舞動的畫卷 —— 北京大運村辦公樓院落改造

容納多重豐富互動關(guān)系的‘城市客廳’ ?劉敏玲

改造任務(wù) | Brief

改造前的場地條件較為凌亂，大量鋪灑在場地上的無組織建構(gòu)元素如設(shè)備箱，出風(fēng)口以及燃氣機房等，加上一條橫貫整個院落的地庫坡道（需要保留），嚴重影響院落朝向道路的整體面貌。項目要求在滿足基本功能需求的基礎(chǔ)上，提升院落視覺效果、增加停車位并改善人車流線的管理，從而保證后勤區(qū)域的高效使用。

A ramp leading to the underground parking, ventilation boxes and miscellaneous elements scattered on site had given the impression that the site is disorderly. Thus the design has to find ways to articulate these existing element, so what was scattered would be reformed and regroup into a system with hierachy, in order to transform this existing, redundant courtyard into a glamorous entrance plaza with intimate garden space.

改造前場地原貌 | 攝影：甘力

總平面圖?中天建中

從辦公樓內(nèi)部俯視院落?甘力

屬性定位 | Identification

考慮到北京干燥多風(fēng)、降雨少、時有沙塵暴的氣候特點，以綠植為主的方案會大幅度增加后期維護的難度，因此，整體策略更傾向于以硬地景觀為主的設(shè)計策略。

Considering the extreme dry and windy climate of Beijing, to maintain a large amount of vegetation in the plaza would be costly and in-efficient, thus the design concept would put emphasis on creating a hardscape tech-plaza instead of a greenery park.

以硬地景觀為主的院落空間?甘力

基于小院于周邊環(huán)境的關(guān)系，它的空間屬性不應(yīng)該是開放的“市政公園”，而更應(yīng)該是成為一種“戶外圍合空間（outdoor room）” —— 即小院的空間應(yīng)該是立體的，而不是一個扁平的場域；一個能夠容納多重豐富互動關(guān)系的‘城市客廳’。

Based on the relationship with the surrounding context, the guideline approach of the design has taken the idea of an ‘outdoor room’, so instead of being a pure landscape ‘surface’ or a city park, this courtyard acts much more like an urban ‘foyer’ that houses a variety of dynamic event.

具有科技感的“戶外圍合空間”?劉敏玲

GRC花池與鋁方通圍欄的前后關(guān)系?劉敏玲

作為一個辦公大樓的前院，它的功能并不是一個完全開放的公共空間，而具有一定程度的私密性需求。因此布局并不需要過多的停留式的休閑空間，而應(yīng)更加注重觀賞性，以及短暫的，快速通過空間時的瀏覽體驗。因此在推敲的過程中我們?yōu)轫椖吭O(shè)定了三個主要的觀察視角 —— 遠觀、入局和近看。

Being a office front-yard, the property of this space cannot be defined as a public open park, but more like a semi-private courtyard. Thus it doesn’t require much space for leisure and habitation and instead, the design should focus on the temporal experience when visitor journey through. Thus the design will focus mainly on three perspectives - from distance, approaching and close up.

前院與辦公樓以及城市的空間關(guān)系?劉敏玲

遠觀 — 背景畫 | From Distance - Visual Backdrop

設(shè)計用抽象化的建筑語言將原有的生硬圍擋轉(zhuǎn)化為一卷生動的“山水畫卷”。原來固定的邊界演化成一個雙層的墻體系統(tǒng)，一個是原有的場地邊界直向的固體墻面，另外一個則是更為動感的，由鋁百葉形成的浮動界面。從大廳入口的角度，看，圍墻如同一幅水墨背景畫，與其背后的居民樓形成鮮明對比。

A strategy of “thicken facade” is utilized so the original surrounding border that encloses the site would be transformed into a double-layered wall system, consist of ‘backdrop’ and the ‘front layer’. The ‘backdrop’ follows the existing rectilinear outline and forms a solid background, the ‘front layer’ on the other hand will be transformed into a vibrating “painting scroll”. From the lobby, this ‘backdrop’ will create a significant visual contrast with the existing context behind it.

山水畫卷與周邊居民樓形成新舊對比?劉敏玲

院落軸測圖?中天建中

入局 — 融入畫中 | Approaching - Submerging into Virtual Reality

設(shè)計意圖實現(xiàn)的最終效果是一種能夠讓人感受到真實與虛幻并存的“類真實空間”。當(dāng)人在花園中行走時，隨著空間的動態(tài)形體和平面布局的流動性，會讓人產(chǎn)生一種視覺上的非真實感，仿佛行人在行走的過程中會逐漸‘融入畫中’。

What the design intended to achieve is a type of surreal space which will allow the visitor to gain the sense that he/she is submerging into a layer of virtual reality. In other word, when engaging with the space, the dynamic form and fluidity of layout will give the essence that this place is both real but virtual in the same time.

游人如同走入畫中?劉敏玲

鋁方通圍欄立面圖?中天建中

近看 — 舞動的邊界 | Close up - Resonating Boundary

為了進一步豐富設(shè)計語言，圍墻不僅在立面上進行“浮動”，而且在平面上也會根據(jù)小院不同區(qū)域的人員活動密集度進行“擺動”。比如在偏功能性的區(qū)域更為平整，而相對更具活力的區(qū)域，圍擋在平面的波動則變得更劇烈。讓人近距離體驗時，感覺仿佛整個空間開始舞動。

The movement and configuration of the painting scroll will reflect the intensity of activities across the site. For example, in less intensive areas where less activities take place, the outline of the facade would be comparatively flat; whereas in places where pedestrian event and interaction is more frequent, then the level of ‘vibration’ would be more intense. So up close, it will feel like as if the boundary of the courtyard is resonating with our movement.

