项目标签 设计公司: Thilo Reich 位置: 俄罗斯 类型... 阅读全文
感谢 Thilo Reic
Almost 30 years after the fall of the wall, Berlin is still a synonym for dynamic change, for culture, free spaces — and for a nightlife without limits. Thanks to this special Berlin atmosphere, all around the globe bars and nightclubs pop up that carry Berlin in its name and with it the promise to transfer a unique experience.
▼传递柏林独特城市体验的酒吧空间概览，interior view of the bar which has a unique experience of Berlin
柏林建筑师Thilo Reich受美食家要求设计一个位于莫斯科的柏林酒吧，专门设计美食空间建筑师提出了一个激进而富有诗意的方案。设计概念将柏林独特的公共空间浓缩为莫斯科的一个室内空间，让充满亲密感的小酒吧成为一个公共社交场所，墙面上的混凝土浮雕来源于柏林人行道上的铺装。建筑师在柏林公共场所拍摄的雕刻铺装与柏林和莫斯科之间的交流、历史有关，拍摄地点位于一家莫斯科咖啡馆（Café Moskau）前的人行道、以前莫斯科和美国的分界线区域、格林尼克桥（Glienicker Brücke）或者曾经拥有大量莫斯科人口Charlottenburg地区。铺路石是城市和人们历史的产物，保留着城市生活和政治变化的痕迹，除了德国的黄铜“绊脚石”（Stolpersteine）外，大部分铺路石仍是一个在城市生活被普遍忽视的元素。借助一个混凝土构成的抽象石头图像，Thilo Reich让人们得以窥见铺路石所蕴藏的丰富柏林历史。垂直支撑体系的面砖借鉴了柏林城市景观中大量存在的预制建筑，还采用了社会主义时期建筑正立面、门厅中常见的艺术浮雕。设计理念将柏林与莫斯科联系在一起，灰色墙板的粗糙度、混凝土极简的使用方式与莫斯科常见的内部色彩绚丽、金光灿灿的美食店形成鲜明对比。
▼建筑师亲自拍摄的柏林城市铺装照片，the pavement segments that the architect took personally from public places in Berlin
Invited by gastronomes to design a Berlin Bar in Moscow, Berlin-based architect Thilo Reich—a fixture in designing gastronomical spaces—proposes a radical yet poetic translation. His concept transfers the public space of Berlin into an interior space of Moscow. He creates within the intimate and small bar a public and social space with concrete wall reliefs of Berlin sidewalks. The castings of pavement segments that the architect took personally from public places in Berlin relate to the exchange and history between Berlin and Moscow: The sidewalk in front of Café Moskau, the former demarcation line between the Russian and the American Sector, Glienicker Brücke or the district of Charlottenburg, which traditionally has a large Russian population. The pavement stones are formed by the history of the city and its people, hold traces of city life and political changes and are—with the exception of the historic Stolpersteine—a widely unnoticed aspect of daily city life. Through an abstract stone image made up of concrete, Thilo Reich offers us a glimpse into the myriad Berlin histories that are stored within them. As a side effect, the vertically propped up ground plates cite prefab buildings that dominate Berlin’s cityscape and the artistic reliefs that are often found on facades and in foyers of socialist architecture. The design concept connects Berlin with Moscow— and yet with the roughness of the gray wall paneling, the minimalist use of concrete in contrast to the often colourful and golden interiors of gastronomical establishments in Moscow.
▼建筑师将充满亲密感的小酒吧设计为一个公共社交空间，墙面上的混凝土浮雕来源于柏林人行道的铺装，the architect creates within the intimate and small bar a public and social space with concrete wall reliefs of Berlin sidewalks
柏林的独特之处在于路面石材雕刻图案和铺砌方式，Thilo Reich将这种独特模式应用在预制混凝土材料的桌面和吧台上。德意志民主共和国时期（GDR times）以来的五种标准形式铺路板如今在建筑师的设计下，呈现为带有精致黄铜线条的桌面以及转化为三维立体的大型吧台。
Unique for Berlin are the patterns and arrangements of the pavement stones that are translated in the castings, as are the prefab concrete stones Thilo Reich uses for the table tops and the bar. The pavement plates—since GDR times available in five standard forms—are now table surfaces with fine brass lines and a massive bar that is compiled of the five forms into a three-dimensional object.
▼五种标准形式的铺路板在空间中的转化应用，five standard forms of pavement plates transforms into the elements in the space
▼五种标准铺路砖转化为三维立体的大型吧台，a massive bar that is compiled of the five forms into a three-dimensional object
▼带有精致黄铜线条的桌面，table surfaces with fine brass lines
In the spacial design, past and present, history and snapshots are closely entwined. The Berlin Bar recalls the historic connection between the two cities and equally celebrates Berlin’s present, the unfinished, the rough, the urban. In large, dark illuminated letters beams BERLIN from the wall, disposed of its purpose as a company advertisement in the former Russian sector in Berlin, while the night is being danced away on Moscow parquet floor.
▼墙面上巨大的深色发光“BERLIN”字样，in large, dark illuminated letters beams BERLIN from the wall
柏林城市街道元素作为脚本贯穿了Thilo Reich整个设计，酒吧是一个将柏林生活痕迹和时光串联起来的建筑叙事：酒吧的灯具是一道闪耀着光芒穿过成个空间的螺旋光带，由东柏林街道路灯组件构成。棕色皮革长椅的下部结构由简洁的啤酒长椅构成，这些啤酒长椅曾经是从德国南部进口来的，现在是柏林城市街景的一个重要组成元素。更具体的细节如与桌面一样采用钻石般结构的手工吹制鸡尾酒杯或者使用前共和国宫（Palast der Republik）反射窗板材料制作的镜子，建筑设计中的细节都采用来自柏林的材料，所有的东西也都在柏林生产。
Berlin’s urban street elements as a script for the design of the bar runs through Thilo Reich’s entire design concept. A narrative that consequently picks up on traces and moments of Berlin life: the bar lamps—on first view glowing and winding bands of light weaving through the room—are made up of modules of East-Berlin street lights. The substructures of the brown leather benches are made of simple beer benches—once imported from Southern Germany, now an integral part of Berlin’s streetscape. Further details such as hand-blown cocktail glasses with the same diamond structure as the tables or a mirror made of reflecting window panes of the former Palast der Republik tell of the attention to detail of the architectural concept that also foresees to only use materials from Berlin and have everything produced in Berlin, as well.
▼棕色皮革长椅的下部结构由简洁的啤酒长椅构成，the substructures of the brown leather benches are made of simple beer benches
▼酒吧的灯具是一道闪耀着光芒穿过成个空间的螺旋光带，the bar lamps—on first view glowing and winding bands of light weaving through the room
▼钻石结构的桌子，tables in diamond structure
▼墙面及桌椅细节，detail of the wall, chairs and tables
▼手工吹制的鸡尾酒杯，hand-blown cocktail glasses
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项目标签 设计公司: 墨照建筑设计事务所 位置: 中国 类型: ... 阅读全文
Zhi Art Museum is situated in Building 2 of Quanzhi Technology Innovation Park, Baoan District, Shenzhen. Interlinking different public spaces within the park, Zhi Art Museum connects people in the aspects of work and life and contributes to a working place with a cultural community. In addition to the function of exhibition hall, it also has a multi-function hall and workshops. By means of exhibitions, trainings, lectures and forums, it brings tight connection between art culture and people’s life, acting as a communication platform for multi-arts and multi-cultures.
Different from most art galleries, Zhi Art Museum is not an independent building. Instead, its two-floor space was transformed from a part of an originally concrete plant. Through change of spatial rhythm, natural lighting and application of material textures in the more than 900 square meters plant space, Zhi Art Museum brings visitors a colorful and interesting exhibition experience.
▼美术馆由普通厂房的局部两层空间改造而成，the two-floor space was transformed from a part of an originally concrete plant
The museum is composed of two floors. The first floor has a hallway and a multi-functional hall, while the second floor functions as exhibition halls and workshops. Façade of the museum is decorated with fluorocarbon lacquer coated steel plate with natural uneven textures which echoes artistic style of the museum. Walking inside, as façade of the museum changes from the grille to a horn-shaped glass window, the narrow and long hallway will guide you from ordered space to viewing space. After passing through the hallway, visitors will go into an atrium with two-floor-height ceiling. The transition from a narrow and long space into a tall and high space suddenly brings visitors a broad vision.
▼门厅和中庭，foyer and atrium
▼从多功能厅入口望向中庭，view to the atrium from the entrance of the multi-functional hall
▼多功能厅室内，interior view of the multi-functional hall
▼楼梯剖透视图，sectional perspective of the staircase
The stairs and slopes in the atrium connect the first floor and the second floor. Walking on the stairs and slopes, visitors enjoy a journey of art while they sense aesthetics and interest of the architectural space before the exhibition. Alternation between stairways and slopes makes people feel different rhythms and paces during walking. Black staircases, white walls and wood-grain concrete walls create a simple but elegant and pure artistic conception. Different from conventional beam stairway, the stair steps and sideboards form a complete structural system of steel-plate stair with structural aesthetics.
▼前台与中庭楼梯，reception and staircase
▼中庭交错的楼梯，the interlaced staircase in the atrium
On the second floor of the atrium, a large area of French window lets more natural lights come into the high-ceiling space. Visitors find the space brighter and brighter when they walk upward in the atrium. Coming to the second floor and looking backward, visitors may also see the green terminalia mantaly outside of the window. With tortuous path, plentiful materials and changing light, walking in the atrium become an interesting tour; Meanwhile, people interact with each other by gazing, following, making fun from time to time, which is a way to develop the relationship between the audience.
▼从二楼中庭望向室外，viewing from the atrium to the outside
▼二层展厅入口，entrance of the exhibition hall on the second floor
The exhibition hall on the second floor is divided into several halls of different sizes according to the location of the pillars and the functions of the halls. The halls are not all closed and opaque indoor spaces. Some exhibition halls adjacent to exterior have boldly preserved the glass curtain wall. On one hand, these exhibition halls can be met the requirement for dark rooms by using the window blinds. On the other hand, it not only brings outdoor natural scenery into the exhibition space, but also artists could take advantage of natural lights to arrange the exhibition, providing a different viewing experience for visitors.
▼主展厅，main exhibition hall
▼临时展厅，temporary exhibition hall
▼一层平面图，first floor plan
▼二层平面图，second floor plan
项目设计 & 完成年份：2016/2018
设计团队：罗文国 麦梓韵 吴炳福 | 王志明 邹映华
Project name: Zhi Art Museum
Design year & Completion Year：2016&2018
Leader designer: Guansheng Zeng
Architecture Design: Wenguo Luo, Ziyun Mai, Bingfu Wu | Zhiming Wang, Yinghua Zou
Project location: Quanzhi Technology Innovation Park, Bao an District, Shenzhen
Gross Built Area：1090 m²
Photo credits: Chao Zhang
Client: Shenzhen Jialingyu Industrial Limited Company
Material: Emery Floor, Dragnet Aluminum Plate, Wood Formwork Concrete, Oak wood, Steel
项目标签 设计公司: Sn&hetta 位置: 挪威 类型: ... 阅读全文
Europe’s first underwater restaurant will welcome guests in Lindesnes, Norway on March 20th, 2019. Located at the southernmost point of the Norwegian coastline, where the sea storms from the north and south meet, the project is situated at a unique confluence. Marine species flourish here in the both briny and brackish waters to produce a natural abundance in biodiversity at the site. The Snøhetta-designed restaurant also functions as a research center for marine life, providing a tribute to the wild fauna of the sea and to the rocky coastline of Norway’s southern tip.
In Norwegian, “under” has the dual meaning of “below” and ”wonder”. Half-sunken into the sea, the building’s 34-meter long monolithic form breaks the surface of the water to rest directly on the seabed five meters below. The structure is designed to fully integrate into its marine environment over time, as the roughness of the concrete shell will function as an artificial reef, welcoming limpets and kelp to inhabit it. With the thick concrete walls lying against the craggy shoreline, the structure is built to withstand pressure and shock from the rugged sea conditions. Like a sunken periscope, the restaurant’s massive window offers a view of the seabed as it changes throughout the seasons and varying weather conditions.
▼34米长的单体建筑一半沉入大海，底部被支撑在5米深的海床上，half-sunken into the sea, the building’s 34-meter long monolithic form breaks the surface of the water to rest directly on the seabed five meters below
▼厚实的混凝土外墙直接倚靠在崎岖的海岸线上，the thick concrete walls of the building lying against the craggy shoreline
The restaurant seats 35-40 dinner guests every night, in a dining room protected by half a meter-thick concrete walls. Its culinary focus is to create a fine dining experience based on high quality, locally-sourced produce, with a special emphasis on sustainable wildlife capture. Danish expatriate Nicolai Ellitsgaard from acclaimed restaurant Måltid in Kristiansand is the Head Chef, bringing an international, 16-person kitchen team with experience from top Michelin restaurants.
Snøhetta的创始人兼建筑师Kjetil Trædal Thorsen表示：“Under餐厅是我们所做的边界实验的自然成果。作为挪威南部的新地标，它展示出了代词与介词的一种前所未有的组合，挑战了人在环境中停留的必要条件。在这座建筑中，你会发现自己可能处于水下、海底，或者陆地与海洋之间，这会让以一种全新的视角和方式来认知世界，不论是在水面之上还是水面之下。”
“Under is a natural progression of our experimentation with boundaries, says Snøhetta Founder and Architect, Kjetil Trædal Thorsen. “As a new landmark for Southern Norway, Under proposes unexpected combinations of pronouns and prepositions, and challenges what determines a person’s physical placement in their environment. In this building, you may find yourself under water, over the seabed, between land and sea. This will offer you new perspectives and ways of seeing the world, both beyond and beneath the waterline”.
▼连接入口的桥梁，a bridge to the entrance
Lindesnes is known for its intense weather conditions, which can change from calm to stormy several times a day. Upon arriving at the site, the visitor’s impressions of the unruly outdoors quickly dissolve as they are ushered through into the hushed, oak-clad foyer. The rich interiors create a warm, welcoming atmosphere inside the restaurant. As a metaphor for the journey of descending from land to sea, textile-clad ceiling panels reference the colors of a sunset dropping into the ocean, accompanying one’s passage down the stairs. The subtle elegance of the finely woven ceiling panels lends a serene ambience to the building.
