1 integrate into the city and catalyze regional vitality.
Cultural architecture is an important part of urban public service system. It is not only a platform to collect and display local cultural resources, a medium to show local cultural characteristics, but also a necessary place for urban public life. The correlation between the location and layout of cultural buildings and urban spatial form has a dual impact on the shaping of urban vitality and its own utilization efficiency.
1. 1 Centralized or decentralized, and cultural facilities in various places include performances, exhibitions, science and education, group arts, etc. Different functional types reflect different cultural attributes and different customers, and their distribution strategies can be roughly divided into two basic tendencies: centralization and decentralization. First of all, from the synchronic perspective, the choice of centralization and decentralization is related to the scale and spatial form of the city at the macro level and to the surrounding environment at the micro level. For a long time, in urban planning, the layout of urban public facilities is basically hierarchical. The bigger the city, the more obvious the step difference. On the other hand, land use planning is still based on the concept of urban functional zoning layout.
Cascading and regionalization are important reasons for the centralized layout of urban cultural facilities. From a diachronic point of view, the location distribution of existing cultural facilities in the city will inevitably affect the location selection of new facilities, and the development of urban space will also pull the layout of new cultural facilities. On the whole, for decades, due to the lack of cultural facilities to varying degrees, most cities in China have been in debt for a long time. Once this general hunger meets the opportunity of large-scale urban expansion, it is likely to produce the phenomenon of spatial and temporal agglomeration of cultural facilities in the new city. The government-led construction of such public facilities is also expected to rapidly promote the expansion of urban space.
Second, from the perspective of construction effectiveness, centralization or decentralization has its own advantages and disadvantages. Centralized mode is obviously conducive to integrating resources, complementing each other's advantages and attracting attention, so as to show the effectiveness of cultural construction in a region quickly and completely. However, it may also lead to the service radius of cultural agglomeration areas is too large, especially in big cities and megacities. Too far distance will cause objective service imbalance. Excessive concentration in space will also lead to the contradiction between the unity and diversity of cultural buildings with different attributes, and lose the opportunity to adjust randomly because of the usual "one step in place" appeal. Because of its relative flexibility, decentralized layout is easy to integrate and drive the land value and environmental vitality of the location, which is convenient for timely and moderate transformation and expansion, and is also conducive to their full display of their respective personality characteristics. The scattered layout is difficult to form mutual complementarity and echo, and it is relatively difficult to form a grand influence. The above analysis shows that the distribution pattern of urban cultural facilities is influenced by many temporal and spatial factors.
From the perspective of spatial pattern, urban scale and its overall morphological characteristics play a key role. With the growth of urban scale and the expansion of urban space, large cities and megacities inevitably move towards multi-core form. And such cities often have more existing cultural facilities. Therefore, the layout of its municipal cultural facilities should be characterized by upgrading and filling the existing cultural facilities. Therefore, we can adopt a relatively dispersed distribution strategy of different cultural themes and building types, which is also conducive to the unification of service areas. For example, the cultural facilities in the main urban area of Nanjing are based on the utilization of existing cultural buildings in different periods, and the newly-built libraries and art galleries adopt a similar but not centralized distribution strategy along the Yangtze River Road (Figure 1). Due to the relatively perfect scale planning and functional allocation of various cultural facilities construction standards in big cities, the intensive effect brought by the spatial concentration of different types of public welfare cultural buildings is not obvious.
With the help of rapid transit systems such as urban rail transit, it is possible to form a new network system between different cultural facilities and between cultural facilities and residential areas. On the contrary, in small and medium-sized cities, due to the relative compression of scale and distance, the relative concentration of public welfare cultural facilities obviously has greater advantages such as complementary functions, facility sharing, spatial integration, service value-added and cost saving. Especially in the vast counties, cities and towns, this centralized layout can be further manifested as a typical cultural building complex model. As a reconstruction project after Wenchuan earthquake, Mianzhu Cultural Center in Sichuan has realized a multi-library comprehensive cultural service center in the form of a complex (Figure 2).
1.2 integration and linkage promote the cultural facilities in a vibrant city, which are not isolated, but placed in a larger functional system and spatial structure. In the process of continuous upgrading and transformation of urban industrial structure, aiming at the mixed utilization of land resources, the linkage efficiency between cultural facilities and related public facilities and industries will be doubled, and the sustainable vitality of the lot environment will be promoted by encouraging the integration of urban public activities. The urban renewal planning of Caiwuwei Central District in Shenzhen takes Shenzhen Grand Theatre as the core, and forms a continuous or adjacent block structure with public cultural facilities such as museums and art galleries and cultural industry space with creative design as the theme. Through orderly mashup, a new cultural exchange center integrating leisure and production is created (Figure 3).
