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艺零(ILIDA)设计机构

柏林酒吧,莫斯科 / Thilo Reich 城市地面铺装转化为空间历史元素

柏林酒吧,莫斯科 / Thilo Reich
城市地面铺装转化为空间历史元素

项目标签 设计公司: Thilo Reich 位置: 俄罗斯 类型... 阅读全文

项目标签

设计公司:

Thilo Reich

位置:

俄罗斯

类型:

建筑

材料:

水磨石 黄铜 混凝土 预制混凝土板 皮革 木地板 家具 灯光 灯具

标签:

Interior design Moscow 室内设计 莫斯科

分类:

休闲娱乐 酒吧

 

感谢 Thilo Reic

推倒柏林墙近30年后的柏林始终是一个充满活力与文化、自由、拥有无拘无束夜生活的城市。借鉴于这种独特的城市氛围,世界上的酒吧和夜店纷纷以“柏林”命名,为人们传递一种柏林所特有的空间体验。

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

柏林酒吧,莫斯科 / Thilo Reich
城市地面铺装转化为空间历史元素

柏林酒吧,莫斯科 / Thilo Reich
城市地面铺装转化为空间历史元素

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

柏林酒吧,莫斯科 / Thilo Reich
城市地面铺装转化为空间历史元素

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

柏林酒吧,莫斯科 / Thilo Reich
城市地面铺装转化为空间历史元素

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

柏林酒吧,莫斯科 / Thilo Reich
城市地面铺装转化为空间历史元素

▼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

柏林酒吧,莫斯科 / Thilo Reich
城市地面铺装转化为空间历史元素

柏林酒吧,莫斯科 / Thilo Reich
城市地面铺装转化为空间历史元素

▼带有精致黄铜线条的桌面,table surfaces with fine brass lines

柏林酒吧,莫斯科 / Thilo Reich
城市地面铺装转化为空间历史元素

在空间设计上,过去和现在、历史和印记紧密交织。柏林酒吧使人们回忆起两个城市之间的历史联系,同样也赞美了柏林如今无拘无束的城市生活。墙面上巨大的深色发光“BERLIN”字样,如同是在柏林前俄罗斯区域的公司招牌一样,于夜晚时在莫斯科这家酒吧的木地板上闪烁跃动。

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

柏林酒吧,莫斯科 / Thilo Reich
城市地面铺装转化为空间历史元素

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

柏林酒吧,莫斯科 / Thilo Reich
城市地面铺装转化为空间历史元素

▼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

柏林酒吧,莫斯科 / Thilo Reich
城市地面铺装转化为空间历史元素

▼钻石结构的桌子,tables in diamond structure

柏林酒吧,莫斯科 / Thilo Reich
城市地面铺装转化为空间历史元素

▼墙面及桌椅细节,detail of the wall, chairs and tables

柏林酒吧,莫斯科 / Thilo Reich
城市地面铺装转化为空间历史元素

▼手工吹制的鸡尾酒杯,hand-blown cocktail glasses

柏林酒吧,莫斯科 / Thilo Reich
城市地面铺装转化为空间历史元素

▼墙面铺砖细节,pavements detail

柏林酒吧,莫斯科 / Thilo Reich
城市地面铺装转化为空间历史元素

柏林酒吧,莫斯科 / Thilo Reich
城市地面铺装转化为空间历史元素

 

柏林酒吧,莫斯科 / Thilo Reich
城市地面铺装转化为空间历史元素

柏林酒吧,莫斯科 / Thilo Reich
城市地面铺装转化为空间历史元素

 

 

More: Thilo Reich 

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艺零(ILIDA)设计机构

至美术馆,深圳 / 墨照建筑设计事务所 充满趣味和层次的游走体验

至美术馆,深圳 / 墨照建筑设计事务所
充满趣味和层次的游走体验

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

项目标签

设计公司:

墨照建筑设计事务所

位置:

中国

类型:

建筑

材料:

木材 金属 钢 混凝土 玻璃

标签:

Guangdong Interior renovation shenzhen 室内设计 广东 改造 深圳

分类:

展览类建筑 文化建筑 美术馆

 

非常感谢 

至美术馆坐落在深圳宝安区全至科技创新园二号楼内。作为联系园区内不同公共空间的媒介,至美术馆也连接着人与人之间工作和生活的关系,营造具有人文社区的工作场所。至美术馆除了展厅功能,还包含了多功能厅和工作坊。通过展览、培训、讲座和论坛等方式,至美术馆以此来推动艺术文化与公众生活的联系,建立多元艺术与多元文化的交流平台。

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.

▼外立面,facade

至美术馆,深圳 / 墨照建筑设计事务所
充满趣味和层次的游走体验

与大部分美术馆不同,至美术馆不是一个独立的建筑,它是由一栋普通混凝土厂房的局部两层空间改造而成的。在九百多平米的厂房空间里,我们通过空间节奏的变化、自然光影的引入和材料肌理的运用,为至美术馆创造丰富和有趣的观展体验。

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

至美术馆,深圳 / 墨照建筑设计事务所
充满趣味和层次的游走体验

美术馆分为两层,一层的主要功能是门厅及多功能厅,二层是展厅和工作坊。美术馆外立面的钢板利用氟碳透明漆保留了天然的不匀称纹理,这种真实而自然的不匀称呼应了美术馆的艺术气质。徐步走进馆内,随着美术馆外立面界面由竖向隔栅转换成喇叭形的玻璃视窗,狭长的入口前厅从秩序空间过渡成观景空间。前厅过后便是两层通高的中庭空间,狭长空间与高挑空间的转换,让人感觉豁然开朗。

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

至美术馆,深圳 / 墨照建筑设计事务所
充满趣味和层次的游走体验

▼从多功能厅入口望向中庭,view to the atrium from the entrance of the multi-functional hall

至美术馆,深圳 / 墨照建筑设计事务所
充满趣味和层次的游走体验

▼多功能厅室内,interior view of the multi-functional hall

至美术馆,深圳 / 墨照建筑设计事务所
充满趣味和层次的游走体验

中庭空间的楼梯与坡道联系着一层与二层。行走在楼梯与坡道像是一段“艺术熏陶之旅”,让观众在观展之前,先感受与体验建筑空间的美学与趣味。楼梯与坡道这两种形式的更替使观众可以在行走中体验不同的节奏和速度。黑色的楼梯、白色的墙以及木纹肌理的混凝土墙面共同创造出素雅纯净的意境。与常规梁式楼梯不同,楼梯的踏步与侧板形成完整的钢板楼梯结构体系,楼梯的形式也因此呈现出结构美学。

▼楼梯剖透视图,sectional perspective of the staircase

至美术馆,深圳 / 墨照建筑设计事务所
充满趣味和层次的游走体验

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

至美术馆,深圳 / 墨照建筑设计事务所
充满趣味和层次的游走体验

▼中庭交错的楼梯,the interlaced staircase in the atrium

至美术馆,深圳 / 墨照建筑设计事务所
充满趣味和层次的游走体验

▼楼梯细部,detailed view

至美术馆,深圳 / 墨照建筑设计事务所
充满趣味和层次的游走体验

中庭的二楼一侧利用大面积的落地玻璃将更多的自然光线引入通高空间,观展者在步行而上时空间会逐渐明亮。而当步行到二层时,回头一望,观展者便欣赏到窗外绿意悠悠的小叶榄仁景色。曲折的路径、丰富的材质、变化的光线,让中庭空间的行走变成一种有趣的游走体验,而这个过程中,人们不时地相望、凝视、跟随、打趣等也建立起人与人之间的联系。

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

至美术馆,深圳 / 墨照建筑设计事务所
充满趣味和层次的游走体验

▼二层展厅入口,entrance of the exhibition hall on the second floor

至美术馆,深圳 / 墨照建筑设计事务所
充满趣味和层次的游走体验

二层展厅根据柱子的位置和展览功能需求划分为几个大小尺寸不同的展厅。这些展厅并不全是封闭不透光的室内空间,一些靠外墙的展厅大胆地保留了玻璃幕墙,一方面我们可以通过遮光帘灵活地实现布展的各种暗房间的要求,另一方面除了让室外自然景色融进展览空间,艺术家也可利用自然光线进行空间布展,为观展者提供不一样的观展体验。

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

至美术馆,深圳 / 墨照建筑设计事务所
充满趣味和层次的游走体验

▼临时展厅,temporary exhibition hall

至美术馆,深圳 / 墨照建筑设计事务所
充满趣味和层次的游走体验

▼工作坊,workshop

至美术馆,深圳 / 墨照建筑设计事务所
充满趣味和层次的游走体验

▼一层平面图,first floor plan

至美术馆,深圳 / 墨照建筑设计事务所
充满趣味和层次的游走体验

▼二层平面图,second floor plan

至美术馆,深圳 / 墨照建筑设计事务所
充满趣味和层次的游走体验

项目名称:至美术馆
设计方:墨照建筑设计事务所
公司网站:http://www.mozhao.com.cn/
联系邮箱:media@mozhao.com.cn
项目设计 & 完成年份:2016/2018
主持建筑师:曾冠生
设计团队:罗文国 麦梓韵 吴炳福 | 王志明 邹映华
项目地址:深圳市宝安区全至科技创新园
建筑面积:1090㎡
摄影:张超
业主:深圳市佳领域有限公司
主要材料:金刚砂、拉板网、木模混凝土、白橡木、钢板

Project name: Zhi Art Museum
Design:MOZHAO ARCHITECTS
Website:http://www.mozhao.com.cn/
Contact e-mail:media@mozhao.com.cn
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
Design/Completion: 2016/2018
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

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艺零(ILIDA)设计机构

欧洲第一家水下餐厅“Under”正式完工 / Snøhetta 深入水下5米,以全新视角观察海洋生态

欧洲第一家水下餐厅“Under”正式完工 / Snøhetta
深入水下5米,以全新视角观察海洋生态

项目标签 设计公司: Sn&hetta 位置: 挪威 类型: ... 阅读全文

项目标签

设计公司:

Snøhetta

位置:

挪威

类型:

建筑

材料:

木材 混凝土 玻璃 织物

标签:

Interior Lindesnes 室内设计

分类:

休闲娱乐 商业建筑 餐厅

 

非常感谢 Snøhetta 

2019年3月20日,欧洲第一家水下餐厅在挪威Lindesnes正式营业。该项目位于挪威海岸线的最南端,来自南北两个方向的洋流在这里交汇。海洋生物在这里的咸水中大量繁衍,为场地赋予了天然的生物多样性。“Under”不仅仅是一间水下餐厅,它还以海洋生物研究中心的身份对野生物种以及挪威南端嶙峋的海岸线表达着敬意。

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.

▼建筑鸟瞰,aerial view

欧洲第一家水下餐厅“Under”正式完工 / Snøhetta
深入水下5米,以全新视角观察海洋生态

在挪威语中,“under”具有“below”和“wonder”的双重含义。这座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。结构设计旨在使建筑随着时间的推移与海洋环境形完美融合,粗糙的混凝土外壳将逐渐具备与人工鱼礁类似的功能,使海洋中的帽贝和海藻都能够栖居其中。厚实的混凝土外墙直接倚靠在崎岖的海岸线上,能够承受不同级别的压力和冲击。餐厅的巨大窗户犹如一架水下潜望镜,可以观察到海底在不同季节和天气条件下的变化。

▼剖面图,section

欧洲第一家水下餐厅“Under”正式完工 / Snøhetta
深入水下5米,以全新视角观察海洋生态

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

欧洲第一家水下餐厅“Under”正式完工 / Snøhetta
深入水下5米,以全新视角观察海洋生态

欧洲第一家水下餐厅“Under”正式完工 / Snøhetta
深入水下5米,以全新视角观察海洋生态

▼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

欧洲第一家水下餐厅“Under”正式完工 / Snøhetta
深入水下5米,以全新视角观察海洋生态

餐厅每晚可招待35-40名客人,用餐空间受到半米厚的混凝土墙的保护。餐厅的经营理念是采用优质的本地食材,尤其是可持续野生食材来为客人创造难忘的美食体验。原本来自挪威著名餐厅Måltid的丹麦籍厨师Nicolai Ellitsgaard担任Under餐厅的主厨,并带来了一个包含16人、拥有顶级米其林餐厅工作经验的国际团队。

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.

▼餐厅室内概览,interior view

欧洲第一家水下餐厅“Under”正式完工 / Snøhetta
深入水下5米,以全新视角观察海洋生态

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

欧洲第一家水下餐厅“Under”正式完工 / Snøhetta
深入水下5米,以全新视角观察海洋生态

Lindesnes以极端的天气变化闻名,一天之间可能会经历数次从风平浪静到风雨交加的过程。然而,当客人们到达场地,进入安静的橡木门厅之后,便会立刻忘记户外的无常天气。丰富的室内空间营造出温馨而友好的氛围。以织物覆盖的天花板借鉴了海上落日的色彩,随着客人走下楼梯,室内的色彩变化也隐喻着从陆地深入海洋的过程。精致的天花板纹理进一步为室内带来宁静的感觉。

▼剖透视图,sectional perspective

欧洲第一家水下餐厅“Under”正式完工 / Snøhetta
深入水下5米,以全新视角观察海洋生态

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

欧洲第一家水下餐厅“Under”正式完工 / Snøhetta
深入水下5米,以全新视角观察海洋生态

▼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

欧洲第一家水下餐厅“Under”正式完工 / Snøhetta
深入水下5米,以全新视角观察海洋生态

▼用餐空间,dining area

欧洲第一家水下餐厅“Under”正式完工 / Snøhetta
深入水下5米,以全新视角观察海洋生态

▼家具细部,furniture detail

欧洲第一家水下餐厅“Under”正式完工 / Snøhetta
深入水下5米,以全新视角观察海洋生态

▼纵向海景窗,a vertical window towards the sea

欧洲第一家水下餐厅“Under”正式完工 / Snøhetta
深入水下5米,以全新视角观察海洋生态

▼从楼梯望向全景窗,view to the window from the stair

欧洲第一家水下餐厅“Under”正式完工 / Snøhetta
深入水下5米,以全新视角观察海洋生态

▼材料细部,material

欧洲第一家水下餐厅“Under”正式完工 / Snøhetta
深入水下5米,以全新视角观察海洋生态

在5米深的位置,宽11米、高3.4米的水平窗户带来壮观的全景水下视野,将餐厅中的客人与外面的野生动物联系起来。

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

欧洲第一家水下餐厅“Under”正式完工 / Snøhetta
深入水下5米,以全新视角观察海洋生态

欧洲第一家水下餐厅“Under”正式完工 / Snøhetta
深入水下5米,以全新视角观察海洋生态

▼沉浸式的空间体验,an immersive spatial experience

欧洲第一家水下餐厅“Under”正式完工 / Snøhetta
深入水下5米,以全新视角观察海洋生态

▼楼梯细部,detailed view

欧洲第一家水下餐厅“Under”正式完工 / Snøhetta
深入水下5米,以全新视角观察海洋生态

▼室内墙面细部,interior wall surface

欧洲第一家水下餐厅“Under”正式完工 / Snøhetta
深入水下5米,以全新视角观察海洋生态

该项目的另外一个重要部分是其对于海洋研究的积极影响。餐厅将欢迎跨学科研究团队在立面内外安装摄像机等各类测量工具来研究海洋生物和鱼类行为,观察并记录餐厅周围的物种数量、行为习惯和多样性。研究的目标是收集可被编入机器研究工具的数据并定期检测重要海洋物种的种群动态,从而对官方的海洋资源管理创造新的契机。

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

欧洲第一家水下餐厅“Under”正式完工 / Snøhetta
深入水下5米,以全新视角观察海洋生态

主厨Nicolai Ellitsgaard和他的团队将定期与海洋生物学家对话,以便确定应该在何时、以何种方式进行捕捞,才能够达到最佳的可持续性。他们希望依靠建筑本身来获取餐厅菜单上的食材。厨师团队和研究人员还将共同合作,使更多鱼类聚集到窗户边缘,以便海洋生物学家进行更加密切的研究,同时也为餐厅的客人带来有趣的景观。

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

欧洲第一家水下餐厅“Under”正式完工 / Snøhetta
深入水下5米,以全新视角观察海洋生态

欧洲第一家水下餐厅“Under”正式完工 / Snøhetta
深入水下5米,以全新视角观察海洋生态

 

Under是一场由对比构成的叙事:陆地与海洋、水上与水下。该项目突显了陆地与海洋之间微妙的生态平衡,并提醒我们以可持续的方式进行负责任消费。通过关注陆地和海洋生命的共存,Under为我们对周围关系的理解提出了一种新的方式,不论是在水面之上、水面之下,还是生活在海洋周围。

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.

