WORLD PUBLICARCHITECTURE

PREFACE前言

版权页

Public Buildings are more than mere spaces and envelopes. They transcend their architecture to mimic one of the most significant human achievements of the last 5,000 years: the city itself.Space of social and economic exchange, the city is justified by the human need of gathering. The synergy between its inhabitants, their activities and spaces affirms the persistence and evolution of this naturally plural and heterogeneous organism. In this scenario, public buildings play a strong and essential role. Sports, cultural, symbolic, administrative, religious, commercial, educational and other buildings have always contributed, in a direct way, to the configuration of the urban space. Sometimes, because of their permeability, function or spatial insertion, such buildings break the boundaries between internal and external spaces, merging them into a continuous flow that represents the necessary coherence between building and city.Unfortunately, nowadays, many cities have become a juxtaposition of private spaces, continuously fed by the illusion of security and by the obsession for privacy. In this moment, when the social structures seem to erode, public buildings are responsible for warranting the very essence of the urban space. They stimulate the social cohesion, create landmarks and qualify the spaces around it, reinforcing the sense of community.This book offers a stunning selection of public building architecture from all over the world. The variety of uses and forms demonstrate the multiplicity of solutions and their insertion on different cultural, economic and social realities. The schools, museums, sports facilities, theatres and many other here presented, give the idea that the exchange between their users is a confirmation of their urban role.This selection allows not only to admire the materials, forms and functions, but also to look beyond the architectural object.

Lourenço Gimenes

FGMF Architects

公共建筑不仅仅是纯粹的空间和外表的叠加。它们超越建筑本身，模仿着近五千年来人类最伟大的成就之一：城市本身。 人类对群居生活的需要，证实了城市的存在，且需要留有社会和经济交流的空间。城市居民的协同合作、活动和空间肯定了这种天生群体、多样、混杂的有机体系的留存与进化。在本书中，公共建筑起着重要关键性的作用。本书中的建筑类型涉及运动、文化、象征性、管理型、宗教、商业、教育及其他建筑，这些建筑皆用一种直接的方式构建了所在的城市空间。间或，由于建筑的通透性、功能需求或空间的植入，此类建筑打破了内外部的界线，构成一种连续的流动，体现了建筑和城市之间必然的和谐。 遗憾的是，现如今，很多城市呈现的是一种私人空间的罗列，不断地追求安全性的幻想、受到私密性的困扰。此时，社会结构貌似已被侵蚀，于是，公共建筑就担当起保证城市空间精髓部分的责任。它们激励着社会的凝聚，创造着地标性的建筑，修饰着周边的空间，再次强化着团体的感觉。 本书从世界各地选取了一系列出色的公共建筑式样。应用和架构的多样性阐释了方案的多样性，以及与不同文化、经济和社会现实的融合。本书展现了学校、博物馆、运动场馆、剧院和很多其他的建筑，且引出一种理念——建筑使用者之间的交流即是建筑城市角色的确切体现。 本册选集不仅仅为读者提供建筑材料、式样和功能的赏析参考，更超越了建筑本身，高屋建瓴，构思宽广。

Lourenço Gimenes

FGMF 建筑事务所

目录CONTENTS

CULTURE & ART

文化与艺术

EDUCATION教育

ENTERTAINMENT休闲娱乐

TRIFFIC交通

Sales Office

SALES OFFICE售楼处

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114

122

128

136

142

148

156

164

174

178

184

190

200

206

218

Kalmar Museum of Art

Secondary School – AHS Contiweg

Bailly SchoolLUXUN Academy of Fine Arts and Campus Dalian, China

Pärnu Library

Ravensbourne

Sao Paulo Library

UQAM Pierre Dansereau Science Complex Masterplan

YRF English Centre for Children in Ramla

FDE, Escola Várzea Paulista

City University of Hong Kong Creative Media Centre

Grant R. Doering Centre for Science & Research

Bloemershof

l'Assomption Sport Complex

Leça do Balio School

Centre Cultural Vladimir Kaspé

Tellus Nursery School

Mas Museum Aan de Stroom

Moderna Museet Malmö

Universe of Particles

Grand Canal Square Theatre and Commercial DevelopmentIcelandic Institute of Natural History

Muzeum of Aviation, Poland

New Youth Centre in Rivas Vaciamadrid

Theatre de Quat’sous

Institute For Sound and Vision, the Netherlands

Convention Centre, Dublin

The HangerLos Angeles Museum of the Holocaust

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016

022

032

042

050

056

062

070

076

084

090

098

302

310320

328334340

Centre Communautaire Pierrefonds-Roxboro

Tianjin Sport Arena

Botanical Gardens "Chenshan" Shanghai, China

Casa Club Bosque Altozano

Extension of the Multifunctional Double Sports Halls

Gymnasium

ZEP Leisure Park in Middelburg

CEU PimentasGolf Sempachersee

Green Water Sports Station

The Hodoš Centre for the Elderly

Beijing South Station

Incheon International Airport

Guangzhou South Railway Station

Lujiangdangdai

Senlinyuan

Xiangyuzhixin

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232

240

248

254

260

268

274

280

284

292

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ULTURE & ART文化与艺术

C

Kalmar Museum of Art

Mas Museum Aan de Stroom

Moderna Museet Malmö

Universe of Particles

Grand Canal Square Theatre and Commercial DevelopmentIcelandic Institute of Natural History

Muzeum of Aviation, Poland

New Youth Centre in Rivas Vaciamadrid

Theatre de Quat’sous

Institute For Sound and Vision, theNetherlands

Convention Centre, Dublin

The HangerLos Angeles Museum of the Holocaust

008

016

022

032

042

050

056

062

070

076

084

090

098

008 009

rand Canal Square Theatre and Commercial Development

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Architect: Studio Daniel LibeskindFirm: Architeckt Daniel Libeskind AGLocation: Dublin, IrelandArea: Theatre: 13,768m², 2,100 SeatingProject Management: Lafferty Project Management Structural Engineer: ARUP (Dublin) Mechanical/Electrical/ Plumbing Engineer: ARUP (Dublin)Venue and Acoustic Consultant: ARUP Acoustics, UKFacade Consultant: Billings Design AssociatesFire Protection Consultant: Michael Slattery & Associates Lighting Designer: Pritchard ThemisFaçade Sub-contractor: Permasteelisa Central Europe, Permasteelisa S.p.A Health and Safety: Bruce Shaw Partnership Theatre Planner/Consultant: Arts Team (Part of RHWL Architects)Quantity Surveyor: Davis Langdon_PKS

The Grand Canal Square Theatre and Commercial Development in Dublin features a 2,000-seat performing arts centre which is integrated into a commercial area via two office blocks that include 35,000-square-meter of leasable office and retail space. This is located at the heart of the Grand Canal Harbour Development and creates a focal point for Grand Canal Square. The project is currently under construction. The 11,000-square-meter Grand Canal Square Theatre is at the heart of the Grand Canal Harbour development. The building is based on the concept of stages — the stage of the theatre itself, the stage of the piazza, and the stage of the theatre lobby above the piazza, illuminated at night. The theatre becomes the main façade of a large public piazza that has a five-star hotel and residences on one side and an office building on the other. The piazza acts as a grand outdoor lobby for the theatre. With the dramatic theatre elevation as a backdrop and platforms for viewing, the piazza itself becomes a stage for civic gathering.With their twin facades, glazed courtyards and landscaped roofs, the two office blocks which make up the Commercial Development provide sustainable, state of the art work environments. By designing multi-storey glazed atriums, the commercial buildings integrate with the adjacent retail, residential, cultural and public space components.

NORTH ELEVATION

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拥有2 000个坐席的都柏林大运河广场剧院与商业开发

区形成了一体的城市脉络，有两个办公区，可出租的办公室

和零售空间有3.5万平方米。大运河广场剧院与商业开发区

位于大运河港口开发区的核心位置，是大运河广场的焦点，

该项目目前正在建设中。

1.1万平方米的大运河广场剧场位于大运河港口开发区

的中心。该剧院的建筑理念是以舞台为基础：剧院本身的舞

台、广场上的舞台、剧院里多层的大厅里的舞台，这些舞台

在晚上熠熠发光。剧院成为大型的公共广场的主立面，广场

旁边还有一个五星级酒店，一边是办公楼，一边是住宅。该

广场成为剧院的大厅，是市民的舞台，也是观景平台。站在

剧院屋顶的露台上可以将都柏林海港的美景尽收眼底。

剧院有双外墙、玻璃中庭和绿化的屋顶，两个办公区

组成了商业开发区，提供最先进和可持续发展的工作环境。

通过多层玻璃中庭，商业楼宇与毗邻的商铺、住宅、文化和

公共空间联系了起来。

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celandic Institute of Natural HistoryIArchitects: ARKÍS Architects, Bjorn Gudbrandsson Architect, Egill Gudmundsson ArchitectLocation: Gardabaer, IcelandArea: 3515 m²Photographer: Vigfus Birgisson and ARKÍS

Towards the northwest, the building rises upwards and out towards the spectacular view, its form mirroring the profile of Mount Keilir to the south.The fissures are bridged with transparent corridors and stairwells, accented with a bright green color that becomes brilliantly illuminated at night. However, the primary purpose of the fissures is to provide the institute’s employees with breaks from the office environment. When passing through the fissures, one comes into strong visual contact with the surroundings; light, weather, sky and horizon.Sustainable Design FeaturesAmong the many sustainable design features are sustainable drainage solutions employed on and around the site. Those strategies include

permeable surfaces for parking and swales for filtering and slowing down the flow of surface water. In addition, the building’s green roof, which is laid with local turf and moss, serves as a filtering mechanism for rainwater, as added insulation and as habitat for birds and native insects. Furthermore, the previously mentioned double facade facilitates effective natural ventilation. Each office is equipped with at least two operable windows; the upper and lower windows, improve the flow of fresh air through the space, from the in-between space of the double facade. Offices also enjoy plentiful daylight and spectacular views of the surroundings.

