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查看原文:http://www.a-xun.com/12513.html
这一摞“探头探脑”的混凝土盒子位于韩国清州市中心的位置,是一处由当地IDMM architects建筑工作室设计的商业综合体建筑——f.s. one。

 

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业主要求设计师打破传统这类建筑的模子进行创作,让路过的人眼前一亮,使得建筑本身就具有某种吸引力将行人引入其中。

 

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于是我们看到IDMM architects的建筑师设计了四个高低错落大小不一的“取景器”面向城市,首层大部分被架空,用于安置辅助设施。二层以上的屋面空间被设计成大台阶公共空间,仿佛将川流的城市视作了舞台,建筑里或建筑上的人们成了观众。

 

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二战之前的什切青市归属于德国,如今博物馆所在之地耸立着一座城市街区住宅。建筑在战争中被炸毁,战后城市的归属权移交于波兰,而这片战争废墟渐渐变成了开阔的城市广场。在1970年12月,罢工工人在此与军警发生暴力冲突,并最终导致16名人员伤亡。这些事件赋予了这片土地不一样的政治意义,逐渐变成了人们为自由而战的象征。广场上高耸的纪念碑不断地提醒着民众其意义所在,也使其成为打造什切青市近代历史博物馆的最佳场所。由Estudio Barozzi Veiga所设计的什切青交响乐厅伫立在对侧的街角处,俨然成为了城市的新地标,因而KWK PROMES的建筑师决定退而求其次,以第二方案避免了相邻建筑的针锋相对。

Before the WWII, Szczecin was a german city and location of our museum used to be a urban quarter. During the war, due to air raids, a quarter was destroyed. After war, Szczecin became a polish city, meanwhile an empty square accidentally appeared in place of a former quarter. In December '70, there were bloody clashes against the militia with tragic results of 16 fatalities. Since those events, a square has became a symbol of the fight for freedom, which is commemorated by a monument over there. Thus, an idea of a museum of the latest history of Szczecin in that place came up. Philharmonic Hall, designed by Estudio Barozzi Veiga was meant to be built on the opposite side of the street. Even then, we concluded, that this new building would become the new icon of the city, so we decided to step aside to the second plan with our museum design.

▽ 城市博物馆的起伏广场,A museum in the city center

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▽ 教堂、博物馆与交响乐厅,The church, museum and the Philharmonic Hall

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方案将这片场地战前住宅群与战后广场两种截然不同的状态糅合在一起,在城市中心创造了一个新的综合体,封闭的围合空间可作为建筑使用,但同时又维持其作为开放空间对城市的宝贵价值。

A building is bringing together two contradictory traditions – prewar urban quarter and postwar square. That is how an urban hybrid was created – it encloses the space as a quarter, keeping the values of an open public space.

▽ 设计概念,Concept

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建筑师从原有广场空间出发,希望能够为相邻的交响乐厅与教堂创造与之相配的前景。而与相邻建筑错开的两个对角微微上扬,一侧覆盖着博物馆空间,另一侧则如同山峦般隔开了繁忙的城市街道与广场,在空中划出一道柔和的曲线。

We needed some foreground in front of the philharmonic hall and the church, so that we stayed there on the level of existing square. Former quarter is marked on the opposite corners by smooth uplifts of the square. One of them contains a museum and another one works as a hill, protecting square from the busy street.

▽ 广场的两个对角空间微微上扬,The opposite corners uplift smoothly

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如同露天剧场般起伏的广场空间被安置在城市的中心。灰白色的混凝土覆盖了从铺地到立面的每一个角落,单一的材料选择使得这片城市空间更为统一与完整。

As a result, an amphitheatric space of the square was created. To receive a monolithic character of the whole design, we attributed one material – concrete – to it, so on the material division of the square floor go in elevation.

▽ 藏于其下的博物馆空间,One of the uplift contains a museum

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▽ 单一的材料选择使得这片城市空间更为统一与完整,The concrete brings a monolithic character of the whole design

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建筑师突破了竞赛任务书中对场地的限制,将整片广场统一纳入了设计范围之中,也为城市空间带来了更多的可能性。但同时他们也谨遵任务书红线要求,地面一层为入口空间而将面积更大的展览空间置入了地下。

Competition site didn't included whole square, however, we decided to break it to give to the city an added value – a space, which gives brand new opportunities. Outline of the museum came from the competition site. Groundfloor is mainly the entrance zone, underground level became its exhibition space.

▽ 博物馆广场入口,The museum entrance at the square

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▽ 通过混凝土板的旋转开启与关闭大门,The gate can be opened by rotation of the concrete slats

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▽ 街道侧建筑入口,Entrance along the street

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通向地下展览空间的楼梯仿佛是两个世界的边界,一侧明亮,一侧黯然。这个巧妙的细节来自建造过程中的突发奇想,当建筑师得知室内空间设计将交由另一个公司负责时,他们担心重现的历史氛围将过于压抑,因而也希望借此能够在旅程结束时以强烈的明暗对比卸去参观者的心理负担。

Stairway to the exhibition space is the border between two worlds, due to blackness of the whole underground level. This idea came up during the realization, when it turned out, that we would not design the exhibition space. We were afraid of some overwhelming scenography, which pretends to be the past, so that we wanted to cut off from it by this move.

