OPPORTUNITY 时机 合资 | 0-20人 | 成立于2018年  

以创意为驱动,创造有意义的城市体验(上)——来自der视频专访 | 斯蒂文霍尔建筑师事务所合伙人Roberto Bannura


DANGEROUS
危险的
ENTHUSIASTIC
狂热的
REAL
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Roberto Bannura


Roberto Bannura
建筑师
斯蒂文霍尔建筑师事务所北京事务所合伙人
我们公司是一个有很强凝聚力的团队。我们全身心致力于我们参与的建筑项目,因为我们有坚定的信念,它们可以对城市环境产生积极的影响。

Our firm is a tight group of individuals, devoted to architecture. We pour our hearts in the projects we do, because we have the firm belief, they can be of positive impact to the urban environment.


对话Roberto Bannura:
以创意为驱动,创造有意义的城市体验
01
时机时机:请简单介绍一下您自己和斯蒂文霍尔建筑师事务所
Please give an introduction of SHA and yourself Please
罗勃特: 首先,谢谢你的邀请。也很开心能在当代MOMA-联接复合体这里进行采访,这是我们在2009年完成的一个很有意思的项目。我们很高兴能参与d.e.r栏目,一起来讨论一些关于建筑的话题。斯蒂文霍尔建筑师事务所致力于创作有趣的,鼓舞人心的建筑作品,以一些独特的方式回应建筑命题。

First of all, thank you for the invitation. I’m glad to be here at the Linked Hybrid, a project that we finished in 2009. We’re happy to be part of d.e.r’s effort to expand the discussion on architecture. The aim of our firm is to work on interesting works of architecture that are inspiring, that are a unique result of a few criteria.


首先是尊重场地的特性,与场地链接,以物理的方式回应场地,除了以物理环境为载体,还包括我们所说的形而上学的方面:关于历史,文化,人与场地之间的连接等这样一些概念。这是我们工作室设计的出发点,也是最重要的思考点。第二,斯蒂文霍尔事务所是因为其理念驱动的建筑实践而被大众知晓,我们每个项目都有非常强烈的概念基础,它推动着设计从概念的早期阶段一直到材料应用,家具选择,以及种种细节设计。从项目初始,我们就一直秉承这个想法。

The first one is to be specific to the site, connect to the site, respond to the site in a physical way, obviously as it is the physical environment, but also in what we call the metaphysical aspects of it: its history and culture, what people associate the site with. That's the point of departure of the design, first and foremost. Second, I think, people know about our firm because of our idea-driven approach to design, every project has a very strong conceptual footing, which drives the design from the early stages of concept design all the way through materiality selection, furniture design and detailing. We’re very loyal to that idea from the beginning of a project. 


Steven Holl Architects 

当代MOMA-联接复合体就是一个很好的例子,你可以看到,例如,项目的一些概念元素会在所有公众可使用的门把手上重复出现,也在其他的细节应用上体现了概念。第三点,斯蒂文霍尔事务所善于并喜欢在材料和光上进行思考和探索。这些就是我们在空间中不可避免会体验到的元素。我们认为这是我们的首要关注点,精彩的材料使用以及将光,自然光作为材料之一进行设计。我们的团队是一支由建筑师和规划师组成的凝聚力很强的团队,默契的合作是我们创造独特项目的重要因素和工具。这也是为什么我们的每个项目都非常不同,没有两个项目是相似的。

You can explore this project (‘Linked Hybrid’) in particular, and you can see, for example, the footprint of the project repeated in the door handles of all public doors, and many other applications of the concept echoing through the design process. The third aspect, I think is that we love to explore materiality and light. Those are the elements under which you experience space. We believe that to be a primary concern of ours, strong materiality and the use of natural light as an actual building material. We are a collaborative group of architects and planners and with that intimate collaboration we create unique projects that are specific to those principles. That's why every project of ours is very different. Our projects are never the same in any way.


