中国,广东,深圳宝安国际机场 / Studio Fuksas

建筑师:Studio Fuksas

地点:中国广东深圳宝安,深圳宝安国际机场

建筑师负责人:Massimiliano and Doriana Fuksas

记录建筑师:BIAD (Beijing Institute of Architectural Design), Beijing

项目面积:500,000 sqm

项目年份:2013

摄影:Courtesy of Studio Fuksas

总承包商:China State Construction Engineering Corporation, Beijing

结构、立面与参数设计:Knippers Helbig Engineering, Stuttgart, NY

照明顾问:Speirs & Major Associates, Edinburgh, London

建筑造价:734,000,000 Euros

建筑师提供的项目信息。深圳宝安国际机场3号航站楼的设计概念能让人想起蝠鲼的形象,这种鱼能呼吸和改变自己的形状,设计经过一系列改变,最后变成了一只鸟,象征着从这里开始将有一段美妙的航程。

3号航站楼的结构是一条大约1.5公里长的隧道,它的形状看上去似乎是被风吹成的,很像一件有机形状的雕塑。屋面轮廓的特点是高度不断变化,与周围的自然景观相呼应。

设计的象征性元素是包裹着建筑的内外双层“表皮”上的蜂巢主题结构。这两层“表皮”可以让自然光照射进来,从而在室内空间中创造明亮的效果。覆层由蜂窝形状的金属板和可部分开启的大小不同的玻璃板组成。

乘客通过巨大的“尾巴”下方的入口进入航站楼。宽敞的航站楼空间内最大的特点是采用了圆锥形的白色支撑柱,它们向上延伸,一直接触到屋面,就好像大教堂的内部结构。一楼的航站楼广场通往行李托运处、出港区、进港区以及咖啡馆、餐厅、办公室和商务设施。出港厅设有办理登机手续的柜台、航空公司信息台和几个帮助台。出港厅两层和三层高度的空间在室内空间的不同楼层之间建立起了视觉联系,为自然光创造了一条通道。登机办理结束后,国内外的乘客就可以分别到不同的楼层寻找自己的登机口了。

大厅是机场的关键区域,共有三个楼层。每个楼层的功能都不同,分别为出港区、进港区和服务区。大厅管状的形状采用了运动的概念。“交叉点”是大厅三个楼层与通高的空间垂直相连的连接处,通高的空间允许自然光从最高处照射下来,经过过滤,照射到一层连接处的候机厅。

蜂窝主题结构也被转移和复制到了室内设计中。盒子状的店铺面对面设置,以更大的规模再现了蜂窝设计,并以不同的连接方式出现在了大厅中。

室内设计由Fuksas事务所负责,包括上网区、办理登记手续区、安检口、登机口和护照检查区。室内设计有着严谨的轮廓,不锈钢饰面反射并强化了室内“表皮”的蜂窝主题结构。

有着雕塑形式的物体——程式化的白色大树——被设计用来容纳航站楼和大厅内的所有空调,它们复制了无定形的设计,灵感来自大自然。行李认领处和信息台也采用了这样的设计。


Architects: Studio Fuksas

Location: Shenzhen Bao'an International Airport, Bao'an, Shenzhen, Guangdong, China

Architect In Charge: Massimiliano and Doriana Fuksas

Architect Of Record: BIAD (Beijing Institute of Architectural Design), Beijing

Area: 500,000 sqm

Year: 2013

Photographs: Courtesy of Studio Fuksas

General Contractor: China State Construction Engineering Corporation, Beijing

Structures, Facade, Parametric Design: Knippers Helbig Engineering, Stuttgart, NY

Lighting Consulting: Speirs & Major Associates, Edinburgh, London

Building Costs: 734,000,000 Euros

From the architect. The concept of the plan for Terminal 3 of Shenzen Bao’an international airport evokes the image of a manta ray, a fish that breathes and changes its own shape, undergoes variations, turns into a bird to celebrate the emotion and fantasy of a flight.

The structure of T3 - an approximately 1,5-km-long tunnel – seems to be modeled by the wind and is reminiscent of the image of an organic-shaped sculpture. The profile of the roofing is characterized by variations in height alluding to the natural landscape.

The symbolic element of the plan is the internal and external double “skin” honeycomb motif that wraps up the structure. Through its double-layering, the “skin” allows natural light in, thus creating light effects within the internal spaces. The cladding is made of alveolus-shaped metal and glass panels of different size that can be partially opened.

The passengers accede to the terminal from the entrance situated under the large T3 “tail”. The wide terminal bay is characterized by white conical supporting columns rising up to touch the roofing like the inside of a cathedral. On the ground floor, the terminal square allows access to the luggage, departures and arrivals areas as well as coffee houses and restaurants, offices and business facilities. The departures room houses the check-in desks, the airlines info-points and several help-desks. The double and triple height spaces of the departures room establish a visual connection between the internal levels and create a passage for natural light. After checking in, the national and international passengers’ flows spread out vertically for departures.

The concourse is the airport key-area and is made up of three levels. Each level is dedicated to three independent functions: departures, arrivals and services. Its tubular shape chases the idea of motion. The “cross” is the intersection point where the 3 levels of the concourse are vertically connected to create full-height voids which allow natural light to filter from the highest level down to the waiting room set in the node on level 0.

The honeycomb motif is transferred and replicated on the interior design. Shop boxes, facing one another, reproduce the alveolus design on a larger scale and recur in different articulations along the concourse.

The interiors designed by Fuksas – placed in the internet-point, check-in, security-check, gates and passport-check areas – have a sober profile and a stainless steel finish that reflects and multiplies the honeycomb motif of the internal “skin”.

Sculpture–shaped objects -  big stylised white trees - have been designed for air conditioning all along the terminal and the concourse, replicating the planning of amorphous forms inspired by nature. This is also the case for the baggage-claim and info-point “islands”.