100×N建筑造型与表皮上

（上册）
杨锋主编
FORM, SPACE, AND SKIN the louvers create a diffuse light effect throughout the
building while significantly lowering the energy loading.
Form and space are the two basic elements that In the evening, the louvers recede from view, revealing
create architecture. Form has a reciprocally dependent the excitement generated by the lab's researchers
relationship with space, it organizes space as it is through the translucent glass facades. With its
organized by space. Form is also the most direct restrained white and aluminum material palette, the
expression of what architects create, for architecture building exudes a "cool transparency", part of its interior
has a sculptural presence. Yet architecture must also spatial quality and its exterior form.
- beyond pure expression - respond to its given site
context, and to intelligently reflect its choice of materials. In the case of the APPC, the users wanted natural
Architectural form exists within a zeitgeist (the spirit of light, operable windows, and increasing control over
the times) that influences its creation. the environment in each individual space while still
having the building perform significantly above the
On the other hand, architectural space is organized baseline of energy requirement. In this case, a curtain
to satisfy a required use and program. Bruno Zevi, wall incorporating operable windows is backed by
the Italian architectural historian, wrote that the history another layer of fixed glass, opaque sliding wood
of architecture is the history of excellent architectural panels, and roll shades. Together, these layers create
space. When Vitruvius mentioned venustas (delight) as a double-skin, insulating the building from its entire
one of the three key values in architecture, he indicated perimeter and allowing each user to finely control
that this delight derives from spatial experiences more light, air, temperature, and sound. The overlapping
than formal ones. of wood and glass seen from the exterior establish a
"warm transparency" that ties the building closely to its
In this respect, the most important goal for architecture historic masonry context - creating a skin that performs
is the resolution between form and space at its highest formally and technically.
level. And this resolution is mostly achieved via the layer
dividing the interior and exterior realms - the building For each project, substantial mock-ups of the exterior
skin. Recent architecture has freed the skin of the skins were built prior to actual construction to test their
building from issues of both space and form, treating appropriateness for three-dimensional assemblies,
it as a large two-dimensional and abstract element, integrally linked to exterior context and interior use.
independent of context and interior. In contrast to this This commitment to building skin, and its impact on
tendency, I believe that the skin of the building must play overall building form, is a long-standing theme in our
an active role in the resolution of form and space to take projects, just as it has been throughout the modern
on real meaning. architectural history. Though building skins have taken
on increasingly complex roles in recent projects, they
The Annenberg Public Policy Center (APPC) at the never stray - no matter how intricate - from their
University of Pennsylvania and the new Media Lab original function as primary mediators of architectural
complex at MIT both use their skins to resolve issues form and space, and as a primary locus of architectural
of context, program, and technology. Both buildings are invention in the early 21st century.
sited on university campuses with their primary function
housing research groups.
In the case of the Media Lab, in order to maximize

transparency from the outside and to interior spaces, Principal, Maki and Associates
and satisfy the energy requirements of the Cambridge Tokyo, Japan
building code, we introduced horizontal aluminum
louver screens over the curtain walls. During the day,
造型·空间·表皮天，整幢建筑都沐浴在从百叶窗射进来的柔和光芒中，
造型与空间是建筑创作的两大基本要素，二者相互有了百叶窗反射部分阳光，进来的热量就少了。夜晚，
依存而共生。一方面，建筑造型组织空间，同时又收起百叶窗，实验室里研发人员的工作热忱透过建筑半
被空间组织。建筑物造型本身就是雕塑作品，因此透明的玻璃立面，清晰可见。通过使用一定量的白色铝
造型就成为展现建筑师构想的最直接表达方式。然质调色板，建筑给人一种透明和冷峻的感觉，这也是建
而，建筑必须超越纯粹表达的层面——它不仅要与筑内外所应有的一部分。
既定的场所环境相呼应，还要明智地反映其选材。在安尼伯格公共策略研究中心（APPC）案例中，用户
建筑造型存在于时代精神（zeitgeist）当中，时代想要自然采光和手推窗，不断加强对单个空间的环境控
