Foreword 序言
Ernst Giselbrecht ARCHITECTURE AS CULTURAL COMMITMENT "Who constantly changes remains true to himself." (Konfuzius) Architecture is today becoming more and more a field of interest for investors, whose declared supreme objective is financial profit. This is particularly apparent in Europe, since many of these investment buildings are located in an environment of historical buildings that served other objectives alongside financial profit. Often they were built to demonstrate power, to reflect certain social forms or wealth, or to symbolise spirituality or religion, while others simply reflect the wish to make life simpler, more reasonable and more attractive. Many of these historic buildings took years, decades, and even longer to be constructed. Thus the objective also included the process, and not only the finished result. Many of these historic buildings are today the best and often the only surviving signs of past societies and cultures. As architects, we know that architecture is not just the culture of building and that architecture is an elementary basis for everyday culture. But we also know that architecture is one of the most powerful symbols of the culture of life. As architects, we must, alongside the known qualities of functional performance, also consider intelligent further development in the future. We must include the future, the unknown in our planning, which will become a new basis for architecture and redefine the image of the architect in society. We must also introduce a new criterion for the assessment of architecture. Alongside function, the network with the surroundings and aesthetics, every project must be examined for how it can deal with changes in the future, with the unknown. And this can lead to a new and all-embracing force for investments in architecture. Many great works of architecture from the past instinctively satisfy this criterion. Today, in an age where technical and commercial changes take place at breathtaking speed, an age in which our clients change their programmes and wishes at the speed of an email, this quality is becoming all the more important, it is the new basis for the architecture of the 21st century. And therefore I believe that history will show that only works of architecture that take account of the new quality of dealing with the unknown will be able to survive. A further basis for the architecture of the future is its staging. We live in an age in which the Barbie Doll generation has taken control of the economy and of life. The Barbie Doll is 40 years old and is the most popular toy in the world. The Barbie Doll is the way in which children are prepared through play for the world of staging. Our society is no longer concerned about the action itself, but rather about how it is staged. Staging has become a very important factor in self-image, well-being and the discussion on values in the society. Staging has become the basis for new rituals. It determines our everyday culture today far more substantially than we would like to admit. For many, staging is an adventure, survival training and satisfaction. Architecture as the built environment can and should not ignore this development and will play an increasing role in the future. It will become the stage for this everchanging development. It is the basis for a new dynamic society. And this brings us back to our original topic, architecture must make the unknown, the changeable possible. Another topic that I would like to mention in this context is the added value of architecture. In our commercialised world, it is no longer sufficient to offer the client architecture as such. We architects must offer added value above and beyond the actual purpose, beyond the work commissioned. Greater prestige, higher sales value, increased identity – added value can occur in a wide variety of forms.
For us architects, this creates new opportunities to cease acting as merely performers of a duty, and instead to pursue objectives going beyond the purpose commissioned and offering options that as added value give a new basis to our architecture. This makes architecture exciting and open again as well as a basis for our everyday culture and our culture of life. These new motivations for architecture will be reflected in a new dynamic aesthetics, which based on the back of new technologies will reposition us architects in a completely new way. It is architecture’s huge opportunity to rise above the compulsory and start on the voluntary aspects. Architecture will penetrate society far more than at present, thereby becoming the basis for a new culture of life. The architect as creator and magician of the future constructs the stage for the dynamic performance that is called the future.
“万变不离其宗”（孔子） 建筑业如今已成为以商业利润为最高目标的投资人越来越感兴趣的一个领域。这 在欧洲特别明显，因为很多投资建筑都位于历史性建筑周围，这在实现商业利润的同时 带来了其他利益。通常，这样的建筑是用来显示权势、反映社会地位或财富、象征某种 精神或宗教信仰的形式，而其他建筑只是反映人们期望生活变得更简单、更合理、更有 趣。 这些历史性建筑中有许多花费了好几年，数十年，或更长时间才建成。因此建筑的 目标不仅指建造的成果，还包含建造的过程。许多这样的历史性建筑现如今都是以往社
Sustainable office design after and beyond the financial crisis Flexibility is the old and new magic word in the world of office design and architecture. The current economic ups and downs require more than ever to adjust quickly to new challenges and developments on the market. For architects, separation of structure, facade and interior work is obligatory. Open plan working is today’s standard. Since employees have little more than laptops, it’s easy to change a team and a place. Now in addition, more meeting, lounge and event areas are invented. A lack of communication can cost a lot of money. Business and pleasure simultaneously, why not. The emotional aspect with a strong concern on the design, a distinctive form is a basic quality. Today design can make a company's new identity, it can be useful for hiring and retaining qualified staff. Published in lifestyle magazines and blogs it is a successful marketing instrument. Sustainability does not only mean energy saving and an ecofriendly environment but also high quality materials, natural light, fresh air, space and last but not least design, something to be proud of.
Gnädinger Architects
会和文化最好的和唯一幸存的标志。
Gnädinger Architects Berlin, May 23rd, 2011
作为建筑设计师，我们知道建筑学不只是建筑的艺术，建筑学也是日常生活的初级 基础。而且我们也要知道建筑学是生活艺术最强有力的符号之一。 作为建筑设计师，除了已知的功能性特点，我们还必须要考虑在未来智能的进一步 发展。我们必须将未来的、未知的事物包含在我们的设计中，这将会成为建筑学的新起 点，将会重新定义社会中建筑设计师的形象。 我们还必须引入一个新标准来评价建筑。除了功能、与周边环境和美学的关系，还 要评价每个建筑是如何应对未来的变化，如何应对未知的事物。 这一切也会带来建筑领域一股新的、包罗万象的投资力量。 许多往昔伟大的建筑本能地满足了这个标准。今天，在一个科技和商业以惊人的速 度变化的时代，在一个客户改变计划和想法像发一封电子邮件一样快的时代，这个品质 正变得更加重要，它是２１世纪建筑的新基础。 因此，我相信，历史会证明只有拥有能够应对未知这种新品质的建筑作品才能长存 经济危机之后的可持续办公室设计
下去。 未来建筑的更深层的基础就是它的筹划。
灵活性是一个办公室设计和建筑界里既老又新的奇特词汇。现如今的经济动荡要求办
我们生活在一个芭比娃娃一代控制经济和生活的时代。芭比娃娃现在40岁了，是世 界上最受欢迎的玩具。芭比娃娃是一个过程，在这个过程中儿童们通过游戏来为筹划世 界的到来做准备。我们的社会不再关注活动本身，而是关注它是如何被筹划的。筹划已 经成为影响自我意象、幸福健康和社会价值讨论的重要因素。筹划已经成为新秩序的基 础。比起我们自认的，它在实质上更加决定着我们的日常生活。对于很多人来说，筹划 就是冒险、生存训练和满足感。 作为人工建成的环境的建筑学不能也不应该忽略这种发展变化，而且会在未来起到 更大的作用。它会成为这个恒变发展的舞台。它是动态社会的一个基础。 这让我们回到原先的主题，建筑学必须实现未知、易变的事物。 在这里我想提的另一个主题是建筑的附加值。 在我们商业化的世界里，提供给客户这样的建筑已不再足够。我们建筑设计师必须
公室设计比以往更快速地适应市场上的新挑战和发展。架构、外观和内部设计的分离势在必 行。 开放式作业是当今的标准。员工除便携电脑之外的办公用品较少，可以很容易地变换 工作团队和工作地点。现在的办公室引入了更多的会议、休闲和项目区。交流不足会增加成 本。边工作，边娱乐，何乐而不为呢。 由于人们在感情上关注建筑的设计形式，因此一种与众不同的形式应该成为建筑的基 本品质。今天，设计可以为公司带来新特性，对于雇佣和留住合格员工也是有利的。在生活 杂志和博客上宣传是一种成功的营销手段。 可持续性不只意味着节约能源和自然环保的环境，还指高质量的材料、自然的光线、 新鲜的空气、合理的空间以及可引以为傲的设计。
提供高出或超出实际目标、超出工作范围的附加值，附加值以多种形式存在着 ——更高 声望，更高的售价，更多的认同。 对于我们建筑设计师来说，这创造了新的机遇，我们不再只是职责的执行者，而是 追求超越既定目标，附加值为建筑学建立了一个新标准。 这会使得建筑学更令人激动和开放，也是我们日常生活和生活艺术的基础。 这些新动力反映在一种新的动态美学上，它赞同新技术会给建筑设计师带来一种全 新的定位。 这是建筑学超越义务、开启新意愿的巨大机会。建筑学将比现在更深入社会，从而 成为生活艺术的新标准。 作为未来的创造者和实现者，建筑设计师为未来的动态表演建造着舞台。
005
Foreword 序言
