Shopping Mall III

责任编辑：张雪姣 封面设计：黄子平

SHOPPING

SHOPPING

MALL Ⅲ 商业广场 Ⅲ

华中建筑微信公共平台

定价：698.00 元（USD 139.99）

高迪国际出版（香港）有限公司 编

杨韵竹 刘健琨 译

上架建议：建筑∕景观设计

MALL Ⅲ 商业广场 Ⅲ

高迪国际出版（香港）有限公司 编 杨韵竹 刘健琨 译

PREFACE 1

DREAM

序言一

Mels Crouwel, Jan Benthem, Marcel Blom, Markus Sporer, Joost Vos, Marten Wassman

梦想

Benthem Crouwel Architects

The world is changing. Shifting social patterns create a new sense of public

The department store is radically different from the nineteenth-century

space. Innovative technology allows us more than ever to connect. Rampant

shopping arcade. The arcade was a series of shops that provided a decor to

individualism fuels fantasy worlds and crowd events. Dwindling resources

the city flaneur strolling about to see and to be seen. The department store

trigger a search for ecological balance and sustainability. The buildings

provides space for a wide spectrum of private fantasies that make up the

that house, surround and accommodate these changes still carry 19th-

modern individual consumptive experience. By offering the visitor a plethora of

century nametags: railway station, department store, museum, concert hall,

things to see and try, the department store seems to focus on actual products

warehouse. Yet, their meaning has changed radically.

and purchases. Yet, its goal is to convincingly present new lives that ensue

Consider the shopping mall; the department store. To shop is to reward

from the products visitors long for. This is the very archetype of the modern

oneself. The department store is an instrument for re-inventing the self, for a

department store. It allows the visitor to buy, and it encourages the shopper to

very short time, in order to escape the world outside.

dream.

世界在改变。社会模式的转变创造了新的公共空间感知形式。技术的革新使我们之间的联系变得从未有过的紧密。猖獗的个人主义为幻想新的世界和人的行为活动提 供了燃料。日益减少的资源扣动了研究生态平衡和可持续发展的扳机。那些适应这些变化的建筑，比如一些房屋及其周围的环境，虽然还贴着 19 世纪的标签：火车站， 百货商场，博物馆，音乐厅，仓库等。然而，它们的性质却发生了根本的变化。 想想商业中心，或者百货商场。去购物是为了奖励自己？不是，百货商场只是一种重塑自我的工具，在极短的时间内，为了逃离这个世界几分钟。 现在的百货商场和 19 世纪的购物商场具有本质性的区别，购物商场是一系列的店铺，它们隐藏着城市中的游荡的闲逛者，提供看与被看的场所。百货商场则为每个 人的幻想提供了更加广阔的空间，构成现代人每个人独享的消费体验。让消费者看到大量富余的商品并试用，百货商场似乎专注于商品的生产和销售。然而，它的目标是 要确切地呈现一种新的生活，一种由商品产生的，消费者渴望的生活。这才是现代百货商场的本质。它促使消费者去购买商品，并激励他们去拥有梦想。

梅尔斯 · 克洛威尔，简 · 本特姆，马塞尔 · 布鲁姆，马库斯 · 斯波勒，乔斯特 · 弗斯，马腾 · 瓦斯曼 克洛威尔 · 本特姆设计事务所合伙人

PREFACE 1

DREAM

序言一

Mels Crouwel, Jan Benthem, Marcel Blom, Markus Sporer, Joost Vos, Marten Wassman

梦想

Benthem Crouwel Architects

The world is changing. Shifting social patterns create a new sense of public

The department store is radically different from the nineteenth-century

space. Innovative technology allows us more than ever to connect. Rampant

shopping arcade. The arcade was a series of shops that provided a decor to

individualism fuels fantasy worlds and crowd events. Dwindling resources

the city flaneur strolling about to see and to be seen. The department store

trigger a search for ecological balance and sustainability. The buildings

provides space for a wide spectrum of private fantasies that make up the

that house, surround and accommodate these changes still carry 19th-

modern individual consumptive experience. By offering the visitor a plethora of

century nametags: railway station, department store, museum, concert hall,

things to see and try, the department store seems to focus on actual products

warehouse. Yet, their meaning has changed radically.

and purchases. Yet, its goal is to convincingly present new lives that ensue

Consider the shopping mall; the department store. To shop is to reward

from the products visitors long for. This is the very archetype of the modern

oneself. The department store is an instrument for re-inventing the self, for a

department store. It allows the visitor to buy, and it encourages the shopper to

very short time, in order to escape the world outside.

dream.

世界在改变。社会模式的转变创造了新的公共空间感知形式。技术的革新使我们之间的联系变得从未有过的紧密。猖獗的个人主义为幻想新的世界和人的行为活动提 供了燃料。日益减少的资源扣动了研究生态平衡和可持续发展的扳机。那些适应这些变化的建筑，比如一些房屋及其周围的环境，虽然还贴着 19 世纪的标签：火车站， 百货商场，博物馆，音乐厅，仓库等。然而，它们的性质却发生了根本的变化。 想想商业中心，或者百货商场。去购物是为了奖励自己？不是，百货商场只是一种重塑自我的工具，在极短的时间内，为了逃离这个世界几分钟。 现在的百货商场和 19 世纪的购物商场具有本质性的区别，购物商场是一系列的店铺，它们隐藏着城市中的游荡的闲逛者，提供看与被看的场所。百货商场则为每个 人的幻想提供了更加广阔的空间，构成现代人每个人独享的消费体验。让消费者看到大量富余的商品并试用，百货商场似乎专注于商品的生产和销售。然而，它的目标是 要确切地呈现一种新的生活，一种由商品产生的，消费者渴望的生活。这才是现代百货商场的本质。它促使消费者去购买商品，并激励他们去拥有梦想。

梅尔斯 · 克洛威尔，简 · 本特姆，马塞尔 · 布鲁姆，马库斯 · 斯波勒，乔斯特 · 弗斯，马腾 · 瓦斯曼 克洛威尔 · 本特姆设计事务所合伙人

序言二

PREFACE 2

PREFACE 3

序言三

Shopping Experience 购物体验

Ole Wiig

Marek Tryzybowicz

Principal Partner, Narud Stokke Wiig Architects

Principal, Design Director, Bose International Planning and Architecture

It is a long time since the first shopping centres were conceived in USA, as

As time passes, people are not only getting more free time, but also searching

covered ‘malls’. The idea was to enable shoppers to enjoy an indoor and

for greater qualities and meaning in their free time. It is therefore no longer

“Shopping experience” is not and never was about buying things only. It

ambiance. The development of modern Shopping Centers placed within the

enticing environment, sheltered from the changing weather.

sufficient to offer discounted articles to attract shoppers, nor is it sufficient to

was always much more. It was assisting us – human beings from the very

city centers may have constructive contribution to the local urban and social

In order to make the malls become successful commercial enterprises, they

add an adventure or two for Dad or the little child to make them happy whilst

beginning of human interactions. People were selling, buying and exchanging

environment. Both models can add positive and locally specific dimensions

were not only covered and climatised, but had a substantial ‘magnet’ at each

Mum goes shopping!

goods from the ancient times and these forms of interaction are with us today.

to the evolving urban structure. The responsibility for this to happen is in the

end of the shopping strip. In this way the shoppers moved from one end to

The shopper of the future will increasingly be looking at shopping as an

Trading goods in the cities, villages and settlements were accompanied with

hands of creative commercial designers. It is their unique privilege to apply

the other, also providing business for the smaller stops in between.

adventurous experience in itself, where quality based environment with

entertainment and excitements unique for respective civilizations and cultures.

their talent and expertise to consolidate and translate various expectations into

This initial concept proved successful throughout the world. In order to

quality interiors, intriguing lighting, lush furnishings are mixed with cafes with

The excitements of traditional marketplaces, busy sauks, bazaars and bustling

the lively, exciting places with local flavor and ambiance. The criteria to judge

optimize the sales potential, within the limited space, the shop units would

sumptuous food. The best products available will be found in specialty shops

commercial streets of old towns are vivid examples of expression of human

the new coming urban retail buildings should be rigorous and professionally

also fully occupy the vertical surfaces, giving almost windowless buildings.

in the centre, as a true multifunctional and multifaceted meeting place.

interactivity and social nature.

informed. The brief should stress development integration with its surrounding

This resulted in fairly artificial but intriguing indoor environments, but what did

The shopping centre of the future will also open itself to the outside world,

What this has to do with today nature of our shopping activities?

context, the positive urban contribution and site specific individuality. The

they offer to the outside world? Almost nothing.

not only to expose its colourful merchandise, but also to become part of the

Well, it is the same, but the scenery and scenography of this activity is

commercial expectations- while a must to meet should not relieve the

As time went by, numerous shopping centres of this kind lingered on, with the

outside world in the most positive way. The new generation of shopping

constantly changing and adapting to the so dramatic changes within our

designers from searching and applying creative sensitive architectural and

blessing of local politicians and planning authorities and as long as they were

centres will open themselves to the street scene beyond as integrated

material and spiritual civilization. While the globalization is metaphorically

urban design response.

making a profit.

meeting places for the community. Here you will meet your friends for a

shrinking our world, we are losing our distinctive cultural identities. Our cities

The retail design does not know the physical borders. The internationally

But times were changing. People were given more free time, and the leisure

cup of coffee in wonderful piazzas well integrated in the centre, both inside

and towns, streets and plazas are looking increasingly similar to each other.

practicing architect-designer is usually confronted with similar commercial

time was not only to be spent on shopping. Coupled with entertainment

and outside, with enticing urban experiences offering a lot more than mere

The commercial business models translated into planning formulas are

issues in many different part of the world. However, it requires a lot of respect

adventures, the shopping experience became more enjoyable, with interesting

shopping. This will also result in greater attention to architectural quality and

shaping buildings and new developments. The naturally evolved and centuries

for the local culture and open mind for understanding the physical and

offerings for the whole family.

details applying quality materials both in advanced buildings forms and prolific

old urban fabric is replaced by replicated massive structures expressing

spiritual context of the place before designing the new retail building. It is

However, shopping experience coupled with adventures are now about to

squares.

today’s retail formulas. This evolution offers also great opportunities. While

both a responsibility and a source of tremendous professional satisfaction

creating modern retail structures in response to commercial expectations,

to be involved in reshaping the city with a new commercial development.

creative architects can draw the inspirations from the past and still apply the

The intangible reward is memory of many incredible people and places. It

most contemporary progressive retail driven design models.

also allows the creative person to better understand today’s changing and

The High Street retail model, while composed of international and local brands

complex world.

become history.

距离在美国构想出第一个购物中心已经很久了，作为有屋顶的“市场”，购物中心的设计概念旨在使顾客能够享受室内的、迷人的购物环境，不用担心天气变化带来

Shopping malls, retail high streets are shaping our cities today.

could develop well within the local context creating unique character and

的不便。 为让这些购物市场成为成功的商业企业，它们不仅仅是有屋顶的和气候宜人的，而且每一条购物路线的端头都具备固有的“磁性”。这样，就能促使顾客从一端逛到 另一端，同时为两个端点之间的店铺提供了商机。 这个初步概念在世界范围内被证明是成功的。为使销售潜力最大化，在有限的空间里，这些商铺也完全占据着垂直空间，形成几乎无窗的建筑形式。这就导致了全人工、 但极富魅力的室内环境，而它们为外界提供什么了呢？几乎什么也没有。

购物中心与商业街正塑造着我们的城市。 “购物体验”从来不是买东西那么简单，它代表了很多。它时刻在提醒我们，人类始于最初的人际交往。在古代，人们就进行买卖与物品交换，这些形式的交往一直伴 随我们到现在。城市、乡村以及定居点的商品贸易往往伴随有一些娱乐设施以及当地的社会文化特色。集贸市场、露天剧场、拥挤旧城的商铺等都是体现了人类交往与社

随着时间的推移，这种形式的购物中心一直大量存在着，在当地政客和规划当局的祈祷下，只要它们还能盈利。 但时代在变化，人们拥有了更多的空闲时间，而这些富余的时间不仅是用来购物的。再加上一些娱乐的冒险活动，购物的经历会变得更加让人享受，从而为整个家庭 提供欢乐。

会性质的鲜活例子。 这些与我们现在的购物活动有什么关系呢？ 其实，它们是相同的，但是为了适应人类物质文明与精神文明的巨大变革，这些活动的发生地也在持续地变化着。全球化让世界变得更小，我们正在逐渐失去自己的

