架构师提供的文本描述。自2009年5月12日汶川地震以来，当地居民不仅需要物质重建，还需要精神上的复兴。博物馆建筑作为揭示人类社会发展和文化价值的舞台，对于遭受自然灾害的城市和人民都有着重要的意义。其次，全球和国际上的建筑设计趋势越来越严重。在这一过程中，地方建筑文化和地域文化逐渐淡化，建筑中具有地域文化特征的建筑越来越少。绵竹博物馆反映了对全球化和城市化侵蚀区域建筑特色现象的反思，试图从场地精神、空间体验和物质表现三个方面探讨新环境下区域文化的建设策略。它坚定了我们未来提出区域文化的信心。

Text description provided by the architects. Since the Wenchuan Earthquake in May 12th, 2009, local residents not only need the physical reconstruction, but also need the spiritual revival. As a stage revealing human society development and cultural value, museum architecture has important meaning for cities and people who both have been hurt by natural disasters. Secondary, the architectural trend of designing globally and internationally is becoming more and more serious. In this process, local architectural culture and regional culture are fainting that fewer buildings have regional culture characteristics. Mianzhu Museum reflects introspection for the phenomenon that globalization and urbanization erode regional architecture features, trying to discuss regional culture’s constructing strategy in the new context based on site spirit, spatial experience and material behave. It firms our future confidence of proposing regional culture.

 Courtesy of Zhenggong Feng

冯正公

博物馆作为公共传播的重要场所和新兴的文化阵地，直接反映了该地区的文化和历史信息。正因为如此，在绵竹历史博物馆的整个设计过程中，我们关注的是地域性的视角。在绵竹历史博物馆的设计中，我们的首要目标是塑造独特的遗址精神。博物馆的遗址是在“朱各双”神殿旁边选定的，这是为了纪念诸葛战和朱歌商，他们是三国时期著名人物诸葛亮的遗骸。绵竹人为诸葛家设立了观景台，供后人观赏。双中神庙建于清朝乾隆三年的陵墓基础上，包括名为“忠孝门”、“白店”、“国定”、“正殿…”的几个部分。。

As an essential place and emerging cultural position for public communication, museum directly states culture and history information of the region. Just because of this, throughout the deigning process of Mianzhu history museum, we focus on the regional perspective. In the designing of Mianzhu history museum, our primary objective is shaping particular site spirit. Museum’s site is selected adjoining to “Zhu GeShuangZhong” Shrine which is used to souvenir Zhu Ge Zhan and Zhu Ge Shang, who are the decedents of Zhu Ge Liang, a famous person in Three Kingdom Period. Mianzhu people established cenotaph for Zhuge family for later viewing. Shuangzhong Shrine was established based on tomb that it started in Qianlong three year in Qing dynasty (1738), including several parts named as Zhongxiaomen, Baidian, Guoting, Zhengdian….

 Courtesy of Zhenggong Feng

冯正公

绵竹历史博物馆将建筑置于特定的纪念场所之中，注重创造历史延续的遗址精神，实现新旧建筑的回响。双中神殿不仅是绵竹历史博物馆的原创性，也是新博物馆最大的珍贵展示。在设计中，我们把朱格双钟作为博物馆展览的一部分。参观者将先走过双中神殿，然后到达博物馆入口处。在步行过程中，引入了时间维度，形成了新旧建筑之间的无形交流。参观过程就像新旧建筑的对比中的历史轴，新博物馆与双中神殿交织在一起。最后，博物馆的出口将面对双中神殿的入口处。场地精神达到高潮。

Mianzhu history Museum puts buildings among the specific memorial place, focusing on creating a historical continuity site spirit and realizing echoing between new and old buildings. Shuangzhong Shrine is not only the originality of Mianzhu history museum, but also the biggest precious display in the new museum. In the design, we put Zhu GeShuangZhong Shrine as a part of museum exhibition. Visitors will walk through Shuangzhong Shrine first and then reach the entrance of museum. In the process of walking, dimension of time has been introduced in that intangible communication between new and old building has been shaped. Visiting process will be like a history axis within the contrast of new and old buildings that new museum and Shuangzhong Shrine are meshed into one. Finally, the museum’s exit will face with Shuangzhong Shrine’s entrance. Site spirit reaches its climax.

