Shanghai Hongqiao CBD Office Headquarters / LYCS

深度日常项目,附对谈。上海虹桥商务区总部办公楼,来自中国的零壹城市建筑事务所。

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深度日常项目,附对谈。
对一些机会和条件合适的项目推出深度报道,希望更立体的将项目展现给大家。
零壹城市建筑事务所创始人阮昊是一位85后的建筑师,凭借过人的才华、思辨、自信、积
极、执行力在成立2年多时间内斩获多个项目,目前零壹城市同时有好几个项目正在施工,
这个项目便是其中之一。

 

非常感谢 零壹城市建筑事务所 予gooood合作并分享以下内容:
Appreciation towards LYCS for providing the following description:

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集团总部大楼是上海虹桥新中心商务区二期开发的一部分,位于上海市西面高速发展区。场地位于公 路、铁路和航运交通枢纽的交汇点,也是人们在高铁从南面进入虹桥火车站前能看到的最后一座建筑,赋予 了项目作为重要的城市空间的地位。

The Corporation Office Headquarters building is part of the phase-2 urban development scheme for the new Central Business District in Hongqiao, a rapidly developing piece of
western Shanghai. The location of the project puts it at the center of car, train, and jet transportation, and is in fact the last building one sees before entering the busy Hongqiao High-Speed Rail Terminal from the south by bullet train, granting the project a significant urban presence.

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场地的挑战之处在于:场地形状由城市规划的两块绿地挤压成了L形;场地的东面,南面和西面要求60%的建筑红线贴线率;场地北面紧邻一条24米高的横跨而过的高架公路。同时建筑容积率不得超过1.60, 建筑高度不超过24m。

应对这些条件,项目设计在体量围合与空间开放,功能性使用和游走性体验中寻找平衡关系。L形基地 的周界首先在最大化程度贴满的情况下地拉伸起4层体积以满足面积要求;根据西面入口、东南面公园和北 面绿地对体量边界进行挤压,将线性的形态分成三个功能体量,三个外向性开敞空间和三个内向性围合庭 院。

The site has several challenging conditions: sandwiched by two city-designated temporary green spaces into an L shape, with a 60% frontage ratio requirement to the east, west and south, and a 24m tall highway over- pass running adjacent to its north face, the building must respond to a maximum FAR of 1.60 and a height of 24m.

In dealing with these conditions, the L-shaped site was first filled in to its maximum extents as a perimeter block, then lofted up 4 stories to the building height limit while satisfying the desired program area of 13,000 sqm. The perimeter is then pushed and manipulated to create three exterior-facing spaces and three distinct interior courtyards, defining the spatial structure of the project.

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开敞空间交汇处的体量被抬高,令地面步行交通贯通,联结西面主入口,南、北面公园绿地和中心庭 院。三个庭院被塑造出不同的性格:中心庭院作为人流汇聚点最为开放,也是公众活动集中的场所;南面的 庭院联系中心庭院和东侧的公园,是半开放的景观庭院;北侧的庭院是由建筑围合的水院,为办公提供静谧 的场所。三个功能体量作为三个主要的办公空间,既可以被独立地使用,也可以联结成为一体。他们由空中 廊桥分别在二,三,四层联系起来,人们可以通过连廊在不同庭院之间游走。局部五层的办公楼结合屋顶花 园,提供远眺城市风光的平台,也可以欣赏近处的景观和庭院。独特的建筑立面由模块化的遮阳屏板组成。 屏板在水平向的渐变赋予了立面的流动性。这些不同斜度的屏板也改变了窗户的高度,控制室内空间的采光。 本项目致力营造一个充满启发性的办公环境,给予使用者多层次的建筑体验及空间感。在与城市复杂的多样性的对话下,兼顾了中国古典园林的秩序,视觉感受,体量关系以及建筑和庭院的和谐共存。

