4
Nov
2020
漫步幾何 | 嘉善“智慧科學(xué)城”展廳建筑設(shè)計(jì)
于城野交融之處，讓幾何徜徉于自然
【引言】
瑪格利特在其《人生條件》續(xù)篇《歐幾里得漫步》中，將窗外的鄉(xiāng)間田園與藍(lán)天，換為了城市的屋頂與街道；多年之后，他又回憶起窗外的夕陽(yáng)，用打碎的玻璃將景色分解為幾何的片段，起名《暮晚》。
【Prologue】
Rene Magritte, in his "The Human Condition"sequel "Euclidean Walks ", exchanged the countryside and blue skyoutside the window for the roofs and streets of the city. After many years,when he recalled the setting sun outside the window, he employed the brokenglass to disassemble the landscape into fragments of the geometry, and the namedthe work "Evening Fall ".
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現(xiàn)在，幾何學(xué)已主宰了當(dāng)下的城市與景觀，瑪格利特丟失田園的鑰匙，我們承認(rèn)建筑對(duì)自然的幾何控制，并妄圖尋找一種打開(kāi)方式，讓幾何徜徉于自然，人們漫步于其中。
Nowadays, geometry has dominated the currentcity and landscape, Margaret lost the key to the field, we admit the geometriccontrol of architecture on nature, and try to find a way to break, let geometrypromenade in nature, people roam in it.
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【設(shè)計(jì)概況】
基地位于浙江嘉善縣緊靠上海地界，是浙江出入上海的要沖，周邊交通繁忙有序。三角形地塊并不則，一側(cè)是城市擴(kuò)展而產(chǎn)生的連綿不絕建筑景觀，另一側(cè)是亟待開(kāi)拓的綠野桑田，剩下一側(cè)是滿負(fù)荷運(yùn)行的鐵路要道。發(fā)展商需要在這樣的一個(gè)地塊中建設(shè)一個(gè)可以展示區(qū)域價(jià)值的地標(biāo)建筑，它是新城建設(shè)的起點(diǎn)，未來(lái)形象的標(biāo)桿，聚集人氣，服務(wù)于民。
【Project Overview】
The base is located in Jiashan County,Zhejiang province, which is close to the boundary of Shanghai. It is the keypoint for entering and leaving Shanghai in Zhejiang Province, with the busy butorderly surrounding traffic. The triangular plot is irregular, on one side isthe continuous architectural landscape generated by the urban expansion, on theother side is the green field to be developed urgently, while on another sideis the railway running at full load. The developers needs to build a landmarkbuilding in such a plot that can show the value of the region. It is thestarting point of the new city construction, the benchmark of the future imagewhich enable to gather popularity and serve the people.
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規(guī)劃覆蓋率和建筑高度限制嚴(yán)苛，從整體角度出發(fā)，我們根據(jù)不同朝向采用不同的應(yīng)對(duì)方案。
Planning volume ratio and building heightrestrictions are severe. Thus from an overall perspective, we adopted differentstrategies according to different orientations.
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北部面向城市一側(cè)，我們將建筑抬起，達(dá)到規(guī)劃限定的高度，與城市界面比肩而望，保持與城市的對(duì)話，同時(shí)也是建筑整體形態(tài)的起點(diǎn)。基地靠近列車軌道一側(cè)，建筑逐漸升起，與另一側(cè)高聳的立面相交而產(chǎn)生三角形的形態(tài)，構(gòu)建出一種穩(wěn)固的意向和向上的趨勢(shì)。
On the northern side facing the city, we liftthe building up to the height defined by the restriction, to overlook the cityinterface, maintaining a dialogue with the city, which is also the start of theoverall form of the building. On the side which is adjacent to the train tracks, the building rises gradually, connecting with thetowering facade on the other side to generate a triangular shape, establishinga firm condition and upward trend.
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面對(duì)綠野桑田，我們適當(dāng)?shù)南破鸫蟮氐囊粋€(gè)角，讓建筑與自然景觀更好的融合。在建筑的中部，通過(guò)漸開(kāi)曲面對(duì)三角體量進(jìn)行切割，形成一個(gè)內(nèi)凹形態(tài)的曲面墻體，自然圍合出中心廣場(chǎng)，并在曲面中部通過(guò)形體變化將其一分為二。
Facing the green field, we lifted a corner ofthe ground appropriately to integrate the architecture with the naturallandscape better. In the middle of the building, the triangular volume is cutby curved surface to form a concave curved wall, which naturally encloses thecentral square while the interface is divided into two part by changing themorphology in the middle of the curved surface.