▽ 通向地下展览空间的楼梯仿佛是两个世界的边界,一侧明亮,一侧黯然,Stairway to the exhibition space is the border between two worlds

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室内设计师的邀请让建筑师最终得以加入到室内空间的设计中去。他们摈弃了真实的历史照片并以艺术创作作品取而代之,赋予了这座历史博物馆更为强烈的艺术氛围。

However the authors of interior design asked us for consultation and, by then, a collaboration began. As a result, we reject scenography and replace it by art. At the same time historical museum became the museum of art.

▽ 展厅空间,The exhibition hall

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此外,设计也突破了条例的限制,在室外打造了一个流畅起伏的地面空间,错落的高差让它成为了滑板、滑冰和雪橇等多种活动的最佳场所,即使在博物馆闭馆期间,广场上仍熙熙攘攘,充满着生活氛围。而广场的象征意义也从未被遗忘,纪念集会每年如期在此举行。此外,露天音乐会、夏季电影活动也不时借用这片场地举行。或欢聚时光、或自我表达,广场成为了什切青人民生活中不可或缺的一部分。

Despite of the ban, we pushed trough a smooth flooring, best for riding and doing sports, therefore, while museum is closed, life is still goes on on a square. Topography of the square encourages to skateboarding, skating or sledding. A square has preserved its symbolic character, this is still a place for annual ceremonies. City authorities began to use sloping surface of the square for openair concerts and summer cinema. Szczecin inhabitants understood, this is their square and now they are gathering there to celebrate as well to manifest and express their opinions.

▽ 广场成为了什切青人民生活中不可或缺的一部分,The square become a part Szczecin inhabitants' lives

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▽ 总平面图,Master Plan

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▽ 一层平面,First Floor

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▽ 地下层平面,Underground Floor

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▽ 剖面,Section

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MORE:  KWK PROMES

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查看原文:http://www.a-xun.com/12417.html

这座位于法国西北部古城维特雷的立体交通建筑集立体停车场、人行步道与火车站为一体。依着山势,可容纳620辆车辆停放的停车场建筑层层跌落,屋顶平台上植被繁盛生长,生机勃勃。一条人行步道从空中划过,连接起山坡上的胜利广场、建筑屋顶平台、火车站与站北的露天停车场,将被铁轨割裂的城市空间重新缝合,也提供了眺望古老城堡的最佳视角。环绕建筑而建的下穿道路打通了胜利广场与山坡南侧Pierre Lemaître大街的联系,也为正在建造的办公建筑以及北侧的圣玛丽学校开辟了新的进入路径。

▽ 缝合城市空间的立体交通建筑,The Multimodal Interchange project reconnects the city

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The Multimodal Interchange project in Vitré comprises the creation of:

– A pedestrian footbridge in Vitré Station, spanning the railway
– An underground car park with 620 spaces, constructed in two phases, and an overhanging pedestrian footbridge, connecting the first footbridge to the "Place de la Victoire" (Victory Square) and thus creating a pedestrian thoroughfare from this square to the Station's north car park
– A path connecting the upper part of the Place de la Victoire to rue Pierre Lemaître along the south façade of the car park, against the existing hillside
– A public space serving the underground car park, an overground car park with 16 space, drop-off spaces serving the Ecole Sainte Marie (St. Mary's School) and the Station via the footbridge, and a road system curving around a plot of land earmarked for the future construction of an office building.

▽ 停车楼顶的公共平台看向远处,View from the public terrace on the rooftop

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▽ 远处城堡的最佳眺望点,Overlooking the castle

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▽ 桥上视野,View form the footbridge

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▽ 依山而建的停车场,The underground car park

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▽ 生机勃勃的覆土屋顶,The green roof

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▽ 南侧的下穿道路与联系胜利广场的步行桥,The road system curving around the plot and the foot bridge connecting Victory Square

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▽ 钢网制成的停车场立面,The facade is made in weathered steel mesh

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▽ 北侧露天停车场入口,The staircase to the Station's north car park

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▽ 鸟瞰图,Birdview

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▽ 总平面图,Master Plan

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▽ 停车场平面,Plan of the underground parking

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▽ 剖面,Section

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Project name: P.E.M Vitré
Architect’ Firm: TETRARC
Website: www.tetrarc.fr
Contact e-mail: PAULINE LEJEUNE : info@tetrarc.fr
Lead Architects: Jean-Pierre Macé, Olivier Perocheau & Julie Goislot
Project location: City of Vitré (35) FRANCE
Completion Year: JUNE 2016
Gross Built Area: 17 664 m2
Photo credits: Stéphane Chalmeau, Thomas Vittu & Céline LEJAMTEL
Structural eng : BETREC , E2C + SCE
Fluid Eng : ICOFLUIDES