Ernst Giselbrecht ARCHITECTURE AS CULTURAL COMMITMENT "Who constantly changes remains true to himself." (Konfuzius) Architecture is today becoming more and more a field of interest for investors, whose declared supreme objective is financial profit. This is particularly apparent in Europe, since many of these investment buildings are located in an environment of historical buildings that served other objectives alongside financial profit. Often they were built to demonstrate power, to reflect certain social forms or wealth, or to symbolise spirituality or religion, while others simply reflect the wish to make life simpler, more reasonable and more attractive. Many of these historic buildings took years, decades, and even longer to be constructed. Thus the objective also included the process, and not only the finished result. Many of these historic buildings are today the best and often the only surviving signs of past societies and cultures. As architects, we know that architecture is not just the culture of building and that architecture is an elementary basis for everyday culture. But we also know that architecture is one of the most powerful symbols of the culture of life. As architects, we must, alongside the known qualities of functional performance, also consider intelligent further development in the future. We must include the future, the unknown in our planning, which will become a new basis for architecture and redefine the image of the architect in society. We must also introduce a new criterion for the assessment of architecture. Alongside function, the network with the surroundings and aesthetics, every project must be examined for how it can deal with changes in the future, with the unknown. And this can lead to a new and all-embracing force for investments in architecture. Many great works of architecture from the past instinctively satisfy this criterion. Today, in an age where technical and commercial changes take place at breathtaking speed, an age in which our clients change their programmes and wishes at the speed of an email, this quality is becoming all the more important, it is the new basis for the architecture of the 21st century. And therefore I believe that history will show that only works of architecture that take account of the new quality of dealing with the unknown will be able to survive. A further basis for the architecture of the future is its staging. We live in an age in which the Barbie Doll generation has taken control of the economy and of life. The Barbie Doll is 40 years old and is the most popular toy in the world. The Barbie Doll is the way in which children are prepared through play for the world of staging. Our society is no longer concerned about the action itself, but rather about how it is staged. Staging has become a very important factor in self-image, well-being and the discussion on values in the society. Staging has become the basis for new rituals. It determines our everyday culture today far more substantially than we would like to admit. For many, staging is an adventure, survival training and satisfaction. Architecture as the built environment can and should not ignore this development and will play an increasing role in the future. It will become the stage for this everchanging development. It is the basis for a new dynamic society. And this brings us back to our original topic, architecture must make the unknown, the changeable possible. Another topic that I would like to mention in this context is the added value of architecture. In our commercialised world, it is no longer sufficient to offer the client architecture as such. We architects must offer added value above and beyond the actual purpose, beyond the work commissioned. Greater prestige, higher sales value, increased identity – added value can occur in a wide variety of forms.
For us architects, this creates new opportunities to cease acting as merely performers of a duty, and instead to pursue objectives going beyond the purpose commissioned and offering options that as added value give a new basis to our architecture. This makes architecture exciting and open again as well as a basis for our everyday culture and our culture of life. These new motivations for architecture will be reflected in a new dynamic aesthetics, which based on the back of new technologies will reposition us architects in a completely new way. It is architecture’s huge opportunity to rise above the compulsory and start on the voluntary aspects. Architecture will penetrate society far more than at present, thereby becoming the basis for a new culture of life. The architect as creator and magician of the future constructs the stage for the dynamic performance that is called the future.
“万变不离其宗”（孔子） 建筑业如今已成为以商业利润为最高目标的投资人越来越感兴趣的一个领域。这 在欧洲特别明显，因为很多投资建筑都位于历史性建筑周围，这在实现商业利润的同时 带来了其他利益。通常，这样的建筑是用来显示权势、反映社会地位或财富、象征某种 精神或宗教信仰的形式，而其他建筑只是反映人们期望生活变得更简单、更合理、更有 趣。 这些历史性建筑中有许多花费了好几年，数十年，或更长时间才建成。因此建筑的 目标不仅指建造的成果，还包含建造的过程。许多这样的历史性建筑现如今都是以往社
Sustainable office design after and beyond the financial crisis Flexibility is the old and new magic word in the world of office design and architecture. The current economic ups and downs require more than ever to adjust quickly to new challenges and developments on the market. For architects, separation of structure, facade and interior work is obligatory. Open plan working is today’s standard. Since employees have little more than laptops, it’s easy to change a team and a place. Now in addition, more meeting, lounge and event areas are invented. A lack of communication can cost a lot of money. Business and pleasure simultaneously, why not. The emotional aspect with a strong concern on the design, a distinctive form is a basic quality. Today design can make a company's new identity, it can be useful for hiring and retaining qualified staff. Published in lifestyle magazines and blogs it is a successful marketing instrument. Sustainability does not only mean energy saving and an ecofriendly environment but also high quality materials, natural light, fresh air, space and last but not least design, something to be proud of.
Gnädinger Architects
会和文化最好的和唯一幸存的标志。
Gnädinger Architects Berlin, May 23rd, 2011
作为建筑设计师，我们知道建筑学不只是建筑的艺术，建筑学也是日常生活的初级 基础。而且我们也要知道建筑学是生活艺术最强有力的符号之一。 作为建筑设计师，除了已知的功能性特点，我们还必须要考虑在未来智能的进一步 发展。我们必须将未来的、未知的事物包含在我们的设计中，这将会成为建筑学的新起 点，将会重新定义社会中建筑设计师的形象。 我们还必须引入一个新标准来评价建筑。除了功能、与周边环境和美学的关系，还 要评价每个建筑是如何应对未来的变化，如何应对未知的事物。 这一切也会带来建筑领域一股新的、包罗万象的投资力量。 许多往昔伟大的建筑本能地满足了这个标准。今天，在一个科技和商业以惊人的速 度变化的时代，在一个客户改变计划和想法像发一封电子邮件一样快的时代，这个品质 正变得更加重要，它是２１世纪建筑的新基础。 因此，我相信，历史会证明只有拥有能够应对未知这种新品质的建筑作品才能长存 经济危机之后的可持续办公室设计
下去。 未来建筑的更深层的基础就是它的筹划。
灵活性是一个办公室设计和建筑界里既老又新的奇特词汇。现如今的经济动荡要求办
我们生活在一个芭比娃娃一代控制经济和生活的时代。芭比娃娃现在40岁了，是世 界上最受欢迎的玩具。芭比娃娃是一个过程，在这个过程中儿童们通过游戏来为筹划世 界的到来做准备。我们的社会不再关注活动本身，而是关注它是如何被筹划的。筹划已 经成为影响自我意象、幸福健康和社会价值讨论的重要因素。筹划已经成为新秩序的基 础。比起我们自认的，它在实质上更加决定着我们的日常生活。对于很多人来说，筹划 就是冒险、生存训练和满足感。 作为人工建成的环境的建筑学不能也不应该忽略这种发展变化，而且会在未来起到 更大的作用。它会成为这个恒变发展的舞台。它是动态社会的一个基础。 这让我们回到原先的主题，建筑学必须实现未知、易变的事物。 在这里我想提的另一个主题是建筑的附加值。 在我们商业化的世界里，提供给客户这样的建筑已不再足够。我们建筑设计师必须
公室设计比以往更快速地适应市场上的新挑战和发展。架构、外观和内部设计的分离势在必 行。 开放式作业是当今的标准。员工除便携电脑之外的办公用品较少，可以很容易地变换 工作团队和工作地点。现在的办公室引入了更多的会议、休闲和项目区。交流不足会增加成 本。边工作，边娱乐，何乐而不为呢。 由于人们在感情上关注建筑的设计形式，因此一种与众不同的形式应该成为建筑的基 本品质。今天，设计可以为公司带来新特性，对于雇佣和留住合格员工也是有利的。在生活 杂志和博客上宣传是一种成功的营销手段。 可持续性不只意味着节约能源和自然环保的环境，还指高质量的材料、自然的光线、 新鲜的空气、合理的空间以及可引以为傲的设计。
提供高出或超出实际目标、超出工作范围的附加值，附加值以多种形式存在着 ——更高 声望，更高的售价，更多的认同。 对于我们建筑设计师来说，这创造了新的机遇，我们不再只是职责的执行者，而是 追求超越既定目标，附加值为建筑学建立了一个新标准。 这会使得建筑学更令人激动和开放，也是我们日常生活和生活艺术的基础。 这些新动力反映在一种新的动态美学上，它赞同新技术会给建筑设计师带来一种全 新的定位。 这是建筑学超越义务、开启新意愿的巨大机会。建筑学将比现在更深入社会，从而 成为生活艺术的新标准。 作为未来的创造者和实现者，建筑设计师为未来的动态表演建造着舞台。
005
Education Executive Agency and Tax Offices Architects
Landscaping
Interior Architects
Landscape Architects
Wayfinding Designer
UNStudio
Lodewijk Baljon
Studio Linse and UNStudio
Lodewijk Baljon landschapsarchitecten
Buro van Baar
Installations
Structure
Location
Area
Photographers
Arup structure
Arup constructie [structure]
Kempkensberg 12, 9722 TB, Groningen
48,040m² offices, 21,000m² parking, 1,500m² pavilion
Ewout Huibers , Ronald Tilleman, Christian Richters
008
The architecture aims to present these institutions with a softer, more human and approachable profile. Tall buildings are generally associated with mid-twentieth century modernism. Their harsh, businesslike exteriors contain powerful, inaccessibleseeming strongholds. By contrast, the DUO and Tax offices deliberately cloak a commanding public institution in an organic, friendlier and more future-oriented form. All-round architectural sustainability includes a sum of many parts: (1)Fins Sustainability and energy reduction have steered the design of the facade, which contains technical installations that are tailored to be durable and cause minimal environmental impact. The facade concept integrates shading, wind control, daylight penetration and construction in fin-shaped elements. These horizontal fins keep a large amount of the heat outside the building, reducing the requirement for cooling. (2)Concrete core activation Another technical feature of the building that contributes to its sustainable character is the combination of concrete core activation and underground long-term energy storage. This
appreciably reduces the demand for external energy sources. (3)Individual climate control for each workspace Plenty of natural daylight and adjustable heating, ventilation and access to fresh air for individual workspaces contribute to the comfort of the workspaces throughout the building. (4)The 11th floor A high pressure ventilation system with natural air inflow and outflow via main engineering shafts and the facade grills on the 11th floor reduces the need for artificial ventilation. (5)Future possibilities In addition, the residual energy of the data center and offices can be used to heat the homes that will be realized in the future in the perimeter of the site. (6)Flexibility The building is designed so that it can be transformed into housing in the future without major structural modifications. Therefore, the locations of elevators, stairs and technical spaces have been carefully considered, and a structural grid of 1.20 m. has been deployed, rather than the conventional office grid of 1.80 m.