The Institute of Natural History is a public institution, carrying out diverse research and monitoring of nature. The new building for the Icelandic Institute of Natural History houses research facilities and offices for 50 scientists and other employees. Furthermore, the building houses the Institute’s research specimen collections and scientific library.Urridaholt Master PlanGood access to outdoor recreation and pedestrian routes is ensured. Streets are designed to support safety and relaxed traffic speeds. Moreover,

the Urridaholt development employs integrate surface drainage systems that have been specially designed to protect the ecology of nearby lake. Building FormThe building is divided into three parts by two fissures that visually reduce the building mass and communicate the gradual rhythm and human scale of the streetscape prescribed in the master plan. Moreover, the three part plan figure reflects the composition of an insect body, thereby connecting building form to the institute’s function.

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冰岛自然史研究所是一个公共研究所，从事各种研究和对自然环境的监测。它为50名科学家和其

他工作人员提供住宿和研究设施。此外，还设有研究样本收藏室和科技图书馆。

Urridaholt总体计划

该设计保证了人们可以方便地到达人行道并进行户外娱乐活动。周边街道的设计能保证行人的安

全和车辆的慢速行驶。此外，Urridaholt发展计划采用了地表排水综合系统，以保护附近湖泊的生态平

衡。

建筑形式

两个细长的玻璃通道把整个建筑物分为三部分，也使它看起来不至于过分庞大。建筑外形传达出

一种渐变的韵律感和正在规划中的街景的人文尺度。另外，建筑物的三个部分连为一体，其造型与昆

虫的身体构造相似，因此使该建筑物的外形与研究所的功能融为一体。

西北朝向的建筑物高度和宽度都有所增加，面对壮观的景色，它的造型映射出南面Keilir山的轮

廓。

两个细长的玻璃通道被半透明玻璃走廊和楼梯井连接起来，它们明亮的绿色在夜晚更加耀眼。然

而，这两处通道的建筑初衷是为研究所的员工在工作之余提供休息场地。经过通道时，周围景观、灯

光、天气状况、天空和地面清晰可见。

可持续性设计特点

整个规划遵循可持续性设计精神，建筑地点和四周采用的排水解决方案特点最为突出。方案之一

为使用可透水性材料铺设停车场和低处草坪，以此来实现排水和减缓地表水流速度。除此之外，建筑

物的绿色屋顶铺满草皮和苔藓，不仅可用做自然排水构造，还可用做额外保温层及鸟类和昆虫的栖息

地。

此外，双层建筑立面能够有效地促进自然通风。每个办公室都装有至少两扇活动窗，可向上或向

下开启，以提高双层建筑立面内新鲜空气的流通量。办公室也因此拥有良好的采光，更适于观赏周边

风景。

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Architect: Neutelings Riedijk Architecten bvBuilding Design: Bureau Bouwkunde Nederland bv, Rotterdam, the NetherlandsStructural Design: Aronsohn Raadgevende Ingenieurs bv, Rotterdam, the NetherlandsBuilding Physics Design: Cauberg-Huygen Raadgevende Ingenieurs bv, Den Bosch, the NetherlandsInstallation Design: Royal Haskoning Adviesgroep Gebouw Installaties, Rotterdam, the Netherlands Concept Facade: Neutelings Riedijk Architecten bvGrafical Design Facade: Jaap Drupsteen, Studio Drupsteen, Huizen, the Netherlands

The building divides into five distinct elements: archives/stores, museum, offices, client reception and services. Together these parts bound a central well at the building's heart. Here is the building's public portion comprising the main reception hall, restoration facilities and video auditoria. This large central space stitches together all the components of the institute.Considering that something like half of the required programme encompasses storage and archive rooms with rigorously stipulated climatic conditions but no need for daylight, designers decided on a horizontal division into two. The portion below the ground contains the archives vault, while above the ground are the museum and other use forms requiring natural light. Bridging the gap between these two portions are the public spaces, client reception and services.The central well delivers daylight down to the lowest levels of the vault. In the first instance zenithal light streams in through the skylights; the second, colored and tempered light enters through the glazed frontage of the superstructure. The large well in the superstructure opens to the south so that the afternoon sun penetrates to the core of the building and reflected light can skim over the inner facade wall of the offices.At the entrance, the void presents as a deep canyon that dramatically brings home to visitors the scale and the sheer size of the archives/storage vault. One of the canyon's sides is a flush wall, and the other rises in a series of inverted terraces. These contain the rooms for receiving clients plus annexes serving the archives and stores; the archives and stores themselves are concealed behind the flush canyon wall.The central well culminates in an enormous void where both museum and offices show their best face. The upside-down cascade of museum levels registers as a wall sculpture that shapes and scales the internal space of the building.

nstitute For Sound and Vision, the NetherlandsI

Product Development Facade: Neutelings Riedijk Architecten bv i.s.m. T.N.O. Eindhoven, the Netherlands, Studio Drupsteen, Huizen, Nederland en Saint Gobain Glass Nederland, Veenendaal, the NetherlandsInterior Design: Neutelings Riedijk Architecten bvConstractor: Heijmans Bouw Best bv, Best, the Netherlands Location: Sumatralaan 45, Mediapark, 1217 GP Hilversum, the NetherlandsArea: 30,000 m²Photographer: Daria Scagliola and Stijn Brakkee, Fotografie Scagliola/Brakkee,Rotterdam, the Netherlands

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大楼分成五个截然不同的区域：档案馆与储存室、博

物馆、办公区、客户接待区和服务区。这些分区以一座位

于建筑物中心的中央采光井为共同分界线。建筑物的公共

部分包括主接待大厅、维修场所和观影礼堂。此处巨大的

中央空间连接着研究所的所有组成部分。

考虑到整个建筑一半左右的空间都要被用做储存室

和档案室，而它们对气候条件又有着严格的规定和要求，

同时也不需阳光照射，所以设计师将整个建筑物沿水平线

一分为二。地下部分为档案地下室，而地上部分则是需要

自然光照的博物馆和其他部分。连接这两部分的是公共空

间、客户接待区和服务区。

中央采光井使自然光能够传递到地下室的最底层。首

先，阳光从天窗流泻而下；然后，柔和而多彩的光线通过

上部结构正面的玻璃照射进来。上部结构的巨大采光井朝

南打开，这样，午后的阳光可以渗透到建筑物的中心并且

反射光能够照射到办公区内部建筑立面的墙上。

通过入口处窄而深的狭长通道，清晰地呈现在参观者

眼前的是档案馆和储存库的巨大空间。通道的一侧是一面

狭长的墙，另一侧是一组向下的楼梯。这里包括客户接待

室和用于储存的额外房间。这些房间隐藏在高大狭长的墙

壁之后。中央采光井在一个巨大空间内直达建筑物顶部。

博物馆和办公区也在该空间内尽展风采。上宽下窄、如瀑

布般倒垂下来的博物馆同时被用做一座巨大的墙体雕塑，

塑造着整个建筑物内部的形态和空间。

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as Museum Aan de StroomM

Architect: Neutelings Riedijk Architects, Rotterdam, the NetherlandsStructural Design: Bureau Bouwtechniek, Antwerp, BelgiumConstructive Design: ABT België, Antwerp, Belgium Building Physics: Peutz bv ingenieuze adviseurs, Mook, the NetherlandsInstallation Design: Marcq & Roba, Brussels , BelgiumLocation: Hanzestedenplaats, 2000 Antwerp, Belgium Area: 19,500m²(Floor surface)+11,500m²(Outdoor construction) Photographers: Sarah Blee, Antwerp and Scagliola/Brakkee, Rotterdam, the NetherlandsCopyrights Photography: Neutelings Riedijk Architects and City of Antwerp

The buildingThe MAS was designed as a sixty-meter high tower. Ten gigantic natural stone trunks are piled up as a physical demonstration of the heaviness of history, full of historical objects that are the legacy of our ancestors. It is a storehouse of stacked history in the middle of the old harbour docks. Every storey of the tower has been rotated a quarter turn, creating a gigantic spiral staircase. This spiral space, in which a facade of corrugated glass is inserted, forms a public city gallery. The spiral routeA route of escalators leads the visitors from the square up to the top of the tower. The story of the city, its harbor and inhabitants is told in the spiral tower. Visitors can enter a museum hall on every level and reflect on the history of the dead city, while on the way up breath-taking panoramas unfold above the living city. The top of the tower accommodates a restaurant, a party room and a panoramic terrace, where the present is celebrated and the future is planned. The facades Facades, floors, walls and ceilings of the tower are entirely covered with large panels of hand-cut Red Indian sandstone, evoking the image of a

monumental stone sculpture. The four-color variation of the natural stone panels has been distributed over the facade on the basis of a computer-generated pattern. The spiral gallery is finished with a gigantic curtain of corrugated glass. Its play of light and shadow, of transparency and translucence turns this corrugated glass facade into a light counterweight to the heavy stone sculpture. The ornamentsIn order to soften the monumental tower volume, a pattern of metal ornaments has been attached to the facade as a veil. The ornaments have the shape of hands, the symbol of the City of Antwerp. This pattern is continued inside the building by means of metal medallions, cast according to a design by Tom Hautekiet with a text by Tom Lanoye.The plazaThe museum square at the base of the tower is an integral part of the design. The square has been designed in the same red natural stone as the tower and is surrounded by pavilions and terraces as an urban area for events and open-air exhibits. The central part of the square is sunken and forms a framework for the large mosaic by artist Luc Tuymans.

