同济院新作：烂柯世界围棋文化展示馆，“只此烂柯，无尽之行”

设计单位  同济大学建筑设计研究院（集团）有限公司

项目地点  浙江省衢州市

建成时间  2025年

建筑面积  32000平方米

本文文字由设计单位提供。

当下，展馆建筑普遍面临建筑与室内展陈相互割裂的困局，这种“形神脱节” 的现象，常常造成观览体验的断层，不仅让建筑沦为缺乏内涵的空壳，也使展陈失去了赖以依托的空间载体，进而消解了文化表达的完整性——观众眼中的建筑形态与亲身感受的展陈内容互不呼应，既无法借助空间语言强化文化认知，也让建筑本身的设计价值被白白浪费。

Currently, pavilion architecture is widely confronted with a critical dilemma: the severance between the built environment and interior exhibition. This phenomenon of a ‘form-spirit disconnect’ frequently results in a fragmented visitor experience. It not only reduces the architecture to a hollow shell devoid of substance but also deprives the exhibition of its necessary spatial anchor, thereby eroding the integrity of the cultural expression. When the architectural form perceived by the eye fails to resonate with the curated content experienced within, the opportunity to leverage spatial language to reinforce cultural understanding is lost, and the intrinsic value of the architectural design is ultimately squandered.

烂柯世界围棋文化展示馆，是建筑展陈一体化设计的一突破性实践。在设计之初，便以“只此烂柯，无尽之行”为核心叙事线索，将建筑形态、展陈设计、视觉标识甚至家具形态都纳入统一的设计体系。通过空间、室内、平面设计的语汇将围棋的历史、哲学与文化内涵转化为一场身临其境的体验。

The Lanke World Go Culture Exhibition Hall represents a groundbreaking endeavor in holistic architecture-exhibition integration.From the project's inception, the design has been anchored by the central narrative thread of ‘Lanke: An Infinite Journey’. This concept assimilates architectural form, exhibition design, visual identity, and even furniture into a unified design system. By weaving together the vocabularies of spatial, interior, and graphic design, we translate the history, philosophy, and cultural depth of Go into an immersive experience.

我们希望展馆不仅仅是一个容纳展陈内容的容器，更能让建筑的每一处空间转折、展陈的每一组场景营造、标识的每一处细节处理，都成为围棋文化的生动诠释。

Our vision is for the pavilion to be far more than a mere vessel for display; instead, we ensure that every spatial transition, every curated scene, and every graphic detail serves as a vivid interpretation of Go culture.

△ 项目视频 Project Video  ©四时方院

围棋馆坐落于烂柯山南麓乌溪江畔，总建筑面积约3.9万平方米，既是承载围棋竞技活力的“赛事馆”，也是沉淀千年围棋记忆的“展示馆”，更是让围棋智慧变得鲜活的“科技馆”。建筑深植衢州本土文脉与自然肌理，将地域特质与围棋哲思凝练成建筑语言。

Situated at the southern foot of Lanke Mountain along the banks of the Wuxi River, the Go Pavilion spans a total floor area of approximately 39,000 square meters.The project serves not only as a "Competition Arena" that hosts dynamic Go tournaments, but also as an "Exhibition hall" that preserves  the game's millennial heritage, and further, as a "Technology Hub" that vividly animates the wisdom of Go. Deeply rooted in the cultural context and natural fabric of Quzhou, the design distills regional characteristics and the philosophy of Go into a distinct architectural language.

设计以棋子的圆形为母题，通过圆形组织空间与形态关系，将围棋文化中的围合、渗透、阴阳等理念转化为可感知的建筑空间。外形取自仙人下棋的棋罐，状似玉璧，凌空而起。六十米跨度的红色清水混凝土拱贯穿形体，在外立面上形成“负阴抱阳”的曲线形态。核心内院向东北侧山体主峰倾斜45度，形成了一条从内院到山体的视线通廊，让建筑与自然语境共生共融。

The architecture adopts the circular form of a Go stone as its primary motif, organizing the relationship between space and form while translating the philosophical concepts of enclosure, permeation, and Yin-Yang into a tangible spatial experience. The exterior, inspired by the legendary Go bowls used by immortals, resembles a jade disc hovering atop an elevated podium.A 60-meter-span red fair-faced concrete arch traverses the architectural volume, sculpting a curvilinear facade that embodies the concept of 'carrying Yin and embracing Yang'.Internally, the central courtyard is oriented at a 45-degree angle towards the main peak of the mountain to the northeast. This alignment establishes a strategic visual corridor linking the building's core directly to the landscape, fostering a seamless symbiosis between the architecture and its natural context.