Portions of the ground floor are cut away to allow for an open pedestrian circulation within and through the project, connecting the landscape plots to the north and southeast, the western main entrance, and the cen- tral courtyard space of the project. The project is divided into three main office volumes, designated A, B, and C which can function independently or in combination. The three pieces are linked by suspended bridges on the 2nd, 3rd and 4th floors. Parts of the 5th floor are offices while the rest provide an intertwining rooftop garden space from which one can access views of the landscape and courts below as well as different parts of the building. The unique elevation, composed of free-flowing modular panels, deals with the lighting for interior.The project seeks to create an office environment as an inspired place, providing a variety of experiences and architectural moments to the users, speaking to the urban condition of multiplicity while harking back to the Chinese garden traditions of sequence, views, compartmental forms and spaces and a sentiment of harmony between architecture and landscape.

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项目名称: 上海虹桥商务区总部办公楼设计
建筑设计: 零壹城市建筑事务所
项目地点: 中国 上海
设计团队: 阮昊 ,Gary He, 詹远 ,李琰,金善亮, Devin Jernigan
项目时间: 2012.9 – 2013.6(设计) 2013年.6 – 2014.6(施工)
项目面积: 27,394 平方米
图片版权: 零壹城市建筑事务所
合作单位: 浙江宝业建筑设计研究院有限公司

Project name:  Shanghai Hongqiao CBD Office Headquarters Building
Architecture design:  LYCS Architecture
Location:  Shanghai Hongqiao CBD, China
Project Team: Ruan Hao, Gary He, Yuan Zhan, Yan Li, Shanliang Jin, Devin Jernigan
Project Period: Design 2012.9 – 2013.6, Construction 2013.6 – 2014.6
Size: 27,394 sqm
Images:  Courtesy of LYCS Architecture
Architect of Record: Zhejiang Baoye Architecture Design and Research Institute

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项目已经破土动工

 

Conversation between

Yaohua Wang and Hao Ruan

对谈: 王耀华  VS 阮 昊 

首先我们想对零壹表示祝贺,非常令人激动的项目。这次对零壹的访问我们采用了一种比较灵活的方式,并非是传统的一问一答。而是先提出了一组想法,零壹可以对这些想法组合或跳跃回答,然后根据零壹的回复,谷德再提出第二组想法。通过这样相对开放的构架,我们希望能够激发出一些项目背后的思考,以资读者。

First of all, we want to congratulate LYCS Architecture for this exciting project. For this interview, instead of the traditional Q&A, we introduce a more flexible way. In the new format, gooood proposes a set of ideas and questions at first, LYCS can organize their response freely. Building upon LYCS’s response, gooood proposes another set of questions. By this open method of interviewing, we wish it could inspire more reflections from the project for the readers.

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想法组1 

Ideas & Questions 1

 

Wang Yaohua :

a, 在形式的生成过程中,从L形到庭院模式的挤压是非常重要的一步,所以问题我想从这个挤压开始。这个设计的庭院让我想到了零壹的另一个设计,同济大学浙江学院会议中心。在浙江学院这个设计中,形式生成的过程我感觉是一个均质的受力,一个拉的过程,在这个拉的过程中,产生了几个庭院,这几个庭院尺寸类似,但是方向不同。当然在拉之前有设计者的主观意愿,但是这个拉的力算的上是一个客观的力。在现在这个设计中,挤压的过程是一个不均匀的受力,三个方向的挤压力度不同,也造成了很不同的结果。所以,我感觉这个设计中设计者对于过程的介入更加主观。如果是一个主观的操作,以L形作为出发是否必要。换句话说如果现在的形式不是L形的必要结果,那么为什么不能直接达到于现在的形式,而要从一个L形的连续庭院出发?

a) In the form generation process, the squeezing from “L” shape courtyard into 3 courtyards is a significant step. So my question starts with this operation. It reminds me of another LYCS’s project, Tongji University Zhejiang College Conference Center. In the conference center project, my interpretation of the form generation process is a process of uniform pulling, in the way which leads to a series of courtyards with similar dimensions but different directions. Besides the design purpose of designer, the pulling process is a relatively neutral form operation. However, in this project, the squeezing process is a set of uneven forces in three directions, which intentionally results a non-uniform form. My question is that in this project, the designer seems more subjectively concern with the design process compare with that in the conference center. In that case, is it still necessary to develop this project from the “L” shape? In another word, if the final form is not necessarily the outcome of the “L” shape courtyard, why did not it reach the present form directly, but still developing from the “L” shape courtyard?