精神反过来又影响建筑的创作。制，同时对整幢建筑的表现的要求又明显高于对能源基
另一方面，建筑空间由建筑师来构建，以满足既定线的要求。因此，在该案例中，包含手推窗的幕墙被置
项目及其用途的要求。意大利建筑历史学家布鲁于固定玻璃、不透光木质滑动板和遮阳帘的组合之后。
诺·赛维（Bruno Zevi）认为，建筑的历史就是精如此构成的双重表皮，达到了建筑与周边的隔热效果，
彩的建筑空间的历史。维楚维斯（Vitruvius）著名允许每一个用户对采光、空气、温度和声音进行很好的
的建筑三要素中的美观要素，指的也是来自空间的控制。从外部看来，木料与玻璃的交叠建立了一种“温
美观体验，而非来自外型的美观感受。暖的透明感”，将建筑与周边的历史石造建筑环境紧密
联系在一起。最终我们创造了在形式上和技术上都能发
从这个角度考虑，建筑设计的最主要目标就是达
挥良好作用的建筑表皮。
到造型与空间的高度和谐。这种和谐大部分通过
区分内部与外部范围的层——建筑表皮——来实这两个项目在实际投入建设之前，都设计了大量的表皮
现。最近的建筑已经把表皮从造型和空间中独立模型应用于立体组装，并结合外部环境和内部装修一起
出来，当成一个独立于外部环境和室内设计的大测试哪种表皮最为合适。对建筑表皮的重视，以及表皮
型二维抽象元素。然而我却坚信，要追求造型跟对建筑整体造型的影响，是我们项目的长期主题。表皮
空间的和谐，就必须让建筑表皮扮演一个积极的在最近的项目中正在扮演越来越复杂的角色。无论表皮
角色，体现其真实的意义。主要功能是作为建筑造型与空间的基本媒介，还是21世
纪初作为建筑创造的主要场所，虽然复杂，但它本身的
宾夕法尼亚大学安尼伯格公共策略研究中心
角色从未变过。
（APPC）和麻省理工学院（MIT）新建的媒体实
验综合楼都是用建筑表皮来解决环境、项目和技术
方面的问题。这两幢建筑都坐落于大学校园，其基
本功能都是给科研人员提供场所。
在MIT媒体实验综合楼的案例中，为了使建筑内外槇文彦
的通透性达到最大化，同时满足当地建筑的能源要槇総合计画事务所
求，我们将水平式铝百叶窗屏覆盖于幕墙之上。白日本东京
"Reality doesn't create us, we create "Sustainability" - I hope the word sustainability will be
reality" erased from the architectural language. Sustainability in
German means Nachhaltigkeit. It is a conservative term
In the moment architecture is thought, it becomes future. and comes from a capitalistic topic. It was invented in
the wood economy and says that you have to save
Architecture always means standing at the threshold. At property in order to get more money out of it.
the threshold from unconsciousness to consciousness,
from imagination to built dimensionality. By crossing I think there are much better expressions for
this border the dream of an everlasting life - which we sustainabiltiy: social design, political design and climate
believe to dream by the buildings outliving us - turns into design.
here and now.
One of the topics in our office is of course climate
Architecture, the buildings and our cities, are the three- design.
dimensional language of our culture. We could talk about
applied culture, but I think it is not reality that creates us, There are numerous possibilities of using sustainable
and instead it is us who creates reality. It is up to our technologies in architecture, for example simply
level of perception to first identify upcoming realities, and by placing buildings in the correct angle to the sun
then form them. and creating a wind catcher on top of a building, it is
possible to use the sun to heat the building in winter
According to our vision we design buildings that are and the wind to cool it in summer.
readable and writable. I think nowadays, in this digital
age - when images are received and just kept in a short With specially designed roofs, solar energy can also be
term memory - it is important and essential to create used for cooling. Facades are not only environmental
identifiable buildings. We have to point out directions and envelopes but also can be used for transforming
send signals in order not to be anonymous. We have to energy and designed for shading the building and
create signs that are visually and emotionally touching, guiding wind so that there is a natural ventilation in the
and make sure that people must seize these signs and building.
create identity within the white noise of media structures.
Houses - their roofs and their facades - can be
Enabling these possibilities with architecture is the powerplants. It's imaginable that the remaining energy
intention of our work. will be exported in the energy grid of the city.
Elemental figures of architectural form are used as When we achieve the next step - establishing these
architectural signs to express the commitment to art principles in city planning - it will be a revolution in
in our High School for the Visual and Performing Arts. masterplanning because the urban grid will no longer
Like chess figures charged with "moves" both formally follow the building lines but it will follow the energy lines,
and programmatically, these platonic solids re-define and so create a new urban grid.
spatially and energetically the otherwise orthogonal
arrangement of the master plan. A tower on top of a It's quite clear that in this moment architecture becomes
pyramidal theater is the sign for art, a truncated cone the a political issue and only when we architects can invent
library, and a crystal the lobby. Windows appear in the a new aesthetic coming from the concern of energy
form of large round shapes and cubic protrusions act as design this architecture will be successful.