▼夜景,night view

欧洲第一家水下餐厅“Under”正式完工 / Snøhetta
深入水下5米,以全新视角观察海洋生态

▼海面视角,view from the sea

欧洲第一家水下餐厅“Under”正式完工 / Snøhetta
深入水下5米,以全新视角观察海洋生态

▼平面和印刷品设计,print and graphic design

欧洲第一家水下餐厅“Under”正式完工 / Snøhetta
深入水下5米,以全新视角观察海洋生态

欧洲第一家水下餐厅“Under”正式完工 / Snøhetta
深入水下5米,以全新视角观察海洋生态

欧洲第一家水下餐厅“Under”正式完工 / Snøhetta
深入水下5米,以全新视角观察海洋生态

▼场地平面图,site plan

欧洲第一家水下餐厅“Under”正式完工 / Snøhetta
深入水下5米,以全新视角观察海洋生态

▼结构拆解图,structure diagram

欧洲第一家水下餐厅“Under”正式完工 / Snøhetta
深入水下5米,以全新视角观察海洋生态

▼入口层平面图,entrance level plan

欧洲第一家水下餐厅“Under”正式完工 / Snøhetta
深入水下5米,以全新视角观察海洋生态

▼夹层酒吧平面图,mezzanine bar plan

欧洲第一家水下餐厅“Under”正式完工 / Snøhetta
深入水下5米,以全新视角观察海洋生态

▼餐厅层平面图,restaurant plan

欧洲第一家水下餐厅“Under”正式完工 / Snøhetta
深入水下5米,以全新视角观察海洋生态

▼立面图,elevation

欧洲第一家水下餐厅“Under”正式完工 / Snøhetta
深入水下5米,以全新视角观察海洋生态

▼剖面图,section

欧洲第一家水下餐厅“Under”正式完工 / Snøhetta
深入水下5米,以全新视角观察海洋生态

More: Snøhetta。更多关于他们: Snøhetta on gooood.

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艺零(ILIDA)设计机构

Big And Tiny亲子空间,加利福尼亚 / ZOOCO ESTUDIO 父母与孩子在三个独立的空间中共同成长

Big And Tiny亲子空间,加利福尼亚 / ZOOCO ESTUDIO
父母与孩子在三个独立的空间中共同成长

项目标签 设计公司: ZOOCO ESTUDIO 位置: 美国 类... 阅读全文

项目标签

设计公司:

ZOOCO ESTUDIO

位置:

美国

类型:

建筑

材料:

木材 陶瓷 瓷砖

标签:

California Interior design santa monica 加利福尼亚 圣莫妮卡 室内设计

分类:

休闲娱乐 办公室 商业建筑 游乐场

 

非常感谢来自 ZO

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.

▼亲子空间室内,interior view

Big And Tiny亲子空间,加利福尼亚 / ZOOCO ESTUDIO
父母与孩子在三个独立的空间中共同成长

该亲子空间占地2,100平方英尺,在本项目落成前,原址拥有着由高高的木质弓形桁架打造而成的天花板,从横向上限定着空间。最终,这些桁架将空间分为了前中后三个独立的区域,其中中间的区域是主要空间。建筑师将原址上的桁架天花板作为一个通用的建筑几何语言,创建出一个重复的模块化结构系统,使亲子空间变得像迷宫一样丰富。这种具有适应性的结构系统在前中后三个区域内都创造出了迷人的室内立面。

▼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

Big And Tiny亲子空间,加利福尼亚 / ZOOCO ESTUDIO
父母与孩子在三个独立的空间中共同成长

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

Big And Tiny亲子空间,加利福尼亚 / ZOOCO ESTUDIO
父母与孩子在三个独立的空间中共同成长

前侧的空间设有咖啡吧和零售区,中间的区域(同时也是本项目的核心空间)是儿童游乐场,而后侧的空间最为私密,是成人的共享工作空间。

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

Big And Tiny亲子空间,加利福尼亚 / ZOOCO ESTUDIO
父母与孩子在三个独立的空间中共同成长

前侧区域是一个多功能空间,可作为接待和零售空间,墙壁上装饰有定制的铁制家具,后方则是一个柜台。此外,该空间内还设有一系列可移动的模块化立方体,这些立方体由10×10的粉色和蓝色瓷砖构成,值得一提的是,这两种颜色也是该品牌的象征色。这一系列的立方体具有极高的灵活性,能够根据到访者的不同需求进行各式各样的组合。为了空间效果,该区域内的铁制搁板和支架也使用相同几何语言。

▼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

Big And Tiny亲子空间,加利福尼亚 / ZOOCO ESTUDIO
父母与孩子在三个独立的空间中共同成长

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

Big And Tiny亲子空间,加利福尼亚 / ZOOCO ESTUDIO
父母与孩子在三个独立的空间中共同成长

Big And Tiny亲子空间,加利福尼亚 / ZOOCO ESTUDIO
父母与孩子在三个独立的空间中共同成长

▼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

Big And Tiny亲子空间,加利福尼亚 / ZOOCO ESTUDIO
父母与孩子在三个独立的空间中共同成长

中间区域则是一个大型的木结构空间。该区域分为两部分:一是游乐场,也可以称之为“Tinyland”,包括了一系列木制的游戏设施如海洋球池和滑梯等;二是艺术工作室,在这里,孩子们可以创造自己的艺术作品,或参加其他各种丰富的课程。

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

Big And Tiny亲子空间,加利福尼亚 / ZOOCO ESTUDIO
父母与孩子在三个独立的空间中共同成长

▼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

Big And Tiny亲子空间,加利福尼亚 / ZOOCO ESTUDIO
父母与孩子在三个独立的空间中共同成长

后侧区域则位于一个大型木结构空间和室外庭院之间,作为共享工作室。该空间中配有Normann Cophenhagen的办公家具和ROOM的隔音装置。

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

Big And Tiny亲子空间,加利福尼亚 / ZOOCO ESTUDIO
父母与孩子在三个独立的空间中共同成长

▼平面布置图,layout plan

Big And Tiny亲子空间,加利福尼亚 / ZOOCO ESTUDIO
父母与孩子在三个独立的空间中共同成长

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

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艺零(ILIDA)设计机构

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

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

项目标签

设计公司:

Amir Mann-Ami Shinar Architects and PlannersMoshe Zur Architects

位置:

以色列

类型:

建筑

材料:

竹木 铝 钢 混凝土 玻璃

标签:

Timna

分类:

机场

 

非常感谢 Am

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”).

▼机场鸟瞰图,bird-eye’s view

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

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,以色列 / Amir Mann-Ami Shinar Architects and Planners + Moshe Zur Architects
沙漠中的白色枢纽

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,以色列 / Amir Mann-Ami Shinar Architects and Planners + Moshe Zur Architects
沙漠中的白色枢纽

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。

该机场拥有一座建筑面积45,000平方米的航站楼、总长3,600米的飞机跑道和滑行道以及40个停机坪,确保了国内和国际的交通和运输。航站楼的南北两侧分别有一座辅助性服务建筑,这两座辅助性服务建筑共计36,210平方米,此外,还设有一座45米高的飞航管制塔台。

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

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

在本项目中,受到未来航空领域和一望无垠的沙漠环境的影响,建筑师使用并发展了一种独特而极简的设计语言。IAA决定让建筑师担任设计经理,全权负责本案的预算、功能设置和进程安排表等,从而使建筑师能够毫无障碍地进行整个机场项目的设计,从大尺度的一系列不同的大楼,到小尺度的单独的值机柜台,建筑师都以同一种建筑语言进行设计,将机场各处统一为一个整体,完美地与其周围引人注目的空旷环境相互呼应。这一点表现在,建筑师通过在有限的材料中选择合适的材料来打造建筑外观的表皮,从而实现了本项目最基本的设计概念——打造一个雕刻般的几何造型。

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.

“在设计本项目的机场时,我们受到了沙漠景色的启发。鉴于基地位置的特殊性,我们需要提出一个最适合现有景观和气候的设计解决方案。我们致力于创造一座建筑,使其可以与具有压倒性的空旷之感的沙漠景观和谐共处,通过对机场出发和到达口的设计来营造一种欢迎的空间氛围,让乘客们感受到我们的热情,并通过这种体验来反衬出沙漠环境的特殊性,同时将本建筑作为以色列面向国际世界的南大门。”项目设计经理Amir Mann这样说道。

“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

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

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。

▼设计概念,design concept

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

▼航站楼爆炸轴测图,the exploded axon of the terminal building

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

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

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

▼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

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

▼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

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

航站楼的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,从而在视觉效果上形成了一个统一的建筑体量。干净的白色三角形面板能够反射光线和紫外线波,从而进一步降低建筑表皮的温度。而在建筑内部空间中,则采用与外表皮形成鲜明对比的竹木饰面,将天花板和墙面打造成一个连续的空间。

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

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

▼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

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

▼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

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

航站楼内部空间采用极简主义风格,大厅的天花板很高,但在空间组织和布局上却十分紧凑,同时使用低矮的家具和一系列室内围合空间来作为航站楼内部大空间分隔。包括行李处理系统、安全检查过程和其他的许多技术操作空间和系统在内,航站楼内所有的技术设施都被隐藏在下层空间中,这一举措使得建筑的屋顶不再需要设置任何的技术性设备,从而变成了航站楼室内空间的第五立面,同时,确保了所有的乘客活动都可以在一个统一的平面上高效地进行。最终,建筑师将室内打造成了一个密斯式的空间,除了被沙漠景观庭院打断的空间外,所有的乘客活动都是清晰可见的。此外,在登机口区域,建筑师还在外表皮上设置了一片高达20米的玻璃幕墙,将室内空间变成了一座以沙漠为背景的“航天剧院”。

▼航站楼内的流线分析图,the circulation diagram of the terminal building

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

▼航站楼内的沙漠景观庭院分析图,the courtyard diagram of the terminal building

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

▼航站楼内的围合空间分析图,the pavilion diagram of the terminal building

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

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

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

▼航站楼室内,interior space of the terminal building

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

景观设计的灵感来源于现有的由山洪冲入沙漠山谷而形成的扇形三角洲地带。因此,建筑师将停车场的道路和景观小径沿着自然溪流的形状设置,创造出一种蜿蜒曲折的视觉效果。建筑师希望本项目的景观能够与其周边环境融为一体,同时最大限度地利用现有的当地材料,故而施工现场内所有被挖掘出来的沙子和岩石都被用作飞机跑道、硬质停机坪和道路的填充物。为此,该项目还建立了一个研磨加工厂,以便将鹅卵石碾碎,从而作为道路的铺面材料。同时,挖掘过程中所收集到的土地原料也被用于项目完工后的路面铺面,以便将景观与自然环境无缝结合。此外,在施工现场所收集到的当地植物的种子也被小心地保存了下来,在建造期间,建筑师将其置于温室中让其生根发芽并逐渐长大,待到项目完成后,这些植物便被移植到原先的地方,作为机场景观设计中的沙漠植被元素。

▼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

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

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

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

▼辅助性服务建筑爆炸轴测图,the exploded axon of the support structure

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

▼首层平面图,1F plan

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

▼-1层平面图,-1F plan

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

▼剖面图,section

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

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

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艺零(ILIDA)设计机构

虚实之间:奥伦达部落接待展示中心,上海 / 亿端国际设计 集装箱衍生出的空间折叠

虚实之间:奥伦达部落接待展示中心,上海 / 亿端国际设计
集装箱衍生出的空间折叠

项目标签 设计公司: 亿端国际设计 位置: 中国 类型: ... 阅读全文

项目标签

设计公司:

亿端国际设计

位置:

中国

类型:

建筑

材料:

木材 石膏 玻璃

标签:

Shanghai 上海

分类:

商业建筑 展览空间 文化建筑

 

来自 亿端国际设计

本案例位于上海崇明奥伦达部落内,是一个集装箱改造项目,原基地在一片开阔的草地上,四周无房屋遮挡,让集装箱显得孤立,加上内部狭窄空间局促的缺陷,使得该项目有很大的挑战性。

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.

▼项目鸟瞰,aerial view

虚实之间:奥伦达部落接待展示中心,上海 / 亿端国际设计
集装箱衍生出的空间折叠

▼本案例是一个集装箱改造项目,the project was built from a series containers

虚实之间:奥伦达部落接待展示中心,上海 / 亿端国际设计
集装箱衍生出的空间折叠

集装箱由十个盒子错落组成,看似简单的盒子要设计出独特美感的设计诉求,只有大胆突破集装箱的表象,进而扩展到外围空间,让封闭的盒子有个影子即再外扩一个虚拟的盒子,扩大使用面积,功能得到满足。虚拟的盒子重叠在一起,形成虚实对比,相得益彰,光影落在百叶的盒子里,从而产生诗意般的美感,让每个集装箱的盒子再生一个虚拟的百叶盒子,从而产生高低错落,穿插叠加,使盒子产生现代建筑感、未来感,成为一个建筑画面的主旋律,让身处其中变得更加美好!

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

虚实之间:奥伦达部落接待展示中心,上海 / 亿端国际设计
集装箱衍生出的空间折叠

▼高低错落,穿插叠加的体量,a staggered and overlapping architectural form

虚实之间:奥伦达部落接待展示中心,上海 / 亿端国际设计
集装箱衍生出的空间折叠

▼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

虚实之间:奥伦达部落接待展示中心,上海 / 亿端国际设计
集装箱衍生出的空间折叠

虚实之间:奥伦达部落接待展示中心,上海 / 亿端国际设计
集装箱衍生出的空间折叠

▼交织的体量细部,exterior detailed view

虚实之间:奥伦达部落接待展示中心,上海 / 亿端国际设计
集装箱衍生出的空间折叠

整个建筑群的颜色由白色和木色构成,浅原木色搭配白色给人以干净,简约,现代的视觉感;结合周边大地的绿色衬托,使得整个建筑与自然分外协调,相辅相成。蜿蜒的河流贯穿整个建筑的中央,使得建筑群更加充满灵气,仿佛潺潺的流水孕育着这些建筑群。

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

虚实之间:奥伦达部落接待展示中心,上海 / 亿端国际设计
集装箱衍生出的空间折叠

▼凉廊,loggia

虚实之间:奥伦达部落接待展示中心,上海 / 亿端国际设计
集装箱衍生出的空间折叠

▼凉廊细部,detailed view

虚实之间:奥伦达部落接待展示中心,上海 / 亿端国际设计
集装箱衍生出的空间折叠

整个建筑为三层,一层为展示接待;二层为简餐、咖啡、茶饮;三层为办公、会议、商务。整个设计动线顺应大自然,一步一景,禅意的元素和现代的极简契合,使得整个风格一气呵成。室内室外连成一片,用创意颠覆了传统,使建筑由内而外发出了灵魂的光芒!