▼位于夹层的酒吧， mezzanine bar
▼从上至下，室内的色彩变化隐喻着从陆地深入海洋的过程，textile-clad ceiling panels reference the colors of a sunset dropping into the ocean, accompanying one’s passage down the stairs
▼纵向海景窗，a vertical window towards the sea
▼从楼梯望向全景窗，view to the window from the stair
At the seabed, five meters below sea level, lies the panoramic eye of the building. An eleven-meter-wide and 3.4-meter-tall horizontal window offers a visual gateway to the sea and connects the guests to the wildlife outside.
▼宽11米的水平窗户带来全景水下视野，an eleven-meter-wide horizontal window offers a visual gateway to the sea
▼沉浸式的空间体验，an immersive spatial experience
▼室内墙面细部，interior wall surface
An equally important part of the project is the building’s facilitation of marine research. The restaurant will welcome interdisciplinary research teams studying marine biology and fish behavior, through cameras and other measurement tools that are installed on and outside the facade of the restaurant. The researchers’ aim is to document the population, behavior and diversity of species that are living around the restaurant, through cameras and live observation. The goal of the research is to collect data that can be programmed into machine learning tools that monitor the population dynamics of key marine species on a regular basis, thereby creating new opportunities to improve official marine resource management.
▼餐厅将欢迎跨学科研究团队研究海洋生物和鱼类行为，the restaurant will welcome interdisciplinary research teams studying marine biology and fish behavior
Head Chef Nicolai Ellitsgaard and his team are in regular dialogue with the marine biologists to understand how and when to harvest from the sea in the most sustainable way. They hope to be able to harvest ingredients from the building itself that can be put on the menu of the restaurant. The kitchen and the researchers also collaborate to attract fish to the window, allowing the marine biologists to study the species more closely while also providing an interesting view for the restaurant guests.
▼厨师团队希望依靠建筑本身来获取食材，Head Chef and his team hope to be able to harvest ingredients from the building itself that can be put on the menu of the restaurant
Under is a story of contrasts; the contrast between the landscape and the sea; above and below. The project underscores the delicate ecological balance between land and sea and draws our attention to sustainable models for responsible consumption. By focusing on the coexistence of life on land and in the sea, Under proposes a new way of understanding our relationship to our surroundings – above the surface, under the water, and alongside the life of the sea.
▼海面视角，view from the sea
▼平面和印刷品设计，print and graphic design
▼入口层平面图，entrance level plan
▼夹层酒吧平面图，mezzanine bar plan
项目标签 设计公司: ZOOCO ESTUDIO 位置: 美国 类... 阅读全文
Big and Tiny亲子空间位于加州圣莫妮卡市（Santa Monica），于2018年7月落成。它是一个独特的多功能空间，可以同时培养父母和子女的创造力，提高他们的生产力，并增强他们在社区生活中的自身能力。这是首个通过将孩子与初为人父母的家长们作为一个整体来看待，而设计出来的学习、玩耍和工作空间。在本项目中，建筑师将传统共享式工作空间的灵活性与儿童保育紧密地联系在了一起。建筑事务所ZOOCO ESTUDIO的任务是通过将父母的个人日常生活与其职业生活相互融合，从而打造一个充满活力的家长社区。基于这一前提，Big and Tiny亲子空间在设计中充分考虑了成人和儿童的需求。
Launched in July 2018, Big and Tiny is a unique enrichment space in Santa Monica that fosters productivity, creativity, and community for both parents and kids. It is the first integrated learn, play and work space with entrepreneurial parents in mind. We bring the flexibility of traditional co-working spaces to child care. The mission of the company is to support and empower our vibrant community of parents by helping them integrate their personal and professional lives. Based on this premise, Big and Tiny was designed with both adults and children in mind.
▼亲子空间轴测图，空间分为前中后三个独立的区域，中间的木结构空间是主体空间，the axon, the space is divided into three separate areas with the central wood one is the core functional space
We began with an empty 2,100 sq. foot space where the main protagonist is the high wood bow truss ceiling that limits the space transversely. These trusses would eventually divide the space into three separate areas with the middle one being the predominant space. Using the original truss ceiling as an example of a universal geometric language, we created a repetitive modular and constructive system, that remind us of a puzzle. This adaptable system creates appealing elevations in all the three areas.
▼亲子空间室内，重复出现的模块化的屋顶木质桁架结构创造出迷人的立面，interior view, the repetitive modular wood truss ceiling structure creates appealing elevations
The front space features a coffee and retail area, while the middle area (and core of the project), is a playground for kids. The most secluded third area serves as a co-working space for adults.
▼剖面图，亲子空间被分为功能不同的三部分，section, the space is divided into three areas with different functions
▼前侧区域内一系列可移动的模块化立方体，可根据需要自由组合，the modular and movable cubes that offer the flexibility to configure the space according to different needs
The front reception/retail area is a multipurpose space with bespoke iron furniture on the walls and a counter in the back. The modular and movable cubes are made out of 10×10 ceramic tiles in pink and blue which is the brands’ color palette. This offers the flexibility to configure the space according to different needs. The retail area includes iron shelves and racks using same geometric language.
▼前侧接待和零售空间局部，使用模块化的可移动立方体作为置物空间，partial view of the front reception/retail area with the modular and movable cubes as the display space
▼前侧接待和零售空间局部，模块化的立方体、铁制置物架和柜台都采用蓝色和粉色的瓷砖贴面，partial view of the front reception/retail area, using the ceramic tiles in pink and blue as the veneer for modular cubes, iron shelves and racks, and the counter
The main central space is presented inside a large wooden structure. This area is divided in two parts: The playground, or “Tinyland”, includes wooden play structures such as the ball pit and slide; and the art studio, where children work on their art projects and take other enrichment classes.
▼中间的儿童游乐区，是一个大型的木结构空间，分为游戏区和艺术工作室两部分，the main central space for children is presented inside a large wooden structure, consisting of the playground and the art studio
▼儿童游戏区局部，设有一系列木质游戏设施，partial view of the playground with the wooden play structures
The third and final area, located between the big wooden structure and the outdoor patio, is reserved for our co-working members. This space features office furniture from Normann Cophenhagen and a soundproof phone both by ROOM.
▼后侧的共享工作室，the co-working area for adults at the back of the space
Team: Miguel Crespo Picot, Javier Guzmán Benito, Sixto Martín Martínez
Colaboradores: Teresa Castillo, María Larriba, Jorge Alonso
Photography: Aaron & Jon Photographers
REVESTIMIENTOS: FURNITURE AND LIGHTING BY FERM LIVING, NORMANN COPENHAGEN
Ilan and Asaf Ramon国际机场，以色列 / Amir Mann-Ami Shinar Architects and Planners + Moshe Zur Architects 沙漠中的白色枢纽
项目标签 设计公司: Amir Mann-Ami Shinar Architects and PlannersMoshe Zur Architects 位置: ... 阅读全文
本项目位于以色列境内的沙漠中，是该国家最新的一座国际机场，极具未来主义。机场融入漫无边际的永恒的自然环境中，紧邻红海（Red Sea），成为了以色列的新大门。以色列境内两家处于行业尖端的建筑事务所Amir Mann-Ami Shinar Architects and Planners与建筑事务所Moshe Zur Architects合作设计了这座新机场，并宣布这座名为Ilan and Asaf Ramon的国际机场将于近日投入运行，为红海海滨的度假城市埃拉特（Eilat）和周边地区提供交通运输服务。受以色列机场管理局（IAA）的委托，设计经理——建筑师Amir Mann担任了本项目的建筑设计师，通过周密的调研和设计，最终出色地完成了国际机场的设计。值得一提的是，本机场位于以色列的Timna市，也是该国家首个在未开发地区从零开始建造的民用机场。
The country’s newest airport is a futuristic desert mirage built into the timeless natural surrounding and becomes the new Southern gate to Israel by the Red Sea. Timna, Israel: Amir Mann-Ami Shinar Architects and Planners in partnership with Moshe Zur Architects, two of Israel’s leading firms, announce the opening of Israel’s Ilan and Asaf Ramon International Airport, servicing the Red Sea resort city of Eilat and surrounding region. Commissioned by the Israel Airport Authority (IAA), the project was handled from A to Z by design manager, Architect Amir Mann. Located in Timna, it is Israel’s first civil airport built from scratch (“greenfield”).
该机场占地1,250英亩，在设计风格上将极简主义和未来主义融合在了一起，坐落于内盖夫沙漠（Negev Desert）中部，全部使用同一种建筑语言打造而成。本项目的建筑师兼任项目设计经理，带领着超过45家咨询公司、几乎所有以色列当地的工程师，以及ARUP伦敦分部的航天建筑技术团队，完成了本项目的设计。本国际机场位于埃拉特以北18公里处，将为以色列、约旦和埃及西奈沙漠（Sinai Desert）的本土和国际旅游业作出首屈一指的贡献。
Spread across 1,250 acres, the airport is a minimalist and futuristic design in the middle of the Negev Desert, wholly unified under one architectural language. The architects served as project design managers, leading more than 45 consulting firms, nearly all local Israeli engineers, alongside ARUP London’s aviation team. Situated just 18 KM north of Eilat, the Ilan and Asaf Ramon International Airport will become a major game changer for local and international tourism to Israel, Jordan and Egypt’s Sinai Desert.
▼机场鸟瞰图，坐落于内盖夫沙漠中部，bird-eye’s view, the airport is located in the middle of the Negev Desert
Ilan and Asaf Ramon国际机场的落成具有重大的意义，首先，它将施工和运营的开销完全控制在了预算之内，要知道，当今，在全球，类似的项目中有一半都面临着资金不足的窘境；其次，它能够在非常紧迫的时间内按照原计划开放；第三，它是在一片完全未经开发过的基地上建成的，这里没有任何可以利用的基础设施，包括先进的导航、着陆和行李处理系统、跑道和控制中心大楼等在内的一切设施都是在本项目中设计并高质量完成的，与此同时，还保留了周边现有的自然环境；以上，所有的一切设计都在建筑师们的领导下一一完成，实现了这个国际机场的壮举，最终，整个机场都由同一种独特的建筑设计语言打造而成，同时，也将内盖夫沙漠中迷人的山景引入了机场的景观视野之中。
The Ilan and Asaf Ramon International Airport was completed with significant achievements, firstly, an international airport fully constructed and operational within budget, funded for less than half of similar projects worldwide; on schedule for opening day within an exceptionally tight timeframe; a “greenfield” without existing infrastructures, included the creation and implementation of cutting edge navigation, landing, and baggage handling systems, runways, and operational buildings – while maintaining the existing natural surrounding and a control of quality; all led by the team of architects to a rather extraordinary feat – the entire airport is unified under one unique holistic design language that frames the stunning scenery of the Negev Desert mountainscape.
▼机场鸟瞰图，建在一片完全未经开发过的基地上，同时将沙漠中的山景纳入了机场的景观视野中，bird-eye’s view, the airport is built up at a “greenfield” and frames the stunning scenery of the Negev Desert mountainscape
Ilan and Asaf Ramon国际机场的开通意味着目前位于埃拉特市中心的J. Hozman埃拉特机场的关闭。随着城市的发展，这座原先位于市中心的旧机场已经不再能够为城市带去便利，反而逐渐变成了城市发展的阻碍。而随着旧机场的废除，埃拉特的城市结构能够重新统一起来，激发出其发展和再生的潜力。Ilan and Asaf Ramon国际机场将作为以色列国家的新南门，预计每年将接待225万名乘客，而这一数字预计将在第二年增长至425万。
The opening of the Ilan and Asaf Ramon International Airport will coincide with the closing of the existing J. Hozman Eilat Airport that is currently located in the middle of the city of Eilat. The old airport was a barrier within the city, dividing and disrupting its development. With its annulment, the city’s urban fabric will be able to unite, surfacing potential opportunities and regeneration. The Ilan and Asaf Ramon International Airport will serve as the new southern gate to Israel and is expected to host 2.25 million passengers per year, that figure bound to grow to an estimated 4.25 million passengers per year.
The Airport features a 45,000 square-meters Passenger Terminal Building and 3,600 meters long runway and taxiway, alongside 40 aprons, allowing for domestic and international traffic. The two support structures to the north and south of the terminal measure a combined 36,210 square-meters with a 45 meters-high Air Control Tower.
▼机场鸟瞰图，国际机场由一座航站楼、跑道、停机坪、两座辅助性服务建筑和一座飞航管制塔台构成，the bird-eye’s view, the airport consists of a Passenger Terminal Building, runway and taxiway, aprons, two support structures and an Air Control Tower
For the project, the architects developed a unique and minimal design language influenced by the futuristic world of aviation and its seemingly timeless natural desert surrounding. The decision of the IAA to appoint the architects as design managers responsible for budget, program, and planning schedule, allowed for the architects to implement the design across the entire airport – from the various buildings to each individual check-in counter, thus unifying the airport on all its parts into a holistic singular entity within the dramatic emptiness of its surrounding. This is evident from a general concept of carved geometries, through a limited choice of materials used to clad the family of forms.
“In designing the airport we learned from the desert scenery. It required a vision of the most suitable design solution that responds to the existing landscape and climate. Our objective was how not to compete with the overwhelming emptiness of the site, while creating a place that welcomes passengers through the departure and arrival processes, reflecting through that experience the uniqueness of the desert environment, as a functioning international southern gate to Israel.” – Project Design Manager, Amir Mann.