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建筑物

MAS的高度为60米。十组巨大石块的巧妙叠加，

显示了历史的厚重感。室内布满了祖先遗留下来的各

种历史文物。该博物馆位于鹿特丹中心，藏品丰富。

每一楼层都围绕中心进行四分之一的旋转，造就了巨

大的螺旋式楼梯。这种立面嵌有波浪状玻璃的螺旋式

空间形成了城市公共展览馆。

螺旋式路线

电动扶梯会把来自外面广场的参观者带到大楼顶

层。在顶楼可以眺望城市、港口和来往行人。人们可

由每一层进入博物馆展厅，在那里体会整个城市静止

的历史；在随扶梯上升时，又可以体验到展现在眼前

的迷人而鲜活的城市全景。顶层还设有餐厅、活动室

和全景露台，人们可在此欢度当前美好时光并规划未

来。

建筑立面

建筑立面、地面、墙体和天棚都镶嵌着手工打

磨的红色印度砂石，旨在创建一个巨大石质雕塑的形

象。电脑操控砂石上的四种颜色变化形式，使之巧妙

地分布在建筑立面上。螺旋式艺术馆外面装有巨大的

波浪式玻璃幕墙。它的光与影、透明与半透明使该立

面与厚重的石质结构形成了一种轻重之间的平衡状

态。

装饰物

为了使体积巨大的建筑看起来更为柔和，建筑立

面被嵌上了一组排列规则的金属装饰物。这些金属装

饰物为手形，这也正是安特卫普市的象征物。建筑物

的内部则是圆形图案的金属装饰，是根据Tom Lanoye

撰文、Tom Hautekiet 执行的一项设计来创作的。

广场

塔楼下面的博物馆广场是整个设计不可或缺的一

部分。该广场使用和博物馆一样的红色砂石建成，广

场四周是用做城市活动和露天展览的临时展馆。广场

的中心部分低于周围平面，里面用马赛克铺成了由比

利时艺术家Luc Tuymans创作的一幅大型作品。

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ew Youth Centre in Rivas VaciamadridNArchitects: Manuel Collado, Arpia y Nacho Martín AsunciónFirm: Mi5 ArquitectosCollaborators: Eider Holgado, Richar y Diego BarajasConstructor Company: DragadosEngenieer: Juan Travesí Location: Rivas-Vaciamadrid, Madrid SpainArea: 2,244 m² Photographers: Miguel de Guzman , Javier de Paz

From the beginning , the pro ject was conceived as the possibil ity of making the “underground” visible, a construction devised as a radical manifestation of Madrid’s outskirts youthful spirit in general, and of Rivas´ youth groups in particular. The project aspires to become an explicit “ t e e n ” c o m m u n i c a t i o n v e h i c l e b y appropriating their language and their voices as the ingredients of the project. In this way, the project’s team embraces all Rivas’s youth groups by means of an open participation process, in which the future users of the centre, combined with technicians and politicians, will contribute their decisions, their concerns, their fantasies and their aesthetics to create a contemporary “social monument”. The end result of this process is a public structure with a punk spirit, intensely burdened with content and articulated around programmatic centres conceived as activity explosions, which are erected as meeting and exchanging points of the emerging communities.

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最初，该项目的构思是使人们能够看到“地下”部分，通过该建筑鲜明展示以里瓦斯青年团体组织为代表的马德里市郊所

有青年人的精神面貌。

该项目把恰当表现青少年的心声作为考虑因素，力求成为能够与青少年进行沟通的媒介物。因此，该项目热烈欢迎所有里

瓦斯青年团体组织成员公开参与，这样，该中心的未来使用者，连同技术人员、政治家，都能够贡献各种决策、关心、想象力

和审美观，以此来共同建造一座当代的“社会纪念碑”。

集思广益的最终结果是一座朋克特点鲜明、功能繁多、多个活动中心相互连接的公共建筑的落成。各活动中心可被用做新

兴团体集会和交流的场所。

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onvention Centre, DublinCArchitect: Kevin RocheFirm: Kevin Roche John Dinkeloo and Associates LLCLocation: Mayor Street, Spencer Dock, IrelandArea: 45,894 m² Completion Date: September 2010Photographers: Kevin Roche, John Dinkeloo and Associates LLC

The Convention Centre, Dublin (CCD) offers 22 multi-functional, flexible rooms suitable for meetings, conferences, and exhibitions of all shapes and sizes—from small corporate meetings to international congresses. There are 4,500㎡of exhibition space, a 2,000-seat auditorium, and banquet facilities seating up to 2,000 guests. The entire venue is finished to the highest specifications and incorporates the latest technology throughout. It is designed to attract both international and national conference/exhibition markets. Exterior and interior materials emphasize the stature of the design, ensure durability, and minimize maintenance for this important public building, clearly distinguishing it as Ireland’s “Convention Centre.”Convenient to several modes of transportation, the CCD is located beside the new "LUAS" tram line with its own station, is minutes from Dublin Port Ferry Terminal, and is only 20 minutes from Dublin Airport.The lobby and circulation foyers are enclosed by a glass atrium which immediately identifies the centre to visitors. Stairs, escalators, and lifts create an exciting processional moving up through the atrium, enhancing

interaction between delegates while providing panoramic views of the city and mountains to south. The foyers support a variety of activities beyond circulation: event registration areas, breakout/discussion spaces, and food/bar service. Temporary exhibitions may be installed within the foyers increasing delegate participation and interest. The lobby and foyers may also serve as venues for informal concerts. The public will be encouraged to enter the ground level lobby to experience the atrium, view temporary exhibitions and art exhibits, or review an electronic display of upcoming events. Exhibition/banquet halls, meeting rooms, administration, the auditorium, and support facilities are all located on the floors above.The centre’s architecture is a reflection of the programmed internal functions and the site. Exterior walls are clad with stone. The atrium glazing system is stepped and consists of stainless steel framing and high-performance, curved, laminated glass with a low-E coating. Continuous LED lights cap the east west stone wall panels and at each step in the atrium, identifying the building as a major venue in the city.

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Ground Floor Second Floor Third Floor Fourth Floor Roof Plan

都柏林会议中心有22个多功能房间，适合各种规模大小的展览和

会议，例如小型的公司会议、国际会议等。建筑内部有4 500平方米

的展览空间、拥有2 000个坐席的礼堂以及可以宴请2 000个客人的设

施。 整个建筑是按照最高标准建设的，采用了最新的技术。

建筑的主要设计目的是要吸引国际和国内的会议/展览市场。内外

部的材料凸显了建筑的高度、确保了耐用性，并使得此公共建筑的维

护费用降低至最少，明确凸显了其作为爱尔兰“会议中心”的重要地

位。

都柏林会议中心的周边交通便利，有多种交通方式。新建成的

LUAS有轨电车路线从附近通过，并在此设置一个站点。从会议中心

到都柏林轮渡码头只需数分钟，到都柏林机场也只需20分钟。

门厅和通道被一个玻璃的中庭环绕着，非常醒目，到访者很容易

就能找到这个会议中心。楼梯、扶梯和直梯通过中庭营造出令人激动

的向上空间感，以增强会议代表之间的互动，他们也可以欣赏到这个

城市的风景和南面的群山。大厅除了提供空间供人员流动外，还提供

了其他一些功能：活动注册、休息/讨论、食物/吧台服务。临时的展

览有可能设置在大厅，以增强代表的参与度和兴趣。大厅也可能充当

非正式音乐会的举办场所。公众可以进入一楼的大厅、体验玻璃中庭

的雅致、观看临时的展览和艺术展出、或者预先了解即将举办的活动

的电子信息。 展览/宴会大厅、会议室、行政办公室、礼堂和各种辅

助设施都位于上面的楼层。

会议中心的建筑风格是由预先设置的内部功能和选址所决定的。

外墙覆盖着石头。中庭的玻璃墙呈阶梯状，由不锈钢框架和高性能

的、弧形的和低辐射镀膜的夹层玻璃构成。连续的LED灯安装在东西

两侧的石头墙嵌板上和中庭的每一层玻璃上，表明此建筑是这个城市

的一个重要场所。

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oderna Museet MalmöM Design Company: Tham & Videgård ArkitekterLocation: Gasverksgatan 22, Malmö, SwedenArea: 2,650 m²

A starting point was that a new art museum, as a public and cultural building, represents a rare opportunity to create a new node within a city, changing the urban balance and developing the surrounding neighbourhood. In Malmö, a city in the south of Sweden, there was the possibility to create a new art museum with an informal and experimental character, housed within the 1900’s industrial building of the former Electricity plant, which would complement the main museum in Stockholm.The greatest challenge posed by the project, (in addition to the demanding eighteen-month time limit from sketch-design to inauguration), was the need to adapt the existing industrial brick building to current climatic and security requirements, in order to comply with the highest international standards for art exhibition spaces. It soon became clear that in reality what was needed was a building within a building, a contemporary addition within the existing shell. This radical reconstruction not only provided a challenge, but also gave the opportunity for something new. Seen from the exterior, a new extension marks the arrival of the new museum. The extension provides a new entrance and reception space, as well as a cafeteria and new upper gallery. Its perforated orange façade both

connects to the existing brick architecture and introduces a contemporary element to the neighbourhood. The perforated surface gives the façade a visual depth, and is animated through the dynamic shadow patterns which it creates. The ground floor is fully glazed so that sunlight is screened through the perforated façade. In relation to its context, the new addition plays with scale. From a distance, it is only intelligible in comparison to the adjacent houses, and only in close proximity can the building and its details be read in its own right. The elimination of the standard "middle-scale" strengthens the museum's presence in the immediate urban setting, and at the same time allows the building to appear as a signal, establishing a relationship with Malmö as a whole. Inside, the building has been reconstructed spatially. Two new staircases allow the visitor to move in a loop between the grand turbine hall and the upper exhibition rooms. The staircases are each enclosed between two walls, and this functions to divide the program of the turbine hall into three separate spaces: an exhibition space, a children's studio and a separate loading area (which also doubles as an exhibition space).