斯蒂文霍尔事务所并不是一家大公司,只是在纽约和北京的工作室,但我们持续不断地参与在不同尺度和类型的项目。我们的工作方式并不是需要团队的人都必须在同一个房间里,我们一直遵循Steven提出并执行的“两个地方一个团队”这样的工作方式。24小时7天的昼夜不断的建筑实践合作,这使得在两个工作室不仅氛围十分活跃,工作高效,还可以让团队自发地进行建筑方面的讨论,促成非常高质量的讨论。

We're not a large company. With our studios in New York and in Beijing we continue to take on very complex projects, in size and typology. We don't really need to be in the same room with everybody. We have what Steven mentions and continues to say ‘One office in two places’. This twenty four / seven collaboration of architecture, that happens between the two offices is very lively and is very efficient, but also spontaneous and prolific in our discussion of architecture, at a very high level. 



02
时机时机:能与我们分享一下您和SHA的故事是怎样开始的么?
Your journey with architecture and SHA 
罗勃特: 自从我上大学以来,斯蒂文和他的事务所就一直是我心目中的偶像。我是在九十年代初开始了解他的一些项目,那时日本“福冈”(Fukuoka)住宅项目刚刚推出,我已经被这个项目的独特之处震撼了,它融入了社会功能,并提出每个公寓都是不同的,它包容了每户住客家庭和个人的特质和喜好。我也喜欢那个项目中那些很美的细节处理。从那时起,我就一直在关注Steven Holl建筑事务所的项目。
Steven and the office had been my heroes since I was in university. I became aware of his work in the early nineties, when ‘Fukuoka’, the housing project in Japan, was coming up. I was already stricken by how unique that project was, the insertion of social functions, the idea that every apartment was different, which included the idiosyncrasies of the families and the people living in them. I loved the aesthetic of that project as well. I started following Steven Holl Architects’ projects ever since.


在纽约生活了10年,我开始想要探索并深耕某种类型的建筑。我很幸运,我们的来福士项目有一个职位空缺,“切开的通透体块-成都来福士”项目即将开始, 斯蒂文需要一个领队的人,所以2007年我面试的非常顺利,我对这份工作和工作室里贯彻的设计方法感到十分兴奋,于是我2007年来到这里,现在我已经在中国生活和工作了13年。

Living in New York for ten years, it got to the point that I wanted to explore and hopefully contribute to that type of architecture. I was lucky enough that there was an opening for our Raffles City project, the ‘Sliced Porosity Block’ in Chengdu, and Steven was looking for someone to be the chief architect for that project. We had a really good interview in 2007, I was thrilled with his work and the work of the office, and I ended up coming here in late 2007. Now I am going on 13 years, living and working in China. 


▲ 日本“福冈”住宅 ©MoMA官网

▲ 日本“福冈”住宅 ©SHA官网
老实说,这是一次令人感恩的经历,对于我这种没有特殊背景的人来说,最终可以在这漫长的行业深耕中做出一些成就,并能到进入建筑行业中很有影响力的圈子中并不容易。所以我想说:对我来说,作为一名建筑师,这是一种令人感恩的经历。

It's a humbling experience, to be honest, to be able to contribute to the firm’s journey. If you know where I come from, it’s not easy to get to that environment in which we can be part of the discussion of architecture at that level. So I would say: more of a humbling experience for me and my formation as an architect than anything else.


我有建筑学和城市规划的学位,还有城市经济的学位,这对我在中国工作12年的经验很有帮助。由于我们所做的项目的规模和复杂性,我们确实可以有很大的城市影响-,影响着城市里面的人如何使用周边的城市环境并与其产生关联。了解项目是如何产生的?它们是否可以对城市产生影响?项目中是扩大了或缩紧了城市的公共空间,产生社会互动,以及项目的经济指标?项目是如何融资的? 项目是如何开发的?如果要完成我们所经历的的项目复杂度和尺度,我认为这些问题对于建筑师来说都是必须清晰了解的。这些项目让我知道,可以理解城市环境项目的复杂性是多么的有用且这些理解是可以帮助我真正地进行设计。

I have a degree on architecture and urban planning, in addition to that degree of urban economy. It really supports me in my experience of working in China for over 12 years, because of the size and complexity of the work that we do here, which has very strong urban repercussions, in the way that people use them and relate to the urban environment. Understanding how projects are generated, how they contribute or not to urbanism, how they expand or the opposite, tighten up public environments and create social exchange... The economics of a project too, how projects are funded, how projects are developed. Knowing all of that, I think, is mandatory for an architect,if you are ever going to work under these circumstances and at this scale. Understanding a project like that informs me, it’s very useful for me to understand the complexities of a project of urban insertion in order to be able to take them on.