然而，将购物体验和娱乐冒险结合起来的做法在现在看来已经成为历史了。 久而久之，人们不仅是拥有休闲时间，更要在闲暇的同时追求更高的生活品质和意义。这样一来，仅通过商品折扣就不能满足消费者需求了，在妈妈购物时，给爸爸 和小孩提供游戏项目让他们开心也不能满足需求了。 未来的顾客将越来越多地把购物本身当成一种冒险的享受，而它的品质基于外界和室内环境的品质，迷人的灯光，豪华的家具和配有精致美食的咖啡馆。在购物中心 的特色店里能找到最好的产品，购物中心成为了一个真正多功能、多层次的聚会场所。未来的购物中心依然会对外界开放，不仅是为了展示它们多姿多彩的商品，也是要 以一种积极的姿态成为外界的一部分。新一代的购物中心将向身后的街景开放，并作为综合性的社区集会场所。在这里你会遇见你的朋友，并在一个很好的融入购物中心 的广场上喝一杯咖啡，可能在室外也可能在室内。购物中心体现着迷人的都市生活，不仅是提供购物场所。这也将导致人们对建筑品质和细节更多的关注，具体就是前期 建筑形式和大量的广场建造材料的品质。

文化特质。我们的城市、村镇、街巷与广场日渐趋同。自然形成而具有悠久历史的城市肌理正在被符合当今零售功能的块状结构所替代。但这种演化同样提供了巨大的机遇。 在创造新的零售构架以适应商业预期的同时，极具创意的建筑师们可以将旧时的灵感应用到现代的商业设施中以创造出新的商业模式。 商业街模式通常包含国际与当地品牌，它们可以在顺应城市肌理的同时塑造出独特的氛围。现代化购物中心的建成对城市中心区的建设也有着巨大的推动作用。这两 种模式都在一定程度上对于城市的结构演进起着积极作用。城市零售建筑的建造标准与要求需要进行严格设定，使其能够顺应周围环境，推动城市发展而又保持自身的个性。 我们需要达到一定的商业预期，但建筑师却不能够放松对于兼顾城市环境与自身特质的创新型建筑的追求。 商业建筑设计不具有一定的物理边界。拥有国际实践经验的建筑师们可能在世界的不同地区遇到相似的项目。当然，这也需要尊重当地的文化，并且在设计之前用开 阔的思维去理解城市的精神与客观条件。因此，利用商业建筑来重塑城市形象不但需要社会责任感，还需要较高的职业素养。被人们或者地方铭记或许就是最好的褒奖， 而这些也可以让那些独具创造性思维的人们更好地理解当今这个复杂多变的世界。

奥雷 · 韦格

马雷克 · 泰茨博威茨

那鲁德 · 斯托克 · 韦格建筑事务所主要合伙人

Bose 国际规划与建筑事务所负责人，设计总监

序言二

PREFACE 2

PREFACE 3

序言三

Shopping Experience 购物体验

Ole Wiig

Marek Tryzybowicz

Principal Partner, Narud Stokke Wiig Architects

Principal, Design Director, Bose International Planning and Architecture

It is a long time since the first shopping centres were conceived in USA, as

As time passes, people are not only getting more free time, but also searching

covered ‘malls’. The idea was to enable shoppers to enjoy an indoor and

for greater qualities and meaning in their free time. It is therefore no longer

“Shopping experience” is not and never was about buying things only. It

ambiance. The development of modern Shopping Centers placed within the

enticing environment, sheltered from the changing weather.

sufficient to offer discounted articles to attract shoppers, nor is it sufficient to

was always much more. It was assisting us – human beings from the very

city centers may have constructive contribution to the local urban and social

In order to make the malls become successful commercial enterprises, they

add an adventure or two for Dad or the little child to make them happy whilst

beginning of human interactions. People were selling, buying and exchanging

environment. Both models can add positive and locally specific dimensions

were not only covered and climatised, but had a substantial ‘magnet’ at each

Mum goes shopping!

goods from the ancient times and these forms of interaction are with us today.

to the evolving urban structure. The responsibility for this to happen is in the

end of the shopping strip. In this way the shoppers moved from one end to

The shopper of the future will increasingly be looking at shopping as an

Trading goods in the cities, villages and settlements were accompanied with

hands of creative commercial designers. It is their unique privilege to apply

the other, also providing business for the smaller stops in between.

adventurous experience in itself, where quality based environment with

entertainment and excitements unique for respective civilizations and cultures.

their talent and expertise to consolidate and translate various expectations into

This initial concept proved successful throughout the world. In order to

quality interiors, intriguing lighting, lush furnishings are mixed with cafes with

The excitements of traditional marketplaces, busy sauks, bazaars and bustling

the lively, exciting places with local flavor and ambiance. The criteria to judge

optimize the sales potential, within the limited space, the shop units would

sumptuous food. The best products available will be found in specialty shops

commercial streets of old towns are vivid examples of expression of human

the new coming urban retail buildings should be rigorous and professionally

also fully occupy the vertical surfaces, giving almost windowless buildings.

in the centre, as a true multifunctional and multifaceted meeting place.

interactivity and social nature.

informed. The brief should stress development integration with its surrounding

This resulted in fairly artificial but intriguing indoor environments, but what did

The shopping centre of the future will also open itself to the outside world,

What this has to do with today nature of our shopping activities?

context, the positive urban contribution and site specific individuality. The

they offer to the outside world? Almost nothing.

not only to expose its colourful merchandise, but also to become part of the

Well, it is the same, but the scenery and scenography of this activity is

commercial expectations- while a must to meet should not relieve the

As time went by, numerous shopping centres of this kind lingered on, with the

outside world in the most positive way. The new generation of shopping

constantly changing and adapting to the so dramatic changes within our

designers from searching and applying creative sensitive architectural and

blessing of local politicians and planning authorities and as long as they were

centres will open themselves to the street scene beyond as integrated

material and spiritual civilization. While the globalization is metaphorically

urban design response.

making a profit.

meeting places for the community. Here you will meet your friends for a

shrinking our world, we are losing our distinctive cultural identities. Our cities

The retail design does not know the physical borders. The internationally

But times were changing. People were given more free time, and the leisure

cup of coffee in wonderful piazzas well integrated in the centre, both inside

and towns, streets and plazas are looking increasingly similar to each other.

practicing architect-designer is usually confronted with similar commercial

time was not only to be spent on shopping. Coupled with entertainment

and outside, with enticing urban experiences offering a lot more than mere

The commercial business models translated into planning formulas are

issues in many different part of the world. However, it requires a lot of respect

adventures, the shopping experience became more enjoyable, with interesting

shopping. This will also result in greater attention to architectural quality and

shaping buildings and new developments. The naturally evolved and centuries

for the local culture and open mind for understanding the physical and

offerings for the whole family.

details applying quality materials both in advanced buildings forms and prolific

old urban fabric is replaced by replicated massive structures expressing

spiritual context of the place before designing the new retail building. It is

However, shopping experience coupled with adventures are now about to

squares.

today’s retail formulas. This evolution offers also great opportunities. While

both a responsibility and a source of tremendous professional satisfaction

creating modern retail structures in response to commercial expectations,

to be involved in reshaping the city with a new commercial development.

creative architects can draw the inspirations from the past and still apply the

The intangible reward is memory of many incredible people and places. It

most contemporary progressive retail driven design models.

also allows the creative person to better understand today’s changing and

The High Street retail model, while composed of international and local brands

complex world.

become history.

距离在美国构想出第一个购物中心已经很久了，作为有屋顶的“市场”，购物中心的设计概念旨在使顾客能够享受室内的、迷人的购物环境，不用担心天气变化带来

Shopping malls, retail high streets are shaping our cities today.

could develop well within the local context creating unique character and

的不便。 为让这些购物市场成为成功的商业企业，它们不仅仅是有屋顶的和气候宜人的，而且每一条购物路线的端头都具备固有的“磁性”。这样，就能促使顾客从一端逛到 另一端，同时为两个端点之间的店铺提供了商机。 这个初步概念在世界范围内被证明是成功的。为使销售潜力最大化，在有限的空间里，这些商铺也完全占据着垂直空间，形成几乎无窗的建筑形式。这就导致了全人工、 但极富魅力的室内环境，而它们为外界提供什么了呢？几乎什么也没有。

购物中心与商业街正塑造着我们的城市。 “购物体验”从来不是买东西那么简单，它代表了很多。它时刻在提醒我们，人类始于最初的人际交往。在古代，人们就进行买卖与物品交换，这些形式的交往一直伴 随我们到现在。城市、乡村以及定居点的商品贸易往往伴随有一些娱乐设施以及当地的社会文化特色。集贸市场、露天剧场、拥挤旧城的商铺等都是体现了人类交往与社

随着时间的推移，这种形式的购物中心一直大量存在着，在当地政客和规划当局的祈祷下，只要它们还能盈利。 但时代在变化，人们拥有了更多的空闲时间，而这些富余的时间不仅是用来购物的。再加上一些娱乐的冒险活动，购物的经历会变得更加让人享受，从而为整个家庭 提供欢乐。

会性质的鲜活例子。 这些与我们现在的购物活动有什么关系呢？ 其实，它们是相同的，但是为了适应人类物质文明与精神文明的巨大变革，这些活动的发生地也在持续地变化着。全球化让世界变得更小，我们正在逐渐失去自己的

然而，将购物体验和娱乐冒险结合起来的做法在现在看来已经成为历史了。 久而久之，人们不仅是拥有休闲时间，更要在闲暇的同时追求更高的生活品质和意义。这样一来，仅通过商品折扣就不能满足消费者需求了，在妈妈购物时，给爸爸 和小孩提供游戏项目让他们开心也不能满足需求了。 未来的顾客将越来越多地把购物本身当成一种冒险的享受，而它的品质基于外界和室内环境的品质，迷人的灯光，豪华的家具和配有精致美食的咖啡馆。在购物中心 的特色店里能找到最好的产品，购物中心成为了一个真正多功能、多层次的聚会场所。未来的购物中心依然会对外界开放，不仅是为了展示它们多姿多彩的商品，也是要 以一种积极的姿态成为外界的一部分。新一代的购物中心将向身后的街景开放，并作为综合性的社区集会场所。在这里你会遇见你的朋友，并在一个很好的融入购物中心 的广场上喝一杯咖啡，可能在室外也可能在室内。购物中心体现着迷人的都市生活，不仅是提供购物场所。这也将导致人们对建筑品质和细节更多的关注，具体就是前期 建筑形式和大量的广场建造材料的品质。

文化特质。我们的城市、村镇、街巷与广场日渐趋同。自然形成而具有悠久历史的城市肌理正在被符合当今零售功能的块状结构所替代。但这种演化同样提供了巨大的机遇。 在创造新的零售构架以适应商业预期的同时，极具创意的建筑师们可以将旧时的灵感应用到现代的商业设施中以创造出新的商业模式。 商业街模式通常包含国际与当地品牌，它们可以在顺应城市肌理的同时塑造出独特的氛围。现代化购物中心的建成对城市中心区的建设也有着巨大的推动作用。这两 种模式都在一定程度上对于城市的结构演进起着积极作用。城市零售建筑的建造标准与要求需要进行严格设定，使其能够顺应周围环境，推动城市发展而又保持自身的个性。 我们需要达到一定的商业预期，但建筑师却不能够放松对于兼顾城市环境与自身特质的创新型建筑的追求。 商业建筑设计不具有一定的物理边界。拥有国际实践经验的建筑师们可能在世界的不同地区遇到相似的项目。当然，这也需要尊重当地的文化，并且在设计之前用开 阔的思维去理解城市的精神与客观条件。因此，利用商业建筑来重塑城市形象不但需要社会责任感，还需要较高的职业素养。被人们或者地方铭记或许就是最好的褒奖， 而这些也可以让那些独具创造性思维的人们更好地理解当今这个复杂多变的世界。