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该项目的出发点是建立一个新型艺术博物馆，使其作为一个公共文化建筑，

体现一种在城市内部创建新事物的可能性，改变城市平衡并发展周边地区。在瑞

典南部城市阿马尔默，在一处老发电厂的建于二十世纪的工业建筑内，据考察，

有可能改建一座风格随意的、带有实验性质的新艺术博物馆，作为斯德哥尔摩主

要博物馆的补充部分。

（除掉因工期紧张，从草图设计到落成典礼只有18个月的时间之外）该工程

最大的挑战就是调整现存的砖结构工业建筑以适应目前的气候和安全需求，以便

达到艺术展览场所的最高国际标准。很快，有一点得以明确：在原有建筑物里再

建一座现代建筑。这种彻底的重建虽然对设计者提出了巨大挑战，但也为其推陈

出新创造了机遇。

从外部来看，新增加的部分标志着新博物馆的建成。新增加部分设有新的入

口和接待处、自助餐厅和新的上层展览厅。孔状橘色立面连接起原有的砖结构建

筑，并为周边地区注入了更具时代感的元素。孔状表面使建筑立面更具视觉上的

纵深感，整个建筑因为这种橘色孔洞造型而显得生机勃勃。该建筑物的第一层立

面全部镶嵌着玻璃，阳光可以通过外面的圆孔照入室内。

由于周围背景的原因，新建部分的规模会因距离远近而变化。从远处看，它

与周边的建筑很好地融合为一体，只有通过近距离的观察，才能看清它自身的细

节特点。这种对标准尺寸的摒弃既突出了博物馆在当前城市环境内的存在感，又

与阿马尔默有机地融为一体。

建筑物的内部空间已经被重建。沿着新增的两段楼梯前行，参观者可以到达

连接巨大的涡轮机大厅和上层展览室之间的环形区域。两段楼梯把两面墙分别隔

开，把整个建筑分为三个功能不同的独立空间：展览空间、儿童活动室和装货区

（它也可以兼做展览区）。

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uzeum of Aviation, PolandM

Architects: Justus Pysall, Peter Ruge, Bartlomiej Kisielewski, Katarzyna Ratajczak, Mateusz Rataj, Alicja Kepka-GuerreroFirm: Pysall.Ruge Architekten with Bartlomiej KisielewskiStructural and M&E Services : Arup International – Kraków Landscape architects: ST raum a, Berlin Location : al. Jana Pawła II 39, 30-969 Kraków, Poland Area: 4,504 m²Photographer: Jakub Pierzchała

The project has been awarded the 1st prize in the international competition in 2005, and completed in 2010.The idea of flying, the spirit of the place, the structure of the historic airfield – the new building for the Museum of Aviation, Poland takes up these references intellectually and synthesises them into an expressive and emblematic structure. The old hangars set the modular scale for the footprint (60mx60 m) and the height (12meters) for the new building.Developed from this modular scale, cut out and folded, as if made like a paper airplane, a large structure has arisen – triangular wings made of concrete and yet as light as a wind-vane or propeller. Size and orientation of the wings got developed out of three different functions. 4,500-square-meter usable area on three floors is for disposition now. Intertwining spaces provide good orientation for the visitor.Entering the building one has the choice to go into the education wing with a voluminous 3D-cinema or directly into the exhibition area with the planes. The wings are generously glazed, opening in all directions. The exhibition thus links visually with the landscape around it and offers a view of the apron and the planes on display outdoors. The airplanes in the North wing seem by no means enclosed, but rather to have been placed in shelter, ready to roll out onto the runway at any time. The first floor is occupied with the conference room seating 150 people, a bibliotheca, a multimedia section and a restaurant with bar over viewing the exhibition.The offices for administration are in the second floor offering views towards the park, into the exhibition or through bull’s eye windows onto the former

airfield.The new Museum of Aviation appears not as a “house”, but yields a subtle functionally expressive architectural sculpture. Energy Concept: Sustainability through simplicity and reduction.Different temperature zones, natural ventilation and intensive use of daylight minimize the need of energy at its source, and the use of natural and well patinating and ageing materials reduces the impact of the environment and future maintenance costs. The concept is based on natural ventilation in all three wings. Only the cinema and the auditorium will get supply air and exhaust air by means of a heat exchanger with air supply from an earth channel. This allows for warm supply air in winter and cool air in summer. The wings are heated differently, depending on their use: 20° C the offices, 18° C the Education Wing and 15° C the Main Exhibition Wing. Compared to an all-around 20° C room temperature, 40 % of the energy is conserved for heating these 10 meters in high and up to 10,250 cube-meter. The big storage capacity of the concrete walls and natural ventilation provide, cooling during the night in the summer.Directed to the north and with a 200-square-meter big door, the exhibition is always throughout naturally ventilated during the summer and of no need for air conditioning. Besides the generous use of daylight through the facade and big skylights; an energy-efficient light system is realized throughout the building. This includes light directing commutator sections and the use of energy saving lamps in combination with motion detectors.

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该项目在2005年参加竞赛赢得头奖，于2010年

完工。

飞翔的理念、当地的精神、具有历史意义的飞

机场的结构，这些因素在建造波兰航空博物馆时被

充分考虑并巧妙融合，造就了一个具有表现力与象

征意义的建筑物。原有机场为新建筑提供了60米见

方、12米限高的用地。

建筑师对用地模块经过裁剪和折叠，最后造就

的建筑就像一个纸飞机，具有大型的三角形机翼式

混凝土结构。它就像风向标或螺旋叶片一样排放，

不同的大小和方向具有三种不同的功能。该建筑一

共有三层楼，4 500平方米的使用面积相互交织，给

参观者提供了良好的导向。

进入大楼之后，人们可选择进入藏品丰富的3D

影院的教育区或直接进入展览区。机翼四周装满玻

璃幕墙，可全方位开放。这样，人们的视线不受阻

碍，可以看到户外展示的停机坪和飞机。停放在北

部“机翼”的飞机没有被封闭，而是被工棚保护，

随时可以滑行到跑道上。一楼配有可以容纳150人的

会议室、图书室、多媒体室和能够看到展区的酒吧

餐厅。

行政办公室建在二楼，在那里可以观赏公园

景色，又可以进入展览厅或者通过舷窗到达老飞机

场。

这个航空博物馆不像一所建筑物，更像是一个

建筑雕塑，微妙的向人们传递着功能信息。

能源概念：通过简单与删减体现可持续性。

设计师力求从根本上减少对各种能源的需求，

充分利用自然通风和采光，并在选择材料时选择抗

锈蚀和耐久材料以降低维修损耗。只有影院和礼堂

依靠暖通设备进行供排气，这就保证了这两处的冬

暖夏凉。建筑物的各个机翼部分由于功能不同，其

所需温度也不同：办公室为20℃，教育区为18℃，

主要机翼展览区为15℃。与温度为20℃的房间相

比，混凝土墙壁拥有巨大的储热能力，它储存的

40%的能量就能满足10米高、近10 250立方米的空

间的能耗。同时，自然通风系统可为大楼在夏季夜

间降温。

面朝北部的200平方米的大门，确保了展览区夏

季的自然通风，而无需使用空调。

通过广泛利用穿过建筑立面的自然光和巨大

的天窗，建筑物内实现了高效能的灯光系统。该系

统包括灯光定向转换器、节能灯及运动检测器的使

用。

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niverse of ParticlesUArchitects: Prof. Uwe R. Brückner, Shirin Frangoul-Brückner, Eberhard SchlagDesign Company: Atelier BrucknerLocation: SwitzerlandArea: 450 m²Photographers: Michael Jungblut, Frieder Daubenberger

CERN required a new attraction: the exhibition Universe of Particles designed by Atelier Brückner. It becomes a starting point for the many thousands of visitors who arrive each year, curious about the unique underground particle physics experiments taking place under the French-Swiss border near Geneva.While the LHC is operating, there is no public access to the experiments, so the exhibition answers many of the visitors' questions while also evoking a sense of wonder and awe at the remarkable scientific and engineering accomplishments and the mysterious worlds being revealed by the scientific work taking place at CERN. Research at CERN is concerned with both the infinitely small and the increadibly large. The visitors experience a world without scale, at once both the sub-atomic level and at the vastness of the solar system. Entering the exhibition space, they enter another world. Here nothing is recognisable from the world outside.All of the spherical designed elements in the space appear seamless, perfect. Nothing is familiar or expected. The visitors see no plasma screens or touch-terminals, no display cases or graphic panels. Instead , they experience projections seemingly in space, 3D digital objects within spheres, and beautifully lit concealed artefacts slowly revealed. Besides the spherical design, the uniformly neutral white color of the Corian surfaces and a swirling light circle at the base of every display is the connecting design language. It creates light shades which lift the displays out and let them float apparently freely in the room.

