中国国家海洋博物馆：《寻找设计的起点》

China National Maritime Museum: "Finding the Starting Point "

日期2017.04.12 

Date: April 12, 2017

发表于《建筑技艺》257期

Published at: Architectural Techniques, Issue 257

作者：纪玉戟  Author: Ji Yuji

COX Architecture中国首席建筑顾问（2013~2016）Chief Architectural Consultant for COX Architecture China (2013–2016)

我们不会停止探索

而我们所有探索的终点

将来到我们开始的地方

并且第一次了解这个地方

We shall not cease from exploration

And the end of all our exploring

Will be to arrive where we started

And know the place for the first time

——T. S. Eliot.

2012年底，在天津市滨海新区，COX  Architecture应邀参加中国国家海洋博物馆项目投标第一轮国际投标。在我们的投标图册第一页的开头，引用了艾略特的这首诗。

At the end of 2012, COX Architecture was invited to participate in the first round of international competition for the China National Maritime Museum project in the Binhai New Area of Tianjin. On the first page of our proposal, we quoted this poem by T.S. Eliot.

中国国家海洋博物馆（以下简称海洋博物馆）位于天津市滨海新区，是我国首座以海洋为主题的国家级、综合性、公益性的博物馆。项目建在1km2左右的海洋文化公园内，建筑面积8万平方米，建成后的博物馆将包括展示、公共服务、游乐及科研等多项功能。

The China National Maritime Museum (referred to as the Maritime Museum) is located in the Binhai New Area of Tianjin. It is China’s first national-level, comprehensive, and non-profit museum dedicated to the ocean. The project is situated within a 1 km² marine cultural park, with a total construction area of 80,000 square meters. Upon completion, the museum will feature exhibition spaces, public services, recreational facilities, and research functions.

鸟瞰效果图Aerial Rendering

一个建筑的创作，特别是国家级博物馆这样的文化建筑，我们认为最重要的就是其文化身份的确定，这个过程，即是寻找设计起点的过程。

In the creation of a building, particularly a cultural institution like a national museum, we believe that the most important aspect is defining its cultural identity. This process is essentially about identifying the starting point for design.

海洋博物馆对于人们来说，也许是一个梦幻的世界——充满着各种奇异的海洋生物、各种令人着迷的船只、欢乐的水手、抑或是迎风鼓起的船帆。然而如果追溯海洋世界的全貌，我们会意识到，海洋也是一个关于现实的历史和当下存在。海洋与人类的关系，首先是关于生产、运输、贸易的商业活动。除了各种梦幻的场景，也有辛苦的劳作、孤独的航行，乏味甚至危险。

For many, the Maritime Museum may evoke a dreamlike world—filled with exotic marine life, fascinating ships, joyful sailors, or billowing sails. However as we examine the full story, we realize that it is also a narrative of history and contemporary reality. The relationship between the ocean and humanity is rooted in production, transportation, and trade. Beyond the fantastical imagery, there is also hard labor, solitary voyages, monotony, and even danger.

如果说海洋博物馆的最基本的功能是收集各个历史时期的材料，向当下的人们全面介绍海洋地质、海洋生物、人类的海洋活动历史等。那么作为建筑，海洋博物馆的设计出发点则是重塑一个场景——一个与人们对海洋的记忆相关联的场景，同时在场景中能够体会到人与海洋之间或历史或当下的真实关系。

If the fundamental function of the Maritime Museum is to collect materials from various historical periods and comprehensively introduce visitors to marine geology, marine biology, and the history of human maritime activities, then the architectural design must aim to recreate a scene—one that resonates with people's memories of the ocean while allowing them to experience the real, historical, and present-day relationship between humans and the sea.

滨水空间Waterfront Space

廊桥与入口Bridge and Entrance

1 场景塑造 Scene Creation

1.1 码头 The Dock

在一个码头的场景中，港湾、滨水平台、建筑三者之间形成了一个完整的空间序列。

In the context of a dock, the harbor, waterfront platform, and building form a complete spatial sequence.