奥雷 · 韦格

马雷克 · 泰茨博威茨

那鲁德 · 斯托克 · 韦格建筑事务所主要合伙人

Bose 国际规划与建筑事务所负责人，设计总监

CONTENTS

目

录

009

042

198

208

218

EMPORIA 马尔默购物中心

MALL FORUM MITTELRHEIN 中莱茵 Forum 购物中心

GALERIA MM Galeria MM 购物中心

DOLCE VITA TEJO 里斯本 Dolce Vita Tejo 商业中心

CAROSELLO SHOPPING CENTRE Carosello 购物中心

KRAGUJEVAC PLAZA 克拉古耶瓦茨广场

054

070

084

236

254

266

GALERIA KORONA KIELCE SHOPPING CENTER Galeria Korona 凯尔采购物中心

PARADIGM MALL 佰乐泰购物广场

096

104

TUKCOM I.T.MALL CHOLBURI 泰国春武里 TUKCOM 信息技术商场

124

GALERIA ECHO Galeria Echo 购物中心

SIRKUS SHOPPING LEANGEN Leangen Sirkus 购物中心

116

280

VIVACI GUARDA Vivaci Guarda 购物中心

LIVERPOOL ALTABRISA DEPARTMENT STORE 利物浦 Altabrisa 百货商店

165

154

132

146

TUKCOM SRIRACHA 泰国是拉差 TUKCOM 信息技术商场

TARSU SHOPPING & ENTERTAINMENT CENTER Tarsu 购物娱乐中心

ALLEE SHOPPING CENTRE Allee 购物中心

164

176

186

AURA SHOPPING & ENTERTAINMENT CENTER Aura 购物娱乐中心 6

026

GALERIE HARFA Galerie Harfa 商业中心

AVE PLAZA 林荫广场购物中心

294

IKEA VEDÈNE BULD'AIR Vedène 宜家商场

` PLAZA COMMERCIAL TORUN & RETAIL CENTER Toruń 广场商业及零售中心

318

332

GALAXY MALL TIANJIN CULTURAL COMPLEX 天津银河国际购物中心

FORUM DEBRECEN 德布勒森广场商业中心

306

ARENA CENTAR 阿瑞娜中心

INDEX 索引

DOT BAIRES SHOPPING DOT Baires 购物中心 7

CONTENTS

目

录

009

042

198

208

218

EMPORIA 马尔默购物中心

MALL FORUM MITTELRHEIN 中莱茵 Forum 购物中心

GALERIA MM Galeria MM 购物中心

DOLCE VITA TEJO 里斯本 Dolce Vita Tejo 商业中心

CAROSELLO SHOPPING CENTRE Carosello 购物中心

KRAGUJEVAC PLAZA 克拉古耶瓦茨广场

054

070

084

236

254

266

GALERIA KORONA KIELCE SHOPPING CENTER Galeria Korona 凯尔采购物中心

PARADIGM MALL 佰乐泰购物广场

096

104

TUKCOM I.T.MALL CHOLBURI 泰国春武里 TUKCOM 信息技术商场

124

GALERIA ECHO Galeria Echo 购物中心

SIRKUS SHOPPING LEANGEN Leangen Sirkus 购物中心

116

280

VIVACI GUARDA Vivaci Guarda 购物中心

LIVERPOOL ALTABRISA DEPARTMENT STORE 利物浦 Altabrisa 百货商店

165

154

132

146

TUKCOM SRIRACHA 泰国是拉差 TUKCOM 信息技术商场

TARSU SHOPPING & ENTERTAINMENT CENTER Tarsu 购物娱乐中心

ALLEE SHOPPING CENTRE Allee 购物中心

164

176

186

AURA SHOPPING & ENTERTAINMENT CENTER Aura 购物娱乐中心 6

026

GALERIE HARFA Galerie Harfa 商业中心

AVE PLAZA 林荫广场购物中心

294

IKEA VEDÈNE BULD'AIR Vedène 宜家商场

` PLAZA COMMERCIAL TORUN & RETAIL CENTER Toruń 广场商业及零售中心

318

332

GALAXY MALL TIANJIN CULTURAL COMPLEX 天津银河国际购物中心

FORUM DEBRECEN 德布勒森广场商业中心

306

ARENA CENTAR 阿瑞娜中心

INDEX 索引

DOT BAIRES SHOPPING DOT Baires 购物中心 7

Emporia LOCATION Malmö, Sweden

AREA: 234,000 m2

Architect Wingårdhs through, Gert Wingårdh, Johan Eklind and Joakim Lyth

It is a huge development, of which only the corner

protection from the wind are actually hiding mechanical

building with the Amber Entrance has yet been

rooms. In the future the roof will be developed with

completed. This entrance will be the only part of the

outdoor dining and a spa facility—like amusement parks,

Interior Architect Wingårdhs through, Helena Toresson

Emporia shopping center that remains visible when the

shopping centers need to offer new attractions at regular

development is completely built out.

intervals.

The diagonal entrance from Hyllie Station Square leads

Emporia can expand upward and to the west, but not in

deep into the block. Inside, retail is organized around

any of the other directions. The freestanding residential

a three-story figure eight. Shops are grouped together

buildings facing Boulevarden have yet to be built, as do

Landscape Design Thyréns AB (Anders Dahl, Pamela Sjöstrand)

around boldly colored atriums, each with a different

those that will stand atop the podium along Stationsgatan

theme. On the north side of the complex, a ramp leads

on the south side.

into a rainbow-colored parking garage (for 2,500 cars)

Emporia’s interior challenges established shopping center

Landscape Design (Roof Park) Wingårdhs, Landskapsgruppen Öresund AB (Sofia Hultenberg, Louise Lundberg)

with direct access to the figure eight. To the east is a

conventions. Its bold colors and bent sightlines break

surface parking lot (for 500) right outside the supermarket.

with the norm, as do the project’s size and ambition—

The rooftop park is designed as a bit of cultivated nature.

which have made it possible to do custom designs

Its vegetation (sedum, prairie grass, and trees) and its

for everything from ceilings, floors, and storefronts to

Client Steen & Ström Sverige AB

sun-facing, wind-sheltered patios are accessible from

signage, ropes of hanging plants, furniture, and cast

both inside and outside the building. The hills that provide

glass door handles.

Graphic Design Wingårdhs through, Jennie Stolpe

8

马尔默购物中心

9

Emporia LOCATION Malmö, Sweden

AREA: 234,000 m2

Architect Wingårdhs through, Gert Wingårdh, Johan Eklind and Joakim Lyth

It is a huge development, of which only the corner

protection from the wind are actually hiding mechanical

building with the Amber Entrance has yet been

rooms. In the future the roof will be developed with

completed. This entrance will be the only part of the

outdoor dining and a spa facility—like amusement parks,

Interior Architect Wingårdhs through, Helena Toresson

Emporia shopping center that remains visible when the

shopping centers need to offer new attractions at regular

development is completely built out.

intervals.

The diagonal entrance from Hyllie Station Square leads

Emporia can expand upward and to the west, but not in

deep into the block. Inside, retail is organized around

any of the other directions. The freestanding residential

a three-story figure eight. Shops are grouped together

buildings facing Boulevarden have yet to be built, as do

Landscape Design Thyréns AB (Anders Dahl, Pamela Sjöstrand)

around boldly colored atriums, each with a different

those that will stand atop the podium along Stationsgatan

theme. On the north side of the complex, a ramp leads

on the south side.

into a rainbow-colored parking garage (for 2,500 cars)

Emporia’s interior challenges established shopping center

Landscape Design (Roof Park) Wingårdhs, Landskapsgruppen Öresund AB (Sofia Hultenberg, Louise Lundberg)

with direct access to the figure eight. To the east is a

conventions. Its bold colors and bent sightlines break

surface parking lot (for 500) right outside the supermarket.

with the norm, as do the project’s size and ambition—

The rooftop park is designed as a bit of cultivated nature.

which have made it possible to do custom designs

Its vegetation (sedum, prairie grass, and trees) and its

for everything from ceilings, floors, and storefronts to

Client Steen & Ström Sverige AB

sun-facing, wind-sheltered patios are accessible from

signage, ropes of hanging plants, furniture, and cast

both inside and outside the building. The hills that provide

glass door handles.

Graphic Design Wingårdhs through, Jennie Stolpe

8

马尔默购物中心

9

10

11

10

11

这是个大型的开发项目，目前只完成了带有琥珀入口的转角建筑。项目完全建成后，这个入口将是该购物中心唯一可被看见的部分。 Hyllie 车站广场的斜向入口将人们引向街区深处。在里面，零售通过环绕一个三层通高的 8 字形来组织。商铺成组布置在大胆用色的中庭 周围，每一组都有不同的主题。在综合体北侧，是一个通向彩虹色车库的坡道（这个车库可容纳 2500 辆车），车库可直接通往“8”字形的部 分。东侧是一个地面停车区域（可容纳 500 辆车），在外部紧邻超市。 屋顶停车被设计成带有一点人工意味的自然形态。室内和建筑外部都能通往植被（景天属植物，牧场草以及树木）种植区和向阳遮风的露台。 用来挡风的小土丘，内部实际隐藏着设备间。将来屋顶还要设置室外用餐和水疗设施——就像游乐场一样，购物中心需要间隔一段时间就增加 新的吸引项目。 购物中心可以向上和向西扩张，但其它方向不行。大道对面将建造独立的居民区，就像那些建造在沿着车站街道南侧平台上的建筑一样。 商业中心的室内装修挑战了既定购物中心的装潢惯例。它大胆的颜色和弯曲的透视设计与常规格格不入，包括项目的规模和追求的品质—— 每样东西都可以实现客户的定制设计，大到天花板、地板、店面设计，小到标识、悬挂植物的绳子、家具和浇筑的玻璃门把手。

12

13

这是个大型的开发项目，目前只完成了带有琥珀入口的转角建筑。项目完全建成后，这个入口将是该购物中心唯一可被看见的部分。 Hyllie 车站广场的斜向入口将人们引向街区深处。在里面，零售通过环绕一个三层通高的 8 字形来组织。商铺成组布置在大胆用色的中庭 周围，每一组都有不同的主题。在综合体北侧，是一个通向彩虹色车库的坡道（这个车库可容纳 2500 辆车），车库可直接通往“8”字形的部 分。东侧是一个地面停车区域（可容纳 500 辆车），在外部紧邻超市。 屋顶停车被设计成带有一点人工意味的自然形态。室内和建筑外部都能通往植被（景天属植物，牧场草以及树木）种植区和向阳遮风的露台。 用来挡风的小土丘，内部实际隐藏着设备间。将来屋顶还要设置室外用餐和水疗设施——就像游乐场一样，购物中心需要间隔一段时间就增加 新的吸引项目。 购物中心可以向上和向西扩张，但其它方向不行。大道对面将建造独立的居民区，就像那些建造在沿着车站街道南侧平台上的建筑一样。 商业中心的室内装修挑战了既定购物中心的装潢惯例。它大胆的颜色和弯曲的透视设计与常规格格不入，包括项目的规模和追求的品质—— 每样东西都可以实现客户的定制设计，大到天花板、地板、店面设计，小到标识、悬挂植物的绳子、家具和浇筑的玻璃门把手。

12

13

14

15

14

15

16

17

16

17

SEDUM MAT REINFORCEMENT MESH LIGHTWEIGHT EXPANDED CLAY AGGREGATE (LEVELING LAYER) EXPANDED POLYSTYRENE FOAM GEOTEXTILE MAT + REINFORCEMENT MESH LIGHTWEIGHT EXPANDED CLAY AGGREGATE (DRAINING LAYER) WATERPROOFING MEMBRANE CELLULAR GLASS CONCRETE SLAB

CONCRETE BLOCK PAVING SAND + GRAVEL

WALKING PATH

BUILT-UP HILL

HVAC ROOM

K

18

19

SEDUM MAT REINFORCEMENT MESH LIGHTWEIGHT EXPANDED CLAY AGGREGATE (LEVELING LAYER) EXPANDED POLYSTYRENE FOAM GEOTEXTILE MAT + REINFORCEMENT MESH LIGHTWEIGHT EXPANDED CLAY AGGREGATE (DRAINING LAYER) WATERPROOFING MEMBRANE CELLULAR GLASS CONCRETE SLAB

CONCRETE BLOCK PAVING SAND + GRAVEL

WALKING PATH

BUILT-UP HILL

HVAC ROOM

K

18

19

20

21

20

21

RJ36

22

23

RJ36

22

23

24

25

24

25

Mall Forum Mittelrhein LOCATION Koblenz, Germany

中莱茵 Forum 购物中心 AREA 86,100 m²

Architect Benthem Crouwel GmbH

Contractor Züblin GmbH

Fire Safety HHP West, Bielefeld

Project Team Markus Sporer, Marcel Blom, Anna Gerlach, Noortje ter Heege, Tina Kortmann, Sascha Rullkötter, Cornelius Wens, Sander Vijgen, Benedikt Krienen, Anna Böll, Frank Deltrap

Construction Engineers IDN Ingenieure, Duisburg

Landscape Architects Kubus Freiraumplanung

Technical Engineers Technic Air, Hamburg

Photographer Jens Kirchner

The shopping mall ´Forum Mittelrhein´ and the Kulturbau Koblenz together

This, in combination with the great spaciousness gives a high-level of amenity

form the design for the redevelopment of the Zentralplatz, the central square of

and a pleasant ambience for the user.

