Standardarchitecture, Beijing
01 March 2009
 

standardarchitecture, founded in 1999, is a professional partnership formed by a group of international young designers engaged in practices of architecture, landscape architecture, interior, and industrial design. Originally established in New York, the firm has gradually relocated its main base to Beijing in 2001, after winning several important projects there. 

On the basis of several distinguished cultural projects, such as Beijing DongBianMen Ming Dynasty City Wall Historical Landscape Park (first prize, 2001, realized 2002); The New Academy of Arts & Design of Tsinghua University (first prize, 2002, collaborated with Perkins & Will); the Conservation Study & Master plan for the Historical District of YuYao City; Master plan of the Pedestrian Area at Beijing BaiTaSi Historical District; the Redevelopment Master Plan for Guilin Yangshuo City (selected for realization), the firm has developed particular expertise in creating sensitive landscape and architecture in various cultural and historical urban settings. 

But their projects are not limited to historical sites, recent commissions such as YiDa Kindergarten in Dalian (completed 2003); Space Planning, Interior Design and Landscape design for Lenovo R&D Center at Beijing (realized 2003); Interior of the Standardarchitecture Office (realized 2003); the WuYi Elementary School Auditorium Building (completed 2003); and the Master plan for the reuse of the abandoned housing site at ShiSanLing reservoir area (under construction) showed the diversity of projects this office is carrying out.


Yaluntzangpu Boat Terminal

Project Name: Pai Wharf
Location: Linzhi, Tibet
Program: Wharf
Design period: 2007
Construction period: 2008
Site area: 1000 m²
Building area: 420 m²
Chief Designer: Hou Zhenghua, Zhang Ke, Zhang Hong, Claudia Taborda
Design Team: Dong Lina, Sun Wei
Collaborate Design InstitUtion: China Academy of Building Research Architectural Design Institute & Tibet Youdao Architecture Associates

The small boat terminal is located near the small village named Pai Town in the Linzhi area of Tibet Autonomous Region. As the remotest stop along the Yaluntzangpu River, it allows both local people and travelers from outside to transport by water deep into the valley and come to the foot of the Namchabawa Snow Mountain.

With a total area of only 430 square meters, the building program is quite basic. It has a few toilets, a waiting lounge, a ticket office and a room for people to stay overnight in case the weather goes too fierce to travel on the river. The programs are covered by a series of ramps rising from the water and winding around several big poplar tree, and ends up suspending over the water. Looking from a distance, the building is completely merged with the riverbank topography and becomes part of the greater landscape.

Construction materials are mainly local. All the walls and roofs are made of rocks collected from nearby. Walls are built by Tibetan masonry builders in their own pattern. Window and door frames, ceilings and floors are all made of local timber.


Dancing Triangles Public Space, Shanghai Pudong

Project Name: Dancing Triangles Public Space
Location: Shanghai
Program: Public Space
Design period:2005-2006
Construction period:2006-2007 
Site area: 15000 m²
Building area: 0 m²
Chief Designer: Zhang Ke, Zhang Hong, Hou Zhenghua
Design Team: Hao Zengrui, Yang Xinrong, Li Mingfang, Li Linna, Sun Wei, Christina, Gao Fei

The “dancing triangles” park is located in a Shanghai Pudong area that is currently under crazy urban development. Its surroundings are mixed with left-over village houses, wholesale construction material warehouses, small factories and new housing compounds. The park is built by the famous developer Vanke as a central public space for the housing communities rising around it. 

Like most of the new urban developments in China, the communities and supportive urban functions are separated by wide roads in this area. Immediately adjacent to the park there is going to be a Carrefour Shopping Centre, an elementary school, a community concert hall, and three different housing compounds. Even the site of the park is severely divided by two major crossing roads into four parts. Therefore the first intuition was to create a network that could help holding the dispersed parts and the community functions together. The dancing triangles works as elements that create sense of movement in the landscape, in the meantime functions as a strong central mark for the neighborhood(mainly for young city dwellers) ever since people start to see the first dancing triangle hundreds of meters away. 