009 009
Education Executive Agency and Tax Offices Architects
Landscaping
Interior Architects
Landscape Architects
Wayfinding Designer
UNStudio
Lodewijk Baljon
Studio Linse and UNStudio
Lodewijk Baljon landschapsarchitecten
Buro van Baar
Installations
Structure
Location
Area
Photographers
Arup structure
Arup constructie [structure]
Kempkensberg 12, 9722 TB, Groningen
48,040m² offices, 21,000m² parking, 1,500m² pavilion
Ewout Huibers , Ronald Tilleman, Christian Richters
008
The architecture aims to present these institutions with a softer, more human and approachable profile. Tall buildings are generally associated with mid-twentieth century modernism. Their harsh, businesslike exteriors contain powerful, inaccessibleseeming strongholds. By contrast, the DUO and Tax offices deliberately cloak a commanding public institution in an organic, friendlier and more future-oriented form. All-round architectural sustainability includes a sum of many parts: (1)Fins Sustainability and energy reduction have steered the design of the facade, which contains technical installations that are tailored to be durable and cause minimal environmental impact. The facade concept integrates shading, wind control, daylight penetration and construction in fin-shaped elements. These horizontal fins keep a large amount of the heat outside the building, reducing the requirement for cooling. (2)Concrete core activation Another technical feature of the building that contributes to its sustainable character is the combination of concrete core activation and underground long-term energy storage. This
appreciably reduces the demand for external energy sources. (3)Individual climate control for each workspace Plenty of natural daylight and adjustable heating, ventilation and access to fresh air for individual workspaces contribute to the comfort of the workspaces throughout the building. (4)The 11th floor A high pressure ventilation system with natural air inflow and outflow via main engineering shafts and the facade grills on the 11th floor reduces the need for artificial ventilation. (5)Future possibilities In addition, the residual energy of the data center and offices can be used to heat the homes that will be realized in the future in the perimeter of the site. (6)Flexibility The building is designed so that it can be transformed into housing in the future without major structural modifications. Therefore, the locations of elevators, stairs and technical spaces have been carefully considered, and a structural grid of 1.20 m. has been deployed, rather than the conventional office grid of 1.80 m.
009 009
001
011
001
011
012
013
012
013
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该建筑格局旨在展现这些机构更温和、更人性化和平易近人 的形象。高大的建筑物基本符合20世纪中期的现代风格，它们粗 犷而又线条分明的外观犹如强大的不可接近的堡垒一般。相反， 这座DUO和税务机关公共行政机构建筑以一种有机的、更友好的 和更面向未来的形式被含蓄地展现出来。 多功能建筑的可持续性由以下几个部分组成： （1）翅片式导向板 可持续性和减少能源消耗主导着外表面设计，包括更持久的 和造成最低环境影响的技术应用。外表面结合了遮阳、风控制、 日光渗透和翅片型构建概念。这些翅片将大量热量阻隔在建筑物 之外，降低对冷气的需求。 （2）混凝土心板 对可持续性特征有贡献的另一个技术特征是将混凝土心板和 地下长期储能结合。这有效地降低了对外部能源的需求。 （3）每个工作区独立温控 大量的自然光、可调加热设备和每个工作区里自然流通的新 鲜空气都提高了整个建筑中的工作区的舒适度。 （4）11楼 设在11楼的高压通风系统使自然空气通过主通风道和立面支 架流入流出，减少了对人工通风的需求。 （5）将来的可能性 此外，数据中心和办公室的剩余能量将用来加热将于后期建 于此场地周围的住宅。 （6）灵活性 该建筑无需大的结构变动就可改建成住宅。因此，电梯、楼 梯和技术中心的位置也都被精心考虑，钢结构网架被布置为1.2 米，而不是传统办公建筑的1.8米。
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该建筑格局旨在展现这些机构更温和、更人性化和平易近人 的形象。高大的建筑物基本符合20世纪中期的现代风格，它们粗 犷而又线条分明的外观犹如强大的不可接近的堡垒一般。相反， 这座DUO和税务机关公共行政机构建筑以一种有机的、更友好的 和更面向未来的形式被含蓄地展现出来。 多功能建筑的可持续性由以下几个部分组成： （1）翅片式导向板 可持续性和减少能源消耗主导着外表面设计，包括更持久的 和造成最低环境影响的技术应用。外表面结合了遮阳、风控制、 日光渗透和翅片型构建概念。这些翅片将大量热量阻隔在建筑物 之外，降低对冷气的需求。 （2）混凝土心板 对可持续性特征有贡献的另一个技术特征是将混凝土心板和 地下长期储能结合。这有效地降低了对外部能源的需求。 （3）每个工作区独立温控 大量的自然光、可调加热设备和每个工作区里自然流通的新 鲜空气都提高了整个建筑中的工作区的舒适度。 （4）11楼 设在11楼的高压通风系统使自然空气通过主通风道和立面支 架流入流出，减少了对人工通风的需求。 （5）将来的可能性 此外，数据中心和办公室的剩余能量将用来加热将于后期建 于此场地周围的住宅。 （6）灵活性 该建筑无需大的结构变动就可改建成住宅。因此，电梯、楼 梯和技术中心的位置也都被精心考虑，钢结构网架被布置为1.2 米，而不是传统办公建筑的1.8米。
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Business Innovation Centre FiftyTwoDegrees Architects
Firm
Structural Engineers
General Contractors
Mecanoo Architecten
Mecanoo Architecten
Arup, Amsterdam, Adviesbureau Tielemans BV, Eindhoven
Ballast Nedam Speciale Projecten, Utrecht
Location
Area
Building Services Consultants
Photographer
Nijmegen, Netherlands
70,000m²
Royal Haskoning, Nijmegen
Christian Richters
FiftyTwoDegrees is the realisation of the first phase of a large-scale master plan surrounding the Neerbosscheweg. The 86-metre tall tower stands on a slope and is fluidly yet excitingly absorbed into surrounding Goffert Park. The second phase will start from the ground level to overarch the Neerbosscheweg, creating a direct link with the city, the Goffert stadium and the new Goffert light rail station. Under the grassed roof are parking spaces for six hundred cars, various commercial facilities and a covered plaza with shops and restaurants. Conference rooms, a theatre, a hotel, sports facilities and shops are due to be added to the complex in the second phase. The tower is seventeen storeys high. The lower eight floors are ten degrees out of plumb, creating an inviting gesture towards the city. The bent form was created by the hybrid construction of concrete and steel, whereby for each intermediate floor the elevation shifts in relation to the concrete cores. In order to shorten the construction time - one floor per week - it was decided to use prefabricated cladding, resulting in a pattern of pixels that gives the facade an abstract appearance. A broad staircase leads from the Esplanade to the reception hall with its conspicuously curved wooden benches. The undulating wall clad with mahogany represents a visually connecting element that automatically indicates the route through the building. The office and laboratory floors can be flexibly subdivided. The use of climate ceilings allows the climate to be regulated for each work station so that the spaces can adapt to the organisation of new products being developed.