b, 如果没有零壹的表述,当我看到这个最终的形态时,我会解读为是,一个完美的三叶草式模型,被基地的条件所挤压重塑,最终被契合在基地上,结果成为一个变异后的三叶草模型。这个解读相对于, L形被挤压突变成不规则三叶草形。对于这个形式被多重解读的合理性,你们怎么看?

b) If I did not read LYCS’s design description, my first interpretation for the final form would be it is a perfect trefoil shape being squeezed and remodeled to adapt to the site. The final form is a mutated trefoil geometry shape. Comparing this interpretation to the “L” shape process, what is your position on the possibility of form’s multiple reading?

c,在设计产生的过程里有一个抬高的步骤,对于这个抬高我比较好奇。从第二个图表,到第三个图表,在抬高的时候,周围的体量的下边缘也产生了收缩。是否抬高和这些收缩有形式上的关系?如果有的话,似乎整个形体可以被理解为一个互相关联的系统,那么,表皮上开洞的缩放,是否也是这个系统被抬高收缩等过程中的一个结果?

c) There’s a “lift” operation within the form generation diagram. I was curious about this operation, which results certain degree of shrinking on the lower edge of the lifted part. Is the lift operation formally related to the shrinking? Is it true that the form could be interpreted as an outcome of a unified system, which suggests the scaling of the aperture on the façade is part of the whole system?

 

Ruan Hao :

这几个问题比较有意思,他们似乎都是针对那张有6个步骤的“形式生成”图解展开的,但其实这几个图解并不传达着形式是如何生成的;它们记录的是方案在设计过程中与最终形态相延续的被保留下来的结果,而不是设计的过程。设计的过程不是线性的,不是形态操作的,过程中有非常多的尝试;设计更多的是在限制中寻找突破。

These are all interesting questions, which seem based on the six “form generation diagrams”. But these diagrams are not explaining the process of how form generates, but recording the kept results which are transmitted to the final project from the beginning of the design process. The design process never is linear and the operations are not purely based on form. There are many attempts within the process. For us, design process is more like finding breakthroughs within the limitations.

这种突破主要包括3点:
1.  对场地限制的突破。
2.  对办公楼“面积效率至上”法则的突破
3.  对办公楼单一化立面设计的突破

The breakthroughs mainly are:
1. The breakthrough in site limitations;
2. The breakthrough in the rule of “maximum office space availability”;
3. The breakthrough in the standardized elevation design.

首先,场地对设计有着诸多要求 a. 场地对建筑有个60%沿街贴线率的要求,也就是60%的建筑边界线要贴着红线; b. 场地要求建筑一层必须往内退,形成半室外空间,等。这些要求把建筑沿着场地的形态做了规定。因此,对于L形这个出发点,一方面是最朴素也是应对场地要求最基本的一个出发点:在满足场地要求下功能如何进行最基本的填充;同时也满足业主对形体的要求:形态尽量显得大而连续。之后的设计过程与其说是挤压,其实更是“挤压”与“打开”的双向过程:挤压一方面增长了功能使用面积,在负形形成几个各自独立又相互顶角的庭院,更重要的是形成了三个向外敞开的“开口”。几个被挤压的边碰撞在一起,发生了质的改变:内部流线与室外空间在中心庭院发生重叠。产生不均质的结果,是对于内部功能使用优化的结果反馈到形态上,这也是在场地众多限制条件下功能与形态之间谈判的平衡。

There are many site factors and requirements in this project: the site requests that 60% of the building should be set along the building red line and the ground level of the building should be offset 2m from the street to create semi-exterior space, etc. These requirements already define the form along the perimeter. Hence, on one hand, using “L” shape as starting point is the most fundamental infill of program according to the site requirements; on the other hand, “L” shape could fulfill owner’s requirement, which is grand and continuous. The following formal operation is a reversible procedure of “squeezing” and “opening” rather than just “squeezing”. The “squeezing operation” increases the perimeter of the building by which increase the programmable square footage. It also generates three independent courtyards hinged within each other, for the most important part, it opens up the building on three sides. Plus, by squeezing the form, circulation and outdoor space starts to overlap at the central courtyard. The inhomogeneous geometry is the result of program optimization, which reflected on the final form. This is a negotiation and balance between function and form on a complex and difficult site.