Aduitorium Wuyi Primary School

Name project: Wuyi Primary School Auditorium
Location: Beijing
Program: Auditorium
Design period: 2002-2003
Construction period: 2004
Site area: 3000 m²
Building area: 2000 m²
Design Team: Zhang Ke, Zhang Hong, Bu Xiaojun,Li Changle
Photographers: Chen Su

The new auditorium has a seating capacity of 520 and is for the use of both the school and the residents of the adjacent neighborhood. The hall is used for stage performances, films and school events. The auditorium is separated from the school by a square yard. The school is an unobtrusive four-storey block, to which the expressive form of the auditorium forms a strong contrast. Its characteristic folded red roof makes it a striking feature of the neighborhood. 

The rear wall and the façade form part of the roof, which is supported on both sides by a row of columns. The resulting galleries have walls of red brick in which the wheelchair ramps and the stairs have been integrated. The first floor on the West side of the building is recessed. The foyer beneath the overhanging roof receives daylight from both sides through its glass wall. The entrance pierces the vertical wall which rises from the ground as a continuation of the folded roof profile and marks the entrance like a massive sign; the roof is an ironical allusion to the debate that has been going on for decades about the integration of tradition in modern Chinese architecture. 


Wuhan CRland French-Chinese Art Centre

Location: Wuchang
Program: Exhibition
Design period: 2004-2005
Construction period: 2005
Site area: 4000 m²
Building area: 1500 m²
Design Team: Zhang Ke, Zhang Hong, Hao Zengrui, Han Xiaowei, Yang Xinrong, Liu Xingjie, Jin Jie, Lin Lei,Han Liping
Photographers: Chen Su

The site of the art centre is located across the street from the Wuchang Tanhualin historic area, about one mile away from the historic Huanghelou tower on the Yangtzi River. The expectation of the building was an important public space for the city and a monument for both the past and the ongoing transformation of the city. The fact that many famous Chinese intellectuals lived in the Tanhualin area across the street inspired us. We were interested in testing the possibilities of building something out of the ancient Chinese intellectual practice of ink and water. The art centre was conceived as an urban container, within which art objects, events, acts, concepts and activities flourish. In this case the container is made out of intuitive images of ink-and-water. 

While the site conditions also take part in the formation of spaces: since the site is cut into a half by an unexpected urban infrastructure (a flood pipeline), the 30-meter-wide outdoor space became the central courtyard for spatial organization, around it seat the east and west exhibition hall and the floating bridge linking the two parts. In the 80-meter-long concrete bridge, the ink-water stroke texture coincides with the necessary structural elements for the 5.5-meter-high concrete hollow beam. This becomes an interesting moment when an image merges seamlessly with a structure. 


vanke “AN” Club House, Suzhou

Program: Recreational and Public Service
Design period: 2006-2007
Construction period: 2007-2008
Site area: 4500 m²
Building Area: 3700 m²
Design Team: Zhang Ke, Zhang Hong, Hou Zhenghua, Zhao Yang, Gao Fei, Hao Zengrui, Yang Xinrong, Wang Feng, Huang Di, Zhang Zhengfan, Liu Xinjie, Zhang Cheng
Collaborate Design Institution: Suzhou Industrial Park Design and Research Institute
Structural System: Concrete Frame

The club is formed by a folding wall of 500M long, which also encloses 13 separating courtyards. A delicate bias cuts through the building and guides people to enjoy the experience of “a different view with every step” within the spaces and landscapes. Each span has an irregular shape, and different spans integrate together and form a kind of introvert space; the transverse bridges cut the spans into spaces with different functions, such as interiors, courtyards, atrium, water and bridges, which reinterpreted the Suzhou tastes in a different way.


unnatural growing

It is part of an exhibition named as “Un-Natural” sponsored by Formica. The work is a result out of a series of experimental ideas, which sometimes appear in our architectural practice, and some of them have become the key word of our projects, whereas others still remains in our minds. These ideas are loosely connected, and we have been unable to give clear answers to these ideas yet, so what we can say is that these ideas relate to architecture and city, artificial and natural, agriculture and landscape, environment and lifestyle and other problems we must confront in our daily work and life. This exhibit tries to keep openness to all questions instead of pointing to a specific thought, which is the start of our experimental mind. Meanwhile, it is not limited to a certain scale, it can be as small as a decoration on the table or as large as a city. The span of scale corresponds to the multilevel nature of the problem. 