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.

▼室外平台,outdoor terrace

虚实之间:奥伦达部落接待展示中心,上海 / 亿端国际设计
集装箱衍生出的空间折叠

▼一层的景观凉廊,the landscaped corridor on the ground floor

虚实之间:奥伦达部落接待展示中心,上海 / 亿端国际设计
集装箱衍生出的空间折叠

▼楼梯,staircase

虚实之间:奥伦达部落接待展示中心,上海 / 亿端国际设计
集装箱衍生出的空间折叠

▼室内空间,interior view

虚实之间:奥伦达部落接待展示中心,上海 / 亿端国际设计
集装箱衍生出的空间折叠

虚实之间:奥伦达部落接待展示中心,上海 / 亿端国际设计
集装箱衍生出的空间折叠

▼楼梯细部,detailed view of the stair

虚实之间:奥伦达部落接待展示中心,上海 / 亿端国际设计
集装箱衍生出的空间折叠

▼首层平面图,plan level 1

虚实之间:奥伦达部落接待展示中心,上海 / 亿端国际设计
集装箱衍生出的空间折叠

▼2层平面图,plan level 2

虚实之间:奥伦达部落接待展示中心,上海 / 亿端国际设计
集装箱衍生出的空间折叠

▼3层平面图,plan level 3

虚实之间:奥伦达部落接待展示中心,上海 / 亿端国际设计
集装箱衍生出的空间折叠

项目类型:接待展示中心
建筑设计:亿端国际设计(上海)有限公司(www.yd-d.net
主创创意总监:徐旭俊
设计团队:徐旭伟,刘威,龚瑄,刘伟
项目地点:上海市崇明岛海永镇
项目面积:建筑面积1800平方米,景观占地面积2000平方米
完工时间:2018年5月
主要材料品牌:科勒,雷士,优时吉博罗
摄影师:朱恩龙

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

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艺零(ILIDA)设计机构

篱外·时光的圆民宿酒店,上海 / 元秀万建筑事务所 忘记世界的院子

篱外·时光的圆民宿酒店,上海 / 元秀万建筑事务所
忘记世界的院子

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

项目标签

设计公司:

元秀万建筑事务所

位置:

中国

类型:

建筑

材料:

石材 木材 钢 石膏 混凝土 玻璃

标签:

Interior renovation Shanghai 上海 室内设计 改造

分类:

休闲娱乐 商业建筑 民宿 酒店

 

非常感谢 

坐落在上海浦东迪士尼旁边的一个小村子的篱外时光的圆的是仅有16个客房的三层精品民宿酒店,是由围合的四栋民宅和猪舍改建而成。

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

篱外·时光的圆民宿酒店,上海 / 元秀万建筑事务所
忘记世界的院子

内向的院落是这个设计的出发点,西面用石材高高垒砌的院墙把城市拉开的更加遥远,北面与两栋建筑平行的残缺围墙把邻近的村落隔离开,逼近更加疑惑、神秘、削弱欲望的内院空间。

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.

▼入口,entrance

篱外·时光的圆民宿酒店,上海 / 元秀万建筑事务所
忘记世界的院子

▼残缺围墙把邻近的村落隔离开,the “incomplete” enclosure walls

篱外·时光的圆民宿酒店,上海 / 元秀万建筑事务所
忘记世界的院子

为了让空间产生张力与质感,从原有建筑延申出了几道内院,一个是南北向的一个东西向的。这使得一层的客房不仅变得更加安静与私密,同时也跟域外的城市产生了两极变化。客房透过院子通过高低错落及交错的院墙与外部有了选择性的对话,将域外的城市拉开的更加遥远。

▼庭院户外平台,courtyard outdoor platform

篱外·时光的圆民宿酒店,上海 / 元秀万建筑事务所
忘记世界的院子

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

篱外·时光的圆民宿酒店,上海 / 元秀万建筑事务所
忘记世界的院子

篱外·时光的圆民宿酒店,上海 / 元秀万建筑事务所
忘记世界的院子

利用一个光滑的逻辑将整个建筑用另一种简单的逻辑和材质包裹起来,两个屋顶连成一片、前后左后突起变化的木屋面有了动感,木格栅之间穿插的白色肌理将白色墙体与白云联系起来,似乎整个建筑都漂浮起来。中间向上的坡道将视觉移向天空,恰到好处的坡道尺度让行走的客人有一种穿越乡间小路的感受并与后面的村落形相呼应,钢板的过度有了戏剧性的变化也让这个行走更加凝重狂野。

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

篱外·时光的圆民宿酒店,上海 / 元秀万建筑事务所
忘记世界的院子

走到尽头超大尺度的框洞将坡道和蓝天连接在一起,让你穿越一个失去记忆的时空隧道。一道道不断变化的白墙抹去过去繁琐的记忆,并引导你更好的把风景带入你的视觉范畴。

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

篱外·时光的圆民宿酒店,上海 / 元秀万建筑事务所
忘记世界的院子

二层客房大小不一的窗洞和落地的窗户更好的让室外的风景引入室内形成差异化的风景。南北通透的窗景将河对岸的竹林和北边闲置绿地联系在一起,让客房暴露在更加荒野的自然中。

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

篱外·时光的圆民宿酒店,上海 / 元秀万建筑事务所
忘记世界的院子

▼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

篱外·时光的圆民宿酒店,上海 / 元秀万建筑事务所
忘记世界的院子

▼窗洞细部,detailed view

篱外·时光的圆民宿酒店,上海 / 元秀万建筑事务所
忘记世界的院子  篱外·时光的圆民宿酒店,上海 / 元秀万建筑事务所
忘记世界的院子

▼接待室、餐厅和下沉平台,reception room, dining room and the sunken platform

篱外·时光的圆民宿酒店,上海 / 元秀万建筑事务所
忘记世界的院子

▼室外庭院,outdoor yard

篱外·时光的圆民宿酒店,上海 / 元秀万建筑事务所
忘记世界的院子

▼首层客房内部,guest room interior view

篱外·时光的圆民宿酒店,上海 / 元秀万建筑事务所
忘记世界的院子

▼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

篱外·时光的圆民宿酒店,上海 / 元秀万建筑事务所
忘记世界的院子

▼从圆内望向酒店主楼,view to the main building from the circular volume

篱外·时光的圆民宿酒店,上海 / 元秀万建筑事务所
忘记世界的院子

▼庭院景观,courtyard landscape

篱外·时光的圆民宿酒店,上海 / 元秀万建筑事务所
忘记世界的院子  篱外·时光的圆民宿酒店,上海 / 元秀万建筑事务所
忘记世界的院子

▼带浴缸的室外庭院,outdoor terrace with a bathtub

篱外·时光的圆民宿酒店,上海 / 元秀万建筑事务所
忘记世界的院子

▼圆形套房内部,interior view of the circular volume

篱外·时光的圆民宿酒店,上海 / 元秀万建筑事务所
忘记世界的院子

在上海有那么一个地方,可以让你忘记时间、忘记地点、忘记烦恼、忘记自己……

There is a place in Shanghai where you can forget time, place, trouble and yourself…

▼酒店鸟瞰,aerial view

篱外·时光的圆民宿酒店,上海 / 元秀万建筑事务所
忘记世界的院子

▼首层平面图,ground floor plan

篱外·时光的圆民宿酒店,上海 / 元秀万建筑事务所
忘记世界的院子

建筑师:元秀万建筑事务所(ams)
地址:民义村、浦东、上海
主持设计师:元秀万
设计团队:元秀万、邹赫、金宽勇
建筑面积:1000平方米
占地面积:1200平方米
设计时间:2018
建造时间:2018
建筑、室内设计:元秀万建筑事务所(ams)
景观、灯光、软装设计:元秀万建筑事务所(ams)
业主:上海旌秀商务咨询有限公司
摄影:张冉、元秀万

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艺零(ILIDA)设计机构

言几又·迈科中心旗舰店,西安 / ikg inc. 宫殿式布局的图书街道

言几又·迈科中心旗舰店,西安 / ikg inc.
宫殿式布局的图书街道

项目标签 设计公司: ikg inc. 位置: 中国 类型: ... 阅读全文

项目标签

设计公司:

ikg inc.

位置:

中国

类型:

建筑

材料:

石材 木材 金属 瓷砖 玻璃 地毯 灯具

标签:

Interior design Xian 室内设计 西安

分类:

书店

 

非常感谢 ikg inc

曾是中国十三代王朝都城的西安有着引领最先端科技的高新技术产业开发区。在耸立于开发区一隅的时尚建筑迈科中心内的1F/2F,由日本著名设计师池贝知子女士操刀打造了覆盖4500m²、以书店为主的综合商业设施「言几又·迈科中心旗舰店」。世界遗产兵马俑、丝绸之路的起点、具有深厚文化底蕴的古都、上层君悦酒店的奢华环境、曲线型双塔建筑的优美造型,在这些赋予强烈印象的特征的基础上,打造促进东西方交流、文化融合、人与书邂逅结缘的上质空间。

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

言几又·迈科中心旗舰店,西安 / ikg inc.
宫殿式布局的图书街道

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

言几又·迈科中心旗舰店,西安 / ikg inc.
宫殿式布局的图书街道

▼设计以“Library & Gallery”为主题,the overall concept for the project was “Library & Gallery”

言几又·迈科中心旗舰店,西安 / ikg inc.
宫殿式布局的图书街道

▼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

言几又·迈科中心旗舰店,西安 / ikg inc.
宫殿式布局的图书街道

1F的挑空门厅设置了10m高的书架,强烈的存在感使步入书店的人们瞬间感受到置身书店的氛围;旋转楼梯处的挑空中庭地面采用了明快的色调;天花部采用镜面处理,给人以不同于周围景色的印象;挑空空间悬挂的照明,如同飞舞的纸片;用石材镶嵌出西安中心部地图的舞台,可用于举办丰富多彩的活动。

▼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

言几又·迈科中心旗舰店,西安 / ikg inc.
宫殿式布局的图书街道

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

言几又·迈科中心旗舰店,西安 / ikg inc.
宫殿式布局的图书街道

▼楼梯一侧的咖啡座位区,the book & cafe area near the spiral staircase

言几又·迈科中心旗舰店,西安 / ikg inc.
宫殿式布局的图书街道

言几又·迈科中心旗舰店,西安 / ikg inc.
宫殿式布局的图书街道

▼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

言几又·迈科中心旗舰店,西安 / ikg inc.
宫殿式布局的图书街道

2F兼具酒店休憩区功能,设立了吧台,为办公楼内的员工提供交流的场所。宽5m长50m的图书长廊,通过降低天花的高度和采用色彩厚重的地毯,同时在书架上设置了展示柜,营造出如画廊一般的充满艺术氛围的空间。这些触目可及、饱含文化元素的艺术作品,都是根据当地的文化主题而量身定做的。紧密融入中华历史文化积淀,整个空间充盈着古典氛围与情趣。在这里,可以使到访的客人放松心情、舒缓压力、探求、沉思、享受人生,踏上一段超越时空的创意与心灵之旅。

▼空间尽端的扶梯区域,escalator at the end of the first floor

言几又·迈科中心旗舰店,西安 / ikg inc.
宫殿式布局的图书街道

言几又·迈科中心旗舰店,西安 / ikg inc.
宫殿式布局的图书街道

 

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

言几又·迈科中心旗舰店,西安 / ikg inc.
宫殿式布局的图书街道

▼楼梯一侧的柜台区域,the counter near the spiral staircase

言几又·迈科中心旗舰店,西安 / ikg inc.
宫殿式布局的图书街道

▼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

言几又·迈科中心旗舰店,西安 / ikg inc.
宫殿式布局的图书街道

▼古典氛围与情趣的吧台,bar space with a tasteful, classic effect

言几又·迈科中心旗舰店,西安 / ikg inc.
宫殿式布局的图书街道

▼活动场地,event space

言几又·迈科中心旗舰店,西安 / ikg inc.
宫殿式布局的图书街道

▼一层平面图,first floor plan

言几又·迈科中心旗舰店,西安 / ikg inc.
宫殿式布局的图书街道

▼二层平面图,second floor plan

言几又·迈科中心旗舰店,西安 / ikg inc.
宫殿式布局的图书街道

项目信息
项目名称:言几又·迈科中心旗舰店
业主:迈科集团
设计师:池贝知子
室内设计公司: ikg inc. (http://ikg.cc)
摄影:Nacasa & Partners
项目地址:西安市高新区锦业路12号
项目面积:4500 m² (1F/2F)
完工日期:2018年12月
Project Information:
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

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艺零(ILIDA)设计机构

巴特西艺术中心,伦敦 / Haworth Tompkins 创意性的艺术中心构建出多元化的社区生活,格子花纹的拱形天花板为火灾后的建筑带去新生

巴特西艺术中心,伦敦 / Haworth Tompkins
创意性的艺术中心构建出多元化的社区生活,格子花纹的拱形天花板为火灾后的建筑带去新生

项目标签 设计公司: Haworth Tompkins 位置: 英国 ... 阅读全文

项目标签

设计公司:

Haworth Tompkins

位置:

英国

类型:

建筑

材料:

砖石

标签:

expansion London renovation 伦敦 扩建 改造

分类:

展览类建筑 文化建筑 艺术中心

 

非常感谢 Haworth 

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

巴特西艺术中心,伦敦 / Haworth Tompkins
创意性的艺术中心构建出多元化的社区生活,格子花纹的拱形天花板为火灾后的建筑带去新生

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

巴特西艺术中心,伦敦 / Haworth Tompkins
创意性的艺术中心构建出多元化的社区生活,格子花纹的拱形天花板为火灾后的建筑带去新生

 

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

巴特西艺术中心,伦敦 / Haworth Tompkins
创意性的艺术中心构建出多元化的社区生活,格子花纹的拱形天花板为火灾后的建筑带去新生

随后,从咖啡厅和入口门厅的改造开始,逐步推进建筑工程。为了将光线引入建筑内部同时改善建筑的采光朝向,建筑师通过选择性地推倒和修补原建筑平面中心上一个废弃的采光井,创建了一个新的公共庭院表演空间。新的墙面由釉面白砖打造而成,增加了空间的光度,并将自然光反射到侧翼的循环走廊上。改进交通流线,将其重新打开,使其与Mountford最初设计的平面产生联系,同时体现建筑结构后续的演变过程。从前的闲置阁楼和屋顶空间被改造扩建为办公室、员工花园空间和到访艺术家的住所。此外,建筑师还对建筑内部空间进行了技术改进,设置专用的工作室和更衣室空间,配以新的“即插即用”的声学和照明基础设施,从而提供了一种灵活性和可持续性,通过空间的任意组合,使得各类表演能够完美上演。