我们生活在一个社会中,我们都是社会的成员,我们从不会单独行动。上周末我还和我儿子说,去做一个这样的建筑,有成千上万的人参与其中,这涉及到很多个利益相关者。建筑师不是唯一的建筑师,而是众多‘建筑师’中的一员。这与人们对建筑或建筑师的看法相反,或者我认为大学里错误地把建筑师描述为唯一的创造者……但事实并非如此。我认为,我们是一长串合作者和个体中的重要一员,从这个意义上说,理解建筑项目的城市维度是至关重要的。

We live in a society, we are all members of a society. We don’t do anything alone... and I was telling my son over the weekend that to do one of these buildings there are thousands of people involved. There are several stakeholders involved. The architect is not THE architect, he’s one of the many collaborators. That is counter to the notion of architecture or THE architect that people may have, or that I think is wrongfully being portrayed in universities, THE architect as the sole creator... it’s never been the case. We are one, I like to think, important piece of a long list of collaborators and individuals and in that sense yes, understanding a project of architecture in its urban dimension is critical. 



03
时机时机:SHA有很多项目表现出了对城市空间的重视,能通过几个例子讲一讲么?
SHA Design intention in public space SHA
罗勃特: 我们做过很多城市更新的项目,你现在正站在其中一个项目上(当代MOMA-联接复合体)。在奥运会之前,这里曾是一个轻工业工厂,更新后成为中国可持续发展高水准项目之一。这个项目的供暖和冷却系统主要都是靠地热井来完成的 ,地热井提供了其中供暖和冷却系统所需要的80%以上的能源。这就是城市再生的可持续性。

We have worked in urban regeneration projects and you are standing on one of them actually (‘Linked Hybrid’). This site itself used to be a light industrial site before the Olympics, which became one of the high standards of sustainability in China. This project is heated and cooled with geothermal wells that are taking care of over eighty percent of the energy required, so this is urban regeneration in its sustainability dimension.



▲ 当代MOMA-连接复合体中地热能源系统  ©SHA

▲ 当代MOMA-连接复合体 ©Shu He

▲ 当代MOMA-连接复合体中心水景广场 ©Iwan Baan

 ▲ 当代MOMA-连接复合体中心水景广场 ©Iwan Baan

您之前提到的成都的项目(切开的通透体块-成都来福士)也属于城市更新。我们在城市主干道人民南路一层创造了一个巨大的城市广场,因此它与城市当地的交通网络、公共空间都得到了很好的连接和贯通。这个大型城市广场承载了几乎所有类型的公众活动,它看上去和我们现在在的MOMA的广场有些类似,但是有更多的景观,为成都市中心创造了一篇绿洲。

Our Chengdu project (‘Sliced Porosity Block’) that you were mentioning before, is very similar on this regard. We formed a large urban platform that is connected with Renmin Nanlu, the main artery of the city, and therefore connected with the vernacular network or public spaces in the city. This large plaza hosts all sorts of public activities, and is an environment that looks like this (the Linked Hybrid central courtyard) but even greener, creating an oasis in the center of a very paved urban setting that is downtown Chengdu. 


