ROARINGWILD is a local clothing brand based in URBAN STREET style. The brand faces life through the attitude of “ROAR”, loves life, independent, and forms its own values. The brand hopes to convey the spirit of local street culture through clothing as a carrier and create a lifestyle and attitude that belongs to this generation. This project is the VIP offline store of the brand image store. Compared with the eye-catching retail store opened earlier, the flagship store is designed to reflect the brand’s intrinsic values. The project is located in Shenzhen Upper Hill complex, where the L3 floor outdoor is a European-style leisure street.
▼项目区位-深圳深业上城城市综合体，location of the project-Shenzhen Upper Hill complex
There are a number of exhaust vents on the façade of the original building, which have certain requirements on the amount of exhaust. The designer uses the parameterized design of the punched aluminum plate as the façade material in conjunction with the position of the exhaust port. The internal light is hidden, and the punching holes of different sizes have a gradual effect, so that the entire façade become alive. This design can meet the requirements of the exhaust volume and make the store a highlight of the commercial street.
▼旗舰店建筑外观，the exterior view of the project
▼外立面以参数化设计的冲孔铝板作为材料，内部藏光，大小不一的冲孔产生渐变的效果，the punched aluminum plate is used as the façade material and punching holes of different sizes have a gradual effect
The use of coated glass in the door position makes it impossible to clearly see the layout of the store. At the same time, it needs to go through a long and narrow corridor in the store. The ceiling and the corridor are mirror-reflected at both ends, making the entire corridor quiet and deep, contrasting with the interior, when the customer enters Can feel different impact when you are indoors.
▼进入店内需先经过一条细长的走廊，镜面反射使走廊空间与室内形成对比，a long and narrow corridor at the entrance and the mirror-reflection makes the entire corridor contrast with the interior
The interior uses the futuristic URBAN STREET style, 0 with the brand to convey the brand concept of the local street culture spirit, and continues the retail store’s use of illusion art, the “R” shape formed by bending steel bars and wrapped with red soft rubber hose runs through the entire exhibition area. As the customer walks around the store, the styling reveals a different shape at different angles, adding dynamic elements to the static space. At a certain angle, the shape can also show the shape of the Mobis ring, meaning the unlimited development prospects of the brand. The styling can also match the needs of different main styles in different periods of the store, making the display mode more diverse.
▼室内充满未来感的URBAN STREET风格，interior uses the futuristic URBAN STREET style
▼从展示区看向吧台空间，view from the display area to the bar
▼用红色软胶管缠绕钢筋构成的「R」造型贯穿整个展示区，the “R” shape formed by bending steel bars and wrapped with red soft rubber hose runs through the entire exhibition area
▼「R」造型细节，detail of the R shape
The overall hardwear in the store is dominated by a pure gray tone, making the product the center of vision; the space deliberately empty part of the area, allowing the commercial group to arrange different devices to meet the needs of various activities, making the space more flexible also add more fun. In addition to the cement board, the main material also uses a new metal texture glass. Compared with the feeling of stainless steel plate, in addition to the flatness of the glass, the glass is less cold, so that the whole space is not too “icy”. The middle aisle ceiling simulates the skylight effect, and the light can also be enhanced or weakened according to the weather changes at that time, and the outdoorand the indoors are integrated.
▼中间过道天花板模拟天光效果，middle aisle ceiling simulates the skylight effect
▼空间运用了水泥板材和新型金属质感的玻璃，the space used cement board and a new metal texture glass
The ceiling is cut with pixelated elements, the “R” shape flows through the air, and the short stumps on the ground are like the parts that fall from the ceiling. The ceiling light illuminates the shape and forms a mottled shadow on the ground, forming a variety of different depths on a single ground. The chrome-plated mirror studs can be used as a display for small items, as well as for different effects with shapes and products.
▼天花以像素化元素切割，R造型穿梭其中，the ceiling is cut with pixelated elements and the “R” shape flows through the air
▼地面的矮墩像是从天花板掉落并与其相呼应的部分，the short stumps on the ground are like the parts that fall from the ceiling
▼天花灯光照射造型，使影子在单一的地面上形成深浅不一的机理，the ceiling light illuminates the shape and forms a mottled shadow , forming a variety of different depths on a single ground
The bar area uses the pixel elements of the ceiling in the display area, and echoes the red “R” shape. It is made up of a number of 50x50mm red transparent acrylic, with a white LOGO, which highlights the futuristic and makes the bar more mechanistic.
▼吧台区域沿用像素元素，the bar area uses the pixel elements of the ceiling
▼50x50mm的红色透明亚克力与红色「R」造型相呼应，a number of 50x50mm red transparent acrylic echoes the red “R” shape
The image wall of the store will continuously broadcast the brand development history, street culture and seasonal products in the form of video, so that customers can understand the brand culture and brand attitude towards the revival of local street culture during the shopping process. In addition, in order to match the brand’s positioning on the local street culture, a mechanized retro device has been added to the details to make the whole space experience more full and rich.
▼店内形象墙将品牌发展历史、街头文化以及当季产品以视频的形式不间断播放，the image wall of the store will continuously broadcast the brand development history, street culture and seasonal products in the form of video
Name | 项目名称：
ROARINGWILD·UPPERHILLS | ROARINGWILD深业上城店
Location | 项目地点：
ShenZhen, China | 中国深圳
Client | 项目业主：
Date | 完成时间：
Interior Design | 主案设计：
Kingson Liang 梁永钊 | DOMANI 东仓建设
Cooperative Design | 协作设计：
Carving Tang 唐嘉颖 | DOMANI 东仓建设
Photography | 摄影：
肖恩 | Sean
Construction Side | 施工单位：
来自 MAT 超级建
▼位于传统街区中的风之亭，the pavilion in the traditional urban context ©夏至
Beyond the Wind
Located in the heart of the National historic and cultural city of Suzhou, Gusu District is home of numerous garden monuments with its over 2000 years history. 2018 Suzhou International Design Week was held in Gusu district, and MAT team was invited to design a pavilion for this event, as one of the most important public space in the design week. The pavilion undertakes information release, cultural salon and other public activities during the design week.
▼风之亭鸟瞰，aerial view of the pavilion ©夏至（上）©唐康硕（下）
Along with the development of exposition and art exhibitions, pavilion as a building type begins mature. It is a temporary building designed for specific public functions, focusing on form-related space, as well as the experience of visitors. In general, the gravity-resistant structures off the ground is the main consideration of pavilion design, while its “temporary” features lead to the exploration of lighter materials and more flexible construction methods.
▼pavilion作为抵抗重力的结构从地面升起，the gravity-resistant structures off the ground is the main consideration of pavilion design ©唐康硕（上） ©夏至（下）
▼正在使用中的风之亭视频，video of the pavilion in use
The design of Suzhou Pavilion is inspired by the traditional Jiangnan residential settlements. These settlement has produced a very strong group form due to its continuous repetition of walls and rolling roofs, we hope to recreate this group form by manipulation of the roofs: Four columns form a roof, The branches that grow on each pillar can form another roof with the other pillars …It is a free-growing settlement, with the continuous space defined by the forest-like pillars.
▼体系生成，the diagram of the structure
▼屋顶的重新组合再现江南民居聚落群体形式，recreate the traditional Jiangnan residential settlements form by manipulation of the roofs ©唐康硕（上） ©夏至（下）
▼屋顶下树林般的密柱所限定的自由空间，opening space defined by forest-like pillars under the roof ©唐康硕
▼前台区，information area ©唐康硕
▼装置区，installation area ©夏至
Concerning the site conditions and the functional requirements, we finally selected a six-petal plan layout for the pavilion. We abstracted the traditional building roofs, regrouped them at different heights, in order to form a space called “Beyond the Wind” limited by 8 floating roofs and 18 steel pillars. With such a free space, the pavilion is also like an amphitheatre, offering places for music, performances, salons and other social activities.
▼六瓣的平面布局生成，diagram of the a six-petal plan layout
▼轻质材料增加空间趣味性，lightweight materials intimate the space
Besides the main steel structure, a large number of lightweight materials are used in the pavilion in order to correspond its temporary and interactive characteristics. The translucent roofs made by stacking hexagonal polycarbonate pieces, while providing bright daylight, textures resulting from overlapping also associated with vernacular culture in Suzhou. The cafe area uses colorful plastic curtain as the façade material, which also conveys the core value of equality and vitality of this design week. In addition, echoing design week’s main visual color, the pink elastic curtain at the entrance and interactive area provide fun places for adults and children.
▼咖啡区采用了彩色塑料帘作为立面悬挂，增强空间围合感，the cafe area uses colorful plastic curtain as the façade material ©唐康硕（上）©夏至（下）
▼彩色帘细部，detail of the colorful plastic curtain ©唐康硕
▼阳光板剪裁成六边形，像瓦片一样层层叠加并平铺在方格屋架上方，the translucent roofs made by stacking hexagonal polycarbonate pieces ©夏至
▼重叠的纹理与苏州古城相呼应，textures resulting from overlapping associated with vernacular culture in Suzhou ©夏至
“Beyond the Wind” pavilion is not only a “big toy-like” cultural landmark, but also a carrier of various public events during the design week. We take inspiration from the group form of traditional settlement, and recompose it in an artistic way, aiming to revive the surrounding historical area by implanting such a free space. When confronting old Town renewal project, we hope to maximize the impact of architectural design, bringing more people by the creation of new spatial scenes. We also hope to rethink the possibility of “new and old”, “tradition and future” by the spatial narrative of design.
▼“风之亭” 是一个“大玩具式”的文化地标和设计周期间各种公共事件的载体，“Beyond the Wind” pavilion is a “big toy-like” cultural landmark, and a carrier of various public events during the design week ©夏至
Among historical Suzhou garden pavilions, the most beautiful one is in the Master-of-Nets Garden, named after the Song People ShaoYong’s poem: “the moon to the sky eye, the wind to the water.” 2018 Suzhou International Design Week’s pavilion, which is also hexagonal and waterfall, is named “Beyond the Wind”. Through the design and thinking of this pavilion project, we are trying to have the question that, how much can contemporary design able to drive the humanistic spirit for this ancient city?