HongKong West Kowloon Terrace-Land Skyscraper

It is really surprising to see (that) there are such big pieces of land at West Kowloon and the Airport site is still vacant. So similar to the airport site, it’s left open not because people don’t want to do something here. It’s on the contrary people really want to do something here, and because it is so important that the government and society want make sure that things could happen in a right way. So my first impression of this land is it’s so important not only for the West Kowloon, but also for the whole urban central area of Hong Kong. I can image that most of the typical Hong Kong images are taken from this direction towards Victoria bay. In fact this is the vista point of conventional Hong Kong. It is so important that it doesn’t allow us to do something wrong there.

A group of mountains, like a serious of Guilin mountains, built on this piece of land, and (the cultural venues) are like precious stones imbedded in the mountain. And the mountain itself has the forms much like the terraced farmland which named “Ti Tian” in Chinese.

Viewing from the bay area, it’s no longer those typical urban vertical high-rise office buildings and hotels in front. A few Guilin mountains in the front and the office buildings in the back, inside the mountains there are hotel rooms for visitors to stay there with prime view of the bay. And the major mountain is about 550m high. Also in the performance centre there are still views towards the Victoria Bay. And the outside is actually farmland, terraced field that grows rice. The children and elder can have one piece of that land to grow rice. Also schools can use it for agriculture practice base. On the right hand side of this site, about two third of the space will be left for the office buildings and other housing and towers. So actually the mountain is occupied about one third of the total land. But the terraced field will be continued on the forty hectares. So in general I think the FAR instead of being about 2, it was 2.8 before, so now our scheme will provide much more built area than the competition requirement of 2.8. I guess it would be at least 6 to 8 FAR, so that the government and developers can have more financial base to make this development into reality.

In terms of cityscape it is very hard to say that if it is architecture or only a landscape. It is both architecture and landscape at the same time. Basically we are creating man-made landform that is very tall so that various people could have the opportunities to practice the mountain climbing and agriculture learning classes and you can also go there to experience the art works and performances if enter from underground through the subway or parking area. But the outside surfaces are all naturally looking, except of a few of jewelry points on the mountain, they are the cultural facilities. And the openings also provide the possibility to see the Victoria Bay. In directions that were exclusive for high office towers, in the past you have to be someone who is able to have the view and enjoy it, because you have money or social position that allows you to be there. But here in this area it is open to everyone. You can simply climb outside of the mountain and enjoy the view. Also most importantly is that financially it’s feasible. I think by providing more space, by putting the cultural centre inserted or actually imbedded in the mountain, we save at least two third of the land for other possible of the land development. Because financially I believe there need to be someone who has the motivation and interest to build the cultural facilities in this scale. It couldn’t be simply from donations of any institutions. It needs to be balanced in terms of financial budgeting. ……….and even inside of the mountain, there would be commercial developments, too. The cultural facilities are taking at most one tenth of the space of the mountain. Nine tenth of the space inside the mountain could be hotels, shopping centers. So it could be the Hong Kong cultural mountain terrace land and maybe the tallest department store in the world.

And also the rice field has forty hectares of surface of the terraced farmland. It also produces environmental impact. And also it can produce some organic rice for the Hong Kong people. That is a very direct result. So from the distance it looks all green and it is not like something with the hard surface as concrete or steel concrete. It is a piece of agricultural landscape imbedded in the centre of the city. I think it could be both the poetic and in terms of program it also fit for the city infrastructure


The Dancing Books Tower

Official Project Name: “The Peak” Towers, CRLand
Nick Name: “The Dancing Books” Tower
Project Location: Wuhan
Design Date: 2007
Construction Time: 2008-2009
Site Area: 13800 m²
Total Area: 43000 m²
Chief Designer: Zhang Ke, Zhang Hong, Hou Zhenghua
Design Team: Huang Di, Sun Wei, Yu Chunshui, Wan Wenli, Zhao Yang, Wang Feng, Liu Xinjie, Zhang Cheng, Duo Ning

The Dancing Books Tower are situated in a densely populated downtown area near Hongshan Plaza of the historic district of Wuchang, with Yangtze River about two Kilometers to the south, Dong Hu Lake 1.5 km to the north, and the well known Huang-He Lou Watch Tower about 5 km to the west. 

The project is comprised of two160-meter skyscrapers and twelve exclusively high-end courtyard houses at the foot of the towers. Of the two skyscrapers, one is a one unit per floor apartment, with a typical floor about 400 square meters each; and the other one, with each floor measures about 600 square meters, is a six unit per floor luxury service apartment-hotel. Due to their small floor plans and unusual height, the towers look exceptionally slim and elegant in their proportion. 