港湾的形态通常是内向环抱式的。这种空间形态不仅可以有效地使内部空间免受风浪的烦扰，更可以在围合的空间内形成停靠、上下货物和客流的空间。

 The harbor is typically an inward-facing, enclosed space. This spatial configuration not only protects the interior from wind and waves but also creates a functional area for docking, loading and unloading goods, and passenger flow.

滨水平台是货物、客流进出建筑与货船之间的工作平台，既承担基本的运输活动，也是一个贸易的平台，以及承载随之而来的各种与之相关的人的活动。如此滨水平台便构成了一个舞台，一个呈现出完整的生活场景的舞台。

The waterfront platform serves as a workspace for the movement of goods and passengers between the building and ships. It is not only a hub for transportation and trade but also a stage for various human activities. Thus, the waterfront platform becomes a stage that presents a complete living scene.

建筑在初期，最主要的是仓储货物和工作的空间。后来随着滨水空间的转化，这些仓库被改造成住宅、办公等。然而，无论用途如何变化，建筑与平台之间的空间交互关系并未改变。简单来说，建筑与室外空间和水域之间是“面对”而非“背对”的关系。而博物馆往往被定型成一个内向的空间。海洋博物馆的设计，意图在保证博物馆的基本的功能需求的情况下，建立起这种积极的建筑与外部空间的“面对”关系。  

Initially, buildings near the waterfront were primarily used for storage and work. Over time, as waterfront spaces evolved, these warehouses were converted into residences and offices. However, regardless of their changing functions, the spatial relationship between the building and the platform remained consistent. Simply put, the building faces the outdoor space and water rather than turning its back to them. Museums, however, are often designed as inward-facing spaces. The design of the Maritime Museum aims to establish an active, outward-facing relationship between the building and its surroundings while meeting the museum's functional requirements.

1.2 船只 Ships

在所有与海洋相关联的场景中，船只无疑是我们的记忆中最为印象深刻的。在现象层面上，无论是停靠在码头上，还是航行于大海中，船只在视觉上永远是最吸引人的物体；在精神层面上，船只承载了人类在海洋文明中最为集中的那些关键词：探索、恐惧、征服、孤独、收获……

Among all maritime-related scenes, ships are undoubtedly the most memorable. Visually, whether docked at a port or sailing on the open sea, ships are always the most captivating objects. On a deeper level, ships embody the essence of human maritime civilization: exploration, fear, conquest, solitude, and harvest.

不同船只的大小、形状迥异，但其实体的长、宽、高比例大体被锁定在能被人们认知为“船只”的一个比例和形态，比如人们不会称呼竹筏为竹船。

Ships vary greatly in size and shape, but their proportions of length, width, and height generally fall within a recognizable range that defines them as "ships." For example, a bamboo raft is not considered a ship.

一艘船或者一只船队，无论是停靠还是航行，甚至是在造船厂里， 总是空间中的物体。这是我们理解船只与周围环境之间空间关系的关键。将这一点体现到建筑上，即为建筑是“独立”在空间中的物体，而并非是围合空间的物体。“独立”在空间里的建筑因为在空间上占有突出地位，往往被设计为标志性建筑，如歌剧院、博物馆等大型公建。围合空间的建筑比较常见的有四合院、围合形成城市广场的建筑等。中国国家海洋博物馆作为国家级的大型公共建筑，理应强调其在场地整体关系中视觉上的突出地位。

A ship or fleet, whether docked, sailing, or under construction, always exists as an object within space. This is key to understanding the spatial relationship between ships and their surroundings. Translating this into architecture, the building becomes a "free-standing" object in space rather than an enclosure. Buildings that ‘free-stand in space’ often become landmarks, such as opera houses or museums. Buildings that enclose space, such as courtyards or urban plazas, are more integrated into the urban fabric. As a national public building, the China National Maritime Museum should emphasize its visual prominence within the overall site.