Project: “Beyond the Wind”-2018 Suzhou International Design Week Pavilion
Client: 2018 Suzhou International Design Week
Location: Taohuawu, Gusu District, Suzhou
Architecture Design: MAT Office
Architecture Design Team: TANG Kangshuo, ZHANG Miao, LIU Youpeng, Tong Siyang, WANG Wentao
Structure Consultant: TANG Lida, MAP3 Architecture&Structure Consultant
Built Area：160 m2
Material：steel column, OSB board, polycarbonate panel,plastic curtain
Photographer( except mark): XIA Zhi, TANG Kangshuo
Video( except mark): LI Zhaoqing
The project is located in Shenzhen Huaqiang North Commercial Plaza. Which represents fast-moving, converting, renewing and developing of Shenzhen, Huaqiang North has been considered as the “wind vane” and “barometer” of the Chinese electronics market, integrating technology, fashion, life, digital, communication, leisure and entertainment in IT MALL. Therefore, as OPPO’s second super flagship store in the world, the designer introduced the concept of “urban living room”; reconstructing the relationship between people and things through multiple dimensions of humanities, history, technology and so on. It’s to hope that people will not only be able to trace history, but also find out the present and the future.
▼以“城市客厅”为概念的旗舰店外观，the exterior view of the flagship store with the concept of “urban living room”
Pedestrian street and plaza are the most densely populated places in the city. This space does not only attract consumers with clear consumption purposes, but also attract pedestrians around the site to shape it as a resting place in the city square.
▼建筑外观夜景，旗舰店被塑造成城市广场中的休憩场所，exterior view at night, the space is shaped as a resting place in the city square
In the category of architectural outlines, the combination of chrome mirrors and frosted mirrors does not actively emphasize itself but faithfully maps the human state of the city, integrating the entire urban environment, and breathing through a slow flashing gradient light bars to reflect the visualization of communication forms, like a huge network to capture every message in people’s lives, forming a scene of “Jiangchengs’ thousands lights flashing on all sides, the horizon galaxy reflected in the heart of the river.”
▼建筑立面夜景，立面采用镀铬镜搭配磨砂镜面的组合方式，缓慢闪动的灯条体现了通讯形式的可视化，exterior facade at night, the architectural outlines use the combination of chrome mirrors and frosted mirrors, and the slow flashing gradient light bars to reflect the visualization of communication forms
The designer tried to have conversation with the people in the city and the city itself in a completely open space. Based on the characteristics of the immigrant city of Shenzhen, the consumers here have a high sense of self-pursuit. In this open space, consumers can act according to their own needs and wishes, just as they leave their hometown to explore the city.
▼建筑外观局部，首层空间全部使用玻璃立面，打造一个与城市和人对话的完全开放的空间，exterior view, the ground floor is entirely glass-cladded, creating an open space having the conversation with the people and the city
Entering the space is a full-face LED curtain wall, but it is limited to playing video, visual and other related video screens instead of commercial advertisements, transferring the cultural characteristics of the company to the public, so that consumers can examine the brand from a subjective attitude. Rather than a tough commercial indoctrination.
▼从室外看室内空间，空间正面的是一整面的LED幕墙，interior view from the outside, entering the space is a full-face LED curtain wall
▼室内空间，采用最简化的形式和玻璃展柜打造一个包容性空间，interior view, using the most simplified form and glass showcases to create an inclusive scene space
In order to create an inclusive scene space and weaken the commercial atmosphere of the overall space, the designer abandoned the compulsive circulation line, and in the most simplified form to present merchandise, thereby weakening its aggression to consumers due to clear marketing purposes. It allows consumers to easily choose independent behaviors and experience this space with a casual attitude.
The glass showcase in space is essentially a transparent drawer that puts the memories of the dust on the table. For young people who are struggling in the city, these objects also carry their common memories. These objects are the coordinates of time, people who can wake up to think about the present, and yearning for the future. Through these objects, the process of technology growth is linked to people’s own experiences to resonate.
▼室内细节，LED幕墙传播企业文化，玻璃展柜展示手机的更迭，details of the interior space, the LED curtain wall transfers the cultural characteristics of the company and the glass showcases exhibit the change of mobile phones
Regaining memories of people’s past by presenting objects of different ages that are more or less replaced by mobile phones. Whether it’s a cd record, a tape recorder, a radio, a Walkman, an MP3, or a card camera, it’s a natural trace of technology change.
▼建筑立面局部，采用镀铬镜搭配磨砂镜面的组合方式，details of the exterior facade, using the combination of chrome mirrors and frosted mirrors
Name | 项目名称：OPPO FLAGSHIP STORE | OPPO深圳旗舰店
Location | 项目地点：Shenzhen, China | 中国深圳
Client | 项目业主：OPPO Mobile Telecommunications Crop., Ltd | 广东欧珀移动通信有限公司
Date | 完成时间：2018.10
Architectural Design | 建筑设计：VincentZhang 张星 | DOMANI东仓建设
Interior Design | 室内设计：VincentZhang 张星 | DOMANI东仓建设
Installation & Exhibition | 装置与陈列：VincentZhang 张星 | Ann & Vincent 桉和韦森
Cooperative Design | 协作设计：Neil Mo 莫济发等 | DOMANI东仓建设
Construction Side | |施工单位：北京四海嘉禾建筑装饰工程有限公司
感谢 摄影师 Ste Mu
▼V&A Dundee博物馆外观，exterior view
“The uniqueness of this project for us is in the position between the water and the city – it is very different from a normal site as it sits in between land and water. As we started thinking about the project one of my colleagues showed me a picture of the cliffs of north-eastern Scotland – it’s as if the earth and water had a long conversation and finally created this stunning shape. The design of V&A Dundee attempts to translate this geographical uniqueness into the building by creating an artificial cliff.”
— Kengo Kuma
“The form of the museum is inspired by the cliffs on Scotland’s north-eastern coastline, with the cladding – dramatic lines of pre-cast concrete that run horizontally around the curving concrete walls – creating patterns of shadows which change with the weather and the time of day.”
“Visitors enter V&A Dundee through a large and beautiful main hall, a light-filled space intended by the architect to be welcoming and accessible, a vibrant place to socialise with a café, shop and other visitor facilities. The stepped interior walls are lined with hanging oak-veneered panels, pierced throughout by slot windows which create a dynamic, warm and playful light, as well as views out to the river. ”
The restaurant with spectacular views through floor-to-ceiling windows and from its outdoor terrace over RRS Discovery and the River Tay.
“V&A Dundee has the largest museum-standard temporary exhibition space in Scotland, at 1,100 square metres, in addition to the Scottish Design Galleries at 550 square metres. Also on the upper floor is a suite of learning spaces, designed to provide a diverse programme for all to participate in design creativity.”
“A ‘prow’ leans over the water and recalls the shipbuilding heritage of the city.”
Photo credit: Ste Murray
▼一进院，the first courtyard
Dongsi Culture Centre, formerly know as Dongsi 77 Courtyard, is located in one of the 25 historical and cultural heritage areas in the old city centre of Beijing. It has been set up as the first historical and cultural region in China. In order to alleviate the non-core functions of capital, the project focuses on its historical context, protecting the ancient capital scenery and cultural assets. On the basis of effectively protecting the original city landscape and features, the project combines the renewal of regional business forms in environmental governance, community governance, space renovation and comprehensive transportation system to create a demonstration zone with comprehensive environmental management in Dongsi heritage area.
▼一进院，镜面材料和水面增加了院落空间的趣味性，the view of the first courtyard, the mirror and the water increase the playfulness of the courtyard space
▼一进院夜景，the night view of the first courtyard
▼通过一扇清式垂花门从一进院通向二进院，going to the second courtyard from the first courtyard through a pendant flower door in the Qing style
March Urban Art Centre is committed to transforming the space into a showcase with the spiritual and cultural features of the Dongsi Community, upgrading the original space into Dongsi Museum. The renovated museum space will serve as a space for cultural practice and experience. The design approach to the narrative makes the heritage story of time and space relevant to today’s visitors, by revealing the connective threads between the past, present and future. The renovation space will be appealing to diverse audience groups, shared experiences interweave with interpretation targeted specifically for children, adults, learning and engagement participants, community members, specialists and enthusiasts.
▼一进院的“印象瓦舍”展区，the “Impression of Tile Houses” exhibition hall alongside the first courtyard
The display techniques we suggest to interpret a listed building include: remaining sympathetic to the existing fabric through minimal interventions; creating a distinct legibility between old and new; finding non-destructive ways of attaching physical elements to the building; making reversible interventions; and most importantly, privileging non-intrusive interpretive techniques such as audiovisual presentations, projections and live performance.
▼二进院西厢房文化探访展区，展示东四地区环境治理前后的“前世今生”，the culture exploration exhibition hall at the west side of the second courtyard, displaying the history and current situations about the Dongsi area
Meantime, space will carry the function of cultural popularization education, showing that Capital Urbanization Group attaches great importance to the social responsibility of cultivating and creating a good social and cultural environment for the next generation.
▼透过文化探访展区的透明界面看向二进院，the view of the second courtyard through the transparent facade of the culture exploration exhibition hall
An armillary sphere is a model of objects in the sky (on the celestial sphere), consisting of a spherical framework of rings, centred on Earth or the Sun, that represent lines of celestial longitude and latitude and other astronomically important features, such as the ecliptic. As such, it differs from a celestial globe, which is a smooth sphere whose principal purpose is to map the constellations.
▼二进院全景，院内放置着名为“浑天”的不锈钢公共艺术品，the overall view of the second courtyard with the Armillary made of stainless steel located in it
▼二进院夜景，“浑天”在夜晚散发出不同的魅力，the night view of the second courtyard, the Armillary has unique characteristics during the night
星天 | Stella
▼三进院全景，院内放置着名为“星天”的不锈钢公共艺术品，the overall view of the third courtyard with the Stella made of stainless steel located in it
▼三进院内的“星天”，the Stella located in the third yard
The concept of spherical shape with 28 star images comes from the cognitive thinking mode of the universe of the ancient Chinese. The star images are most commonly used in 28 stars, occasionally referring to four images (or four-dimensional, four beasts) and three plains. Twenty-eight perches on the zodiac are usually divided into four large celestial regions. They are named “four symbols” by the name of animals. Each scenery contains seven perches:
Oriental Dragon (including Jiao, Kang, Di, Pang, Xin, Wei);
North basalt (including Dou, Niu, Nv, Xu, Wei, Shi);
Western white tigers (including Kui, Lou, Wei, Xie, Bi, Xie);
Southern Suzaku (including Jing, Gui, Liu, Xing, Zhang, Yi).