Koblenz. The Zentralplatz not only connects the various districts of Koblenz with

The façade design takes the users into account. The lower two floors with the

each other but also has an important function as a public transport interchange

shops have a glass facade as a strip around the building. On the second to the

and place where various pedestrian flows come together.

fourth floor there are technical facilities and 740 parking spaces, organized

Forum Mittelrhein presents itself as a flat, horizontal layered structure. Due to

around a central landscaped courtyard. These top three floors are dominated by

this powerful format, the buildings volume is reduced efficiently and a pleasant

an artificial "Weinlaubfacade"(wine leaf facade). This facade is composed out of

sense of scale is established. On relevant junctions within the urban fabric, the

only one type of element, that is produced in large quantities and high quality

mall offers spacious entrances and invites to follow the pedestrian flows and ‘glide’

in an industrial thermoforming process. Approximately 2,900 identical, three-

through the building. The shopping center is characterized by its trapezoidal

dimensional shaped aluminium elements, painted in three different shades of

layout and smooth outlines. The areas intertwined with escalators provide

green, form this distinctive facade.

orientation points, divide the building and provide the interior with natural light.

Client ECE Projektmanagement GmbH & Co. KG

26

27

Mall Forum Mittelrhein LOCATION Koblenz, Germany

中莱茵 Forum 购物中心 AREA 86,100 m²

Architect Benthem Crouwel GmbH

Contractor Züblin GmbH

Fire Safety HHP West, Bielefeld

Project Team Markus Sporer, Marcel Blom, Anna Gerlach, Noortje ter Heege, Tina Kortmann, Sascha Rullkötter, Cornelius Wens, Sander Vijgen, Benedikt Krienen, Anna Böll, Frank Deltrap

Construction Engineers IDN Ingenieure, Duisburg

Landscape Architects Kubus Freiraumplanung

Technical Engineers Technic Air, Hamburg

Photographer Jens Kirchner

The shopping mall ´Forum Mittelrhein´ and the Kulturbau Koblenz together

This, in combination with the great spaciousness gives a high-level of amenity

form the design for the redevelopment of the Zentralplatz, the central square of

and a pleasant ambience for the user.

Koblenz. The Zentralplatz not only connects the various districts of Koblenz with

The façade design takes the users into account. The lower two floors with the

each other but also has an important function as a public transport interchange

shops have a glass facade as a strip around the building. On the second to the

and place where various pedestrian flows come together.

fourth floor there are technical facilities and 740 parking spaces, organized

Forum Mittelrhein presents itself as a flat, horizontal layered structure. Due to

around a central landscaped courtyard. These top three floors are dominated by

this powerful format, the buildings volume is reduced efficiently and a pleasant

an artificial "Weinlaubfacade"(wine leaf facade). This facade is composed out of

sense of scale is established. On relevant junctions within the urban fabric, the

only one type of element, that is produced in large quantities and high quality

mall offers spacious entrances and invites to follow the pedestrian flows and ‘glide’

in an industrial thermoforming process. Approximately 2,900 identical, three-

through the building. The shopping center is characterized by its trapezoidal

dimensional shaped aluminium elements, painted in three different shades of

layout and smooth outlines. The areas intertwined with escalators provide

green, form this distinctive facade.

orientation points, divide the building and provide the interior with natural light.

Client ECE Projektmanagement GmbH & Co. KG

26

27

28

29

28

29

Ansicht Zentralplatz 1. Eingang Altlöhrtor 2. Eingang Trichterplatz 3. Eingang Kundentreppenhaus 4. Casinostraße 5. Viktoriastraße

3

2

Ansicht Zentralplatz 1. Eingang Altlöhrtor 2. Eingang Trichterplatz 3. Eingang Kundentreppenhaus 4. Casinostraße 5. Viktoriastraße

1

4

Ansicht Viktoriastraße 1. Eingang Altlöhrtor 2. Eingang Trichterplatz 3. Trichterplatz 4. Luisenstraße

VIEW FROM VICTORIASTRABE 0

Ansicht Zentralplatz 1. Eingang Altlöhrtor 2. Eingang Trichterplatz 3. Eingang Kundentreppenhaus 4. Casinostraße 5. Viktoriastraße

4

2

3

4

1

2

1

Ansicht Zentralplatz 1. Eingang Altlöhrtor 2. Eingang Trichterplatz 3. Eingang Kundentreppenhaus 4. Casinostraße 5. Viktoriastraße

3

2

0

5

5

10

25m

4

0

Lageplan A. Forum Mittelrhein B. Kulturbau C. Zentralplatz D. Trichterplatz 1.

2.

3.

4.

5.

6.

7.

8.

9.

8

III

B 9

C

Eingang Eingang Eingang Eingang Eingang Eingang Eingang Eingang Eingang

I. II. III. IV. V.

7

D

25m

VIEW FROM ZENTRALPLATZ

1

II

10

Schnitt 01 1. Mall 2. Shop 3. Parkhaus 4. Nebenräume 5. Centermanagement 6. Luisenstraße 7. Zentralplatz

5

3

5

0

01 Center, Altlöhrtor 02 Center, Trichterplatz 03 Center, Casinostraße Center Parkhaus Center Personal Center Anlieferung Kulturbau Zentralplatz Kulturbau Clemensstraße Kulturbau Trichterplatz

5

10

25m

4

2

3

3

3

4

3

3

5

3

1

2 6 Schnitt 01 1. Mall 2. Shop 3. Parkhaus 4. Nebenräume 5. Centermanagement 6. Luisenstraße 7. Zentralplatz

Casinostraße Clemensstraße Görgensstraße Viktoriastraße Luisenstraße

1

7

2 1

2

4

5

10

25m

Schnitt 02 1. Mall 2. Shop 3. Luftraum / Tube 4. Parkhaus 5. Nebenräume 6. Technik 7. Viktoriastraße 8. Casinostraße

2

1

2

3

5

2

0

5

10

25m

SECTION 01 4

2

2

3

1

5

0

5

10

25m

0

5

10

25m

1

I IV

6

6 0

5

10

25m

A

5 7 3

V

4

3

3

4

3

3

5

3

3

4

2

5

6

2 2

30

2

1 1

0

1

2

10

2

20

50m

SITUATION

7

Schnitt 02 1. Mall 2. Shop 3. Luftraum / Tube 4. Parkhaus 5. Nebenräume 6. Technik 7. Viktoriastraße 8. Casinostraße

4

4 3

3

3

2

1

1

1

2

1

1

1

2

1

1

1

6 2 8 2

SECTION 02 31

Ansicht Zentralplatz 1. Eingang Altlöhrtor 2. Eingang Trichterplatz 3. Eingang Kundentreppenhaus 4. Casinostraße 5. Viktoriastraße

3

2

Ansicht Zentralplatz 1. Eingang Altlöhrtor 2. Eingang Trichterplatz 3. Eingang Kundentreppenhaus 4. Casinostraße 5. Viktoriastraße

1

4

Ansicht Viktoriastraße 1. Eingang Altlöhrtor 2. Eingang Trichterplatz 3. Trichterplatz 4. Luisenstraße

VIEW FROM VICTORIASTRABE 0

Ansicht Zentralplatz 1. Eingang Altlöhrtor 2. Eingang Trichterplatz 3. Eingang Kundentreppenhaus 4. Casinostraße 5. Viktoriastraße

4

2

3

4

1

2

1

Ansicht Zentralplatz 1. Eingang Altlöhrtor 2. Eingang Trichterplatz 3. Eingang Kundentreppenhaus 4. Casinostraße 5. Viktoriastraße

3

2

0

5

5

10

25m

4

0

Lageplan A. Forum Mittelrhein B. Kulturbau C. Zentralplatz D. Trichterplatz 1.

2.

3.

4.

5.

6.

7.

8.

9.

8

III

B 9

C

Eingang Eingang Eingang Eingang Eingang Eingang Eingang Eingang Eingang

I. II. III. IV. V.

7

D

25m

VIEW FROM ZENTRALPLATZ

1

II

10

Schnitt 01 1. Mall 2. Shop 3. Parkhaus 4. Nebenräume 5. Centermanagement 6. Luisenstraße 7. Zentralplatz

5

3

5

0

01 Center, Altlöhrtor 02 Center, Trichterplatz 03 Center, Casinostraße Center Parkhaus Center Personal Center Anlieferung Kulturbau Zentralplatz Kulturbau Clemensstraße Kulturbau Trichterplatz

5

10

25m

4

2

3

3

3

4

3

3

5

3

1

2 6 Schnitt 01 1. Mall 2. Shop 3. Parkhaus 4. Nebenräume 5. Centermanagement 6. Luisenstraße 7. Zentralplatz

Casinostraße Clemensstraße Görgensstraße Viktoriastraße Luisenstraße

1

7

2 1

2

4

5

10

25m

Schnitt 02 1. Mall 2. Shop 3. Luftraum / Tube 4. Parkhaus 5. Nebenräume 6. Technik 7. Viktoriastraße 8. Casinostraße

2

1

2

3

5

2

0

5

10

25m

SECTION 01 4

2

2

3

1

5

0

5

10

25m

0

5

10

25m

1

I IV

6

6 0

5

10

25m

A

5 7 3

V

4

3

3

4

3

3

5

3

3

4

2

5

6

2 2

30

2

1 1

0

1

2

10

2

20

50m

SITUATION

7

Schnitt 02 1. Mall 2. Shop 3. Luftraum / Tube 4. Parkhaus 5. Nebenräume 6. Technik 7. Viktoriastraße 8. Casinostraße

4

4 3

3

3

2

1

1

1

2

1

1

1

2

1

1

1

6 2 8 2

SECTION 02 31

Intervall

0.00 Uhr

2 1

2

6.00 Uhr

6.00 Uhr

3

3 1

0.00 Uhr

3.00 Uhr

4

6.00 Uhr

9.00 Uhr

0.00 Uhr

2

3 4

9.00 Uhr

3.00 Uhr

2

6.00 Uhr

3

6.00 Uhr 3.00 Uhr

1 0.00 Uhr

4

9.00 Uhr

4

9.00 Uhr

2

3.00 Uhr

1 0.00 Uhr

3.00 Uhr

0.00 Uhr

2

1

4

9.00 Uhr

Rotation Weinlaub Die Drehung der Weinlaub-Elemente erfolgt nicht zufällig sondern nach einem festen Prinzip.

Das kleinste Intervall sind vier Spalten (Achsmaß 4 x 1.185 m = 4.74 m). Dieses Intervall wird "endlos" aneinandergereiht. Die Systematik innerhalb dieses Intervalls basiert auf vertikalen Spalten. Die erste Spalte beginnt oben mit der Positon 1 (0.00 Uhr), dann folgt darunter die Position 2 (3.00 Uhr), usw. Nach der Position 4 (9.00 Uhr) folgt dann wieder Position 1, Position 2 usw.

Die zweite Spalte beginnt mit Position 3 (6.00 Uhr), die dritte mit der Position 2 (3.00 Uhr) und die vierte mit der Position 4 (9.00 Uhr). In jeder Spalte wird beginnend mit der jeweiliegen Position einfach von oben nach unter "durchgezählt".

Die Angabe zur Drehung erfolgt als "Uhrzeit" und bezieht sich dabei immer auf die Postion des großen Weinblattes in dem Element.

1

6.00 Uhr

3

6.00 Uhr

0.00 Uhr

2

3.00 Uhr

3 1.185

4

9.00 Uhr

1.185

4

9.00 Uhr

1 0.00 Uhr

6.00 Uhr

3

6.00 Uhr

1.185

3

1.185

2

3.00 Uhr

3

6.00 Uhr

3

6.00 Uhr

1.185

4

1.185

9.00 Uhr

3

6.00 Uhr

6.00 Uhr

3

3

3

6.00 Uhr

3

6.00 Uhr

3

6.00 Uhr

3

4.74

2

4.74

3.00 Uhr

1

2

1.185

0.00 Uhr

0.00 Uhr

3.00 Uhr

1.185

1.185

1

4

2500mm

9.00 Uhr

1000

1.185

1.185

4

500

1 0.00 Uhr

9.00 Uhr

4.74

1.185

2

1.185 4.74

0

32

1.185

3.00 Uhr

1.185

4

9.00 Uhr

1.185

1

4

Position 4

1.185

1.185

9.00 Uhr

1.185

2

0.00 Uhr

2

4.74

1.185

3.00 Uhr

1 3.00 Uhr

2

3.00 Uhr

1.185

4

4

9.00 Uhr

4

9.00 Uhr

1

4

1.185

9.00 Uhr

1.185

Intervall

0.00 Uhr

0.00 Uhr

Position 3

Intervall

Rotation Weinlaub Die Drehung der Weinlaub-Elemente erfolgt nicht zufällig sondern nach einem festen Prinzip.