 1.3 海洋生物 Marine Life

在第一轮的投标方案中，我们曾经使用了“鲤鱼”这一主题作为设计的出发点，后来随着思考的深入，我们放弃了这一具象的方案，转向更加概括的造型。旨在唤起人们对建筑形象的多重联想。事实证明，很多人看到修改后的方案，产生出了更为丰富的联想：跃向水面的鱼群、停泊岸边的船坞、张开的手掌及海星、贝壳等海洋生物。

In the first round of competition, we initially used the theme of "carp" as an initial concept. However, as our thinking evolved, we abandoned this literal approach in favor of a more abstract form, aiming to evoke multiple associations with the building's image. Indeed, many people who saw the revised design associated it with schools of fish leaping from the water, docked ships, outstretched hands, and marine creatures like starfish and shells etc.

建筑方案从概念到成型，是运用物体和空间的手段对直觉、思考、分析进行概括的过程。方案的核心是将博物馆设计成开放的模式，希望每个人去完成自己对建筑的认识。展馆空间的陆地与水域部分都可内外互动，并具有启发性，鼓励人们去探索和发现。规划设计中充分考虑了馆园结合，注重建筑与景观、场所的整体营造。

The transition from concept to final design involves condensing intuition, thought, and analysis through the manipulation of objects and space. The core idea is to design the museum as an open structure, allowing each visitor to form their own interpretation. The exhibition spaces, both on land and water, are designed to interact with the outside world, encouraging exploration and discovery. The planning integrates the museum with the surrounding park, emphasizing the cohesive relationship between architecture, landscape, and the overall site.

2 博物馆与城市的关系 The Museum's Relationship with the City

海洋博物馆与城市的关系，可以概括为三个方面：建筑与周边环境、建筑与城市主轴线、建筑与滨水岸线。

The relationship between the Maritime Museum and the city can be understood through three key aspects: its integration with the surrounding environment, its alignment with the city's main axis, and its connection to the waterfront.

总平面图Site Plan

2.1 建筑与周边环境 Building and Surrounding Environment

海洋博物馆整体处于公园的环绕中，构成建筑“独立”在空间里的关系。我们将单一的建筑体量打碎处理成几个体量的群体建筑，体量间的缝隙与公园和水域交织在一起，同时将公园和水域的空间作为博物馆的室外展场。

The Maritime Museum is set within a park, establishing an "free-standing" spatial connection. We fragmented the building into multiple volumes, with gaps between them that seamlessly integrate with the park and water. These outdoor spaces also function as extensions of the museum's exhibition areas.

2.2 建筑与城市主轴线 Building and the Waterfront

海洋博物馆处于新城一条主要轴线的尽端位置。分散的体量以近似对称的方式布置于轴线两侧，中间则是博物馆的入口大厅，整个建筑的布局呈现出既庄重且谦逊的姿态。

The museum is situated at the terminus of a prominent axis in the new city. The building volumes are symmetrically arranged on either side of the axis, with the entrance hall positioned centrally. This configuration imparts a sense of both dignity and modesty to the structure.

2.3 建筑与滨水岸线

滨水的一侧建筑以“张开的手指”形态与水域交融在一起。以建筑、亲水平台、栈道、浮桥、室外水上展场的空间序列展开，与码头的空间原型逻辑一致。首层结合具体功能，采用通透的玻璃外立面，保持建筑与室外展场之间最大限度的互动。栈道与水域之间设置可随潮汐而动的浮桥装置，保证人流进出船体的通畅。

On the waterfront side, the building's "outstretched fingers" merge seamlessly with the water. The spatial arrangement of the building, waterfront platforms, walkways, floating bridges, and outdoor exhibition areas follows the natural flow of a dock. The ground floor is characterized by a transparent glass facade, enhancing interaction between the building and the outdoor exhibition spaces. Floating bridges, responsive to the tides, provide uninterrupted access for visitors.

首层平面图 Ground Floor Plan

二层平面图 Second Floor Plan

3 总体布局 Overall Layout

国家海洋博物馆规模庞大，总建筑面积超过8万m2。我们在概念设计阶段即提出根据主题进行分区，采用“分馆”的布局形式。简化参观流线的同时，保证宜人的空间尺度，避免复杂交叉及迂回的流线使游客在庞大体量的建筑内行走产生空间疲劳感。

The China National Maritime Museum is a large-scale project encompassing a total construction area of over 80,000 square meters. During the conceptual design phase, we introduced a "divided pavilion" layout organized around thematic zones. This approach streamlines visitor circulation while preserving a human-scale environment, effectively mitigating the potential fatigue associated with navigating a vast and intricate building.