light wells. Together the figures establish a skyline, which
links the school to the urban context of the downtown in
Los Angeles as well as the modern architecture and its
history in this city. Wolf D. Prix
“不是现实创造我们，而是我们创造轮廓线，巧妙地将学校和洛杉矶市中心的城市环境连接
起来，同时成功地将学校建筑融入了现代建筑及这座城
现实”
市的现代建筑史。
建筑在化作思想的瞬间，变成未来。
可持续性——我非常希望该词能从建筑语言中消失。可
持续性这个词在德语中为Nachhaltigkeit ，本是一个非常
建筑即意味着永远处于转变之际，如从无意识到有
保守的资本主义语汇，仅在木材经济中出现，意指积蓄
意识的转变，从想象到建筑实体的转变等。越过这
财产以从中获取更多的收入。
道边界，人类的永生之梦即转化为此情此景——远
比人类的生命周期长久的建筑因此成为永恒之梦的
我认为其他说法可以更好地表达出可持续的意思，比如
载体。
社会设计、政治设计和气候设计。
建筑、房屋和城市，三者都是文化的三维立体语
我们事务所关注的课题之一是气候设计。
言。我们可以谈论文化在现实中的应用，但我相信
不是现实创造我们，而是我们创造现实。何时能察
建筑设计中存在无数运用可持续技术的可能。举个简单
觉即将到来的现实，并将其转化为现实，则取决于
的例子，处理好建筑朝向与日照的关系，并在建筑顶部
人类洞察力的高低了。
设计一个风斗，这样冬天就可借日供暖，夏天则又能取
风降温。
我们凭自己的想象设计被理解和接受的建筑。在当
今数字化的年代——一个图像仅由瞬间记忆所接收
如果运用经过特殊设计的屋顶，太阳能也可用于降温。
的年代——创造高识别度的建筑是至关重要且势在
立面不仅是环境表皮，还能用于转化能源，以及遮阴和
必行的。我们的建筑不仅要成为地标，从芸芸众生
引导风向，实现建筑的天然通风。
中脱颖而出，还要成为视觉和感情上都能触动人群
的符号，并确保大众能捕捉这些表征，借此在数码
房屋——包括顶面和立面——可以用做发电装置。将剩
图像的白色噪音中确立自己的身份。
余的电力输出到城市电网也不是天方夜谭。
将上述可能性在建筑中实现是我们工作的目标。
如果我们完成这个任务——在城市规划中建立起这些原
则——就会引发一场总体规划的革命，城市脉络将不再
以视觉和艺术表演中学项目为例，我们以建筑造型
依循建筑，而是依循能源，进而形成新的城市脉络。
的主要形体为建筑符号向艺术致敬。这些理想化的
形体在空间和能源两个层面重新定义了总体规划的
建筑设计成为社会性的问题是当下一个明显的趋势。设
矩形布局，如同下国际象棋时每一步走法中棋子所
计师唯有从能源设计角度出发，创造出新的审美取向，
承担的职责，既具形式意义，又具程序意义。立于
其建筑作品才称得上是成功的。
形如金字塔的剧院顶端的塔代表艺术，削去顶端的
圆锥代表图书馆，晶体则代表大厅。窗户的造型有
两种，一种为巨大的圆形，另一种为承担天井作用
的立方突出。所有这些造型一起勾勒出建筑的空中蓝天组 Wolf D. Prix
Walter Benjamin said: "Many art forms have come into shortage of architects in the domestic design market.
being and passed away. But the human need for shelter The businessmen want the fastest operation of the
is permanent. Architecture has never had fallow periods. estate, and some of them care about the profit only,
Its history is longer than that of any other art. It has which both cause the termination of the architects'
always been one of the primary tasks of art to create a advanced conception at the beginning of the estate
demand whose hour of full satisfaction has not yet come. project. The requirement of quantity consequently
The history of every art form has critical periods in which generates the decline of quality. Most architects have
the particular form strains after effects which can be neither adequate energy nor time to study the subject
easily achieved only with a changed technical standard, academically and deeply, and hence it is not rare to
that is to say, in a new art form." find fraud in this field. In order to promote the design
communication and raise the domestic level of design,
Liang Sicheng, the architectural historian, wrote that we choose outstanding cases after the painstaking
architecture is the carrier of science as well as art. study and investigation, and compile this creative and
Taking what Benjamin and Liang Sicheng have said into practical reference book. Our book is reader-friendly,
consideration, we may find in the architectural history introducing the form and the skin in different types.