▲ 成都来福士-切开的通透体块 © Shu He
▲ 成都来福士-切开的通透体块中的城市公共广场 ©Shu He

▲ 成都来福士-切开的通透体块 城市公共广场和建筑艺术‘光之阁’ ©SHA

▲ 成都来福士-切开的通透体块 城市公共广场 ©SHA
我们认为总的来说,我们在面对这个问题的最有力的方式是确保我们的项目,我们所有的项目都有一定程度的公共性的社会职能和一定程度的文化性的空间功能。这些元素的整合在我们的意识中是非常重要的,在我们看来,这不是一个零和博弈,不是因为你选择了一个就不能做另一个。我们总是持续思考(这个问题),例如,这里的电影院Cinematheque (当代MOMA-联接复合体),就在你身后,甚至不在原本的项目任务书中。这是我们建议的,我们认为它会产生巨大的文化吸引力,而且事实证明它确实有影响。在这里举办电影节和非政府组织,从而吸引了合作方到这里,也带来了一些其他的商业价值。
We believe that by and large, the strongest effort we have ever done when it comes to that issue is to make sure that each one of our projects has a level of public usage, and a level of cultural programs. The integration of those elements is very important in our minds, and it is not a zero sum game. Not because you are obtaining one you cannot obtain the other. We continue to think, for example, the Cinematheque (‘Linked Hybrid’) here, that’s standing right behind you, did not exist as part of the program for this building. We proposed that. We thought that it would be a great magnet for culture, and it has become exactly that. There are film festivals held here and organizations holding rallies to bring in collaborators. This has expanded the program options in an otherwise commercial project.


▲ 当代MOMA-连接复合体 电影院Cinematheque ©Shu He


我们的成都项目(切开的通透体块-成都来福士)也做了同样的事情,我们将艺术装置嵌入到建筑的形状中,这是一个12,000平方米的广场产生的关键元素,作为人们互动的社交平台,在这里文化属性是根本。这是我们对那些“只为富人设计”的担忧的回应。

我们不是那样实践的,不需要非此即彼,而与愿意尊重这个想法的善于思考的客户进行高效合作的空间其实有很大。

Similarly in our Chengdu project (‘Slice Porosity Block’), we have art installations embedded into the shapes of the building, which are key elements in the generation of a 12,000 square meter plaza that functions as social platform for people’s interaction, in which culture is primordial. That is a response to our worries regarding art being available only to rich people.No, we don't work that way, and it doesn't need to be either / or. There's a lot of room to generate very productive collaborations with mindful clients who would value that idea. 


▲ 成都来福士-切开的通透体块中的建筑艺术‘光之阁’  ©Iwan Baan 

▲ 成都来福士-切开的通透体块中的建筑艺术‘历史之馆’  ©Iwan Baan 

当我们能够提出一些比较出格的元素或具有开创性的项目时,比如当代MOMA-联接复合体,比如成都的切开的通透体块-成都来福士,比如我们现在正在做的碳云总部大厦,还有我们在北京做的“北京旭辉七里庄商办大楼”,是一个建筑语言非常有趣的复合功能通透性极佳的设计。这些项目需要我多次与多方利益相关者共同商讨,这也是我喜欢做的事情,因为你不仅有机会向规划部门、客户和其他利益相关者解释项目设计的意图,而且你还需要了解并理解他们权力。你必须了解他们来自哪里,他们关心的是什么,然后再与他们合作。

When we have been able to propose element or projects that have become groundbreaking in some regards like the ‘Linked hybrid’, the ‘Sliced Porosity Block’ in Chengdu, like the ‘ICarbonX’ headquarter we are doing now, like our ‘CIFI International’ in Beijing (a porous mixed-use of very interesting language),  they are projects that require my involvement with stakeholders on the ground, and that's something that I love to do, because you don't only get the opportunity to explain the intentions behind these projects to Planning Department, to the client, to other stakeholders, but you get to understand their prerogatives.  You have to understand where they come from and what their concerns are, for you to work with them.


例如,我们再谈谈此刻这个项目,这个项目有电影院Cinematheque (当代MOMA-联接复合体),有连接所有的塔楼的廊桥,还有开放的广场。

For example, let's talk about the project we are in now (“Linked hybrid’), a project that has a Cinematheque, that has bridges connecting all the towers and has an open plaza.