MORE: TETRARC

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查看原文:http://www.a-xun.com/12389.html
从街道看过去,黑匣子是白的!一组不同开放性的白色匣子巧妙地契合进城市老化社区一角的荒置空地,钢结构梁柱、波纹钢板和打孔钢板在昭示着其临时性,黑匣子内闪现的健身人影和篮球拍击的声响则清晰地叙述了它的功能。

 

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夜幕降临后,透过疏密变化着的玻璃和打孔钢板晕染后的灯光,在黑匣子骄傲的宣布在这稍显沉闷的街区,它非常醒目,俨然是活力的中心,同时与周围环境相互协调。

黑匣子的室内部分被深色主宰,在业主低造价前提下,钢、木、混凝土板等基本材料完成室内光线和色彩变化的同时,也在叙述建筑多项功能的交替:运动健身、艺术展览、共享生活、PARTY····……营造不同的场所体验。

建筑本身足够结实地盛满了整个场地边界,为了促进活动的多样性,同时避免混乱,平面布局把场地中央作为室外活动中心,同时几乎所有交通流线组织、空间内外转换都围绕场地中心展开,周边的建筑实体在迎合中心形虚而神实的召唤中,产生着不确定的扭动与流动,体量由此愈加有趣而丰富。

 

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项目在市政管理意义上的不确定性和经营探索上的不确定性主宰了建筑功能的不确定性和空间上的流动性,由之展开了一个充分利用边界条件的低成本临时建筑。

 

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在此基础上,设计师对建筑的开放性和封闭性作出了最大化的关注,因此设计师面对建筑的现实问题诸如社区激活与互动、功能变化与衔接、建筑的相对临时性思辨等诸多复杂挑战,产生了在哲学意味上暧昧而温和的不界定的结论,最终结合运动和娱乐的多方位需求,创造了一个积极而生气勃勃的空间,成为当地最受欢迎的场所。

 

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周勇刚,建筑设计师。出生重庆,毕业于西南交通大学建筑学院,后就职于四川省建筑设计院。现为合什建筑设计主持建筑师, EPOS建筑设计合伙人。

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设计机构:合什建筑(HAD)& 朴诗建筑(Epos Architects)

主持建筑师:周勇刚

项目地址:中国.成都.静居寺

项目面积: 900平米

项目年份: 2015年12月

摄影师:存在摄影

撰文:曾泰

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查看原文:http://www.a-xun.com/12373.html
 

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文字介绍:

2007年,应邀参加竞标后,斯诺赫塔建筑事务所中标,获得了这个文化设施的设计权。将近十年后的现在,这一综合体即将完成。该方案的形式方面,受沙特阿拉伯的地质以及保护石油能源的独特的岩层的影响。该方案的中心是一个巨大的塔式建筑,翱翔于整个综合体之上。这一具有里程碑意义的大厦侧面,是一系列较小的卵石状的建筑,他们同样被覆盖在不锈钢管的排布下。

在内部,930个座位的礼堂能够主持歌剧和交响乐表演,以及音乐剧和讲座。这样的安排是对一个较小电影院的补充。图书馆包含大约200000本书,服务于各类观众。展览厅可容纳大型旅游展览会,以及提供社交活动、宴会和会议的安排。同时,博物馆和档案馆为游客提供了区域和历史背景的介绍。

项目概况:

时间轴:2007 年—预期2017

现状:正在建设中

地点:沙特阿拉伯,达兰

类型:文化中心

面积:100000平方米/ 1076391平方英尺

业主:沙特阿美石油公司

原文:

snøhetta was chosen to design the cultural facility following an invited competition in 2007. now, nearly a decade later, the complex is nearing completion. the formal aspects of the scheme are influenced by saudi arabia’s geology and distinctive rock formations that preserve petroleum energy. at the center of the design is a monolithic tower that soars above the complex. this landmark edifice flanks a series of smaller, pebble-like forms, which are similarly clad in an arrangement of stainless steel tubes.internally, the 930-seat auditorium is capable of hosting opera and symphony performances, as well as musicals and lectures. the program is complemented with a smaller cinema, while the library contains around 200,000 books, catering for a range of audiences. the exhibition hall accommodates large-scale traveling exhibitions, as well as providing the setting for social events, banquets, and conferences. meanwhile, the museum and archive facilities provide visitors with regional and historical context.the ‘king abdulaziz center for world culture’ is expected to complete in spring 2017. see designboom’s previous coverage of the project here.project info:timeline: 2007 – expected 2017

status: under construction

location: dhahran, saudi arabia

typology: cultural center

size: 100,000 sqm / 1,076,391 sqf

 

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