The layout of cultural facilities and the integration of urban green space, commerce, transportation and other public facilities are creating new vitality. The integration planning of the museum, library and Fenhe riverside green space to be built in Linfen City, Shanxi Province not only enhances the environmental vitality of the landscape green space, but also facilitates the effective use of cultural facilities (Figure 4). The overall design of Tianjin Cultural Center presents a fine form of integration and linkage in the utilization of above-ground space, the transfer and connection of rail transit, and the ground open space left by road subsidence. The integrated construction of cultural facilities in urban functional space and morphological scale reflects its healthy orientation of returning to urban life. This holistic thinking highlights the close relationship between cultural architectural design and urban design, and puts forward a broader thinking vision and more complex professional knowledge and skills requirements for architects.
2. Pay attention to planning and strengthen content construction.
Compared with general building types, the construction of cultural facilities is often endowed with higher cultural symbolic significance, and the design of cultural buildings is relatively more subjective and flexible. Under the background of the rapid interaction of contemporary information and the diversification of architectural ideas, the newly-built cultural buildings in China in recent years have shown colorful characteristics as a whole. The field of design, from environmental design, external modeling, building materials to indoor space, shows unprecedented passion for concept exploration and method innovation. However, the new creative concept has objectively brought about continuous breakthroughs in design and construction technology. But beyond the enthusiasm of formal innovation, the interrogation and exploration of connotation and content construction still face challenges. Some projects are difficult to use normally after completion, and the gorgeous appearance covers up the empty content. Obviously, the construction of content needs more attention. The content construction of contemporary cultural facilities has entered an era of multidisciplinary participation, interaction and integration.
2. 1 According to local conditions, planning the first project is the primary link of engineering construction. From project site selection, land use strategy to function composition and scale, from construction capital investment, scheme planning to later use and maintenance, it is an essential content of project planning. A complete project planning has a prerequisite influence on the scientific rationality of the design and construction of cultural facilities, especially for large-scale cultural projects with centralized construction. Judging from the practice of domestic cultural center projects in recent years, the following phenomena deserve in-depth observation and discussion in the planning process. One is the mixed land use model. Based on the efficient use of land resources and the shaping of regional vitality, some comprehensive cultural projects are trying to combine with the functions of urban commercial services.
The strategy adopted by Tianjin Cultural Center is to arrange cultural buildings and commercial buildings adjacent to each other in the plot. Changzhou Cultural Center adopts the vertical zoning strategy of aboveground cultural complex and underground commercial facilities. Both modes are conducive to enhancing regional vitality. The former is more conducive to realizing the demands of different investors, while the latter is more suitable for encouraging and attracting private enterprises to participate in the construction of public cultural facilities.
1)。 The second is the compatibility and integration of cultural service functions. The spatial agglomeration of different cultural types brings the possibility of functional and spatial intensive organization. For example, the academic exchange lecture halls of museums and libraries can be merged into groups, and various training units and multi-functional activity halls of group art museums and youth activity centers can be used together. The compatible and intensive use of this kind of space will not only bring about the adjustment of design strategy, but also objectively challenge the tradition of vertical management of departments, and it is necessary to integrate the later property management. It is worth noting that this facility integration is based on the compatibility of function and space, and its intensive efficiency is often inversely proportional to the increase of project scale.
Therefore, it is more suitable for small comprehensive cultural facilities. The third is the capital investment plan. The project feasibility study based on scientific planning is an important prerequisite for the smooth development of capital construction. It is difficult to form the scheme stage, and the project will fall into a dilemma because of the cost constraint in the later stage of design. Because more public welfare cultural facilities are invested by the government, cultural buildings have more flexible and rich possibilities in form design, and construction costs and later operating costs have more prominent significance for the binding force of material space form design of cultural buildings.
2.2 Function-oriented, shaping the existence of place buildings is first because of the demand for use, and cultural buildings are no exception. The historical evolution of cultural architecture is always accompanied by changes in the understanding of behavioral needs and their coping strategies. The so-called functional form is the research and expression of people's use demand in architecture. Different types of viewing relationships lead to different hall space forms; The transformation of the museum from a single collection to a display and then to a participatory experience has promoted the fundamental transformation of its spatial pattern. The auxiliary space and the main functional space should maintain an appropriate scale balance and continuous order. Although the shaping of public space in cultural buildings has multiple meanings such as service, communication and ceremony, and it is also an important link in the expression of design interest, the oversized lobby is not worth visiting.
The continuous research and design of the main functional space corresponding to the basic needs is the most critical internal focus in the design of cultural buildings. The core space form of cultural buildings is always updated with the evolution of cultural concepts, the changes of users' psychological needs and the progress of technology. For example, the change of the relationship between library collection and reading has brought new forms of open-shelf stacks and open-shelf reading. At the beginning of the 20th century, radio frequency identification technology (RFID) was first introduced into the library management system in North America, which promoted the birth of a new generation of library space. Shenzhen Library is an urban public library that adopted RFID technology earlier in China, and its maximum space openness completely broke through the traditional parallel mode of book reading space, creating the maximum free choice opportunities for readers (Figure 5).