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【曲面陶磚】
建筑中部漸開(kāi)曲面的弧墻，便是體現(xiàn)材料地域特征的試驗(yàn)場(chǎng)。我們留意到周邊傳統(tǒng)民居中普遍采用的灰色陶磚，樸質(zhì)溫潤(rùn)，很有文人筆下的煙火氣息，是地域性特征的載體，就像江南人家的素布外衣，展示的是日常點(diǎn)點(diǎn)滴滴，也像街角巷尾的交錯(cuò)陸離，刻畫的是場(chǎng)所獨(dú)特記憶。
【Curved Ceramic Bricks】
The curved wall in the middle of thebuilding, is the testing ground reflecting the regional characteristics ofmaterials. We have noticed that the gray ceramic bricks commonly used in thesurrounding traditional dwellings are simple, warm, and full of the atmosphereof everyday life written by scholars. They are carriers of genius loci, justlike the plain dress of Jiangnan area showing the daily life, as well as thehustle and bustle of street which depicts the unique memory of the place.
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于是我們思考著將這樣的青磚運(yùn)用到曲面墻體的砌筑中，用這樣一種粗糲且鄉(xiāng)土的材料來(lái)建造這個(gè)柔和且現(xiàn)代的墻體。
So we thought about applying grey bricks tothe masonry of curved walls, and using such a rough and indigenous l materialto build this soft and modern wall.
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【外廊豎桿】
在我們建筑外立面中，采用外廊形態(tài)演化而成的灰空間，希望創(chuàng)造更多故事性載體。同時(shí)富于韻律變化的立面桿件，在不同角度陽(yáng)光中產(chǎn)生疏密陰影變化，是自然律動(dòng)的形態(tài)化體現(xiàn)，讓人們享受光線變化的微妙氛圍。
【Vertical poles of Veranda】
In the facade of our building, we adopt thegrey space evolved from the traditional outer gallery form, to create moreinterfaces for scenarios. At the same time, the rhythmic fa?ade poles producechanges in density and shadow under different angles and sunlight, which is themorphological embodiment of natural rhythm, allowing people to enjoy the subtleatmosphere of light changes.
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如果講曲面陶磚有著粗野主義美學(xué)的傾向，體現(xiàn)的是男性的剛毅與粗獷，那么立面桿件應(yīng)該賦予典雅主義秩序的特征，如同女性的溫婉與細(xì)膩。平衡建筑的整體質(zhì)感，讓使用者對(duì)建筑產(chǎn)生更豐富的認(rèn)知。我們無(wú)法像阿爾瓦阿爾托那樣使用昂貴的實(shí)木大料來(lái)釋放他的自然主義情結(jié)，但可以用木紋轉(zhuǎn)印鋁合金板材來(lái)刻畫木材專屬的表面，代替冰冷嚴(yán)酷的構(gòu)件讓建筑有一分柔軟的溫度。
If the curved ceramic bricks has a tendencyof brutalism aesthetics, reflecting the masculinity and ruggedness of men, thenthe vertical poles of facade should be endowed with the characteristics of theorder of elegance, just like the softness and delicacy of women. Balance theoverall texture of the building, so that users have a richer understanding ofit. We can't release naturalistic complex by using expensive timber as AlvaAlto, instead, we use wood grain transfer aluminum alloy plate to depict thewood exclusive surface, replacing the cold and harsh components to givebuilding a soft temperature.
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【漫步幾何】
我們希望營(yíng)造一套綜合的體驗(yàn)系統(tǒng)，這就是我們所塑造的路徑與空間——“漫步幾何”。
【Promenade the Geometry】
We want to create a comprehensive experiencesystem, which is the path and space we shape -" Promenade the Geometry".
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漫步的起點(diǎn)是基地的外場(chǎng)，屏蔽道路的喧囂，我們將入口的路徑進(jìn)行了拉長(zhǎng)，在兩側(cè)進(jìn)行景觀的營(yíng)造，模擬出森林漫步的體驗(yàn)感，打破路徑過(guò)長(zhǎng)而產(chǎn)生與主體建筑的不平衡性。
The starting point of the promenade is the outfieldof the site, to shield the noise of the road. We lengthen the path of theentrance and create the landscape on both sides to simulate the experience oframbling in the forest, breaking the imbalance between the long path and themain building.
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進(jìn)入內(nèi)場(chǎng)后，建筑的全貌便在廣場(chǎng)中展現(xiàn)：一側(cè)是宛如風(fēng)吹麥浪的立面豎桿，一側(cè)是漸漸與大地交融的建筑形態(tài)，中部是優(yōu)雅的陶磚曲墻以及供人們休息的看臺(tái)座椅。它們共同構(gòu)成了建筑最主要的立面，在午后燦爛的陽(yáng)光中，讓前廣場(chǎng)有著充分的圍合感和可閱讀性。
After entering the infield, the overall imageof the building is displayed in the square: vertical poles on one side are likewheat waves stirred by wind, on the other side is the building form thatgradually blends with the earth, and in the middle is the elegant curvedceramic brick wall as well as seats for people to rest. Together, they form thebuilding's main facade, giving the front square an enclosed and tangiblefeeling in the heat of the afternoon sun.