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B Architects
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Structural Engineers
General Contractors
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Building Services Consultants
Photographer
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52度的建成完成了Neerbosscheweg周围大规模总体规划的第一期。这个86米高的 塔楼矗立在一个斜坡上，顺理成章地融入了Goffert公园的周边环境。二期是从地平面 而起，会在Neerbosscheweg的上方形成一个拱形，直接连接到Goffert体育场以及新的 Goffert轻轨车站。绿草茵茵的屋顶下是一个拥有600个车位的停车场以及各类商业设 施，还有一个有盖的广场，下面是各种店铺和餐馆。二期工程会给这个综合性建筑增 添一些会议室、一个影院、一家酒店、一些运动设施和几家店铺。 这个塔楼有17层。下面8层与地面有10度的倾斜角，好像在朝着城市的方向发出 邀请的态势。这个倾斜角是通过钢筋混凝土混合建成的，这样每个居间的一层，跟 混凝土内核相连的仰角都有转变。为了缩短建筑时间——每周一层，这里采用了预 制的外墙骨架，形成了一种像素的样式，使外立面显得很抽象。一条宽敞的楼梯从 Esplanade通向接待大厅，大厅里面排放着弧度很大的长凳。波浪形的红木墙面让人 直观地看到这条路就是通向大楼的。办公室和实验室层可供再次灵活分割。天花板可 以调整温度，这样每个工作站的温度都可以调整，以便各个空间都能适应新开发的产 品。
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52度的建成完成了Neerbosscheweg周围大规模总体规划的第一期。这个86米高的 塔楼矗立在一个斜坡上，顺理成章地融入了Goffert公园的周边环境。二期是从地平面 而起，会在Neerbosscheweg的上方形成一个拱形，直接连接到Goffert体育场以及新的 Goffert轻轨车站。绿草茵茵的屋顶下是一个拥有600个车位的停车场以及各类商业设 施，还有一个有盖的广场，下面是各种店铺和餐馆。二期工程会给这个综合性建筑增 添一些会议室、一个影院、一家酒店、一些运动设施和几家店铺。 这个塔楼有17层。下面8层与地面有10度的倾斜角，好像在朝着城市的方向发出 邀请的态势。这个倾斜角是通过钢筋混凝土混合建成的，这样每个居间的一层，跟 混凝土内核相连的仰角都有转变。为了缩短建筑时间——每周一层，这里采用了预 制的外墙骨架，形成了一种像素的样式，使外立面显得很抽象。一条宽敞的楼梯从 Esplanade通向接待大厅，大厅里面排放着弧度很大的长凳。波浪形的红木墙面让人 直观地看到这条路就是通向大楼的。办公室和实验室层可供再次灵活分割。天花板可 以调整温度，这样每个工作站的温度都可以调整，以便各个空间都能适应新开发的产 品。
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Menzis Head Office Architects
Firm
Design Team
Area
de Architekten Cie., Branimir Medić & Pero Puljiz
de Architekten Cie. Amsterdam
V. Ulrich, M. de Jong, K. de Schepper, C. Garcia, W. Benschop, M. Keijzer, P. van Berkum
20,000m²
Structural Engineering
Contractors
Location
Ingenieursbureau Wassenaar bv, Haren
Heijmans IBC Bouw BV, Assen
Menzis Zorgverzekeraar, Groningen
The 12-storey building is divided into three identical prismatic segments, each of which has been turned 90° in relation to its predecessor. With dimensions of 43 metres x 43, the segment is characterized by functional yet aesthetic compactness. Each segment contains four storeys, intersected vertically by an atrium. As a consequence, a spiral of atria is generated, forming an internal response to the dynamic exterior. The foot accommodates the public functions, which are oriented toward the atrium and include service desks, an insurance shop, and a healthcare service centre. A doctor ’s room and several consulting rooms are situated in the more private area. A practical system of partitioning divides the third and fourth floors into meeting rooms, a library, training areas, an auditorium, and a restaurant. The restaurant area can also be deployed flexibly as extra meeting space if required. The spacious staircases, which allow easy public flow through the atrium to the restaurant and meeting centre above, offer an unimpeded view of both the inner area and the water of the Winschoterdiep (canal).
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The middle and upper segments are generic. The specific presence of the atrium, which allows the incidence of daylight into the building, contrasts with the neutral substantiation of each storey. The atrium divides each storey into various series of working areas with distinct qualities. The variation in spatial conditions enables the application of diverse office concepts, geared to the different work processes within Menzis. The atrium stairs facilitate informal contact between the storeys. The aluminium façade panels, with their specially developed metallic colours, are enamelled. The protruding and receding façade strips reinforce the play of light and shade. The horizontal structure and the variation in bronze tints accentuate the dynamic character of the volume. In combination with the use of natural materials, the magnolia garden around the building, with its diverse terraces, water features and illuminations, contributes to creating a pleasant and relaxed ambience.
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Menzis Head Office Architects
Firm
Design Team
Area
de Architekten Cie., Branimir Medić & Pero Puljiz
de Architekten Cie. Amsterdam
V. Ulrich, M. de Jong, K. de Schepper, C. Garcia, W. Benschop, M. Keijzer, P. van Berkum
20,000m²
Structural Engineering
Contractors
Location
Ingenieursbureau Wassenaar bv, Haren
Heijmans IBC Bouw BV, Assen
Menzis Zorgverzekeraar, Groningen
The 12-storey building is divided into three identical prismatic segments, each of which has been turned 90° in relation to its predecessor. With dimensions of 43 metres x 43, the segment is characterized by functional yet aesthetic compactness. Each segment contains four storeys, intersected vertically by an atrium. As a consequence, a spiral of atria is generated, forming an internal response to the dynamic exterior. The foot accommodates the public functions, which are oriented toward the atrium and include service desks, an insurance shop, and a healthcare service centre. A doctor ’s room and several consulting rooms are situated in the more private area. A practical system of partitioning divides the third and fourth floors into meeting rooms, a library, training areas, an auditorium, and a restaurant. The restaurant area can also be deployed flexibly as extra meeting space if required. The spacious staircases, which allow easy public flow through the atrium to the restaurant and meeting centre above, offer an unimpeded view of both the inner area and the water of the Winschoterdiep (canal).
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The middle and upper segments are generic. The specific presence of the atrium, which allows the incidence of daylight into the building, contrasts with the neutral substantiation of each storey. The atrium divides each storey into various series of working areas with distinct qualities. The variation in spatial conditions enables the application of diverse office concepts, geared to the different work processes within Menzis. The atrium stairs facilitate informal contact between the storeys. The aluminium façade panels, with their specially developed metallic colours, are enamelled. The protruding and receding façade strips reinforce the play of light and shade. The horizontal structure and the variation in bronze tints accentuate the dynamic character of the volume. In combination with the use of natural materials, the magnolia garden around the building, with its diverse terraces, water features and illuminations, contributes to creating a pleasant and relaxed ambience.