▼三进院培训室，通过改变大门的开合创造不同的空间体验，the training room in the third courtyard, creating different spatial experiences by changing the opening and closing of the gate
▼博物馆鸟瞰图，采用三进院的传统建筑形式，the aerial view of the museum with the three courtyard, which is the traditional form of the Chinese architecture
Project: Dongsi Culture Centre – 77 Courtyard Renovation Project
Location: 77Courtyard, Dongsi Sitiao, Beijing
Design Company: March Urban Art Centre
Producer: Jeffrey Zhang
Planning and Public Art: Dr. Jack Tian
Design Principle: Rik . Zou，Liu Jing
Design team: He Xingang, Zhao Changxin, Fu Qiang, Qiu Liying
Client: Capital Urbanization Group
Project Type: City Renovation
Site Area: 1023 sqm
Design Period: 2017.9-2017.12
Completion Date: 2018.10
Photographer: Jin Weiqi
On January 12, 2019, the world’s largest concrete 3D printed pedestrian bridge was completed in the Wisdom Bay Industrial Park, Baoshan District, Shanghai. The project was designed and developed by the team of Professor Xu Weiguo from Tsinghua University (School of Architecture) – Zoina Land Joint Research Center for Digital Architecture, and was jointly built with Shanghai Wisdom Bay Investment Management Company.
▼3D打印桥鸟瞰及周边环境，aerial view of 3D printed pedestrian bridge and the surroundings
▼3D打印桥概览，view of the 3D print bridge
The length of the pedestrian bridge is 26.3 meters and the width is 3.6 meters. The bridge’s structure is inspired by the ancient Anji Bridge in Zhaoxian, China. It adopts the structure of a single arch to bear the load, and the distance between the abutments is 14.4 meters. Before the bridge’s printing process, a 1:4 scale physical model was built to carry out the structure failure testing, which proved the bridge’s strength can meet the load requirements of holding pedestrians crowding over the whole bridge.
▼桥的强度可以满足站满行人的荷载要求，the bridge’s strength can meet the load requirements of holding pedestrians crowding over the whole bridge
▼从东侧俯视桥面，aerial view from the east
The printing of the bridge uses the 3D printing concrete system independently developed by Professor Xu Weiguo’s team. The system is integrated with innovative technologies such as digital architectural design, printing path generation, operation control system, printing tool, concrete material, etc. It has the characteristics of high printing efficiency, high molding precision and high constancy in prolonged work. There are three main innovation points of the system, taking the leading position in this field internationally. The first is the printing tool of the robot arm, which avoids plugging in extrusion process and collapse during the material’s layer stacking; For the print path generation and operating system, it integrates form design, print path generation, material pumping, printing tool’s movement, robot arm movement and other systems to work together; the third is a unique printing material formula, which has reasonable performance and stable rheology.
▼桥面西侧局部，detail on the west side
▼桥梁细部，detail of the bridge
All of the concrete components of this bridge are printed with two robotic arm 3D printing systems in 450 hours. Compared with conventional bridge of similar size, its cost is only two-thirds of the latter one; This is mainly because that the printing and construction of the bridge’s main body did not use any templates or reinforcing bars, saving costs significantly.The design of the pedestrian bridge adopts three-dimensional solid modeling. The bridge handrails are shaped like flowing ribbons on the arch, forming a light and elegant posture lying on the pond of Shanghai Wisdom Bay. The pavements of the bridge are generated from the form of brain corals, and white pebbles are filled in the voids of the pattern.
▼打印过程，print process of the bridge
▼打印栏板，print the bridge handrails
▼打印桥面，print the bridge pavements
▼图案细部，detail of the pattern
The pedestrian bridge consists of three parts: the arch structure, the handrails and the pavements. The bridge structure contains 44 hollow-out 3D printed concrete units in the size of 0.9*0.9*1.6 meters; the handrails and pavements are also divided into 68 and 64 units for printing respectively. The printing materials of these components are all composite materials composed of polyethylene fiber concrete with various admixtures. After repeated ratio test and printing experiments, it has controllable rheology to meet printing requirements; the pressure resistance strength of the new concrete material reaches 65 MPa and the flexural strength reaches 15MPa. The bridge is embedded with real-time monitoring system, including vibrating wire stress sensors and high-precision strain monitoring system, which can collect the force and deformation data of the bridge in real time. They will have practical effect on tracking the performance of new concrete materials and the structural mechanical properties of printing components.
With the disappearance of China’s demographic dividend, the demand for labor in construction projects will be deficient increasingly. Intelligent construction will be an important channel to solve this problem. It will promote the transformation and upgrading of China’s construction industry. As an important part of intelligent construction, 3D printing will play an important role in the intelligentize development of engineering construction.
Although there are many bottlenecks that need to be solved in 3D printing concrete construction, the competition in research and practical application of this field is becoming increasingly fierce. There are quite a few research institutions and construction companies in the world that have been committed to technical research in this area, but these technologies have not been used in actual engineering. The completion of the pedestrian bridge marks a gratifying step for this technology from research and development to practical engineering applications. At the same time, it marks the entry of China’s 3D concrete printing and construction technology into the world’s advanced level.
Design Team: Tsinghua University (School of Architecture) – Zoina Land Joint Research Center for Digital Architecture;
XU Weiguo, SUN Chenwei, WANG Zhi, GAO Yuan, ZHANG Zhiling, SHAO Changzhuan, etc.
感谢 RooMoo 对goo
Lijiang is a popular tourist destination in China and also a gathering place of the Naxi ethnic group. Architectural style and cultural customs here are unique. The project itself is an old building of the tourist area. The preservation of the old building and the proper introduction of new design elements are the attractions in this design.
As to protection of the old structure and the wooden columns, we adopt the treatment methods of deinsectization, anticorrosion and waterproofing to make the original building materials and wooden beam and column structure reflect the original state of nature while extending the service life. Adding steel structure reinforcement to support the use of the two-floor restaurant ensures the stability of the structure.
▼室内概览，新置入的钢结构对双层餐厅起到了支撑作用，interior overview，steel structure reinforcement is added to support the use of the two-floor restaurant
We use the whole space as an exhibition room for a very special collection of unique local fabrics as concept. The 11 kinds of specially-selected fabrics with traditional Naxi characteristics naturally become the “collection”, covering every corner of the whole restaurant space: ceiling, walls and furniture. The vibrant colours, pleasant visual experience and the natural touch of the local traditional cloth are important reasons for our choice and also the most challenging part of the project (the dirt resistance and fire resistance of the fabric are the significant taboos in the restaurant design project).
▼11种纳西族传统特色面料覆盖了餐厅的每个角落，11 kinds of specially-selected fabrics with traditional Naxi characteristics cover every corner of the whole restaurant space
In the middle and later stages of the design, we experiment with the 11 kinds of fabrics themselves and finally realise the protection of the natural surface of the cloth and meet with requirements for fire-protecting rating standard, which plays the decisive role in implementing the concept. At the same time, the local handicraftsmen’s work for 11 hours per square meter also contributes a lot to the integrity of the project. The use of local smoked elm adds another important colour to space – black and it creates areas and frames in addition to the fabric, which controls the balance in spatial hue.
▼熏黑的榆木元素平衡了空间配色，同时起到营造框架和划分区域的作用，the use of local smoked elm creates areas and frames while also controlling the balance in spatial hue
▼楼梯立面-布艺放样图，stair elevation – fabric detail
Location: Lijiang Scenic Spot, Yunnan Province, China (Yuhe Square)
Project Area: 334 Square Meters
Number of Floors: 2
Business Attribute: Restaurant
Materials: 11 kinds of local characteristic cloth, old elm board, cement brick
Design Company: ROOMOO
The main designer: Tao,
Design Team: Dai Yun Feng、Wu Xiao Yan、Guo Jia Nv
Photocopy Right：ROOMOO & skylook（Photographer）
Villa in the Palms is named after the 19 towering coconut palms that thrived for decades on the land, which dictated the villa’s concept and footprint. This four-bedroom house overlooks a field and a seasonal stream.
▼别墅俯瞰图，建筑采用分散式布局，完全融入自然景观，aerial view, the villa uses scattered form and is embedded into the natural landscape ©️Edmund Sumner
Embedded into the natural landscape, Villa in the Palms appears almost village-like, pockets of small homes nestled between 80-year-old coconut trees, nearly invisible from points further up the approach road. The fact that the trees on site existed for decades gives the overall house a very rooted presence.
▼别墅北侧外观，设有大型嵌入式玻璃窗，保证建筑的景观朝向和热环境，north exterior view, the northern façade opens with large recessed glazing to the fields while not increasing the solar gain ©️Alan Abraham
设计概念和过程 | Design Concept & Process
建筑事务所Abraham John Architects的核心设计概念是将建筑与自然重新联系在一起。如果要设计一个常规的别墅，那么就一定得砍掉几棵椰子树。为了避免这种情况的发生，建筑师精心设计，将建筑合理地放置在了椰子树之间的空地上，不仅没有破坏周围环境，在施工期间更是没有伤害任何一棵树。
The studio’s design approach is to reconnect architecture with nature. Designing a regular building block would have required the cutting down of several trees to accommodate the programme. To avoid this, the building was carefully designed between the trees, without disrupting the surroundings, and not a single tree was felled during construction.
▼从北侧的花园看别墅，建筑与自然联系紧密，overall view from the northern garden, the building is connected with the nature ©️Edmund Sumner
The main entrance features a kind of dramatic crescendo, with a view that widens with each footstep – first some exposed laterite stone, then a glimpse of the pool, then the gardens and finally the wide field beyond. At one side is a sky-lit living room with internal garden and walls of exposed masonry. At the other side is an open kitchen and dining room featuring a wet bar, all overlooking an expansive deck and pool (three distinct water bodies are separated by teak-wood bridges and tree islands).
▼建筑主入口，别墅位于椰子树之间的空地上，view from the entrance, the villa is built between the coconuts palm ©️Alan Abraham
▼从入口北侧的起居室前的室外露台看周边，view from the deck in front of the living room on the northern side of the main entrance ©️Atul Pratap
Consequently, the structure is fragmented rather than monolithic, reminiscent of an old-time Goan village but at the same time entirely modern. Each bedroom on the ground floor, for example, feels like a separate home, replete with an en-suite bathrooms, a rear garden, a front garden and an internal courtyard flanked by laterite walls. These independent volumes are interconnected with decks, passages and bridges that meander through the trees and over pools and gardens.