参观流线被设计为一场“无尽”的悟道之旅。路径以循环往复的形式组织，将中庭、展厅、空中步道和屋顶景观露台联系起来，使观者在观展过程中体验丰富的空间转换，穿梭于室内外之间，感受围棋的无尽，体悟人生的百态。

The visitor circulation is choreographed as an "infinite" journey of enlightenment. Organized as a continuous loop, the path weaves together the atrium, exhibition halls, aerial walkways, and rooftop terraces. This arrangement facilitates dynamic spatial transitions, guiding visitors to weave between indoor and outdoor realms, where they can contemplate the boundlessness of Go and the myriad states of life. Inclined walls disrupt the rigid boundaries of traditional orthogonality, sculpting interiors imbued with spatial tension. As visitors traverse these spaces, they encounter shifting vistas with every step. Amidst the flux of light and shadow and unexpected spatial turns, a layered and exploratory viewing experience unfolds.

倾斜的墙体打破传统空间的规整边界，塑造出富于张力的室内空间。观者穿行其间，步移景异，在光影流动与空间转折中，解锁层次丰富的探索式观览体验。

Inclined walls disrupt the rigid boundaries of traditional orthogonality, sculpting interiors imbued with spatial tension. As visitors traverse these spaces, they encounter shifting vistas with every step. Amidst the flux of light and shadow and unexpected spatial turns, a layered and exploratory viewing experience unfolds.

结构与材料兼具柔和与力量，暗合围棋“阴阳平衡”的哲学内涵。六十米跨度清水混凝土拱架状似天生石梁，雄浑壮阔，而轮辐式结构的围棋道场则纤细轻盈，营造出举重若轻的感受。

The structural logic and materiality embody a blend of softness and power, subtly echoing the Go philosophy of 'Yin-Yang balance'. The 60-meter-span fair-faced concrete arch evokes the majesty of a natural stone beam. Its monumental presence stands in contrast to the slender, spoke-structured Go Dojo, creating a sensation of weightlessness—an architectural expression of 'lifting the heavy as though it were light'.

清水混凝土外立面置入了约2500根亚克力导光管，光线穿透时形成朦胧的光影。而基座内侧墙体则采用烂柯山本土毛石制成的石笼墙，质朴厚重，与上部圆润体量形成强烈的视觉对话。

Embedded within the concrete facade are approximately 2,500 acrylic light-guiding tubes, which generate a diffuse, ethereal glow as light penetrates the surface. Anchoring the structure, the inner walls of the base feature gabion walls filled with local rubble from Lanke Mountain. Their rustic, heavy texture engages in a striking visual dialogue with the smooth, rounded volume above, grounding the ethereal form in the local earth.

围绕“只此烂柯，无尽之行”这一核心主题，展陈设计突破传统博物馆以静态陈列为主的模式，致力于营造一个可感知、可沉浸的“围棋美学场域”。通过空间叙事与艺术表达的深度融合，我们试图将围棋的历史、哲学与文化内涵转化为一场身临其境的体验，使游客在行走中感悟“烂柯一梦，行无止境”的意境。

Anchored by the core theme 'Lanke: An Infinite Journey', the exhibition design transcends the static display paradigms of traditional museums to cultivate a perceptible and immersive 'Go Aesthetic Realm'. Through the deep fusion of spatial narrative and artistic expression, the project seeks to translate the history, philosophy, and cultural depth of Go into a visceral experience. As visitors traverse the space, they are invited to embody the poetic essence of the 'Lanke Dream'—an infinite journey of the mind.

展陈以黑、白、灰为主色调，既吻合围棋棋子的色彩，也与建筑本身的清水混凝土肌理形成对话，共同营造出纯粹的黑白美学。透光混凝土墙体在展陈中被巧妙的利用，呈现出星星点点的效果，成为游客必至的打卡亮点。建筑中大量存在斜墙与弧墙，对展陈来说既是机遇也是挑战。设计采用非对称悬挂、投影技术与定制异形展柜等方式，使展示界面与建筑形态无缝融合，不仅尊重并强化了原始空间的形式美感，也巧妙拓展了有效展陈面积，增强了视觉张力与叙事趣味。

Dominated by a palette of black, white, and grey, the exhibition design echoes the monochromatic hues of Go stones while engaging in a textural dialogue with the architectural fair-faced concrete. Together, they forge a pure and cohesive monochromatic aesthetic. Translucent concrete walls are cleverly utilized in the exhibition, presenting a starry effect that has become a iconic visual landmark for tourists. With a large number of inclined and curved walls in the building, the exhibition adopts asymmetric hanging, projection technology and customized irregular display cases, achieving a seamless integration of the display interface and architectural form. This design not only respects and enhances the formal beauty of the original space, but also cleverly expands the effective exhibition area, enhancing visual tension and narrative interest.

观览过程中三个反复出现的“声之形·情绪空间”既是展陈章节的分割标志，也强化了“无尽”的时空体验。循环往复的流线设计不仅呼应围棋中“气”与“循环”的哲学，也暗喻烂柯传说中“山中方一日，世上已千年”的时空错位感，使观展本身成为一场修行。

Three recurring 'Sound Form · Emotional Spaces' punctuate the visitor's journey, serving as both dividers between exhibition chapters and amplifiers of the 'infinite'space-time experience. This recursive circulation strategy not only echoes the Go philosophy of 'Qi' (vital energy) and cyclical flow but also serves as a metaphor for the temporal dislocation central to the Lanke legend — 'A single day in the mountains, a thousand years in the mortal world'. Ultimately, this design transforms the act of viewing into a spiritual pilgrimage.