▲ 北京旭辉七里庄商办大楼 效果图 ©SHA
所以我们给了经营者足够的自由,毕竟最终他们要去管理这个项目。我们并不一定期望人们在我们的项目中以某种特性方式在行事。我们赋予元素更多的可能,所以用户与空间的交互关系在人们使用建筑的方式中有机地发展。例如廊桥在这个项目(当代MOMA-联接复合体)的概念是很重要的元素,这样的半公共空间通常会比较私密安静。我们没有很高的期望,我们也没有关于这些地方需要如何被使用的参考手册。我们只是提出了一些想法:比如瑜伽中心,小礼堂,游泳池,其中一些想法保留下来。比如第二个连廊桥是游泳池,第一个连廊桥是礼堂,它们是保留下来的。有些变成了博物馆,有些变成了创业公司。其中一个还是健身房。这是我们的规划设计和用户及物业影响的自然发展的混合结果。这是住宅项目中比较特别的一点,过去这么多年无论是在北京或者在中国的很多地方,住宅项目还是很注重私密性。我很难在中国再找一个像这个项目所做的一样的项目,在它完工后及之后的12年里都向公众开放,并仍像它最初设计的那样充满活力。

We gave enough freedom for the operator, as it is their project to manage in the end. We don't necessarily expect users to behave in a certain way. We potentiate certain functions, so of course user-space relationships flourish organically in the way that people use the building. (‘Linked Hybrid’ ) The bridges were something very important for the project’s concept, to provide this semi-public functions in areas of the buildings that are usually very private. We didn't have specific expectations, or a recipe for how those spaces needed to be used. We gave some ideas: a yoga center, an auditorium, a swimming pool, and some of those functions stayed. That second bridge is a swimming pool, that first bridge is an auditorium. They remained the same as in our proposal. Some of them became museums, some of them became commercial enterprises. One of them remained a gym. All that as a mix of our planning and the natural changes given by the users and the operator over time. This was a very unique feature for a residential typology, which historically in Beijing at least, or in many places in China, is a very private typology. I'm challenged to think of another project that has done what this project did in China at large, a project that continues, twelve years after its completion, to be open to the public and be as vibrant as it was originally intended to be.


这个项目是多方利益相关方成功合作的结果。这是非常重要的,因为我们知道,当涉及到一些我们认为具有开创性的想法时,我们正在突破一些既定的边界。

It’s done through the process of that collaboration with stakeholders. That is very important because, we know, we were pushing the boundaries when it comes to some of these ideas that we consider to be groundbreaking.


 ▲ 当代MOMA-连接复合体廊桥 ©Shu He


▲ 当代MOMA-连接复合体廊桥 ©Iwan Baan

04
时机时机:SHA在设计不同项目时是如何理解不同项目场地的差异性的?
How to deal with context and understand the context
罗勃特:中国是一个非常多元化的国家。你是了解的,我也是慢慢的学习到这点。每一个省份,每一个城市都是不同的,中国是一个美丽而多样的国家。所以在北京的公共空间的使用和表现肯定不会像成都的公共空间一样。如果你去过成都,我因为成都来福士项目,大概可能去过那里一百多次了,虽然从来没有足够的时间去享受。第一次去你就会立刻发现市民利用了每一个能使用的开放的空间:立交桥下的空间,转角的空间,人民体育场前面的人行道等等。因为这是成都当地文化的一部分,人们非常非常喜欢户外活动。人们在户外做生意,当然这也有天气条件的原因。毕竟成都的天气比北京的天气好得多。这些现实情况决定了我们如何进行设计。
China is a very diverse country. You know this, I've learned this. You know that every province is different, every city is different. It is a beautifully diverse environment, so a public space in Beijing won't behave or it won’t act in the same way as a public space in Chengdu. If you have been to Chengdu, and I've been, because of the project we had there, probably over a hundred times (never with enough time to enjoy it), the one thing you discover on the very first trip is that people utilize every open space that they have available to them. Spaces under highway overpasses, large street corners, a large sidewalk in front of Renmin Stadium or whatever. Because it is part of the local culture, people really, really enjoy the outdoors. People do business outdoor. It's the weather condition too. Weather in Chengdu is much better than the weather in Beijing. That fact defines the design we are doing.
▲ 成都来福士-切开的通透体块 建筑艺术‘光之馆’ ©Shu He
说到深圳,我们正在深圳做的项目(碳云总部大厦),我们有特殊关注其热带环境。在项目中心广场将会有一个大型的水景,这只是我们在为人们创造一个合适的环境去享受户外活动的众多设计点中的一个。深圳由于是热带环境,人们可能会不会总是那么享受户外活动,但我们对这个项目有很高的期望,希望这里会发生的一些美好的故事。

When it comes to Shenzhen, the project that we're doing in Shenzhen (‘ICarbonX’), we're very mindful that we are dealing with a tropical environment. There will be a large water feature in the center of the public space, which is one of the many items that would create a suitable environment for people to enjoy the outdoors, and in Shenzhen people enjoying the outdoors is a challenge due to its climate. But we have high hopes that it will happen with our design.