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ATELIER BRÜCKNER 所设计的“粒子宇宙”的展出在CERN（欧洲核物理研究委员会，今天的正式名称叫做

“欧洲核物理研究组织”）吸引了大家的注意。它成为每年成千上万参观者的参观起点，这些发生在法国和瑞

士边界、日内瓦附近的独特地下粒子实验引起了他们的好奇。

大型强子对撞机（LHC）运行的同时，公众是无法接触到这些实验的。所以在展览回答参观者问题的同

时，也激起了大家的惊叹。并且在CERN进行的科学工作展示出了科学和工程的显著成就以及神秘世界，这让参

观者心生敬畏。

在CERN进行的实验是关于无限小和无穷大的概念。参观者经历一个没有大小概念的世界，要么次原子的微

小世界，要么太阳系的巨大空间。进入展览空间，他们就进入了另外一个世界。在这里，任何东西从外边的世

界都无法进行识别。

在展览空间中，所有球体的设计元素都是无缝的、完美的。没有任何东西是熟悉的、预料中的。参观者看

不到等离子屏幕、触摸终端机、展示架或者图解式面板。相反，他们能模拟太空体验、球体中的3D数字物体，

并且将缓慢展出的隐藏的人工制品很漂亮地点亮。除了球体的设计之外，统一的、中性白色丽耐（Corian）装修

材料以及每次展示时底部的旋转光圈，都是它的设计特色。其独特的光影效果，使展出物看似被举高并且可以

在房间自由地漂浮。

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heare de Quat'sousT

Architect: Éric GauthierBuilder: AeconFirm: les architectes FABG Structure Engineer: Aecom TecsultMechanical and electrical engineer: Aecom TecsultAcoustician: Legault DavidsonTheater Consultant: Trizart AllianceLocation: 100 avenue des Pins est, Montréal, Québec, H2W 1N7Area: 860 m²Materials: Grey Slate Tiles, Brick,Limestone, Curtain Wall and Aluminum Cladding, GlassPhotographer: Steve Montpetit

The Theatre de Quat'sous was established in 1963 by a group of actors under the direction of Paul Buissonneau. Together they bought a synagogue located on Avenue des Pins in Montréal and transformed it into a small theater that never ceased to present daring productions from young creators including the mythical psychedelic happening “Osstidcho” in May 1968. Serious problems related to the security and comfort of the users combined with the need for production spaces led to the decision to demolish and rebuild the Theatre de Quat'sous on it's actual site after many feasibility studies demonstrated the impossibility to renovate the crumbling wood and brick structure built in 1907 as three row houses.Avenue des Pins is a street that was created in 1907 after the demolition of existing buildings to facilitate access to the Mont-Royal as suggested by Frederick Law Olmsted. Today it is a collection of bad buildings and exposed firewalls that never met the promises of a prestigious boulevard leading

to the Mountain. Theater is about fugacity, a succession of unique moments that barely survive in the memories of those who were there. Theater is a ghostly figure that has witnessed what people are about to forget.In reconstructing the Theatre de Quat'sous, designers were specifically asked to incorporate whatever we could from the original building to help the new one evoke those memories.Designers chose to sample textures, images, colors and materials from a cultural inventory of the theater and mapped them on the assemblage of required volumes (stage, house, foyer, crossover, control booth and rehearsal).Recycling on site stones, slate, wood, bricks, marble and furniture becomes part of a strategy of cultural sustainability. New materials include silkscreened glass, black brick and perforated aluminum that contribute to make Theatre de Quat'sous a ghostly figure accumulating memories.

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de Quat’sous剧院是一些演员在Paul Buissonneau

的指导下在1963年建成的。最初，他们买下了位于蒙

特利尔派恩大街的一处犹太教会堂并把它改建成了一

个小型剧院。在那里，经常上演的是由年轻作家创造

的前卫作品，其中包括1968年5月上演的具有神话和

迷幻色彩的“Osstidcho”。

出于对使用者安全和舒适度的考虑，以及对更大

的创作空间的需求，在经过多次可行性考察之后，人

们证实始建于1907年的三排房子的砖木结构已经不

堪使用，所以决定在原址上破旧立新，重建de Quat’sous剧院。

派恩大街是在拆除了原有建筑物的基础上于

1907年建成，是依据建筑大师弗雷德里克•劳•奥姆

斯特德的建议为了人们更加方便地出入蒙罗亚尔而建

的。今天，这里已经不再是久负盛名的通往蒙罗亚尔

山的著名大道，而是一处布满破败建筑和裸露着的隔

离墙的地方。

剧院体现的是生命的无常和事物的流逝，即使是

众多的独特时刻，当时也无法在人们心中永存。剧院

如幽灵一般，见证着人们即将遗忘的事物。

重建de Quat’sous剧院时，设计师竭尽所能把新

旧建筑结合起来，期待它能够唤起人们的旧日回忆。

设计师以文化传承为目的，从质地、形象、颜色

和材料等方面进行考虑，制成样品，并在图纸上把它

们分别安放在所需地点（舞台、各个房间、休息厅、

横向过道、控制室和彩排室）。

回收再利用原址上的砖石、石板瓦、木料、大理

石和家具成为保持文化延续性的一个策略。建筑中也

使用了丝网印刷玻璃、黑色砖和穿孔铝等新材料。新

旧材料和形式的融合使该剧院成为人们追忆往昔的地

方。

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almar Museum of ArtK Design Company: Tham & Videgård Arkitekter, SwedenLocation: Stadsparken 392 33 Kalmar, SwedenPhotographer: Åke E´son Lindman.

The new Kalmar Museum of Art is the result of a winning proposal in the open international competition in 2004 and was inaugurated on the 10th of May 2008. Situated in the City Park of the renaissance town of Kalmar, it is built next to a restaurant pavilion dating from the 1930s by Swedish modernist architect Sven-Ivar Lind.The competition motto was Platform and that is also the conceptual idea of this museum, a series of open platforms for art related activities. It is also how the museum is constructed, large spans for maximum flexibility on each level, so that not only light but also space can be transformed and adjusted to meet the specific needs of each exhibition.The new museum is a black four-level cube clad with large scale wooden panels and punctuated by large glazed openings. It will house both the Kalmar collection of Modern Art as well as provide spaces for temporary exhibitions of contemporary art, videos, performances and concerts.Almost domestic in its scale this museum still provides a variety of exhibition conditions. The two main spaces are the white box where one side can open

up completely to bring in the exterior of the park, and the top floor gallery that is lit by shed head light shafts doubling its ceiling height. In addition there is a public art library and open workshops.One of the architectural main features is the open stair spiralling the full height of the building, starting from the new entrance lobby that interconnects between lake-side and park. It is a top lit space with all surfaces in exposed in situ cast concrete.The four floors, each different from the others, are stacked on top of each other and create a vertical walk up into the greenery of the trees with a series of different special experiences while offering views of the environs; the Kalmar castle, the lake and the city centre. Construction is in situ cast concrete, the big spans are made with "after tension" slabs. Interior finishes are exposed concrete, black stained plywood doors and panels, white painted walls and ceilings, natural ash.TVH have also designed some furniture; the green bock-tables, the hexagon tables in white ash and steel, the museum bench, library book shelves.

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新卡尔马艺术博物馆于2004年在国际公开赛中获提名奖，并于2008年5月10日举行

开幕仪式，对公众开放。该博物馆坐落在文艺复兴城市卡尔马的城市公园之中，紧邻着一

座在20世纪30年代落成的餐厅，该餐厅是由瑞典现代主义建筑大师Sven-Ivar Lind设计的。

本博物馆的竞赛口号是“平台” ，这与该博物馆的建筑理念相一致，其内部为了进

行相关的艺术活动，而打造了一系列平台。在结构上也是为此而精心打造的，每层巨大的

跨度可以实现最大的灵活性，因此其灯光和空间都是可调整的，以满足每次展出的具体要

求。

新的博物馆是一个黑色的四层立方体，外部是巨大的木质嵌板，与大型玻璃板入口衔

接。它可以容纳卡尔马博物馆的艺术收藏品，同时也可以为当代艺术提供临时展厅，也可

用做表演厅和会议厅。

该博物馆内部的展厅几乎可以提供各种展览条件。两个主要空间呈白色箱体状，其

一面可以完全打开通往室外的公园，顶层的廊形展厅是通过顶棚的前照灯光束来实现照明

的，从而使得天花板的高度看上去又增高了一倍。而且此处还有一个公共艺术图书馆和几

处开放的工作室。

该建筑的主要特色之一是由底至顶、贯穿全楼的螺旋状开放楼梯。从新的入口门厅蜿

蜒而上，将面湖一侧的房间和公园连接了起来。顶部是天窗自然采光，其所有表面层都是

由裸露的模铸混凝土直接打造的。

楼高四层，层层皆不同，层层堆砌打造出一条垂直的通道，通往植有树木的温室，从

而使人一路走来，赏周边风景，从卡尔马城堡、湖边再至城市的中心，百感蹁跹。建筑构

筑方式为浇筑混凝土，巨大的跨度通过具有“后张力”的平板来实现。内部装修由裸露的

混凝土、黑漆的胶合板门和木板、本白的墙壁和自然灰色的天花板打造而成。

TVH事务所还设计了几款家具来搭配：绿色的博克桌、白蜡木和钢架制成的六边形桌

子、博物馆长椅和图书馆的书架。

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he HangerTArchitect: Bert DirrixFirm: diederendirrixLocation: Eindhoven, the NetherlandsArea: 8,600 m²

In the centre of Meerhoven, a Vinex-district in Eindhoven, lies a characterisitc airplane hanger, together with several other important industrial inheritances, it keeps the memory of the former airfield Welschap alive. With the redevelopment and expansion into a complex for education and recreation, the hanger is transformed into a vital cultural centre for the district. To house the extensive program two volumes were added, which were slidden into the building. A large part of the hanger has been kept empty which allows space for a covered square, that also functions as the

entrance to the complex. A central corridor, also covered by the hanger, connects the square to a public playground that opens towards the planned ecological green zone. The corridor is enclosed on one side by a colorful, transparent volume that houses a community centre with library. On the other side lies a volume situated partially in the ground, with a playground on the roof. It houses a sports centre and a gathering space. The buildings are connected by way of an underground volume that contains the changing rooms for the gym.