Das kleinste Intervall sind vier Spalten (Achsmaß 4 x 1.185 m = 4.74 m). Dieses Intervall wird "endlos" aneinandergereiht. Die Systematik innerhalb dieses Intervalls basiert auf vertikalen Spalten. Die erste Spalte beginnt oben mit der Positon 1 (0.00 Uhr), dann folgt darunter die Position 2 (3.00 Uhr), usw. Nach der Position 4 (9.00 Uhr) folgt dann wieder Position 1, Position 2 usw.

Die zweite Spalte beginnt mit Position 3 (6.00 Uhr), die dritte mit der Position 2 (3.00 Uhr) und die vierte mit der Position 4 (9.00 Uhr). In jeder Spalte wird beginnend mit der jeweiliegen Position einfach von oben nach unter "durchgezählt".

Die Angabe zur Drehung erfolgt als "Uhrzeit" und bezieht sich dabei immer auf die Postion des großen Weinblattes in dem Element.

2

3.00 Uhr

Position 2

Position 4

9.00 Uhr

Position 3

0.00 Uhr

2

1

Position 1

1 0.00 Uhr

2

Position 2

1 0.00 Uhr

3.00 Uhr

Position 1

3.00 Uhr

Intervall

4

9.00 Uhr

Position 4

4

Position 4

Intervall

2

Position 3

9.00 Uhr

1 0.00 Uhr

3.00 Uhr

Position 2

Intervall

3

6.00 Uhr

Position 3

Rotation Weinlaub Die Drehung der Weinlaub-Elemente erfolgt nicht zufällig sondern nach einem festen Prinzip.

Das kleinste Intervall sind vier Spalten (Achsmaß 4 x 1.185 m = 4.74 m). Dieses Intervall wird "endlos" aneinandergereiht. Die Systematik innerhalb dieses Intervalls basiert auf vertikalen Spalten. Die erste Spalte beginnt oben mit der Positon 1 (0.00 Uhr), dann folgt darunter die Position 2 (3.00 Uhr), usw. Nach der Position 4 (9.00 Uhr) folgt dann wieder Position 1, Position 2 usw.

Die zweite Spalte beginnt mit Position 3 (6.00 Uhr), die dritte mit der Position 2 (3.00 Uhr) und die vierte mit der Position 4 (9.00 Uhr). In jeder Spalte wird beginnend mit der jeweiliegen Position einfach von oben nach unter "durchgezählt".

Die Angabe zur Drehung erfolgt als "Uhrzeit" und bezieht sich dabei immer auf die Postion des großen Weinblattes in dem Element.

6.00 Uhr

3.00 Uhr

Position 2

Position 1

Intervall

1

Position 1

Intervall

Rotation Weinlaub Die Drehung der Weinlaub-Elemente erfolgt nicht zufällig sondern nach einem festen Prinzip.

Das kleinste Intervall sind vier Spalten (Achsmaß 4 x 1.185 m = 4.74 m). Dieses Intervall wird "endlos" aneinandergereiht. Die Systematik innerhalb dieses Intervalls basiert auf vertikalen Spalten. Die erste Spalte beginnt oben mit der Positon 1 (0.00 Uhr), dann folgt darunter die Position 2 (3.00 Uhr), usw. Nach der Position 4 (9.00 Uhr) folgt dann wieder Position 1, Position 2 usw.

Die zweite Spalte beginnt mit Position 3 (6.00 Uhr), die dritte mit der Position 2 (3.00 Uhr) und die vierte mit der Position 4 (9.00 Uhr). In jeder Spalte wird beginnend mit der jeweiliegen Position einfach von oben nach unter "durchgezählt".

Die Angabe zur Drehung erfolgt als "Uhrzeit" und bezieht sich dabei immer auf die Postion des großen Weinblattes in dem Element.

1.185

4.74 0

5000

500

10001000

2500mm

2500mm

33

Intervall

0.00 Uhr

2 1

2

6.00 Uhr

6.00 Uhr

3

3 1

0.00 Uhr

3.00 Uhr

4

6.00 Uhr

9.00 Uhr

0.00 Uhr

2

3 4

9.00 Uhr

3.00 Uhr

2

6.00 Uhr

3

6.00 Uhr 3.00 Uhr

1 0.00 Uhr

4

9.00 Uhr

4

9.00 Uhr

2

3.00 Uhr

1 0.00 Uhr

3.00 Uhr

0.00 Uhr

2

1

4

9.00 Uhr

Rotation Weinlaub Die Drehung der Weinlaub-Elemente erfolgt nicht zufällig sondern nach einem festen Prinzip.

Das kleinste Intervall sind vier Spalten (Achsmaß 4 x 1.185 m = 4.74 m). Dieses Intervall wird "endlos" aneinandergereiht. Die Systematik innerhalb dieses Intervalls basiert auf vertikalen Spalten. Die erste Spalte beginnt oben mit der Positon 1 (0.00 Uhr), dann folgt darunter die Position 2 (3.00 Uhr), usw. Nach der Position 4 (9.00 Uhr) folgt dann wieder Position 1, Position 2 usw.

Die zweite Spalte beginnt mit Position 3 (6.00 Uhr), die dritte mit der Position 2 (3.00 Uhr) und die vierte mit der Position 4 (9.00 Uhr). In jeder Spalte wird beginnend mit der jeweiliegen Position einfach von oben nach unter "durchgezählt".

Die Angabe zur Drehung erfolgt als "Uhrzeit" und bezieht sich dabei immer auf die Postion des großen Weinblattes in dem Element.

1

6.00 Uhr

3

6.00 Uhr

0.00 Uhr

2

3.00 Uhr

3 1.185

4

9.00 Uhr

1.185

4

9.00 Uhr

1 0.00 Uhr

6.00 Uhr

3

6.00 Uhr

1.185

3

1.185

2

3.00 Uhr

3

6.00 Uhr

3

6.00 Uhr

1.185

4

1.185

9.00 Uhr

3

6.00 Uhr

6.00 Uhr

3

3

3

6.00 Uhr

3

6.00 Uhr

3

6.00 Uhr

3

4.74

2

4.74

3.00 Uhr

1

2

1.185

0.00 Uhr

0.00 Uhr

3.00 Uhr

1.185

1.185

1

4

2500mm

9.00 Uhr

1000

1.185

1.185

4

500

1 0.00 Uhr

9.00 Uhr

4.74

1.185

2

1.185 4.74

0

32

1.185

3.00 Uhr

1.185

4

9.00 Uhr

1.185

1

4

Position 4

1.185

1.185

9.00 Uhr

1.185

2

0.00 Uhr

2

4.74

1.185

3.00 Uhr

1 3.00 Uhr

2

3.00 Uhr

1.185

4

4

9.00 Uhr

4

9.00 Uhr

1

4

1.185

9.00 Uhr

1.185

Intervall

0.00 Uhr

0.00 Uhr

Position 3

Intervall

Rotation Weinlaub Die Drehung der Weinlaub-Elemente erfolgt nicht zufällig sondern nach einem festen Prinzip.

Das kleinste Intervall sind vier Spalten (Achsmaß 4 x 1.185 m = 4.74 m). Dieses Intervall wird "endlos" aneinandergereiht. Die Systematik innerhalb dieses Intervalls basiert auf vertikalen Spalten. Die erste Spalte beginnt oben mit der Positon 1 (0.00 Uhr), dann folgt darunter die Position 2 (3.00 Uhr), usw. Nach der Position 4 (9.00 Uhr) folgt dann wieder Position 1, Position 2 usw.

Die zweite Spalte beginnt mit Position 3 (6.00 Uhr), die dritte mit der Position 2 (3.00 Uhr) und die vierte mit der Position 4 (9.00 Uhr). In jeder Spalte wird beginnend mit der jeweiliegen Position einfach von oben nach unter "durchgezählt".

Die Angabe zur Drehung erfolgt als "Uhrzeit" und bezieht sich dabei immer auf die Postion des großen Weinblattes in dem Element.

2

3.00 Uhr

Position 2

Position 4

9.00 Uhr

Position 3

0.00 Uhr

2

1

Position 1

1 0.00 Uhr

2

Position 2

1 0.00 Uhr

3.00 Uhr

Position 1

3.00 Uhr

Intervall

4

9.00 Uhr

Position 4

4

Position 4

Intervall

2

Position 3

9.00 Uhr

1 0.00 Uhr

3.00 Uhr

Position 2

Intervall

3

6.00 Uhr

Position 3

Rotation Weinlaub Die Drehung der Weinlaub-Elemente erfolgt nicht zufällig sondern nach einem festen Prinzip.

Das kleinste Intervall sind vier Spalten (Achsmaß 4 x 1.185 m = 4.74 m). Dieses Intervall wird "endlos" aneinandergereiht. Die Systematik innerhalb dieses Intervalls basiert auf vertikalen Spalten. Die erste Spalte beginnt oben mit der Positon 1 (0.00 Uhr), dann folgt darunter die Position 2 (3.00 Uhr), usw. Nach der Position 4 (9.00 Uhr) folgt dann wieder Position 1, Position 2 usw.

Die zweite Spalte beginnt mit Position 3 (6.00 Uhr), die dritte mit der Position 2 (3.00 Uhr) und die vierte mit der Position 4 (9.00 Uhr). In jeder Spalte wird beginnend mit der jeweiliegen Position einfach von oben nach unter "durchgezählt".

Die Angabe zur Drehung erfolgt als "Uhrzeit" und bezieht sich dabei immer auf die Postion des großen Weinblattes in dem Element.

6.00 Uhr

3.00 Uhr

Position 2

Position 1

Intervall

1

Position 1

Intervall

Rotation Weinlaub Die Drehung der Weinlaub-Elemente erfolgt nicht zufällig sondern nach einem festen Prinzip.

Das kleinste Intervall sind vier Spalten (Achsmaß 4 x 1.185 m = 4.74 m). Dieses Intervall wird "endlos" aneinandergereiht. Die Systematik innerhalb dieses Intervalls basiert auf vertikalen Spalten. Die erste Spalte beginnt oben mit der Positon 1 (0.00 Uhr), dann folgt darunter die Position 2 (3.00 Uhr), usw. Nach der Position 4 (9.00 Uhr) folgt dann wieder Position 1, Position 2 usw.

Die zweite Spalte beginnt mit Position 3 (6.00 Uhr), die dritte mit der Position 2 (3.00 Uhr) und die vierte mit der Position 4 (9.00 Uhr). In jeder Spalte wird beginnend mit der jeweiliegen Position einfach von oben nach unter "durchgezählt".

Die Angabe zur Drehung erfolgt als "Uhrzeit" und bezieht sich dabei immer auf die Postion des großen Weinblattes in dem Element.

