博物馆设计：红砂岩外墙立面

发布于：2025-02-27 10:12:27 来自：建筑设计/公共建筑设计

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胡马雍陵遗址博物馆被设想为连接 Nizamuddin Basti、Sundar Nursery 和莫卧儿王朝第二位皇帝胡马雍陵等重要而独特的历史遗址的空间纽带。印度考古调查局在阿迦汗文化信托基金（Aga Khan Trust for Culture）的支持下，建议建造一座遗址博物馆，作为重要的公共设施，方便游客体验胡马雍陵和邻近遗址的风貌。

The Site Museum for Humayunís Tomb has been envisioned as the spatial link between the significant and distinct historical sites of the Nizamuddin Basti, the Sundar Nursery, and the tomb of the second Mughal emperor, Humayun. To establish a spatial threshold - significant in terms of providing a sense of place for this ensemble of Mughal-era landscape and architecture -the Archaeological Survey of India, supported by the Aga Khan Trust for Culture, proposes to build a Site Museum as a vital public amenity, facilitating the visitorís experience of Humayunís Tomb and adjacent sites.

新遗址博物馆的建筑理念借鉴了中世纪地下阶梯水井的传统，这些水井既是淡水蓄水池，又为旅行者提供了一个凉爽的天窗避难所。博物馆的建筑在概念上也以莫卧儿王朝对美学实践的承诺为基础--通过建筑与自然的关系来说明这一点。加斯东-巴切拉（Gaston Bachelard）在他的著作《做梦的权利》中将此描述为 “对美好事物的无限慈善”。他描述道，在黄昏时分，园丁们可能会在每一朵即将绽放的莲花茎前放置灯具和镜子，以便这朵花在黎明时能够更加自信地绽放，并对自己的美丽感到欣喜。正是这种独创性想象力的辉煌，让我们能够在莫卧儿王朝建筑最初构思五个多世纪后，仍能欣喜地看到其清晰的外观--这是一种毫不妥协的诠释，将美视为建筑行为不可或缺的一部分。

The architectural concept for the new Site Museum draws from the tradition of subterranean ?Baolisí ? medieval stepped wells that served as reservoirs for fresh water, and provided a cool, skylit refuge for travelers. The architecture of the museum is also conceptually grounded in the Mughal commitment to aesthetic practice - illustrated through the relationship between architecture and nature. Gaston Bachelard ? in his text The Right To Dream - describes this as an ìimmense charity towards the beautiful?. He describes how, at dusk, gardeners might place lamps and a mirror before each lotus stems on the cusp of bloom so that the flower may blossom at dawn with greater confidence and delight in its own beauty. It is the splendor of this original imagination that enables us to rejoice in the clarity of this Mughal architecture over five centuries after its initial conception ? an uncompromising illustration, positing beauty as integral to the act of building.

胡马雍陵遗址博物馆分为两个不同而又相互联系的区域：一个是毗邻巽他苗圃的主入口广场，另一个是靠近胡马雍陵入口大门的地下博物馆群。与胡马雍陵一样，通过入口广场和博物馆建筑的到达和游行顺序也体现了正式到达庭院的秩序感。入口广场由多个售票处、公共设施、咖啡厅以及纪念品商店、礼堂、图书馆、工艺品展厅和研讨会室组成。

The Humayunís Tomb Site Museum has been organized in two distinct and interlinked zones: a primary entrance plaza situated adjacent to Sundar Nursery, and a subterranean Museum complex near the entrance gate to Humayunís Tomb. As in the Tomb of the Emperor Humayun, the sequence of arrival and procession through the Entry Plaza and Museum building assumes a sense of order in the formal arrival court. The Entry Plaza is comprised of multiple ticket counters, public amenities and a cafe, as well as access to a souvenir shop, an auditorium, a library, a crafts gallery and seminar rooms.

入口广场是一个入口，游客可以在此确定自己的方向，并在该区域的众多建筑特色中安排自己的行程。广场北端有一座两层建筑，在大树的遮荫下显得格外醒目。该建筑在占地面积和体量上与广场上的现有建筑保持一致，外层为红色砂岩。石材工艺的质量一直是印度莫卧儿王朝建筑的一大特色。

为了保持这一传统，红砂岩的表面进行了雕刻，在纹理丰富的天然石材上放大了光与影的效果。为了区分游客从入口广场进入卡菲尔宫的队伍，红砂岩外墙变成了一个雕刻精致的白色大理石屏风，象征着入口。

The Entry Plaza functions as a threshold from which visitors may orient themselves, organizing their itinerary within the many architectural features of the area. A two-storied structure - shaded under the foliage of large trees - defines the northern end of the plaza. It is built in conformance with the footprint and volume of the existing structure on this site and clad with red sandstone. The quality of stone craftsmanship remains a defining feature of Mughal architecture in India. In keeping with this tradition, the surface of the red sandstone has been carved, amplifying the play of light and shadow on the richly textured, natural stone. To demarcate the procession of visitors from the Entry Plaza into the Cafè Court, the red sandstone faáade transforms into a delicately carved, white marble screen, signifying entry.