Each floor of the two towers are slightly shifted, generating a sense of free horizontal movement while soaring into the sky, a status that makes people wonder how this could be reality. The “dancing of the plans” creates ever-changing combination of gestures, passing out an enchanting atmosphere to the urbanscapes of Wuhan City.
标准营造standardarchitecture,1999年由张轲、张弘、Claudia Taborda等多位年轻设计师创建于纽约,是一家专业从事建筑设计、景观与城市设计、室内设计及产品设计的合伙人事务所。公司2001年以来通过国际竞赛在国内赢得了多项重要项目,工作空间逐渐转移到北京。

在一系列重要文化项目的基础上,如北京东便门明城墙遗址公园(已实施,2001-2002);清华大学美术学院规划及建筑设计(中标方案,2002,合作Perkins & Will);北京白塔寺历史街区商业步行街;桂林阳朔步行街设计(中标实施,2003-2004)等,事务所发展了在历史文化地段中进行景观与建筑创作的特长。

“标准营造”的实践超越了传统的设计职业划分,其重要项目有Lenovo联想研发基地空间规划、室内设计和景观设计(已实施2003);“标准营造”工作室(已实施2003);十三陵水库新朝凤山庄别墅区规划、建筑和景观设计(建设中);大连亿达幼儿园(已建成 2003); 北京武夷小学礼堂(已建成 2003)等等。


雅鲁藏布江小码头

项目名称:雅鲁藏布江派镇码头
项目地点:西藏林芝
项目功能:码头
设计时间:2007
施工时间:2008
基地面积:1000 m²
建筑面积:420 m²
主设计师:侯正华、张轲、张弘、Claudia Taborda
设计团队:董丽娜、孙伟
施工图合作设计:中国建筑技术集团有限公司西藏有道建筑设计公司

小码头位于西藏雅鲁藏布大峡谷南迦巴瓦雪山脚下的派镇附近,派镇是林芝地区米林县的一个村级小镇,不仅是雅鲁藏布大峡谷的入口,还因为是通往全国唯一不通公路的墨脱县的陆路转运站而早就成为终极徒步旅行者的胜地。自从大峡谷被认定为世界第一大峡谷、中国国家地理杂志将其中海拔7782米的南迦巴瓦雪山选为“中国最美的山峰”之首,这里逐渐也成为普通徒步旅行者的目的地。

设计是从地段的选择开始的,我们从派镇出发沿岸一路向下游方向寻找合适的位置,我们需要一块水流不太急同时有一定水深的河岸。大约走到两公里多的江面拐弯处,我们一眼看中了这个位置,这里有形态特别的四棵胸径都超过1米大杨树,旁边还有几块巨大的岩石,站在岩石上顺着江流的方向看过去,随时可以看到峡谷背后高耸的加拉白垒和南迦巴瓦雪山。

码头的规模很小,只有430平米,功能也很朴素,主要为水路往返的旅行者提供基本的休息、候船、卫生间、和恶劣天气情况下临时过夜等功能。建筑是江边复杂地形的一部分,一条连续曲折的坡道,从江面开始沿岸向上,在几棵树之间曲折缠绕,坡道与两棵大树一起,围合成面向江面的小庭院,庭院由碎石铺成,可以供乘客休息观景。由庭院再向上,坡道先穿过上层坡道形成的一个挑空过道,经两次左转悬空越过自己,然后再次右转,并在高处从两棵大树之间穿出悬挑到江面上,成为一个飘在江面上的观景台。

码头的室内空间分为两块,一块是候船厅,一块是售票室和守候人员临时卧室,分别利用地形和坡势,隐藏在坡道的下面。候船厅面对的是低一点的小庭院和两棵大杨树,厅内有供休息喝茶的条桌条凳和冬季烧火取暖的石头炉子,尽端是两个卫生间。售票室和临时卧室位于最高标高的坡道下面,是部分悬挑的部分,卧室外有木平台,从木平台上看出去有很好的视野,可以观察江面的船只情况和远处的加拉白垒雪山。

建筑的材料,从墙面到坡道的地面,全部是来自附近的石头,墙体的砌筑全部由当地工匠采用他们熟悉的方式完成,室外和室内都统一采用粗糙的石墙;门窗和室内的天花、地面自然是用当地松木用当地的方式在现场加工的。