1.185

4.74 0

5000

500

10001000

2500mm

2500mm

33

4. OG

3. OG

2. OG

中莱茵 Forum 购物中心和 Kulturbau Koblenz 一同 组成了 Zentralplatz 项目的重建，即位于 Koblenz 的中 心广场。Zentralplatz 广场不仅联系着 Koblenz 的多个

1. OG

区域，同时作为公共交通和多股人流的交汇处发挥着重要 的功能作用。 中莱茵 Forum 购物中心为扁平的水平式结构。因为 这个强有力的格局，建筑有效地减小了体量，营造出一种 舒适的尺度感。在城市结构的重要节点中，该中心作为其 中之一提供了开阔的入口广场空间，顺应人流行走路线并 且引导人流穿越建筑。购物中心以其梯形的布局和圆滑的 轮廓为特征。自动扶梯纵横交错，有方向地划分了建筑内 部空间，这种划分为室内带来了自然采光。这些丰富的空 间配合宽敞的大空间给使用者带来高级的空间享受和舒适 度。 外形的设计还考虑了使用性。较低的作为商铺的两 层都使用玻璃立面，像环绕建筑的带子。从第二层到第四

EG

层是设备用房和 740 个停车位，环绕一个中央的景观庭 院布置。靠近顶层的三层被人造的 "Weinlaubfacade" （葡萄叶立面表皮）环绕。建筑立面仅由一种构件组成， 该构件在工厂用热压成型法进行了高品质的大批量生产。 构件为三维铝构件，漆成不同深度绿色，接近 2900 个这 样的构件组成了这个与众不同的立面。

KG

Shops Gastronomie Treppen, Aufzüge Mall Nebenfläche / Lager / Technik

34

35

4. OG

3. OG

2. OG

中莱茵 Forum 购物中心和 Kulturbau Koblenz 一同 组成了 Zentralplatz 项目的重建，即位于 Koblenz 的中 心广场。Zentralplatz 广场不仅联系着 Koblenz 的多个

1. OG

区域，同时作为公共交通和多股人流的交汇处发挥着重要 的功能作用。 中莱茵 Forum 购物中心为扁平的水平式结构。因为 这个强有力的格局，建筑有效地减小了体量，营造出一种 舒适的尺度感。在城市结构的重要节点中，该中心作为其 中之一提供了开阔的入口广场空间，顺应人流行走路线并 且引导人流穿越建筑。购物中心以其梯形的布局和圆滑的 轮廓为特征。自动扶梯纵横交错，有方向地划分了建筑内 部空间，这种划分为室内带来了自然采光。这些丰富的空 间配合宽敞的大空间给使用者带来高级的空间享受和舒适 度。 外形的设计还考虑了使用性。较低的作为商铺的两 层都使用玻璃立面，像环绕建筑的带子。从第二层到第四

EG

层是设备用房和 740 个停车位，环绕一个中央的景观庭 院布置。靠近顶层的三层被人造的 "Weinlaubfacade" （葡萄叶立面表皮）环绕。建筑立面仅由一种构件组成， 该构件在工厂用热压成型法进行了高品质的大批量生产。 构件为三维铝构件，漆成不同深度绿色，接近 2900 个这 样的构件组成了这个与众不同的立面。

KG

Shops Gastronomie Treppen, Aufzüge Mall Nebenfläche / Lager / Technik

34

35

2

Grundriss Untergeschoss 1. Mall 2. Shop 3. Gastronomie 4. Anlieferung 5. Kundentreppenhaus 6. Kundenflur 7. Nebenr채ume

2

1

2

2

3

7

6

1

2

2 7

5

2

2 2 7

6

7

2 1 7

2

4

2

7 0

5

10

25m

BASEMENT PLAN

GROUND FLOOR PLAN 36

37

2

Grundriss Untergeschoss 1. Mall 2. Shop 3. Gastronomie 4. Anlieferung 5. Kundentreppenhaus 6. Kundenflur 7. Nebenr채ume

2

1

2

2

3

7

6

1

2

2 7

5

2

2 2 7

6

7

2 1 7

2

4

2

7 0

5

10

25m

BASEMENT PLAN

GROUND FLOOR PLAN 36

37

8

2

2

7

Grundriss 1. OG 1. Mall 2. Shop 3. Gastronomie 4. Foodcourt 5. Kundentreppenhaus 6. Kundenflur 7. Kunden-WC 8. Nebenräume 9. Luftraum / Tube

8 1

Grundriss 3. OG 1. Kundenflur 2. Kundentreppenhaus 3. Kundenaufzug 4. Centermanagement 5. Nebenräume / Technik 6. Luftraum / Tube 7. "Weinlaub" Fassade 8. ca. 254 Parkplätze

5

8

6

9

4

2 2

8 2

9

8

1

6

1

7 9

5 7

2 9

6

8

7 2

2

3 8

2

2

1

4

8 4

2

3

9

8

3

8

2

6

5

4

9

2

8

8

3

3

3

5

3

8

8

8

3 0

5

10

0

25m

5

10

25m

7

FIRST FLOOR PLAN

11

THIRD FLOOR PLAN

Grundriss 2. OG 1. Eingang Parkhaus 2. Ausgang Parkhaus 3. Eingang Mall 4. Kundenaufzug 5. Kunden Treppenhaus 6. Kundenflur 7. Parkwächter 8. Nebenräume / Technik 9. Luftraum / Tube 10. Begrünter Innenhof 11. "Weinlaub" Fassade 12. ca. 216 Parkplätze

8 2 1 7 12 8 9 12 3 3 6 11

11

5

12 8

10

12

4

3 10 8

9

3 8 8 12 0

8

5

10

25m

11

SECOND FLOOR PLAN 38

39

8

2

2

7

Grundriss 1. OG 1. Mall 2. Shop 3. Gastronomie 4. Foodcourt 5. Kundentreppenhaus 6. Kundenflur 7. Kunden-WC 8. Nebenräume 9. Luftraum / Tube

8 1

Grundriss 3. OG 1. Kundenflur 2. Kundentreppenhaus 3. Kundenaufzug 4. Centermanagement 5. Nebenräume / Technik 6. Luftraum / Tube 7. "Weinlaub" Fassade 8. ca. 254 Parkplätze

5

8

6

9

4

2 2

8 2

9

8

1

6

1

7 9

5 7

2 9

6

8

7 2

2

3 8

2

2

1

4

8 4

2

3

9

8

3

8

2

6

5

4

9

2

8

8

3

3

3

5

3

8

8

8

3 0

5

10

0

25m

5

10

25m

7

FIRST FLOOR PLAN

11

THIRD FLOOR PLAN

Grundriss 2. OG 1. Eingang Parkhaus 2. Ausgang Parkhaus 3. Eingang Mall 4. Kundenaufzug 5. Kunden Treppenhaus 6. Kundenflur 7. Parkwächter 8. Nebenräume / Technik 9. Luftraum / Tube 10. Begrünter Innenhof 11. "Weinlaub" Fassade 12. ca. 216 Parkplätze

8 2 1 7 12 8 9 12 3 3 6 11

11

5

12 8

10

12

4

3 10 8

9

3 8 8 12 0

8

5

10

25m

11

SECOND FLOOR PLAN 38

39

Grundriss 4. OG 1. Kundenflur 2. Kundentreppenhaus 3. Kundenaufzug 4. Nebenräume / Technik 5. ca. 273 Parkplätze

4

5

4

4 5

1

2 4

5

3

5

4

5

4

5

4 0

5

10

25m

FOURTH FLOOR PLAN

6 4

Grundriss Dachgeschoss 1. Parkfläche 2. Ein-/ Ausfahrt Rampe 3. Begrünter Innenhof (2. OG) 4. Begrünte Dachfläche 5. Technik 6. "Weinlaub" Fassade 7. Glasdach Tube

5

2

7

4

1

1

6

6

7

3

4

7 1

2 3

7

7 4

1

4

0

6

40

5

10

25m

ATTIC PLAN 41

Grundriss 4. OG 1. Kundenflur 2. Kundentreppenhaus 3. Kundenaufzug 4. Nebenräume / Technik 5. ca. 273 Parkplätze

4

5

4

4 5

1

2 4

5

3

5

4

5

4

5

4 0

5

10

25m

FOURTH FLOOR PLAN

6 4

Grundriss Dachgeschoss 1. Parkfläche 2. Ein-/ Ausfahrt Rampe 3. Begrünter Innenhof (2. OG) 4. Begrünte Dachfläche 5. Technik 6. "Weinlaub" Fassade 7. Glasdach Tube

5

2

7

4

1

1

6

6

7

3

4

7 1

2 3

7

7 4

1

4

0

6

40

5

10

25m

ATTIC PLAN 41

GALERIA MM

Galeria MM is located in Poznan, a city which year by year holds the most recognizable trade events of Central Europe – Poznan

Galeria MM 购物中心

International Fair. The city, with its population exceeding 600.000 and eight state universities is one of the largest academic centres in Poland.

Galeria MM was created as a modern downtown shopping centre with an underground parking lot and additional space for offices. It is

LOCATION Poznan, Poland

AREA

5,710 m2 (Site Area), 4,853 m2 (Building Area)

situated in the very heart of the city in the immediate vicinity of the Old Market and the Liberty Square, at the corner of St. Martin St and Marcinkowski Av. For decades, this area has been recognized as a traditional shopping destination by the citizens of Poznan.

Thanks to smart communication and well-organised function inside, the building perfectly fits in existing pedestrian routes. It was

Architect Studio ADS: Piotr Zbigniew Barełkowski

Interior Design Studio ADS: Piotr Zbigniew Barełkowski, Przemysław Borkowicz

Photographer Bartosz Makowski

designed to become a passage, which people can use to take a shortcut between the two streets. The inner space of the shopping centre was designed to give it a modern urban look. Food court section invites pedestrians to get inside, shops encourage to go shopping and the highest floors create a high-class office space with a unique view over the Old Town. The external of the building despite its sculptural form harmonizes with nineteenth-century character of the surrounding architecture.

Project Team Przemysław Borkowicz, Aleksandra Kucka, Dobiesław Wozniak, Bartosz Rzezniczak, Paulina Molicka, Anna Bieczynska, Joanna Zielinska, Marta W a g a - S c h u m a c h e r, D o m i n i k a Przybylska, Sergio Torres Garcia, Zenon Walkowiak

42

Client Galeria SPV Sp. z o.o.

43

GALERIA MM

Galeria MM is located in Poznan, a city which year by year holds the most recognizable trade events of Central Europe – Poznan

Galeria MM 购物中心

International Fair. The city, with its population exceeding 600.000 and eight state universities is one of the largest academic centres in Poland.

Galeria MM was created as a modern downtown shopping centre with an underground parking lot and additional space for offices. It is

LOCATION Poznan, Poland

AREA

5,710 m2 (Site Area), 4,853 m2 (Building Area)

situated in the very heart of the city in the immediate vicinity of the Old Market and the Liberty Square, at the corner of St. Martin St and Marcinkowski Av. For decades, this area has been recognized as a traditional shopping destination by the citizens of Poznan.

Thanks to smart communication and well-organised function inside, the building perfectly fits in existing pedestrian routes. It was

Architect Studio ADS: Piotr Zbigniew Barełkowski

Interior Design Studio ADS: Piotr Zbigniew Barełkowski, Przemysław Borkowicz

Photographer Bartosz Makowski

designed to become a passage, which people can use to take a shortcut between the two streets. The inner space of the shopping centre was designed to give it a modern urban look. Food court section invites pedestrians to get inside, shops encourage to go shopping and the highest floors create a high-class office space with a unique view over the Old Town. The external of the building despite its sculptural form harmonizes with nineteenth-century character of the surrounding architecture.

Project Team Przemysław Borkowicz, Aleksandra Kucka, Dobiesław Wozniak, Bartosz Rzezniczak, Paulina Molicka, Anna Bieczynska, Joanna Zielinska, Marta W a g a - S c h u m a c h e r, D o m i n i k a Przybylska, Sergio Torres Garcia, Zenon Walkowiak

42

Client Galeria SPV Sp. z o.o.