莫卧儿王朝建筑中的几何形式传统对遗址博物馆的设计产生了影响。对于莫卧儿王朝来说，几何体现了宇宙秩序。精心安排的空间比例为人们的居住提供了一种规范。然而，对几何的忠实也促进了人类对照明和体积之间强大结合的认识。

因此，莫卧儿王朝的建筑给空间注入了这个世界的地面框架感，同时也唤起了人们对更伟大的宇宙秩序的认识。几何形状在空间上的演变并不足以满足莫卧儿人的需求；只有当每一个表面都被装饰上细节、纹理和色彩时，这种美学实践的伟大精进才会出现--这揭示了建筑是一种具有重大意义的动感奇观。

The tradition of geometric forms within Mughal architecture has influenced the design of the Site Museum. For the Mughals, geometry manifested a cosmic order. The arrangement of carefully proportioned spaces imposed a discipline for inhabitation. However, this fidelity to geometry also facilitated a heightened human awareness of the powerful union between illumination and volume. Thus Mughal architecture imbued space with a sense of the terrestrial frame of this world, while also evoking an awareness of a greater cosmic order. The spatial evolution of geometry into powerful forms was not enough to satisfy the Mughals; the great refinement of this aesthetic practice emerged only as every surface was adorned with detail, texture, and color - revealing architecture as a kinetic spectacle of great consequence.

要进入博物馆展厅，参观者需要从入口广场下到一个宽阔的斜坡花园，然后穿过入口长廊，到达位于广场下方 6 米深处的前厅长廊。自然光和空间之间的相互作用就是从这个下降点开始的。进入入口长廊的门槛被来自上方大型天窗的漫射光照亮。门厅长廊将游客引入模型长廊，这里虚拟展示了莫卧儿王朝时期的整个遗址。从前厅展厅，游客可以参观常设展厅的博物馆展品，也可以登上台阶直接前往胡马雍陵墓群。

To enter the museum galleries, visitors descend from the Entry Plaza into a wide, ramped garden, and walk through an Entry Gallery ? beneath the access road above, arriving at the Vestibule Gallery at a depth of six meters below the plaza. The interplay between natural light and space begins at this point of descent. The threshold into the Entry Gallery is illuminated by diffused light from a large skylight above. The Vestibule Gallery introduces visitors to the Model Gallery ? showcasing a virtual display of the entire site as it existed during the Mughal era. From the Vestibule Gallery, visitors may visit the museum exhibits in the Permanent Gallery, or ascend the steps and proceed directly to the Humayunís Tomb Complex.

胡马雍陵遗址博物馆的展厅空间由一系列相互交叉的方形空间组成，立柱跨度为 8 米，以便策展人灵活设计展品。考虑到该遗址的游客流量预计会增加，公共流通序列沿主轴布置，横跨博物馆的整个长度。

通过天窗和开放式庭院过滤的自然光照亮了整个展厅。这些开放式庭院是展厅的重要组成部分，可以展示经过精心策划的莫卧儿王朝建筑文物，包括立面处理、景观元素和装饰传统。现代博物馆所需的复杂工程系统通过专用的服务走廊围绕着每个展厅，从而促进了最佳的策展和博物馆管理规程。莫卧儿王朝的皇帝及其建筑师非常重视形式、空间和材料之间的关系。他们的高超技艺在于如何在比例匀称的外部体量和抒情的内部体量之间实现微妙的平衡。

莫卧儿王朝使用石块砌筑陵墓的形式，给人一种永恒的印象，这也是他们建筑的特点。因此，过去的纪念碑仅仅通过唤起一种永恒的感觉就能保持当代性。遗址博物馆希望给游客带来类似的感受。

The gallery spaces for the Humayunís Tomb Site Museum are arranged in a sequence of intersecting squares, with wide column spans of eight meters to enable curatorial flexibility for exhibit design. Given the increased traffic of visitors expected at the site, the public circulation sequence has been organized along a primary axis, spanning the entire length of the Museum. Natural light, filtered through skylights and open courtyards, illuminates the galleries. These open courtyards are critical aspects of the gallery, enabling curated displays of Mughal architectural artifacts, including faáade treatments, landscape elements, and ornamental traditions. Complex engineering systems required for a modern museum are woven around each gallery through dedicated service corridors, thus facilitating optimal curatorial and museum management protocols. Mughal emperors and their architects accorded great worth to the relationship between form, space and material. Their mastery lay in achieving a delicate balance between boldly proportioned exterior mass, and lyrical sculpting of interior volumes. In their use of stone masonry to sculpt the forms of their mausoleums, the Mughals conveyed an impression of permanence that characterizes their architecture. Thus, the monuments of the past remain contemporary simply by evoking a sense of timelessness. The Site Museum aspires to a similar sensibility in the visitor experience.