▼从入口北侧起居室前的室外露台看别墅，室外露台连接了不同功能空间，view from the deck in front of the living room, the deck connects different function volumes ©️Alan Abraham
▼入口北侧的起居室外立面，exterior view of the living room to the north side of the main entrance ©️Edmund Sumner
▼起居室室内，通过设计的手法，将场地上的椰子树保护了起来，interior view of the living room, protecting the coconuts palm on the site through the design ©️Atul Pratap
Roofs pitched at different angles pay homage to the monsoons and accentuate the staccato nature and fragmented aesthetic of the building. The interstitial roofs which cap each unit individually harvest rainwater, while further visually integrating the building in the lush landscape. The infinity swimming pool is fully integrated with the villa, dividing the semi-private areas from the private ones.
▼从泳池看别墅，不同倾斜角度的屋顶与当地的季风相适应，同时突出了建筑断断续续的设计特征和分散形式的美感，view from the swimming pool, roofs pitched at different angles pay homage to the monsoons and accentuate the staccato nature and fragmented aesthetic of the building ©️Alan Abraham
▼从泳池看别墅，别墅采用当地裸露的红色土石墙、倾斜的屋顶和柚木打造的遮阳表皮，view from the swimming pool, the villa features the exposed local laterite stone walls, sloping roofs and screens made from teak wood ©️Edmund Sumner
The building design adopts distinct local features and materials of the tropical coastal state of Goa, with exposed local laterite stone walls, sloping roofs and screens made from 100-year-old recycled teak wood, while the landscape design consists of local tropical species (mostly various types of palms) that maintain their lush greenery through the year.
▼别墅红土墙细部（左），柚木遮阳表皮细节（右），details of the laterite wall (left), details of the screens made of teak wood (right) ©️Edmund Sumner
Boundaries between the inside and outside are blurred and vast open spaces connect each living space. While everything is open and filled with light and air, the house is still very private. The laterite walls thermally and visually shield each room, maintaining privacy while orienting for the best views of the northern field.
▼从酒吧北侧的室外露台看周边，设计模糊了室内外空间的界限，view from the deck to the north of the wet bar, the design blurs the boundary between the interior space and exterior space ©️Edmund Sumner
▼从厨房兼餐厅体量内的酒吧看别墅外部空间，空间开放，可以享有自然通风和自然采光，view from the wet bar of the kitchen and dining volume which is open and filled with light and air ©️Edmund Sumner
▼开放厨房兼餐厅体量内的酒吧，红土石墙确保了空间的私密性，the wet bar in the open kitchen and dining volume, the laterite walls guarantee the privacy of the space ©️Edmund Sumner
The Northern façade on the other hand opens with large recessed glazing to the fields while not increasing the solar gain. With the thermal mass of the laterite walls, open northern facades & open internal courtyards, the house creates and is designed to be environmentally responsive to its siting, sustainable as far as a private home can be, while respecting the local environment and geography.
▼卧室体量北侧外观，设有大型嵌入式玻璃窗，确保景观朝向，northern exterior view of the bedroom with large recessed glazing to the fields ©️Alan Abraham
A bedroom abuts the pool, with a slit window along the floor that enables the ripples of water to reflect onto the ceiling. All the lower floor bathrooms have in-built sunken bath tubs to enjoy the adjoining courtyard landscapes. The last bedroom features a serene indoor-outdoor bathroom where light and shadow create everchanging landscapes.
▼卧室室内，interior view of the bedroom ©️Atul Pratap
On the upper floor there is a family room, powder room, top-floor garden and an exquisite master suite. The latter consists of a bedroom and an open library, with a windowed “sky bridge” separating the bedroom from a walk-in closet and large master bathroom. The views from upstairs consist not only of the open field to the north, but also a “Goan jungle view” to the south, replete with red-tile rooftops of the adjoining village.
▼从二层的家庭活动室看外部空间，view from the family room on the upper floor ©️Atul Pratap
▼别墅夜景全景，overall view in the evening ©️Alan Abraham
▼别墅北立面夜景，north elevation at night ©️Alan Abraham
Project name: Villa in the Palms
Architect’s Firm: Abraham John Architects
Project location: Sangolda, Goa, India
Completion Year: 2018
Gross Built Area: 610sqm
Plot Area: 1300sqm
Design Team: Abraham John, Alan Abraham, Anca Florescu, Neha Gupta, Niranjan Fulsundar, Vatsal Mistry
Clients: Marisha Ann Dutt & Steven Gutkin (Anokha)
Structural Consultant: BL Manjunath
Photo credits: Edmund Sumner (http://edmundsumner.co.uk), Atul Pratap (https://www.atulpratapchauhan.com) and Alan Abraham (http://www.alanabraham.com)
感谢 HMD 予gooood
As the central area of Shanghai, the Bund is the most iconic urban landscape area, which is also the most important civic public space. It is famous for the charming beauty of western-style architecture, which represents the wealth and image created by the city and condenses the development and vicissitude on politics, economics and social culture of modern China. The development strategy of building Shanghai as modern international metropolis in international economics, finance, trade and shipping center has injected strong vitality into the development of urban core area. A new around of functional adjustment and urban renewal have been carried out in the Bund area, so as to achieve the “Reshaping function and recreating style”, and establish sustainable developing central business and financial area, with historical and contemporary characteristics. HMD Landscape team is honored to take part in the renovation planning of Shanghai Shiliupu and Shanghai Fisherman’s wharf.
▼项目概览（上海十六铺码头），project overview (Shanghai Shiliupu)
Comprehensive reconstruction project the second Phase of Shiliupu Landscape Design
We are adhering to the design vision that “Public space design is not simply the aesthetic pursuit of space endowed with meaning and a simple form. Public space is an understanding towards social background, public interest and the best personalized service.
▼改造后的十六铺码头，Shiliupu wharf after renovation
Shiliupu Pier is the most famous dock in Shanghai Bund with 150 years history. As the largest dock in the far east and the water portal, it carries a lot about the historical and humanistic memory of Shanghai. After the integrative reconstruction of the Bund for nearly 3 years, this famous old Bund thoroughly remold itself, remade debut, and function reconstruction.
HMD Landscape team has fully investigated the historical changes of Huangpu River and the historical evolution of Shiliupu in this design task. “From the historical point of view, the evolution of the public space, the demand, the right, the meaning are considered.”
▼景观步道，the landscaped footpath
After the reconstruction of Shiliupu, instead of the single image and function of the old Shiliupu, it has been built as the landmark urban landscape terrace. “Besides Huangpu River Water Tourism Center, today’s Shiliupu has various functions such as the public waterfront green space, large-scale commercial catering, and large parking garage, etc.”
Landscape Design of Oriental Fisherman’s Wharf Project
Oriental Fisherman’s Wharf, adjacent to CBD on the north Bund, is located in the east Bund of Yangpu District. Relying on superior geographical position, it is not just a lable, but also a brand-new lifestyle — “Fisherman’s Wharf Mode”. Water based pier has promoted the consumption of the peripheral regions; naturally forming consumption environment along the Yangtze River sightseeing belt; creating a new life pattern of leisure, sightseeing, entertainment and shopping by natural environment.
HMD landscape team has raised the design concept based on “Fisherman’s Wharf Model” and put forward the design thoughts of “Cruise Terminal Park”. The main architecture wraps up center leisure green space, form a strong outdoor leisure space, and enhance the landscape value of commercial buildings at the same time.
▼休闲广场，the leisure green space
In this reconstruction, design should weaken the image of itself as much as possible, and treat the landscape in a very modest way. In order to maintain the historical character, structure and construction should be set carefully. Committed to returning the public space to people, concise, holistic, modern detail design in all forms are considered.
Project Name: Comprehensive reconstruction project the second Phase of Shiliupu Landscape Design
Project Owner : Shanghai Shenjiang Liang’an Development Construction Investment(Group)Co.,Ltd.
Location: No. 19 Waima Road, Huangpu District, Shanghai
Land Area: 10000 sp.m
Project Name : Landscape Design of Oriental Fisherman’s Wharf Project
Project Owner : Shanghai Dongfang Fisherman’s Pier Investment Development Co.,Ltd
Location: 1088 Yangshupu Road, Yangpu District, Shanghai
Land Area: 25745 sp.m
Directly facing the dependence of business and culture, the Museum is inserted into the core of the deprecated commercial area. The boisterousness of peripheral business and the serenity of the inner museum forms a great contrast, which highlights the conflict and interrelation between business and culture. Such symbolic relationship can be found in a traditional relationship since ancient China – “the temple and local markets” – each has distinctive character yet lives on each other.
▼建筑外观-在商业弃用的地块核心插入博物馆形成“庙宇与街市”的传统关系，front view-the Museum is inserted into the core of the deprecated commercial area creating a traditional relationship since ancient China – “the temple and local markets” ©存在建筑ArchExist
▼博物馆出口外观，exterior view of the museum exist ©存在建筑ArchExist
▼建筑入口，entrance of the museum ©存在建筑ArchExist
▼带有中庭的封闭展厅，enclosed exhibition hall with atrium ©存在建筑ArchExist
▼静谧的旗展厅，serene banner exhibition hall ©存在建筑ArchExist
▼钟展区，clock gallery ©存在建筑ArchExist
▼钟展厅中央圆形大厅，central rotunda of clock exhibition ©存在建筑ArchExist
▼章展区，seal exhibition hall ©存在建筑ArchExist
▼旗展区立面， elevation of banner exhibition hall
▼章展区立面，elevation of seal exhibition hall
▼钟展区剖面，section of clock exhibition hall
时间: 03/2003 – 03/2007
设计内容：规划设计 建筑设计 景观设计 室内设计
Project Name: Museum of Cultural Revolution Clocks, Jianchuan Museum Cluster
Location: Jianchuan Museum cluster, Anren, Dayi, Chengdu, Sichuan Province, China
Client: Sichuan Anren Cultural Industry Development Ltd.