On the other hand, the rationality of core function design should be based on the concept of adapting to local conditions, not blindly pursuing the highest configuration, or the so-called decades of backwardness. The space form and stage equipment of the theater viewing facilities should be suitable for the most common typical local performance forms, not necessarily the main stage with background, the platform turntable with lifting platform. The stage equipment of some theaters has been idle for a long time, which not only occupies space, but also is difficult to maintain continuously, resulting in unnecessary waste. This further illustrates the importance of complete project planning, and the right one is the best. The journey of cultural experience through entertaining is the essential connotation of cultural architecture, and this continuous experience is realized through systematic place creation. Traditional cultural facilities such as ancient courtyards, theatres, teahouses and bookstores in many parts of China provide beneficial enlightenment for shaping the sense of existence.
The creation of places breaks through the narrow concept of architectural objects and becomes an important symbol of regional culture. This particular place is suitable for the local climate characteristics, rooted in local cultural customs, and integrated into the daily urban landscape and street life. Another key to building a place lies in full respect and care for specific people. In the design of Ningbo Bang Museum, wind, light, courtyard, gallery, outdoor and indoor, space and facilities constitute a continuous interactive humanistic experience, which embodies the understanding, support and guidance of users' behavior psychology everywhere. Interactive performance art in contemporary art museums, participatory activity space in science and technology museums and interactive touch display based on multimedia electronic technology show the new development direction of cultural architecture with public participation as the core concept. Cultural facilities should not only be the arrangement and combination of closed black boxes, but also be a sign of landscape or a grand ceremony. More importantly, they should become a vibrant civic place to encourage and guide people to enter and participate in the revitalization.
Integrated design of three-way integration
Due to the specific cultural attributes and relatively complex functional space composition, cultural buildings often have outstanding technical complexity, and the coordination between architectural design, structural technology and equipment technology and even construction organization has more prominent significance. Since modern times, the continuous progress of scientific and technological strength and the increasingly strong economic foundation have enabled almost all whimsy to be transformed into realistic material construction, but it may also contribute to a design atmosphere that violates scientific rationality and even affectation. This vanity is often in the name of culture, so we should be more vigilant. It is more important than ever to judge values and think rationally. The organic nature of architectural form includes not only the unity of architecture and environment, form and function, but also the organic integration of physical space system and structural equipment system.
In the history of architecture, those immortal classic moments that shine with humanistic brilliance and scientific and technological creativity remind us that technology is not just a simple cooperative role, and demand-oriented technological creativity often becomes an inexhaustible motive force to promote architectural innovation. On the contrary, once the so-called glasses modeling lacks technical logic, it is difficult to hide the confusion and embarrassment of its internal structure. In the era when architecture is faced with more and more complicated humanistic and scientific torture, we urgently need to accept a system integration idea based on goal integration. Design methodology scholar George? George Irwin put forward the integration principles of integrity, connection, sharing, continuity and adaptability in engineering planning and design in his book "Integration Practice in Architecture", which provided a basic thinking method for the integrated design of architecture. The author thinks that architecture aims at space demand, and its function, structure, equipment and furnishings also show different space occupation and construction methods according to its own system network characteristics.
Therefore, it can be considered that space is the basic integrated platform for the mutual support and coordination of various systems in the building. This integrated design idea and strategy can also be applied to the continuous integration of the lot environment, and its essence is to achieve environmental harmony and resource conservation through the efficient use of space resources. Integrated design not only shows that the internal elements achieve the state of system function multiplication through close integration and interaction, but also means that the traditional linear design process between related professional work is transformed into a networked interactive process. For example, the architectural design and exhibition design of China Museum have long been accustomed to the traditional handover procedure. The architectural design of some museums and art galleries has begun even under the premise of not knowing much about the collections, and the design of exhibitions and civil works have started at the same time.
This program mode will inevitably lead to conflicts and contradictions between architectural space design and display pattern. Architectural space design should aim at exhibition, and the essence of exhibition design is to deepen the design process of space with the aim of the best experience of people and exhibits. Only through the comprehensive integration process of architecture and exhibition specialty can an overall exhibition environment suitable for exhibits and audiences be finally formed. Professional interaction and integration is an important direction of organizational integration of cultural architecture design in the future. As a prominent symbol of the process of urban material civilization and spiritual civilization, the complexity of material composition and the cost of construction and maintenance of cultural buildings are obviously higher than those of ordinary buildings, and their inherent publicity often makes them the focus of public attention. Therefore, the positive and healthy cultural architecture design concepts and methods have more prominent demonstration significance.
There are no fixed patterns and routines for cultural facilities from planning and layout to architectural design, but they should be rooted in specific environment and needs. Natural conditions in different regions, differences in city size and form, historical and cultural characteristics, different conditions of economic development, and specific construction and operation strategies are intertwined, which determines the diversified paths and manifestations of cultural building design and construction. From closed single facilities to open urban functional structure, from gorgeous modeling to caring for public environment, from narrow engineering design to continuous whole-process integration, the connotation and extension of cultural buildings are undergoing new baptism and will glow with new vitality.
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