▼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

巴特西艺术中心,伦敦 / Haworth Tompkins
创意性的艺术中心构建出多元化的社区生活,格子花纹的拱形天花板为火灾后的建筑带去新生

▼天井般的公共庭院表演空间,the light well-like public courtyard performance space ©Philip Vile

巴特西艺术中心,伦敦 / Haworth Tompkins
创意性的艺术中心构建出多元化的社区生活,格子花纹的拱形天花板为火灾后的建筑带去新生

▼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

巴特西艺术中心,伦敦 / Haworth Tompkins
创意性的艺术中心构建出多元化的社区生活,格子花纹的拱形天花板为火灾后的建筑带去新生

▼庭院局部和屋顶办公室外观,partial view of the courtyard and the rooftop offices ©Fred Howarth

巴特西艺术中心,伦敦 / Haworth Tompkins
创意性的艺术中心构建出多元化的社区生活,格子花纹的拱形天花板为火灾后的建筑带去新生

▼屋顶办公室,rooftop offices ©Fred Howarth

巴特西艺术中心,伦敦 / Haworth Tompkins
创意性的艺术中心构建出多元化的社区生活,格子花纹的拱形天花板为火灾后的建筑带去新生

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

巴特西艺术中心,伦敦 / Haworth Tompkins
创意性的艺术中心构建出多元化的社区生活,格子花纹的拱形天花板为火灾后的建筑带去新生

巴特西艺术中心,伦敦 / Haworth Tompkins
创意性的艺术中心构建出多元化的社区生活,格子花纹的拱形天花板为火灾后的建筑带去新生

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

巴特西艺术中心,伦敦 / Haworth Tompkins
创意性的艺术中心构建出多元化的社区生活,格子花纹的拱形天花板为火灾后的建筑带去新生

▼Grand Hall大厅格子图案的天花板组装过程,Grand Hall lattice ceiling assembly

巴特西艺术中心,伦敦 / Haworth Tompkins
创意性的艺术中心构建出多元化的社区生活,格子花纹的拱形天花板为火灾后的建筑带去新生

▼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

巴特西艺术中心,伦敦 / Haworth Tompkins
创意性的艺术中心构建出多元化的社区生活,格子花纹的拱形天花板为火灾后的建筑带去新生

▼组装后Grand Hall大厅格子图案的天花板细节图,rolled Grand Hall lattice ceiling details

巴特西艺术中心,伦敦 / Haworth Tompkins
创意性的艺术中心构建出多元化的社区生活,格子花纹的拱形天花板为火灾后的建筑带去新生

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

巴特西艺术中心,伦敦 / Haworth Tompkins
创意性的艺术中心构建出多元化的社区生活,格子花纹的拱形天花板为火灾后的建筑带去新生

▼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

巴特西艺术中心,伦敦 / Haworth Tompkins
创意性的艺术中心构建出多元化的社区生活,格子花纹的拱形天花板为火灾后的建筑带去新生

▼Grand Hall大厅天花板细节,details of the lattice ceiling of the Grand Hall ©Fred Howarth

巴特西艺术中心,伦敦 / Haworth Tompkins
创意性的艺术中心构建出多元化的社区生活,格子花纹的拱形天花板为火灾后的建筑带去新生

巴特西艺术中心,伦敦 / Haworth Tompkins
创意性的艺术中心构建出多元化的社区生活,格子花纹的拱形天花板为火灾后的建筑带去新生

 

▼带有格子图案的木制天花板细节,details of the timber lattice ceiling ©Philip Vile

巴特西艺术中心,伦敦 / Haworth Tompkins
创意性的艺术中心构建出多元化的社区生活,格子花纹的拱形天花板为火灾后的建筑带去新生

巴特西艺术中心,伦敦 / Haworth Tompkins
创意性的艺术中心构建出多元化的社区生活,格子花纹的拱形天花板为火灾后的建筑带去新生

 

▼Grand Hall大厅天花板单体原型,the Grand Hall ceiling prototype ©

巴特西艺术中心,伦敦 / Haworth Tompkins
创意性的艺术中心构建出多元化的社区生活,格子花纹的拱形天花板为火灾后的建筑带去新生

▼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

巴特西艺术中心,伦敦 / Haworth Tompkins
创意性的艺术中心构建出多元化的社区生活,格子花纹的拱形天花板为火灾后的建筑带去新生

巴特西艺术中心,伦敦 / Haworth Tompkins
创意性的艺术中心构建出多元化的社区生活,格子花纹的拱形天花板为火灾后的建筑带去新生

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

巴特西艺术中心,伦敦 / Haworth Tompkins
创意性的艺术中心构建出多元化的社区生活,格子花纹的拱形天花板为火灾后的建筑带去新生

▼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

巴特西艺术中心,伦敦 / Haworth Tompkins
创意性的艺术中心构建出多元化的社区生活,格子花纹的拱形天花板为火灾后的建筑带去新生

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

巴特西艺术中心,伦敦 / Haworth Tompkins
创意性的艺术中心构建出多元化的社区生活,格子花纹的拱形天花板为火灾后的建筑带去新生

巴特西艺术中心的艺术总监这样说道:“最开始,我们尝试通过用传统的建筑设计过程来探索本项目的发展潜能,但我很快就对此感到忧心。因为这个过程是先通过讨论来确定项目的大致想法和方向,随后再挑选一家建筑事务所,由他们负责设计,最终进行施工建造。但是,如果最开始的想法和方向就出错了该怎么办?!

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。

2005年的我是无论如何都不会想到, 2018年我们竟然能够拥有这样的一座建筑,而我们的组织也跟着这个重要的改造扩建项目而发生了改变。目前,我们有儿童游乐场所、艺术家卧室、长廊式表演空间、一座露天剧院、一个可租赁的社区活动场地以及一个社会企业家交流中心等等。除了这些实体空间上的变化之外,我们的组织也发生了改变,甚至,我们的核心价值观已经发展为‘激励人们勇于创造、塑造未来’。我们非常感谢参与了这个建筑项目的人们,因为他们不仅为设计出了一份力,更潜移默化地影响了文化的改变。”

▼Grand Hall大厅走廊,corridors of the Grand Hall ©Fred Howarth

巴特西艺术中心,伦敦 / Haworth Tompkins
创意性的艺术中心构建出多元化的社区生活,格子花纹的拱形天花板为火灾后的建筑带去新生

巴特西艺术中心,伦敦 / Haworth Tompkins
创意性的艺术中心构建出多元化的社区生活,格子花纹的拱形天花板为火灾后的建筑带去新生

 

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

巴特西艺术中心,伦敦 / Haworth Tompkins
创意性的艺术中心构建出多元化的社区生活,格子花纹的拱形天花板为火灾后的建筑带去新生

巴特西艺术中心,伦敦 / Haworth Tompkins
创意性的艺术中心构建出多元化的社区生活,格子花纹的拱形天花板为火灾后的建筑带去新生

 

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

巴特西艺术中心,伦敦 / Haworth Tompkins
创意性的艺术中心构建出多元化的社区生活,格子花纹的拱形天花板为火灾后的建筑带去新生

总体来说,这一系列改造措施重新组织了建筑整个的室内空间,从而为具有相关性的表演和社区活动提供了多种空间选择,同时也展现了建筑的历史价值,将BAC打造为了快速变化的世界环境中的一座富有弹性和灵活性的文化建筑。

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

巴特西艺术中心,伦敦 / Haworth Tompkins
创意性的艺术中心构建出多元化的社区生活,格子花纹的拱形天花板为火灾后的建筑带去新生

▼艺术中心二层平面图,first floor plan of the arts center

巴特西艺术中心,伦敦 / Haworth Tompkins
创意性的艺术中心构建出多元化的社区生活,格子花纹的拱形天花板为火灾后的建筑带去新生

▼艺术中心三层平面图,second floor plan of the arts center

巴特西艺术中心,伦敦 / Haworth Tompkins
创意性的艺术中心构建出多元化的社区生活,格子花纹的拱形天花板为火灾后的建筑带去新生

▼艺术中心屋顶平面图,roof plan of the arts center

巴特西艺术中心,伦敦 / Haworth Tompkins
创意性的艺术中心构建出多元化的社区生活,格子花纹的拱形天花板为火灾后的建筑带去新生

▼艺术中心地下平面图,lower ground floor plan of the arts center

巴特西艺术中心,伦敦 / Haworth Tompkins
创意性的艺术中心构建出多元化的社区生活,格子花纹的拱形天花板为火灾后的建筑带去新生

▼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

巴特西艺术中心,伦敦 / Haworth Tompkins
创意性的艺术中心构建出多元化的社区生活,格子花纹的拱形天花板为火灾后的建筑带去新生

▼艺术中心东立面图,east elevation of the arts center

巴特西艺术中心,伦敦 / Haworth Tompkins
创意性的艺术中心构建出多元化的社区生活,格子花纹的拱形天花板为火灾后的建筑带去新生

▼艺术中心南立面图,south elevation of the arts center

巴特西艺术中心,伦敦 / Haworth Tompkins
创意性的艺术中心构建出多元化的社区生活,格子花纹的拱形天花板为火灾后的建筑带去新生

▼艺术中心北立面图,north elevation of the arts center

巴特西艺术中心,伦敦 / Haworth Tompkins
创意性的艺术中心构建出多元化的社区生活,格子花纹的拱形天花板为火灾后的建筑带去新生

▼艺术中心西立面图,west elevation of the arts center

巴特西艺术中心,伦敦 / Haworth Tompkins
创意性的艺术中心构建出多元化的社区生活,格子花纹的拱形天花板为火灾后的建筑带去新生

▼艺术中心纵向剖面图,long section of the arts center

巴特西艺术中心,伦敦 / Haworth Tompkins
创意性的艺术中心构建出多元化的社区生活,格子花纹的拱形天花板为火灾后的建筑带去新生

▼艺术中心横向剖面图,cross sections of the arts center

巴特西艺术中心,伦敦 / Haworth Tompkins
创意性的艺术中心构建出多元化的社区生活,格子花纹的拱形天花板为火灾后的建筑带去新生

▼Grand Hall大厅横向剖面图,cross sections of the Grand Hall

巴特西艺术中心,伦敦 / Haworth Tompkins
创意性的艺术中心构建出多元化的社区生活,格子花纹的拱形天花板为火灾后的建筑带去新生

▼Grand Hall大厅横向剖面图,cross sections of the Grand Hall

巴特西艺术中心,伦敦 / Haworth Tompkins
创意性的艺术中心构建出多元化的社区生活,格子花纹的拱形天花板为火灾后的建筑带去新生

BATTERSEA ARTS CENTRE – GRAND HALL REBUILD PROJECT DATA
PROJECT DETAILS
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
PROJECT TEAM
Client: Battersea Arts Centre
Architect: Haworth Tompkins
HT Design Team: Steve Tompkins, Toby Johnson, Martin Lydon, Imogen Long, Emma Tubbs, Tomoyo Arimoto, Madeleine Kessler
Contractor: 8Build
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
PROJECT DETAILS
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
PROJECT TEAM
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

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艺零(ILIDA)设计机构

2018 ASLA居住设计荣誉奖:蓝色花园的新生,美国纽波特 / Reed Hilderbrand LLC Landscape Architecture 在变化的环境中实施管理和保护

2018 ASLA居住设计荣誉奖:蓝色花园的新生,美国纽波特 / Reed Hilderbrand LLC Landscape Architecture
在变化的环境中实施管理和保护

项目标签 设计公司: Reed Hilderbrand LLC Landscape Architecture 位置: 美国 ... 阅读全文

项目标签

设计公司:

Reed Hilderbrand LLC Landscape Architecture

位置:

美国

类型:

景观

材料:

石材 瓷砖

标签:

ASLA Newport Rhode Island 纽波特 罗得岛州

分类:

庭院

 

“高质量的修复,还有它与Olmsteds原始方案的一致性,似乎在向我们证明——买一块地,拆掉房屋,然后修复花园——或许不失为一个好的做法。”
-2018年评审委员会

“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

 

项目陈述
PROJECT STATEMENT

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.

2018 ASLA居住设计荣誉奖:蓝色花园的新生,美国纽波特 / Reed Hilderbrand LLC Landscape Architecture
在变化的环境中实施管理和保护

▲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

 

项目说明
PROJECT NARRATIVE

目的:恢复和重新演绎

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。

多年以来,蓝色花园一直是纽波特的社交核心,同时也是充满戏剧性的精致舞台。1913年,花园举办了富有传奇色彩的开幕盛会:女演员和舞蹈演员从巨大的贝壳中登场,在喷泉带来的水雾中尽情地跳跃嬉戏。

1941年Curtises去世之后,这座庄园被分成几部分出售,蓝色花园被纳入其中的一个小型地块。后来,沿着花园的主轴,一栋新的住宅被建造起来,占据了花园面积的三分之一。到了21世纪初期,花园其余的部分由于长时间无人看管已变得荒木丛生。

2012年,一位致力于保护历史建筑的业主购得了这处房产,并希望能够重新找回场地的价值和内涵。基于对园林和历史遗迹保护的巨大热情,这位业主试图重新将花园连接至西边的农田,从而为花园赋予新的生机。在该项目中,设计团队的主要任务是对蓝色花园及其周边环境进行修复和重新诠释,使其成为一个可持续的、不断发展的场地,以帮助未来的市民了解纽波特丰富多彩的景观历史。

过程:深入的研究、概念化以及实施

既有花园的毁损程度较高,这位该项目带来了三重的挑战:首先是要对Olmsted兄弟的方案进行研究和记录,维护前主人所在时代的园林设计传统;二是要充分考量场地的文化意义;三是要以新的方式诠释出一座属于21世纪的花园。景观设计师与历史学家、石工建筑保护人员以及园艺师共同对场地进行了长期而密切的研究和记录,最终得以将花园的大部分原貌呈现出来。

原先的种植方案涉及的品种较多,若要一直保持最佳状态,就必须依赖于极为细致的人工栽种和养护。该方案提出了一种新的种植模式,采用了品性更加稳定、更易于养护、耐旱性更好且花期更长的植物种类,同时将原有花园中以蓝色、紫色、白色和灰绿色为主的配色方案保留下来,并通过植物的不同高度、纹理和季节性特征来展现花园的多样性。

原本,设计团队计划在花园周围种植不同品种的常绿树木,以起到封闭和保护花园的作用。在此基础上,景观设计师提出了种植新型混合常绿植物的方案,适宜的树高能够保证花园的光照需求,同时策略性地在花园的外围形成一道具有隔离性却又不阻挡视野的屏墙。花园的路径穿梭于这些常绿植物之间,带来一种类似于冰川地形的道路体验。

意义:渐进式的恢复

蓝色花园的更新提升了公众对于纽波特发展历程的认知,鼓励人们对资源进行明智且有针对性的利用,从而为后代留下更多有意义的景观艺术杰作。在景观设计师与众多专家、承包商以及管理人员的多年努力下,蓝色花园在保留其初始设计精髓的基础上适应了当代的步伐。根据历史学家的描述,这座花园的艺术性已不再局限于视觉与空间的层面,而是已经达到了时间的层面——它预见了景观作为一个动态媒介所不可避免的变化。因此,蓝色花园的重生所展现的是一种渐进式的恢复,即在不断变化的环境中实施协调而适度的管理和保护。

2018 ASLA居住设计荣誉奖:蓝色花园的新生,美国纽波特 / Reed Hilderbrand LLC Landscape Architecture
在变化的环境中实施管理和保护

▲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.