Building Area:3,885 m²
Time: 03/2003 – 03/2007
Designer: Jiakun Architects
Principle Architect: LIU Jiakun
Team: YANG Ying and SONG Chunlai
Design Contents: Planning Design Building Design Landscape Design Interior Design
非常感谢 Gray Pu
▼办公楼外观，exterior view of the office building
This seven-level office building was designed for Crestwood Developments to engage and excite the residents of Sunshine whilst providing quality workspace to the major tenant VicRoads. Located on a critical axis and an island site a short walk from Sunshine Railway Station, the robust building stands proud in a predominantly low-rise retail strip and will be the catalyst for redevelopment of the entire precinct into a priority zone within the Melbourne metropolitan area.
▼场地中保留的树木与建筑形成了一个友好的步行环境，the existing trees and building provide a pedestrian friendly environment
▼白色混凝土和遮阳板构成雕塑般的建筑立面，sculptural form constructed by white precast concrete panels create and sunshades
The sculptural façade is designed to be viewed from all aspects and responds to the Brimbank City Council’s desire for pedestrian activation at Clarke Street and Withers Street at each end of the lengthy site. The white precast concrete panel design talks to movement and aligns with Vicroads, the major tenant. While texture and form play an integral part in softening the impact of its scale in the landscape, it was the significant eucalyptus tree which sits in the adjacent carpark and the acknowledgement of gum trees that would have been in the area prior to development of Sunshine as a residential and industrial neighbourhood, that inspired the colour selections for the powder coated sunshades.
▼遮阳板颜色灵感来源于树木，the trees inspired the colour selections for the powder coated sunshades
▼建筑在场地内后退，提供了城市公共空间，the setback provides public space for the city
The tree’s sheer size and importance to the local community also meant that the building had to be set back from the title line to protect its roots. This architectural solution was key to enhancing a sense of arrival for staff and visitors and reinforces the notion of movement and robustness. The setback also provides additional public realm to activate this critical axis in this Sunshine precinct. By providing a more pedestrian friendly environment around the VicRoads building, and a green corner which obscures the service needs of the site, this development sets the benchmark for the future evolution of this vibrant western suburb.
▼储物区与会客小隔间，locker and meeting booth
▼用餐区和楼梯，dinning area and
Project size-13500 m²
WallaceLiu：London based design studio WallaceLiu have re-imagined a 20m wide, 1km long highway in the South Western Chinese city of Chongqing as a shared surface‘livable street’ by replacing the delineation and monolithic character of the highway with the language and scale of a public space. The site represents the typical periphery of a modern Chinese city that has changed its land use as the city expands. The highway, Yannan Avenue, along which 7 large plots of land were purchased by the state-owned developer PKU Resource (北大资源), will become a route through nearly 20,000msq of street retail and high-density residential compounds and adjacent to existing low-income social housing.
▼大道局部，人车共用铺装的做法削减了车辆交通的主导地位，the partial view of the avenue, the shared surface paved on the highway and pedestrian removes the dominance of vehicles
WallaceLiu won the project in 2014 through a competition with an initial idea that certain safety issues created by pinch points in the street could be used to argue that the highway width in its entirety could be reduced to two lanes. This however raised concern in the local planning and transport department and eventually, with the support of the client, we managed to secure support for a shared surface design where we paved over the highway instead. The shared surface, as a typology of public space, aims to remove the dominance of vehicles. It provides a blurred boundary between the actual road and its surrounding parks, plaza, compounds and other urban facilities. We imagined the entire highway to be transformed into a walkable and playful place.
▼大道局部，相似的路面铺装模糊了实际道路与其他空间的边界，the partial view of the avenue, the similar pavement provides a blurred boundary between the actual road and its surroundings
▼人行区域局部，使用与机动车道类似的暖色调石材铺面，the partial view of the pedestrian, using the warm stone pavement similar to the highway
The resolution of the idea was made through the paving of the highway with a new granite surface, the repaving of pedestrian areas with a similar material, the removal of pedestrian barriers and most signage including road markings and the introduction of a new type of kerbstone that was flush with highway and pavement. Through careful design of the new street levels we were able to retain the existing sub-base and drainage therefore significantly reducing the cost of the new work. Because we could not reduce the width of the carriageway we had to engage with its scale through design to remove its visual dominance. We did this by enlarging the new landscape elements such as public benches and planters, the main path through the park and the width of pocket squares to radically alter the visual proportion and impression of the overall place as one walks down the street.
▼关键开放空间中的预制钢木坐凳，样式是可坐可爬的“波浪”平台，the off-site manufactured steel-timber furniture in the key open space, designed to form ‘wave’ of sit-able and climbable decks
▼“波浪”式的预制钢木坐凳细节，the details of the ‘wave’ off-site manufactured steel-timber furniture
▼公园绿地里的小号座凳，供更需要安静的个人使用，the smaller seats clustered around the park for calmer individual use
The middle section of the street is the most significant part of the change where the existing street park on one side adopted an entire new geometry of paths whilst keeping existing mature trees. An informal and unfenced public playground was created at the southern end of the park by digging into the landscape to create walls and slopes for climbing, sliding and imaginative games. A set of large planters and seating was placed opposite the park creating a mirrored green space in a consistent language, therefore locating the highway at the centre of a green promenade.
▼公园南端的儿童活动场，高低起伏的斜坡绿地和攀岩墙壁营造了儿童在自然中玩耍的印象，the informal and unfenced public playground at the southern end of the park, its slope and walls create a space for climbing, sliding and imaginative games
The existing gingko trees were to be become part of the open park and offer shade alongside newly added mature trees to encourage people use the street in the extreme hot summer of Chongqing. We also designed a series of coloured canopies to help lift the generally grey tone of surrounding towers, framing and filtering views at significant stopping places in the street. They are made with hanging perspex panels mimicking coloured clouds over a pebble-grey coated steel structure to cast complex and vivid shadows on the ground. Other key design elements include a set of off-site manufactured steel-timber furniture. This seating is designed to form a ‘wave’ of sit-able and climbable decks that can be used for large or small gatherings and that encourage children to play on them. They also act as new psychological signals for traffic to slow down as they pass by. Smaller seats are mostly clustered around the park for calmer individual use.
▼吊挂彩色有机玻璃板构成的天蓬，有助于改善周边的灰色调，the canopy made with colorful hanging perspex panels helps lift the generally grey tone of surroundings
▼天蓬细节，details of the canopy
▼天蓬的玻璃板在日光下将其丰富的色彩投射到地面和草皮上，the vivid shadows on the ground and lawn created by the colorful canopy
▼人行道地面铺装细节，the details of the pavement of the pedestrian
▼改造前后局部平面图，the before and after partial site plan
▼景观详图，details of the landscape design
设计团队：Jee Liu（刘婕）, Jamie Wallace, Manshu Cui（崔漫舒)
摄影：WallaceLiu, Etienne Clement
Design Company: WallaceLiu (London)
Location: Chongqing, China
Client: PKU Resource Chongqing office (北大资源重庆公司)
Program: Public park and street
Design team: Jee Liu, Jamie Wallace, Manshu Cui, Eavy Sun
Photography: WallaceLiu, Etienne Clement
非常感谢 ALA Arch
设计理念 | Architectural concept
Oodi represents a new era of libraries. The newly completed building in the heart of Helsinki consists almost entirely of public space and offers a wide selection of services. It will become the new central point for the city’s impressive public library network.
The design divides the functions of the library into three distinct levels: an active ground floor, a peaceful upper floor, and an enclosed in-between volume containing the more specific functions. This concept has been developed into an arching form that invites people to utilize the spaces and services underneath, inside and on top of it. The resulting building is an inspiring and highly functional addition to the urban life of Helsinki and the Töölönlahti area.
▼从街道望向建筑，view from the street
The Kansalaistori square (“Citizens’ Square”) across the street from the Parliament House seamlessly continues inside the ground floor level of the library building. The flexible spaces are suitable for both small events and large happenings. The movie theater and the multipurpose hall can be used as part of the open lobby space or separated off to cater for specific events. Walking through the ground floor offers a quick glimpse at the services available in the building. The sculptural wooden surface arches over the ground floor areas as a dramatic bridge-like structure. This innovative structural solution has enabled the creation of a column free public space to maximize the accessibility and visibility of the program.
▼首层空间与Kansalaistori市民广场形成了无缝衔接，the Kansalaistori square seamlessly continues inside the ground floor level of the library building
▼具有雕塑感的木制拱形元素，the sculptural wooden surface arches over the ground floor areas as a dramatic bridge-like structure
▼灵活的空间可用于举办各类小型和大型活动，the flexible spaces are suitable for both small events and large happenings
▼电影院外部休息空间，breakout space outside the cinema
▼公共休息区，public seating area
The “Book Heaven” on the top floor, is a vast open landscape topped with an undulating cloud like white ceiling. Here the best features of the modernist library meet the possibilities provided by up-to-date technologies. A calm, serene atmosphere invites visitors to read, learn, think, and to enjoy themselves. From this level visitors can enjoy an unobstructed 360-degree panorama view of the city center.
▼顶层的“图书天堂”犹如一朵起伏的云，the “Book Heaven” topped with an undulating cloud-like white ceiling
▼安静平和的氛围使来访者能够沉下心来进行阅读、学习、思考和放松，a calm, serene atmosphere invites visitors to read, learn, think, and to enjoy themselves
▼中央阅读区，central reading area
▼从顶层俯瞰中间层，view to the middle level
▼书架细部，bookcase detailed view
The middle floor, the “Attic”, consists of flexible irregularly shaped rooms, nooks and corners inhabiting the spaces between the trusses of the bridge structure. The enclosed spaces are designed to accommodate both noisy and quiet activities. The stepped seating in the open central area of this floor is the result of the form of the cantilevering, twisting west façade.
▼从首层通向中间的“阁楼”层，access to the middle floor
▼封闭式的空间可以同时满足安静和嘈杂的活动需要，the enclosed spaces are designed to accommodate both noisy and quiet activities
▼用于支撑顶部桥梁的桁架之间形成了一系列灵活且不规则的空间，the “Attic” consists of flexible irregularly shaped rooms, nooks and corners inhabiting the spaces between the trusses of the bridge structure
By opening directly to the surrounding cityscape and by dissolving the border between indoor and outdoor areas, the building engages directly with the Töölönlahti area. The large foyer and the glass-walled multi-purpose hall on ground level act as indoor extensions of the outdoor spaces.The arching wooden volume creates an entrance canopy over the Kansalaistori square forming a covered outdoor space that expands the building’s functions such as the ground level restaurant to the square. The large public terrace on top of the canopy doubles the amount of public outdoor space available for library visitors and creates a new destination where people can meet and observe the city below.