43

Galeria MM 购物中心位于波兹南，一个每年举办最知名的中欧波兹南国际博览会的城市。该市的人口超过 60 万，并拥有 8 所州级大学，是波兰最大的学术中心之一。 Galeria MM 购物中心被建为一个现代化的市区购物中心，它有一个地下停车场和写字楼，坐落在该市的正 中心，紧邻圣马丁街和 Marcinkowski 大道拐角处的旧市场和自由广场。几十年来，这个地方已被波兹南公民公 认为一个传统的购物地点。 建筑内部的智能衔接和结构清晰的功能分配使得建筑完美地融入了现有的人行道路。它被设计成一个建筑物 通道，人们可在两条街道间抄近路。购物中心的内部空间被设计为一个拥有现代城市风格的样貌。食品区邀请行 人进入，店铺鼓励人们来购物，顶端的楼层创造了一流的办公环境，可将老城区独特的风景一览无遗。尽管建筑 的外形是雕塑形式，但它与周围 19 世纪建筑风格很协调。

44

45

Galeria MM 购物中心位于波兹南，一个每年举办最知名的中欧波兹南国际博览会的城市。该市的人口超过 60 万，并拥有 8 所州级大学，是波兰最大的学术中心之一。 Galeria MM 购物中心被建为一个现代化的市区购物中心，它有一个地下停车场和写字楼，坐落在该市的正 中心，紧邻圣马丁街和 Marcinkowski 大道拐角处的旧市场和自由广场。几十年来，这个地方已被波兹南公民公 认为一个传统的购物地点。 建筑内部的智能衔接和结构清晰的功能分配使得建筑完美地融入了现有的人行道路。它被设计成一个建筑物 通道，人们可在两条街道间抄近路。购物中心的内部空间被设计为一个拥有现代城市风格的样貌。食品区邀请行 人进入，店铺鼓励人们来购物，顶端的楼层创造了一流的办公环境，可将老城区独特的风景一览无遗。尽管建筑 的外形是雕塑形式，但它与周围 19 世纪建筑风格很协调。

44

45

46

47

46

47

48

49

48

49

50

51

50

51

52

53

52

53

Galeria Korona Kielce Shopping Center LOCATION Kielce, Poland

Architect MAREK TRYZYBOWICZ, BORYS JURASZYNSKI

Galeria Korona 凯尔采购物中心 AREA: 92,000 m2

Firm Bose International Planning and Architecture

Project Team Marek Tryzybowicz, Damian Wołkiewicz, Małgorzata Konstanzer, Justyna Sylwestrzak, Duygu Ozturk (Concept Design), Borys Juraszynski, Aurelia Juraszynska, Grazyna Stawicka, Beata Skowronska, Paulina Godzinska, Maciej Chmielecki, Bartek Godzinski, Michał Łempicki, Jarosław Malik, Agnieszka Rokicka, Magdalena Dobrowolska, Jan Zarnowiecki, Joanna Nikodemska- Kołacz (Building Permit Documentation) 54

55

Galeria Korona Kielce Shopping Center LOCATION Kielce, Poland

Architect MAREK TRYZYBOWICZ, BORYS JURASZYNSKI

Galeria Korona 凯尔采购物中心 AREA: 92,000 m2

Firm Bose International Planning and Architecture

Project Team Marek Tryzybowicz, Damian Wołkiewicz, Małgorzata Konstanzer, Justyna Sylwestrzak, Duygu Ozturk (Concept Design), Borys Juraszynski, Aurelia Juraszynska, Grazyna Stawicka, Beata Skowronska, Paulina Godzinska, Maciej Chmielecki, Bartek Godzinski, Michał Łempicki, Jarosław Malik, Agnieszka Rokicka, Magdalena Dobrowolska, Jan Zarnowiecki, Joanna Nikodemska- Kołacz (Building Permit Documentation) 54

55

A two-level municipal square was built in front of the main entrance.

It is one of the key elements of the whole design concept of the building which draws on the surrounding municipal architecture.

Therefore, the lower and upper square together with the footbridge built over the lower square combine into a well-composed project, which is completed by a spherical, light-reflecting fountain. This multidimensional space is not only an entrance zone for the shopping centre’s customers but also a public area accessible for everyone.

Soft, multi-layer shape of the building with a car park on the top was designed in accordance with the city planning objectives. Metaphor of the crown, the symbol of the city, has been reflected in the form of a visual motif placed in the perforation of the façade. Different decorative elements of the façade, which look interesting both in daylight and when illuminated at night, make the Center stand out from the surrounding buildings. The façade is composed of two layers with the external one made of composite panels.

The FORM of the building is compact with soft edges. Shops, service points and recreational premises are located on the -1, 0, +1 level, while car park can be found on three last floors. Habitantfriendly public space was created in front of the main entrance, where people can sit in cafes, green areas or near a fountain resembling a modern city sculpture.

Two main elements of the Center interior are glass-covered islands which divide the space inside into two, multi-floor entrance squares and a multi-functional central square. Skylights have been installed around the island to let daylight inside. Food court is located on the first floor of one of the islands.

SITE PLAN

56

57

A two-level municipal square was built in front of the main entrance.

It is one of the key elements of the whole design concept of the building which draws on the surrounding municipal architecture.

Therefore, the lower and upper square together with the footbridge built over the lower square combine into a well-composed project, which is completed by a spherical, light-reflecting fountain. This multidimensional space is not only an entrance zone for the shopping centre’s customers but also a public area accessible for everyone.

Soft, multi-layer shape of the building with a car park on the top was designed in accordance with the city planning objectives. Metaphor of the crown, the symbol of the city, has been reflected in the form of a visual motif placed in the perforation of the façade. Different decorative elements of the façade, which look interesting both in daylight and when illuminated at night, make the Center stand out from the surrounding buildings. The façade is composed of two layers with the external one made of composite panels.

The FORM of the building is compact with soft edges. Shops, service points and recreational premises are located on the -1, 0, +1 level, while car park can be found on three last floors. Habitantfriendly public space was created in front of the main entrance, where people can sit in cafes, green areas or near a fountain resembling a modern city sculpture.

Two main elements of the Center interior are glass-covered islands which divide the space inside into two, multi-floor entrance squares and a multi-functional central square. Skylights have been installed around the island to let daylight inside. Food court is located on the first floor of one of the islands.

SITE PLAN

56

57

58

59

58

59

SECTION A-A

+18,60=286,60

LEVEL +2,5

+15,10=283,10

LEVEL +2

+11,85=279,85

LEVEL +1

+5,80=273,80

LEVEL 0

±0,00=268,00

LEVEL -1

-5,80=262,20

LEVEL -2

-11,46=256,54

Xref Z:\_Projects\Libra\Kielce\Work\CAD\Support\_PW_RAMKA_A1_180.dwg

60

SECTION B-B

61

SECTION A-A

+18,60=286,60

LEVEL +2,5

+15,10=283,10

LEVEL +2

+11,85=279,85

LEVEL +1

+5,80=273,80

LEVEL 0

±0,00=268,00

LEVEL -1

-5,80=262,20

LEVEL -2

-11,46=256,54

Xref Z:\_Projects\Libra\Kielce\Work\CAD\Support\_PW_RAMKA_A1_180.dwg

60

SECTION B-B

61

项目主入口面前是一个双层的市政广场。整个 设计概念的主要元素就是吸纳周围的市政建筑。所以， 广场的上下两层以及下层广场的人行天桥一起，组成 了层次分明的空间，并因点缀一个圆形的、水光闪闪 的喷泉而更加完善。这个多维的空间不仅是顾客进入 购物中心的入口，同时也作为服务公众的公共区域。 建筑是多层的，体量柔和，顶层是停车场，与 规划相协调。穿孔板立面视觉表达的图案，象征城市 的王冠。立面不同的装饰元素，不论从日光还是夜晚 灯光的照明看都很有意思，使得购物中心从周围的建 筑中脱颖而出。建筑立面由两个层次构成，外界立面 使用的是复合面板，建筑由圆滑的边界紧凑组成。商 店、服务网点、娱乐场地分别坐落在 -1、0、+1 层， 停车场被放在最下面的三层。入口创造居民友好型公 共空间，人们可以坐在咖啡厅里、绿化带旁，欣赏城 市的雕塑喷泉。 构成购物中心室内空间的两个主要元素，一是 将其划分成两部分的由玻璃围合形成的独立空间，仿 佛开敞空间中的一个岛屿，另一个是多层入口广场和 一个多功能中心广场。天窗环绕岛屿安装，向室内空 间引入自然光。美食广场就坐落于岛屿的首层。

LEVEL -2

62

LEVEL -1

63

项目主入口面前是一个双层的市政广场。整个 设计概念的主要元素就是吸纳周围的市政建筑。所以， 广场的上下两层以及下层广场的人行天桥一起，组成 了层次分明的空间，并因点缀一个圆形的、水光闪闪 的喷泉而更加完善。这个多维的空间不仅是顾客进入 购物中心的入口，同时也作为服务公众的公共区域。 建筑是多层的，体量柔和，顶层是停车场，与 规划相协调。穿孔板立面视觉表达的图案，象征城市 的王冠。立面不同的装饰元素，不论从日光还是夜晚 灯光的照明看都很有意思，使得购物中心从周围的建 筑中脱颖而出。建筑立面由两个层次构成，外界立面 使用的是复合面板，建筑由圆滑的边界紧凑组成。商 店、服务网点、娱乐场地分别坐落在 -1、0、+1 层， 停车场被放在最下面的三层。入口创造居民友好型公 共空间，人们可以坐在咖啡厅里、绿化带旁，欣赏城 市的雕塑喷泉。 构成购物中心室内空间的两个主要元素，一是 将其划分成两部分的由玻璃围合形成的独立空间，仿 佛开敞空间中的一个岛屿，另一个是多层入口广场和 一个多功能中心广场。天窗环绕岛屿安装，向室内空 间引入自然光。美食广场就坐落于岛屿的首层。

LEVEL -2

62

LEVEL -1

63

64

65

64

65

LEVEL 0

LEVEL +2 66

LEVEL +1

LEVEL +2,5 67

LEVEL 0

LEVEL +2 66

LEVEL +1

LEVEL +2,5 67

68

69

68

69

Paradigm Mall LOCATION Petaling Jaya, Malaysia

AREA

Architect RSP Architect Sdn. Bhd

Project Principal Hud Abu Bakar

Client Jelas Puri Sdn. Bhd

Lighting (Designer/Consultant/) Pro Light Enterprise

Interior Design ACID

70

Landscaping Pentago Landscape Sdn Bhd

佰乐泰购物广场 32,411 m2 (Site), 95,579 m2 (Floor)

Project Team Mohamed Roslan Abd. Razak, Mohd Rozi Mohd Mohd Yusoff, Mohd Luqman Hussin, Aidawati Daud, Saiful Bahri Suhadak, Lai Weng Khuen, Melissa Chuah Yen Yee, Yong Mei Lin Photographer John Ishii/ RSP Architects Sdn Bhd

71

Paradigm Mall LOCATION Petaling Jaya, Malaysia

AREA

Architect RSP Architect Sdn. Bhd

Project Principal Hud Abu Bakar

Client Jelas Puri Sdn. Bhd

Lighting (Designer/Consultant/) Pro Light Enterprise

Interior Design ACID

70

Landscaping Pentago Landscape Sdn Bhd

佰乐泰购物广场 32,411 m2 (Site), 95,579 m2 (Floor)

Project Team Mohamed Roslan Abd. Razak, Mohd Rozi Mohd Mohd Yusoff, Mohd Luqman Hussin, Aidawati Daud, Saiful Bahri Suhadak, Lai Weng Khuen, Melissa Chuah Yen Yee, Yong Mei Lin Photographer John Ishii/ RSP Architects Sdn Bhd

71

NORTH ELEVATION

SOUTH ELEVATION

FRONT ELEVATION

REAR ELEVATION

72

The Paradigm epitomizes the urban transformation of Petaling Jaya. Located

The mall brings a new spectrum of dynamic experience to shopping

on the fringe of the Damansara-Puchong highway, this development is the

mall space planning. Its design concept breaks away from the traditional

new gateway to the area. With its strategic location, it has potential to be a

shopping space and intended to excel in the exclusive up-market design

hub to cater both commercial, leisure and artistic activities.

standards.

The master plan is conceptualize with a cohesive building complex

The idea is to engage the outdoor/indoor spaces through unique linkages

comprising of a shopping mall flanking by commercial office towers thus

that transform the idea of inside vs. outside space. The space design

transforming the site into a haven for genuine expression of design – the

translates the typical shop front-indoor-retail typology to a shop-front-

icon for Petaling Jaya.

outdoor-ambient which emphasizes on human movements.

The shopping mall is a dynamic volumetric expression to excite the senses.

Further to creating a prominent landmark, the architecture applies a

Organic lines form interchanging series of secluded “urban oasis” in a

sustainable concept in ways it responds to the climate, surroundings as well

canyon like environment. An urban intervention is formed by the fluid spaces

as the human usage. It is a clear example of the urban dialogue between

in-between the buildings and the interaction between indoor vs. outdoor,

architecture and the public, reflecting the vitality of constant growth of

providing an exhilarating experience for the public.

Petaling Jaya.

73

NORTH ELEVATION

SOUTH ELEVATION

FRONT ELEVATION

REAR ELEVATION

72

The Paradigm epitomizes the urban transformation of Petaling Jaya. Located

The mall brings a new spectrum of dynamic experience to shopping

on the fringe of the Damansara-Puchong highway, this development is the

mall space planning. Its design concept breaks away from the traditional

new gateway to the area. With its strategic location, it has potential to be a

shopping space and intended to excel in the exclusive up-market design

hub to cater both commercial, leisure and artistic activities.

standards.

The master plan is conceptualize with a cohesive building complex

The idea is to engage the outdoor/indoor spaces through unique linkages

comprising of a shopping mall flanking by commercial office towers thus

that transform the idea of inside vs. outside space. The space design

transforming the site into a haven for genuine expression of design – the

translates the typical shop front-indoor-retail typology to a shop-front-

icon for Petaling Jaya.

outdoor-ambient which emphasizes on human movements.