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这座特色鲜明的机库坐落在Meerhoven的中心,

埃因霍温Vinex区，此地还有另外几处重要的工业遗

址，这些让人们对从前的Welschap机场记忆犹存。随

着此地重新发展成为一个教育和娱乐中心，该机库也

转型成为了本地一个重要的文化中心。此项目在原址

上增建了两间，与整体建筑相连通。

该机库中的大部分都是空旷的，打造出一方有顶

棚的空场，也起到连接综合楼的作用。机库中间一条

中间走廊，连接着广场和公共游乐场，该游乐场面朝

一块已规划好的生态绿化带。该走廊的一端是一个多

彩且透明的空间，此处是一个社区活动中心，内置一

个图书馆。走廊另一端是半悬空的空间，其顶部设置

了一个操场。此处既是一个运动中心又是一个聚会的

场所。经由此处也可以到达地下空间，在那里有与健

身房相配套的更衣室。

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os Angeles Museum of the HolocaustLArchitect: Hagy BelzbergFirm: Belzberg ArchitectsLocation: Los Angeles, CAArea: 2,973 m² Photographers: Benny Chan – Fotoworks, Belzberg Architects

The new building for the Los Angeles Museum of the Holocaust (LAMOTH) is located within a public park, adjacent to the existing Los Angeles Holocaust Memorial. Paramount to the design strategy is the integration of the building into the surrounding open, park landscape. The museum is submerged into the ground allowing the park’s landscape to continue over the roof of the structure. Existing park pathways are used as connective elements to integrate the pedestrian flow of the park with the new circulation for visitors. The pathways are morphed onto the building and appropriated as surface patterning. The patterning continues above the museum’s galleries, further connecting the park’s landscape and pedestrian paths. By maintaining the material pallet of the park and extending it onto the museum, the hues and textures of concrete and vegetation blend with the existing material palette of Pan Pacific Park. These simple moves create a distinctive faade for the museum while maintaining the parks topography and landscape. The museum emerges from the landscape as a single, curving concrete wall that splits and carves into the ground to form the entry. Designed and constructed with sustainable systems and materials, the LAMOTH building is on track to receive a LEED Gold Certification from the US Green Building Council.

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洛杉矶大屠杀博物馆坐落于泛太平洋公园内，毗邻现存的洛杉矶大屠杀纪念碑。该建筑

最主要的设计策略就是使建筑物与开放性的公园景观融为一体。该建筑沉入地下，依势建于公

园一面斜坡之下，该斜坡自然形成建筑物的屋顶。公园已有的道路与博物馆的新建道路融会

贯通，迎送来往行人与游客。位于博物馆屋顶斜坡之上的道路所形成的图案曲折变化、交错有

致。这些图案延伸到博物馆的美术馆，进一步连接起公园景观与各条人行道。为与泛太平洋公

园风格相统一，博物馆的混凝土与植被的色调和材质被设计为与其相一致，因此打造出一个外

观独特的博物馆，同时又能使其见容于公园地势和景观。博物馆的单层弧形混凝土外墙使其从

公园景观中凸显出来，而由混凝土构成的狭长矩形墙壁劈入地下，形成博物馆的入口。该博物

馆在设计和建造中基于可持续理念并采用环保材料进行，有望获得美国绿色建筑委员会颁发的

LEED金牌环境设计认证。

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教育

DUCATIONE

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Secondary School – AHS Contiweg

Bailly SchoolLUXUN Academy of Fine Arts and Campus Dalian, China

Pärnu Library

Ravensbourne

Sao Paulo Library

UQAM Pierre Dansereau Science Complex Masterplan

YRF English Centre for Children in Ramla

FDE, Escola Várzea Paulista

City University of Hong Kong Creative Media Centre

Grant R. Doering Centre for Science & Research

Bloemershof

l'Assomption Sport Complex

Leça do Balio School

Centre Cultural Vladimir Kaspé

Tellus Nursery School

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Archictects: Paula Homsi , Camila Chamati Firm: Aflalo & Gasperini ArquitetosArea: 4,257.00 m²Location: Sao Paulo , SP, BrasilPhotographer:Daniel Ducci

The antithesis is strong and the metaphor becomes obvious. Before, i t was a prison, while now, it is full of freedom: of knowledge, of ideas, of books. It is in this place, that could carry a dark memory forever, where is located the Sao Paulo Library.The old Carandiru penitentiary complex, in Sao Paulo, has changed its face: now it is the Youth park. Within the park, the Library, which contributed to the urban impact of this revigoration in a way that could surpass the quarter limits, bringing people from every corner of the city granting to them leisure, entertainment and culture. The building has an ample area with zenithal i l lumination, assuring great flexibility in the layout. The structure is composed by 20 columns and 10 beams, spaced each 10 meters. The furniture has funny and colorful tones and ludical serigraphies were proposed in the glasses to give more intimacy to those who will read or research. The library is organized as a bookstore, aiming to attract a non-reader public as well. The idea is that this project can be replied in other cities. A new library, implemented in Brazil but inspired in the public library of Santiago, Chile.The program des igners f ind in the building is composed by a ground floor with reception, quantity, auditorium for 90 people and reading modules for children and teenagers. The ehxisting terrace on this floor was covered by a tensor structure, that reminds “nautical tents”, receives a cafeteria, sitting areas and performance spaces. In the upper floor. designers find another quantity space, several reading spaces being one module restricted to adults in addition to multimedia areas. There are special furniture such as tables for people with visual deficiency and ergonomic desks to physical deficients. In order to attend the accessibility regulation the floor finishing was made in a way that could be tactil, railing with two heights, inscriptions in Braile as well adequated ramps. The upper level terraces in the east and west facades, with higher insolation, were covered with pergolas made with reforestation eucalyptus and polycarbonate, assuring a pleasant space for performance as well living room. The remaining facades are composed by pre-molded panels with texturized finishing.More than a beautiful and different library, this new institution has the mission to be the central of 961 libraries in the state of Sao Paulo – spreade in 602 municipalities.

ao Paulo Library S

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强烈的对比和明显的隐喻构成了该建筑的风格。此地旧时是

所监狱，今日却是自由之地: 自由获取知识、自由思想、自由畅

读。恰是此处，昔日可能永久承载着阴霾的记忆，此时却是圣保

罗图书馆的所在。

昔日的圣保罗卡兰德鲁狱所，已经完全旧貌换新颜：今日此

处乃是青年公园。公园之中，一座图书馆坐落于此，标志着对昔

日四方狱所的超越，对今日城市之振兴的力促，城市各处的人们

齐聚此地，充实其休闲，娱乐其生活，提升其文化。

该建筑采用大面积的顶部采光，从而确保其布局的灵活性。

主结构由20根柱子和10个横梁搭建而成，每个各相隔10米。室内

装饰呈趣味又多彩的基调，玻璃中放置了生动的绢印，给来此读

书钻研的读者们以更多亲近之感。该图书馆像书店一样的布置，

目的即是为了同样吸引一些非读者的公众来此。而该项目理念是

和其他城市的项目理念相呼应的。正是受智利圣地亚哥公共图书

馆所启发，在巴西才得以建立一个这样崭新的图书馆。

该建筑中的一楼设置了接待前台、能容纳90人的礼堂和为孩

子们和青少年们打造的读书隔间。在此层中还有一处用可拉伸的

材料隔开，使人想起“航海帐篷”，而此处是一个自助餐厅，一

处可坐可表演的空间。二楼也是十分宽敞的，有几处成人的阅读

隔间，还有一个多媒体视听间。此处设有专为视力障碍人士使用

的桌子，以及为残疾人士定制的舒适桌椅。

为了使读者在楼层之间能自由穿行，地面装饰处理得十分巧

妙，栏杆有两种不同的高度，内置卷帆索和多处斜坡设计。东西

两侧的二楼设有独立隔离开的露台，覆以人工种植的桉树和聚碳

酸酯打造成的凉亭，从而为表演等活动提供了演出的空间，同时

也兼具客厅的功能。其他两面是由带有纹理的压塑面板打造的。

这座新的建筑不仅仅是一个美丽且与众不同的图书馆，它还肩负

着成为分散在圣保罗602个区的961个图书馆的中心的任务。

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ärnu LibraryPArchitect: Markus Kaasik, Andres Ojari, Ilmar Valdur, kaasa töötasidFirm: 3+1 ArchitectsArea: 3513.2 m² Photographer: Kaido Haagen

Pärnu’s central square was planned following World War II for the location of the Old Town, reduced to ruins. The new library located along the trajectory of Pikk tänav completes the Stalinist plans that were unfinished in their day, and connects the square in front of the theatre with the moat. It is integrated with the Stalinist ensemble; and at the same time, one end extends all the way to the ruins of the commander’s castle, which dates from the earliest era of foreign conquest in Estonia. The purpose of the building is to add more cultural life and compactness to the existing unfocused space, while breaking up the rigid linear symmetry characteristic of Stalinist planning.The library is surrounded by a different environment on all sides and small local open plazas have been created on each side, which also correspond to the division of the functions inside the library. Much attention has been paid to purpose-driven function and planning of the interior, creating a non-hierarchical spatial system. The backbone of the building is comprised by a system of stairs and ramps that extend through the whole building and as it descends, opens into different library halls. The ramps and stairs extend outward from the building as open common spaces, each with a different

appearance. The views from the different levels and the sloping surfaces that jut into the building create a coherent space that “flows” through the building – from the central square to the baroque-era moat. Most importantly, the public urban space continues through the library building, or more precisely the library itself becomes a part of the city space. The other important aspect is the way in which it provides insight into the context of the city space: the building is located with an overhanging corner right above the former commander’s castle.The library is completely covered with shiny glass, allowing one to perceive through the facades its “belongingness” to the city. The main structural innovation related to the library function is the fact that all books are on open shelves – the public can freely stroll the stacks and browse the volumes. It is perhaps akin to an ordinary supermarket – shelves upon shelves where it is as easy as possible to find the product (book) you are looking for. The only major difference is that here no one is compelling you to buy anything. The modern library is becoming more and more user-friendly, a fluid event space.