▼拱形的木制体量在朝向市民广场的入口上方形成一个巨大的顶篷，the arching wooden volume creates an entrance canopy over the Kansalaistori square
There will be three public entrances in the building: one in the south for the main pedestrian flow from the direction of the Central Railway Station, one next to the Kansalaistori square to the west of the building shielded by the overhanging canopy, as well as one for the visitors to the family library and the movie theater in the northeastern corner. The spaces for maintenance and library logistics are located at basement level. The administration and storage spaces are kept to the minimum on the publicly accessed levels to maximize the open and accessible nature of the library. The administrative and storage functions of Helsinki Public Library will remain at the main library in nearby Pasila.
▼从西南方向望向图书馆入口，view from the southwest
在芬兰，图书馆是法定运营的公共设施，因此赫尔辛基图书馆的基本服务均向公众免费开放。新的图书馆将站在城市图书馆体系的最前沿，为市民提供广泛的服务（例如大量的休息空间等），并为赫尔辛基信息中心、Europa Experience信息中心以及由国家视听学院创立的Kino Regina影院提供辅助支持。图书馆每周7天向市民开放。新的图书馆不仅是赫尔辛基大都市区规模最大的图书馆，同时也将成为当地最受欢迎的目的地和公共空间。图书馆预计每日接待1万名访客，年访问量将达到250万人次。
Library operations are statutory in Finland. Basic library services are free of charge and freely available to everyone. The new library will be at the forefront of the renewal of the city’s library services. In addition to the core operations, there will be a wide range of services available inside the building alongside an abundance of lounge spaces and auxiliary services that support the operations such as Helsinki Info, the City of Helsinki’s information center; Europa Experience, the center for EU related information; and Kino Regina, the National Audiovisual Institute’s movie theater. In terms of services offered, the new library, a public space open seven days a week, will be the largest public library in the Helsinki metropolitan area, and will most certainly also become the metropolitan area’s most popular spot for returns and reservations. The library is expected to attract 10,000 visitors per day and 2.5 million visitors per year.
▼图书馆每周7天向市民开放，the new library opens seven days a week to the public
The library will enliven and diversify the new urban environment created in the Töölönlahti area. It will offer activities and experiences for all ages. There will be plenty of spaces that enable people to gather and spend time together, free of charge. The role of the library’s clients will evolve from passive media users to active agents, participants and content producers. As a non-commercial open public space, the new Central Library will act as Helsinki residents’ common living room, work space and learning environment.
▼家庭阅读室，family reading room
技术细节 | Technical details
Oodi’s spatial concept based on three individual public floors is executed by building the library as an inhabited, asymmetrical bridge spanning over 100 meters over the open ground floor space. The bridge structure consisting of steel trusses and beams is supported by two massive steel arches, tensioned together with a reinforced concrete tension slab. The innovative structural solution has enabled both the construction of the flexible column-free interior spaces and the possibility for the construction of a future road tunnel under the site. Secondary steel trusses support the cantilevering balcony and roof canopy asymmetrically from the arch structure, forming a unique structural design to accommodate both permanent and temporary functions for both the library and the public realm.
▼结构轴测图，axon of structure
Oodi has been built using local materials and with local climate conditions in mind. The wooden façade is made from pre-fabricated elements. 33-millimeter-thick Finnish high-quality spruce has been used for the cladding. A specific grading and quality control system was developed for the timber, the sawing and the treatment of the slats. The complex curved geometry was designed and manufactured using algorithm-aided parametric 3D design methods in order to achieve the required precision. The appearance of the façade will develop over the years towards a deeper, richer version of its initial hue.
▼立面的质感和色泽将随着时间的推移而变得愈发细腻和富有深度，the appearance of the façade will develop over the years towards a deeper, richer version of its initial hue
The design of the building envelope is intrinsic to the passive energy approach adopted by the project team. Detailed analysis of the façade performance has informed the environmental solutions and has allowed the team to minimize the requirement for mechanical environmental control systems, which facilitates the highly flexible architectural solution. The glass facades allow for large amounts of functional daylight in the public areas, reducing the use of artificial light and enhancing the quality of the interior spaces as a multifunctional citizen’s forum. The carefully planned placement and optimization of building services has enabled the flexibility of the spatial arrangements. All public levels of the building are equipped with access floors to allow for changes in use during the estimated 150-year life span of the building.
▼玻璃幕墙为公共区域带来充足的自然光，the glass facades allow for large amounts of functional daylight in the public areas
The library building will be extremely energy efficient. Its energy consumption level is that of a nearly Zero Energy Building (nZEB). This is mostly due to the efficiency of the building services. The material efficiency of the building has benefited among other things from the use of wood in the exterior cladding. Building information modeling was used in both architectural and engineering design, as well as in checking the compatibility of the designs. Building information model will also be utilized for maintenance.
▼广场夜景，night view of the square
▼首层平面图，ground floor plan
▼二层平面图，middle floor plan
▼顶层平面图，top floor plan
▼北立面图和南立面图，north facade and south facade
Type: Open international competition, 2012-2013, 1st prize Status: Construction started in 2015, library open to public from December 5, 2018 onwards
Program: Library facilities, meeting rooms, group working space, maker space, living lab, recording studios, photography studio, editing rooms, office space, café, restaurant, movie theater, auditorium, multi-purpose hall, exhibition facilities, information booths, 17,250 m2 total
Construction budget: 98,000,000 €
Location: Töölönlahdenkatu 4, 00100 Helsinki, Finland
Client: City of Helsinki
Architect: ALA Architects
Team at ALA:
Competition phase: ALA partners Juho Grönholm, Antti Nousjoki, Janne Teräsvirta and Samuli Woolston with Aleksi Niemeläinen, Jussi Vuori and Erica Österlund, as well as Willem Barendregt, Martin Genet, Vladimir Ilic, Tiina Liisa Juuti, Julius Kekoni, Auvo Lindroos, Pekka Sivula, Pekka Tainio and Jyri Tartia
Implementation phase: ALA partners Juho Grönholm, Antti Nousjoki, Janne Teräsvirta (until 2015) and Samuli Woolston with Niklas Mahlberg (project architect), Jussi Vuori, Tuulikki Tanska, Tom Stevens, Heikki Ruoho (interior architect), Nea Tuominen, Pauliina Rossi, Anna Juhola and Miguel Silva, as well as Michal Bala, Marina Diaz Garcia, Jyri Eskola, Zuzana Hejtmankova, Harri Humppi, Mette Kahlos, Anniina Kortemaa, Felix Laitinen, Malgorzata Mutkowska, T. K. Justin Ng, Marlène Oberli-Räihä, Olli Parviainen, Alicia Peña Gomez, Anton Pramstrahler, Jack Prendergast, Akanksha Rathi, Niina Rinkinen, Mikael Rupponen, Mirja Sillanpää and Pekka Sivula
Competition phase: Arup (energy technical specialist, mechanical engineering, structural engineering and facade engineering), VIZarch (visualizations), Klaus Stolt (scale models)
Implementation phase: YIT (main contractor), E.M. Pekkinen (contractor for excavation work and basement construction), Ramboll CM (project management) Ramboll Finland (structural engineering, HVAC, energy technology), Granlund (theater technology), Rejlers (electrical engineering and AV consulting), Finnmap Infra & Sipti Infra (geo planning), Helimaki Acoustics (acoustical engineering), Gravicon (BIM coordinator), Palotekninen insinööritoimisto Markku Kauriala (fire safety), Pöyry Finland (traffic planning), Saircon (kitchen design), VIZarch (visualizations) and StoltModels (scale models)
非常感谢 JKMM Ar
JKMM have completed a new housing scheme called Albertinpiha in Jyväskylä, the largest city in central Finland known for its early and later period Alvar Aalto buildings. The scheme is in the Kangas quarter, a former paper mill area close to the city centre and is part of a 120 000m2 development of the area planned to house ca. 5000 people.
▼从Touru河岸看公寓楼全景，view of the building from the Touru River side
Albertinpiha is located on a prominent site at Kangas next to the 70 metre tall paper mill chimney and across the Touru River. JKMM’s seven storey brick tower block plays homage to the nineteenth century industrial buildings with its robust massing and forms. The Finnish aged Makasiini-brick is also in keeping with the crafted feeling and warmth of its historic context.
▼七层高的砖塔建筑带有19世纪工业建筑的风格，seven-storey brick tower block is in the style of the nineteenth century industrial buildings
▼立面采用了芬兰旧Makasiini砖，体现建筑历史工艺感与温暖感，the facade is used the Finnish aged Makasiini-brick keeping its crafted and warm feelings in the historical context
▼阳台激活了建筑东立面，让人想起裸露的工业建筑电梯井，balconies animate the building’s east elevation and bring to mind exposed industrial lift shafts
▼彩色砖块强调建筑檐口、转角、入口，coloured bricks are used to highlight the roofline, corner and entrance
A distinctive feature in the elevations is the use of coloured bricks to highlight corners, the entrance and the roofline through informal patterns; akin to those achieved through a play of light on a surface. This artwork has been realised in collaboration with artist Mika Natri and is called “Abstraction”. It sits within a wider Kangas public art framework. As a piece “Abstraction” animates the building and gives the brickwork a sense of depth not unlike that achieved through reliefs or recesses in masonry buildings. The apartment balconies too animate the building’s East elevation and bring to mind exposed industrial lift shafts further emphasising the warehouse vernacular JKMM has sought at Albertinpiha.
▼彩色砖块为立面带来了深度感，the bricks bring a sense of depth on the facade
▼彩色砖细部，detail of the colour bricks
Inside, the 45 apartments have simple finishes with 2.6m ceiling heights accentuated through the design of high windows bringing in plentiful natural light. Communal areas include shared courtyards and a residents’ sauna with an adjoining terrace.
▼明净简单的公寓内部，simple and clean interior of the apartment
▼窗户外景象，the scene out of interior window
The objective has been to create a milieu for relaxed urban living walking distance from both Jyväskylä town centre and the nearby nature park. As a place to live, Kangas is very much a setting that mediates between the two without feeling suburban. The City itself refers to Kangas a “hybrid area” and has highlighted the importance of reducing residents’ car dependence. This is just one of the tenets of One Planet Living that inform the sustainability strategy for the development as a whole.