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这座12层的大楼纵向分成三个单独的棱 柱形单元，每个棱柱单元较之下面一个水平旋 转90度。三个单元为43米×43米见方的建筑， 功能实用，且简洁美感。每个单元有四层，一 条天井垂直贯穿每一层。因此，形成了一个螺 旋形的中庭，使得内部的设计风格与外面充满 动感的外部设计交相辉映。 大厦一楼为环绕天井的公共区域，设有 服务台、一个保险公司店面和一家卫生保健服 务中心。在较为私密的空间里有一个诊所和几 间咨询室。大厦的三楼、四楼根据实用的原则 分隔成了几间会议室、一个图书馆、几个培训 区、一个礼堂和一家餐馆。如果有需要，餐厅 区还可以灵活改变为会议扩展区。宽敞的楼 梯，可以让公众很轻松地通过中庭走到楼上的 餐厅和会议中心。在楼梯里，不仅内部的各个 空间一览无余，室外的Winschoterdiep运河水 景也展现在公众的面前。 中间和最上面的两个单元是通用的空 间。天井的独特设计，使光线能畅通无阻地投 进大楼，增强了大厦的通透感。此外，中庭还 将每一层大楼分割为各有特色的办公空间。空 间条件的不同使各种办公理念得以应用，也适 应了Menzis内部不同的工作流程。中庭的楼梯 便于楼层间的联系。 外立面的铝嵌板，带着特别的金属色， 是瓷漆的。立面上条形的凸出与凹进加强了光 与影的效果。水平的条纹以及古铜色调的差异 更加凸显了体量的动感。 大楼四周的木兰花园，组合运用了各种 中性的材料，构建了各式各样的露台，水景以 及彩灯，营造出轻松愉快的氛围。
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这座12层的大楼纵向分成三个单独的棱 柱形单元，每个棱柱单元较之下面一个水平旋 转90度。三个单元为43米×43米见方的建筑， 功能实用，且简洁美感。每个单元有四层，一 条天井垂直贯穿每一层。因此，形成了一个螺 旋形的中庭，使得内部的设计风格与外面充满 动感的外部设计交相辉映。 大厦一楼为环绕天井的公共区域，设有 服务台、一个保险公司店面和一家卫生保健服 务中心。在较为私密的空间里有一个诊所和几 间咨询室。大厦的三楼、四楼根据实用的原则 分隔成了几间会议室、一个图书馆、几个培训 区、一个礼堂和一家餐馆。如果有需要，餐厅 区还可以灵活改变为会议扩展区。宽敞的楼 梯，可以让公众很轻松地通过中庭走到楼上的 餐厅和会议中心。在楼梯里，不仅内部的各个 空间一览无余，室外的Winschoterdiep运河水 景也展现在公众的面前。 中间和最上面的两个单元是通用的空 间。天井的独特设计，使光线能畅通无阻地投 进大楼，增强了大厦的通透感。此外，中庭还 将每一层大楼分割为各有特色的办公空间。空 间条件的不同使各种办公理念得以应用，也适 应了Menzis内部不同的工作流程。中庭的楼梯 便于楼层间的联系。 外立面的铝嵌板，带着特别的金属色， 是瓷漆的。立面上条形的凸出与凹进加强了光 与影的效果。水平的条纹以及古铜色调的差异 更加凸显了体量的动感。 大楼四周的木兰花园，组合运用了各种 中性的材料，构建了各式各样的露台，水景以 及彩灯，营造出轻松愉快的氛围。
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The Orange Cube Architects
Firm
Cost Consultant
Electrical Engineering
Location
Area
Materials
Jakob + MacFarlane Architects
Jakob + MacFarlane Architects
Michel Forgue
Alto Ingénierie
Quai Rambaud, Lyon
6300m²
T.E.S.S, RFR GO
The ambition for the old harbor zone, developed by Voies Naviguables de France in partnership with Caisse des Dépôts and Sem Lyon Confluence, was to reinvest the docks and its industrial patrimony, bringing together architecture and a cultural and commercial program. The project is designed as a simple orthogonal 'cube' into which a giant hole is carved, responding to necessities of light, air movement and views. This hole creates a void, piercing the building horizontally from the river side inwards and upwards through the roof terrace. The cube is designed on a regular framework (29 x 33m) made of concrete pillars on 5 levels. A light façade, with seemingly random openings is completed by another façade, pierced with pixilated patterns that accompany the movement of the river. In order to create the void, Jakob + M a c Fa r l a n e w o r k e d w i t h a s e r i e s o f volumetric perturbations, linked to the subtraction of three “conic” volumes disposed on three levels: the angle of the façade, the roof and the level of the entry. These perturbations generate spaces and relations between the building, its users, the site and the light supply. The first perturbation is based on direct visual relation with the arched structure of the hall, its proximity and its buttress form. A second, obviously an elliptic one, breaks the structural regularity of the pole-girder structure on four levels at the level of the façade corner that gives on the river side. This perforation, establishes a diagonal relation towards the angle. It generates a huge atrium in the depth of the volume, surrounded by a series of corridors connected to the office platforms. The plan of the façade is hence shifted towards the interior, constructing a new relation to light and view, from both interior and exterior. The tertiary platforms benefit from light and views at different levels with balconies that are accessible from each level. The research for transparency and optimal light transmission on the platforms contributes to make the working spaces more elegant and light. 038
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The Orange Cube Architects
Firm
Cost Consultant
Electrical Engineering
Location
Area
Materials
Jakob + MacFarlane Architects
Jakob + MacFarlane Architects
Michel Forgue
Alto Ingénierie
Quai Rambaud, Lyon
6300m²
T.E.S.S, RFR GO
The ambition for the old harbor zone, developed by Voies Naviguables de France in partnership with Caisse des Dépôts and Sem Lyon Confluence, was to reinvest the docks and its industrial patrimony, bringing together architecture and a cultural and commercial program. The project is designed as a simple orthogonal 'cube' into which a giant hole is carved, responding to necessities of light, air movement and views. This hole creates a void, piercing the building horizontally from the river side inwards and upwards through the roof terrace. The cube is designed on a regular framework (29 x 33m) made of concrete pillars on 5 levels. A light façade, with seemingly random openings is completed by another façade, pierced with pixilated patterns that accompany the movement of the river. In order to create the void, Jakob + M a c Fa r l a n e w o r k e d w i t h a s e r i e s o f volumetric perturbations, linked to the subtraction of three “conic” volumes disposed on three levels: the angle of the façade, the roof and the level of the entry. These perturbations generate spaces and relations between the building, its users, the site and the light supply. The first perturbation is based on direct visual relation with the arched structure of the hall, its proximity and its buttress form. A second, obviously an elliptic one, breaks the structural regularity of the pole-girder structure on four levels at the level of the façade corner that gives on the river side. This perforation, establishes a diagonal relation towards the angle. It generates a huge atrium in the depth of the volume, surrounded by a series of corridors connected to the office platforms. The plan of the façade is hence shifted towards the interior, constructing a new relation to light and view, from both interior and exterior. The tertiary platforms benefit from light and views at different levels with balconies that are accessible from each level. The research for transparency and optimal light transmission on the platforms contributes to make the working spaces more elegant and light. 038
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法国航运联手储蓄银行和里昂汇流街区，雄心勃勃地投资改造老港区，欲把船坞及其 工业遗产打造成融建筑、文化与商业为一体的项目。 该项目被设计成了一个简单的立方体，为了便于采光、通风和观景，中间挖去一个 大洞。这个洞的存在，让人从河边看向建筑的里面，抑或是向上看向屋顶天台都有一种空 旷、穿透的感觉。 此立方体被设计成了一个规则的五个楼层的混凝土柱梁框架，尺寸为29米 x 33 米。 轻质的外立面，带有看似随意的奇形怪状的镂空图案，与河的流动性交相呼应。 为了实现这种空洞的感觉，Jakob + MacFarlane运用了一系列的空间微扰的手段，从三 个层面挖去了三个圆锥体：立面、屋顶和入口。这些空间的微扰在建筑和使用者之间建立 了关联，也调和了光线。 第一个空间的微扰是基于直接的视觉关系，通过大厅的拱形结构实现的，增强了亲近 感也有支撑效果。 第二个空洞是个明显的椭圆形，在四个楼层朝河边的一面打破了钢梁结构的中规中 矩。这个空洞从一角向对角的方向斜线穿过去。这样就在纵深方向形成了一个巨大的中 庭，周边环绕了一系列的走廊，跟办公平台连接起来。从这个里面俯瞰下去，能看到内 部，建立了室内外新的光线和视线的交流。这三个层面每一层都借用了互相附属的露台的 光线和视线。每一层的通透和采光都使工作空间更优雅，更明亮。
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法国航运联手储蓄银行和里昂汇流街区，雄心勃勃地投资改造老港区，欲把船坞及其 工业遗产打造成融建筑、文化与商业为一体的项目。 该项目被设计成了一个简单的立方体，为了便于采光、通风和观景，中间挖去一个 大洞。这个洞的存在，让人从河边看向建筑的里面，抑或是向上看向屋顶天台都有一种空 旷、穿透的感觉。 此立方体被设计成了一个规则的五个楼层的混凝土柱梁框架，尺寸为29米 x 33 米。 轻质的外立面，带有看似随意的奇形怪状的镂空图案，与河的流动性交相呼应。 为了实现这种空洞的感觉，Jakob + MacFarlane运用了一系列的空间微扰的手段，从三 个层面挖去了三个圆锥体：立面、屋顶和入口。这些空间的微扰在建筑和使用者之间建立 了关联，也调和了光线。 第一个空间的微扰是基于直接的视觉关系，通过大厅的拱形结构实现的，增强了亲近 感也有支撑效果。 第二个空洞是个明显的椭圆形，在四个楼层朝河边的一面打破了钢梁结构的中规中 矩。这个空洞从一角向对角的方向斜线穿过去。这样就在纵深方向形成了一个巨大的中 庭，周边环绕了一系列的走廊，跟办公平台连接起来。从这个里面俯瞰下去，能看到内 部，建立了室内外新的光线和视线的交流。这三个层面每一层都借用了互相附属的露台的 光线和视线。每一层的通透和采光都使工作空间更优雅，更明亮。