舞動的山水畫卷?劉敏玲

隨著移動不斷演變的界面?劉敏玲

概念分析圖 (左）畫卷平面根據(jù)活動密集度進行擺動（右）畫卷輪廓劃分前后景層次?中天建中

類型學(xué)創(chuàng)新 | Typological Innovation

刻印有波浪圖案的金屬方通柵欄是北京這個城市中隨處可見的圍欄類型，它的標(biāo)準(zhǔn)形象已經(jīng)在市民的心中形成了一種根深蒂固的印象。本次設(shè)計一個重要的任務(wù)就是要去挑戰(zhàn)這種對類型學(xué)的傳統(tǒng)的固化認知。即一個護欄最核心的本質(zhì)并不僅僅是用于簡單的空間內(nèi)外進行分割，它其實可以通過設(shè)計的手段，為其賦予有更多的戲份和對空間的影響力。

Metal strip fence with a wave decorative pattern is a very common element that can be seen everywhere in the city of Beijing. Another purpose of our design is to challenge this common understanding of the typology of fence in this city. Where the idea of a fence is no longer just a linear barrier which separate inside and outside, but it can be a much more vibrant threshold that may engage with the environment and interact with pedestrian movement, event and urban space through its fluid form.

城市中常見的波浪圖案護欄?張克慧

護欄的紋理變化，展現(xiàn)背后的綠植裝飾 ?中天建中、劉敏玲

這個設(shè)計一是可以為院落帶來前景和背景的層次感，將次級的景觀元素以及設(shè)備箱放置在流動邊界之后，和主題景觀進行等級劃分。其次，移動的行人能獲得一種動態(tài)的視覺效果，即隨著觀察角度的不斷轉(zhuǎn)動，看見不斷變化的山水圖案。

With such arrangement, visual layering and hierarchy would be established, greenery and vegetation will be differentiated into ‘backdrop’ and ‘front objects’ base on their positioning on site. So as the observer move through the space, the appearance of the ‘painting scroll’ will go through constant transformation base on observer's viewing orientation.

畫卷形成主題花池與燃氣機房的層次劃分?甘力

圍墻形態(tài)根據(jù)不同區(qū)活動需求進行變化?劉敏玲

景觀墻細節(jié)?劉敏玲

場所性營造 | Forming Place

環(huán)繞的方式形成車庫坡道的圍擋。設(shè)計采用一體化的建構(gòu)語言，從白色預(yù)制混凝土逐漸變成白色鋁板，到最后逐漸攀升變成包裹設(shè)備箱的穿孔鋁板。

A strap of concrete ‘ribbon’ will weave across the site, and wrap around the existing ramp, hence generating a sense of movement that will disrupt the rigid order that the site originally possess.

鋁方通光影細節(jié)與質(zhì)感?劉敏玲

通過設(shè)計語言將不同的元素融合在統(tǒng)一的系統(tǒng)當(dāng)中?劉敏玲

根據(jù)不同區(qū)域的活動需求，這道紐帶會在240㎜、400㎜和900㎜三個高度之間變化。240mm為踢腳，400㎜為座椅，900㎜則是供煙灰缸嵌入的景觀臺面；它既可以是山水畫卷墻體的基座，也可以是車庫入口的圍擋，還可以是包裹場地中大型排風(fēng)口的裝飾面 —— 設(shè)計通過一體化的曲線語言，將三種不同的物件屬性融合在一個統(tǒng)一的建構(gòu)元素當(dāng)中。

Base on requirements of various events, this ribbon will vary in height, between 240㎜、400㎜and 900㎜. 240㎜ will act as footing and skirting, 400㎜ as seating and when raise to 900㎜ it will then provide volume that encloses trashcan, ashtrays and etc. The ribbon can be seen as the plinth for the ‘painting scroll’, or its form may ascend and wrap around objects so it becomes decorative cladding. Thus elements that were scattered on site will be organist and unified into one integrated system.

地面排風(fēng)設(shè)備改造前后對比?甘力

通過設(shè)計將不同的元素融合在統(tǒng)一的系統(tǒng)當(dāng)中?甘力

基座如白色紐帶將不同的元素整合成統(tǒng)一的建構(gòu)系統(tǒng)?劉敏玲

主題花池的設(shè)計則由兩組定制的GRC模塊拼合而成。生動的不規(guī)則輪廓形態(tài)成為視覺焦點，如同處在浪潮中的兩個小島。通過特定的規(guī)劃和設(shè)計，這兩座小島的邊界產(chǎn)生了對汽車流線的阻擋，從而在場地的東南區(qū)域形成一片僅供行人進入的互動空間。同時它的輪廓也與山水畫背景墻形成呼應(yīng)，自然圍合出一系列“口袋式”的微型活動廣場。

A set ‘islands’ situated on the southeast part of the site will form a barrier that will prevent vehicle movement but allow pedestrian to penetrate through. The shape of these two blockade are carefully designed so they would acquire outstanding visual feature, and appear as two ‘pebbles’ seating on dynamic waves. In the same time, their outline will form a series of enclosed spatial ‘pockets’ that may contain temporal habitation and events.   

院落流線分析圖?中天建中

口袋式微活動空間?劉敏玲

GRC花池與圍欄形成的微活動空間?甘力