主要内部空间分区Main Internal Space Zones

采用贯穿的序厅连接各分馆的布局，在方便游客自由选择去向的同时，也保证了游客在复杂的空间内迅速理解寻路系统，而且可以满足分期建设以及将来扩建的需求。参观体系的最大特点是不同主题的展馆平行布置，参观者可以同时对比欣赏到发生在中国和世界范围的自然、历史事件，各部分自成系统，可分可合。建筑的中轴线位于城市轴线的延长线上。中轴线面对城市的一侧为入口大厅，面向水面的一侧为中心港湾室外展区。室内展馆位于建筑中轴线的两侧，西侧是自然海洋馆，东侧依次是世界海洋文明馆和中华海洋文化馆。

The design incorporates a central hall that seamlessly links the various pavilions, offering visitors the flexibility to choose their own paths while ensuring intuitive navigation. This layout not only enhances the visitor experience but also provides flexibility to accommodate future expansion. The exhibition system is structured thematically, allowing visitors to draw comparisons between natural and historical events in China and those from around the world. The museum’s central axis aligns with the city’s main axis, positioning the entrance hall to face the city and the central harbor exhibition area to face the water. Flanking the central axis are the indoor exhibition halls: the Natural Ocean Hall to the west, and the World Maritime Civilization Hall and Chinese Maritime Culture Hall to the east.

4 功能分区  Functional Zoning

博物馆建筑按照四分法划分为四个区：公众非藏品区、公众藏品区、非公众藏品区和非公众非藏品区。根据使用性质和使用人群的差异，将各功能区又划分为对外开放区与业务办公区两大部分。两者体量相对独立，各自体现使用特点，同时相互咬合，具有便捷的内部通道联系，形成统一的整体。

The museum is divided into four functional zones: public non-collection areas, public collection areas, non-public collection areas, and non-public non-collection areas. These are further categorized into open areas and administrative areas, which are relatively independent yet interconnected for efficient internal circulation.

博物馆四分法功能分区 Museum Functional Zoning

公众藏品区：按照国家海洋博物馆展陈大纲内容设置，结合现代大型综合性博物馆的展陈设计理念与海洋文物展品特殊的大空间要求，陈列区主要设有基本陈列、专题陈列、临时展厅等。

公众非藏品区：在公众服务区中设置共享大厅，含售票处、接待、咨询、观众导览、存物处、纪念品出售处、食品小卖部、观众休息处、厕所等，以及报告厅和特效影院，同时结合展览空间配套设置参观休息区与餐饮区等。

非公众藏品区：由藏品库房、藏品保护制作修复中心、文物鉴定中心、研究中心和资料信息中心组成。

非公众非藏品区：主要由内部办公会议空间、后勤、物业管理以及设备用房组成。

Public Collection Areas: These include permanent exhibitions, thematic exhibitions, and temporary galleries, designed to meet the requirements of the museum's exhibition plan and the spatial needs of marine artifacts.

Public Non-Collection Areas: These consist of visitor services such as ticketing, reception, information desks, guided tours, storage, gift shops, food outlets, rest areas, and restrooms, as well as auditoriums and special-effect theaters.

Non-Public Collection Areas: These include storage, conservation labs, research centers, and archives.

Non-Public Non-Collection Areas: These comprise administrative offices, logistics, property management, and equipment rooms.

5 内部交通组织 Internal Circulation

博物馆内部流线主要有藏品运送流线、观众参观流线、工作人员流线。首层共设置三个出入口，南侧为观众主入口，西侧由南向北依次为藏品入口和办公入口。

The museum’s internal circulation is organized into three distinct flows: artifact transportation, visitor movement, and staff movement. The ground floor features three entrances: the main visitor entrance on the south side, and separate entrances for artifacts and staff located on the west.

