荷兰,银公园码头办公楼/René van Zuuk

所有四个门面的表面都全部或部分覆盖着预制混凝土构件,象征着一个分支状结构。巨型花丝是来自于对分形算法的研究。荷兰绘画艺术家Maurits Escher确立了模式。需要特殊技能去制定一个重复模式,用有限数量的的混凝土元素去构成无缝的花纹,同时,避免让人一眼看出花纹是重复的,这种要求与 纺织品和墙纸的设计轮换模式相类似。

建筑师: René van Zuuk建筑师事务所

地点: 荷兰, Zilverparkkade D, Lelystad

客户: Develop-Havelte, Lelystad

设计团队: René van Zuuk, Kersten Scheller

总规划:鹿特丹, West 8

建筑承建商: Ter Steege, Rijssen

结构设计: Van Rossum, Almere

项目年度: 2002-2006

预算: € 1,750,000 欧元

基地面积: 222 平方米

建筑面积: 1,867 平方米

摄影: Christian Richters

该办公楼从它所在的位置获得了一个颇具浪漫色彩的名字——银公园码头,它位于Lelystad的Zilverparkkade。由west8所设计的这一地区的规划,符合目前的城市中心高密度的趋势。由于地块狭窄,办公楼和一个17世纪的田园诗气质的荷兰运河房屋肩并肩并排。在这样紧凑行严格布局中,能辨别建筑身份的唯一因素是立面。

所有四个门面的表面都全部或部分覆盖着预制混凝土构件,象征着一个分支状结构。巨型花丝是来自于对分形算法的研究。荷兰绘画艺术家Maurits Escher确立了模式。需要特殊技能去制定一个重复模式,用有限数量的的混凝土元素去构成无缝的花纹,同时,避免让人一眼看出花纹是重复的,这种要求与纺织品和墙纸的设计轮换模式相类似。

里面上的元素在转角处是延续的,这样办公类可以与周围的建筑区分开来。南面和西面的电梯由于有擦窗器突出的狭长部分,因而形成了双层立面。狭隘的阳台的有利的另一个作用是阻挡火势垂直蔓延。这样,每一层可以使用非耐热的普通玻璃。擦窗器突出的狭长部分也充当大防晒缝。枝条一样的元素可以遮挡外面的视线,而内部的用户几乎不能感觉到什么。

在北部和东部的混凝土元素是实心的。两种不同颜色制造光影以强调树枝构件。后面的里面使用了一个横向条状纹理混凝土和窗户交替的不对称结构。这样的处理微妙的影响了不断重复的实心混凝土面板。

原文:http://www.archdaily.com/23495/zilverparkkade-d-rene-van-zuuk-architekten/

Architect: René van Zuuk Architekten

Location: Zilverparkkade D, Lelystad, the Netherlands

Client: Develop-Havelte, Lelystad

Design Team: René van Zuuk, Kersten Scheller

Master Plan: West 8, Rotterdam

Building Contractor: Ter Steege, Rijssen

Structural Ingeneering: Van Rossum, Almere

Project Year: 2002-2006

Budget: € 1,750,000

Site Area: 222 sqm

Constructed Area: 1,867 sqm

Photographs: Christian Richters

The project derives its romantic name (Silver Park Quay) from its location: the office cluster on the Zilverparkkade in Lelystad. West 8 designed the urban plan for the area in conformity with the current trend for condensed city-centres. With an idyllic wink to the 17th century Dutch canal-houses the offices are lined up shoulder to shoulder on narrow plots. In such a compact row with a strict layout the only elements to create a discriminating identity are the facades.

All four façade surfaces in the design are either entirely or partly covered with prefabricated concrete elements, symbolizing a branch-like structure. This blown-up filigree is the result of a study of infinite patterns. The works of the Dutch graphic artist Maurits Escher have been an unmistakable model. Specific skills are required to devise a repetitive pattern that, applied in a limited number of different concrete elements, constitutes a seamless entity. The craftsmanship needed to avoid the repeating units to be too obvious, has an analogy with designing rotation press patterns for textile and wallpaper.

The façade structure continues around the corners, providing the office building a recognizable identity distinct from the adjacent properties. The south and west elevation have a double layer façade with window-cleaners’ ledges in between. A profitable side-effect of these narrow balconies is their function as a barrier to prevent vertical spread of fire. As a result storey high panes of ordinary (non-heat-resistant) glass could be applied. The ledges also act as large sun protection slats. The branch structure provides an obscured vista from the outside, but from the inside the users hardly have any impairment of the view on the surroundings.

The concrete elements on the north and east façade are solid. The branch-pattern on these panels is applied in high relief en is highlighted by using two different shades of aggregates. The rear façade has an alternating structure of horizontal strips of textured concrete and windows, with a vertical cut splitting the building asymmetrically. This incision visualizes the zoning and subtly affects the repetition of the solid concrete panels.

版权:翻译 www.ArchGo.com 戎

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