▲ iCarbon X碳云总部大厦中心水景 @SHA
在上海的南桥半岛项目(上海中粮南桥半岛文体中心与医疗服务站)中,我们思考了如何使项目中的景观成为南桥运河景观的一部分。我们的目的是让用户,那些不关心也不需要了解建筑的人们,只要在场地中,就会自然的把我们设计的广场当成是已经体验过的一些环境的延伸,并自然舒适的去体验。这是我们所希望的所以我们也是这样设计的,我们把这种多样性考虑进去了。

In our Nanqiao project in Shanghai (‘Shanghai Cofco Cultural & Health Centre’), our landscape is part of the extent of the Punan River landscape. We intended for the user, who might not care or need to know about architecture, someone who is just experiencing that landscape, to see our plaza as an extension of the one thing that he or she already experienced (the river landscape), who will be very comfortable in that extension of the landscape, we hope. That’s how we have designed that space. Yes, we take that diversity into considerations. 


▲ 上海中粮南桥半岛文体中心与医疗服务站景观与运河的衔接 @SHA
我们去现场踏勘,我会去我们所有项目的现场,我都会花尽可能多的时间(在现场)。但是你知道,作为一名有25年的工作经验的建筑师,已经可以从一些研究中比较好的理解相关内容了。我们做了很多研究,很有趣。例如,我们在深圳为碳云总部大厦做的项目,它是一家基因智能公司的总部。这是一个有趣的课题,我们真的去学习了,也在调研期间采访了很多专家和科学家。

We go to the site. I go to the site for all of our projects. I plan to spend as much time as possible. But as an architect, I have twenty five years of experience, you grow into the position that you can understand things through research as well. We do a lot of research, which is fun. For instance, the project that we are doing in Shenzhen  for ‘ICarbonX’, it is a headquarters for a genomics institute. It is a fun subject to study, we really went at it. We interviewed specialists and scientists during this research period.


例如,当时Siddhartha Mukherjee(基因组学领域的一位著名作家)来到我们的办公室进行了一场小讲座,让我们了解这个科目的一些背景和研究现状,以及我们如何将科学概念应用到建筑形式和概念中,因为形式和功能必须表现出客户的远景及身份。所以我们按照这个方式研究每一个项目,这个过程中自然而然地客户都会向你传达一些知识。我们正在做的项目我不能告诉你太多,我花了很多时间去和利益相关方沟通,尝试通过对话了解他们对这个项目的意图是什么,以及他们如何看待这个项目的建成和使用,这点很重要。

For instance, we had Siddhartha Mukherjee (a renowned writer in subjects as genomics) in our office, engaging in a dialogue to understand what is the context and research status on the subject, and how we were to apply scientific concepts into the architectural form and concept, because the form and function have to represent the client’s aspirations and identity. We research every project in that regard, and of course it has happened (and you want this to happen) that the client educates us in the process. We're doing a project that I cannot tell you much about, in which I'm spending a lot of time talking to the stakeholders, trying to understand what is their intention for our project. How do they see the project being done and used? Yes, that’s also very important.