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Swedbank Head Office Building Architects
Construction
Area
Photographers
Audrius Ambrasas, Vilma Adomonytė, Tomas Eidukevičius, Donatas Malinauskas
Idea Constructiva
23,700m² (over ground) , 19,400m² (underground)
R.Urbakavicius, A.Ambrasas, K.Satunas
Firm
Engineering
Location
Audrius Ambrasas Architects
Cowi Lietuva
Konstitucijos ave. 20a, Vilnius, Lithuania
The Swedbank’s new head office building in Vilnius is located in a fairly recently developed but rapidly growing political, commercial and recreational centre of the Lithuanian capital, which was moved from its historical centre to the right bank of the Neris River. The exclusive location of the building created a number of challenges. “We wanted the building to become an integral part of the development of the Neris River right bank, completing it in an original way designing the space around it without becoming the centre of attention.” – says Audrius Ambrasas. A distinctive feature of the new head office building is its openness and accessibility by the public. The site for the Bank's building is being developed on the old Ukmerges street which becomes the main axis of the buildings composition. The internal pedestrian street (the old Ukmerges street) and the flowing spaces on the building’s ground floor are planned as an public urban space. The building consists of two parts: high-rise part of two 15 and 16 storey high structures and the lower part comprises two more blocks: the broken-lined parterre and the regular four-storey administrative
part. The highlight of the building is the over 4500 m² terrace, constructed on the stylobate part and offering excellent views of the river bank. The ground floor, under the terrace, opens a wide one-piece space. This artfully crafted part of the complex seeks to become an important public attraction centre even during cold seasons of the year. It comprises a café for 150 visitors, both employees and guests of the bank, and also an auditorium for an audience of 150 people and a reading room, in addition to the customer servicing centre and the business centre. The developers and the designers demonstrate their respect to the public by using high-quality, long lasting and aesthetic materials and details. The most important - finishing of the blank facade walls performed using stainless-metal plates polished in different directions. The ornamental effect was obtained by varying the plate brushing direction what makes the facade look multi-colored.
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维尔纽斯的瑞典银行新办公总部大楼从它的历史中心搬到Neris 河的右岸，如今坐落在一个相当发达，但最近快速增长的政治、商 业和娱乐中心的立陶宛首都。该建筑所处的独特的地理位置给建造 者提出了许多挑战。“我们希望将其建设成为Ｎｅｒｉｓ河右岸发展的重 要的组成部分，但同时希望以原始的方式完成它，从而让整个建筑 不要成为关注的焦点。” Audrius Ambrasas这样说道。 新总部大楼的一个显著特点是其开放性和利民性。银行大楼的 选址位于旧Ukmerges街，这是这一带建筑物的主轴。内部步行街以 及大楼一层的流动空间被规划为城市公共空间。这座建筑分为两个 部分，高层部分包括两个分别是15层和16层的高楼，底层部分包括 另外两个街区，不规则边缘花坛和规则的4层楼高的行政楼。该建 筑的重点是超过4500平方米的露台，让人们随时能够欣赏河边的美 景。 在露台下面的一层，营造了一个宽敞的单间空间。这种复杂的 巧妙设计，旨在让建筑物即使在一年中最寒冷的季节，也能成为一 个重要的吸引公众的中心。它包括一个可以容纳150名游客的咖啡 厅，既对员工也对客户开放，还有一个可以容纳150人的礼堂以及一 个阅览室，另外还有客户服务中心和商务中心。 开发商和设计师通过高品质、持久和美观的材料和细节向大 众展示他们的理念。整个建筑最重要的空白正面墙壁通过不锈钢抛 光金属板折射出不同的光线。这种不同的光线营造了独特的观赏效 果，使外观看起来五彩缤纷。
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1. PARKING 2. AUDITORIUM 3. MUSEUM 4. READING ROOM 5. BANQUET ROOM 1. PARKING 2. AUDITORIUM 6. RESTAURANT 3. MUSEUM 7. SMOKING ROOM 4. READING ROOM 8. BAR 5. BANQUET ROOM 9. OFFICE ROOM 6. RESTAURANT 7. SMOKING ROOM 10.HALL 8. BAR 11. KITCHEN 9. OFFICE ROOM 12.STOREROOM 10.HALL 11. KITCHEN 13.WC 12.STOREROOM 14.TAMBOUR 13.WC 15.CLOAK- ROOM 14.TAMBOUR 16.TECHNICAL ROOM 15.CLOAKROOM 0 1
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1. ATRIUM 2. ATM 3. OPEN TIPE OFFICE 4. OFFICE ROOM 5. MEETING ROOM 6. REST AREA 7. HALL 8. KITCHEN 9.SHORT TERM DOCUMENT STORAGE 10.DRESSING ROOM 11.PRIVATE CLIENTS DEPARTMENT 12.WC 13.TAMBOUR 14.TECHNICAL ROOM 15.BALKONY 16.COPY ROOM 0 1
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1. GALLERY 2. OPEN TIPE OFFICE 3. OFFICE ROOM 4. MEETING ROOM 5. REST AREA 6. ADMINISTRATOR'S ROOM 7. HALL 8. KITCHEN 9. SHORT TERM DOCUMENT STORAGE 10 .WC 11.TAMBOUR 12.TECHNICAL ROOM 13.VIP CLIENT'S ROOM 14.COPY ROOM
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1. GALLERY 2. OPEN TIPE OFFICE 3. OFFICE ROOM 4. MEETING ROOM 5. ADMINISTRATOR'S ROOM 1. GALLERY 6. HALL 2. OPEN TIPE OFFICE 7. KITCHEN 3. OFFICE ROOM 8. SHORT TERM DOCUMENT STORAGE 4. MEETING ROOM 9. WC 10.DRESSING 5.ROOM ADMINISTRATOR'S ROOM 11.TECHNICAL ROOM 6. HALL 12.TAMBOUR 7. KITCHEN 13.COPY ROOM
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维尔纽斯的瑞典银行新办公总部大楼从它的历史中心搬到Neris 河的右岸，如今坐落在一个相当发达，但最近快速增长的政治、商 业和娱乐中心的立陶宛首都。该建筑所处的独特的地理位置给建造 者提出了许多挑战。“我们希望将其建设成为Ｎｅｒｉｓ河右岸发展的重 要的组成部分，但同时希望以原始的方式完成它，从而让整个建筑 不要成为关注的焦点。” Audrius Ambrasas这样说道。 新总部大楼的一个显著特点是其开放性和利民性。银行大楼的 选址位于旧Ukmerges街，这是这一带建筑物的主轴。内部步行街以 及大楼一层的流动空间被规划为城市公共空间。这座建筑分为两个 部分，高层部分包括两个分别是15层和16层的高楼，底层部分包括 另外两个街区，不规则边缘花坛和规则的4层楼高的行政楼。该建 筑的重点是超过4500平方米的露台，让人们随时能够欣赏河边的美 景。 在露台下面的一层，营造了一个宽敞的单间空间。这种复杂的 巧妙设计，旨在让建筑物即使在一年中最寒冷的季节，也能成为一 个重要的吸引公众的中心。它包括一个可以容纳150名游客的咖啡 厅，既对员工也对客户开放，还有一个可以容纳150人的礼堂以及一 个阅览室，另外还有客户服务中心和商务中心。 开发商和设计师通过高品质、持久和美观的材料和细节向大 众展示他们的理念。整个建筑最重要的空白正面墙壁通过不锈钢抛 光金属板折射出不同的光线。这种不同的光线营造了独特的观赏效 果，使外观看起来五彩缤纷。
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1. ATRIUM 2. ATM 3. OPEN TIPE OFFICE 4. OFFICE ROOM 5. MEETING ROOM 6. REST AREA 7. HALL 8. KITCHEN 9.SHORT TERM DOCUMENT STORAGE 10.DRESSING ROOM 11.PRIVATE CLIENTS DEPARTMENT 12.WC 13.TAMBOUR 14.TECHNICAL ROOM 15.BALKONY 16.COPY ROOM 0 1
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1. GALLERY 2. OPEN TIPE OFFICE 3. OFFICE ROOM 4. MEETING ROOM 5. REST AREA 6. ADMINISTRATOR'S ROOM 7. HALL 8. KITCHEN 9. SHORT TERM DOCUMENT STORAGE 10 .WC 11.TAMBOUR 12.TECHNICAL ROOM 13.VIP CLIENT'S ROOM 14.COPY ROOM
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1. GALLERY 2. OPEN TIPE OFFICE 3. OFFICE ROOM 4. MEETING ROOM 5. ADMINISTRATOR'S ROOM 1. GALLERY 6. HALL 2. OPEN TIPE OFFICE 7. KITCHEN 3. OFFICE ROOM 8. SHORT TERM DOCUMENT STORAGE 4. MEETING ROOM 9. WC 10.DRESSING 5.ROOM ADMINISTRATOR'S ROOM 11.TECHNICAL ROOM 6. HALL 12.TAMBOUR 7. KITCHEN 13.COPY ROOM
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WestendDuo, Frankfurt a. M. Architect
Firm
Area
Photographer
KSP Jürgen Engel Architekten
KSP Jürgen Engel Architekten
32,700m²
Jean-Luc Valentin
The design for a double high-rise in a prime location in Frankfurt close to the Alte Oper, devised for a competition in 2001 creates a new jewel for Frankfurt’s skyline. The old Miquel-Villa and the old trees on the park-like grounds have of course been preserved. The WestendDuo is “only” 96 m high and thus one of the smaller skyscrapers in Frankfurt. The two slender towers are self-confident, excitingly incorporating the different street grids. The South Tower stands parallel to Bockenheimer Landstrasse, while its North counterpart stands orthogonally to the layout of the Westend. The fact that the towers are rotated toward each other ensures that the overall gesture is one of invitation in the direction of Alte Oper. In this way, the towers conceal their true size on the sides facing residential areas. The open shape given the lobby ensures that it