▼航站楼鸟瞰图，外表皮使用同一种建筑语言，bird-eye’s view of the terminal building with the envelope built in a single architectural language
在以色列的Timna国家公园（National Timna Park）中发现的蘑菇状岩层为航站大楼的初始几何造型提供了灵感，建筑师决定将航站楼建筑打造为一个可以实现自我遮阳的体量。正如岩石是由风和水的“自然运动”所塑造的一样，航站楼的不透明体量则是由机场出入口、出发和到达层之间、以及登机手续办理处和候机大厅处之间的客运的“自然运动”雕刻而成的。建筑师在上文所提到的客运集散地处插入玻璃幕墙，并用玻璃幕墙围合出一系列庭院，将天然的沙漠景观引入建筑的内部。这些庭院可以作为采光井，将自然光线引入航站楼室内深处。值得一提的是，在本项目中，建筑师并没有采用通常情况下会使用的天窗来进行自然采光，因为它并不适应沙漠环境的天气和气候条件。
▼航站楼爆炸轴测图，the exploded axon of the terminal building
The mushroom-like rock formations found in Israel’s National Timna Park served as inspiration for the initial geometry of the Passenger Terminal Building as a self-shading volume. Just as the rocks are shaped by the “natural movements” of wind and water, the terminal’s opaque volume was carved by the “natural movements” of the passenger traffic: at the entrances and exits, at the divisions between arrivals and departures, and between the check-in and boarding gate halls. At every such occasion glass curtain walls were inserted, surrounding patios that introduce the natural desert landscaping into the building. These serve as light wells allowing natural light into the depths of the terminal, instead of the commonly used skylights, impossible within such climate conditions.
▼航站楼外观和停车场局部，exterior view of the terminal and part of the parking lot
▼航站楼外观，航站楼的外观造型可以实现自我遮阳，exterior view of the terminal building, the initial geometry of the Passenger Terminal Building is as a self-shading volume
▼航站楼外观，玻璃幕墙立面保证了景观视野，exterior view of the terminal building, the curtain wall at the opening introduces the desert scenery into the building
The terminal’s envelope consists of a steel and concrete skeleton structure, cladded to the exterior with insulating aluminum triangular panels, continuous from wall to roof that create one single mass. The pristine white panels reflect the light rays and the UV waves and thus help in further reducing the skin’s temperature. Towards the interior, the building’s volume is hollowed out and the envelope is cladded in a contrasting bamboo-wood, uniting the ceiling and walls over one continuous space.
▼航站楼外观局部，外表皮采用钢和混凝土构成的结构骨架，并以绝缘铝制三角形面板覆盖着外立面和屋顶，partial exterior view of the terminal building whose envelope consists of a steel and concrete skeleton structure, cladded to the exterior with insulating aluminum triangular panels
▼飞航管制塔台外观局部，外表皮也采用铝制三角形面板，partial exterior view of the Air Control Tower with the envelope cladded with aluminum triangular panels as well
▼飞航管制塔台外观局部，白色铝制外表皮可反射光线和紫外线波，partial exterior view of the Air Control Tower, the pristine white panels reflect the light rays and the UV waves
▼航站楼内的流线分析图，the circulation diagram of the terminal building
▼航站楼内的沙漠景观庭院分析图，the courtyard diagram of the terminal building
▼航站楼内的围合空间分析图，the pavilion diagram of the terminal building
The terminal building’s minimalist interior scheme is based on a tightly organized high-ceilinged hall with low-level furniture and pavilions acting as dividers. Its entire infrastructure including baggage handling, security processes, and many other technical operations and systems are all hidden on a lower level. This allows for the roof to be free of any technical equipment as a fifth façade viewed from the airplane window, and for all passenger processes to be efficiently on one single level. The result being a “Miesian” – like terminal hall where all passenger traffic is viewable, separated only by the desert patios. The terminal opens at the boarding gate area with a 20 meters high glass curtain wall towards the theatre of aviation with the desert view as a backdrop.
▼航站楼密斯式的室内空间，天花板采用竹木饰面，与墙面形成统一的表面，”Miesian” interior space of the terminal building, the interior ceiling is cladded in the bamboo-wood, uniting the ceiling and walls over one continuous space
▼航站楼室内，interior space of the terminal building
▼景观设计分析图，遵循沙漠中扇形三角洲地带的形成因素，创造出蜿蜒曲折的道路和适应环境的景观，landscape design concepts, the landscape scheme outlines the delta formation, creating winding paths and the landscape that integrates into the surroundings
The landscape design development drew inspiration from the existing river delta fan created by the mountain flooding into the desert valley. Thus, the delicately winding paths of the parking lot and the landscape development follow the shape of the natural spill from the streams. As part of the aspiration to preserve and integrate the landscape with the environment, and with the intention of maximizing the use of existing local materials, all the sand and rock infrastructure excavated at the site was used as a filler for the construction of the runways, the airplane hardstands, and the roads. To this end, a grinding factory was set up to crush the pebbles into bedding materials. The land collected during dig was also used to finally cover the ground upon completion of construction to seamlessly integrate the landscape development with the natural surrounding. In addition, local plant seeds were harvested and preserved at the site, grown and incubated in greenhouses during the years of construction, and finally returned to their original location, to serve as the desert vegetation lining the airport’s landscape.
▼机场夜景局部，partial exterior view of the airport at night
▼辅助性服务建筑爆炸轴测图，the exploded axon of the support structure
Client: Israel Airports Authority (IAA); Yaacov Ganot, Directing Manager; Rafi Elbaz, Deputy Director General of Engineering & Planning Division
Design and Planning Management: Amir Mann – Moshe Zur – Ami Shinar – Orna Zur Architects
Design Manager: Amir Mann, Architect
Construction Management: Gadish-Baran Partnership
Construction Manager: Eng. Ron Havatzelet
Aviation Consultant: ARUP London with Amir Mann-Ami Shinar Architects and Planners
Engineering: The Overall Design Team includes over 45 local Israeli Engineering Firms
项目标签 设计公司: 亿端国际设计 位置: 中国 类型: ... 阅读全文
The project was built from containers, situated at Orenda · Chongming Island, Shanghai, China. Its isolated location on an open grassland, as well as the narrow interior spaces of the containers, made the project challenging.
▼本案例是一个集装箱改造项目，the project was built from a series containers
In order to give the ten ordinary staggered containers unique aesthetics, the designers boldly extended the inner space of the containers outwards, through creating a void box connected to each closed container. The added boxes, framed by grilles, increased usable area, met the functional demands, and formed a contrast of solidness and void with the containers. Natural light can be filtered through grilles, generating a poetic view of light and shadows. The containers, and the new boxes generated from them, together produce staggered and overlapping architectural form, making the building look modern and futuristic.
▼光影落在百叶的盒子里，产生诗意的美感，natural light can be filtered through grilles, generating a poetic view of light and shadows
▼高低错落，穿插叠加的体量，a staggered and overlapping architectural form
▼封闭的盒子外部再扩充一个虚拟的盒子，带来空间的虚实对比，the added boxes are framed by grilles, forming a contrast of solidness and void with the containers
▼交织的体量细部，exterior detailed view
The overall architecture features a coordinated palette of white and light natural wood color, which gives it a clean, simplistic and modern visual impression. Besides, matched by the surrounding green grassland, the architecture harmoniously blends with nature. A meandering river passes through the middle part of the building, adding flexibility and vitality to it.
▼干净，简约，现代的视觉感，a clean, simplistic and modern visual impression
The entire building is composed of three floors, with 1F functioning as reception and display space, 2F providing simple meals, coffee and tea and 3F serving for working, meeting and business activities. The circulation conforms to the natural surroundings, offering different view at each step, and Zen elements utilized are well coordinated with the modern and minimalist design style. The indoor and outdoor spaces are integrated as a whole, which breaks the convention and gives the architecture soul.
▼一层的景观凉廊，the landscaped corridor on the ground floor
▼楼梯细部，detailed view of the stair
▼首层平面图，plan level 1
▼2层平面图，plan level 2
▼3层平面图，plan level 3
Project category: reception & display center
Architectural design firm: Yiduan Shanghai Interior Design (www.yd-d.net)
Chief designer/creative director: Xu Xujun
Design team: Xu Xuwei, Liu Wei, Gong Xuan, Liu Wei
Project location: Haiyong County, Chongming Island, Shanghai, China
Project area: architecture — 1800 m2, landscape — 2000 m2
Completion time: May 2018
Main material brands: Kohler, NVC, USG Boral
Photographer: Zhu Enlong
项目标签 设计公司: 元秀万建筑事务所 位置: 中国 类型: ... 阅读全文
Located in a small village next to Disney in Shanghai’s Pudong District, the Rustic Charm Inn is a three-story boutique guesthouse hotel with just 16 rooms, converted from four residential houses and pigsties.
▼河岸视角，view from the riverside
The inward-looking courtyard is the starting point of this design. The high stone walls in the west open the city further, and the incomplete walls parallel to the two buildings in the north separate the neighboring villages, approaching the inner courtyard space that is more suspicious, mysterious and weakens the desire.
▼残缺围墙把邻近的村落隔离开，the “incomplete” enclosure walls
▼庭院户外平台，courtyard outdoor platform
In order to generate the tension and texture of the space, several inner courtyards were extended from the original building, one facing north and south and the other facing east and west.This makes the guest rooms on the first floor not only more quiet and private, but also with the outside of the city in the polar changes. Guest rooms through the courtyard through the high and low strewn at random and crisscross of the courtyard wall and the external have a selective dialogue, the region of the city opened more distant.
▼内院使一层的客房变得更加安静与私密，the inner yard provides a quiet and private space on the guest room level
The use of a smooth logic will be the whole building with another simple logic and material wrapped up, two roofs connected into a piece, the front and rear left after the process of change of the wooden house has dynamic, interspersed between the wooden grille of the white mechanism will be white wall and white clouds together, it seems that the whole building is floating up. The upward ramp in the middle moves the vision to the sky. The right scale of the ramp gives the guests a feeling of crossing the country road and echoes the shape of the village behind. The dramatic change of the steel plate also makes the walk more dignified and wild.
▼两个屋顶连成一片，two roofs connected into a piece
To the end of the super-large frame hole ramps and blue sky link together, let you through a lost memory of the time tunnel.Constantly changing white walls erase the tedious memories of the past and guide you to better bring the scenery into your visual category.
▼框洞将坡道和蓝天连接在一起，the frame connects the ramp and the sky
The window holes and floor-to-ceiling Windows of the guest rooms on the second floor allow the outdoor scenery to be introduced into the interior to form a differentiated view.A north-south window view connects the bamboo forest on the other side of the river to the unused green space on the north, exposing the guest rooms to a more wild nature.
▼酒店主楼外观，exterior view of the main building
▼二层客房大小不一的窗洞为室内引入风景，the openings on the second floor vary in size and shape, bringing the outdoor landscape in
▼接待室、餐厅和下沉平台，reception room, dining room and the sunken platform
▼首层客房内部，guest room interior view
▼俯瞰位于庭院后方的独立圆形体量，aerial view to the independent volume at the back of the courtyard
▼从圆内望向酒店主楼，view to the main building from the circular volume
▼带浴缸的室外庭院，outdoor terrace with a bathtub
▼圆形套房内部，interior view of the circular volume
There is a place in Shanghai where you can forget time, place, trouble and yourself…
▼首层平面图，ground floor plan
项目标签 设计公司: ikg inc. 位置: 中国 类型: ... 阅读全文
非常感谢 ikg inc
The city of Xi’an was once known as Chang’an the seat of several important dynasties in ancient China; today, it is home to the Xi’an Hi-tech Industries Development Zone, a leading center of technological development. This project involved the design of the YJY Maike Centre Flagship (Store), a bookstore and commercial complex occupying 4,500 m2 on the first and second floors of an elegant building in the Development Zone. The goal of the design was to create a place for encounters between people, cultures, and books from around the world by building on three remarkable features of the site: its location in an ancient city that boasts the extraordinary World Heritage Terracotta Army as well as the origin of the Silk Road; its luxurious surroundings, including a Grand Hyatt on the upper floors; and the elegant lines of the twin building.
▼言几又·迈科中心旗舰店一层概览，overview of YJY Maike Centre Flagship (Store) on the first floor
以「Library & Gallery」为主题。将追求时间质量的人们向往的阅读空间「Library」和感受文化艺术的空间「Gallery」这两个要素融合在一起，采用了可诱发顾客与书店创意的互动、共同营造理想环境的「宫殿式布局」。如同宫殿，从一个房间步入另一个房间，以符合人性尺度的空间构成，实现「人与人」、「人与书」、「人与空间」的亲和，就像众人喜爱的「家」，给人们归属感。
The overall concept for the project was “Library & Gallery.” Libraries are spaces for learning and valuing independent time, while galleries serve as intellectual spaces for displaying culture. The design blends elements of both and also incorporates features of palace architecture in order to encourage visitors and the store to collaboratively exchange and develop creative ideas. The layout resembles a Japanese or Chinese palace in its human scale and arrangement of interlinked rooms, while also evoking the universal concept of a house through its expression of the intimate connections between people, books, and the space itself.
▼一层的图书长廊，book street on the first floor
▼设计以“Library & Gallery”为主题，the overall concept for the project was “Library & Gallery”
▼人性化的尺度与连续式房间布局构成人、书本、空间的亲密性，human scale and arrangement of interlinked rooms express the intimate connections between people, books, and the space itself
▼挑空空间悬挂的照明如同飞舞的纸片，the void above the staircase is illuminated by lights that resemble fluttering sheets of paper
Books play an integral role in the design of the first floor, with a 10-meter-high bookshelf just inside the entryway viscerally conveying the store’s identity the instant visitors step inside. The area around the open spiral staircase functions like a courtyard, with a bright floor and mirrors on the ceiling to distinguish it from other areas. The void above the staircase is illuminated by lights that resemble fluttering sheets of paper, while the stage at its base features an inlaid stone map of Xi’an and its surroundings, offering a gorgeous space for events.
▼旋转楼梯处的中庭地面采用了明快的色调，the area around the open spiral staircase functions like a courtyard with a bright floor
▼楼梯一侧的咖啡座位区，the book & cafe area near the spiral staircase
▼空间中设计了石材镶嵌的西安地图，可以在这里举办丰富多彩的活动，space has an inlaid stone map of Xi’an, offering a gorgeous space for events
▼空间尽端的扶梯区域，escalator at the end of the first floor
The second floor does double duty as a hotel lounge, with a counter bar where office workers can socialize. On the 50-meter-long “Book Street,” a low ceiling, dark colors for the floor and ceiling, and display boxes set in bookshelves come together to create a subdued gallery-like atmosphere. The distinctive artwork incorporated throughout the store is all original, commissioned to reflect themes appropriate to the location. The overall effect is a tasteful, classic environment that reflects China’s long and proud history, where visitors can relax, unwind, learn, think, enjoy life, and embark on a creative journey that transcends space and time.