主要访客和业务流线分析图 Visitor and Staff Circulation Analysis

5.1 藏品运送流线 Artifact Transportation

藏品运送流线独立、便捷。在一层梳理和解决展品出入库、库房区与业务研究区、库房区与展示区之间的流线关系。藏品装卸台设置在西侧，与场地内服务性道路相连接，通过一层内部流线将藏品运输至南侧的藏品库存区；藏品库存区通过服务通道以及货梯将藏品运输至各个展区；主题展区的大型船只运输则由水上运输完成；库房区通过一层与位于西北侧的业务研究区和西南侧的临时展厅相连接。

The artifact transportation route is organized based on principles of independence and efficiency. The ground floor facilitates the movement of artifacts between storage, research areas, and exhibition spaces. A dedicated loading dock on the west side connects to service roads, enabling transportation of artifacts to storage areas located on the south. For larger exhibits, such as ships, transportation is managed via water routes.

5.2 参观流线 Visitor Circulation

参观流线主要集中在二层。入口大厅位于城市道路轴线的延长线上，访客通过入口缓坡经过入口台阶直达二层公共大厅；团体访客则由一层扶梯或电梯抵达大厅。公共大厅与序厅相结合，游客可以通过序厅东西向的轴线自由选择去往各个展览空间。

Visitor circulation is concentrated on the second floor. The entrance hall, situated along the city axis, directs visitors to the central hall via a ramp or stairs. From the central hall, various exhibition spaces are accessible, with vertical circulation connecting different levels.

序厅空间开阔，可陈设尺寸较大的模型或展品。不同方向、不同层次的陈列厅围绕这一核心空间组织，可通过扶梯、电梯等垂直交通设施与数个展厅联系，形成一个集门厅空间、交通组织、展览空间于一体的复合型空间。大厅及序厅共同联系起票务、商店、餐饮、报告厅、多功能厅、影院、临时展厅、儿童展厅、业务办公区等功能空间。 

The expansive entrance hall provides ample space for larger models or exhibits. Exhibition halls of various directions and levels are organized around this core space, with vertical circulation facilities such as escalators and elevators connecting several galleries. This creates a multifunctional space that integrates the entrance hall, circulation, and exhibition areas. The hall and entrance area together link functional spaces such as ticketing, shops, dining, auditoriums, multifunctional rooms, cinemas, temporary exhibition halls, children's galleries, and administrative offices etc.

5.3 工作人员流线 Staff Circulation

工作人员由西侧独立入口进入，通过垂直交通与文物库房、专业技术办公区、展厅等建立便捷联系。贵宾及专业人员可经由南侧标高7m的专用入口到达贵宾区，通过专用通道或电梯便捷到达展厅、学术报告厅。

Staff enter through a dedicated entrance on the west, with direct access to storage, offices, and exhibition areas. VIPs and professionals use a separate entrance on the south, leading to exclusive areas and facilities.

在交通流线组织中，一般参观人流主要分布在展厅、展场、观众服务区、互动区等公共空间；专业人员和办公人员路线主要活动于内部空间，其间允许有少量交叉；公众路线、工作人员路线与藏品运送路线相互之间严格分开，不允许存在交叉和相互间的干扰，藏品运送路线严禁观众穿越。人员流线的垂直交通通过设置各种疏散楼梯、客货电梯、扶梯等来解决，水平交通则依靠服务交通带组织。

The circulation system is organized to ensure efficient movement throughout the museum. General visitor flow is concentrated in public spaces such as exhibition halls, display areas, visitor service zones, and interactive sections. Professional and administrative staff routes are primarily confined to internal areas, with minimal crossover allowed. Public routes, staff routes, and artifact transportation routes are strictly separated to prevent interference, and artifact routes are entirely off-limits to visitors. Vertical circulation is managed through emergency staircases, passenger and freight elevators, and escalators, while horizontal circulation is facilitated by service corridors. Vertical circulation for personnel is managed through a combination of emergency staircases, passenger and freight elevators, and escalators, while horizontal circulation is organized via service corridors.