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二战时期，派尔努中心广场原计划建在旧城遗址，但是在战时被毁。而新建

的图书馆就建在此长街的轨迹之上，原计划在斯大林时期完成，但那个年代并未

建成，一弯护城河将该建筑和剧院前的广场相连。该建筑与斯大林时期的整体建

筑融合，但与此同时，其终端向各个方向延展，一路直达指挥官城堡旧址，而这

可以追溯到外国势力最早攻占爱沙尼亚时期。该建筑的目的即是丰富原有的文化

生活，丰满原有稀疏的空间，同时打破斯大林时期设计的呆板的线形对称市容市

貌。

该图书馆的周边环境各有不同，其周围四面都建有当地的小广场，其设计与

图书馆内部的不同功能相互呼应。图书馆内部目的性极强的功能及设计吸引了大

量的眼球，从而打造出无层级的空间体系。该图书馆的主干支柱是其系统的楼梯

和坡形通道体系，它们延伸至整个建筑，人们从上面款款走下可以到达图书馆的

各个厅室。

该楼梯体系从建筑延展到其外部，作为公共空间向公众开放，且每每呈现不

同的外形。从不同的层面和坡面来看，整个建筑在空间上凸显出和谐一致，它如

水般滑过整个建筑——从中心广场到巴洛克时代的护城河。最重要的是，该市中

心的公共空间穿图书馆而过，或者更准确来说，图书馆本身就是这个城市空间的

一部分。另一个重要方面是该图书馆为洞察这座城市的空间环境提供了另一种视

角，该建筑仿佛恰好建在从前指挥官堡垒的正上方悬角位置。

图书馆的外墙体完全是由明亮的玻璃构成的，通过其立面的设计，使人深

切地体会到它对于该城市的从属性。基于图书馆的功能，对其主体结构进行了改

造，所有的书籍都摆在了开阔的书架上。公众们可以自由地漫步书丛之中，信手

拈来，随意翻阅，仿佛超市的货架一般，一架挨着一架，轻松地就可以找到心仪

的产品（图书）。唯一的主要不同之处就是此处没有人会力劝读者买这买那。这

座现代的博物馆正在日益成为一个读者友好型、流动的知识空间。

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econdary School – AHS ContiwegSArchitect: Atelier Heiss ArchitektenStructural Engineering: Brand & PartnerBuilding Physics: Dr. Pfeiler ZT GmbHHVAC + Electrical Planning: Vasko & Partner ZT GmbHLandscape Architecture: Idealice – Technisches Büro für LandschaftsplanungLocation: Aspernstraße 3-5, Contiweg 5, 1220 WienArea: 20,000 m²Photographer: Peter Burgstaller (Copyright: Atelier Heiss)

Students of Aspernstrasse are greeted by lentiform shapes twining around the glas front of the building. The new school in Hirschstetten was designed as a structure with two horizontal accentuated emphasis wings with classrooms. The glass south-facing atrium with the library in a distinctive

loft conversion gives an architectural identity in an area with few other architectural landmarks. The »Contistreifen« serves as a backbone between the public front courtyard and the private area of the inner courtyard.

FRONT VIEW

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GROUND FLOOR

该建筑的正面由玻璃打造而成，凹透镜般的形态仿佛向Aspernstrasse

学院的学子们张开欢迎的臂膀。这座位于Hirschstetten的新学校是一幢两

层高的小楼，其水平的构造突出地强调了两翼的教室区。朝南的玻璃中

庭是图书馆，顶层的阁楼特色十足，使该建筑与其他地标性的建筑与众不

同，卓尔不群。该建筑是校园中的核心建筑，连接着公共区的前厅和自用

的后院。

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ailly SchoolBArchitect: Mikou Design StudioFirm: Mikou StudioLocation: Saint-Denis, FranceArea: 7,000 m²Photographer : Florian kleinefenn

The school complex of Bailly is situated on a changing territory and is located on the starting point of the reconstruction of the scale of the district. The expression of the project is inspired by this specific context of the material used-glazed brick-and by the idea of the roof which give reference to the lanterns of the cathedrals.The school complex is aligned on the rue de Bailly like a “building wall” on one level which grows hollow and inflects to form the esplanade for the entrance.The esplanade is designed like a space of hospitality, protected and covered by a playful light shelter. Its base of brick is extended in the building by an internal brick street which functions as an interspace area to access both schools, the recreation centre and at the same time serve like the connection area for the various functions. The body of the building seen from the rue de Bailly shows a glazed screen printed façade to protect the intimacy of the children, giving the possibility

for transparency in the interior gardens and under the colored ceiling. The classrooms are organised in the north-south transverse on two levels which end on the firewall on the side of the railway. They are structured by horizontal circulations and interior gardens protected by noise by a glass screen. This configuration makes it possible to limit the façade exposed direct to the noise and to create independent units emphasised by the green transparency for the preschool, the recreational centre and the elementary school which are connected between them by an interior street open towards the forecourt. In this constellation, the preschool and the elementary school yard are located sidewards in contrast to the units for the teachers. Placed on the north and south end of the site, they are protected by noise and acoustic screen made up of circular tubes of different densities from the west which also absorb the noise during the recreation.

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贝利学校的建筑物建于一块正在建设的土地上，

位于该地区重建的起点位置。它所使用的釉面砖材料

以及屋顶的创意赋予该项目的建设以灵感，而且屋顶

的创意可供大教堂的穹窿顶塔借鉴。

学校的建筑物在贝利街上排成一行，仿佛同一高

度的一面建筑墙。中间通透，门前道路曲折有序，越

发凸显入口的平坦。

入口的平坦空地设计得像是欢迎客人的地方，上

面由好玩的灯光遮罩保护并遮盖着。该空地的砖基地

由内部的一个砖质街道连接到该建筑物中，砖质街道

作为连接学校和娱乐中心的一个中间区域，同时作为

各个不同功能区域的连接区。

从贝利街所看到的该建筑物的主体是镶有玻璃的

外墙，可以保护孩子们的私人空间，并保证了内部花

园和彩色屋顶下的通透性。

教室是南北向的两层建筑，它们位于铁道的一边,

并建有隔离墙。内部是水平的环形结构，并且有个内

部花园，装置一面玻璃墙来防止噪音。

这种结构能够防止外墙直接接触噪音，为幼儿

园、娱乐中心和小学创建了绿色通透性的独立单元，

而且娱乐中心和小学由面向前庭开放的内部街道连接

着。

在这一系列建筑中，幼儿园和小学的庭院是横向

的，与教师的庭院形成了对比。它们位于建筑基地的

北端和南端，并且在西部由不同密度的圆管打造了一

个屏风，可以降低外界的噪音和声音，同时，该屏风

也能吸收孩子们玩耍过程中所产生的噪音。

Ground level

level 1

Roof

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UXUN Academy of Fine Arts and Campus Dalian, China

L Architects:Auer+Weber+Assoziierte, MunichLocation:Luxun Academy of Fine Arts - Campus Dalian Golden Pebble Beach National Tourist Resort Zone Dalian, China Area:383,000 m²

Within an expansive open landscape, a memorable place for the arts shall be achieved, which obtains its appearance and its energy from a closed architectural ensemble, implanted in the landscape. The rolling topography is emphasised as a memorable landscape element through the overlaying of a "stamped" grid corresponding precisely with the four points of the compass, with modular fields of identical size. The various city components with their respective functions and their identical compact dimensions are inserted into the system of streets, lanes and squares, whose modular dimensioning also permits adjustment to changing programmatic requirements without breaking through the organisational structure. Only the central square – the "agora“ – extends beyond the single module as an outdoor reference and focus point for the campus, as does the museum in accordance with its heightened significance.The spatial experience of the "City of Arts“ arises from the dialogue-like tension between the fundamental space-defining architectonic elements and their relationship to landscape by means of enclosure, opening and framing.

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该艺术基地位于一种不断延伸的开阔景观之内。它的

魅力来自根植于景观的四方形建筑综合体，该建筑体外观独

特，充满活力。

地势的起伏被作为一个重点考虑的因素。整个建筑群的

分布如同一张邮票的边缘网格，它与周边环境的四角精确对

应，布满四方形的、大小相同的模块型建筑。

校区的不同组成部分虽然面积相同，但依据功能的差

别，被分为融入街道、草地和广场系统之内。模块型设计也

便于根据不同节目要求进行调整，而不至于破坏整体的组织

结构。同博物馆一样，集会广场作为校园公共空间的重点，

面积远大于单个基本模块。

基本建筑空间定义因素和周边景观的联系之间的对立通

过包围、开放和构架等形式融合为一体，这正是该“艺术之

城”的空间设计体验来源。

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RF English Centre for Children in RamlaY Architect: Ron Fleisher architectsLocation: Ramla, IsraePhotographer: Shai Epshtein

The English language is a crucial tool for social mobility. Reinforcement of English studies opens up endless opportunities and changes the self-perception and ability of being an active individual in the society.YRF is an American fond that made the English studies in the Israeli periphery its goal.The children of the 21st century are exposed to intensive stimulations. The traditional educational methods aren't satisfying as a significant alternative for contemporary communication. The educational act needs a space for a new learning experience. The new building for English studies realizes those ideas.Ramla is a diverse city which inhabits both, Muslims, Christians and Jews, newcomers from Ethiopia and ex USSR.