 

2018 ASLA居住设计荣誉奖:蓝色花园的新生,美国纽波特 / Reed Hilderbrand LLC Landscape Architecture
在变化的环境中实施管理和保护

▲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.

 

2018 ASLA居住设计荣誉奖:蓝色花园的新生,美国纽波特 / Reed Hilderbrand LLC Landscape Architecture
在变化的环境中实施管理和保护

▲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.

 

2018 ASLA居住设计荣誉奖:蓝色花园的新生,美国纽波特 / Reed Hilderbrand LLC Landscape Architecture
在变化的环境中实施管理和保护

▲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.

 

2018 ASLA居住设计荣誉奖:蓝色花园的新生,美国纽波特 / Reed Hilderbrand LLC Landscape Architecture
在变化的环境中实施管理和保护

▲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.

 

2018 ASLA居住设计荣誉奖:蓝色花园的新生,美国纽波特 / Reed Hilderbrand LLC Landscape Architecture
在变化的环境中实施管理和保护

▲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.

 

2018 ASLA居住设计荣誉奖:蓝色花园的新生,美国纽波特 / Reed Hilderbrand LLC Landscape Architecture
在变化的环境中实施管理和保护

▲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.

 

2018 ASLA居住设计荣誉奖:蓝色花园的新生,美国纽波特 / Reed Hilderbrand LLC Landscape Architecture
在变化的环境中实施管理和保护

▲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.

 

2018 ASLA居住设计荣誉奖:蓝色花园的新生,美国纽波特 / Reed Hilderbrand LLC Landscape Architecture
在变化的环境中实施管理和保护

▲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.

 

2018 ASLA居住设计荣誉奖:蓝色花园的新生,美国纽波特 / Reed Hilderbrand LLC Landscape Architecture
在变化的环境中实施管理和保护

▲植物搭配方案。Plant Palette

 

2018 ASLA居住设计荣誉奖:蓝色花园的新生,美国纽波特 / Reed Hilderbrand LLC Landscape Architecture
在变化的环境中实施管理和保护

▲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.

 

2018 ASLA居住设计荣誉奖:蓝色花园的新生,美国纽波特 / Reed Hilderbrand LLC Landscape Architecture
在变化的环境中实施管理和保护

▲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.

 

2018 ASLA居住设计荣誉奖:蓝色花园的新生,美国纽波特 / Reed Hilderbrand LLC Landscape Architecture
在变化的环境中实施管理和保护

▲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.

 

2018 ASLA居住设计荣誉奖:蓝色花园的新生,美国纽波特 / Reed Hilderbrand LLC Landscape Architecture
在变化的环境中实施管理和保护

▲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.

 

2018 ASLA居住设计荣誉奖:蓝色花园的新生,美国纽波特 / Reed Hilderbrand LLC Landscape Architecture
在变化的环境中实施管理和保护

▲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.

 

PROJECT NARRATIVE

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.

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艺零(ILIDA)设计机构

“仓阁”- 首钢工舍智选假日酒店,北京 / 中国建筑设计研究院有限公司 人工与自然、工业与居住、历史与未来之间的微妙平衡

“仓阁”- 首钢工舍智选假日酒店,北京 / 中国建筑设计研究院有限公司
人工与自然、工业与居住、历史与未来之间的微妙平衡

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

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

类型:

建筑

材料:

金属 钢 混凝土 玻璃

标签:

Beijing renovation 北京 改造

分类:

休闲娱乐 工业建筑 酒店

 

感following desc

“仓阁”——首钢工舍智选假日酒店设计始于2015年11月,2018年7月竣工。项目位于首钢老工业区北部,原为高炉空压机站、返焦返矿仓、低压配电室、N3-18转运站等4个工业建筑,改造后成为一座特色精品酒店,同时为紧邻的北京2022冬奥组委办公区员工提供倒班住宿服务。

“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

“仓阁”- 首钢工舍智选假日酒店,北京 / 中国建筑设计研究院有限公司
人工与自然、工业与居住、历史与未来之间的微妙平衡

设计最大限度地保留了原来废弃和预备拆除的工业建筑及其空间、结构和外部形态特征,将新结构见缝插针地植入其中并叠加数层,以容纳未来的使用功能:下部的大跨度厂房——“仓”作为公共活动空间,上部的客房层——“阁”漂浮在厂房之上。被保留的“仓”与叠加其上的“阁”并置,形成强烈的新旧对比。同时,“仓”的局部增加了金属雨篷、室外楼梯等新构件,“阁”则在玻璃和金属的基础上局部使用木材等具有温暖感和生活气息的材料,使“仓阁”在人工与自然、工业与居住、历史与未来之间实现一种复杂微妙的平衡。

▼改造示意图,renovation diagram

“仓阁”- 首钢工舍智选假日酒店,北京 / 中国建筑设计研究院有限公司
人工与自然、工业与居住、历史与未来之间的微妙平衡

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

“仓阁”- 首钢工舍智选假日酒店,北京 / 中国建筑设计研究院有限公司
人工与自然、工业与居住、历史与未来之间的微妙平衡

▼自西南望首钢工舍,view to the  Silo-Pavilion from southwest ©陈颢

“仓阁”- 首钢工舍智选假日酒店,北京 / 中国建筑设计研究院有限公司
人工与自然、工业与居住、历史与未来之间的微妙平衡

▼室外楼梯,outdoor staircase ©陈颢

“仓阁”- 首钢工舍智选假日酒店,北京 / 中国建筑设计研究院有限公司
人工与自然、工业与居住、历史与未来之间的微妙平衡

新旧建筑相互穿插创造出一个令人兴奋的内部世界:“仓阁”北区由一高炉空压机站改造而成,原建筑的东、西山墙及端跨结构得以保留,吊车梁、抗风柱、柱间支撑、空压机基础等极具工业特色的构件被戏剧性地暴露在大堂公共空间中,新结构则由下至上层层缩小,屋顶天光通过透光膜均匀漫射到环形走廊,使整个客房区域充满宁静氛围,错落高耸的采光中庭在“阁”内形成颇具仪式感的“塔”型内腔,艺术灯具从天窗向下垂落,宛如一片轻盈虚透的金属幔帐,柔化了宁静硬朗的空间形式,与原始粗犷的工业遗存形成鲜明对比。

▼改造前西南鸟瞰照片,aerial view of the original site ©郑旭航

“仓阁”- 首钢工舍智选假日酒店,北京 / 中国建筑设计研究院有限公司
人工与自然、工业与居住、历史与未来之间的微妙平衡

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

“仓阁”- 首钢工舍智选假日酒店,北京 / 中国建筑设计研究院有限公司
人工与自然、工业与居住、历史与未来之间的微妙平衡

▼中庭,atrium ©陈颢

“仓阁”- 首钢工舍智选假日酒店,北京 / 中国建筑设计研究院有限公司
人工与自然、工业与居住、历史与未来之间的微妙平衡

▼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

“仓阁”- 首钢工舍智选假日酒店,北京 / 中国建筑设计研究院有限公司
人工与自然、工业与居住、历史与未来之间的微妙平衡

▼客房层公共空间,public space of the guest room level ©陈颢

“仓阁”- 首钢工舍智选假日酒店,北京 / 中国建筑设计研究院有限公司
人工与自然、工业与居住、历史与未来之间的微妙平衡

“仓阁”南区由原返焦返矿仓、低压配电室、N3-18转运站改造而成,3组巨大的返矿仓金属料斗与检修楼梯被完整保留在全日餐厅内部,料斗下部出料口改造为就餐空间的空调风口与照明光源,上方料斗的内部被别出心裁地改造为酒吧廊,客人穿行其间,获得独一无二的空间体验;客房层出檐深远,形成舒展的水平视野,在阳台上凭栏远眺,可俯瞰改造后的西十冬奥广场和远处石景山的自然风光。

▼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

“仓阁”- 首钢工舍智选假日酒店,北京 / 中国建筑设计研究院有限公司
人工与自然、工业与居住、历史与未来之间的微妙平衡

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

“仓阁”- 首钢工舍智选假日酒店,北京 / 中国建筑设计研究院有限公司
人工与自然、工业与居住、历史与未来之间的微妙平衡

▼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

“仓阁”- 首钢工舍智选假日酒店,北京 / 中国建筑设计研究院有限公司
人工与自然、工业与居住、历史与未来之间的微妙平衡

▼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

“仓阁”- 首钢工舍智选假日酒店,北京 / 中国建筑设计研究院有限公司
人工与自然、工业与居住、历史与未来之间的微妙平衡

▼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

“仓阁”- 首钢工舍智选假日酒店,北京 / 中国建筑设计研究院有限公司
人工与自然、工业与居住、历史与未来之间的微妙平衡

设计过程中,建筑师与结构工程师密切配合,对原建筑进行全面的结构检测,确定了“拆除、加固、保留”相结合的结构处理方案;使用粒子喷射技术对需保留的涂料外墙进行清洗,在清除污垢的同时保留了数十年形成的岁月痕迹和历史信息。

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

“仓阁”- 首钢工舍智选假日酒店,北京 / 中国建筑设计研究院有限公司
人工与自然、工业与居住、历史与未来之间的微妙平衡

“仓阁”是西十冬奥广场各单体中旧建筑保存最完整的一座,设计尊重工业遗存的原真性,延续首钢老工业区的历史记忆,通过新与旧的碰撞、功能与形式的互动,使场所蕴含的诗意和张力得以呈现,它曾经是首钢厂区生产链条上不可或缺的一个节点,今天则是城市更新的一次生动实践,并与北京2022冬奥会的可持续理念高度契合。

“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

“仓阁”- 首钢工舍智选假日酒店,北京 / 中国建筑设计研究院有限公司
人工与自然、工业与居住、历史与未来之间的微妙平衡

▼改造前原状,the original site ©郑旭航

“仓阁”- 首钢工舍智选假日酒店,北京 / 中国建筑设计研究院有限公司
人工与自然、工业与居住、历史与未来之间的微妙平衡

▼设计手稿,design concept

“仓阁”- 首钢工舍智选假日酒店,北京 / 中国建筑设计研究院有限公司
人工与自然、工业与居住、历史与未来之间的微妙平衡

“仓阁”- 首钢工舍智选假日酒店,北京 / 中国建筑设计研究院有限公司
人工与自然、工业与居住、历史与未来之间的微妙平衡

▼总平面图,site plan

“仓阁”- 首钢工舍智选假日酒店,北京 / 中国建筑设计研究院有限公司
人工与自然、工业与居住、历史与未来之间的微妙平衡

▼首层平面图,plan level 1

“仓阁”- 首钢工舍智选假日酒店,北京 / 中国建筑设计研究院有限公司
人工与自然、工业与居住、历史与未来之间的微妙平衡

▼六层平面图,plan level 6

“仓阁”- 首钢工舍智选假日酒店,北京 / 中国建筑设计研究院有限公司
人工与自然、工业与居住、历史与未来之间的微妙平衡

▼西立面图,west elevation

“仓阁”- 首钢工舍智选假日酒店,北京 / 中国建筑设计研究院有限公司
人工与自然、工业与居住、历史与未来之间的微妙平衡

▼A-A剖面图,sectionA-A

“仓阁”- 首钢工舍智选假日酒店,北京 / 中国建筑设计研究院有限公司
人工与自然、工业与居住、历史与未来之间的微妙平衡

项目名称: “仓阁”——首钢工舍智选假日酒店
建筑事务所: 中国建筑设计研究院有限公司
电邮联系方式: jy@cadg.cn
主创建筑师: 李兴钢、景泉、黎靓、涂嘉欢、郑旭航、田聪、高阳、张文娟、王梓淳、李秀萍、徐松月、马卓越、邢睿
项目详细地址: 北京市石景山区
项目完成年份: 2018年
建筑面积(平方米): 9890平方米
摄影师: 陈颢、郑旭航
结构设计:王树乐、郭俊杰、居易
机电设计:申静(水)、郝洁(水)、祝秀娟(暖)、孟鑫(暖)、张祎琦(暖)、高学文(电)、王旭(电)、何学宇(电)、李宝华(电) 、张辉(电)、王昊(电)
室内设计:曹阳、马萌雪、张秋雨、张洋洋、李小菲

Project name: Holiday Inn Express Beijing Shougang Silo-Pavilion
Architect’ Firm: China Architecture Design and Research Group
Contact e-mail: jy@cadg.cn
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

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艺零(ILIDA)设计机构

Hammerfest徒步旅行小屋,挪威 / SPINN Arkitekter 极地环境中77块面板构成的木质“岩石”

Hammerfest徒步旅行小屋,挪威 / SPINN Arkitekter
极地环境中77块面板构成的木质“岩石”

项目标签 设计公司: SPINN Arkitekter 位置: 挪威 ... 阅读全文

项目标签

设计公司:

SPINN Arkitekter

位置:

挪威

类型:

建筑

材料:

饰面板 木材 混凝土 现浇混凝土 预制面板/体系 预制板

标签:

Hammerfest 哈默菲斯特

分类:

休闲娱乐 度假屋 旅游设施

 

非常感谢来自 S

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

Hammerfest徒步旅行小屋,挪威 / SPINN Arkitekter
极地环境中77块面板构成的木质“岩石”

▼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

Hammerfest徒步旅行小屋,挪威 / SPINN Arkitekter
极地环境中77块面板构成的木质“岩石”

▼室内配备有壁炉和家具,fireplace and interior furniture are installed in the warming space  ©Tor Even Mathisen

Hammerfest徒步旅行小屋,挪威 / SPINN Arkitekter
极地环境中77块面板构成的木质“岩石”

SPINN在2015年夏天接受这一任务并完成了草图设计。“Varden”是一个适宜于所处地形的有机木材小屋,能够适应极地冬季严寒的气候条件,为徒步旅行者提供一个温暖而诱人的休息站,并且小屋本身也成了地区的一个景点。为了能够将有机木材小屋的草图设计转换为现实,SPINN联系了他们长期合作伙伴FORMAT Engineers,在他们的帮助下将双曲线的木制“岩石”转变成实际的建筑物,让当地的志愿者团队能够按照图纸精确的在山顶建造出来。

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

Hammerfest徒步旅行小屋,挪威 / SPINN Arkitekter
极地环境中77块面板构成的木质“岩石”

设计团队利用无人机和摄影测量软件绘制出场地详细的3D地形图,并将其作为建筑外形设计的基准。建筑师使用Sketchup和Rhino绘制初始设计,然后由FORMAT工程师使用Kangaroo、Grasshopper和根据设计开发的脚本工具,进一步进行优化和转换。最终方案呈现为一个交叉层压木板外壳,由77块独特面板像三维拼图一样装配在一起。

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

Hammerfest徒步旅行小屋,挪威 / SPINN Arkitekter
极地环境中77块面板构成的木质“岩石”

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

Hammerfest徒步旅行小屋,挪威 / SPINN Arkitekter
极地环境中77块面板构成的木质“岩石”

最后,建筑物在一个环境可控的仓库中建造,团队在这里进行小屋构件组装和测试,然后再分成不同部分进行运输。一组充满热情的志愿者负责主体结构,花费了4天的时间将预制CLT面板组装在一起。另一组志愿者根据SPINN绘制的1:1图纸切割和测量框架及外部覆盖层的面板。志愿者耗时1500多小时建造了一座小屋外加两个小屋覆盖层。项目唯一的专业工作是外壳的双层的沥青防水层和现场浇筑的地基。第一座小屋分成两部分,通过一辆开往Storfjellet的平板卡车运输到场地,然后将小屋抬高到合适的位置后吊装在一起。窗户、壁炉、坡道和内部家具都已安装到位。