上海浦东“疯狂小三角”社区公园

项目名称:“疯狂小三角”城市公园
项目地点:上海
项目功能:公园
设计时间:2005-2006
施工时间:2006-2007
基地面积:15000 m²
建筑面积:0 m²
主设计师:张轲、张弘、侯正华
设计团队:郝增瑞、杨欣荣、李明芳、李琳娜、孙伟、Christina、高飞

“疯狂小三角”公园位于上海浦东正在进行急剧化都市扩展的地区,周边环境混杂着残留的村庄农舍、大型的建材市场、小型工厂和新建的居民区。本项目是作为由著名房地产企业上海万科开发的住宅小区所配套的中央社区公园。

同中国大多数新的城市开发的情形一样,本区的住宅社区和配套功能设施被过于宽阔的交通干线分隔开来,邻近公园的周边将有一座大型家乐福超市、一所小学、一座音乐厅和三个不同的住宅小区建成,甚至连公园基地也被两条交叉的马路分割成了四块,因而首先的冲动就是要创立一种网络将分离的部分与社区功能合成整体,跃动的小三角成为了景观中产生动感的要素,同时也为居民(主要城市年轻白领)提供一种强烈的中心感标志,只要当人们从几百米之外就能看到的第一个小三角起就会感受到公园的存在。


北京武夷小学礼堂

项目名称: 武夷小学礼堂
项目地点: 通州,北京
项目功能: 多功能礼堂
设计时间: 2002-2003
施工时间: 2004
基地面积: 3000 m²
建筑面积: 2000 m²
设计团队: 张轲,张弘,卜骁俊,李长乐
摄影师: 陈溯

武夷小学的新礼堂有520座的容量,可供学校及临近居住社区的使用。新礼堂可以举行舞台演出、放电影和学校的其他集体活动。礼堂与学校的教学主楼之间被一个矩形的广场分开,使礼堂特立独行的形象与不够突出的四层教学楼形成了强烈的对比。红色折板屋面彻底改变了学校的环境特征。

礼堂的后墙及正立面与屋面连成了一体(或者说是屋面的一部分),东西两侧各有一排立柱支撑,与贴着红色面砖的侧墙形成了廊下空间,结合柱廊设计了残疾人坡道和台阶。建筑在西侧二层退进形成了凹龛,阳光可以透过玻璃外墙从东西两侧照射到带吊顶的入口大厅里。入口穿透由屋顶从正面翻折入地后又斜向升起的竖直墙体,这一姿态使入口成为了建筑物的有力标识。礼堂的连续屋面被认为是对在现代建筑中结合中国传统形式的一种调侃。


武汉华润中法艺术中心

项目地点: 武昌
项目功能: 展览
设计时间: 2004-2005
施工时间: 2005
基地面积: 4000 m²
建筑面积: 1500 m²
设计团队: 张轲,张弘,郝增瑞,韩晓伟,杨欣荣,刘新杰,李琳娜 ,经杰,林磊,韩立平
摄影师: 陈溯

艺术馆基址隔街紧邻武昌最重要的历史文化街区—昙花林,距离著名的黄鹤楼不到两公里。设计之初,人们期望艺术馆既能够为城市提供一个重要的公共活动场所,又能够成为正在进行的城市变迁和城市历史的纪念碑。

中国近代历史上许多文化名人(包括郭沫若等)都曾经在基地紧邻的昙花林居住过,这给以我们最初的一些冲动,我们好奇地想试验一下利用中国传统文人的水墨游戏进行建造的可能性。

空间布局同时也受到基地条件的影响:由于一条市政排洪沟从中央穿越了基地,从而产生了30宽的中心院落,围绕院落的空间组织形成了东部和西部分立的展厅以及飘在水面之上联系两个展厅的廊桥。80多米长的廊桥将水墨笔触的肌理与5.5米高、2.5米宽混凝土空心梁的内外孔洞符合起来,建筑在此归结为毫无修饰的结构之美。


万科苏州“岸”会所

项目功能:健身会所及社区服务
设计时间:2006-2007
施工时间:2007-2008
基地面积:4500 m²
建筑面积:3700 m²
设计团队:张轲、张弘、侯正华、赵扬、高飞、郝增瑞、杨欣荣、王风、黄狄、张正帆、刘新杰、张诚
施工图合作设计:苏州工业园区设计院
结构形式:钢筋混凝土框架结构

