成都麓湖一片森林儿童博物馆

静止与运动。在冰川与海水的不停互动下，这些平均年龄5000年以上的冰川冰最终会漂向大海，成为随着洋流运动不断变换位置的冰山。在我们看来，冰山的魅力除了长达数千年不变的冰块，和因随意漂流而神秘莫测的位置，也在于作家海明威提到过的水面下充满未知的八分之七。

Stillness and Motion. Through the perpetual interaction between glaciers and seawater, the glacial ice, which boasts an average age exceeding 5,000 years, will ultimately drift toward the ocean and transform into icebergs that undergo continuous displacement by the flux of ocean currents. In our opinion, the fascination of icebergs lies not only in the thousands of years of unchanging ice, and the unpredictable location due to drifting. It also stems from the mysterious seven-eighths concealed beneath the sea's surface, as the writer Ernest Hemingway mentioned.

2021年，在成都麓湖生态城星罗棋布的湖泊与岛屿之间，我们开始着手，想要为小朋友们创造一座“冰山”，鼓励他们去探寻大千世界中更广更深的奥秘。最初设定的设计建造周期从紧张的十个月延长到最终的两年，这期间静止与运动齐轨连辔——静态的建筑和不变的初心、变换的建造条件和无穷尽地探求，让一片森林儿童博物馆在2023年10月终于漂在了孩子们心中的海洋上。

In 2021, amidst the picturesque lakes and islands of Chengdu's LUXELAKES, we embarked on a mission to construct an 'iceberg' for children, encouraging them to delve into the deeper and more intricate enigmas of the world. The original design and construction process was prolonged from a hasty ten months to a final two years. The stillness and motion progressed simultaneously during this period - static architecture and unwavering beliefs, changing construction conditions, and continuous exploration. As a result, Dotsss Children's Museum finally opened in October 2023. This iceberg finally floated on the ocean of children's hearts.

项目位于麓湖生态城西北方向，与热闹的麓坊中心一路之隔。场地周边地块功能围绕着运动与休闲展开，运动公园、体育中心、露营体验区、商业街区无一不在提示着我们关于这片区域的动感与活力。而实际上，这片区域的“动感”程度的确比我们想象中要迅猛：从设计伊始到施工建设阶段，哪怕直到建成后的今天，项目的周边环境竟然一直处于变化之中。建筑一定要适应周边所有的场地环境吗？在不停变化的周遭里，兀自立起似乎岿然不动的建筑，或许以不变应万变也是一个答案。

The Site in Flux. The project is situated northwest of Luxelakes, just across the vibrant Luxezone. It is enveloped by sports and leisure facilities such as a sports center, a camping experience area, and commercial blocks, showcasing the area's energy and liveliness. Indeed, this project site is a more 'dynamic' environment than we initially anticipated. From the inception of the design phase to the execution stage, the project's surroundings have been consistently changing. Even post-completion, the project's surroundings remain in a state of flux. Is it necessary for a building to always conform to its surroundings? In the face of an ever-evolving environment, it may be more suitable to construct a building that appears to remain steadfast amidst the changes.

未知下的需求。所以这便真的是一栋完全岿然不动的建筑吗？唯物辩证法告诉我们，静止是相对的。房子还是固定在场地里的房子，此博物馆却非彼博物馆了。设计初期，我们便认识到，与常规博物馆不同的是，这座儿童博物馆并非为了穿透历史，而是为了迈向未来——它为孩童服务，用空间和展品向儿童展示世界的多样，吸引这些年幼的观众用自己的方式主动探索与思考。根据以往做文化展示类建筑的经验，展厅的规模大小、空间形式等等相关设计要素通常会根据实际展品内容和展览形式来确定。但在这个设计中，和不确定的场地环境一样，短促的工期下，展览内容也是暂时未知的。

Unknown Needs. Is this truly a building that has remained unchanged? Material dialectics tells us that static is relative. The building remains fixed to its location, yet this museum deviates from the traditional concept of museums. In the initial stages of the design process, we recognized that this children's museum, unlike traditional museums, was intended not to simply look back at history, but to instead propel towards the future - catering to children, showcasing the world's diversity through its various spaces and exhibits, and engaging young viewers to actively explore and contemplate it in their own manner. Based on previous design experience with exhibition buildings, the dimensions of the exhibition hall, space form, and other related design elements are typically decided based on the specific content of the exhibits and the form of the exhibition. Nevertheless, in this project, similar to the unpredictable site conditions, the contents of the exhibition were also temporarily unknown due to the brief construction timeframe.