▼装配步骤,assembly stages  ©SPINN

Hammerfest徒步旅行小屋,挪威 / SPINN Arkitekter
极地环境中77块面板构成的木质“岩石”

▼平台及外壳装配图示,assembly cladding&terrace  ©SPINN

Hammerfest徒步旅行小屋,挪威 / SPINN Arkitekter
极地环境中77块面板构成的木质“岩石”

▼外部面板装配图示,assembly cladding panel  ©SPINN

Hammerfest徒步旅行小屋,挪威 / SPINN Arkitekter
极地环境中77块面板构成的木质“岩石”

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

Hammerfest徒步旅行小屋,挪威 / SPINN Arkitekter
极地环境中77块面板构成的木质“岩石”  Hammerfest徒步旅行小屋,挪威 / SPINN Arkitekter
极地环境中77块面板构成的木质“岩石”

现在第一座小屋已经取得了巨大的成功,截止到目前为止已经大大增加了Storfjellet的旅行人数。第二座小木屋将建造在Hammerfest 另一侧的Tyven山上,这样两座小木屋既能够俯瞰城市,又能够在Hammerfest美丽的极地风光中相互对望。

▼夕阳景色中的小屋,cabinet in a sunset view  ©Tor Even Mathisen

Hammerfest徒步旅行小屋,挪威 / SPINN Arkitekter
极地环境中77块面板构成的木质“岩石”

▼温暖的室内,warm interior  ©Tor Even Mathisen

Hammerfest徒步旅行小屋,挪威 / SPINN Arkitekter
极地环境中77块面板构成的木质“岩石”

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

Hammerfest徒步旅行小屋,挪威 / SPINN Arkitekter
极地环境中77块面板构成的木质“岩石”

Hammerfest徒步旅行小屋,挪威 / SPINN Arkitekter
极地环境中77块面板构成的木质“岩石”

Hammerfest徒步旅行小屋,挪威 / SPINN Arkitekter
极地环境中77块面板构成的木质“岩石”

▼外壳图解模型,shell sequence  ©SPINN

Hammerfest徒步旅行小屋,挪威 / SPINN Arkitekter
极地环境中77块面板构成的木质“岩石”

Project Facts:
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/

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艺零(ILIDA)设计机构

建筑有/无序 – 公寓改造,葡萄牙 / Corpo Atelier 古典建筑元素的抽象表达

建筑有/无序 – 公寓改造,葡萄牙 / Corpo Atelier
古典建筑元素的抽象表达

项目标签 设计公司: Corpo Atelier 位置: 葡萄牙 ... 阅读全文

项目标签

设计公司:

Corpo Atelier

位置:

葡萄牙

类型:

建筑

材料:

石材 大理石 家具 住宅家具

标签:

Interior design Vilamoura 室内设计 维拉摩拉

分类:

住宅建筑 公寓

 

感谢 Corpo Atelier 

在一个白色盒子内部,分别放置了三个不同的黄色构件。这种方式戏剧性地改变了原来人们在这个空白空间中的直观体验。人运动的视角,白色盒子的限制、黄色构件的位置不可避免的交织在一起。

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

建筑有/无序 – 公寓改造,葡萄牙 / Corpo Atelier
古典建筑元素的抽象表达

建筑有/无序 – 公寓改造,葡萄牙 / Corpo Atelier
古典建筑元素的抽象表达

但是黄色构件的特征依旧不明显。经过仔细观察,它们的形态可能是古典建筑元素的抽象表达:横梁、倒下的柱子和柱础。它们像拼图一样被分散放置,只有在精神上将它们拼凑在一起时才能激活(可能的)空间内如同画廊之中雕塑般体验,或者,这些黄色构件只是作为(可能的)家具的一部分来突显物品的价值,用来在内部或者顶部放置其它小物体。

▼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

建筑有/无序 – 公寓改造,葡萄牙 / Corpo Atelier
古典建筑元素的抽象表达

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

建筑有/无序 – 公寓改造,葡萄牙 / Corpo Atelier
古典建筑元素的抽象表达

▼起居室,living room

建筑有/无序 – 公寓改造,葡萄牙 / Corpo Atelier
古典建筑元素的抽象表达

在这样的情况下,黄色构件可能单纯只是一种本质上的尝试,试图在没有墙的空间中塑造出一种空间层级,根据特定的家庭用途标记和限定不同的区域:入口大厅、中央起居室、全景视角的卧室。这些可能的空间都并非是界限分明的,或者说这种限定本身就是模糊的。

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.

▼门厅,entrance hall

建筑有/无序 – 公寓改造,葡萄牙 / Corpo Atelier
古典建筑元素的抽象表达

▼黄色构件像拼图一样分散在空间中,yellow elements arranged separately as a puzzle

建筑有/无序 – 公寓改造,葡萄牙 / Corpo Atelier
古典建筑元素的抽象表达

▼全景卧室,a bedroom with a panoramic view

建筑有/无序 – 公寓改造,葡萄牙 / Corpo Atelier
古典建筑元素的抽象表达

▼界线模糊的空间,the definition of the space is blur

建筑有/无序 – 公寓改造,葡萄牙 / Corpo Atelier
古典建筑元素的抽象表达

▼平面图,plan

建筑有/无序 – 公寓改造,葡萄牙 / Corpo Atelier
古典建筑元素的抽象表达

Tipology: Apartment Refurbishment 
Location: Vilamoura . Portugal 
Date: 2018 
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)

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艺零(ILIDA)设计机构

隧道商店住宅,日本北海道 Jun Igarashi Architects 二人之家+清酒商店

隧道商店住宅,日本北海道  Jun Igarashi Architects
二人之家+清酒商店

项目标签 设计公司: Jun Igarashi Architects 位置: 日本 ... 阅读全文

项目标签

设计公司:

Jun Igarashi Architects

位置:

日本

类型:

建筑

材料:

木材 混凝土

标签:

Hokkaido Interior Kitami Small and Delicate Residence 北海道 北见 室内设计 小而美的住宅

分类:

住宅 住宅建筑

 

来自 Jun Igaras

Charles Moore说:“在我查阅地图时,那些充满变化的轮廓,如海湾和港口、岛屿、河口,它们比那种海陆相接的简单海岸线要更加有趣。如果拿建筑来类比,普通的房间就相当于简单开阔的海面,而像壁龛这样的空间就相当于那些形态更加复杂的海岸线。”

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.”

▼项目概览,project overview

隧道商店住宅,日本北海道  Jun Igarashi Architects
二人之家+清酒商店

这座建筑位于北海道东部的北见市,结合了商店和住宅的双重功能。建筑的三面临街,东面有一座紧挨的建筑。南面的道路宽6米,下沉于地面约1.3米;西面是两条繁忙的公路;北面道路宽约8米,对面是一所小学。

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.

▼周边环境鸟瞰,context

隧道商店住宅,日本北海道  Jun Igarashi Architects
二人之家+清酒商店

▼建筑外观,exterior view

隧道商店住宅,日本北海道  Jun Igarashi Architects
二人之家+清酒商店

根据业主的需要,店面的三个停车场被设置在场地的西北面,车辆可以轻松地靠近建筑。运输车辆的停放处设置在东侧。后院和卸货区等区域被隐藏在建筑的体量之后。商店的入口较为隐蔽,首先要经过一条巷道,随后还要穿越内部的庭院才能够到达门店内部。

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

隧道商店住宅,日本北海道  Jun Igarashi Architects
二人之家+清酒商店

▼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

隧道商店住宅,日本北海道  Jun Igarashi Architects
二人之家+清酒商店

如果将周围的环境比作海洋,将建筑比作漂浮在海上的小岛,那么小岛的地形必将受到海浪冲击的影响,或成为简洁的海岸,或形成复杂的海湾。在建筑师眼中,本案的建筑亦是如此。这座建筑不仅是业主夫妇的居所,还包含了他们共同经营的清酒商店。弧形的空间带来引人入胜的感觉,使人不禁想去探索后面看不见的区域。弯曲而复杂的路径和简单干净的内部空间为整个建筑赋予了双重的意义。

▼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

隧道商店住宅,日本北海道  Jun Igarashi Architects
二人之家+清酒商店

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

隧道商店住宅,日本北海道  Jun Igarashi Architects
二人之家+清酒商店

在首层的商店,清酒的展示台犹如一道简洁流畅的海岸线。顾客可以从这里充分地了解商品,然后从建筑后方的仓库区域进行购买。

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

隧道商店住宅,日本北海道  Jun Igarashi Architects
二人之家+清酒商店

▼顾客可以从这里充分地了解商品,in this space, the customer meets the displayed sake

隧道商店住宅,日本北海道  Jun Igarashi Architects
二人之家+清酒商店

隧道商店住宅,日本北海道  Jun Igarashi Architects
二人之家+清酒商店

▼楼梯通往二层居住空间,staircase leading to the residential area on the upper floor

隧道商店住宅,日本北海道  Jun Igarashi Architects
二人之家+清酒商店

二层空间也采用了同样的布局,并通过细节上的调整来适应居住的功能需要。这个弯曲的犹如隧道般的空间相较于一层更加复杂,更像是一条蜿蜒的河道:生活用的家具被放置在一些凹进的小空间内,就像是由河水冲击而形成的湾地。

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.

▼厨房,kitchen

隧道商店住宅,日本北海道  Jun Igarashi Architects
二人之家+清酒商店

▼隧道般的空间,a curved, tube-like space

隧道商店住宅,日本北海道  Jun Igarashi Architects
二人之家+清酒商店

隧道商店住宅,日本北海道  Jun Igarashi Architects
二人之家+清酒商店

▼用餐区,dining area

隧道商店住宅,日本北海道  Jun Igarashi Architects
二人之家+清酒商店

▼沙发被设置在凹进的小空间内,the built-in seating area

隧道商店住宅,日本北海道  Jun Igarashi Architects
二人之家+清酒商店

隧道商店住宅,日本北海道  Jun Igarashi Architects
二人之家+清酒商店

▼室内细部,interior detailed view

隧道商店住宅,日本北海道  Jun Igarashi Architects
二人之家+清酒商店

隧道商店住宅,日本北海道  Jun Igarashi Architects
二人之家+清酒商店

▼外立面细部,facade detail

隧道商店住宅,日本北海道  Jun Igarashi Architects
二人之家+清酒商店

隧道商店住宅,日本北海道  Jun Igarashi Architects
二人之家+清酒商店

▼场地平面图,site plan

隧道商店住宅,日本北海道  Jun Igarashi Architects
二人之家+清酒商店

▼首层平面图,plan level 1

隧道商店住宅,日本北海道  Jun Igarashi Architects
二人之家+清酒商店

▼二层平面图,plan level 2

隧道商店住宅,日本北海道  Jun Igarashi Architects
二人之家+清酒商店

Project Name : Corridor of the Fold
Location : Kitami,Hokkaido 
Total Floor Area:142.53㎡
Design Period:2015.9~2017.12
Construction Period:2018.1~2018.7
Designer:Jun Igarashi Architects 
Building Type : shop + house
Photo:Ikuya Sasaki

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艺零(ILIDA)设计机构

El Cortijo住宅,厄瓜多尔 Felipe Assadi Arquitectos 连续的、一体化的庭院建筑

El Cortijo住宅,厄瓜多尔  Felipe Assadi Arquitectos
连续的、一体化的庭院建筑

项目标签 设计公司: Felipe Assadi Arquitectos 位置: 厄瓜多尔 ... 阅读全文

项目标签

设计公司:

Felipe Assadi Arquitectos

位置:

厄瓜多尔

类型:

建筑

材料:

钢 砖石 玻璃

标签:

Guayaquil 瓜亚基尔

分类:

住宅 住宅建筑

 

非常感谢 Felipe A

该项目坐落在一个5000平方米的公寓住宅区,与瓜亚基尔市中心典型的城市住宅形成了尺度上的反差。相互紧挨的体量围绕着场地分布,并在内部形成一个庭院。如果将所有隔墙元素拆除,会得到一个连续的、一体化的庭院建筑。

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.

▼鸟瞰图,aerial view

El Cortijo住宅,厄瓜多尔  Felipe Assadi Arquitectos
连续的、一体化的庭院建筑

不同居住空间的分隔通过独立的屋顶来实现,虽然立面是连续的,但形态各异的屋顶起到了定义空间的作用,同时将独立的单元融合到统一的系统当中。

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

El Cortijo住宅,厄瓜多尔  Felipe Assadi Arquitectos
连续的、一体化的庭院建筑

El Cortijo住宅,厄瓜多尔  Felipe Assadi Arquitectos
连续的、一体化的庭院建筑

▼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

El Cortijo住宅,厄瓜多尔  Felipe Assadi Arquitectos
连续的、一体化的庭院建筑

▼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

El Cortijo住宅,厄瓜多尔  Felipe Assadi Arquitectos
连续的、一体化的庭院建筑

基于这一平面设置,住宅内的空间都围绕在正方形庭院周围,并通过内部走廊相连。庭院将所有的空间从视觉上连接起来,同时保证了每个房间都能享有自己的风景。

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

El Cortijo住宅,厄瓜多尔  Felipe Assadi Arquitectos
连续的、一体化的庭院建筑

▼从正方形的庭院望向室内,view to the interior from the square patio

El Cortijo住宅,厄瓜多尔  Felipe Assadi Arquitectos
连续的、一体化的庭院建筑

▼住宅入口,entrance

El Cortijo住宅,厄瓜多尔  Felipe Assadi Arquitectos
连续的、一体化的庭院建筑

▼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

El Cortijo住宅,厄瓜多尔  Felipe Assadi Arquitectos
连续的、一体化的庭院建筑

▼从餐厅望向庭院,view to the patio from the dining area

El Cortijo住宅,厄瓜多尔  Felipe Assadi Arquitectos
连续的、一体化的庭院建筑

▼起居室,living room

El Cortijo住宅,厄瓜多尔  Felipe Assadi Arquitectos
连续的、一体化的庭院建筑

▼从庭院望向建筑,view from the courtyard

El Cortijo住宅,厄瓜多尔  Felipe Assadi Arquitectos
连续的、一体化的庭院建筑

▼设计手稿,design concept

El Cortijo住宅,厄瓜多尔  Felipe Assadi Arquitectos
连续的、一体化的庭院建筑

▼模型,model

El Cortijo住宅,厄瓜多尔  Felipe Assadi Arquitectos
连续的、一体化的庭院建筑

▼场地平面图,site plan

El Cortijo住宅,厄瓜多尔  Felipe Assadi Arquitectos
连续的、一体化的庭院建筑

▼首层平面图,ground floor plan

El Cortijo住宅,厄瓜多尔  Felipe Assadi Arquitectos
连续的、一体化的庭院建筑

▼立面图,elevations

El Cortijo住宅,厄瓜多尔  Felipe Assadi Arquitectos
连续的、一体化的庭院建筑

El Cortijo住宅,厄瓜多尔  Felipe Assadi Arquitectos
连续的、一体化的庭院建筑

▼剖面图,sections

El Cortijo住宅,厄瓜多尔  Felipe Assadi Arquitectos
连续的、一体化的庭院建筑

El Cortijo住宅,厄瓜多尔  Felipe Assadi Arquitectos
连续的、一体化的庭院建筑

ESPAÑOL
Casa El Cortijo 
2° 4’11.59″S / 79°51’21.11″O
Guayaquil, Ecuador
Felipe Assadi
Trinidad Schönthaler
Alejandra Araya
Macarena Ávila
Constructora 
Francisco Ibañez

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艺零(ILIDA)设计机构

北京外国语大学附属杭州橄榄树学校,浙江 / 言川建筑 中西贯通,古今传承

北京外国语大学附属杭州橄榄树学校,浙江 / 言川建筑
中西贯通,古今传承

项目标签 设计公司: 言川建筑 位置: 中国 类型: ... 阅读全文

项目标签

设计公司:

言川建筑

位置:

中国

类型:

建筑

材料:

木材 金属 砖石 混凝土 玻璃

标签:

Hangzhou Zhejiang 杭州 浙江

分类:

中学 小学 教育建筑

 

非常感谢

北外附属杭州橄榄树国际学校的创始人大元曾是杭州最优秀的中学语文教师,后因奇特际遇而下海。他心中一直有一个关于教育的梦想。为了梦中的橄榄树,他多年筹备后终于启程。经过多次讨论和必不可少的思想碰撞,设计师确定了总体布局:校园用地中建筑和运动场地各占一半。虽然东西向的田径场和宿舍略悖常规,但建筑布局紧凑,对南侧高铁线路、高速公路出入口和西侧城市主干道都有所呼应。所有的艺术类和体验类空间位于首层;屋顶花园、菜园和科技馆等公共公建位于顶层;各类教室和办公用房位于中间层。

▼学校西侧及北侧立面外观,exterior view of the west and north side

北京外国语大学附属杭州橄榄树学校,浙江 / 言川建筑
中西贯通,古今传承

▼学校南侧外观,exterior view of the south side

北京外国语大学附属杭州橄榄树学校,浙江 / 言川建筑
中西贯通,古今传承

▼宿舍楼立面,exterior view of the dormitories

北京外国语大学附属杭州橄榄树学校,浙江 / 言川建筑
中西贯通,古今传承

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.