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通過(guò)建筑左側(cè)的長(zhǎng)廊參觀者進(jìn)入建筑內(nèi)部：幾乎是外部曲線圍合的延伸，室內(nèi)充滿了明確橢圓形態(tài)的體量，統(tǒng)一了外部形態(tài)中的幾何性，內(nèi)外形成一致的建筑語(yǔ)言，讓觀者體驗(yàn)自然過(guò)渡。
Visitors enter the interior of the buildingthrough the veranda on the left: it is almost an extension of the externalcurve. The interior is filled with volumes in a clear elliptic form, unifyingthe geometry in the external form and forming a consistent architecturallanguage allowing visitors to experience the natural transition.
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順著室內(nèi)空間的流動(dòng)，在廊架空間的下部是一自然形成的灰空間展示區(qū)，它呈現(xiàn)出一種幾何狀態(tài)的復(fù)雜性，讓漫步其間的參觀者尋找到更多停留的角落，充滿故事性與不確定性。
Following the flow of the interior space, the space under the veranda isan exhibition area of natural grey space, which presents a complexity ofgeometric state, enabling the visitors to find more corners to stay, full ofdramas and uncertainty.?
灰空間的出口是曲面陶磚墻體上那道縫隙，這道體量上的“裂痕”巧妙在于讓單純的幾何形態(tài)有了更多的可能性，并解決了材質(zhì)和功能交接時(shí)的含糊不清，同時(shí)形成漫步流線上的必然通道。
The utter of the grey space is the gap on thecurved brick wall. The "crack" on the volume ingeniously makes thepure geometry more possible, and solving the ambiguity of connection in termsof materials and functions, while forming the inevitable passage on thepromenade.
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建筑的屋面如同場(chǎng)地的延伸。漫步其上，舒緩的坡度與行走的順暢，屏蔽周遭看著遠(yuǎn)處縹緲空靈的煙云，你會(huì)失去重力的方向，產(chǎn)生奇妙的錯(cuò)覺(jué)——你行走在懸浮于天際的一塊綠地中，充滿耐人尋味的純粹感。
The roof of the building is like an extensionof the site. Walking on it, the smooth promenade and gentle slope, making youshield the surroundings chaos and overlook at the distant misty clouds, thenyou will lose the direction of gravity and have a fantastic illusion -- you arewalking in a green field floating in the sky which full of a sense of profoundpurity.
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步行至此，我們嘗試“漫步幾何”的探索或許也接近了最后狀態(tài)：直面自然，屏蔽混亂，放下意識(shí)的沉淀，產(chǎn)生敬畏與崇拜。
After walking here, our exploration of"promenade the geometry" also be approaching the final state: wherewe can face nature directly, shield chaos, let go of the precipitation ofconsciousness, and producing awe and worship.
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【尾聲】
我們通過(guò)抽象化的幾何形態(tài)塑造出廣場(chǎng)、曲墻、門廊、坡道等多元性場(chǎng)所，在滿足功能要求與地標(biāo)形象的同時(shí)，賦予建筑更強(qiáng)的體驗(yàn)感和沉浸感，漫步其中，讓使用者獲得一份更清澈的內(nèi)心感受。
【Epilogue】
Through abstract geometric morphologies, wecreate pluralistic places such as squares, curved walls, veranda and ramps,which not only meet the functional requirements and landmark images, but alsoentrust the building a stronger sense of experience and immersion, bypromenading among the building, users can get a clearer inner feeling.
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項(xiàng)目信息
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項(xiàng)目名稱：上海之窗-楓南小鎮(zhèn)（智慧科學(xué)城）基礎(chǔ)設(shè)施工程一期
業(yè)主單位：中國(guó)金茂 嘉善嘉茂建設(shè)開(kāi)發(fā)有限公司
建筑設(shè)計(jì)：上海天華建筑設(shè)計(jì)有限公司 建筑二所
公司網(wǎng)站：www.41644.com.cn
建成年份：2020年9月
建筑面積：總面積3547平方米，其中地上1162平方米
項(xiàng)目地址：浙江省嘉善縣
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建筑總負(fù)責(zé)人：陳海濤
建筑負(fù)責(zé)人：王丹青，吳其華
建筑設(shè)計(jì)團(tuán)隊(duì)：胡彪，徐鷺加，王欣
業(yè)主管理團(tuán)隊(duì)：楊振宇，廖志強(qiáng)，宣翔，劉海林，趙磊，羅晉，倪文峰，曹茜茜，丘科，李日昌，陳城，蔣明，曹昕，陳璇，章子豪
建筑攝影：尹明，部分業(yè)主提供
陶土磚：宜興凱華陶瓷有限公司??????
鋁單板：常州雙歐板業(yè)有限公司???
玻璃原片：臺(tái)玻???
深加工：東?？h亞連玻璃有限公司