6 剖面设计 Section Design

根据博物馆建筑的使用特点与使用要求，在剖面设计中以满足展览、采光、通风、结构类型等要求为前提，来确定层高，充分利用空间埋设各种管线或储藏物品。展厅部分层高10m，序厅净高16m，藏品库房层高6m，办公用房层高4m，设备用房层高6m，保其内部空间的净高满足使用要求，建筑的总高度控制为31m。

The section design is guided by the functional requirements and operational needs of the museum. It prioritizes exhibition spaces, natural lighting, ventilation, and structural systems to determine floor heights, while efficiently utilizing space for the installation of utilities and storage. The exhibition halls are designed with a height of 10 meters, the central hall with a clear height of 16 meters, storage areas and equipment rooms at 6 meters, and office spaces at 4 meters. These dimensions ensure that the internal spaces meet their intended functional requirements, with the building’s total height carefully controlled at 31 meters.

室内 Interior

7 结构体系与建筑表皮 Structural System and Building Envelope

建筑基础部分为混凝土框架结构，首层以上的中央大厅全部为钢结构体系。博物馆表皮结构为异型超高大跨度门式桁架框架结构体系，内部结构为钢框架及桁架板楼板体系。博物馆南北两端的悬挑钢结构体系最大悬挑距离达到30m。

The building's foundation is constructed using a reinforced concrete frame, while the central hall above the first floor utilizes a full steel structural system. The museum's facade is designed as a large-span portal frame system, with internal steel frames and truss slabs. The building envelope features an ultra-large-span portal frame system, with internal steel frames and truss slab floor. The cantilevered steel structure at both the northern and southern ends of the museum extends up to a maximum of 30 meters.

在前期的设计中，建筑表皮计划选用具有陶瓷质感的材料；后期考虑到造价、施工以及维护的实际因素调整为穿孔铝板，采用开缝嵌板的基本形式。嵌板的形式结合鱼鳞纹理以及结构斜撑的走向，在参数化设计的过程中尝试了菱形和1/2错缝三角形的表皮划分形式。导出的参数化结果表明菱形嵌板的规格远少于1/2 错缝三角形的规格，最后我们决定采用菱形嵌板作为基本划分形式。嵌板之间300~500mm宽的缝隙与不同部位的曲率相吻合，单元嵌板尺寸以提高标准化构件比例为原则，最大占总体嵌板比例的50%以上，可计入总体比例1%以上的类型总计小于10种。通过表皮嵌板的参数化设计结果反过来微调结构斜撑的布置，使结构构成逻辑与表皮呈现保持内外一致。

In the initial design phase, we planned to use a ceramic-textured material for the building’s facade. However, considering factors like cost, construction, and maintenance, we switched to perforated aluminum panels with inset designs and open seams. The inset panels were inspired by a fish scale pattern and aligned with the direction of the structural braces. During the parametric design process, we tested both diamond and half-offset triangular panel layouts. The results showed that the diamond-shaped panels had fewer size variations compared to the half-offset triangles. Ultimately, we opted for the diamond shape as the primary division. The gaps between the panels, ranging from 300 to 500 mm, follow the curvature of the facade, and the panel sizes are optimized to maximize the use of standardized components. The largest panels account for over 50% of the total, and fewer than 10 types make up less than 1% of the total. The parametric design of the facade panels also informed small adjustments to the placement of the structural braces, ensuring that the logic of the structure aligns seamlessly with the appearance of the facade.

一层入口空间与建筑表皮Ground Floor Entrance and Envelope

表皮参数化设计（部分）Parametric Envelope Design (Partial)

8 结语 Conclusion

中国国家海洋博物馆自国际方案招标至今历时4年多的时间，方案主创COX Architecture及其中国合作方UrbanTect都市架构、施工图设计方天津市建筑设计院、结构顾问ARUP、策展顾问Lord等多家设计单位的全力投入和密切配合保证了项目的设计工作能够顺利完成。

The China National Maritime Museum project has spanned over four years since the international design competition. The collaborative efforts of COX Architecture, UrbanTect, Tianjin Architectural Design Institute, ARUP, and Lord Cultural Resources have ensured the successful completion of the design.

注：本文所有效果图以及图解来自COX Architecture

Note: All renderings and diagrams in this article were provided by COX Architecture.

All photos were taken by Ji Yuji