▼二层空间，interior of the second floor
▼楼梯一侧的柜台区域，the counter near the spiral staircase
▼二层兼具酒店休憩区功能，为办公楼内的员工提供交流的场所，the second floor does double duty as a hotel lounge where office workers can socialize
▼古典氛围与情趣的吧台，bar space with a tasteful, classic effect
▼一层平面图，first floor plan
▼二层平面图，second floor plan
室内设计公司： ikg inc. (http://ikg.cc)
摄影：Nacasa & Partners
项目面积：4500 m² (1F/2F)
Project Name: YJY MAIKE CENTRE FLAGSHIP (STORE)
Client: Maike Group
Photo Credit: Nacasa & Partners
Designer Credit: Tomoko Ikegai
Interior Design Firm: ikg inc. (http://ikg.cc)
Project Location: No. 12, Jinye Road, High Tech Zone, Xi’an, Shaanxi, China
Total floor area: 4,500 m² (1F/2F)
Completion: December 2018
项目标签 设计公司: Haworth Tompkins 位置: 英国 ... 阅读全文
建筑事务所Haworth Tompkins近日完成了位列英国Grade II*级建筑遗产的巴特西艺术中心（Battersea Arts Centre）的改造和扩建项目，总耗时12年。该项目与艺术家、戏剧制作人和当地社区即兴合作，对巴特西艺术中心进行了扩建，将原市政大楼打造为了一个用于创新性和社区性活动的场所，将表演空间从4个增加至了35个，同时增加了一系列额外的功能空间，如艺术家住宿、一个新建的屋顶办公室兼员工屋顶花园、一个创意商业中心、一个可租赁的社区活动场地和一座户外剧场等。整个项目的进程中，建筑师和客户平等合作，有共同的设计概念和目标，同时邀请社会上有创意有想法的人士加入，协作完成艺术中心的改造扩建。
Architects Haworth Tompkins have completed the 12 year transformation of the Grade II* listed Battersea Arts Centre. Begun as an extended, improvisatory collaboration with artists, theatre producers and the local community, the entire former town hall building is now in use for creative and community activity, increasing the number of performance spaces from 4 to 35 and incorporating artists’ bedrooms, a new rooftop office and staff garden, a creative business hub, a community allotment and an outdoor theatre. Architect and client worked as equal partners throughout the process, sharing design authorship and inviting creative collaborations.
▼艺术中心外观，exterior view of the arts center ©Morley von Sternberg
自从三年前遭遇了毁灭性大火之后，世界闻名的Grand Hall大厅已经被重新设计为了一个21世纪的表演空间，为主办方提供了一个更大更宽敞的空间，以举办各式的演出活动、社区庆典活动和创收活动等。艺术家Jack Tilson所设计的新酒吧和大厅内伤痕累累、未经修复的墙壁都是三年前那场大火的见证和证据。木制格子天花板的设计不仅借用了原灰泥拱顶上的装饰性图案，与历史有了呼应，更能够更好地引入现代技术、组织室内的声学环境。总体而言，这个总造价1,300万英镑(不包含Grand Hall大厅的保险在内)的项目使得巴特西艺术中心成为了一个更具功能弹性、空间灵活性、包容性和实用性的城市公共空间。
Following a devastating fire three years ago, the famous Grand Hall has been radically re-imagined as a 21st century performance space, allowing the organization to host bigger productions, community celebrations and revenue generating events. A new bar installation by artist Jake Tilson records the evidence of the fire, as do the scarred, unrestored walls of the hall. The timber lattice ceiling borrows the decorative pattern of the original plaster vault but allows far greater technical and acoustic possibilities. Overall, the £13m project (excluding insurance for the Grand Hall) has enabled Battersea Arts Centre to fulfil its mission as a more resilient, more inclusive and more accessible civic space.
▼Grand Hall入口，the entrance of the Grand Hall ©Fred Howarth
建筑笔记 | Architectural Notes
巴特西市政厅位于伦敦的西南部，由E. W. Mountford于1893年设计，是一座漂亮的、经过精心打造的市政建筑，因其建筑意义和其在20世纪初的女权和劳工运动中的重要政治角色而被列为英国Grade II*级建筑遗产。自1974年以来，巴特西市政厅就一直是巴特西艺术中心（BAC）的所在地，被认为是英国新表演领域的最重要的孵化地之一。自2006年以来，建筑事务所Haworth Tompkins就一直与BAC团队、当地公众和剧院的艺术家们合作，一起进行一系列不间断的、实验性的阶段性项目，逐渐将整座市政厅改造为一个活力四射的、适应性极强的表演环境和一个属于当地社区的热闹的活动中心。建筑师与艺术家、制作人和表演者共同合作，构想出一个21世纪的公共文化建筑的模型，消除了传统的礼堂、前厅和建筑后方空间之间的界限，从而为空间组织的灵活性提供了无数种可能。此外，建筑师还利用了现有建筑的丰富性，辅以艺术家所偏好的使用模式，在项目进行之初就在设计特定的空间和装置如红色死亡（Red Death）的Punchdrunk面具等之外，进行了一系列实时性的、非干预性的尝试，以对改造的策略进行测试和调整，从而发展出一种有趣但严谨的设计语言。
Battersea Town Hall is a handsome, well-crafted civic building in south-west London, designed by E. W. Mountford in 1893. It is Grade II* listed both for its architectural significance and for its important political role in the birth of the suffragette and labour movements in the early twentieth century. Since 1974 it has been home to Battersea Arts Centre (BAC), regarded as one of the most important incubators of new performance work in the UK. Since 2006 architects Haworth Tompkins have been working alongside the BAC team, the local community and theatre artists on a series of ongoing, experimental, phased projects that have gradually transformed the entire building into a vivid, adaptive performance environment and a welcoming centre of local community life. Working alongside artists, makers and performers, the task has been to imagine a 21st century public cultural building where the traditional demarcations of auditorium, foyer and back of house spaces can be dissolved and reconfigured in almost limitless combinations. Drawing on the existing richness of the building and preferred patterns of use by artists, the project began with a number of improvised, non-invasive alterations made alongside specific productions (such as Punchdrunk’s Masque of the Red Death in 2007-2008), to test strategies for change and to evolve a playful but rigorous design language.
▼艺术中心的公共庭院表演空间，采用釉面白砖墙面，the public courtyard performance space of the arts center with glazed white brick wall surfaces ©Philip Vile
▼公共庭院表演空间，釉面白砖增加了空间的光度，the public courtyard performance space of the arts center, the glazed white bricks increasing the luminosity of the space ©Philip Vile
▼天井般的公共庭院表演空间，the light well-like public courtyard performance space ©Philip Vile
▼在公共庭院表演空间进行演出的场景，performance in the public courtyard performance space ©Alex Brenner
▼庭院局部和屋顶办公室外观，partial view of the courtyard and the rooftop offices ©Fred Howarth
▼屋顶办公室，rooftop offices ©Fred Howarth
Building works then progressed incrementally, beginning with alterations to the café and entrance foyer. To bring light deep into the building and to help orientation, a new public courtyard performance space has been created by selectively stripping back and patching a disused original light well in the centre of the building plan. New wall surfaces have been formed in glazed white brick, increasing the luminosity of the space and reflecting natural light into the flanking circulation corridors. Circulation routes have been reopened and improved, restoring legibility to the original Mountford plan and making manifest the subsequent evolution of the building fabric. Unused attics and rooftops have been converted and extended into offices, staff garden and bedrooms for visiting artists. Technical improvements such as dedicated workshop and dressing room spaces, together with a new ‘plug and play’ sound and lighting infrastructure, allow performances to take place in spaces all over the building and in any combination.
▼艺术中心室内，大厅台阶上放置座椅，interior view of the art center with the stair chairs ©Nicholas Hartwright
在这种渐进的叙事方法的背景下，在2015年的令人震惊的大火中被摧毁的Grand Hall大厅的重建工作也得以被囊括进本次项目中，同时也是另一个具有重大意义的改造契机。在大火中得以幸存的部分结构砖墙被重新固定和修复，以支撑改造后的屋顶，同时，受毁于大火中的由纤维灰泥打造而成的装饰性拱形天花板图案的启发，建筑师设计了一个新的由胶合板打造而成的拱形格子图案的天花板，该天花板从建筑侧墙处开始，横跨整个大厅，同时遵循原建筑的原始曲率。隐藏在格子图案的天花板上方屋顶内的新型技术设施保证了室内的自然通风和更加多变的声学环境，从而提供了更多元化的剧场可能性，以适应各种演出活动如朗诵类表演、戏剧、节日庆典、婚礼、爵士乐摇滚乐和管弦乐等演奏会等等。大厅和其周围走廊的的墙体表面保留大火后的原貌，凸显出一种丰富性和复杂性，给人一种独特之感， 同时，墙壁上还设置有由Haworth Tompkins和产品设计师Robert McIntyre设计的吊灯，照亮了整个空间。
▼Grand Hall大厅模型局部，屋顶总共三层，分别为天花板、技术设施层和屋面，model of the Grand Hall whose roof consists of the ceiling, the technical infrastructure layer and the roof layer ©Haworth Tompkins
▼Grand Hall大厅格子图案的天花板组装过程，Grand Hall lattice ceiling assembly
▼未组装前Grand Hall大厅格子图案的天花板的图层构成图，unrolled Grand Hall lattice ceiling layer diagrams
▼组装后Grand Hall大厅格子图案的天花板细节图，rolled Grand Hall lattice ceiling details
In the context of this incremental, narrative approach, the rebuilding of the Grand Hall after the shocking fire that partially destroyed it in 2015, was able to be assimilated into the project as another, albeit highly significant, moment of evolution and change. The structural brick shell that survived the fire has been stabilised and repaired to support reconstructed roofs, while the pattern of the original decorative fibrous plaster barrel vaulted ceiling, lost in the fire, has inspired a new plywood lattice ceiling which springs from the flanking walls and follows the same curvature as the original. New technical infrastructure concealed in the roofspace above the lattice ceiling allows natural ventilation, a far greater theatrical possibility and a variable acoustic to suit a range of events such as spoken word, drama, festivals, weddings, gigs and orchestral recitals. The surfaces of the walls of the hall and its surrounding corridors have been conserved ‘as-found’ in their extraordinary, almost Pompeiian post-fire richness and complexity, illuminated by pendant lamps designed by Haworth Tompkins and product designer Robert McIntyre.
▼Grand Hall大厅，采用拱形的格子图案天花板，the Grand Hall with vaulted lattice ceiling ©Fred Howarth
▼Grand Hall大厅，格子图案的天花板两侧连接砖墙，遵循原建筑的曲率，the Grand Hall, the lattice ceiling springs from the flanking walls and follows the same curvature as the original ©Fred Howarth
▼Grand Hall大厅天花板细节，details of the lattice ceiling of the Grand Hall ©Fred Howarth
▼带有格子图案的木制天花板细节，details of the timber lattice ceiling ©Philip Vile
▼Grand Hall大厅天花板单体原型，the Grand Hall ceiling prototype ©
▼隐藏在Grand Hall大厅天花板之上的技术设施空间，the Grand Hall technical gallery ©Philip Vile
Grand Hall大厅内原有的风琴被重新安置在了阳台上，以便能够更加灵活地组织大厅空间。庆幸的是，在火灾发生时，许多由Robert Hope-Jones设计的风琴组件都在别的地方进行检修，因此，设计师如今得以机会将它们以一种全新的、更加解构的方式进行重组，从而向人们展示风琴内部的机制。可拆卸的观众席座位和长廊式画廊与阳台相连接，可通过重新布置来为特定的活动提供空间。此外，建筑师与艺术家Jake Tilson 合作，对Grand Hall 的吧台进行了翻修。值得一提的是，艺术家Jake Tilson在火灾发生后的几周内精心记录了受损的织物， 并将这些收集到的图像做成了一个充满活力的背景板装置，作为酒吧的背景墙体。
The Grand Hall organ has been relocated to the balcony to enable more flexible use of the hall floor. Many of the original Robert Hope-Jones designed organ components were off-site being restored at the time of the fire and will be reinstated in a new, more deconstructed arrangement to showcase the inner mechanism. Demountable audience seating and promenade galleries connect to the balcony and can be configured to suit specific events. The Grand Hall Bar has been refurbished in collaboration with the artist Jake Tilson, who meticulously recorded the damaged fabric in the weeks following the fire and has made a vibrant back bar installation with some of the resulting images.
▼Grand Hall吧台，背景墙由火灾后受损织物的图片组成的背景板组成，the Grand Hall Bar with the back bar installation with some of the images of damaged fabric in the weeks following the fire ©Fred Howarth
▼Grand Hall吧台局部，背景墙使整个空间充满活力，partial view of the Grand Hall Bar, the back bar installation brings a vibrant feeling to the space ©Fred Howarth
建筑师将Grand Hall大厅下方的Lower Hall下厅区域与BAC结合，将其设计成了一个名为Scratch Hub的全新的创意共享工作空间。该空间为当地的企业、初创企业、艺术家、创意公司、慈善机构和社会企业等提供了一个落脚点。从外部看，新的标志性横梁如外科手术般地被插入建筑的外立面，从而精确地限定出建筑的入口，同时改造室外的硬质铺地和景观，以提高建筑的可达性。此外，建筑师还对沿着建筑东立面向下延伸的市政厅大道（Town Hall Road）进行景观美化，以创造一个带有种植槽的社区花园和户外休息区的共享区域。
The Lower Hall area, below the Grand Hall, has been redesigned with BAC into a new creative co-working space called the Scratch Hub. This provides a home for local businesses, start-ups, artists, creative companies, charities and social enterprises. Externally, new signage beams have been surgically inserted into the façade to pin-point entrances to the building and hard landscaping modified to improve accessibility. Town Hall Road, running down the east elevation of the building, is being landscaped to create a shared territory with community garden planter beds and outdoor seating areas. This is due for completion in Spring 2019 and will complete the current cycle of creative capital transformations to the building.