WEST ELEVATION-ENTRANCE

LONG SECTION

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英语是社会交际的主要沟通工具。因此，学习者通过对

英语学习的加强巩固，会得到更多的机会，从而改善自身的

认识并成为社会的积极一员。

YRF由美国基金支持，致力于以色列的英语教育研究，

助其实现教育目标。

21世纪的孩子们正处在一个充满各种刺激和诱惑的社会

环境中。传统的教育模式已经不能满足当代社会实质性交互

沟通的需要。所以新的教育行为需要一个新的空间来施展，

以积累新的学习经验。这座新式建筑恰好实践了这些新型的

英语教学理念。

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ity University of Hong Kong Creative Media Centre

CArchitect: Studio Daniel LibeskindFirm: Studio Daniel LibeskindStructural Engineer: ARUP ( London/Hong kong)Mechanical / Electrica / Plumbing Engineer: ARUPGeotechnical / Civil Engineer: ARUPFire Protection Consultant: ARUPLighting Designer: ARUPIT and Communications, Audiovisual, Acoustics: ARUP Town Planning: EDAWSite Formation: Kaden Construction Co. Location: Hong Kong, ChinaArea: 30,426 m²

The Creative Media Centre for the City University of Hong Kong, currently under con¬struction, will provide facilities that will enable the University to become the first in Asia to offer the highest level of education and training in the creative media fields. The building will house the Centre for Media Technology and the Department of Computer Engineering and Information Technology. The distinctive crystalline design will create an extraordinary range of spaces rich in form, light, and material that, together, will create an interactive environment for research and creativity. Internal activity spaces have been designed specifically to encourage collaboration through openness and connectivity. The centre will also serve as an exciting place for visitors, who will be welcomed to enjoy the facilities as part of an extended public outreach program of courses and events. The facility will also include a multi-purpose theatre, sound stages, laboratories, classrooms, exhibition spaces, a cafe and a restaurant. Secluded landscaped gardens to the north of the building will be available for students and the general public alike.

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目前还在建设中的香港城市大学创意媒体大楼，

促成了香港城市大学成为亚洲学府中能在创意媒体教

学领域提供最高水平的教育培训机构。该建筑内设有

多媒体技术中心、计算机工程和信息技术系。

独特的纵横交织的晶状结构设计打造了内部的超

大空间，最大程度地把形态、采光和材料的应用完美

结合，为研究和创意的孵化创造了良好的交互环境。

内部活动空间的特殊设计目的在于鼓励公开沟通与合

作。该中心也是令游客兴起的观光之地，在这里可以

参加体验课程项目的拓展公共部分。

教学设施还包括一个多功能礼堂、摄影棚、实验

室、教室、展厅、咖啡厅和餐厅。大楼北面是一个被

隔开的景观花园，可供当地的学生和人们共同使用。

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Architect: Saia Barbarese Topouzanov Architectes ( in consortium with Tétreault Parent Languedoc et associés )Location: Montréal, Canada

The original master plan for the UQAM Campus, prepared in 1991, invoked the image of a traditional campus, that of a central green space surrounded by buildings, according to the classic model of several universities. This layout enabled the complex both to fit into its environment and set itself apart from it, while providing the tranquility needed for pursuing studies and research. The original idea of a green space was transformed into a continuum of yards and gardens enclosed inside buildings or interspersed between them. The green space also includes paths and a pedestrian walkway set up along the forgotten traces of what was once Kimberly Street and the extension of Evans Street. Nature has insinuated herself into these man-made structures. All these spaces come together, giving structure to the architecture and bathing them in light. Their intertwined networks link street accesses to the entrances of the various pavilions. The spaces provide intimate settings,

which are ideal for meetings, discussions, relaxation and reflection. The busy paths are lined with rows of trees, whose irregular patterns evoke the forest. In the gardens, giant flowers, some of them made of slate, pave the walkways between the buildings (student residences' garden), while other form petals around a tree assume the role of a giant pistil (Biological Sciences Pavilion yard). Indigenous species or plants of botanical interest have been selected for their ability to adapt to the urban climate. They introduce greenery within the city, in a neighborhood that is in desperate need of foliage. In short, the traditional shape of campuses is evolving: the new configuration is one in which spaces overlap, and where spaces and erected structures are architectural equals.

QAM Pierre Dansereau Science Complex Masterplan U

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UQAM大学校园的最初设计稿备案于1991年，采用的是传统大学的

形象设计，即由建筑物环绕绿地而建，与其他几所大学的经典模式相一

致。此种布局使建筑群既与周边环境融合一体，又与环境相区别，从而

为师生的刻苦学习和专心研究打造了一个安静的环境。

最初设计中的绿色空间转变成了整体连续的庭院园林，或被楼群

环绕，或镶嵌其中。其绿色空间包括幽幽小径，建在被遗忘的Kimberly

大街遗址上的人行道，以及Evans大街的延伸部分。大自然巧妙地潜入

了人造的建筑之隙中。所有的空间组合在一起，构成了该建筑的结构并

形成采光设计。网状的街道连接着各处楼宇。该空间中还留有私密的处

所，供人在此进行会议、研讨、放松和思考。人来人往的小径旁，一排

排树木以其不规则的图案激发出人们对森林的渴望。在其花园中，硕大

的花朵图案是由石板铺成的，在两楼之间架设了几条小路（学生寝室花

园），其他形状的翼瓣环绕着树木，仿佛巨大的花蕊一般（生物科学馆

园）。此处种植着一些本地的树种或具有研究价值的植物，因为它们较

适合城市的气候。它们把草木的绿意引入城中，美化了渴望变得枝繁叶

茂的周边区域。总之，该校园对传统型的设计进行了改良：将空间重

叠，使平面结构与垂直结构相结合，以达成建筑上的平衡。

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Design Company: Foreign Office ArchitectsLocation: close to O2, former Millennium Dome, Southeast LondonArea: 21,500 m²Photographer: Morley von Sternberg

avensbourneR

The new building for Ravensbourne, a university sector college innovating in digital media and design, will be located at Greenwich Peninsula on the South-Eastern edge of The O2 building, to the right of the north-south axis that structures the masterplan. By moving to this extraordinary location, Ravensbourne aims to deliver education to meet the shifting demands of 21st-century learners – learners who expect access to resources and support on demand and whose needs can differ greatly depending on a variety of social and economic factors. The new building is designed to stimulate the environment and working practices of creative professionals, providing the best in technology and mobile computing in an environment which enables a variety of learning styles.The main strategy in the design of the building is to produce a structure which will encourage collaboration between the different disciplines and practitioners within Ravensbourne. This will be achieved by structuring the building around a system of two interconnected atria, each piercing through three levels of program. The atria have been systematically attached to the external facade in order not only to use them as ventilation devices, but

also to connect visually the core of the public spaces in the building with the perception of the urban surroundings.The building is specified to reach a BREEAM qualification of environmental excellence. In order to achieve optimum environmental performance, low maintenance and high flexibility, the massing has been kept as compact as possible with a very low ratio of façade to area, and a deep building which is able to provides flexible space to host the various activities which take place in the building. The architecture of the building has been designed to express the culture of contemporary production, by using a non-periodic tiling system which symbolises a more diverse and contemporary approach to technology. Gothic rose windows and flower patterns have also been a rich field of inspiration for the project, but in this building, they will not be produced as an imitation of nature but as an abstract construction. To achieve this, designers have resorted to the use of a non-periodic tiling pattern on the façade, which allow to build seven different types of windows out of only three different tiles.

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雷文斯本学院新教学楼的兴建主要

是用于学院部门在数字媒体和设计教学改

革，它位于格林威治半岛，毗邻O2建筑

的东南侧、学校总体规划的南北轴线的右

侧。搬迁到如此特别的位置，其目的是为

了满足21世纪教学改革的需要——学习

者期待并要求获得更多的资源和支持，而

其需求又因其社会背景和经济因素的差异

而各有不同。新教学楼的设计也改善了这

些创造性人才的教学环境和工作实践，为

其提供最好的技术和移动计算设施环境支

持，在此环境中，多种学习方式都可以得

以应用。

大楼的主要设计思路是为雷文斯本

学院各学科之间和各人之间更好的协作提

供一个良好的空间平台，因此，整个建筑

打造出一个整体的系列构造，围绕着两个

相连的大厅而布局。每个大厅又被分割成

3层空间。内部的大厅和外立面成体系地

连在一起，它们的连接不仅是出于通风考

虑，同时也在视觉上将大楼内公共空间的

核心部分和城市的环境理念联系起来。

该建筑由于其环境的卓越处理，从

而达到了BREEAM标准。为了实现最佳的

环境性能，以及低能耗的维护和高度的灵

活性，该建筑尽可能多地进行了紧凑型设

计，令立面和平面的比率保持在一个非常

低的数值，同时这个举架很高的建筑具有

足够的空间，可以灵活地举办各种活动。

该建筑通过利用到非周期排列的瓷砖

体系，使其建筑风格体现出当代作品的文

化底蕴，也象征了科学技术的多样化和现

代化。哥特式的圆花窗和花朵图案也是其

灵感的一大宣泄，它们带给人的并非一种

模仿自然之感，而是一种抽象建筑之意。

正是为了打造出这种感觉，设计师才在其

立面上镶嵌了这些无规律排列的瓷砖，而

这种设计又使其仅仅利用三种瓷砖就设计

了7种不同类型的窗户式样。