回墙九曲
苏州“岸”会所位于金鸡湖畔的新加坡园区,是标准营造设计的万科苏州“本岸”“新院宅”项目的一部分。会所由一面长达500余米、高9米的连续白墙转折而成,其间围绕成多个相对独立的院落。斜线切成的路线引导人在其中享受“曲径通幽”的体验。每个开间都为不规则的瓶口状,开间与开间相互咬合形成内宽外窄的内向空间;横向的桥把开间切成不同功能的空间。室内、院落、中庭、水体和桥,这些元素相互交错,使得所谓“苏州情趣”以一种出其不意的方式再次呈现。

院落层叠
这道转折的五百米的“墙”所形成的“院”多达十三个,这些“院”和“院”之间连接着、穿插着、互望着和包围着。“岸”会所的功能实际很琐碎,包括一个室内标准游泳池及附属淋浴更衣、一个健身房、瑜珈练功房、老年活动中心、儿童活动室、居委会、物业办公室、西餐厅及厨房、卫生间、售楼处展厅、小商店、及社区集中配电房等等。这些功能分组围绕着层叠出现的院落布置,其中展厅和西餐厅等功能紧邻前庭院布置,前往这一部分的人很容易找到入口;而健身游泳中心和老年活动中心等功能则围绕建筑后部的庭院布置,前往这一部分的人需要穿过侧院里长长的竹林小道才能意外地找到这部分宽敞的入口门厅。而展厅、餐厅区和健身区之间又有一个侧门通过庭院相连,可分可合。

细水缠绕
“岸”会所周边自然是三面环水,水面的宽窄有别,在前院和沿主路的地方很宽,而在建筑侧面和小巷中变得很窄,水面并不是简单的围绕着建筑的,水面充满了折墙形成的每一个凹口,水面当然也延伸到了庭院中间形成水院。水和转折的墙是互相咬合缠绕着的,以至于很多时候分不清是墙围绕着水还是水围绕着墙。

拥翠于庭
庭院中自然要是绿的,前院的五棵高约十二米的朴树是江南人家里重要的树种,细小的树叶和略长青苔的树皮很适合江南多雨的春夏季,事实上苏州拙政园前院里的几棵参天大树就是朴树;侧院里净种的是八九米高的刚竹,竹林下面是条石铺成的小道和满铺的白色细石;前院靠近空中廊桥的水边平台上种的是四季常绿的香樟和落叶的垂柳;中心庭院种的是两棵相互缠绕的紫藤。这些植物在九米高的白墙的包围之下,在不同的季节、不同的天气、和每天的不同时刻的不同光线下,与高大的白墙形成多变的映衬关系。

外内内外
外即是内,内即是外。自然,这道五百米长的折墙造成了很多有趣的空间,也以一种纠缠不清的方式提出了一个关于建筑的有趣问题:内和外的问题。一会儿是墙内,一会儿是墙外;一会儿是室内,一会儿是室外;一会儿是内墙,一会儿是外墙;一会儿是内院,一会儿是外院。 由一道转折的白墙引发的很多个关于内和外的建筑游戏。

始于“反叛”
苏州的当代建筑多有沉重有余而轻松不足的问题,在苏州做设计最大的难题就是苏州园林传统形式的负担,即使是贝聿铭在苏州博物馆也不例外地走的是对传统园林布局形式和传统装饰形式的抽象处理;如果在“苏州博物馆”贝先生的命题是“精神上很传统,形式上很现代”的话,苏州“岸”会所的命题可以说成是“精神上很现代,视觉上很传统”了;如果贝先生的苏州博物馆开始于对苏州园林传统布局的拥抱和对现代主义反对装饰教条的“反叛”的话,苏州“岸”会所则是开始于标准营造对苏州园林传统布局教条的“反叛”了。

而事实上,哪一代建筑和文化的改变——进步也好,堕落也好——不是始于后人对于前人的反叛呢?