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engages with its green surroundings. Thanks to the slightly curved two-storey facades, the towers are highly dynamic across two dimensions, whereby the gaze is directed from the facades towards the corners, thus visually reducing the breadth of the building. The towers’ slender elegance is emphasized precisely by this two-storey segmentation. In order to address future user needs flexibly, the new edifice has been conceived for different possible tenants. Folded concrete ceilings generate pillar-free space and minimize heights, meaning that the 96m feature one more storey than is usually the case. The overall energy-&-ecology concept reduces emission levels and the net energy requirement.
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WestendDuo, Frankfurt a. M. Architect
Firm
Area
Photographer
KSP Jürgen Engel Architekten
KSP Jürgen Engel Architekten
32,700m²
Jean-Luc Valentin
The design for a double high-rise in a prime location in Frankfurt close to the Alte Oper, devised for a competition in 2001 creates a new jewel for Frankfurt’s skyline. The old Miquel-Villa and the old trees on the park-like grounds have of course been preserved. The WestendDuo is “only” 96 m high and thus one of the smaller skyscrapers in Frankfurt. The two slender towers are self-confident, excitingly incorporating the different street grids. The South Tower stands parallel to Bockenheimer Landstrasse, while its North counterpart stands orthogonally to the layout of the Westend. The fact that the towers are rotated toward each other ensures that the overall gesture is one of invitation in the direction of Alte Oper. In this way, the towers conceal their true size on the sides facing residential areas. The open shape given the lobby ensures that it
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engages with its green surroundings. Thanks to the slightly curved two-storey facades, the towers are highly dynamic across two dimensions, whereby the gaze is directed from the facades towards the corners, thus visually reducing the breadth of the building. The towers’ slender elegance is emphasized precisely by this two-storey segmentation. In order to address future user needs flexibly, the new edifice has been conceived for different possible tenants. Folded concrete ceilings generate pillar-free space and minimize heights, meaning that the 96m feature one more storey than is usually the case. The overall energy-&-ecology concept reduces emission levels and the net energy requirement.
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这个高耸的双子高塔位于邻近老歌剧院的法兰克福黄金地段，专为参加 2001年大赛而设计，一经建成马上成了法兰克福天际线上的一颗新的明珠。 米克尔别墅和公园般的地面上那些古树理所当然地保留了下来。 WestendDuo“仅仅”96米高，因此算是法兰克福地区较小的摩天大 楼之一。这两座细长的塔楼高耸挺拔，融入了不同的城市街格线。南塔与 Bockenheimer大街平行，而北塔与城市西区垂直。通过对两座塔楼朝向的旋 转，确保了往老歌剧院的方向看是敞开胸怀欢迎公众的姿态。这样，面向住 宅区的双塔就不会显得那么庞大突兀。开放式的大厅确保了大楼与四周绿色 植被浑然一体。 由于双塔采用了稍有弧度的双层立面，因此大楼不仅横看竖看都动感十 足，也不显得太过宽广。上层立面的分割也使得双塔更纤细优雅。 为了灵活应对客户，这两座新楼设计时充分考虑了租户的不同需求。交 叉式的混凝土天花板使整个空间无需柱子，最大程度地降低了房间高度，这 就意味着96米的楼高可以比通常情况多建一层。“注重能源与生态”的总体 设计观念减少了大楼的排放，也降低了大楼的能源净需求。
BMZ
Papiermüll
TG-Einfahrt
Büro Büro/Post
Terrasse/Außenbereich Gastronomie
Konferenz
Lager
TG-Ausfahrt
Pausenraum Gastronomie 1
Spülküche
Büro/Post
eise n
Küche
Ausg
Konferenz
repp
Gastronomie 3
e
r EG
Lager
Aufzu
Rollt
gsvo
r EG
Foye
Foye 1.O r G
Hau ptem pfang
rrau m
Foye
Zuber eitung
und
Free Flow
Büro
abe Sp
Aufzugsvorraum
Eing
ang
Gastronomie 2
Lager
Aufzugsvorraum
Aufzugsvorraum
Luftraum
Vorstand
Empfang Vorstand
Vorstand
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这个高耸的双子高塔位于邻近老歌剧院的法兰克福黄金地段，专为参加 2001年大赛而设计，一经建成马上成了法兰克福天际线上的一颗新的明珠。 米克尔别墅和公园般的地面上那些古树理所当然地保留了下来。 WestendDuo“仅仅”96米高，因此算是法兰克福地区较小的摩天大 楼之一。这两座细长的塔楼高耸挺拔，融入了不同的城市街格线。南塔与 Bockenheimer大街平行，而北塔与城市西区垂直。通过对两座塔楼朝向的旋 转，确保了往老歌剧院的方向看是敞开胸怀欢迎公众的姿态。这样，面向住 宅区的双塔就不会显得那么庞大突兀。开放式的大厅确保了大楼与四周绿色 植被浑然一体。 由于双塔采用了稍有弧度的双层立面，因此大楼不仅横看竖看都动感十 足，也不显得太过宽广。上层立面的分割也使得双塔更纤细优雅。 为了灵活应对客户，这两座新楼设计时充分考虑了租户的不同需求。交 叉式的混凝土天花板使整个空间无需柱子，最大程度地降低了房间高度，这 就意味着96米的楼高可以比通常情况多建一层。“注重能源与生态”的总体 设计观念减少了大楼的排放，也降低了大楼的能源净需求。
BMZ
Papiermüll
TG-Einfahrt
Büro Büro/Post
Terrasse/Außenbereich Gastronomie
Konferenz
Lager
TG-Ausfahrt
Pausenraum Gastronomie 1
Spülküche
Büro/Post
eise n
Küche
Ausg
Konferenz
repp
Gastronomie 3
e
r EG
Lager
Aufzu
Rollt
gsvo
r EG
Foye
Foye 1.O r G
Hau ptem pfang
rrau m
Foye
Zuber eitung
und
Free Flow
Büro
abe Sp
Aufzugsvorraum
Eing
ang
Gastronomie 2
Lager
Aufzugsvorraum
Aufzugsvorraum
Luftraum
Vorstand
Empfang Vorstand
Vorstand
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Otto Bock Architect
Location
Area
GNÄDINGER ARCHITEKTEN
In the centre of the German capitol – next to the Potsdamer Platz and the Brandenburg Gate
1,300m²
GNÄDINGER’s design approach is a courageous step within Berlins rigid public design policy, which advocates regular geometries and the use of stone and glass. Within the immediate neighborhood of Richard Rogers, Helmut Jahn, Hans Kollhoff, Renzo Piano and gmp-buildings this remarkable ‘dynamic cube’ stands for an authentic individuality. The diamond shaped floors are enclosed by an irregularly curved expressive aluminum-glass facade. DYNAMIC CUBE Based on the idea of human muscle sections GNÄDINGER designed abstract, amorphous white aluminum facade panels. They dynamically wrap around the floor spaces with convex and concave, converging and diverging lines of clear cut aluminum sheets and their overlaid glazing, so as not to reveal the precision techniques of the construction behind. The first three floor levels serve as exhibition space with interactive and realistic presentations and simulations of the technically most advanced orthopedic products. The other exhibition floors provide seminar and conference rooms as well as spaces for consultations between patients, doctors, therapists and orthopedic technicians. Representatives of the manufacturing field complement OTTO
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BOCK’s project idea of a building in service for clients and patients. The program spaces are organized around the central core which houses vertical circulation spaces and areas for building services. This open floor arrangement allows for a maximum of flexibility and variety of room sizes. It guarantees a maximum of daylight use in all usable spaces along the dynamically wrapped glass facade. The detailing has a strong minimalistic focus: Most surfaces, including all furnishings and exhibition objects are white in contrast to floors in natural stone and carpets, both in silver grey. In some selected areas, such as the elevator, the use of dark hardwood panels offers a contrasting, stimulating focus. At the solid interior core impressive, colorfully printed glass panels are applied, which also serve as information media by using integrated TV-monitors. They provide a balancing contrast to the overall ‘composition in white’. GNÄDINGER’s vision was an integration of the highly developed aesthetics in industrial design with the requirements of medical technology into a lively total building design. This expressive exhibition building can be understood as a representation of the clients profile and expertise in functional design of dynamic precision.
