巴拿马,银行大厦/ Herreros Arquitectos

建筑师:Herreros Arquitectos

地点:巴拿马科斯塔埃斯特

项目建筑师:Herreros Arquitectos + Mallol y Mallol

项目经理:Jens Richter (HA), Ignacio Mallol (M&M)

项目组:Gonzalo Rivas Zinno, Carmen Antón, Joanna Socha (HA), Ruben Taboada (M&M)

客户:Banco de Panamá

面积:35,395 sqm

年份:2011

摄影: Fernando Alda

可持续设计:CENER

立面设计顾问:Gruppo Entesa

该项目的初始设计条件很有难度:在一个公共空间几乎毫无价值的大环境下设计一栋办公大楼,其停车场从地面抬起,既无法预测其使用者的性质,也不清楚每层楼的具体划分方式,但要求各种服务设施彼此分离。标准平面图的设计变成了对于灵活性和不确定性的实地演练。必须使建筑物以吸引人的方式与地面接触,这也是城市责任感的体现。建筑体量与立面是建筑师唯一可自由发挥的地方,以及关于大堂和停车场装饰装修方面的某些决策,也可以自行决定。

在建筑功能方面,塔楼部分由四栋独立大楼以阶地的形式累加在一起。离地面最近的大楼是银行办公楼,其上方为六楼停车场。其余三栋棱柱体建筑规模不一,每一栋都比其下方那一栋后撤一段距离,形成阶地的造型,面向大海,也俯瞰着历史城市中心。

每一个棱柱体都可以被解读为一栋标准的办公大楼,各有各的大堂,连接着由所有租户共享的区域:餐厅、健身房以及休闲和会议俱乐部。在楼顶有一个标志性的房间,从全市的任何地方都能看到这里。

外围护结构由幕墙和带有不同色调、透明度的玻璃窗构成,这就在建筑的外观之中引入了随机而又充满活力的因素,不仅由于不透明性与透明玻璃上的映像之间的鲜明转换,也因为标准构件的安放基本都很随意,并未与建筑物的任何一条明显的水平线条相吻合。这样可以防止外界一眼就能看出建筑内部的功能划分,并将室内极大的空间灵活性展现在各种不同的窗台高度上。该立面系统当然也包含了许多特殊情况,如台阶式窗户的巨大窗框、建筑设备平台的进风口,或是停车场的自然通风设施。尽管该地区不够重视可持续设计,但是本建筑也符合基本的可持续性标准,不但可以选择窗玻璃的色调,也能根据方位来选择每块玻璃透明度的程度。

本项目考虑到预算和最后交付期限,采用了具有竞争力的方式来实施这样一个具有附加值的市场产品,同时展示出了始终如一的优质建筑设计。无论是立面的塑料质量、停车场装饰装修中的色彩运用,还是对于平衡比例的执着探索,无一不在赋予建筑一种“清晰的设计意图”,以及证明以下这一点的决心:在任何条件下,建筑设计都有一种解答,它很难通过明显为实用主义的、直接而草率的应用方法得出,而这种意识形态即使是最低限度的感性与想象力也很少能超越。


Architects: Herreros Arquitectos

Location: Costa del Este, Panama

Project Architects: Herreros Arquitectos + Mallol y Mallol

Project Managers: Jens Richter (HA), Ignacio Mallol (M&M)

Project Team: Gonzalo Rivas Zinno, Carmen Antón, Joanna Socha (HA), Ruben Taboada (M&M)

Client: Banco de Panamá

Area: 35,395 sqm

Year: 2011

Photographs: Fernando Alda

Sustainability: CENER

Facade Consultant: Gruppo Entesa

The initial conditions are difficult: to design an office building with parking space elevated from the ground, in a context where public space is scarcely valued, with no capacity to anticipate its occupants or the subdivision of each floor, but with the requirement that all services be separated. The design of the typical plan becomes an exercise in flexibility and indeterminacy. The necessity to give the building an attractive way of touching the ground is an exercise of urban responsibility. The volume and the façade are the only territories of design freedom, along with some decisions with respect to finishes in the lobbies and the parking areas.

In terms of program, the tower section is organized as the terraced stacking of four independent buildings. The first takes in the city on the ground level, with the bank offices over which is the six-floor parking lot. The three remaining are prisms of varying dimensions that are setback with respect to the one below, yielding terraces oriented towards the sea and the Historic City Center.

Each prism can be read as a small canonical office building, with its own lobby that is linked with the areas shared by all the tenants: a restaurant, a gym and a leisure and meeting club. At the top, an emblematic room can be seen from anywhere in the city.

The envelope consists of a curtain wall with glass panes tinted in different shades and transparencies, which introduce a random and vibrant factor in their reading, not only due to the apparent play between opacity and reflection, but also because of the scalar ambiguity of the typical element that does not coincide with any obvious horizontal line of the building. This prevents a reading of the program from the exterior, and introduces a diversity of sill heights of great spatial dynamism in the interior. The system naturally incorporates the special cases, like the large frames of the terrace windows, the air intakes of the building service platforms, or the parking lot ventilation. The introduction of basic sustainability criteria in a context that ignores them, supports the choice of the glass panes and their shades, as well as the density of panes of each transparency depending on their orientation.

The project assumes the conditions of a competitive medium in terms of budget and deadlines to implement a market product with added value that demonstrates the constant relevance of quality architecture. The plastic quality of the façade, the chromatic exercise of the finishes in the parking lot or the obsessive search for balanced proportions seek to give the building a “manifest intentionality”, a determination to demonstrate that under any condition, architecture has answers that can hardly be produced by a direct and thoughtless application of an apparently pragmatic ideology that rarely exceeds a minimum display of sensibility and imagination.