▼Grand Hall大厅走廊，corridors of the Grand Hall ©Fred Howarth
之后，我遇见了建筑师Steve Tompkins以及来自建筑事务所Haworth Tompkins （HT）的设计团队。经过交流，我们立即将HT所提出的即兴设计戏剧空间的概念与巴特西艺术中心（BAC）之前所设想的邀请公众参与进项目设计的想法联系在了一起。我们致力于通过实践来进行建筑设计，从而将艺术中心的建筑和组织单位逐渐变得更加开放、更加具有渗透性、更加自由、更加有趣。建筑事务所Haworth Tompkins并不为本项目提供建筑的‘解决方案’，而是成为了我们艺术团队的一部分，帮助我们来思考巴西特艺术中心的未来。反过来，我们社区里的员工、艺术家甚至是当地的居民，则成为了本项目设计团队中的一员。
▼Grand Hall大厅走廊，corridors of the Grand Hall ©Fred Howarth
Battersea Arts Centre Artistic Director David Jubb: “When we began to explore the potential to develop our building through a conventional architectural process, I quickly got scared. The process was to dream up ideas through consultation – and then commit, design and build them. But what if those ideas were horribly wrong?!
Then I met Steve Tompkins and the team from Haworth Tompkins (HT). We made an instant connection between HT’s improvised approach to the development of theatre spaces and Battersea Arts Centre’s (BAC) Scratch process which invites people to feedback on new ideas. We committed to making architectural discoveries through practical experimentation, gradually making both the building – and the organisation – more open, porous, permissive and playful. Haworth Tompkins did not just offer architectural “solutions”; instead they became part of our programming team; helping us to think about the future for BAC. In turn, our community of staff, artists and local residents became part of the design team.
Back in 2005, it would, I think, have been impossible to imagine what we now have in 2018. Because the organisation has changed in tandem with the capital project. We now have children’s play spaces, artist bedrooms, a promenade performance environment, an open air theatre, allotments for neighbours, a hub for social entrepreneurs and so on. Alongside all this physical change, so our organisation is transformed too – even our core purpose has evolved “to inspire people to take creative risks to shape the future”. We owe a debt of gratitude to an architectural practice who don’t just do design, they also do cultural change.”
▼Grand Hall大厅走廊细节，保留部分在大火中损坏的砖墙，details of the Grand Hall corridors, retaining part of the brick walls destroyed in the fire ©Philip Vile
建筑事务所Haworth Tompkins的主管Steve Tompkins这样说道：“很荣幸能够成为这个漫长的建筑实验之旅的一部分。实际上，在整个BAC改造扩建项目的进程中，在大部分设计上，我们都会根据对环境的实时评估和反馈来不断地进行必要的设计改动。我认为，这能够帮助我们更好地面对曾经的大火对Grand Hall大厅所造成的毁灭性冲击，同时找出最具创造性的重建方式。作为建筑师、艺术家、制作人，甚至是更大范围中的一般社区成员，我们希望能够将BAC打造为一个共享的、具有创造性的项目，使得每一个置身于其中的人们都能融入其中，而对我们来说，通过过去长达12年的合作，这一雄心壮志已经实现了。”
Haworth Tompkins’ Director Steve Tompkins: “It’s been such privilege to be part of this long, experimental journey. In true BAC style, much of the work has been improvised and tuned as we went along through constant reappraisal and feedback, responding to circumstances and changing our plan when needed. I think this equipped us well to face up to the shock of the Grand Hall fire together and work out the most creative way to rebuild. As architects, artists, producers and members of the wider community, we set out to make BAC a place where everyone can feel part of a shared, creative risk-taking project, and for us the last twelve years’ collaboration has already fulfilled that ambition.”
▼Grand Hall室内楼梯，the staircase of the Grand Hall ©Fred Howarth
Cumulatively, these transformations have resulted in the reconfiguration of the entire interior to allow the possibility of multiple, interconnected performance, heritage and community uses, equipping BAC for the next phase of its life as a resilient cultural building in a fast-changing world.
▼艺术中心首层平面图，ground floor plan of the arts center
▼艺术中心二层平面图，first floor plan of the arts center
▼艺术中心三层平面图，second floor plan of the arts center
▼艺术中心屋顶平面图，roof plan of the arts center
▼艺术中心地下平面图，lower ground floor plan of the arts center
▼Grand Hall大厅平面图（带反射在地面上的天花板图案），Grand Hall reflected ceiling plan
▼艺术中心东立面图，east elevation of the arts center
▼艺术中心南立面图，south elevation of the arts center
▼艺术中心北立面图，north elevation of the arts center
▼艺术中心西立面图，west elevation of the arts center
▼艺术中心纵向剖面图，long section of the arts center
▼艺术中心横向剖面图，cross sections of the arts center
▼Grand Hall大厅横向剖面图，cross sections of the Grand Hall
▼Grand Hall大厅横向剖面图，cross sections of the Grand Hall
BATTERSEA ARTS CENTRE – GRAND HALL REBUILD PROJECT DATA
Address: Lavender Hill, London, SW11 5TN
Project Start Date: March 2015
Completion Date: August 2018
Construction Cost: £11 million
Gross Internal Area: 2,396 m2
Cost per sqm (approx.): £4,590
Grand Hall audience capacity (seated): 300 – 600 people depending on arrangement
Grand Hall audience capacity (standing): 1000 people
Grand Hall dimensions: 36 m long x 17 m wide x 10 m high 570 m2
Grand Hall internal floor area: 570 m2
Client: Battersea Arts Centre
Architect: Haworth Tompkins
HT Design Team: Steve Tompkins, Toby Johnson, Martin Lydon, Imogen Long, Emma Tubbs, Tomoyo Arimoto, Madeleine Kessler
Theatre Consultant: Theatreplan
Structural Engineer: Heyne Tillett Steel
Services Engineer: Skelly & Couch
Acoustic Engineer: Gillieron Scott Acoustic Design
Quantity Surveyor: Bristow Johnson
Contract Administrator: TGA
CDM adviser: PFB Construction Management Services
GH Bar artwork: Jake Tilson
Light Fittings: Haworth Tompkins/Rob McIntyre
BATTERSEA ARTS CENTRE – MAIN WORKS PROJECT DATA
Address: Lavender Hill, London, SW11 5TN
Project Start Date: March 2009, and in multiple phases until
Completion Date: August 2016
Construction Cost: £8.2 million
Gross Internal Area: 3229 m2
Client: Battersea Arts Centre
Architect: Haworth Tompkins
HT Design Team: Steve Tompkins, Toby Johnson, Martin Lydon, Imogen Long, Noelia Pickard, Andreia Guilherme, Will Mesher, Irfan Alam, Tom Gibson, Joanna Sutherland, Holly van de Coevering
Contractor: 8Build, Ashe, Gilbert-Ash
Structural Engineer: Price & Myers, Heyne Tillett Steel
Services Engineer: Skelly & Couch, XCO2
Acoustic Engineer: Gillieron Scott Acoustic Design, SoundSpaceDesign
Quantity Surveyor: Bristow Johnson
Signage: Jake Tilson
项目标签 设计公司: Reed Hilderbrand LLC Landscape Architecture 位置: 美国 ... 阅读全文
“The quality of the restoration, the consistency with the Olmsteds’ original vision, the fact that anyone would do this—buy a parcel of land, tear down a house to restore a garden—seemed that it ought to be acknowledged in some way”
– 2018 Awards Jury
来自 ASLA 对gooood
该项目对蓝色花园（The Blue Garden）进行了扩建并为之赋予了新的活力。蓝色花园由Olmsted兄弟设计于20世纪初期，尽管并未受到重视，但仍有着重要的价值：它展现了“乡村时代”（Country Place Era）的美国园林所具有的典型意式特征，为人们带来了一个多彩的聚会和社交场所，同时也反映了其主人Harriet James Curtis热情友善的性格特征。与最初的花园一样，本次的更新项目也得到了赞助人的慷慨支持，他们都认识到了花园所蕴含的重要历史意义，并期望它能够在未来的100年间继续生存和发展。方案以Olmsted兄弟的原始设计为基础，对花园进行了更新和调整，使其能够更好地适应气候的变化和现代维护标准，同时用花期更长、耐旱性较好的多年生植物代替了一年生的、养护成本较高的植物。通过保护和恢复周边的土地环境，蓝色花园得以避免快速城郊化的影响，成为名一座名副其实的“hortus conclusus”（拉丁语，意为封闭的花园）。
This project gives new life and expanded regional prominence to The Blue Garden, a neglected yet significant early 20th-century garden designed by Olmsted Brothers, which exemplified Italianate traditions of the Country Place Era of American gardens, and offered a place of jubilant social gatherings reflecting the colorful personality of its client, Harriet James Curtis. Just as the original garden benefitted from generous patronage, so this site has been revitalized by a patron who both recognized its historical importance and realized what is required for it to survive the next 100 years. The scheme adapts the original Olmsted Brothers’ design intentions to a changing climate and to the constraints of contemporary maintenance levels, with a smaller palette of more reliable, longer-flowering, drought-tolerant plants, and greater use of perennials in place of labor-intensive annuals. The enclosed Blue Garden is intensified as a hortus conclusus by preserving and reestablishing the agrarian context that surrounds it – a profound commitment by the new owner to stave off rapid suburbanization of the island.
▲传承文化符号：在变化的环境中实施管理和保护。Sustaining a Cultural Icon. Reconciling Preservation and Stewardship in a Changing World
1911年，Harriet Parson James和她的丈夫Arthur Curtiss委托Olmsted兄弟在纽波特的Aquidneck岛设计了占地125英亩的Beacon Hill庄园。蓝色花园是该项目的一部分，它镶嵌在该区域的一个外露的岩床内。得益于主人的精心维护，花园随着时间的推移逐渐成为一个美丽而诱人的神秘之地。长青的树木、墙壁和凉廊共同围合出一个可爱而富有生气的、种满了蓝色花卉的中心地带。一条水渠沿着花园的轴线延伸，将正方形的睡莲池和狭长的蓝色瓷砖水池连接起来，另有一系列喷泉点缀其间。
▲修复后的蓝色花园：1911年的景观艺术作品得到了修复和重新诠释，从而能够不断地生长和发展下去。The Rehabilitated Blue Garden. The 1911 work of landscape art has been rehabilitated and reinterpreted for future generations.
▲场地平面图：以Olmsted兄弟的初始设计为基础，该方案使蓝色花园适应了21世纪的气候条件和维护标准。 Site Design. The plan recaptures the deteriorated Olmsted Brothers-designed Blue Garden, adapting it for 21st century climate and maintenance constraints.
▲原始场地鸟瞰：1913年的地图展示了蓝色花园的方位，它属于占地125英亩的Beacon Hill庄园。原先的土地在后来被分为几部分出售，蓝色花园被包含在其中一个地块内。Historic Aerial View. An aerial view from 1913 shows the extent of the James’s 125-acre Beacon Hill House estate in Newport, with The Blue Garden located. The original landholding was later subdivided – one of the properties incorporated the Blue Garden.
▲蓝色花园的周边环境（2017年）：受保护的乡村用地原本也是庄园的一部分，从某种程度上为花园提供了北向和西向的保护。Context of The Blue Garden (2017). Rural conservation land, originally part of the James’s estate, extends beyond The Blue Garden, thereby preserving the garden’s original northerly and westerly context.
▲花园主轴线的原貌（左）和修复后的样子（右）：在1980年代修建的房屋占据了花园的土地。在拆除了房屋并移除树木之后，花园的主轴线得到了恢复，并通过水渠将一系列水池和喷泉连接起来。(left) Existing Conditions c. 2010 (right) Detail Of Main Axis. (Left) Remnants of the garden’s features existed in the back yard of the 1980s house, which was constructed over the garden’s west apse. (Right) With the house demolished and volunteer trees removed, the garden’s main axis, defined by a series of pools and fountains along a channel, was rehabilitated.
▲从瓷砖铺设的泳池望向凉廊，其周围种满了不同品种的常绿树木。The Pergola. Looking south down the tiled pool towards the pergola, with the space framed by mixed evergreen trees.
▲越过轴线望向花园东门，视野中是一片青翠的草地。Across The Axis. Looking across the axis to the east gate, framing a view of the adjacent meadow.
▲侧面路径视角：盛夏季节，植物散发出与原始花园相同的香气和光泽，但实际的植物种类只有原先的一半。View From Side Paths.In high summer the garden captures the fragrance, effulgence and intensity of the original scheme while using half the number of plant species.
▲简化的配色：以白色、灰色、蓝色和紫色为主的种植方案。Simplified Palette. Detail of the white/gray/blue/purple planting scheme.
▲花园中的建筑：南面的凉廊提供了俯瞰花园和乡村景观的视野。Structures. The pergola at the south end of the garden provides an elevated vantage of the garden and the rural landscape beyond.
▲花园周围分布着一系列小路，蜿蜒地穿过混合常绿树木和草地。从蓝色花朵的缝隙中可以瞥见外部的农田景观。Beyond The Blue Garden.Around the garden, a network of mown paths meander through mixed evergreen trees and grassland, with hints of the blue-flowering perennials and occasional glimpses of the surrounding agrarian landscape.
▲长青树林和草坪：高度不同的常青树在保护和围合花园的同时增强了抵达花园时的探索感。Evergreen / Grassland Frame. Diverse evergreens, varying in height, enclose and protect the garden, intensifying the sense of discovery upon arrival to the garden.
▲过渡景观：常青树构成的屏障为原生草地让出了空间。The Transitional Landscape. The garden’s evergreen frame gives way to native grassland.
▲外部景观：花园中的路径和草坪向南方延伸出去，与附近的基岩和灌木丛形成连接。The Outer Landscape. The paths and grasses extend southward from the garden to join the adjacent fields of exposed bedrock and scrubland.