形态在打开三个开口后,三条空中连廊(抬高)一方面满足流线组织的需要,如果我们去阅读那张模型鸟瞰图(4),建筑外轮廓三个向外打开的开口,与内部的庭院形成顶角的关系,自然而然地形成环抱的姿态引入人流,在中央庭院汇聚后又分别进入三栋建筑。同时,这个抬高也起到压低空间的作用:当人流从室外通过三个敞开的开口经过连廊到达中心庭院,经历了一个由开敞-压低-再开敞的一个空间序列。通过这样的一种序列给了人们一直进入场地的心理暗示,同时先抑后仰的空间序列也在有限的空间中创造更丰富的体验。在此,形态,流线与空间序列是高度统一的,这种以形态几何激发流线、空间与功能使用之间微妙的关系,是我们在设计中一直探索的,而不仅是形式上的关联系统。

As we can see from the aerial model photo, after the three openings on the three edges, we designed three lifted corridors, which generate hinged internal courtyards, to satisfy the internal circulation. The enclosing corridors also attract people into the central courtyard and then lead people entering three office buildings. The lift operation creates a depressive space, which creates a spatial sequence as open-depress-open again when people walking from outside via three lifted corridor into the center courtyard. This sequence will indicate people of a sense of entering and creating richer spatial experience in the limited site. In this way, form, circulation and the spatial sequence are highly unified. This way of stimulating subtle relationship between space, circulation and program by interrelated geometry is one of goals that we are always pursuing in our design.

由这些操作带来的体量围合与空间序列,功能性使用和游走性体验的平衡,是对当代办公楼“面积效率至上”的法则的突破。自从Bloomberg纽约总部办公楼首次应用开敞办公,极大提高单间办公模式的效率后,办公楼的高面积效率以及高“出房率”一直是办公楼设计的重要法则。本案以“空间品质效率”,来对办公楼的面积效率提出质疑:在适当牺牲面积效率的同时,通过组织室外景观绿化与室内和谐共存,引入室内更多的采光、景观与通风,给予使用者更多层次的建筑体验与空间感,来创造一个充满启发性的办公环境。这种具有高“空间品质效率”的办公楼,将比仅有高“面积效率”的更有办公效率。

The result of these operations, which bring the balance between massing and spatial sequence, between program and promenade experience, is an innovation to the rule of “maximum office space availability”. Since the open floor plan office first introduced in Bloomberg headquarters office building in New York, which significantly increases the efficiency of office working model, how to maximize the area of office space is the major principle of office design. Here we are challenging this by proposing a new idea of” maximizing the quality of office space”, which is organizing outdoor landscape and green space integrated with indoor space, bringing more natural light and ventilation., and enhancing the user’s spatial experience, to create a creative working environment. We believe compare with maximum office areas, this will bring more efficiency to the users in the office.

此外,本案的立面设计也是对当代办公楼单一化立面设计的一个突破。当代办公楼往往在“面积效率”的法则统领下,以标准层平面和立面在垂直方向堆叠形成。而本案除了在上面提到的游走性平面外,立面设计以模块化的遮阳屏板组成。约20种标准化模块形成的屏板的水平向的渐变赋予了立面流动性。这些不同斜度的屏板也改变了窗户的高度,控制室内空间的采光。

Besides, the elevation design is a breakthrough to the standardized uniformed elevation of contemporary office building. Under the “maximum office space availability”, office buildings nowadays are always stacked by standardized plan and elevation. In this project, besides the “promenade plan” that mention before, the elevation consists of modularized shading panels. There’re around 20 kinds of different panels gradually flows on each level. These panels have different slopes, which changes the height of windows and controls the interior daylight condition.

