架构师提供的文本描述。中国大多数城市的物质形态都是在经济条件差的时代形成的。在跨入世界标准生活方式的新时代后，城市需要根本性的变革，需要引人注目的形象来代表社会的进步。这给三线城市带来了进退两难的局面。他们渴望复制北京和上海等一线城市的成就，但他们的经济地位却无法实现这一愿望。

Text description provided by the architects. The physical forms of most Chinese cities were formulated in the age of poor economic conditions. After leaping into a new era of world-standard life styles, cities need fundamental change and call for eye-catching images to represent the social progress. This presents a dilemma for the third tier cities. They are eager to duplicate the achievements of the first tier cities such as Beijing and Shanghai, yet their economic status cannot fulfill such an aspiration.

 © Chen Yao, Hao Gang, Meng Yan

陈耀，郝刚，孟燕

唐山，一个位于北京以东200公里的工业城市，目前正面临着这一困境。这座城市因1976年的地震而闻名，地震几乎摧毁了它所有的城市结构。唐山的重建几乎与中国的先进城市深圳同时进行，但采取了更为平庸的做法。今天，随着人们对整容的高度期待，这个城市正在进行一场城市美化运动，试图用华丽的建筑取代普通的建筑。它比大地震对唐山的城市历史更具破坏性。

Tangshan, an industrial city 200 km east of Beijing, currently faces this dilemma. The city is well known by the 1976 earthquake that nearly devastated all of its urban structures. Tangshan’s reconstruction happened about the same time as Shenzhen, one of China’s advanced cities, but took a more banal approach. Today, with the high expectation for face-lifting, the city is undergoing an urban beautification movement in an effort to replace ordinary buildings with fancy ones. It has been more destructive to Tangshan’s urban history than the great earthquake.

 © Chen Yao, Hao Gang, Meng Yan

陈耀，郝刚，孟燕

新唐山博物馆位于唐山市区凤凰山脚下，是在文革早期建立的三座展示毛主席思想的博物馆。这些建筑物是唯一在1976年地震中幸存下来的大型公共建筑，因此成为博物馆最大和最宝贵的藏品。在翻修之前，这些建筑物严重破旧，被多名居民占用。

Located at the foot of the Phoenix Hill in Tangshan’s downtown area, the New Tangshan Museum is based on three existing structures built in early Cultural Revolution to exhibit the ideology of Chairman Mao. These buildings are the only large public structures that survived the 1976 earthquake, and hence became the largest and most invaluable collection for the museum. Before the renovation, the buildings were heavily dilapidated and occupied by multiple inhabitants.

 © Chen Yao, Hao Gang, Meng Yan

陈耀，郝刚，孟燕

该设计不仅旨在创造一个可持续的战略，将旧的转变为新的，而且建立一个文化场所与普通公民之间的联系。为了将现有的三座建筑连接起来，需要一条长长的线性展示路径的布局。这一限制作为一个优势，允许许多公共客厅沿免费博物馆嵌入。有许多非展示节目，如咖啡厅、图书馆、演讲厅、公共休息室和礼品店，欢迎人们在闲暇时间享受新的生活方式，并邀请他们与朋友一起利用这些空间作为家园的延伸。

The design not only intends to create a sustainable strategy to transfer the old into the new, but also to establish a link between a cultural venue and common citizens. To chain the separated three existing buildings, it calls for a layout of long linear exhibition path. This restriction served as an advantage by allowing many public living rooms to be embedded along the ticket-free museum. There are many non-display programs, such as a café, library, lecture hall, public lounge, and gift store, which welcome people to enjoy a new life style in the leisure time, and invite them to use the spaces with friends as an extension of their homes.

 © Chen Yao, Hao Gang, Meng Yan

陈耀，郝刚，孟燕

在广场一侧，新的设计通过将新的附加物放置在两边，保留了建筑与山丘之间的视觉关系，同时也丰富了框架景观。通过使用白色丝印玻璃和软和玉状的纹理，大量的新增加的视觉减少，旧的和新的之间的对比得到加强，旧的结构看起来更加突出。

From the plaza side, by locating the new additions on the sides, the new design preserves the visual relationship between the buildings and the hill, as well as enriches the framed vista. By using white silk printed glass with soft and jade-like textures, the massive new addition is visually diminished, the contrast between the old and the new is reinforced, and the old structures look more prominent.

 © Chen Yao, Hao Gang, Meng Yan

陈耀，郝刚，孟燕

广场有一系列的“城市沙发”，作为半公共空间，适合于小群体的人。这些亲密的空间被放置在一个大型的中央水族馆周围，经常有大量的舞者和溜冰者居住，以创造一种地域感和归属感。这种户外亲密关系也有助于邀请公众参加室内活动，并使他们成为博物馆的常客。

The plaza has a series of “urban sofas” that serve as semi-public spaces suitable for small groups of people. These intimate spaces are placed around a large central aquare, frequently populated by masses of dancers and roller skaters, to create a sense of territory and belonging. This sort of outdoor intimacy also helps to invite the public into indoor programs, and makes them as frequent museum-goers.

 axonometric 01

axonometric 01

在这个项目中，城市历史被敏感地保存下来，它的价值被耸人听闻地放大了。历史赋予了这个城市和它的居民一种自我评价和自信的感觉.公共建筑，特别是阿尔多·罗西(AldoRossi)所称的“纪念碑”，对集体记忆和行为起着重要作用。他们对城市的形象和精神负责。在处理这样的委托时，乌尔巴纳斯毫不犹豫地运用当代的节目、材料、技巧和品味来满足提升面子和精神提升的需求。与此同时，Urbanus不会放弃为用户提供最佳解决方案的努力，特别是对于不太发达的城市。这一翻修项目表明，良好的物质环境可能源自一度陈腐或恶化的城市现实，并说明在一个渴望更新的地方，历史仍然至关重要。

In this project, the city history is sensitively preserved and its value sensationally amplified. History gives the sense of self-estimation and self-confidence to the city and its residents. Public buildings, especially those “monuments” as termed by Aldo Rossi, play an important role of collective memory and behavior. They are responsible for the image and the spirit of the city. When dealing with these kinds of commissions, Urbanus never hesitates to employ contemporary programs, materials, techniques, and tastes to answer the demand of face-lifting and spirit-lifting. Meanwhile, Urbanus will not give up the effort to make the best solution appropriate to its users, especially for less advanced cities. This renovation project exemplifies that good physical environments can stem from the once banal or deteriorated urban reality, as well as illustrate that history is still vital in a place dying for renewal.

 © Chen Yao, Hao Gang, Meng Yan

陈耀，郝刚，孟燕

该项目不仅为当地人民带来了许多就业机会，而且也提高了博物馆业务的热情。以这座国有博物馆为旗舰，该市正在规划政府和私人之间的共同努力，以实现真正的文化面子提升，并将土地让给私人收藏家，建设一批博物馆。在文化大革命的反文化时代种下的种子，终于在高文化的千年里开花了。

The project not only succeeds in bring in many job opportunities for local people, but also boosts an enthusiasm for museum business. With this state owned museum as the flagship, the city is programming a joint effort between the government and the private to make a real cultural face lifting, and giving lands to private collectors to build a cluster of museums. A seed planted in the anti-culture age of Cultural Revolution has eventually blossomed in the millennium of high culture.