本期『A⁺TALK建谈·专访』采访丹麦3XN A/S创始人、深圳自然博物馆的项目总监Kim Herforth Nielsen。

深圳自然博物馆作为深圳“新时代十大文化设施”之一，使命定位为“国家区域自然博物馆”，立足深圳和粤港澳，面向大华南，辐射东南亚，致力于建设成为全国领先的自然历史遗存收藏中心、自然标本展览中心、自然科学研究中心和科普教育中心，有助于填补区域内综合性自然博物馆的空白，完善青少年自然科学、生态环境教育体系，更好地满足人民群众日益增长的公共文化服务需求，有利于进一步提升深圳市城市文化软实力，加快区域文化中心城市的建设。

一开始接触到项目时，我们做了很多的场地勘查工作，研究了场地整体环境。我们发现这个地块毗邻市郊，往外走是一个自然公园，能看到燕子岭，前面是个河流三角洲。我们的灵感很大部分来源于此。

The first thing we do when we go into a competition or a project is to investigate the site and the atmosphere of the place. And we noticed that this site was at the edge of the Shenzhen city, out towards a big park, and with a view to the Yanzi Hill, with the river delta in front of it. And that actually became very much the inspiration of what we wanted to do. 

这是个自然历史博物馆，所以我们十分希望整个建筑的外形，概念和我们设计博物馆的方式都与自然有关，我们的灵感最先源于三角洲。同时，我们要让这博物馆有中国元素，我们从传统中国建筑得到启发，深入了解中国建筑与大自然相处之道。这是我们想要传递和表达的。

It is a natural history museum, so we wanted to really to tell the story about nature in the form of the building.So, our first inspiration in the project came from the delta itself. At the same time, we wanted it to connect to the place in a more profound way than it’s location. So, we were also inspired by traditional Chinese architecture, and the link that you can find between nature and design in Chinese architecture. I think that was what we tried to do. 

我们从河流三角洲获得灵感后，开始观察河流是如何融入自然的。河流给人们带来的灵感不仅在中国，还有世界其他地方，像美国大峡谷，都有与之相关的设计。

Once we had been inspired by the river delta, we looked into all kinds of rivers and the forms and patterns they make in nature. There is a phenomenon you often see in nature When we got the idea about inspired into the inspiration from the river delta, we looked in how rivers have caught into nature. And you see that in China, in many other places, like Grand Canyon, and that actually became some of the inspiration for how we work with the design. 

你可以看到我身后的这个模型，这个建筑模型是竞赛结束后制作的。我们设计的建筑形态像蜿蜒的河流。还有很重要的另外一件事是我们如何能够将自然和建筑融合。我们想呈现出更多的东西，而不仅仅是一栋要交付客户的建筑。

You can see here on the model I have here behind me, a model that we did after the competition, that the building is designed to have this carved out, riverlike form. Another thing that was important for us was to relocate the nature on the building as well. We always want to give something more than a building back to the client.

我们的博物馆不只是一座你可以走进去的博物馆，还是一座可以走上去的博物馆。我们希望重新构建屋顶的整体景观。让市民可以走上屋顶景观台，放松心情，享受一花一草。远眺燕子山，近看三角洲和自然公园。因为市郊也是深圳城市的一部分，所以这是开始设计时非常重要的灵感来源。

And our idea here was to not only to make a museum that you could go into, but that you can walk on as well. We wanted to reestablish the whole landscape on top of the building . So it becomes a place for the citizens of Shenzhen to come and enjoy themselves. From the botanical garden we put on the roof, visitors can enjoy the view out to the Yanzi Hill and to the river delta and the big park. Being able to see the city and the park – these things were key to the concept of the building.

The climate in Shenzhen is very hot. So we knew that, especially when walking on the landscape on the top of the building, we would need shading structures. So we had to take that seriously in the walking on the park here and with the trees on the roof that can be shading as well. The whole layout is meant to be for hot days and for shading as well. 

水景池的水蒸发降温，在天气热的时候会让人舒适，考虑到建筑内部的舒适度，我们设计了自遮阳的外立面，通过挡板设计，减少太阳光热进入建筑内部。在背阴处，我们设计了休息的地方。整个设计是联通的，采用自然石材包层，同时博物馆的浅色设计也能反射更多太阳光，帮助降温。这也是设计灵感的一部分。

The water is of course physically cooling, and it is a nice element when it's very hot. When you think about the design of the building from inside as well, the facade really helps, in that sense, because it is self shading. It does not allow too much sun heat to come into the building in the way that we design it with the baffles here. On the side of the mellows you can rest on the outside . So, the whole design is connected in that sense, and uses a natural stone material as the cladding of the building, also light colored museum that reflects the sunlight also helped in keeping the building cooler. This has been part of our ideas about the design as well.

像我刚刚提到的，建筑的整体外形灵感来源于自然，水和洞穴融于自然，是一个不规则的外形设计。不规则线形设计给我们的设计和建造都带来挑战。我们用了参数化设计得到建筑外形。

As I said before, the whole shape of the building is inspired from nature, the random, organic nature of how water carves into the landscape. The whole building has this natural form, a form that became a challenge for us when designing and planning how to build it.It took precise, parametric design to come to the best solution – one that would unite beauty and practicality. 