 Courtesy of Zhenggong Feng

冯正公

在设计过程中，绵竹历史博物馆试图融入川西建筑的特色，摒弃传统的封闭地位，使游客对地域空间的记忆有所回忆。川西民居是川西传统建筑的代表，采用庭院式的开放、灵活的布局。它们呈现出空间的模糊性和流动性。新老建筑规划整合，新建筑采用4整长方形，对应疏中神殿。新成立的实体与旧建筑之间存在虚假和真实的关系。新楼的大小与双中神殿的大小相似：纬度可控，天际线温和，新楼的最高点与双中神殿的高度相同，新旧建筑之间使用植物和当地的石头，让游客体验真假。

In the designing process, Mianzhu history Museum tries to blend in West Sichuan building’s characteristics and abandon its traditional closed position so that it could remind vistors’ memories of regional space. West Sichuan residences are the representative of traditional West Sichuan Building that they have open and flexible layout by using courtyard. They present space’s ambiguity and mobility. New and old buildings are planned integrate that the new one uses 4 whole rectangular to correspond to Shuagzhong Shrine. False and true exist between the newly established entity and old buildings. New building’s size is similar to that of Shuangzhong Shrine: latitude is controlled, skylines are mild, and the highest point of the new building is as same height as that of Shuangzhong Shrine; plants and local stones are used between new and old buildings so that visitors could experience true and false.

 Courtesy of Zhenggong Feng

冯正公

空间解构和空间渗透是绵竹历史博物馆的主要设计方法，它是断续、连续、线性或开放空间解构墙壁体和功能内核形态的主要设计方法。新空间更注重新旧空间的渗透。这也是对这句话的解释，“双中神殿是新博物馆最珍贵的展品”。在新的博物馆里，设计了“新庭院”。共同点是内倾倾斜瓦屋顶。它来自川西传统庭院，但我们将原始庭院与现代箱体垂直重叠，使三个凹式庭院结合在一起，形成“品”模式。本设计将形成既满足展示功能要求又能塑造地域现象的“新庭院”。水的特色将作为第二行的空间，这是像四川省的意图-“永不结束”。庭院周围可以展示一些结合自然光的高大展览。显示阶段可以放在较低的空间。通过对川西民居的解构和改造，产生了一种轻松愉快的感觉，就像在当地建筑中散步一样。

Space deconstruction and space infiltration are the major design methods for Mianzhu history Museum that deconstructed wall body and functional kernel shape intermittent, continuous, linear or open space. New space focuses more on the infiltration between new and old space. This is also an explanation for the sentence, “Shuangzhong Shrine is the most precious display in the new museum”. In the new museum, “new courtyards” are designed. Common points are the introverted hipped tile roof. It is from West Sichuan’s traditional courtyard but we vertically overlapped original courtyard with modern box body so that three concave type courtyard will combine together and become “品” pattern. This design will form the “new courtyard” with both meeting display function requirement and shaping regional phenomenon. Water feature will work as the second line of the space which is like Sichuan province’s intention—“never ending”. The surrounding area of the courtyard could display some tall exhibitions combining natural light. Display stages could be put in the lower space. The visiting sequence produces relaxed and pleasant feeling similar to walking in the local buildings by deconstructing and reconstructing West Sichuan residences.