05
时机时机:您是如何看待与相关学科的关系的?在SHA项目中各学科的配合是怎样的?
Relationship between all related disciplines 

罗勃特:我们认为建筑实践就像全科医生或普科医生看待人体一样,一切都是必要的。建筑和城市主义的概念可以扩展,并融入景观设计,室内设计,照明设计,所有这些专业都需要同样的设计努力。我们认为景观设计是建筑作品中不可分割的元素,我刚才提到了我们在上海南桥做的项目(上海中粮南桥半岛文体中心与医疗服务站),公共空间和它的景观是建筑立面的一部分,也是室内空间语言的一部分。它们是不可分割的,不能粗暴的将其分开理解成独立的个体。

We see our practice the way a general practitioner or a general doctor sees the human body. Everything is complementary. The concepts of architecture and urbanism can be expanded, and integrated into landscape design, interior design, lighting design, all of these are part of the same design effort. We practice landscape and architecture as if they were indivisible elements in a work of architecture. I mentioned just now the project we're doing in Nanqiao in Shanghai (‘Shanghai Cofco Cultura l& Health Centre’), the public realm and the landscape of it is integral to the language of the facade, which is integral to the language of interior spaces. It is indivisible, you just cannot break them into separate entities.

▲ 上海中粮南桥半岛文体中心与医疗服务站景观展示 @SHA
 ▲ 上海中粮南桥半岛文体中心与医疗服务站水景 @SHA
在成都(切开的通透体块-成都来福士)我们设计的大广场上,银杏树、桂花、水、白噪音的使用创造了微气候感或绿洲感,这些与建筑本体也是不可分割的。现在我们正在深圳做的碳云总部大厦,它由两座塔组成,一座一百五十米高,另一座二百米高,在一层和平台层与景观总体规划融为一体,平台层进而向周边延伸。所以我们认为景观和建筑的设计思考是不可分割的。

In Chengdu (‘Slice Porosity Block’), the large plaza we generated, with gingko and osmanthus trees, the use of water as white noise to create a sense of microclimate or an oasis, all that is indivisible from the towers. In our ‘ICarbonX’ project, the two towers (one a hundred and fifty meters tall, and one two hundred meters tall) are integral with the landscape master plan on the ground floor and at a podium level, which branches out into the other neighbors around it. So we see this effort of landscape and architecture as an indivisible one. 


▲ 成都来福士-切开的通透体块城市广场中心水景 @Iwan BaanSHA


▲ iCarbon X碳云总部大厦蔓延景观 @SHA
与专业顾问团队合作这是非常重要的,我们与合作方一同推进工作。我们当然也会有合作团队,我们将他们带进项目,作为我们团队的景观设计咨询方。我们非常尊重这个专业,我们经常邀请他们参与进我们的团队合作。我们在建筑和景观方面的意图是相似的,我们都希望为用户创造愉快的人性环境体验。说到景观,我认为我们寻找的是对水的利用,水的反射所创造的微气候,用白噪声创造一种非常舒缓的现象学特征的体验。植物也会被考虑进来,我们的建筑项目中看待植物不仅是功能元素,也是建筑色板的一部分。
(collaboration with specialized team) All that is very important, and we work with collaborators. We bring them in and are part of our team as our landscapes specialists, of course we do. We respect that profession very much, and we bring them in. Our work of architecture and landscape is similar in the fact that we are interested in creating human experiences that are pleasant for the users. When it comes to landscape, I think what we look for is the use of water, water reflection for the creation of microclimates, for white noise that is very soothing in creating an experience of phenomenological characteristics. Also planting, our work of architecture deals with planting in a way that does not only considers them as functional elements, but also for part of the color palette of the building.
我们的大多数建筑作品,比如当代MOMA-联接复合体,设计主要为单色的,这意味着它没有颜色。你在窗户和风景中看到的颜色将成为项目中的重点,它们是相辅相成的,迎合了建筑,反之亦然。我们很注重细节设计,我们对景观的细节设计是非常重视的,所以不会也不能把它和我们为建筑细节分开。
Most of our buildings, like ‘Linked Hybrid’ for instance, tend to be monochrome, which means it doesn't have color. The accent of color you see is in the windows and in the landscape, a use of color that complements the building and the other way around. And we do detailing, our detailing of landscape is very important. That’s why you cannot separate it from the detailing that we are doing for the building.
▲ 当代MOMA-连接复合体单色立面与彩色窗户 ©Shu He

 
主编:田宁
采访人:Alex,der媒体部
统筹:田宁,Alex
拍摄:der媒体部
视频:田宁
实录校对:Kelly,Alex,鲁
宣传:der媒体部


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