▼公寓楼夜景，night view of the building
Location: Jyväskylä, Finland
Area: 2500 kem
Building programme: Basement ja 7 apartment floors with 45 apartments
Dates: Commissioned 2015 – Completed 2018
JKMM project team
Juha Mäki-Jyllilä leading architect, architect SAFA, partner
Samuli Miettinen architect SAFA, partner
Teemu Kurkela architect SAFA, partner
Asmo Jaaksi architect SAFA, partner
Tuomo Toivola project architect, student of architecture
Elina Törmänen Interior architect SIO
Property development consultant YIT Oy
Structural design Sweco rakennetekniikka Oy
HVAC engineering Sweco rakennetekniikka Oy
Electrical engineering Protacon Oy
Geo engineering Rambol Finland Oy
Artist Mika Natri
The project building is located at the main entrance of the Qin Lake Scenic Area. The aim is to improve the quality of the building and to match the needs of the current building space, while transforming the building and giving it a new life as an exhibition hall in the urban city.
▼建筑整体鸟瞰，overall perspective view
REBUILD THE INTERFACE
While the original building’s shape of polyline is unique and expressive, the façade shape is quite rigid and integrates rather stiffly with the rest of the architecture. Therefore, the challenge of the transformation turned out to be how to unify the new content with the current situation; and in addition to consider how to create a main entrance area in a limited space for display.What defines a positive coexistence between architecture and the environment? Facing what is seemingly of contradictive nature, “adapting to times – adapting to local conditions” might just be the key to harmonious coexistence with the environment. “Time” and “location” are dynamic, therefore the architect proposes to incorporate dynamic changes into the expressive language of architecture. Thus realizing true symbiosis of architecture and the environment.
▼基地原始情况，original situation of the site
Within limited transformation scope and considering sensible cost control, we removed the original outer skin of the building and redesigned the facade of the building on the west side with a wind curtain wall, achieving an overall and unified form of the building, with its surface material pure and elegant. The large-scale canopy does not only meet the requirements of the entrance function, but also completes the wind curtain wall to highlight the main entrance without disrupting the uniformity of the building facade; The east side of the building adopts a perforated aluminum curtain wall to enrich the light and shadow interplay of the building facade, while maintaining the same tone of the building on both the east and the west side. In addition, the details of roof crevices, canopies, etc. have been updated to add modern elements to the old buildings while concealing space for lighting design.
▼南侧传统中式立面，traditional Chinese facade on the south side
One kind of environment creates one kind of people – the exhibition hall of the urban space is inseparable from its habitat Qin Lake. The sails reflect on the green waves, the geese move among the reeds. Interdependence exists in nature and is universal. Similarly, the curtain wall serves as a transition to the external environment of the building, which provides an important direction for a rich spatial order.
▼西侧建筑入口视角，west side building entrance
▼东侧建筑主立面，main facade on the east side
▼建筑立面形态关系，interaction of building facades
INTERACTION OF MATERIAL
The environment of the base is inseparable from the building. However, the layout of the two parts of the building make the middle pass pathway rather gloomy and narrow. Therefore, we chose a stainless steel with a certain degree of reflectivity as the surface material of the wind curtain wall – so when the morning sun rises from the east, the surface of the wind curtain wall directly reflects the morning light; and when the evening sun falls, the curtain wall will reflect the afterglow of the building on the opposite side kissed by the setting sun.The momentum changes that time produces on the environment are reflected on this wall at all times, it lives in symbiosis with the space and environment in the changes of Qin Lake’s four seasons. This architectural connection is not solely dependent on human participation, rather the building itself represents one kind of an interactive experience.
▼风动幕墙与日照光影，wind curtain wall changes with the sunlight
Sunrise and sunset, cloud and rain, the building and the venue environment always echo each other. As the environmental conditions change, the building also changes its different expressions. When the wind blows through the site, the surface of the building dances with it as if on the surface ripples of the Qin Lake.
▼幕墙与晨光，curtain wall under the sunrise
▼幕墙与景观环境的结合，curtain wall merge with landscape
▼幕墙与落日，curtain wall under the sunset
Four seasons reflected by water so clear; mountains stained red by peach blossoms two or three. [note: poetry translation]
▼灯光对立面效果的营造，lighting effect on the facade
▼东侧建筑立面灯光效果，lighting effect on the east facade
▼幕墙、雨棚与水面的关系，curtain wall, canopy and the water
▼出挑雨棚与水面营造的灰空间，grey space created by the canopy and the water surface
ARCHITECTURAL DETAIL DESIGN
▼幕墙近景效果，curtain wall close-up effect
▼幕墙大样图，curtain wall details
Project Name : Design of Complementary Building in Qin Lake Scenic Area
Project Location: Taizhou, Jiangsu
Architectural Design: Shanghai Tongyuan Architectural Design Co., Ltd.
Photography : Tian Fangfang Architectural Photography
Use time: December 2018
Main materials: aluminum, steel, glass
Construction on OPEN Architecture’s latest educational project—a new 58,000 square meter campus for the Qingpu Pinghe School in Shanghai—is rapidly progressing. With the school’s thirteen buildings largely topped out, the campus is well on the way to its scheduled opening in the fall of 2019. The second primary and secondary school project to be completed by OPEN after the acclaimed Garden School/Beijing No.4 High School Fangshan Campus, the School as a Village is another breakthrough in the creative exploration of contemporary urban school design.
▼校园鸟瞰（效果图），bird’s eye view rendering ©OPEN Architecture
axonometric drawing: an organic constellation of unique smaller buildings, linked by thoughtfully designed landscape elements ©OPEN Architecture
The design of the campus—an organic constellation of unique smaller buildings, linked by thoughtfully designed landscape elements—is a direct response to the widespread prevalence of over-scaled, generic school complexes in China. Accommodating a student body ranging in age across twelve grade levels, the distinctive characters and scales of the buildings, together with the surrounding landscape, provide a changing physical environment and varied spatial experience for the school’s students, many of whom will spend years on this same campus.
▼施工现场鸟瞰，construction aerial view ©WU Qingshan
Among the school’s more unique features are a helical student dormitory, a multifaceted arts center, classroom “blocks”, a freeform kindergarten building, and a “bibliotheater”—a whimsical folly combining the school’s library and theater. These facilities, as well as other large public programs such as the school’s swimming pool and gym, are designed to be accessible to the public when school is not in session.
▼教学立方（效果图），teaching cubes rendering ©OPEN Architecture
▼艺术中心（效果图），arts center rendering ©OPEN Architecture
▼图书剧场（效果图），bibliotheater rendering ©OPEN Architecture
▼幼儿园（效果图），kindergarten building rendering ©OPEN Architecture
▼螺旋宿舍（效果图），helical dormitory exterior rendering ©OPEN Architecture
Although each individual building on campus has its own unique identity and program, together they form a village-like community of teaching and learning, with a rich and supportive social atmosphere. It is OPEN’s hope that the school will serve as a model for new educational buildings and campuses, both in Shanghai and beyond.
▼图书馆中庭（效果图），library atrium ©OPEN Architecture
▼图书馆室内透视（效果图），library interior perspective ©OPEN Architecture
▼剧院大厅（效果图），theater lobby perspective ©OPEN Architecture
▼剧院室内透视（效果图），theater interior perspective ©OPEN Architecture
▼艺术中心室内透视（效果图），arts center interior perspective ©OPEN Architecture
▼螺旋宿舍大厅（效果图），dormitory lobby perspective ©OPEN Architecture
▼幼儿园室内透视（效果图），kindergarten interior perspective ©OPEN Architecture
▼游泳池（效果图），swimming pool perspective ©OPEN Architecture
▼施工现场，construction photograph ©WU Qingshan
▼建筑局部鸟瞰，aerial view ©WU Qingshan
▼细部，detailed view ©WU Qingshan
▼模型，model ©OPEN Architecture
Location: Shanghai, China
Floor area: 58,500
Site area: 50,350
Client: Shanghai Tixue Education and Technology Ltd. Co
Status: Under construction
Principals in Charge: LI Hu, HUANG Wenjing
Project Team: YE Qing, ZHANG Hao, TAN Qingjun, WANG Mengmeng, ZHOU Tingting, SHI Bingjie, LIU Xiaoyang, CAO Mengxing, LIN Jingran, YANG Ling, LI Mai, CHEN Xiuyuan, LU Di, JIA Han, ZHU Tianming, XIE Qing, WEN Dongqiao, ZHOU Xiaodan, YE Ning, KUO Chunchen, QIN Mian, LIU Xunfeng, LI Lingna, SONG Ruiming
Local Design Institute: Shanghai Yuangou Architects and Consultants
Landscape Design: Z+T Studio
Apricot Lane is located near the northern edge of Beigou Village under Mutianyu Great Wall, approximately 60 kilometers north of Beijing. The name comes from apricot trees dotting the abandoned homesite, now renovated into a rental house for visitors to the historical destination. The plot is approached down an alley from the north, an unusual sequence in a village where south-facing houses typically turn their backs against the northern mountains. Towards the end of the alley, the visitor is greeted at the entry court by a leaning apricot tree, behind which are short switched-back ramps leading up to a cantilevered gate structure built with used brick. Upon entering, one finds himself under a covered walkway, facing the stone end wall of the existing house, an arrangement reminiscent of the yingbi screen wall in a traditional courtyard house.
▼庭院一览，overview of the courtyard
The existing house is a humble vernacular hut built with wood structure, tile roof and stone walls. It is connected with new living spaces to the south by a turning covered walkway, forming an outdoor garden in between. The three bays have been converted into two bedrooms, with the master bathroom extended to the east, and the flat-roof gate structure added to the west also containing service functions. The bedrooms are accessed from the back at the junction between the old house and the gate structure, where a skylight provides an unexpected glimpse of the Great Wall in the distance.
▼原有房屋修缮前，the existing house before renovation
▼原有房屋修缮后，the existing house after renovation
This side connection leaves the exterior facade of the old house completely untouched, with new aluminum windows installed behind weathered wooden lattices. Insulation has been applied under window sills from inside and along the north wall from outside, as well as in all new construction. The bedrooms’ interior features aged-old wood structure, enlivened by colorful fragments of liuliwa glazed tile made in the village.