PURPOSE: Restore and Reinterpret
In 1911 Harriet Parson James and her husband Arthur Curtiss commissioned Olmsted Brothers to design their 125-acre estate, Beacon Hill House, near the tip of Aquidneck Island in Newport, RI. As part of the ambitious plan, they developed The Blue Garden, shaped within a hollow of exposed bedrock characteristic of the area, which, over time and with great devotion, became known as a mythic place of alluring beauty. Here, within an enclosed frame of evergreens, walls and pergolas, visitors found an effulgent, classically disposed garden of blue flowers. Along the length of the axis of the formal beds, a channel of water connects a square pool of water lilies with a long pool of blue tiles inspired by Persian rugs, punctuated by fountain jets.
For many years, the Garden served as the center for Newport’s social scene, and as a stage for elaborate parties replete with amusing theatrical pageants. Most legendary was the garden’s opening dedication, the”Masque of the Blue Garden” in 1913, where costumed troupes of actresses and dancers emerged from a giant seashell and frolicked through the fountains.
After the death of the Curtises in 1941, the estate was subdivided, with The Blue Garden falling within one of the small property plots. Subsequently a large house was built across the garden’s main axis, destroying a third of the garden’s form. By the early 21st century, the remnants of the garden were in disrepair and the site was overtaken with trees.
In 2012, a neighbor devoted to preserving historic places acquired the property with the hope that she could recapture this place of folklore. Building upon her life-long passion for gardens and historic preservation, she set out to rejoin the remnants of the garden with conserved farmland to the west, which had also been part of the original estate. The mandate to the design team: restore and reinterpret The Blue Garden, and its context, as a sustainable site for future generations to learn about Newport’s extensive designed landscape legacy.
PROCESS: Deep Research, Conceptualization, Interpretation
With only fragments remaining of the original garden, the challenge was threefold: to research and document the Olmsted Brothers’ plan as an expression of the James’ patrimony and garden making traditions of the era; to evaluate the site’s cultural significance; and to reinterpret the garden for the 21st century. Working with historians, masonry conservators, and horticulturists, the landscape architect led a lengthy period of intensive documentary research, which surfaced a multitude of plans of the original garden.
The Olmsted firm’s planting scheme incorporated a complex palette that relied heavily upon bedding-out practices, supported by a bevy of gardeners, to maintain the garden in prime condition. The proposed planting plan develops a new model whereby horticultural dependability, drought tolerance, ease of maintenance, and longevity of bloom are factors of importance equal to the blue, purple, white and gray-green hues and the interplay of textures, height, and seasonal diversity of the original scheme.
The scheme for the garden’s context, originally conceived as a frame of diverse evergreen trees dispersed among the rock outcroppings to enclose and protect the garden, also was simplified and tailored. The landscape architect proposed new mixed evergreen plantings of appropriate heights for the garden’s light requirements, strategically placed to screen adjacent development or to frame vistas of the preserved agrarian landscape. Paths weave through the native evergreen plantings to offer closer experience of the exposed glacial topography.
SIGNIFICANCE: A Progressive Restoration
The renewal of The Blue Garden raises public awareness of an era in Newport’s development, and of promoting the wise and targeted use of resources for the purpose of recapturing a work of landscape art for future generations. The landscape architect led a multi-year effort with a team of devoted experts, contractors and caretakers inspired by the vision of its original designer and the insistence of its current patron to make the garden’s restoration relevant to contemporary times. Historians have described the artistry of the Olmsted firm as not only encompassing pictorial and spatial dimensions, but also time – in their work they anticipated the inherent change that is inevitable with a dynamic medium like landscape. The rescue of The Blue Garden demonstrates a progressive purpose to reconcile preservation and stewardship in light of an ever-changing world.收起全文
项目标签 设计公司: 中国建筑设计研究院有限公司 位置: 中国 类... 阅读全文
“Cangge” – The design of Holiday Inn Express Beijing Shougang Silo-Pavilion was started in November, 2015 and completed in July, 2018. Located in the northern part of the old industrial zone of Shougang, it was transformed from the 1st blast furnace air compression station, the returning coke and ore bunker, the low-voltage power distribution room, the N3-18 transfer station, etc. four industrial buildings into a distinctive boutique hotel. It also provides shifts accommodation services for the staff of the Beijing 2022 Winter Olympic Organising Committee.
▼由客房阳台远眺首钢工业景观，the industrial context seen from the hotel balcony
The original abandoned and ready-to-be-demolished industrial buildings and their spatial, structural and external morphological features are preserved to the utmost extent. And new structures are inserted into them and stacked several layers to accommodate future functions: the lower long span factory – “Cang” is used as a public Lebensraum, and the upper guest room – “Ge” floats above the factory building. The juxtaposed “Cang” reserved together with the “Ge” superimposed on it, form a strong contrast between the old and new. At the same time, some parts of “Cang” have been added with new components such as metal awnings and outdoor stairs. On the basis of using glass and metal, “Ge” has partially used materials such as wood and other materials with warmth and vitality. All of above help “Cangge” realize a complex and delicate balance between artificial and nature, industry and dwelling, history and future.
▼首钢工舍与远处的热风炉，the Holiday Inn Express Beijing Shougang Silo-Pavilion and the adjacent air stove ©陈颢
▼自西南望首钢工舍，view to the Silo-Pavilion from southwest ©陈颢
▼室外楼梯，outdoor staircase ©陈颢
▼改造前西南鸟瞰照片，aerial view of the original site ©郑旭航
The old and new buildings interspersed here create an exciting inner world. The “Cangge” North District was reconstructed from the original 1st blast furnace air compressor station. The east and west gables as well as the end span structures of the original building were preserved. The components of distinctive industrial characteristics such as crane beam, wind-resistant column, inter-column support, air compressor foundation, etc. are dramatically exposed in the public space of the lobby. The new structure is shrunk from the bottom to the upper. The roof skylight diffuses evenly through the transparent film to the circular corridor, making the entire guest room area full of tranquility, and the scattered towering lighting atrium forms a ceremonial “tower” type cavity in “Ge”. The artistic lamps hang down from the skylights, liking a light and empty metal canopy, softening the quiet and tough space form, and forming a vivid contrast with the original rough industrial remains.
▼门厅完整保留原厂房结构， the components of distinctive industrial characteristics are dramatically exposed in the public space of the lobby ©陈颢
▼大堂吧，裸露的混凝土构件为原空压机基础，lobby bar: the exposed concrete structure was used as the foundation of the air compressor ©陈颢
▼客房层公共空间，public space of the guest room level ©陈颢
▼原N3-18转运站被改造为楼梯间，the old N3-18 transfer station was renovated as the stair well ©陈颢
The “Cangge” South District was transformed from the returning coke and ore bunker, the low-voltage power distribution room and the N3-18 transfer station. The three sets of huge metal hoppers of returning ore bunker and overhauled stairs are completely retained inside the all-day dining room. The bottom discharge hole of the hopper is transformed into the air conditioning vent and lighting source of the dining space. And the interior of the upper hopper is transformed into a bar, in which the guests enjoy a unique space during the walk. The guest rooms have got deep eaves, which forms an extended horizontal field of view. Leaning on a balcony looking at the distance, people can overlook the Xishi Winter Olympics Plaza and the natural scenery of the distant Mount Shijingshan.
▼全日餐厅，all-day dining room ©陈颢
▼料斗下部出料口改造为就餐空间的空调风口与照明光源，the bottom discharge hole of the hopper is transformed into the air conditioning vent and lighting source of the dining space ©陈颢
▼利用返矿仓改造成的酒吧，the bar was transformed from a huge metal hoppers of returning ore bunker ©陈颢
▼经过清理的金属料斗内部可供参观，the upper hopper now functions as the bar corridor for visiting ©陈颢
During the design process, the architect and the structural engineer worked closely together to carry out a comprehensive structural inspection of the original building, and determined the structural treatment plan combining demolition, reinforcement and retention. Thanks to the particle jet technology which is used to clean the exterior coating walls that need to be preserved, the dirt is removed while the traces of history are remained intact.
▼南北区之间的天井，the patio between the north and south campus ©陈颢
“Cangge” is one of the most complete preserved old buildings in the Xishi Winter Olympics Plaza. The design respects the authenticity of the industrial remains, continues the historical memory of the old industrial zone of Shougang, and presents the poetry and tension of the place through the collision between the old and new and the interactions in function and form. “Cangge”, once an indispensable node in Shougang’s production line, has now become a compelling example of city regeneration and is highly compatible with the sustainable concept of the 2022 Beijing Winter Olympics.
▼自冬奥组委办公区望首钢工舍，view from the administration area of Xishi Winter Olympics ©陈颢
▼改造前原状，the original site ©郑旭航
▼首层平面图，plan level 1
▼六层平面图，plan level 6
Project name: Holiday Inn Express Beijing Shougang Silo-Pavilion
Architect’ Firm: China Architecture Design and Research Group
Contact e-mail: email@example.com
Lead Architects: Li Xinggang, Jing Quan, Li Liang, Tu Jiahuan, Zheng Xuhang, Tian Cong, Gao Yang, Zhang Wenjuan, Wang Zichun, Li Xiuping, Xu Songyue, Ma Zhuoyue, Xing Rui
Project location: Beijing
Completion Year: 2018
Gross Built Area (square meters):9,890㎡
Photo credits: Chen Hao, Zheng Xuhang
Structure: Wang Shuyue, Guo Junjie, Ju Yi
Engineering: Shen Jing, Hao Jie, Zhu Xiujuan, Meng xin, Zhang Yiqi, Gao Xuewen, Wang Xu, He Xueyu, Li Baohua, Zhang Hui, Wang Hao
Interior: Cao Yang, Ma Mengxue, Zhang Qiuyu, Zhang Yangyang, Li Xiaofei
项目标签 设计公司: SPINN Arkitekter 位置: 挪威 ... 阅读全文
SPINN Arkitekter (挪威) 和 FORMAT Engineers (英国)合作设计并建造了位于北极圈内一座令人惊叹的徒步旅行小屋。2015年夏天，挪威徒步协会（DNT）Hammerfest分会决定建造两座简单而温暖的小屋，作为促进城镇周边山区徒步旅行的设施。项目要求很简单：“我们想要一座带有窗户的徒步旅行小屋，内部有燃烧木材的壁炉和简单的长椅，小屋设置在山顶附近并且需要适宜所处的地形。”
SPINN Arkitekter (NO) and FORMAT Engineers (UK) have collaborated on the design and realisation of a stunning new mountain hiking cabin above the arctic circle. In the summer of 2015 the Hammerfest chapter of The Norwegian Trekking Association (DNT) decided to build two simple warming huts to promote hiking in the mountains around town. The brief was simple – “we imagine a small hiking cabin with good windows that has a wood burning stove and simple benches, placed near the top of the mountain and designed such that it suits the terrain”.
▼山顶上与地形相结合的小屋，the cabinet is on the top of the mountain and suits the terrain ©Tor Even Mathisen
▼小屋一侧拥有朝向景观的大窗户，windows on one side of the cabinet has a great view towards landscape ©Tor Even Mathisen
▼室内配备有壁炉和家具，fireplace and interior furniture are installed in the warming space ©Tor Even Mathisen
SPINN took up the challenge and produced a sketch design in the summer of 2015. “Varden” was conceived as an organic wooden structure that fit in with the local terrain, could withstand the harsh polar winter conditions of the area, provide hikers with a warm and inviting rest stop, and be an attraction in itself. To translate sketches of an organic wooden shell into reality, SPINN contacted their long time collaborators FORMAT Engineers to help them transform a double-curved wooden “rock”into a structure that could be manufactured precisely enough to be built on top of a mountain by a group of local volunteers.
▼双曲线外壳研究，study of the double-curved wooden shell ©SPINN
The sites were mapped in 3D using a drone and photogrammetry software to give a detailed map of the surface which was used as a baseline for form-finding. The initial shapes made by the architects in Sketchup and Rhino were further optimized and transformed by the engineers using Kangaroo and Grasshopper, together with some customized scripting tools developed by FORMAT. The result was a wooden cross-laminated timber shell with 77 unique panels that fit together like a 3D puzzle.
▼小屋外观是77块像三维拼图装配在一起的木板，the exterior was a wooden cross-laminated timber shell with 77 unique panels that fit together like a 3D puzzle ©SPINN
设计在模拟风力条件下进行测试，确保小屋能够承受冬季极地风暴和极端的风力环境。雪地模拟测试确保入口不受积雪阻挡。根据面板之间的结构力确定结构所使用的螺钉和加固构件的正确类型。3D打印用来测试结构如何能够组装在一起以及测试外部覆盖层的不同选择。SPINN 与 FORMAT 的设计与业主的期待完全不同，并且预算更高，但他们决定设法建成项目。团队制作了视觉设计产品和动画为项目众筹集资宣传。当地企业志愿提供材料和服务，Kebony捐赠了外部覆盖层的材料。按照计划，徒步协会负责将材料运输到山顶场地。
The design was tested against simulated wind conditions to make sure that it would withstand winter arctic storms and extreme wind conditions. Snow simulations were performed to ensure that the entrance will remain snow-free as intended. Structural forces between the panels were determined to specify the correct type of screws and fasteners for the construction. 3D printing was used extensively to test out how the construction would fit together, and to test cladding options for the exterior.The design proposed by SPINN and FORMAT was something very different than the client expected, and had a higher budget, but they were determined to find a way to get the project built. A visualisation and animation were made as part of a crowdfunding effort to raise the money necessary to realize the project. Local businesses volunteered materials and services, and Kebony donated materials for the exterior cladding. According to the plan, the hiking association members would be responsible for raising the structure and transporting it to site.