对于问题b, 你提的这个三叶草应该指的是trefoil吧? 这个解读完全可以。不过我们设计过程中很少从一个几何原型开始,然后把几何原型放到场地被重塑成形。我们更多寻找每一块场地、流线、功能之间以及将他们组织在一起的几何形态之间的对话关系。这种关系基于场地,通过扰动几何与功能、流线、空间序列之间的关系达到平衡。因此从L形转变到现在这个形,比从三叶草式模型到这个形,如前面提到的,多了很多的内容和思辨。

The trefoil reading of this project is also possible. But in our design process, we rarely start from a pure geometry prototype then deform it according to site conditions. We are seeking for dialogue between site, circulation and program, then organizing them into geometries, which will achieve balance by excite the relationship between form, function and spatial orders. So we would argue that the transition from “L” shape to the final form contains more contradiction and inspiration.

 

 

想法组2

Ideas & Questions 2

 

Wang Yaohua:

 

d, 关于其他设计中遇到的可能性,你能否举个例子,以及最终是如何取舍的?现在的方案经过了多少轮的取舍?

d) Could you give us an example about other possibilities that occurs during the design process? And how did you make the final decision between different design options? How many choices did you make during the design process?

e, 另外,我觉得你提到了一个很有趣的问题,就是以线性的方式描述一个非线性的过程。这也是当下建筑界很多的一个现象。对一个复杂结果的以一种单向的叙述性的过程来进行描述。那我的问题就是,我们为什么要这样做,对一个复杂的结果有没有别的描述方式?比如说,通过对多种可能性之间的比较来确定一种可能性,而不是使用叙述来演绎出一种可能性。

e) Also I think you bring up an interesting question, which is to describe a non-linear process in a linear way. In fact, this is a common presentation method within the field. Architects are using a descriptive derivation technique to represent a complex outcome. My question is that why we prefer this kind of method? Are there other ways to describe a sophisticate object? For instance, architects can present their desirable design by comparing multiple iterations of solutions.

 

Ruan Hao:

方案经历了非常多轮的修改与取舍。这些取舍主要是在两个方向取一个平衡点:一个方向是如何保持设计概念与空间效果之间关系的纯粹性,另一个方向是如何满足业主及场地提出的要求的前提下做出突破。比如L型的出发点与形态上向外打开的三个开口,抬高的架空连廊与流线等等,都是限制与突破,纯粹与使用等之间的平衡。比如一开始我们的设计除了现在方案的雏形,还有一个被拉开的三个相互咬合“L”形的方案。如果说现在的方案给人的更是一种连续的“形”体,则那个方案则是三个L形的态“势”:三个体量占据L形场地的三个角并相互呼应。最后没有选择三个L形的方案,一方面是我们觉得连续形态方案有着更大的空间潜力,同时也与业主希望的形态尽量显得大而连续不谋而合。

This project has gone through many rounds of revision and decision making. These decisions are mostly aiming at bringing two goals into one direction.  One goal is how to keep the purity relationship between design concept and spatial effect. The other is how to make breakthroughs based on satisfying the owner’s will and site’s requirement. For instance, in this project, the “L” shape geometry vs. the three outward openings, the lifted corridor vs. circulation, etc, all follow the logic of balancing between form and function, limitation and breakthrough. At the early design phase, we have another proposal which consists of three pulled away interlocking “L” geometries. Let’s say the final proposal is a continuous form. Then that proposal is three “L” postures locating on three corners of the site. The reason that we didn’t choose the three “L”s is that we believe the continuous form has more spatial potential to develop, which also conform owner’s wish.