挑高的常设展厅室内面积超过 1000 平方米，是整个博物馆中最大的单一展厅空间。展厅北墙两侧是一个宽阔的庭院，光线洒满大理石地面和墙壁。庭院的地面铺设了彩色釉面砖，让人联想起莫卧儿王朝时期纪念碑上的花卉图案。庭院中的石砌凹室将展示重建的大 Nizamuddin 地区古迹和景观的重要建筑元素。常设展厅的南墙有四个天窗壁龛，每个壁龛宽 4 米，高 6 米。这些壁龛可以让策展人在自然光下展示大型展品，同时保护它们不受天气/外部/环境的影响。由于地板面积较大，头顶的天窗将过滤后的光线漫射到抛光的大理石地板上。这种微妙的光影效果照亮了整个空间，并反射到上方褶皱天花板的灰泥上，形成几何印记。

The high-ceilinged Permanent Gallery, with an indoor area of over 1000 square meters, is the largest singular gallery space in the entire museum. A wide courtyard flanks the north wall of this gallery, allowing light to wash across the marble floors and walls. The floor surface of this courtyard is patterned with glazed, colored tiles, evoking the floral motifs that adorned Mughal-era monuments. The stone-lined alcoves in this courtyard will display reconstructions of prominent architectural elements of monuments and landscapes from the greater Nizamuddin area. The south wall of the Permanent Gallery features four, skylit niches ? each 4 meters wide and 6 meters tall. These niches enable curators to display large objects below natural light while protecting them from the weather/exterior/environment. Given the large floor area, overhead skylights diffuse filtered light onto the polished marble floor. This subtle play of light and shadow illuminates the space and reflects upon the plaster of the pleated ceiling above, creating a geometric imprint.

毗邻永久展厅的顶饰展厅将展出修复后的胡马雍陵铜质顶饰，以及 1997 年以来在胡马雍陵建筑群保护工作中发现的其他原始建筑元素。铜顶饰展厅通向第二个前厅展厅，该展厅位于巽他苗圃长廊的中轴线上。这个空间以其中心的一根柱子为标志，提供了通往胡马雍陵或通往巽他苗圃的选择。在每种情况下，游客从地下到地面的重新出现在空间上都是截然不同的。通往孙达尔苗圃的长廊和坡道采用了莫卧儿王朝珍视的主题--水的建筑。当游客从门厅长廊出来时，水的气息和声音扑面而来。当他们登上孙达尔苗圃的凉亭时，一个扇形喷泉（?chinikhanaí）为他们进入园林领域提供了一个凉爽而受欢迎的门槛。对于前往胡马雍陵的游客来说，在大树树冠下雕刻的长庭斜坡花园是进入胡马雍陵围墙院落的出口。

Adjacent to the Permanent Gallery, the Finial Gallery will house the restored copper finial of Humayunís Tomb, as well as other original architectural elements recovered during the conservation effort undertaken at the Humayunís Tomb complex since 1997. The Finial Gallery leads into the second Vestibule Gallery, situated along the axis of the Sundar Nursery promenade above. This space ? marked by a single column at its center ? offers the choice of ascent to Humayunís Tomb, or to Sundar Nursery. In each case, the re-emergence of the visitor from the subterranean to the terrestrial plane is spatially distinct. The gallery and ramp leading to Sundar Nursery engage with a cherished Mughal motif ? the architecture of water. The scent and sound of water are palpable as visitors emerge from this Vestibule Gallery. As they ascend into the arbor of Sundar Nursery, a scalloped fountain ? the ?chinikhanaí -- offers a cool and welcome threshold for entry into the garden realm. For visitors proceeding to Humayunís Tomb, the ramped garden of the Long Court, sculpted under the canopy of large trees, offers a release into the walled compound of the Tomb enclosure.

胡马雍陵遗址博物馆的建筑风格在露台花园广场上表现得淋漓尽致。在遗址上成片树木树冠的遮蔽下，这个石质广场只能微微看到下面的博物馆，即黄昏时分通过大理石屏风天窗射出的柔和光线。为了让游客体验莫卧儿王朝时期传入印度并以各种方式继续发扬光大的华丽手工艺传统，遗址博物馆的当代建筑渴望 “栖息 ”过去的空间。通过唤起莫卧儿王朝触手可及的物质文化，遗址博物馆让人们认识到历经五个世纪的工艺传承。胡马雍陵的建造者们创造了一个绝对的、经久不衰的建筑--一个超越时代变迁的典范。遗址博物馆让今天的游客有机会一睹这一伟大成就的风采。

The architecture of the Humayunís Tomb Site Museum is perhaps best expressed in the terrace garden plaza ? its faáade to the sky. Sheltered beneath the canopy of the mature trees on the site, this stone plaza reveals only a modest hint of the Museum below ? soft light emitted at dusk through the marble screened skylights. For visitors to experience the magnificent craft traditions that were introduced to India during the Mughal period and which continue to flourish in myriad ways, the contemporary architecture of the Site Museum aspires to ?inhabití the spatial past. In evoking the tactile material culture of the Mughals, it engenders an awareness of the lineage of craftsmanship that has endured over five centuries. The builders of Humayunís Tomb created an absolute and enduring edifice - an exemplar transcending the vicissitudes of their era. The Site Museum prepares present-day visitors to behold this fantastic achievement.