that the development of architecture has always been The building forms are classified into Pictographic
accompanied by technical innovation and art novelty. Shape, Negative Shape, Open Shape, Digital Shape,
and Ecological Shape. The building skin types include
Both building form and building skin are a form of Heavy Skin, Light Skin, Digital Skin, Transparent
architectural art. No matter how big or small it is a Skin, Energy Skin, Ecology Skin, and Multimedia
sculptural presence. When appreciating a building, Skin. Each project is elaborated with detailed analysis
people will be, the most directly, impressed by its form and accurate illustration. A building form or skin may
and its skin. On the other hand, the form and the skin present characteristics of different types, but we only
have always developed with the advancement and choose the representative features of each one.
innovation of materials, technology, design philosophy
and so on. The book introduces 100 latest projects on the form
and the skin around the world, representing the trend of
The process of building form and building skin design the international design, and the frontier design concept
is information-intensive. It involves the analysis of and technology. We hope it will inspire more architects
materials, energy cost, structural and environmental and refresh this realm.
requirements, durability, maintenance, and aesthetics.
Meanwhile, the needs of the clients and the local building
codes have to be well met. Therefore, the design of Hong Kong Architecture Science Press
building form and building skin challenges the architects' Editorial board
expertise and their ability of controlling the very much
information. In order to accomplish such tough tasks,
architects have to depend on their own experience,
or others' experience, to strengthen their reasoning
process, and to guide them to transform the images into
reality in fixed context or condition.
With the rapid economic development in China, the

domestic real estate has become increasingly better and
larger. The real estate business and real estate projects
blossom everywhere in China, which contributes to the
瓦尔特·本雅明认为，由于人类对居室的永恒需求，随着国家经济的飞速发展，国内地产方兴未艾。地产
因此建筑艺术——不像其他那些在人类历史长河中昙商和地产项目在中国遍地开花，致使国内建筑设计市
花一现、转瞬即逝的艺术形式——从未退出过艺术历场供不应求。地产商为迅速完成地产项目的开盘和运
史的舞台。艺术的主要任务之一就是建筑要创造一种营，加之许多地产商纯粹以赢利为目的，从项目定位
未曾有过的需求。每一种艺术形式的发展史都有一些开始就扼杀了设计师的先进理念。有的要求设计师快
关键阶段，在这些关键阶段中，艺术形式就追求着那速完成设计，这样多数设计师没有足够的时间和精力
些只有在技术标准发生变化或新艺术形式诞生时才会进行更深入的学术研究，致使抄袭之作屡见不鲜。为
产生的效应。促进建筑设计交流，提高国内建筑设计水平，我们遴
选世界各地的成功案例，进行全面精心的调研分析，
建筑史学家梁思成一直强调建筑是科学与艺术的载力争为建筑设计师们提供一本新颖、实用的建筑工具
体。虽然听起来像老生常谈，然而结合瓦尔特·本雅书。为了方便读者阅读，我们将建筑的造型和表皮按
明所言，反观由技术迅猛发展所引领的建筑科学的飞不同类型分块介绍，其中建筑造型分为象形造型、负
跃，以及伴随着技术进步而不断推陈出新的建筑艺术造型、开放式造型、数字造型和生态造型；建筑表皮
形式，我们不难发现，技术进步和艺术创新是建筑发方面，除了我们所熟知的轻表皮与重表皮之外，另有
展的两大重要因素，缺一不可。数字表皮、透明表皮、生态表皮、节能表皮以及多媒
体表皮。每个项目都有详细的分析，可谓深入浅出，
建筑艺术的形式之一就是建筑造型和表皮。无论体量简单明了。建筑的造型和表皮从不同的层面又可归入
大小，建筑物本身就如同雕塑一般，而建筑造型和表不同的分类，分类重叠在所难免，因此本书仅偏重每