这意味着这栋房子在极短的设计与施工周期中，既要满足儿童友好要求，也要配备博物馆相应的配套辅助用房和设备，最重要的是，展览空间要足够灵活多变，去适应未知中的空间需求。为了降低展览道具设计对建筑体型的影响，在建筑设计阶段，选用更“胸怀广阔”些的方形盒子空间，能够为建筑的未来生长预留空间——在保证建筑效果并无大变化的前提下，简单的空间形式可以及时按需变换空间体量的“高矮胖瘦”，同时也会最大化地保留空间容量，带来更多丰富与自由。

This implies that within an extremely short design and construction timeline, the project must not only meet child-friendly requirements but also be equipped with auxiliary rooms and facilities suitable for a museum. Most importantly, the exhibition space also needs to be flexible enough to adapt to various exhibition needs. To reduce the influence of the exhibition props on the building shape, in the architectural design stage, the selection of more adaptable square box space can reserve space for the future growth of the building - under the premise of ensuring that the architectural effect does not have a big change, the simple form of square box space can be changed promptly on demand for the space volume, while also maximizing the retention of space capacity, bringing more richness and freedom.

流动中的流线。我们想给儿童创造一种自由流动的参观方式，即尽量不去限定固定的参观流线。每个盒子并非是一个独立存在的“天堂乐园”，盒子之间互相开放，通过中庭和室外庭院加以连接，周围环绕着不同尺度的活动场地。如此一来，参观流线变得十分随意，庭院仿佛博物馆限定版“哆啦A梦任意门”，穿过庭院能够任意选择想要进入的展厅。这样轻柔的空间引导更加符合儿童的天性，孩子们穿梭于场馆中，肆意玩耍奔跑而不会受到阻止和呵斥，尽情享受视线两旁飞驰的场景，掠过两耳的风。

Streamline in the Flow. We aim to create a flexible and unrestricted visiting experience for children, that is, we strive not to confine the visit to a set route. Each square box space is not a standalone amusement park. The boxes are open to each other, linked by atriums and outdoor courtyards, and encircled by activity areas of varying sizes. In this way, the visiting path becomes highly flexible, and the courtyard is like a limited version of the museum's "Doraemon Anywhere Door", enabling visitors to select their desired exhibition hall freely after crossing the courtyard. This gentle spatial guidance is more in line with children's natural tendencies, enabling them to run freely without any obstacles or reprimands within the exhibition hall. They can fully appreciate the sights rushing by and the breeze touching their ears.

除了展厅之间参观流线的自由流动，几处大面积窗口将建筑内外的参观体验也联通了起来——建筑内外的风景互为可参观的“展品”。对于建筑外部广场上的路人来说，透过玻璃窗口，展厅中的展览和活动的观众是一种吸引与呈现；对于展厅当中的观众来说，建筑外的路人亦是一种探索与观察。

Besides the unrestricted visit routes between exhibition halls, there are also several large windows connecting the interior and exterior of the building. It makes the landscapes inside and outside the building serve as 'exhibits' that can be explored by visitors. For the passersby on the square outside the building, the exhibitions and activities in the exhibition halls visible through the glass windows serve as an attraction and presentation. On the other hand, for the audience inside the exhibition halls, the passersby outside the building are also a kind of scenery of exploration and observation.

变形后的体块。体块顺应场地轮廓简单布置，站在场地四周的高层建筑上，或许平铺直叙的体块关系会更为直观，所以建筑的第五立面成了房子如何突破平淡的关键。此外，需要关注的变化还有提速后的施工进度。为了顺应快速建造的建设要求，我们又做了一次不同以往地尝试——将大部分设备外移。如此一来，即使在面对建筑和室内同时设计和施工的情况下，也能避免在室内发生交叉施工。随之而来的问题是，屋顶上堆砌的空调机组、消防水池等设备让体块的体量逐渐不再轻巧。

Transformed Cubes. The cubes are simply laid out following the contours of the site. Standing on the high-rise buildings surrounding the site, perhaps the planned relationship of the cubes would be more intuitive, so the fifth elevation of the building becomes the key to how the buildings break through the blandness. Also, a change to watch is the construction schedule after the speed increase. To comply with the fast-build construction requirements, we attempted a different approach by relocating most of the equipment to the outdoor rooftop. In this manner, it is possible to avoid cross-construction between the construction of interiors and architecture even when they are being designed and constructed simultaneously. The subsequent issue is that as more air conditioning units, fire water tanks, and other equipment are added to the rooftop, the architecture loses its original lightweight.