为消解围棋文化的认知壁垒，展陈设计中引入了艺术化表达手法与多媒体互动装置，构筑了一条从感知、互动到理解的渐进式参观路径，将抽象的文化转化为可感知的多维体验，完成了围棋从小众到大众的转译。

To dismantle the cognitive barriers often associated with Go culture, the exhibition design incorporates artistic expressions and interactive multimedia installations. This approach establishes a progressive visitor trajectory—evolving from perception to interaction, and finally to understanding. By transforming abstract cultural concepts into a perceptible, multi-dimensional experience, the project successfully translates Go from a niche discipline into a universal language accessible to the general public.

入口桌椅组合以圆形为母题，采用纯粹的黑白两色搭配，暗合“阴阳相生” 的围棋之道。位于红色混凝土拱顶下的文创售卖区展台状似永子制作时滴落的棋子，高低错落，与窗外的群山相呼应。

The table and chair set at the entrance takes the circle as the motif, adopting a pure black-and-white color scheme, implicitly echoing the Go philosophy of 'Yin and Yang'. The display stands in the cultural and creative product area beneath the red concrete arch are shaped like dripping Go pieces during the production of 'Yongzi', arranged in varying heights, echoing the mountains outside the window.

围棋馆的视觉设计，将围棋、太极与宇宙三者共通的东方哲学——对立统一、动态平衡与无限可能，转化为贯穿始终的艺术视觉序列。

The visual design of the Lanke World Go Culture Exhibition Hall transforms the common Eastern philosophy of Go, Tai Chi and the universe — the unity of opposites, dynamic balance and infinite possibilities — into a consistent artistic visual sequence.

设计选取圆点作为基础元素，既是宇宙奇点的隐喻，也是太极中心与围棋落子的起点，以最纯粹的形态承载最深邃的智慧。核心元素来自围棋的解构，既是棋子平面到立面形态的转译，也是棋子生产时滴注形态的剪影。各章节的视觉图案在此基础上根据主题进行了艺术变形，形态时而飘逸柔美，时而归于虚无，在变幻中传递“无尽”的哲学意味，构建出高度统一的烂柯美学场域。

The design selects the dot as the foundational element, which is not only a metaphor for the cosmic singularity, but also the center of Tai Chi and the starting point of placing a Go piece, carrying profound wisdom in its purest form. The core element is derived from the deconstruction of Go pieces, representing both the translation of the planar form of Go pieces into three-dimensional shapes and the fluid 'dripping' silhouette of stones during their artisanal  manufacturing process. Based on this, the visual patterns of each chapter undergo artistic transformation according to their themes, with forms sometimes elegant and soft, sometimes fading into emptiness, conveying the philosophical meaning of 'infinity'through changes.This creates a cohesive and immersive Lanke aesthetic realm where graphic language and architectural space resonate in total harmony.

落子间，是千年烂柯的时光回响；棋盘上，是黑白对弈的无尽征途。衢州烂柯世界围棋文化展示馆，以建筑空间为局，以展陈内容为子，打破建筑与展陈的孤立边界——二者恰似黑白黑白两子交织，在互促互融中彼此成就。

The placement of each stone resonates with the echoes of Lanke's millennium-old legend; upon the board unfolds an infinite journey of black and white interplay. The Quzhou Lanke World Go Culture Exhibition Hall treats the architectural space as the board and the exhibition narratives as the stones. This conceptual strategy dissolves the traditional silos between architecture and exhibition design. Much like the strategic interplay of black and white pieces, the built environment and the curated content intertwine here—coalescing to mutually reinforce and elevate one another in a state of deep symbiosis.

设计图纸 ▽

完整项目信息

项目名称：衢州·烂柯世界围棋文化展示馆

项目类型：公共文化

项目地点：浙江省衢州市烂柯山石室乡

设计时间：2022年—2024年

建设时间：2024年—2025年

用地面积：43000平方米

建筑面积：32000平方米

业主：衢州市城市建设投资集团有限公司

设计单位：同济大学建筑设计研究院（集团）有限公司

主创建筑师：江立敏、黄金甲

建筑：江立敏、黄金甲、戴雨航、陈振、过涛、程璐、赵洁琳、熊健、叶磊、翟逸波、熊濯之

展陈：魏楠、黄晓滢、庞嘉钰

室内：戴雨航、程璐、叶磊

景观：聂婷婷、张仝、蒋帆、张拓

结构：刘冰、洪祎、吴智伟、张婷钰、陈鑫、程睿

给排水：李丽萍、唐玉艳、徐天陈

暖通：吴虎彪、张萍

电气：顾玉辉、蔡猛龙、罗颜

幕墙：田利军

技术经济：顾晶晶、徐敬

摄影师：刘国威、章鱼见筑、张震、庞嘉钰、黄晓滢、四时方院

视频版权：四时方院

版权声明：本文由同济大学建筑设计研究院（集团）有限公司授权发布。欢迎转发，禁止以有方编辑版本转载。

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