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Otto Bock Architect
Location
Area
GNÄDINGER ARCHITEKTEN
In the centre of the German capitol – next to the Potsdamer Platz and the Brandenburg Gate
1,300m²
GNÄDINGER’s design approach is a courageous step within Berlins rigid public design policy, which advocates regular geometries and the use of stone and glass. Within the immediate neighborhood of Richard Rogers, Helmut Jahn, Hans Kollhoff, Renzo Piano and gmp-buildings this remarkable ‘dynamic cube’ stands for an authentic individuality. The diamond shaped floors are enclosed by an irregularly curved expressive aluminum-glass facade. DYNAMIC CUBE Based on the idea of human muscle sections GNÄDINGER designed abstract, amorphous white aluminum facade panels. They dynamically wrap around the floor spaces with convex and concave, converging and diverging lines of clear cut aluminum sheets and their overlaid glazing, so as not to reveal the precision techniques of the construction behind. The first three floor levels serve as exhibition space with interactive and realistic presentations and simulations of the technically most advanced orthopedic products. The other exhibition floors provide seminar and conference rooms as well as spaces for consultations between patients, doctors, therapists and orthopedic technicians. Representatives of the manufacturing field complement OTTO
146
BOCK’s project idea of a building in service for clients and patients. The program spaces are organized around the central core which houses vertical circulation spaces and areas for building services. This open floor arrangement allows for a maximum of flexibility and variety of room sizes. It guarantees a maximum of daylight use in all usable spaces along the dynamically wrapped glass facade. The detailing has a strong minimalistic focus: Most surfaces, including all furnishings and exhibition objects are white in contrast to floors in natural stone and carpets, both in silver grey. In some selected areas, such as the elevator, the use of dark hardwood panels offers a contrasting, stimulating focus. At the solid interior core impressive, colorfully printed glass panels are applied, which also serve as information media by using integrated TV-monitors. They provide a balancing contrast to the overall ‘composition in white’. GNÄDINGER’s vision was an integration of the highly developed aesthetics in industrial design with the requirements of medical technology into a lively total building design. This expressive exhibition building can be understood as a representation of the clients profile and expertise in functional design of dynamic precision.
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GNÄDINGER建筑公司的设计风格在刻板的德国公共建筑中迈出了令人鼓舞 的一步，他们提倡用规则的几何图形，提倡使用石材和玻璃。此项目处于Richard Rogers，Helmut Jahn, Hans Kollhoff, Renzo Piano和gmp大楼临近的社区中，是一栋 动感十足的立方体，展现了真正的个性。菱形的楼体，四周围以不规则的曲线形 铝板玻璃立面，令人印象非常深刻。 动态立方体 GNÄDINGER建筑公司根据人体肌肉块的原理，设计出了这种抽象的、不规则 形状的白铝外墙嵌板。凹凸有致、线条纵横捭阖、轮廓清晰的铝板和压在上面的 玻璃釉包裹着底层空间，看起来动感十足，又不泄露建筑背后的真实技术。 下面三层作为展示空间，有互动逼真的多媒体展示，也有模拟的最高端整形 手术产品。别的展示层设有研讨会室、会议室以及医生、治疗师和整形技师和患 者的咨询室。生产制造的区域贯彻了OTTO BOCK为客户和患者服务的理念。 项目空间围绕着一个核心组建，这个核心包含着为大楼服务的立式流通空 间。开放性空间的安排可以在房间的尺寸和用途上有最大的灵活性，保证了沿着 动态包裹的外玻璃立面之内可用空间在最大限度地利用日光照明。 细节处理上把握了最简约的聚焦模式：大多数表面，包括所有的家具和展示 物品都是白色的，跟地面形成鲜明对比，地面的天然石头和地毯都是银灰色的。 在一些选定的区域里，比如说电梯里，使用了黑色硬木嵌板，加强了反差和活力 聚焦。 在刚性内部核心，使用了色彩斑斓的印花玻璃嵌板，使用一体化的电视 监控担当信息媒体的作用。这些玻璃嵌板与整体的白色布局产生平衡反差。 GNÄDINGER就是一个既满足了医学技术的需要，又具有高度美感的工业设计，充 满活力的建筑。这个富有表现力的展示建筑可以理解为既代表客户形象又具有专 业素养的多功能动态设计。
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GNÄDINGER建筑公司的设计风格在刻板的德国公共建筑中迈出了令人鼓舞 的一步，他们提倡用规则的几何图形，提倡使用石材和玻璃。此项目处于Richard Rogers，Helmut Jahn, Hans Kollhoff, Renzo Piano和gmp大楼临近的社区中，是一栋 动感十足的立方体，展现了真正的个性。菱形的楼体，四周围以不规则的曲线形 铝板玻璃立面，令人印象非常深刻。 动态立方体 GNÄDINGER建筑公司根据人体肌肉块的原理，设计出了这种抽象的、不规则 形状的白铝外墙嵌板。凹凸有致、线条纵横捭阖、轮廓清晰的铝板和压在上面的 玻璃釉包裹着底层空间，看起来动感十足，又不泄露建筑背后的真实技术。 下面三层作为展示空间，有互动逼真的多媒体展示，也有模拟的最高端整形 手术产品。别的展示层设有研讨会室、会议室以及医生、治疗师和整形技师和患 者的咨询室。生产制造的区域贯彻了OTTO BOCK为客户和患者服务的理念。 项目空间围绕着一个核心组建，这个核心包含着为大楼服务的立式流通空 间。开放性空间的安排可以在房间的尺寸和用途上有最大的灵活性，保证了沿着 动态包裹的外玻璃立面之内可用空间在最大限度地利用日光照明。 细节处理上把握了最简约的聚焦模式：大多数表面，包括所有的家具和展示 物品都是白色的，跟地面形成鲜明对比，地面的天然石头和地毯都是银灰色的。 在一些选定的区域里，比如说电梯里，使用了黑色硬木嵌板，加强了反差和活力 聚焦。 在刚性内部核心，使用了色彩斑斓的印花玻璃嵌板，使用一体化的电视 监控担当信息媒体的作用。这些玻璃嵌板与整体的白色布局产生平衡反差。 GNÄDINGER就是一个既满足了医学技术的需要，又具有高度美感的工业设计，充 满活力的建筑。这个富有表现力的展示建筑可以理解为既代表客户形象又具有专 业素养的多功能动态设计。
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