是在新時代背景下,在雅安市建設“國家生態文化旅遊一體化發展試驗區和國家綜合旅遊示範區”的戰略舉措。 該設計圍繞黑沙非物質文化遺產的核心資源,在該地區建立了獨特的文化旅遊品牌。

The overall design of the Sand Museum takes full advantage of Yingjing’s regional culture and landscape and ecological background, and is conceived with a concept that stands out from the entire ancient building area. The buildings use a large number of solid walls as the facade design to highlight the thickness of sandware. The sense of heaviness makes the main body of sandware the only focal point of cultural dialogue, and the building grows in a way that adapts to the terrain.

沙雕博物館的整體設計充分利用了jing經地區的文化和景觀以及生態背景,其構思與整個古代建築區都脫穎而出。 建築物使用大量的實心牆作為立面設計,以突出沙器的厚度。 沉重的感覺使沙器的主體成為文化對話的唯一焦點,並且建築物以適應地形的方式增長。

The materials of the entire plaza are made of local stone and pebbles. The open space becomes a communication stage for people to discuss sandware culture and study sandware craftsmanship. In the dialogue between indoor and outdoor spaces, the local waterscape of the site becomes a dialogue medium between the building and the earth. The building echoes each other through a naturally unfolding wall and the circular sacrificial kiln banquet building under the wall, creating a more shocking visual experience and space perception.

整個廣場的材料均由當地的石頭和鵝卵石製成。 開放空間成為人們討論沙器文化和研究沙器工藝的交流平台。 在室內和室外空間之間的對話中,場地的局部水景成為建築物與地面之間的對話媒介。 建築物通過自然展開的牆和牆下的圓形犧牲窯宴會廳相互呼應,營造出更加震撼的視覺體驗和空間感。

At the same time, using the method of framed scene composition, on the visual scale of pedestrians, the visual space is expanded to the distant landscape on a large scale, like an expanding drawing scroll. On the other side, facing the distant landscape, the outer skin of the grid and the large-area floor-to-ceiling windows are used to form a virtual and solid effect that is surrounded by mountains and rivers in the overall perception.

同時,利用構圖的場景構圖方法,在行人的視覺範圍內,將視覺空間像擴大的繪圖捲軸一樣,大範圍地擴展到遠處的景觀。 另一方面,面對遠處的風景,網格的外層皮膚和大面積的落地窗被用來形成一種虛擬而堅固的效果,在整體感覺上被群山和河流所包圍。

The architects of A9a believe that the exterior wall that restores the original sense of sandware is both a tribute to the classics and injects new vitality. The local coal ash is reprocessed to become embellishments, reshaping the form of contact with the world to gain the current sense of belonging to the site. Returning sandware to people’s daily life has become the main theme of this design. In addition to functional layout and other practical significance, it also accommodates more content. The intention of natural environment man-made objects to be integrated into a whole is to achieve the ultimate harmony and unity.

A9a的建築師認為,恢復沙質原始感覺的外牆既是對經典的致敬,又注入了新的活力。 將當地的煤灰重新加工成裝飾物,重塑與世界的接觸形式,以獲取當前對場地的歸屬感。 使沙器回到人們的日常生活已成為該設計的主題。 除了功能佈局和其他實際意義外,它還可以容納更多內容。 將自然環境中的人造物體整合為一個整體的目的是實現最終的和諧統一。


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