建设情况的多变与复杂，使我们不得不思考，如何把各种问题包裹起来，最好是简单直接的方式。这似乎与克里斯托和珍妮夫妇大地艺术创作中“遮蔽与隐秘”的形式不谋而合。所以我们在体块之上笼罩了一张织物——大面积的铝网柔软易皱，因此最终被替换成张拉膜。半透明的张拉膜在不同视角和光照条件下，层叠的体块变化使冰山的几何美学得到了充分的表达。这张巨大的柔软织物带着拉扯之间的张力，把多个体块连续起来，将外移的设备隐藏起来，让盒子的边界从锋利硬朗的明晰柔化成影影绰绰的未知。张拉膜屋顶与体块之间形成的夹层是我们在屋面上为小朋友们准备的半开敞活动空间，计划以此去满足每一个试图爬上屋顶的小孩的童年愿望。可惜的是，由于屋面被安放了更多设备，这个计划并未实现。

The variability and complexity of construction conditions require us to consider how to wrap up various issues most simply and directly. This appears to resonate with the form of "concealment and draped" in the land art creations of Christo and Jeanne-Claude. As a result, we covered the cubes with a fabric. The originally intended large-scale aluminum mesh was too soft and easy to wrinkle, so we ended up replacing it with a tensioned membrane. The geometric aesthetics of the iceberg are fully expressed as the semi-transparent tensile membrane brings cascading geometric changes to the building under different viewing angles and lighting conditions. This immense, soft fabric, with tension between its pulls, connects multiple cubes in succession, hiding the equipment that has been moved to the roof, and softens the sharp, rigid clarity of the box's boundaries into an indistinct, enigmatic blur. The interlayer formed between the tensile membrane roof and the cube serves as a semi-open space on the roof, specially prepared for children, which we plan to fulfill the childhood wish of every child who tries to climb up to the roof. Regrettably, the plan did not come to fruition as more equipment was installed on the roof.

如一的方法。日常发出提示，反常带来吸引，是我们一直为之着迷的探知方法。规则的盒子形体是建筑最常见的表达样式。一个长宽高超过几米的立方体，只要开一个入口就很容易让人联想到这是可以进入的房子，它用自身的日常性向人们发出提示：这里是一个空间。若干个盒子分散摆放在一起，则会成为最常见的展览类建筑样式。当这些分散的盒子被张拉膜包裹成一个整体时，包裹之下，锋利又柔和的建筑边界则变成了反常的吸引，这座纯白的建筑形体如同一座突然漂浮至此地的冰山，为大众带来熟悉又陌生的建筑体验。

Consistent Approach. The everyday communicates messages to society, while the perverse can captivate attention, a method of probing that we have always been fascinated by. The regular box form is the most common style of expression for architecture. A cube with dimensions exceeding several meters in length, width, and height, by simply opening an entrance on it, easily evokes the association of a building. It uses its everydayness to signal to people that this is a space. A number of boxes scattered in placement together will become the most common style of exhibition-type architecture. When these dispersed boxes are wrapped in a tensioned membrane to form a whole, the distinct yet gentle architectural edges beneath the membrane will take on perversely attractive. The pristine white appearance of the building resembles an iceberg that has appeared suddenly in this location, providing the public with a familiar yet unfamiliar architectural experience.

冰山仅有一小部分山体暴露于水面之上，人们用想象去描绘其水面之下的真正轮廓。就如同一片森林博物馆，用看得见边界的一方空间，吸引儿童感知世界，引导他们发现自身的兴趣，去更主动积极地探知世界的更多奥秘。在这座“冰山”中，充盈着各种形式的静止与运动，比如局限于物理形式的房子，再比如不同以往的千变万化的设计建造经验。而唯一恒定未变的是，从乐知学校到麓湖儿童博物馆，我们一直希望通过房子向外界发出有关教育的提示：一栋送给儿童的建筑并非只是静态定式的学习场所，更是动态变化的教育平台。或许“看山是山，看山不是山，看山还是山”这句话，在这座儿童博物馆中找到了新的诠释。

The iceberg reveals only a small portion of its mass above the water's surface, and people use their imagination to depict the true outline of the iceberg below the surface. Just like Dotsss Children’s Museum, this bounded space captivates children, enabling them to perceive the world, guiding them to uncover their interests, and encouraging them to explore the myriad mysteries of the world. In this "iceberg," various forms of stillness and motion abound: such as the buildings that are limited to their physical forms, and the constantly changing design and construction experiences. The one consistent aspect has been our desire to convey a message about education to the public through our project, from the Lyceum School to the Dotsss Children’s Museum. We believe that a children's building is more than just a stationary place for learning; it is a dynamic and changing educational platform. Perhaps the saying "To look at something as it looks, to look at something as it means, to look at something as it is." finds a new interpretation in this children's museum.

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