还有个很重要的设计是建筑的内部，这个建筑不只是外形富有设计感，建筑内部也很有看点。建筑内部设计了一系列的筒形结构的展览馆，这些筒形展馆是相连的。你可以从这个馆走到下一个馆，你也可以直接去你想去的展览馆。我们很认真地考虑了建筑内部的连通布局。

The interiors were, of course, key to the entire design. This building is not only designed from the outside!Conceptually, there’s a series of big cones in which the exhibition areas are housed. Each of these cones are linked by the sinuous form – almost a shell – that forms the buildings exterior. So you can walk from one cone to the next, but you could also walk directly to the cone or to the exhibition that you really want to see. The interior layout was very carefully considered – also so that each visitor can choose their own path and experience. 

从外形看，设计受自然启发，从内部看，完全尊重访客意愿，设计了一系列展览区域，筒形展馆设计方便访客直达各大展馆。整个复杂的内部设计通过外形得到高度统一。

So you can see the building as inspired by the nature on the outside, but on the inside, it is designed out from a wish to have your own way and have a series of exhibition areas shaped like cones where you can walk directly to one or you can walk from one to the next. This complex system is put together by the outer shape.

我们采用了一系列参数来设计各种建筑外形，内部筒形设计，外立面效果，统一整合设计布局和建筑过程。因为建筑过程在不规则的建筑中是非常复杂的一部分。有很多不同的部分要相连在一起，同时还要解决不同的建筑元素。

We had a series of parametric designs to work on all the different shapes, the inside shapes of the cones, the outside shape of the façade – and to link all these pieces together. It has also been a powerful tool to coordinate construction. With such an organic form, construction becomes a very complex challenge. So the project involves a huge number of things that have to be connected and solved – all while remaining elegant. 

这个问题在10年前很难解决，但现在，有了参数设计，我们可以做到。我们可以通过合理的设计让建筑落地。建筑结构中还有很多不同的挑战，整体结构必须有足够的灵活性和强韧度，幸好我们最终还是解决了问题，最后在价值工程和完整结构实现了平衡。

This museum, in this form, would have been almost impossible to design 10 years ago. But today, when we had these tools in parametric design, we can design it. And you can do it in a rational way that is buildable as well. There was a lot of different challenges that we had to put into the structure. So the structure needed to be very flexible, and very strong at the same time. 

另外一个挑战是我们如何在建筑内部尽可能少放柱子。因为这个是有自然有关的建筑，柱子是非自然的，我们不想打破自然的美感。甚至在价值工程过程中，我们也尽可能地少设计柱子，让柱子和外立面结构融合。当你走进博物馆，你能看到自然光线随着时间移动。从外面看，你也可以同样看到光线的变化给建筑带来的变化。

Another thing that has been important for us is to have as few columns inside as possible In nature you don't have columns, and we didn't want the nature to compete with columns and be overpowered . When you come in there, you see the whole thing as a light natural movement from one cone to the next cone. And from the outside, you see this natural movement from the outside as well. 

此外，立面开窗也是一大挑战。我们不想做传统的窗户。所以我们将立面和开窗融合，让敞开的设计成为结构的一部分，看我身后的模型，我们称之为“baguette”。在需要采光的地方把立面敞开，在不需要采光的地方把立面闭合。整体采光方案都围绕建筑内部的自然光线思考。

Another challenge was the facade with the windows. We didn't want to take a traditional approach to buildings and windows. We wanted the structure to be able to have openings where could have windows, but to be part of the structure as well. When you see the model here, you can see that these we call them baguette. That is the whole facade opens up where you need to have daylight in and out, and closes it where you don't need to have it. So the whole system, whole idea about the design is had to create it, also to have possibilities of daylight inside the building. 

因为我们一直以来的理念都是：自然博物馆中要尽可能多地呈现自然。外立面不建议使用铝板，我们用了天然石材，一种中国的石材。这个本土的材料也很重要，我们收集了很久，石材也能和中国元素联系起来。

It was very important for us as it is a natural history museum to have the materials as natural as possible. The outside is not aluminium at all. It is natural, a Chinese stone. It was important to us that local stone was used, to further link the building with it’s place, history, and nature. So it has a reference to China as well. 

我敢说这个博物馆建成后在深圳，乃至全世界都是独一无二的。我们的初衷也是让博物馆成为深圳的地标建筑。我们并不单纯在打造一座能代表深圳自然历史博物馆的建筑，我很期待它落成后的样子。

I could say that I think this museum will be unlike any anything else in Shenzhen, maybe in the world. Our idea is it should be an icon for Shenzhen at the end. For us it is not a building, but an emblem for the city and its nature and history. And when it's finished, I cannot wait till it's being built.

博物馆建成后，它就像是一座自然历史的丰碑，同时也是一座中国建筑的丰碑，这很重要。它所代表的远不止是一座建筑，我们想描绘的是关于深圳、关于历史和自然的史诗。

When it's finished, it'll stand like a monument of natural history and monument to Chinese architecture. And I think that's very important for us. It gives something back more than just being a building. It is sort of a what we're trying to do is a poetry about history, naturally history, nature. And it could also be a poetry about Shenzhen at the end.