其实复杂性都体现在最后的成果里。这也和图像阅读方法有关,如果去看直接表达项目的(模型)照片和平面,上面说的大多数内容都能在图中阅读和发现。也就是说,对于描述复杂结果的一种较好的方式,就是通过照片和图纸的载体,还有去现场体验(因为项目尚未建成所以体验可以在建成后去做)。设计过程中每一个“招数”都体现在里面。形态生成图解是简化的设计表达方式,就像是一部电影简介。了解一部电影的最好的方法就是看完它,而不是只看它的简介。

I believe complexity will be well-presented in the final products, such as drawings and photos. This has something to do with the way of reading architectural representation technique. Just looking at the model photo or plan, most of the concepts we talked above could be read and discovered. In other words, photos, drawings and physical experience are one of the best ways of representing a sophisticate object, which contains every design strategy during the design process. The form generation diagram is the simplified representation of a design. It is like a trailer to a movie. The best way of understand a movie is watching itself, not just watching the trailer.

 

零壹城市予gooood分享的其它精彩项目:

Tian Tai County ChiCheng No.2 Primary School  2013-3-15  

天台赤城二小学建筑设计,施工中

Jiaxing University Library & Media Center 2012-9-7
嘉兴学院图书信息中心

Writhing Tower  2012-6-12  

秘鲁扭塔

Blossoming of Seattle Center 2012-3-28
绽放的西雅图中心

CEIG Testing & Assessment Research Center  2011-12-20 

教育考试现代技术研发中心,竞赛头奖,施工中。

先锋设计专辑 NO.9 — 和谐共存 / Hao Ruan阮昊 2011-12-3  

零壹城市主持建筑师阮昊:回想起从清华到普林斯顿再到创立零壹城市的经历,曾每每希望将设计的各个方面做的完美而无懈可击, 却像是一个充斥了各种和弦和玩弄技巧的不和谐乐谱。唯一逐渐清晰的是一种设计的极度自我约束:寥寥几个简单的和弦就能创造出一段动听的乐曲才是美丽之所在。 “和谐共存”以内敛与内省的设计方式探讨了一种新广场的可能性,它通过微妙的变动具有颠覆性的改变了城市景观与天际线, 实现了单一政治性广场的表面与若隐若现的潜在噪声空间之间的和谐共存。

LYCS Architecture Office 2011-7-28  
零壹城市事务所为自己设计的办公空间。位于中国杭州。力求超越单一的设计风格,讴歌创作的不拘一格

MORE:  零壹城市建筑事务所  LYCS



发表评论

14 评论

  1. 亲自去过现场,了解过其中复杂的施工工艺和材料创新,见证落成的感受真的很棒!

  2. 对话很精彩。设计过程是复杂的,最后呈现的确实是平衡的结果。后生可畏,期待项目建成后的体验。

  3. 非常的喜欢王耀华和阮昊的这段对话!对我来说,最值得思考的是两人提到的同一形态的两种解读方式:耀华作为解读者时较易把三叶草形态作为设计出发点来理解;而阮昊作为设计者则强调三叶草只是一种客观思辨之后的结果。那么,我的问题便是:三叶草这种图案性很强的建筑形态究竟在多大的程度上是由阮昊所说的“扰动几何与功能、流线、空间序列之间的关系”决定?换言之,或许王耀华的解读更加诚实,也更加合理。

  4. 这立面是抄的。。。。

  5. 不太喜欢立面处理的方式,感觉这种形体好像虚实对比强烈一点更好!

  6. 真不愧是GSD 设计的尊重感太重要了~

  7. 有意思。耀华的出发点和针对性都很好,可更有意思和佩服的是阮昊坦诚回答。作为一个实际项目(非概念竞赛),仅从与diagram解读设计的意图所以并不全面,或者问题肯定适用于在校作业的线性设计方式,但非每个实际项目。这也是答案“有些”在意料之外的原因,而阮昊答案里强调过程中的限制、取舍而不大谈论和观点,只是真实的讲述设计过程和原因。耀华的问题用之BIG,更适用又会是另一种答案 :)
    相比下,那些中文建筑杂志里的建筑对话是多么恶心和虚伪。

  8. 感觉还好

  9. 阮昊很不错,真的很不错!

  10. 三四年前,就会觉得他们二位在将来会有对话的,但是当时想象不到二位将以何种方式和姿态进行

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