▼空间组织图解,programme diagram

北京外国语大学附属杭州橄榄树学校,浙江 / 言川建筑
中西贯通,古今传承

大元心目中理想的学校建筑是 “中西贯通,古今传承”。设计师用以下的思考作为回应:场地东面有条河,需要一座满足功能的桥;国际学校的课程兼顾中西,桥是贯通两种文化最合适的象征。入口拱桥的栏板和屋顶连续整合的复杂造型,让数字设计和建造小试牛刀。

▼图解,diagram

北京外国语大学附属杭州橄榄树学校,浙江 / 言川建筑
中西贯通,古今传承

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

北京外国语大学附属杭州橄榄树学校,浙江 / 言川建筑
中西贯通,古今传承

▼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

北京外国语大学附属杭州橄榄树学校,浙江 / 言川建筑
中西贯通,古今传承

▼入口细节,entrance detail

北京外国语大学附属杭州橄榄树学校,浙江 / 言川建筑
中西贯通,古今传承

庭院是古今中外各种文化中都普遍存在的一种基本空间原型。坡屋顶是古今中外各种文化中普遍存在的基本造型元素。中国的传统是从坡顶的檐面进入室内;西方的传统则是从坡顶的山面进入室内。拱是西方古典建筑的重要元素;沿着纵轴线摆放单体建筑并形成层层递进的庭院是中国古典建筑的常见做法。红砖外墙是西方建筑的常见做法;白墙是江南地区古典建筑的习惯做法。东立面镂空的红砖墙和西立面宿舍遮阳百叶的色彩组合,都来源于《富春山居图》的同一段落。运用数字技术把艺术名作进行抽象处理后转化为建筑装饰元素已无任何难度。

▼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

北京外国语大学附属杭州橄榄树学校,浙江 / 言川建筑
中西贯通,古今传承

北京外国语大学附属杭州橄榄树学校,浙江 / 言川建筑
中西贯通,古今传承

▼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

北京外国语大学附属杭州橄榄树学校,浙江 / 言川建筑
中西贯通,古今传承

▼入口处的高中部庭院,the high school courtyard

北京外国语大学附属杭州橄榄树学校,浙江 / 言川建筑
中西贯通,古今传承

北京外国语大学附属杭州橄榄树学校,浙江 / 言川建筑
中西贯通,古今传承

▼拱形入口细节,detail of the arch entrance

北京外国语大学附属杭州橄榄树学校,浙江 / 言川建筑
中西贯通,古今传承

北京外国语大学附属杭州橄榄树学校,浙江 / 言川建筑
中西贯通,古今传承

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

北京外国语大学附属杭州橄榄树学校,浙江 / 言川建筑
中西贯通,古今传承

▼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

北京外国语大学附属杭州橄榄树学校,浙江 / 言川建筑
中西贯通,古今传承

北京外国语大学附属杭州橄榄树学校,浙江 / 言川建筑
中西贯通,古今传承

▼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

北京外国语大学附属杭州橄榄树学校,浙江 / 言川建筑
中西贯通,古今传承

▼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

北京外国语大学附属杭州橄榄树学校,浙江 / 言川建筑
中西贯通,古今传承

北京外国语大学附属杭州橄榄树学校,浙江 / 言川建筑
中西贯通,古今传承

北京外国语大学附属杭州橄榄树学校,浙江 / 言川建筑
中西贯通,古今传承

小学部两进院落,以自然为主题;高中部四面红砖,庭院中种着三棵来自地中海的油橄榄;初中部白墙配以淡雅的木色栏杆和顶棚;两者之间一泓碧水,种着八种原产江南的水生植物。橄榄树意味着全球视野,“水八仙”则是中国情怀、乡土本位的体现。

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

北京外国语大学附属杭州橄榄树学校,浙江 / 言川建筑
中西贯通,古今传承

▼小学部采用明亮的颜色,bright colours are used in primary school

北京外国语大学附属杭州橄榄树学校,浙江 / 言川建筑
中西贯通,古今传承

▼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

北京外国语大学附属杭州橄榄树学校,浙江 / 言川建筑
中西贯通,古今传承

北京外国语大学附属杭州橄榄树学校,浙江 / 言川建筑
中西贯通,古今传承

北京外国语大学附属杭州橄榄树学校,浙江 / 言川建筑
中西贯通,古今传承

▼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

北京外国语大学附属杭州橄榄树学校,浙江 / 言川建筑
中西贯通,古今传承

▼水八仙池,the pool with “Shuibaxian” (eight types of aquatic plants)

北京外国语大学附属杭州橄榄树学校,浙江 / 言川建筑
中西贯通,古今传承

▼初中部室外走廊,the outdoor walkways of the middle school

北京外国语大学附属杭州橄榄树学校,浙江 / 言川建筑
中西贯通,古今传承

▼高中部室内光影效果,the play of light and shadow inside the high school building

北京外国语大学附属杭州橄榄树学校,浙江 / 言川建筑
中西贯通,古今传承

▼光线充沛的室内环境,interior space with abundant nature light

北京外国语大学附属杭州橄榄树学校,浙江 / 言川建筑
中西贯通,古今传承

在这里上课的孩子们有机会了解到不同形式的转换方法,让建筑设计的过程和方法参与到艺术和技术结合的基础教育过程,是这个设计的核心价值。

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.

▼总平面图,master plan

北京外国语大学附属杭州橄榄树学校,浙江 / 言川建筑
中西贯通,古今传承

▼首层平面,ground floor plan

北京外国语大学附属杭州橄榄树学校,浙江 / 言川建筑
中西贯通,古今传承

▼二层平面,second floor plan

北京外国语大学附属杭州橄榄树学校,浙江 / 言川建筑
中西贯通,古今传承

▼三层平面,third floor plan

北京外国语大学附属杭州橄榄树学校,浙江 / 言川建筑
中西贯通,古今传承

▼四层平面,fourth floor plan

北京外国语大学附属杭州橄榄树学校,浙江 / 言川建筑
中西贯通,古今传承

▼北立面,north facade

北京外国语大学附属杭州橄榄树学校,浙江 / 言川建筑
中西贯通,古今传承

▼南立面,south facade

北京外国语大学附属杭州橄榄树学校,浙江 / 言川建筑
中西贯通,古今传承

▼西立面,west facade

北京外国语大学附属杭州橄榄树学校,浙江 / 言川建筑
中西贯通,古今传承

▼教学楼西立面,west facade of the teaching building

北京外国语大学附属杭州橄榄树学校,浙江 / 言川建筑
中西贯通,古今传承

▼东立面,east facade

北京外国语大学附属杭州橄榄树学校,浙江 / 言川建筑
中西贯通,古今传承

▼AA剖面,AA section

北京外国语大学附属杭州橄榄树学校,浙江 / 言川建筑
中西贯通,古今传承

▼BB剖面,BB section

北京外国语大学附属杭州橄榄树学校,浙江 / 言川建筑
中西贯通,古今传承

▼CC剖面,CC section

北京外国语大学附属杭州橄榄树学校,浙江 / 言川建筑
中西贯通,古今传承

项目信息
项目名称:北京外国语大学附属杭州橄榄树学校
设计方:言川建筑
联系邮箱:1262302027@qq.com
设计 及完成年份:2015-2017
设计团队:刘延川,佟晓威,马建龙,龚源,周余牧零,郑子壮,杨洁,马亚立,段晨晓
数字设计:魏元辰,赵紫融,王立春
项目经理:任莉华
建筑面积:75950平方米,其中地上58080平方米,地下17870平方米
摄影师:陈鹤
施工图设计:浙江中设工程设计有限公司
景观设计:上海创正景观规划设计有限公司
室内设计:汉嘉设计集团股份有限公司
施工:龙升控股集团有限公司
监理:耀华建设管理有限公司
客户:杭州橄榄树学校
Project name: Hangzhou Olive Tree School Affiliated to Beijing Foreign Studies University
Design: YCA
Contact e-mail: 1262302027@qq.com
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

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艺零(ILIDA)设计机构

麓湖生态城G1艺展公园,成都 怡境国际设计集团 人·城·湖

麓湖生态城G1艺展公园,成都  怡境国际设计集团
人·城·湖

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

项目标签

设计公司:

怡境国际设计集团

位置:

中国

类型:

景观

材料:

石材 金属 混凝土

标签:

chengdu Sichuan 四川 成都

分类:

休闲娱乐 公园

 

非常感谢 怡境

设计团队在原本空无一物的场地上,创造了一个带状、完整的公共空间。这个空间的出现,为人们提供了一种更为丰富的生活场景,使其成为城市与人的连接。

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.

▼公园概览,overview

麓湖生态城G1艺展公园,成都  怡境国际设计集团
人·城·湖

在这里,人们有了亲水、临水通行的更多选择;在这里,城市和自然融洽结合,整个场地因为人的进入和使用而焕发新的生机。

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

麓湖生态城G1艺展公园,成都  怡境国际设计集团
人·城·湖

 

从一条路推演出一个空间 
A Space Originated from a Path

项目所在地是麓湖艺展中心与市政路、湖区交汇处的一段滨水公共绿地,是麓湖在入口区域与城市共享的一个节点。因依附于雕塑感很强的艺展中心主体建筑,因此命名为艺展公园。

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.

▼区位分析,location analysis

麓湖生态城G1艺展公园,成都  怡境国际设计集团
人·城·湖

原场地是从市政人行道向水边单向放坡的地形,景观空间形态单一,而作为艺展中心通往其它地块的重要步行通道,人的行走动线完全被限定在路边的人行道上,人与湖的联系在这里被大大削弱。设计团队最初只想做一条进入湖面的展示路径,以解决途经此处的人“临湖不见湖”的空间难题。分析场地现状后,设计团队重新研究该区域的交通流线,试图通过空间的革新让人们获得丰富的观景体验。最终通过地形重塑和立体交通植入,将原本单一的滨水坡地变得立体生动,让人的进入、通过 、停留、聚集等行为各得其所。

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

麓湖生态城G1艺展公园,成都  怡境国际设计集团
人·城·湖

 

地形重塑 
Reshaping the Terrain

一方面,通过优化岸线,将滨水路与驳岸融为一体,形成更富韵律感的岸线;另一方面挤压坡地,强化竖向上高差的变化,将原本平直的岸线转化为谷地、山峰等最具自然特质的地貌形态,有控制地收放观景视线,形成强烈的视觉反差。

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

麓湖生态城G1艺展公园,成都  怡境国际设计集团
人·城·湖

在向湖面延展现状的狭窄驳岸,将现状的流线在驳岸当中进行分层,编织,强化场地的可达程度,拓展观景视角。

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

麓湖生态城G1艺展公园,成都  怡境国际设计集团
人·城·湖

麓湖生态城G1艺展公园,成都  怡境国际设计集团
人·城·湖

▼夜间视角,night view

麓湖生态城G1艺展公园,成都  怡境国际设计集团
人·城·湖

 

立体交通植入
Vertical Transport

在滨水的谷口上方植入一个向水中顶出的人行景观桥,桥体平面呈U型,中间围合出公园主广场和谷地,桥身两端连接入口广场和市政人行道,直接把人从市政道路拉至水面上方,让人可以近距离亲近和欣赏湖景,以更高的视点远眺湖光景色。景观桥作为一个人工与自然的枢纽,又将平地,山峰,谷地串联起来,形成一个完整空间。在这个空间里,将人工景观植入丰富的地形当中,塑造驳岸景观的核心。

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

麓湖生态城G1艺展公园,成都  怡境国际设计集团
人·城·湖

麓湖生态城G1艺展公园,成都  怡境国际设计集团
人·城·湖

▼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

麓湖生态城G1艺展公园,成都  怡境国际设计集团
人·城·湖

▼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

麓湖生态城G1艺展公园,成都  怡境国际设计集团
人·城·湖

▼景观桥的形体和灯光设计灵感源自红色岩石爆炸的定格,与远处的艺展中心遥相呼应
The shape and lighting design of the bridge is inspired by the red lava, which dialogues with the Art Expo Center in the distance

麓湖生态城G1艺展公园,成都  怡境国际设计集团
人·城·湖

▼谷地设计的概念,来自湖面产生的水波,从湖中一层层蔓延至驳岸
The concept of the valley comes from the ripples of the lake

麓湖生态城G1艺展公园,成都  怡境国际设计集团
人·城·湖

麓湖生态城G1艺展公园,成都  怡境国际设计集团
人·城·湖

麓湖生态城G1艺展公园,成都  怡境国际设计集团
人·城·湖

整个项目的设计,从一条路开始,逐渐提炼和塑造出一个完整的空间,一切既是情理之中也是意料之外。整个空间与周围的环境和谐共融,人在其中,感觉到自然、舒适,愉悦。

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

麓湖生态城G1艺展公园,成都  怡境国际设计集团
人·城·湖

麓湖生态城G1艺展公园,成都  怡境国际设计集团
人·城·湖

▼平面图,plan

麓湖生态城G1艺展公园,成都  怡境国际设计集团
人·城·湖

项目名称:麓湖生态城G1艺展公园,成都
委托单位:成都万华新城发展股份有限公司
项目类型:城市开放空间
项目面积:8800㎡
设计时间:2016年
景观设计:GVL怡境国际设计集团

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

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艺零(ILIDA)设计机构

上海市公共安全教育实训基地 / gmp 未雨绸缪

上海市公共安全教育实训基地 / gmp
未雨绸缪

项目标签 设计公司: gmp 位置: 中国 类型: ... 阅读全文

项目标签

设计公司:

gmp

位置:

中国

类型:

建筑

材料:

铝板 钢 混凝土 现浇混凝土

标签:

Shanghai 上海

分类:

公共职能建筑 综合体

 

非常感谢 gmp 予g

上海市公共安全教育实训基地的落成为青浦东方绿洲公园增添了一个极具吸引力的去处。实训基地由 gmp·冯·格康,玛格及合伙人建筑师事务所担纲设计,基地设施可以真实模拟具有上海特点的灾害场景,为上海学生学习紧急避险和自我保护提供了身临其境的演练场所。基地内建筑造型根据内部功能设置发生变形,极富雕塑感,菱形的外立面金属镶板在不同的光照条件下呈现出不同的光泽,与天空和自然景观融为一体。

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

上海市公共安全教育实训基地 / gmp
未雨绸缪

上海市公共安全教育实训基地所在的东方绿洲公园位于青浦区朱家角镇淀山湖东岸,距市区27公里。是上海唯一的集拓展培训、青少年社会实践、团队活动以及休闲旅游为一体的大型公园。

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

上海市公共安全教育实训基地 / gmp
未雨绸缪

由gmp·冯·格康,玛格及合伙人建筑师事务所担纲设计的上海市公共安全教育实训基地主要面向青少年学生开放,旨在提高提高市民安全防范意识,培养在日常生活和突发安全事件中正确的应对习惯,从而最大限度地预防自然灾害和安全事故带来的伤害。实训模块主要包括地震灾害、气象灾害、轨道交通安全、道路交通安全、消防安全、日常生活安全、防空安全、紧急救护、人员疏散等基本内容。

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

上海市公共安全教育实训基地 / gmp
未雨绸缪

▼南立面日间视角,South elevation by day ©Christian Gahl

上海市公共安全教育实训基地 / gmp
未雨绸缪

五组平行布局的条形建筑如同起伏的山脊高低错落,建筑高三层,其两端向外悬挑伸出。一座南北走向的中央大厅连接了整座建筑群。中央大厅为一座通高的中庭,首层为实训中心的集合点。每栋建筑中设有不同的实训模块,通过中央大厅和二层的环廊连接。地下层设有一座1比1模拟实景的地铁站台和一节地铁车厢模型。中央大厅与通向地下一层模拟站台通过手扶电梯和直梯连接,以便尽可能真实地模拟紧急疏散场景。

▼建筑上层悬挑结构,Detailed view of the cantilevering upper floors ©Christian Gahl

上海市公共安全教育实训基地 / gmp
未雨绸缪

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

上海市公共安全教育实训基地 / gmp
未雨绸缪

▼急救培训教室,First-aid training ©Christian Gahl

上海市公共安全教育实训基地 / gmp
未雨绸缪

实训基地建筑采用钢框架结构和现浇混凝土建造。整个建筑群外立面、屋面覆盖菱形鳞片状铝板,仅有位于南北侧入口以及建筑体之间接缝处为玻璃幕墙。单体建筑交界处与内部空间等高的玻璃幕墙令来访者可以感受到室外的景色。幕墙金属镶板在日间呈现蓝灰色光泽,如同身着迷彩,令实训基地与周边环境融为一体。镶板上的孔洞为室内引入采光,同时遮蔽了换风口。菱形幕墙穿孔铝板尺寸随立面变化,最大对角线可达2米。通过参数化计算实现了对复杂几何外立面的完整覆盖,模块化和预制结构保证了建造方式和成本的经济集约。

▼单体建筑交接处视野,View between the building blocks ©Christian Gahl

上海市公共安全教育实训基地 / gmp
未雨绸缪

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

上海市公共安全教育实训基地 / gmp
未雨绸缪

▼总平面图,Site plan © gmp Architects

上海市公共安全教育实训基地 / gmp
未雨绸缪

▼首层平面图,Floor plan, level 1 © gmp Architects

上海市公共安全教育实训基地 / gmp
未雨绸缪

▼二层平面图,Floor plan, level 2 © gmp Architects

上海市公共安全教育实训基地 / gmp
未雨绸缪

▼横剖面图,Cross section © gmp Architects

上海市公共安全教育实训基地 / gmp
未雨绸缪

▼纵剖面图,longitudinal section © gmp Architects

上海市公共安全教育实训基地 / gmp
未雨绸缪

▼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

上海市公共安全教育实训基地 / gmp
未雨绸缪

▼幕墙立面和剖面,Facade view with vertical section © gmp Architects

上海市公共安全教育实训基地 / gmp
未雨绸缪
设计竞赛:2013年一等奖
设计:曼哈德·冯·格康和尼古劳斯·格茨
设计竞赛阶段项目负责人:亨里希·穆勒
设计竞赛设计团队:多米妮卡·格纳托维奇,格德门德尔·强森
实施阶段项目负责人:艾芙琳·帕奇亚妮 
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
中国项目管理:金湛,屈梦璇,汪琳
中方合作设计单位:同济大学建筑设计研究院
景观设计:WES 景观设计事务所
基地面积:6.5公顷

建筑面积:26500平方米
建设周期:2016-2018

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 

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艺零(ILIDA)设计机构

挪威国家铁路视觉形象设计 / Snøhetta 更好地传达公司在未来提供移动服务的愿景

挪威国家铁路视觉形象设计 / Snøhetta
更好地传达公司在未来提供移动服务的愿景

项目标签 设计公司: Sn&hetta 位置: 挪威 类型: ... 阅读全文

项目标签

设计公司:

Snøhetta

位置:

挪威

类型:

设计

标签:

Oslo 奥斯陆

分类:

品牌术 平面设计

 

非常感谢 Snøhetta

Snøhetta为挪威国家铁路(NSB)设计了全新的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,以更好地传达公司在未来提供移动服务的愿景。

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.

挪威国家铁路视觉形象设计 / Snøhetta
更好地传达公司在未来提供移动服务的愿景

NSB在近年经历了一系列重大变革,原先的公司名称已经不太适用于其业务。成立于1883年的NSB原本控制着整个挪威的铁路运营,如今,该公司不再持有铁路、信号系统、车站或列车,而是致力于旅客服务。公司同时还是挪威最大巴士公司Nettbuss的持有者。此外,NSB集团还在瑞典运营公共汽车和火车,并通过在挪威运营电动城市汽车来向多元化的移动服务提供商转型。

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

挪威国家铁路视觉形象设计 / Snøhetta
更好地传达公司在未来提供移动服务的愿景

挪威国家铁路视觉形象设计 / Snøhetta
更好地传达公司在未来提供移动服务的愿景

挪威国家铁路视觉形象设计 / Snøhetta
更好地传达公司在未来提供移动服务的愿景

 

新的观点 | A New Outlook

为了更好地传达公司目前的运营思路并体现提供优质移动服务的愿景,NSB为其旗下所有的个人运输业务引入了一个共同的新名称:Vy。

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.

挪威国家铁路视觉形象设计 / Snøhetta
更好地传达公司在未来提供移动服务的愿景

这个词汇来源于法语中的vue,其词源为voir,表示“看”的意思。在挪威语中,它也有表示观点、视角和展望的类似含义。这个新名称能够引发一系列与旅行有关的联想——去发现新事物、获得新的视角并拓宽视野。它使我们回想起童年时在火车里看到的飞驰而过的风景,抑或是坐在在火车和公交车上,偶尔望一眼窗外的日常体验。

挪威国家铁路视觉形象设计 / Snøhetta
更好地传达公司在未来提供移动服务的愿景

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.

▼标识概念,concept

挪威国家铁路视觉形象设计 / Snøhetta
更好地传达公司在未来提供移动服务的愿景

▼印刷品设计,print

挪威国家铁路视觉形象设计 / Snøhetta
更好地传达公司在未来提供移动服务的愿景

▼网页和app设计,website and app design

挪威国家铁路视觉形象设计 / Snøhetta
更好地传达公司在未来提供移动服务的愿景

▼字体设计,type design

挪威国家铁路视觉形象设计 / Snøhetta
更好地传达公司在未来提供移动服务的愿景

▼设计过程,design process

挪威国家铁路视觉形象设计 / Snøhetta
更好地传达公司在未来提供移动服务的愿景

▼具体化过程,materialization

挪威国家铁路视觉形象设计 / Snøhetta
更好地传达公司在未来提供移动服务的愿景

Timeline: 2018 – 2019
Status: Ongoing
Location: Norway
Collaborators: Website and App Design
Bekk
Collaborators: Type Design
Letters of Sweden
Presentation view

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艺零(ILIDA)设计机构

湖滨花园,杭州千岛湖 / TOPOS拓柏景观 一个穿梭于山水间的戏剧性空间序列

湖滨花园,杭州千岛湖 / TOPOS拓柏景观
一个穿梭于山水间的戏剧性空间序列

项目标签 设计公司: TOPOS拓柏景观 位置: 中国 类型: ... 阅读全文

项目标签

设计公司:

TOPOS拓柏景观

位置:

中国

类型:

景观

材料:

石材 

标签:

Hangzhou Zhejiang 杭州 浙江

分类:

庭院

 

非常感谢 TOPOS

千岛湖源于1959年新安江水电站建成后形成的一个淡水湖,水下是包括上百个村庄和历史遗迹的千年古城。美丽的千岛湖以清澈的湖水,永恒的变化的天空与绵延的远山举世闻名。

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.

▼场地平面图,site plan

湖滨花园,杭州千岛湖 / TOPOS拓柏景观
一个穿梭于山水间的戏剧性空间序列

湖滨花园占地面积1公顷,位于千岛湖阳光路与规划的高层湖景住宅区之间。景观设计始于场地规划,通过塑造地形,创造了一个穿梭于山水间的戏剧性空间序列,展现风景如画的湖畔之旅。

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.

▼剖面图,section

湖滨花园,杭州千岛湖 / TOPOS拓柏景观
一个穿梭于山水间的戏剧性空间序列

 

潮汐广场 | Tides Plaza

访客空间体验从潮汐广场开始,一个波浪形式的聚会空间。地面的芝麻黑、芝麻灰、芝麻白花岗岩组合形式,形成闪亮湖面的一种微妙映画。

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.

▼潮汐广场鸟瞰,aerial view

湖滨花园,杭州千岛湖 / TOPOS拓柏景观
一个穿梭于山水间的戏剧性空间序列

▼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

湖滨花园,杭州千岛湖 / TOPOS拓柏景观
一个穿梭于山水间的戏剧性空间序列  湖滨花园,杭州千岛湖 / TOPOS拓柏景观
一个穿梭于山水间的戏剧性空间序列

 

山林叠泉 | Forest Hill Springs

沿着山林叠泉上行,亚光温润面不锈钢挡墙倒影出了植物与叠水的反射,一幅灵动的山水小画。

Stepping up along the Forest Hill Springs, stainless steel retaining wall draws a subtle reflection of waving plants and water cascades.

湖滨花园,杭州千岛湖 / TOPOS拓柏景观
一个穿梭于山水间的戏剧性空间序列

 

微风花园 | Breeze Garden

微风花园中,随风摇曳的观赏草类,与微光互动的视觉艺术装置,搭配高低错落的植物层次。地面的米色水洗石为花园铺垫了一层温暖的色调。

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.

湖滨花园,杭州千岛湖 / TOPOS拓柏景观
一个穿梭于山水间的戏剧性空间序列

▼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

湖滨花园,杭州千岛湖 / TOPOS拓柏景观
一个穿梭于山水间的戏剧性空间序列

▼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

湖滨花园,杭州千岛湖 / TOPOS拓柏景观
一个穿梭于山水间的戏剧性空间序列

湖滨花园,杭州千岛湖 / TOPOS拓柏景观
一个穿梭于山水间的戏剧性空间序列

▼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

湖滨花园,杭州千岛湖 / TOPOS拓柏景观
一个穿梭于山水间的戏剧性空间序列

 

静谧与光明 | Silence and Light

一个安静的封闭空间,周围是千岛湖水下古村落的历史展陈。天光从屋顶倾泻而下,光影斑驳,感知时间,提示出即将到来的无限空间。走上极简风格的旋转楼梯,逐渐展现在眼前的是无边的湖景,辽阔的天空和远山。
正如桃花源记中所描述“初极狭,才通人。复行数十步,豁然开朗。”

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

湖滨花园,杭州千岛湖 / TOPOS拓柏景观
一个穿梭于山水间的戏剧性空间序列

 

天光云影 | Sky Clouds Reflection Pool

无边界池底与远处的湖泊和山脉融为一体,池底的闪烁“星空”唤起了“水下古村落”的诗意形象,回忆起千岛湖独特而多愁的历史。镜池的水位设计为高低变化5cm,静中有微动,形成一种对千岛湖独有的季节性水位变化的隐喻。一个白色的“岛”设置在高水位以下3cm处,作为一个舞台,为独舞表演营造“漂浮于水面”的戏剧性视觉效果。

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”

湖滨花园,杭州千岛湖 / TOPOS拓柏景观
一个穿梭于山水间的戏剧性空间序列

▼当水位低时,岛屿展露,when the water level is low, the island exposes

湖滨花园,杭州千岛湖 / TOPOS拓柏景观
一个穿梭于山水间的戏剧性空间序列

▼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

湖滨花园,杭州千岛湖 / TOPOS拓柏景观
一个穿梭于山水间的戏剧性空间序列

 

玻璃廊桥 | Glass Bridge

曲线玻璃廊桥穿过摇曳的竹林,抵达湖畔画廊前创造了一个宁静的时刻。

A curve glass footbridge, crossing through the sound of shuffling bamboo leaves, creates a tranquil moment before arriving the Lakeside Gallery

湖滨花园,杭州千岛湖 / TOPOS拓柏景观
一个穿梭于山水间的戏剧性空间序列

 

湖光山色 层峦叠嶂 辽阔天空 | Shining Lake, Verdurous Mountains, and Spacious Sky

穿过玻璃廊桥,在湖畔画廊大厅透过全景窗,眼前是欣赏璀璨的湖泊,蔚蓝的山脉和宽敞的天空。

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.

湖滨花园,杭州千岛湖 / TOPOS拓柏景观
一个穿梭于山水间的戏剧性空间序列

项目名称:湖滨花园
景观设计事务所:TOPOS拓柏景观
事务所网站:www.toposla.com
联系邮箱:info@toposla.com
景观设计内容:整体场地规划+景观方案及施工图设计+艺术装置方案及施工图设计
主创景观设计师:朱毅 
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
完成年份:2018
整体占地面积(平方米或平方英尺):10000平方米
项目地址:浙江省杭州市千岛湖阳光路880号
地图网址链接:
http://www.google.cn/maps/@29.6360352,119.0559907,235m/data=!3m1!1e3
摄影师:席琦
其他技术信息
景观施工:中景园林
艺术装置施工:塑景

Project Name:Lakeside Garden
Landscape Design Firm:TOPOS Landscape Architects
Office Website:www.toposla.com
Contact Email:Shenzhen@toposla.com
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
Completion Year:2018
Site Area:10,000 square meters
Project Location:880 Sunshine Road, Qiandao Lake, Hangzhou, Zhejiang, China
Map Link:
http://www.google.cn/maps/@29.6360352,119.0559907,235m/data=!3m1!1e3
Photographer:Qi Xi
OTHER TECHNICAL INFO
Landscape Contractor:Zhongjing
Art Contractor:Sujing

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