The shopping mall is a dynamic volumetric expression to excite the senses.

Further to creating a prominent landmark, the architecture applies a

Organic lines form interchanging series of secluded “urban oasis” in a

sustainable concept in ways it responds to the climate, surroundings as well

canyon like environment. An urban intervention is formed by the fluid spaces

as the human usage. It is a clear example of the urban dialogue between

in-between the buildings and the interaction between indoor vs. outdoor,

architecture and the public, reflecting the vitality of constant growth of

providing an exhilarating experience for the public.

Petaling Jaya.

73

佰乐泰购物广场是吉隆坡八打灵再也城市化的一个缩影。坐落在 Damansara-Puchong 高速路的边缘，相当于整片区域的 新门户。凭借其所处战略区位，项目有潜力成为一个中心，同时迎合满足商业、休闲和艺术等活动的要求。 总体规划的概念体现在紧密结合的建筑综合体上，建筑由两侧是办公大厦的购物中心组成，这种形式将基地变成了一个能真 正体现设计想法的天堂——八打灵再也的图标。 商业中心通过体量的动感表达刺激感官。用有机的线条在一系列模拟自然环境的峡谷中形成隐蔽交错的“城市绿洲”。城市 空间则通过建筑体块间的流动空间和室内外的互动空间渗透介入，为公众提供愉快的空间体验。 该中心为购物中心的空间设计带来了全新的动感空间设计思路。它的设计概念打破了传统的购物空间设计形式，并打算超越 高端市场特有的设计标准。 设计概念是要通过一种独特的联系激活室内外空间，达到室内外空间的转换。空间设计将典型的室内零售店铺变为有周边环 境环绕的室外店铺形式，强化了人群的流动。 至于要创造一个突出的地标，项目在气候、周围环境以及人的使用上用可持续概念来回应，作为建筑与公众间城市对话的清 晰典范，展现了八打灵再也持续发展的活力。

74

75

佰乐泰购物广场是吉隆坡八打灵再也城市化的一个缩影。坐落在 Damansara-Puchong 高速路的边缘，相当于整片区域的 新门户。凭借其所处战略区位，项目有潜力成为一个中心，同时迎合满足商业、休闲和艺术等活动的要求。 总体规划的概念体现在紧密结合的建筑综合体上，建筑由两侧是办公大厦的购物中心组成，这种形式将基地变成了一个能真 正体现设计想法的天堂——八打灵再也的图标。 商业中心通过体量的动感表达刺激感官。用有机的线条在一系列模拟自然环境的峡谷中形成隐蔽交错的“城市绿洲”。城市 空间则通过建筑体块间的流动空间和室内外的互动空间渗透介入，为公众提供愉快的空间体验。 该中心为购物中心的空间设计带来了全新的动感空间设计思路。它的设计概念打破了传统的购物空间设计形式，并打算超越 高端市场特有的设计标准。 设计概念是要通过一种独特的联系激活室内外空间，达到室内外空间的转换。空间设计将典型的室内零售店铺变为有周边环 境环绕的室外店铺形式，强化了人群的流动。 至于要创造一个突出的地标，项目在气候、周围环境以及人的使用上用可持续概念来回应，作为建筑与公众间城市对话的清 晰典范，展现了八打灵再也持续发展的活力。

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75

SECTION A - A

LONGITUDINAL SECTION

LATERAL SECTION 76

77

SECTION A - A

LONGITUDINAL SECTION

LATERAL SECTION 76

77

78

79

78

79

80

81

80

81

LEVEL 1 FLOOR PLAN

LEVEL 2 FLOOR PLAN

LEVEL 3 FLOOR PLAN 82

83

LEVEL 1 FLOOR PLAN

LEVEL 2 FLOOR PLAN

LEVEL 3 FLOOR PLAN 82

83

Galeria Echo LOCATION

Kielce, Poland

AREA

Galeria Echo 购物中心

78,688 m²

Architect OPEN Architekci sp. Z o.o. (Elevations, Interior Design and Landscape) Developer Echo Investment SA

Echo Retail Complex in Kielce is one of the largest shopping centers in Poland.

of advertisement. We hoped to prevent the object from a process of chaotic

The building is located at the crossing of Swietokrzyska and Solidarnosci streets in

adverts placement. Therefore, all visible elements of advertising were controlled and

Kielce (ca. 200 000 inhabitants, central Poland). The retail complex was erected as a

integrated with architecture.

redevelopment and refurbishment of an existing shopping mall.

The volume of the mall is distinguished by a dynamic elliptical form. The ellipse has

The aim of the refurbishment was not only to enrich the commercial offer of

got double skin facade and few hundreds light lines hidden in it. After the sunset,

the center. We tried to live up to expectations of the client who understood the

the ellipse gets illuminated and becomes a programmable light screen.

redevelopment of the mall as an opportunity for a vital urban regeneration of this

The walkways of the mall are covered with skylights so that the customers can enjoy

area.

daylight even when being inside.

All architectural means that we applied aim to recall a pleasant downtown

Inner facades differ in details and cladding materials, while the shop windows and

experience of strolling on the city squares and shopping streets.

balustrade of passages can be read as facades of luxurious department stores.

The challenging but inevitable part of design in case of retail buildings is the subject

Interior of the mall is also distinguished by individually designed furniture and kiosks.

84

85

Galeria Echo LOCATION

Kielce, Poland

AREA

Galeria Echo 购物中心

78,688 m²

Architect OPEN Architekci sp. Z o.o. (Elevations, Interior Design and Landscape) Developer Echo Investment SA

Echo Retail Complex in Kielce is one of the largest shopping centers in Poland.

of advertisement. We hoped to prevent the object from a process of chaotic

The building is located at the crossing of Swietokrzyska and Solidarnosci streets in

adverts placement. Therefore, all visible elements of advertising were controlled and

Kielce (ca. 200 000 inhabitants, central Poland). The retail complex was erected as a

integrated with architecture.

redevelopment and refurbishment of an existing shopping mall.

The volume of the mall is distinguished by a dynamic elliptical form. The ellipse has

The aim of the refurbishment was not only to enrich the commercial offer of

got double skin facade and few hundreds light lines hidden in it. After the sunset,

the center. We tried to live up to expectations of the client who understood the

the ellipse gets illuminated and becomes a programmable light screen.

redevelopment of the mall as an opportunity for a vital urban regeneration of this

The walkways of the mall are covered with skylights so that the customers can enjoy

area.

daylight even when being inside.

All architectural means that we applied aim to recall a pleasant downtown

Inner facades differ in details and cladding materials, while the shop windows and

experience of strolling on the city squares and shopping streets.

balustrade of passages can be read as facades of luxurious department stores.

The challenging but inevitable part of design in case of retail buildings is the subject

Interior of the mall is also distinguished by individually designed furniture and kiosks.

84

85

SOUTH ELEVATION

NOTH ELEVATION

EAST ELEVATION 86

87

SOUTH ELEVATION

NOTH ELEVATION

EAST ELEVATION 86

87

ENTRANCE DETAIL

位于凯尔采的 Echo 零售综合体是波兰最大的几个购物中心之一。建筑坐落凯尔 采在 Swietokrzyska 和 Solidarnosci 街道的交汇处（周围约有 200 000 居民，位于 波兰中心）。该项目为原有购物中心的整修再开发。 原有购物中心的整修不仅是为了增强城市中心的商业活力，也是满足客户的期 望，他们意识到购物中心再开发项目是该区域城市再生至关重要的机遇。 所有设计手段的运用，都旨在唤起一种令人愉快的城市中心区体验，比如在城市 广场和购物街闲逛的感觉。 设计以零售业为主的建筑时，既富有挑战性又不可避免的就是广告的布置了。我 们希望能避免广告的无序放置的问题。因而广告中所有的可视元素都被控制着，并使 之与建筑设计结合。购物中心的主要体量以一个椭圆形体和其他部分区别开来。椭圆 体具有双层表皮，里面藏着几百根灯管。在日落之后，椭圆体照明并成为一个可调控 的发光屏。 该中心的走廊天花都开有天窗，使得消费者即使在室内也能享受到日光。 建筑的内向立面在细节和饰面材料上不同于外立面，同时店铺的窗户和通道的栏 杆也可以作为高档百货公司的立面元素。购物中心的室内装修因其独特的家具和店铺 设计而有别于其他购物中心。

FACADE OF ELLIPSE DETAIL 88

89

ENTRANCE DETAIL

位于凯尔采的 Echo 零售综合体是波兰最大的几个购物中心之一。建筑坐落凯尔 采在 Swietokrzyska 和 Solidarnosci 街道的交汇处（周围约有 200 000 居民，位于 波兰中心）。该项目为原有购物中心的整修再开发。 原有购物中心的整修不仅是为了增强城市中心的商业活力，也是满足客户的期 望，他们意识到购物中心再开发项目是该区域城市再生至关重要的机遇。 所有设计手段的运用，都旨在唤起一种令人愉快的城市中心区体验，比如在城市 广场和购物街闲逛的感觉。 设计以零售业为主的建筑时，既富有挑战性又不可避免的就是广告的布置了。我 们希望能避免广告的无序放置的问题。因而广告中所有的可视元素都被控制着，并使 之与建筑设计结合。购物中心的主要体量以一个椭圆形体和其他部分区别开来。椭圆 体具有双层表皮，里面藏着几百根灯管。在日落之后，椭圆体照明并成为一个可调控 的发光屏。 该中心的走廊天花都开有天窗，使得消费者即使在室内也能享受到日光。 建筑的内向立面在细节和饰面材料上不同于外立面，同时店铺的窗户和通道的栏 杆也可以作为高档百货公司的立面元素。购物中心的室内装修因其独特的家具和店铺 设计而有别于其他购物中心。

FACADE OF ELLIPSE DETAIL 88

89

LEVEL

WALKWAY SECTION

90

91

LEVEL

WALKWAY SECTION

90

91

92

93

92

93

94

95

94

95

TUKCOM I.T.MALL CHOLBURI LOCATION Cholburi, Thailand

Architect Supermachine Studio Project Team Pitupong Chaowakul, Suchart Ouypornchaisakul, Santi Sarasuphab, Nuntawat Tassanasangsoon, Yupadee Suvisith, Wattikon Kosolkit, Peechaya Mekasuvanroj Photographer Wison Tungthunya 96

AREA

泰国春武里 TUKCOM 信息技术商场

3,450 m2 (Front Façade)

TUKCOM I.T. Mall Cholburi is the first building completed in the sequel mission of refreshing TUKCOM brand to be up to date with the I.T. consumption landscape of Thailand which is rapidly expanding. The main core of using Black & White pixels on the façade has been set. This building is the first one implementing the new concept (2 more will be renovated and built using the similar concept for better recognition to the customers) Some 3,000 of saw tooth aluminum composite pixels are laid randomly on 3,450 SQ.M. planes that spiral from the West side of the building to the south, which is the front side, upward to the East side. Having very narrow front, the building wants to emphasize on its presence pushing the height to reach almost the limit making it a dominant landmark among the competitors in the area. The interior space of the common area is kept clean with only some graphic emphasize on mostly white space as normally I.T. shops are already overwhelmed with information and colors.

SIDE 97

TUKCOM I.T.MALL CHOLBURI LOCATION Cholburi, Thailand

Architect Supermachine Studio Project Team Pitupong Chaowakul, Suchart Ouypornchaisakul, Santi Sarasuphab, Nuntawat Tassanasangsoon, Yupadee Suvisith, Wattikon Kosolkit, Peechaya Mekasuvanroj Photographer Wison Tungthunya 96

AREA

泰国春武里 TUKCOM 信息技术商场

3,450 m2 (Front Façade)

TUKCOM I.T. Mall Cholburi is the first building completed in the sequel mission of refreshing TUKCOM brand to be up to date with the I.T. consumption landscape of Thailand which is rapidly expanding. The main core of using Black & White pixels on the façade has been set. This building is the first one implementing the new concept (2 more will be renovated and built using the similar concept for better recognition to the customers) Some 3,000 of saw tooth aluminum composite pixels are laid randomly on 3,450 SQ.M. planes that spiral from the West side of the building to the south, which is the front side, upward to the East side. Having very narrow front, the building wants to emphasize on its presence pushing the height to reach almost the limit making it a dominant landmark among the competitors in the area. The interior space of the common area is kept clean with only some graphic emphasize on mostly white space as normally I.T. shops are already overwhelmed with information and colors.

SIDE 97

UNFOLDED FACADE

98

99

UNFOLDED FACADE

98

99