▼外部覆盖层利用不同的螺丝和加固构件，the exterior shell used different type of screws and fasteners for the construction ©SPINN
▼装配步骤，assembly stages ©SPINN
▼平台及外壳装配图示，assembly cladding&terrace ©SPINN
▼外部面板装配图示，assembly cladding panel ©SPINN
In the end it was decided to build the structure in a controlled warehouse environment, where it would be put together and tested, then partially demounted for transport. One group of enthusiastic volunteers got the main structure of prefabricated CLT panels mounted together over a period of 4 workdays. Another group was responsible for cutting and measuring the frames and panels for the outer cladding based upon 1:1 drawings from SPINN.The volunteers used over 1500 hours on the construction of one cabin, plus the outer cladding for both. The only professional work on the project was the two-layer bitumen waterproofing of the shell, and pouring of the foundation on site. Split into two pieces, the first cabin was loaded onto a flat bed lorry and driven to Storfjellet. It was then lifted into place and winched together. The window, fireplace, ramp and interior furniture were all fitted into place on site.
▼小屋组装和装配，the assembly of the cabinet ©DNT Hammerfest
▼夕阳景色中的小屋，cabinet in a sunset view ©Tor Even Mathisen
▼温暖的室内，warm interior ©Tor Even Mathisen
Thus far the first cabin has been a great success, and has increased the traffic to Storfjellet significantly so far. The second cabin will be built on Tyven, a mountain on the other side of Hammerfest such that the two cabins will stand watch over the city and look over to each other across the beautiful arctic landscape of Hammerfest.
▼小屋极光景色，cabinet with polar lights ©Tor Even Mathisen
▼外壳图解模型，shell sequence ©SPINN
Client: Hammerfest og Omegn Turlag – https://hammerfest.dnt.no/dagsturhyttene/
Place: Storfjellet and Tyven in Hammerfest, Norway
Time: Storfjellet completed 2018, Tyven to be built in 2019
Area: 15 m2
Budget: 100,000 EUR per cabin (includes a great deal of volunteer hours for construction)
Architects: SPINN Arkitekter, Oslo, Norway – www.spinnark.no
Structural Engineers: Format Engineers, Bath/London, UK – http://formatengineers.com/
项目标签 设计公司: Corpo Atelier 位置: 葡萄牙 ... 阅读全文
Inside a white box, three differently configured yellow objects are individually placed. As an immediate consequence, one ́s physical experience of the previously empty space has been dramatically altered. The perception of one ́s movement, of the box ́s limits and of the position of the yellow objects is now inevitably intertwined.
▼公寓室内空间概览，view of the interior
▼黄色构件作为古典建筑元素抽象表达：横梁、倒下的柱子和柱础，yellow objects resemble an abstraction of the classical architectural elements: an architrave, a fallen column and a plinth
Their significance, however, remains unclear. Under closer inspection, their shape might resemble an abstraction of the classical architectural elements: an architrave, a fallen column and a plinth, arranged separately as a puzzle, only to be revealed when mentally placed together, evoking the experience of a (possible) site specific sculptural piece that engages with the containing space of a gallery room. Or perhaps, these yellow objects only hold objectual value as (possible) pieces of furniture, produced to store other smaller objects both inside and atop of them.
▼黄色构件根据特定的家庭用途标记和限定不同的区域-起居室与门厅，yellow objects mark and define different areas according to a specific domestic use-entrance hall and living room
In such scenario, their arraignment might be justifiable simply as a naive attempt to create some kind of spatial hierarchy in a wall-less apartment, marking and defining different areas according to a specific domestic use: an entrance hall, a central living room and a bedroom with a panoramic view. It’s never truly clear which of these possibilities might be accurate, or, if any actually is.
▼黄色构件像拼图一样分散在空间中，yellow elements arranged separately as a puzzle
▼全景卧室，a bedroom with a panoramic view
▼界线模糊的空间，the definition of the space is blur
Tipology: Apartment Refurbishment
Location: Vilamoura . Portugal
Architecture: Corpo Atelier (www.corpoatelier.com)
Team: Filipe Paixão Rui Martins Susana Café
Constructor: Window to the Future (www.wtfc.pt)
Photography: Alexander Bogorodskiy (www.photoshoot.pt)
项目标签 设计公司: Jun Igarashi Architects 位置: 日本 ... 阅读全文
来自 Jun Igaras
Charles Moore says, “When I see the map, the coastal rich variety such as bays and ports, islands and archipelagos, coves and estuaries is more interesting than a simple coastline where the land hits the ocean.” ” And the room is a spacious ocean ground architectural version. ”And he says “Places like complicated topography to the ocean are Alcove etc., which enables basic human actions.”
This building is a shop combined housing built in Kitami city which is the east town of Hokkaido. On this site, 3 sides face the road. A neighbor is built in the east. In the south, the neighborhood is built with a road of width 6 meters, where it fell by about 1.3 m. In the west there are two very lane roads with very high traffic on one side “Tonden-dori”.In the north is a context with elementary schools across a road with a width of 8 meters.
Three parking lots for shops that are the owner’s request were placed northwest of the site that allowed smooth access to the premises. We placed the transport vehicle space to the east side of the site. From the approaching store approach, we developed the building’s volume so that the back yards such as trucks and container places can not be seen. In order to arrange the entrance of the store to an invisible position according to the request of the owner, we made an alley and planned that visitors pass through the courtyard.
▼从道路望向入口，entrance view from the road
▼建筑的入口较为隐蔽，进入时首先要经过一条巷道，visitors are invited to enter the building from an alley
▼弧形的空间带来引人入胜的感觉，the curved space leads the visitors to go through the other side of the building that can not be seen
If the surrounding environment is the ocean and the architecture is an island floating in the sea, the terrain affected by the context of waves and the like appears on the coast where the ocean and the island meet. Such places can have simple coasts and complex coves as well. I think that the shape of this building is the same. This store’s program is a select shop specialized in selective sake, and the couple manages the shop while living here.The interior is a curved space, and you will proceed to the back space while imagining the other side that can not be seen.The curved space is a complicated topography, it is like Alcove, and in the entire building it is the ocean, which is a double meaningful space.
▼庭院中的入口，entrance in the courtyard
A simple hospitalization at the couple is conditional, a counter is set to make a simple coastline in the ocean, the customer meets the displayed sake, and the customer purchases his own sake from the back warehouse and purchases it for himself .
▼清酒的展示台犹如一道简洁流畅的海岸线，a counter for sake display is set to make a simple coastline in the ocean
▼顾客可以从这里充分地了解商品，in this space, the customer meets the displayed sake
▼楼梯通往二层居住空间，staircase leading to the residential area on the upper floor
The plan is repeated to the second floor, and the program is renewed to the residence.This curved tube space has complexity like an river, so it has properties like Alcove. In the big space, make a small intricate entrance (sofa in the birth style). In this space, variety of miscellaneous things such as furniture, chairs and living are floating. I believe that the plane and the space that is the ocean and the cove are inevitably led by the context of context and are whereabouts.
▼隧道般的空间，a curved, tube-like space
▼沙发被设置在凹进的小空间内，the built-in seating area
▼室内细部，interior detailed view
▼首层平面图，plan level 1
▼二层平面图，plan level 2
Project Name : Corridor of the Fold
Location : Kitami,Hokkaido
Total Floor Area：142.53㎡
Designer：Jun Igarashi Architects
Building Type : shop + house
项目标签 设计公司: Felipe Assadi Arquitectos 位置: 厄瓜多尔 ... 阅读全文
非常感谢 Felipe A
The Project is located in a condominium development of 5,000-sqare-meter lots. Nevertheless, the typology reflects the configuration on a different scale, of a typical city block in central Guayaquil, with back-to-back constructions occupying the perimeter and generating patios on the interior. If we were to remove the divisions, we would have a single continuous building with a large inner patio.
The divisions between adjacent domestic spaces are marked by separate rooftops and projections on the continuous façade. Thus, they can be read as independent units belonging to a single system. Exactly as in the center of the city.
▼街道视角，view from the street
▼相互紧挨的体量围绕着场地分布，并在内部形成一个庭院， the back-to-back constructions occupying the perimeter and generating patios on the interior
▼空间的分隔通过独立的屋顶来实现，the divisions between adjacent domestic spaces are marked by separate rooftops and projections on the continuous façade
Likewise, the spaces of the house are articulated around a square central patio, with an internal corridor. The patio connects all of the spaces visually and ensures that the house has a landscape of its own. 、
▼外观细部，exterior detailed view
▼从正方形的庭院望向室内，view to the interior from the square patio
▼内部空间通过内部走廊相连，the spaces of the house are articulated around a square central patio, with an internal corridor
▼从餐厅望向庭院，view to the patio from the dining area
▼从庭院望向建筑，view from the courtyard
▼首层平面图，ground floor plan
Casa El Cortijo
2° 4’11.59″S / 79°51’21.11″O
项目标签 设计公司: 言川建筑 位置: 中国 类型: ... 阅读全文
▼学校西侧及北侧立面外观，exterior view of the west and north side
▼学校南侧外观，exterior view of the south side
▼宿舍楼立面，exterior view of the dormitories
Dayuan, the founder of the school, was once one of the best middle school linguistics teachers, later he became a businessman due to peculiar encounters. However, there is always a dream about education in his heart. For the olive tree in his dreams, he finally set off after many years of preparation.After several discussions and inevitable collisions of ideas, the architects determined the overall layout: The buildings and the sports areas take one half of the site each. Although the east-west oriented track and the dormitories are not common, the overall structure is compact, well responding to the high-speed train line, the highway entrance on the south and the main urban boulevard on the west. All the art and experience spaces are located on the ground floor; Public spaces such as roof gardens, vegetable gardens, science museum are on the top floor; Classrooms and offices are located on the floors in-between.
The ideal school buildings in Dayuan’s mind should have conversations between western and eastern cultures, and inherit the spirit from both the old times and new days. Below are the architects’ considerations and responses: There is a river in the east of the site, so a bridge that meets the functions is needed. The international school curriculum attends to both Chinese and Western cultures. A symbolic meaning of ‘connection’ is applied to a functional bridge located on the east side entrance. The complex shape of the continuous integration of the slab of the entrance arch bridge and roof allows the digital design and fabrication to take their advantages.
▼东侧主入口，main entrance on the east
▼东侧的桥是贯通东西文化的象征，a symbolic meaning of ‘connection’ is applied to a functional bridge located on the east side entrance
▼东立面镂空的红砖墙与西方古典建筑的拱形元素，the perforated pattern of the red brick wall in east facade and the arch is an important element of Western classical architecture
▼采用古今中外各种文化中普遍存在的坡屋顶造型元素，pitched roof which is a basic form in the culture at all times and in all over the world is applied in the design
▼入口处的高中部庭院，the high school courtyard
▼拱形入口细节，detail of the arch entrance
Courtyard is a basic spatial element that is common in all kinds of cultures in ancient and modern China and abroad. Pitched roof is a basic form in the culture at all times and in all over the world. Chinese tradition is to enter the building from the eave side; whereas the western world from the gable wall. Arch is an important element of Western classical architecture; to place buildings along the south-north axis and form a layered courtyard is a common method for classical Chinese architecture. The red brick façade is a common practice in Western architecture; while the white wall is widely used in classical architecture in the Jiangnan area. The perforated pattern of the red brick wall in east façade and the color composition pattern of the west façade of the dormitory source from the same part of the famous Chinese painting, Dwelling in the Fuchun Mountains. By integrating digital technology, there is no difficulty to abstract the artistic masterpiece into architectural decorative elements.
▼南侧礼仪入口，entrance on the south side
▼南侧入口楼上空间及圆形洞口，space on the upper floors of the south entrance and the round hole
▼沿着纵轴线摆放单体建筑形成层层递进的庭院，buildings are placed along the south-north axis and form a layered courtyard
▼江南地区古典建筑习惯做法的白墙立面，the white wall is widely used in classical architecture in the Jiangnan area
The primary school has two layers of courtyards with the theme of nature; three olive trees from the Mediterranean are planted in the high school courtyard with red brick walls on four sides; white walls with light wooden colored railing and roof structure are used in middle school courtyard; there is a pool of water in between middle school and high school, with eight types of aquatic plants native to Jiangnan. Olive tree represents Global vision, “Shuibaxian” (eight types of aquatic plants) reflects Chinese feeing and native sentiment.
▼小学部为以自然为主题的两进院落，the primary school has two layers of courtyards with the theme of nature
▼小学部采用明亮的颜色，bright colours are used in primary school
▼初中部白墙配以淡雅的木色栏杆和顶棚，white walls with light wooden colored railing and roof structure are used in middle school courtyard
▼初中与高中部之间的庭院内，一泓碧水种着八种原产江南的水生植物，there is a pool of water in between middle school and high school, with eight types of aquatic plants native to Jiangnan
▼水八仙池，the pool with “Shuibaxian” (eight types of aquatic plants)
▼初中部室外走廊，the outdoor walkways of the middle school
▼高中部室内光影效果，the play of light and shadow inside the high school building
▼光线充沛的室内环境，interior space with abundant nature light
The core value of this design is to involve the process and method of architectural design in the basic education process, so as to let the kids who study in the school have the opportunity to learn and experience the different form transition, by combining art and technology.
▼首层平面，ground floor plan
▼二层平面，second floor plan
▼三层平面，third floor plan
▼四层平面，fourth floor plan
▼教学楼西立面，west facade of the teaching building
Project name: Hangzhou Olive Tree School Affiliated to Beijing Foreign Studies University
Contact e-mail: firstname.lastname@example.org
Design & Completion Year: 2015-2017
Design Team: Yanchuan Liu, Xiaowei Tong, Jianlong Ma, Yuan Gong, Yumuling Zhou, Zizhuang Zheng, Jie Yang, Yali Ma, Chenxiao Duan
Digital Design: Yuanchen Wei, Zirong Zhao, Lichun Wang
Project Management: Lihua Ren
Project location: Hangzhou, China
Gross Built Area: 75950m2
Photo credits: He Chen
Partners Construction drawing design: Zhejiang Zhongshe Engineering Design
Landscape: Creative landscape design
Interior Design: Hanjia Design Group
Manufacturers: Dragon Rise Group
Supervision: Unihigh Construction Management
Clients: Hangzhou Olive Tree School
项目标签 设计公司: 怡境国际设计集团 位置: 中国 类型: ... 阅读全文
GVL design team has created a complete landscape belt which provides people with a public space where they can connect closely with the city and have more colorful experience.