▼原有房屋的卧室里暴露着老旧的木结构梁柱， the bedrooms’ interior features aged-old wood structure
Guided by the slanted geometry of site boundary, the south volume forms a parallelogram in plan, containing an open kitchen, dining and sitting areas, a see-through fireplace, and a built-in sleeping platform similar to a traditional kang. The space is surrounded by windows at different heights on four sides, bringing in light from all directions.
▼原有房子的对面是新建部分，opposite to the old house is the new building
▼空间的四周被不同高度的窗户所环绕，将光线从各个方向带入；the space is surrounded by windows at different heights on four sides, bringing in light from all directions
In contrast to the old house, the roof is supported by steel structure and covered with standing-seam aluminum panels in a single plane, tilted three-dimensionally and reaching the highest point at the northeast corner. From inside, the golden wheat strawboard ceiling leads the eyes beyond the old house across the garden, and towards the spectacular views of the northern mountains and the Great Wall.
▼项目夜景，the project night view
▼项目模型照片，project model photos
Design Firm: Spear Designs
Designer: Jim Spear
Design Consultant: Spacework Architects
Design Team: Zhong Wenkai, Sun Xiaoqian, Frank Lee, Zhang Mengyao
Location: Beigou Village, Huairou District, Beijing, China
Plot Area: 404 sqm
Building Area: 172 sqm
Project Year: 2016
近日，建筑事务所Snøhetta设计了一座幽静的木制疗养院。该疗养院位于一片宁静的森林环境中，距离挪威境内最大的两家医院仅有很短的步行路程，致力于为患者及其家属提供一个便利的理疗空间。这个木制疗养院隶属于Friluftssykehuset基金会发起的“Outdoor Care Retreat（户外疗养院）”项目，该项目致力于为使用者提供一个舒适的恢复空间，当患者结束了一个阶段的严格治疗、或是结束了长期的住院生涯后，便可以来到这里放松身心。
In the peaceful ambience of the forests only a short walking distance from two of Norway’s largest hospitals, Snøhetta has designed secluded wooden shelters aspiring to make hospitalization easier for patients and their families. Designed on behalf of the Friluftssykehuset Foundation, the Outdoor Care Retreats offer visitors a physical and psychological respite from stringent treatment regiments and the isolation that often follows long-term hospitalization.
▼户外疗养木屋外观，exterior view of the wooden cabin ©️IVAR KVAAL
这座为Outdoor Care Retreat项目所设计的木制疗养小屋坐落于一片郁郁葱葱的森林之中，靠近涓涓的Sognsvann小溪，距离挪威最大的医院——奥斯陆大学国家医学院的入口仅有100米。而另一座为该项目所设计的疗养院则坐落于挪威南部的克里斯蒂安桑市的Sørlandet医院旁，也静静地伫立在一片橡树和桦树之间，俯瞰着附近的池塘。Outdoor Care Retreat项目的概念由Friluftssykehuset基金会提出，随后，其与奥斯陆大学医学院心理学和CL儿童精神病学系合作进行开发，从而为使用者提供了一个宁静的空间，使他们可以在自然的环境下进行理疗。
Leaning towards the lush forest and the trickling Sognsvann creek, the Outdoor Care Retreat is located only a hundred meters from the entrance of Norway’s largest hospital, Oslo University Hospital, Rikshospitalet. Its sister building is situated in the deciduous woodland by Sørlandet Hospital Kristiansand in the South of Norway, between oak trees and birch, overlooking a nearby pond. Originally developed in collaboration with the Department of Psychosomatics and CL-Child Psychiatry at Oslo University Hospital, the Outdoor Care Retreat provides a peaceful space where visitors can benefit from the therapeutic qualities of nature.
▼疗养木屋位于森林之中，靠近溪流，the wooden cabin is located in the forest environment, leaning toward the creek ©️IVAR KVAAL
“大自然在潜移默化中就可以给人们带去欢乐，帮助患者放松身心。置身于自然的环境中，患者们可以重建一个放松的心态，这对他们日后再次入院治疗有很大的好处。从这个意义上来说，这个木制的户外疗养院有助于鼓励患者继续治疗，从而达到更好的疾病治疗效果，”奥斯陆大学医学院的儿童心理学家Maren Østvold Lindheim这样说道，他也是Outdoor Care Retreat项目的发起人之一。
“Nature provides spontaneous joy and helps patients relax. Being in natural surroundings brings them a renewed calm that they can bring back with them into the hospital. In this sense, the Outdoor Care Retreat helps motivate patients to get through treatment and contribute to better disease management”, states Child Psychologist Maren Østvold Lindheim at the Oslo University Hospital, one of the initiators of the project.
The space can be used for treatment and contemplation, and for spending time with relatives and friends away from the hospital corridors. The cabins are open to every patient connected to the hospitals regardless of disease group, and reservations are managed through a booking system.
▼远离医院的户外疗养场所，an outdoor care retreat far away from the hospital ©️IVAR KVAAL
宽敞舒适的设计空间 | A Generous Design
The subdued 35 m^2 spaces stand in stark contrast to the monumental hospital buildings that they are affiliated with. Referencing the playful construction of wooden tree cabins typically made by children, the luminous cabins are formed like skewed blocks of wood that extend into the landscape through asymmetrical branches. The massive wood of the main structure of the cabin will turn gray over time, blending naturally into the surroundings.
▼木屋外观，不对称的造型仿佛倾斜的木块，向周边环境延伸，the exterior view of the cabin, the asymmetrical form is like skewed block of wood that extends into the landscape ©️IVAR KVAAL
Following Snøhetta’s commitment to socially sustainable design and public space, the cabins are accessible for wheelchair users and the angled entrance of black zinc is large enough to make room even for hospital beds.
▼木屋入口，黑色锌版打造的入口尺度很大，以满足不同的使用需求，the entrance of the cabin, the black zinc entrance is large enough to meet various demands ©️IVAR KVAAL
▼入口细部，the details of the entrance ©️IVAR KVAAL
The cabin consists of a main room, a smaller room for conversation and treatment, and a bathroom. The interior is fully clad in oak, echoing the natural materiality of the woodlands outside. Inside the space, colorful, sculpted pillows can be moved around freely, allowing children to build huts or lie down to gaze at the canopies through the circular window of the ceiling of the main room.
▼主房间，孩子们在主房间用方形枕搭积木，the main room of the cabin, where children can build huts by sculpted pillows ©️IVAR KVAAL
▼主房间的圆形天窗，透过它可以欣赏室外的景色，the circular window of the ceiling of the main room, through which visitors can gaze at the canopies ©️IVAR KVAAL
The cabin’s large glass windows can be fully opened, inviting nature into the space. In this way, visitors can peek into the woods, smell the damp forest floor, and listen to the sound of trickling water while still being inside the cabin.
▼交流/理疗室，室内空间全部使用橡木作为内表皮，玻璃大窗可供使用者欣赏森林的景色，the room for conversation and treatment, the interior space is fully clad in oak, and the large glass window can provide visitors with the forest scenery ©️IVAR KVAAL
▼交流/理疗室，可自由移动的方形枕可供孩子们玩耍，the room for conversation and treatment, where children can play the moveable sculpted pillows ©️IVAR KVAAL
Although the cabin is integrated in the hospital campus, its secluded location and natural aesthetics allows it to be perceived as a place of its own. It is a place of muted magic, a place out of the ordinary that provides a generous and much-needed breathing space for visitors of all ages.
▼室外木质表皮细节，details of the exterior wooden skin ©️IVAR KVAAL
▼木屋平面图，site plan ©️Snøhetta
非常感谢 Taller de
该项目位于墨西哥Niño Jesus街区的一块7×14平方米的场地，距离它的主人Graciela Iturbide的家仅有几步之遥。建筑主体是一座三层高的小型塔楼，坚固的黏土材料和难以觉察的钢结构共同为之赋予了独特的质感。
In a site with dimensions of 7×14 meters, in the Niño Jesus neighborhood, just a few steps from Graciela Iturbide’s home. In this context rises a small tower of just three levels that literally extrudes its floor plant measures to become a solid piece of clay that is De- constructed to its own materiality in very fine and almost imperceptible tensions of steel.
In its interior three planes of wood, concrete and marble appear tensed from one side to another creating a pair of voids of multiple heights, which in the near future will become patios with gardening, authorship of its owner.
▼从首层空间望向庭院，patio view from the lounge
▼一层客厅，living room on the ground floor
▼位于二楼的休闲室，lounge on the first floor
▼位于三楼的工作室，studio on the second floor
Its interior facades insinuate almost imperceptibly the conditions of the context that surrounds them with clay that does not let the light through and later become shadows.
▼被自然光照亮的室内空间，interior illuminated by natural light
The services, circulations and a long book shelf group as a vertical element that integrates to the containing walls, to practically disappear and highlight the clay volume.
A piece that most importantly seek for silence, synthesis, continuity and a repetitive and almost obsessive use of a singular material. It strategically took advantage of its shape and proportions in a way that concrete could disappear from the structure and it became self- carried.
▼庭院鸟瞰，aerial view of the patio
▼黏土墙体现出对单一材料的近乎“痴迷”的使用，the clay walls indicate a repetitive and almost obsessive use of a singular material
A piece that aspires to become mass and emptiness, an ethereal volume that disappears with the light and shadow; that stops being so that the strong atmosphere transmitted by this woman whom we admire lives in it and is empowered.
▼天井与光影融为一体，a volume disappearing with the light and shadow
▼墙面细部，facade detailed view
▼首层平面图，ground floor plan
Project: Iturbide Studio
Location: Coyoacan, Mexico City.
Project Year: 2012-2016
Architectural studio: Taller | Mauricio Rocha + Gabriela Carrillo
Architects: Mauricio Rocha, Gabriela Carrillo
Project team: Rafael Carrillo, Gerson Huerta, Pavel Escobedo, Esterlina Campuzano, Elizabeth Waites, Enrique Ibarra Construction: Rafael Carrillo – Taller 499 Structural Engineering: Grupo SAI Gerson Huerta – Ingeniería Estructural Sismoresistente
Electrical and Hydraulic installation: Ing. Tomás Rodríguez Photography: Rafael Gamo
Model: Francisco Ortiz
Client: Graciela Iturbide
Project Area: 162 m2