不自然生长

这是为富美家赞助的名为“不自然”的展览所做的一件作品。这件作品是我们一系列试验性想法的结果,这些想法在我们平时的建筑实践中或隐或现,有的已成为某些设计的关键词。这些想法只有一些松散的联系,甚至这些想法我们目前还无法给予清晰的答案,我们只能说,这些想法关乎建筑与城市、人工与自然、农业与景观、环境与生活方式等等,都是我们日常工作与生活中所时时面对的。这件展品不明确指向某一个想法,而是尝试对所有问题保持开放性,它是我们这些试验性想法尝试的开始。这件展品同时超越了尺度,小到它可以是桌案上的摆设,大到是一个城市。尺度上的跨越同时对应了问题的多层次性。


香港西九龙梯田摩天楼

对于香港来说,在西九龙和机场附近仍然存在这样大片的土地闲置,确实是令人惊奇的事情。与机场地段类似的是,土地之所以被空置,并不是人们不想利用;相反的,人们的确想要开发这片土地,可是由于其重要性,政府及社会都要确认,在这片土地上进行的开发一定要按照正确的方式进行。所以我对这个地段的第一感觉是,它不仅仅对于西九龙来说非常重要,对整个香港城市中心来说也是非常重要的。可以想象绝大多数典型的香港形象照片都是从这个角度面对维多利亚湾拍摄的。实际上可以说这里是一个传统的观看香港的瞭望台。这是一个相当重要的地区,所以不允许我们做任何错误的开发。

也许我们可以将桂林的山移植到这片土地上,并且将宝石镶嵌在山中。而山本身的形式也许会更类似台阶状的农田――“梯田”。

从海湾看去,已经不再是典型的城市形态:垂直的摩天办公楼和酒店耸立在前面。如果我们桂林的山在前面而办公楼在后面,同时这些山也可以提供酒店房间,游客可以在此住宿并拥有独立的角度来观赏海湾。最高的一座山有550米高,就连汇演中心也可以拥有观景的角度。而山的外面则是真正的农田,是可以种植稻子的梯田。同时学校也可以用这些梯田作农学研究或者实验基地。而在我们用地的右半部分,仍然有三分之二左右的土地可以用来建设办公楼,住宅区以及塔楼。所以实际上我们的山只占用了全部土地的三分之一左右。可是我们的梯田将会延续下去,占满我们所有的四十公顷土地。所以总的来说,我认为我们的容积率将会大大的超过原来预定的2.8,预计将会达到6到8左右,所以政府和开发商将会拥有更大的经济支持来使发展计划变成现实。

从城市尺度来说,很难确切的定义这是一座建筑或者是纯粹的景观。它同时结合了建筑和景观。基本上说,我们在创造一种人造地形。它非常高,使人们有机会体验到爬山的乐趣,并学习农业知识;同时你也可以经过地铁或地下停车场进入到建筑内部来体验艺术品和文化表演。而建筑的外表皮则是非常自然的,只有一些像宝石一样的小盒子镶嵌在山上。这些就是我们的文化设施,同样它也提供了观赏维多利亚湾的良好视点。

在这四十公顷的土地上,我们会以梯田的形式种植稻子。这也会给我们带来良好的景观环境,同时也会为香港市民提供一些绿色粮食——这将是最直接的结果。从远处看,所有的景象都是绿色的,它没有像混凝土和钢筋这样硬质的表皮。它只是融入城市中心的一片农田景观。我认为这样的景观是很诗意的,而功能上也同样适应城市基础设施的要求。


“跳舞的书本”双塔

项目名称:华润武汉“跳舞的书本”双塔
项目地点:武汉
项目功能:公寓
设计时间:2007
施工时间:2008-2009
基地面积:13800 m²
建筑面积:43000 m²
主设计师:张轲、张弘、侯正华
设计团队:黄狄、孙伟、于春水、万雯丽、赵扬、王风、刘新杰、张诚、朵宁

这两座接近50层的超高层住宅位于武汉市中心的繁华地段――宏山广场,南边离长江2公里,北距东湖1.5公里,与西边5公里外的黄鹤楼遥相对应。

项目所在的地块并不大,13 000余平米,开发商原本打算在这里做一些多层建筑,但标准营造建议用12个庭院别墅和两栋极细的超高层住宅来代替,这样就可以保留基地里原有的20多棵近米高的香障树。

两栋160米高的高层如同用书本摞起的两座高塔,各层平面随意扭动,两栋的重心自下向上逐渐靠近;双塔的高细比接近10,超过原世贸中心和上海环球金融中心。

其中一栋为酒店公寓,每层面积约600平米,分为6户;而另一栋高层则是每层独户的豪华住宅,每户平均面积约400平米,由于四面是连续的双层玻璃幕墙,居住者可以将四面的景色尽收眼底,获得360°的连贯视线。
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