The park allows people to get close to water and walk along the lakes, while people bring vigor and vitality to the park.
▼滨水步道鸟瞰，aerial view of the waterside promenade
A Space Originated from a Path
The park nestles in the waterfront greenbelt where Luxelakes Art Expo Center meets the municipal road and the lakes. It is named after the Luxelakes Art Expo Center which features sculptural buildings.
The original site is sloping towards the lake with only one sidewalk leading to other spaces. At first, GVL team had just planned to create another path that leads to the lake, which would provide more chances for people to get close to water. However, after analyzing the site conditions, GVL team adjusted the original design and renovated the space to provide more colorful experience. At last, with the reshaped terrain and the vertical transport, the originally monotonous waterfront slope was changed into a lovely and accessible space for passing, meeting and stay
▼空间生成示意，space shaping process
Reshaping the Terrain
On the one hand, the design team have integrated the sidewalk with the shore to form the rhythm of the waterfront space; on the other hand, they’ve reshaped the terrain and changed the slope into “valley” and “peak”, creating strong visual contrast.
▼原本平直的岸线被转化为具有自然特质的地貌形态，the waterfront space was reshaped into landforms with typical natural characteristics
The narrow revetment is extended towards to the lake, which makes the park more accessible and provides broader views.
▼分层、编织后的交通空间强化了场地的可达性，the multi-layered circulation has strongly improved the accessibility of the site
Over the waterfront valley hangs a footbridge which is designed in U shape to enclose the main square and the valley. The bridge connects with the entrance square at one end and the municipal road at the other end, allowing people to get close to water and have a great view of the beautiful lake. The bridge serves as the connection between human and nature, which runs through the flat ground, the peak and the valley to form an integrated space. In this space, the artificial landscapes are embedded in the rich terrain, forming the focus of the revetment space.
▼向水中顶出的人行景观桥，a footbridge extends over the waterfront
▼景观桥将平地，山峰，谷地串联起来，形成一个完整空间，the bridge runs through the flat ground, the peak and the valley to form an integrated space
▼景观桥作为艺术雕塑，成为此处的标志性场景，designed as an art sculpture, the bridge becomes the landmark of the park
The shape and lighting design of the bridge is inspired by the red lava, which dialogues with the Art Expo Center in the distance
The concept of the valley comes from the ripples of the lake
The design starts with a path and finally creates an integrated space, which is reasonable but also unexpected. The park exists in perfect harmony with the surroundings, providing people with a natural, comfortable and pleasant space.
▼整个空间与周围的环境和谐共融，the park exists in perfect harmony with the surroundings
Project: Luxelakes Eco-City G1 Art Expo Park, Chengdu
Developer: Chengdu Wanhua New Town Development Co.,Ltd.
Category: Urban Open Space
Area: 8,800 ㎡
Year of Design: 2016
Landscape Design: GVL
项目标签 设计公司: gmp 位置: 中国 类型: ... 阅读全文
非常感谢 gmp 予g
With the Shanghai Public Safety Education Training Base, a new attraction has been created in the Oriental Land park in Shanghai: a training center where children and young people can learn how to behave correctly in dangerous situations. In response to this special building brief, the architects von Gerkan, Marg and Partners (gmp) have designed a sculptural complex of buildings. A parametrically designed facade consisting of diamond-shaped metal panels emphasizes the visual impact of the building and, depending on the angle of light, seems to merge the structure with the sky and the landscape.
▼实训基地鸟瞰，Aerial view ©Christian Gahl
The Oriental Land Shanghai leisure park at the eastern shore of Lake Dianshan is located some 27 kilometers outside the city of Shanghai at Zhujiajiao in the Qingpu District. The extensive terrain in the style of a land- scape park includes a range of different exhibition areas from the fields of science, culture, and technology in combination with a wide range of sports and leisure facilities.
▼建筑坐落在东方绿洲公园内，the project is located in the Oriental Land Shanghai leisure park ©Christian Gahl
The Shanghai Public Safety Education Training Base, designed by Architects von Gerkan, Marg and Partners, was developed in close proximity to the technical exhibition complex: a training center where school children can learn how to behave correctly in dangerous situations. A range of different scenarios are presented, from everyday emergencies through to natural disasters. The school children are trained in assessing dangerous situations in everyday life and to react appropriately. Subjects include the safe handling of fire, behaving correctly in road traffic, first aid in accidents, and orderly evacuation from the underground or the school bus. Natural disasters, such as earthquakes and meteorological phenomena, including tornados and thunder- storms, are presented by way of 4D simulations. In first-aid training the school children learn, using a dummy, how to provide medical aid to an injured person.
▼基地街道西南侧视角，Street view from southwest ©Christian Gahl
▼南立面日间视角，South elevation by day ©Christian Gahl
▼建筑上层悬挑结构，Detailed view of the cantilevering upper floors ©Christian Gahl
The three-story development consists of five parallel blocks that are slightly offset from each other and whose upper floors cantilever at the ends. A central main hall running from north to south connects the building blocks, thus creating an overall building complex. The main hall has been designed as an atrium that extends through all stories and, at first-floor level, functions as a central meeting point. The different subject-specific building blocks are accessed from the lobby and the surrounding galleries. The basement has been designed in the manner of an underground station with a platform and a 1:1 scale model of an underground train. In order to replicate the real-life situation, the access routes from the atrium lobby to the underground railway station feature escalators and elevators, thus making it possible to carry out training for evacuation scenarios.
▼建筑中庭，Atrium ©Christian Gahl
▼急救培训教室，First-aid training ©Christian Gahl
▼单体建筑交接处视野，View between the building blocks ©Christian Gahl
The training center was built as an in-situ concrete skeleton building. A scale-like metal facade consisting of diamond-shaped panels covers the entire building complex; only the north and south entrances and the junctions between the blocks feature glazed facades. The room-high glazing between the building blocks provides views into the landscape, making the sequence of blocks evident to the visitor as he passes through the building. The metal panels of the facade are finished in a bluish-gray, which means that—depending on the angle of the light—the training center seems to merge with its environment as if camouflaged. Perforated panels allow light to fall into the rooms behind them and cover the ventilation openings. The diamond-shaped panels have been cut from folded metal sheeting and therefore are rigid. The dimensions of the equilateral squares vary within the facade, with a maximum diameter of two meters. Parametric facade design was used to make economic serial production of the panels possible in spite of the complex geometry of the exterior envelope—an important factor given the tight budget.
▼南立面夜间视角，South elevation by night ©Christian Gahl
▼总平面图，Site plan © gmp Architects
▼首层平面图，Floor plan, level 1 © gmp Architects
▼二层平面图，Floor plan, level 2 © gmp Architects
▼横剖面图，Cross section © gmp Architects
▼纵剖面图，longitudinal section © gmp Architects
▼立面剖面，单体建筑连接处细部，Facade detail of the building joint: View with vertical section © gmp Architects
▼幕墙立面和剖面，Facade view with vertical section © gmp Architects
实施阶段设计团队:坦娅·古特纳，格德门德尔·强森，亚历山大·蒙特罗，乌里·罗斯勒，Ho-Jin Wi, 莱蒂 西娅·哈克塔
Competition: 2013—1st place
Design: Meinhard von Gerkan and Nikolaus Goetze
Competition project management: Hinrich Müller
Competition design team: Dominika Gnatowicz, Gudmundur Jonsson
Detail design project management: Evelyn Pasdzierny
Detail design team: Tanja Gutena, Gudmundur Jonsson, Alexander Montero, Uli Rösler, Ho-Jin Wi, Laetizia Hackethal
Construction management team: Zhan Jin, Mengxuan Qu, Lin Wang
Partner practice in China: Tongji Architectural Design (Group) Co., Ltd.
Landscaping: WES & Partner
Client: Oriental Land Shanghai
Site area: 6.5 ha
GFA: 26,500 m2
Construction period: 2016–2018
项目标签 设计公司: Sn&hetta 位置: 挪威 类型: ... 阅读全文
Snøhetta has developed a new brand name and visual identity for the Norwegian State Railways, NSB. The aim is to unify all aspects of its passenger transport business under one, common brand name that better communicates the company’s vision for the future of mobility.
NSB has gone through substantial changes in recent years and finds that the company’s name is no longer suitable for its business. Founded in 1883, the company has previously been responsible for the entire Norwegian railway operations. Today, the company is responsible for travelers, but does not manage or own the rails, signaling systems, stations or trains. The company is also the largest bus operator in Norway through the Nettbuss division. Additionally, the NSB Group operates both buses and trains in Sweden, and electric city cars in Norway, making it a diversified mobility provider.
▼新品牌名称和视觉形象旨在将客运业务的各个方面统一起来，the aim of the development is to unify all aspects of its passenger transport business under one, common brand name
新的观点 | A New Outlook
In order to communicate its current operations in a better way, and to manifest the company’s shared ambition to create better mobility services for the future, NSB will introduce a new, common brand name for all its personal transport operations; Vy.
The word vy stems from the French word vue, derived from voir, which means “to see”. In Norwegian it has a similar meaning; a view, a perspective, an outlook, or a vision. The name brings associations to the fundamentals of travelling – to see new things, to get new perspectives and to broaden one’s horizon. It’s reminiscent of childhood memories, of looking out of a train window and seeing the landscape pass by at terrific speed. Or the daily routine of sitting in the train or on the bus, glancing up at the sky, being in motion while the point of view appears to be constant.
▼网页和app设计，website and app design
Timeline: 2018 – 2019
Collaborators: Website and App Design
Collaborators: Type Design
Letters of Sweden
项目标签 设计公司: TOPOS拓柏景观 位置: 中国 类型: ... 阅读全文
Qiandao Lake, also known as Thousand Island Lake, is a freshwater lake as a result of the construction of Xin’an River Hydroelectric Dam in 1959 that flooded hundreds of villages and historical sites. It is a beautiful lake noted for its crystal clear water, ever-changing sky and verdurous mountains.
Lakeside Garden is located on a 1-hectare site between a lakeside driveway and the future planned community of 11 high-rise residential towers, with 9 meters of elevation change. The landscape design began with overall site planning, through sculpting the terrain, created a dramatic spatial sequence meandering in a forest hills setting, unfolding a picturesque lakeside journey.
潮汐广场 | Tides Plaza
Visitors start to experience the garden from Tide Plaza, a gathering space with waving form; Granite stone paving pattern consists of Chinese Sesame Black, Sesame Gray, and Sesame White, reflecting a subtle image of the shining lake. Granite stone paving pattern consists of Chinese Sesame Black, Sesame Gray, and Sesame White, reflecting a subtle image of the shining lake.
▼风动雕塑“波光粼粼的湖面”创造了一个迎宾序曲，the wind kinetic screen ‘Shining Lake’ creates a welcoming prelude
山林叠泉 | Forest Hill Springs
Stepping up along the Forest Hill Springs, stainless steel retaining wall draws a subtle reflection of waving plants and water cascades.
微风花园 | Breeze Garden
Breeze Garden, with waving ornamental grasses and a visual art installation attracting shimmering lights, with a tone of warmth set by the exposed aggregate concrete.
▼深灰色板岩喷泉，成为微风花园空间转换处的视觉焦点，a dark gray slate fountain, a focal point at turning point of the Breeze Garden
▼深灰色板岩，米色混凝土，摇曳的观赏草类，dark gray slate, beige aggregate concrete, waving ornamental grasses
▼艺术座椅“远山”延续湖对岸山脊线，‘Mountain’ bench, is a visual connection with the rolling mountains in distance
静谧与光明 | Silence and Light
A silent space of enclosure, surrounded by historical exhibits of “Underwater Ancient Villages” of Qiandao Lake. A skylight shines down, a hint of the upcoming infinity space. Stepping up the minimalist spiral staircase, the experience gradually unfolds to a broad open lake view, with spacious sky and mountains in distance. As described in the Chinese classic fable of The Peach Blossom Valley, “At first it was extremely narrow, allowing for only one person to squeeze through. After walking another twenty or thirty paces, he suddenly exited onto an open clearing”.
▼极简风格的旋转楼梯，the minimalist spiral staircase
天光云影 | Sky Clouds Reflection Pool
An infinity reflection pool blends with the lake and mountains beyond. Twinkle “Starry Sky” lights at pool bottom evokes a poetic image of “underwater ancient villages”, recalling a unique and sentimental history of Qiandao Lake. Water level of the reflection pool is designed to fluctuate 5cm, a metaphor of Qiandao Lake’s seasonal fluctuation. An ‘island’ is set at 3cm below high water level, a stage for solo performance that appears to be floating on water.
▼池底的闪烁“星空”唤起“水下古村落”的诗意形象，Twinkle “Starry Sky” lights at pool bottom evokes a poetic image of “underwater ancient villages”
▼当水位低时，岛屿展露，when the water level is low, the island exposes
▼水中汀步通过结构和边缘细节设计，形成漂浮于水面的效果，stepping stones are carefully structured and detailed that appears to be floating above water
玻璃廊桥 | Glass Bridge
A curve glass footbridge, crossing through the sound of shuffling bamboo leaves, creates a tranquil moment before arriving the Lakeside Gallery
湖光山色 层峦叠嶂 辽阔天空 | Shining Lake, Verdurous Mountains, and Spacious Sky
Across the Glass Bridge, standing in the Lakeside Gallery lobby, looking through the panoramic window, a breath-taking view of shining lake, verdurous mountains, and spacious sky.
景观设计团队：方明华 宋韧强 凌文琦 郑伟跃 吴让海 罗燕 司珍珍 胡姿燕 吴晓刚
Project Name：Lakeside Garden
Landscape Design Firm：TOPOS Landscape Architects
Landscape Design Scope：Site Planning + Landscape Design + Art Installation
Lead Designer：Roy Zhu RLA/ PLA, ASLA
Design Team：Minghua Fang, Renqiang Song, Wenqi Lin, Weiyue Zhen, Ranghai Wu Yan Luo, Zhenzhen Si, Ziyan Hu, Xiaogang Wu
Site Area：10,000 square meters
Project Location：880 Sunshine Road, Qiandao Lake, Hangzhou, Zhejiang, China
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