 Courtesy of Zhenggong Feng

冯正公

绵竹历史博物馆采用石、木、瓦、透明玻璃和“U”玻璃五种材料。除了“U”玻璃，其他的都是本地的。最常用的是石头。首先，承包商提供的本地石材不能满足建筑师的要求。然而，一个简单的石磨在原来的博物馆角落引起了他们的注意。那块石头是随机凿成的，它有凹凸的质地。它反映了当地工匠的精湛技艺。因此，设计师有了在墙面上应用磨石质地的想法。建筑师引导工人随意雕刻，但初步测试表明人工雕刻痕迹太重。于是，他们试图烧掉人造凿成的石头。这些烧焦的石头在阳光下和雨中都有着深刻的历史意义。

Mianzhu History Museum uses 5 kinds of materials—stone, wood, tile, transparent glass and “U” glass. Except “U” glass, others are from local. The most utilized is stone. At first, local stone provided by contractor couldn’t meet architects’ requirements. However, a piece of simple stone mill in the corner of original museum attracted their attentions. That stone was randomly chiseled that it has concave and convex texture. It reflects local craftsmen superb artistry. Therefore, designers have the idea of applying the millstone’s texture on metope. Architects guided the workers to carve randomly but preliminary test showed that artificial carving traces were too heavy. Thus, they tried to burn the artificial chiseled stones. Those burnt stones have profound historical sense both in the sun and in the rain.

 Courtesy of Zhenggong Feng

冯正公

当地居民重视自然、环境和人之间的关系。为了充分利用博物馆的新设计，建筑师们精心挑选了三种常用的当地材料-石材、木材和瓷砖。以“U”玻璃为现代材料，既经济又与环境和谐。现代文化与现代文化相互拥抱，呈现出质感与自然的美。在1951年9月的“纽约客”杂志上，Mumford批评了国际风格。他说：“地区主义不适用于使用最容易获得的当地材料，或抄袭我们祖先的一些简单的结构形式和结构。”这意味着在建筑设计中，要创造性地发掘材料的潜力，顺应历史，以满足不断变化的本土需求。“U”玻璃的使用加强了传统材料与新材料的对比，体现了世代在历史氛围中的创造性。透过“U”玻璃的光是和谐而安静的。另一方面，室外自然和历史建筑被固化在新建筑的空间中。“U”玻璃和透明玻璃的混合不仅产生漫射光，而且限制了弱光的范围。

Local Residence attaches importance to the relationship between nature, environment, and human. In order to make the best of the new museum design, architects carefully selected stone, wood, and tile, which are three kinds of commonly used local materials. With citing the “U” glass as the modern material, so that it is not only economical, but also very harmonious with environment. The modern and tridition embraced each other, showing the beautiful of texture and natural. On the Sep, 1951 New Yorker magazine, Mumford criticized the international style. He said, “Regionalism is not relevant to use the most readily available local materials, or copied from our ancestors used by some simple structure form and construction.” This point means that in the architecture design, we should creatively explore the potential of material and be flexible to history in order to meet the changing local needs. The using of “U” glass strengthens contrast of traditional and new material and reflects the creativity of generations in historical atmosphere. The light transmitting “U” glass is harmonious and quiet. In another way, outdoor nature and historic buildings are solidified in the new building’s space. The mix of “U” glass and transparent glass not only creates diffuse light but also limits the scope of poor light.

 Courtesy of Zhenggong Feng

冯正公

地域决定了建筑文化的不同发展方向。由于气候、材料、地理、文明等方面的差异，建筑文化的混乱标志着建筑历史的一次又一次的重大变化。我们实行的区域主义不是一种简单的地理、气候、物理决定论。我们总是认为架构不仅应该满足过程和功能需求，还应该创造一种场所感。此外，它还应该能够解释区域文化的传承，进而在新的语境下构建区域文化。绵竹历史博物馆实行新的地域主义，承载着我们复兴本土建筑文化和重建家园的期望。

Region decides different develop directions of architectural culture. Because of differences of weathers, materials, geography and civilization, the confusion of architectural cultures indicate significant change in the architectural history again and again. The regionalism which we have practiced is not a simple geography climate physical determinism. We always consider that architecture should not only meet process and functional demands, but also create a sense of place. Furthermore, it should be able to explain regional culture inheritance and then, to construct regional culture in the new context. Mianzhu History Museum practices the new regionalism, carries our expectations of reviving local architectural culture and rebuilding home.