皮则是影响人们对这种“雕塑艺术”审美的最直接因一个项目最突出的造型或表皮类别进行介绍。
素。同时，建筑造型和表皮的发展，又离不开材料、
技术、理念等各方面的进步与革新。本书收录了100个全球最新建筑项目的造型与表皮，
代表了目前以及未来一段时间内国际建筑设计的趋势
建筑造型和表皮设计都涉及大量参数分析。设计师要与潮流，展示了最前沿的造型和表皮设计理念及建筑
考虑材料、能耗、结构要求、环境要求、耐久性、养技术。希望本书能带给设计师更多的灵感，能为建筑
护和美学等诸多因素，同时还要满足业主的需求和各设计领域带来一缕清风。
项建筑规章标准，因此建筑造型和表皮设计是对设计
师专业知识储备和信息掌握程度的挑战。要应对这样
的挑战，设计师必须依靠自身或他人的经验来梳理设
计思维，并指导如何将设计理念在既定条件或环境中
一步步实现。香港建筑科学出版社编委会
CULTURE 文化
MAXXI: National Museum of XXI Century Arts 意大利 21 世纪国家美术馆－－－－－－－－－－－－016
Ofunato Civic Center and Library 大船渡市市民文化馆及市立图书馆－－－－－－－－－－－－028
Guangzhou Opera House 广州歌剧院－－－－－－－－038
Music Theater, Graz (The Mumuth—Haus für Musik und Musiktheater) 格拉茨表演艺术学校戏剧表演大楼－－－－－－－050
The Los Angeles Museum of the Holocaust 洛杉矶大屠杀博物馆－－－－－－－－－－062
Beijing Science Center 北京科学馆－－－－－－－-－－－－072
Onassis Cultural Center 奥纳西斯文化中心－－－－－－－－－－－－076
Auditorium and Convention Center of Aragon Expo 西班牙阿拉贡世博会主场馆－－－－－－－－－－－－－－－－－082
Scientific & Technical Center of Chongqing 重庆城市科技中心－－－－－－－090
Muzeum Lotnictwa Polskiego 波兰 LP 航空博物馆－－－－－－－－－－098
Pavilion 21 Mini Opera Space 慕尼黑移动式迷你歌剧院－－－－－－－－－－－－－－106
Gallery 303 韩国光州303画廊－－－－－－－－－－－－116
Tel Aviv Museum of Art 特拉维夫艺术馆－－－－－－－－－－－－－124
Herning Museum of Contemporary Art 丹麦海宁当代艺术博物馆－－－－－－－－－－－132
Zoo Zoo Zoo Zoo动物剧院－－－－－－－－140

146－－－ - - - - - －－－－－－－哈萨克斯坦大会堂音乐厅 Kazakhstan Central Concert Hall
154－－－－－－－－隋唐长安城西市及丝绸之路博物馆 The Site Museum of West Market in Chang'an City of Tang Dynasty
164－－－－－－－－－－－－－－－－－－－－丹麦措斯楚普剧院 Taastrup Theater, Denmark
170－-－－－－－－－卡塔尔国家博物馆 National Museum of Qatar Building
176－－－－－－－－－－－－－－－－－－－－－－－－－－巴统水族馆 Batumi Aquarium
180－－－－－－－－－金山城遗址博物馆 Museum of Kanayama Castle Ruin
186－－－－－－－－－－第16届智利建筑双年展临时展馆 XVI Chilean Architecture Biennale
192－－－－－－－－－－－－－－－－－－－－－－－－－－－横须贺市美术馆 Yokosuka Museum of Art
198－－－－－－－－－－－－－－－－－－－－－－－－－－兰阳博物馆 Lanyang Museum
206－－－－－－－－－－－－－－－－－－－－－－－－－－－克努特·汉姆生纪念馆 Knut Hamsun Center
214－－－－－－－－首尔城东区文化艺术中心——文化森林 Culture Forest—SeongDong Culture and Art Center, Seoul

Hameenlinna Provincial Archive Hameenlinna政府档案馆－－－－－－－－－－－220
Ankara Art Center 土耳其安卡拉艺术中心－－－－－－－－－－－－226
Cervantes Theater 塞万提斯剧院－－－－－－－－232
Museum of Arts and Design, New York 纽约艺术设计博物馆－－－－－－ - - - - - - - - - -238
Prism Contemporary Art Prism当代艺术博物馆－－－－－－－－－－244
Liévin Stadium and Sports Center Liévin体育中心－－－－－－－-－－－ - - - - - - - -－250
Bechtler Museum, Charlotte 夏洛特市贝希特勒博物馆－－－－－－－－－－－256
OCT Art Design Gallery 华·美术馆－－－－－－－－－－－－－－－－－ - - - - - - - - - -260
educAtion 教育
The Central Los Angeles Area High School No.9 for the Visual and Performing 洛杉矶视觉与表演艺术第九中学－－－－270
Ravensbourne College of Design and Communication 瑞文斯博艺术与传播学院新教学楼－－－－－－－－－－－278
CEIBS Beijing Campus 中欧国际工商学院北京校区－－－－－－－－－－－－－－－－－－286
Fitzroy High School 菲茨罗伊中学－－－ - - - - - - - - - - －－－－－294
CSU Northridge Chaparral Science Hall 查理斯特大学北岭查帕拉尔科学馆- - - - - - -300

308－－－－－－－－－－－－－－－－－天津大学体育馆 Tianjin University Sports Arena
316－－－－－－－－－－－－－LOTTE幼儿园 LOTTE Kindergarten
322－－－－宾夕法尼亚大学安尼伯格公共策略研究中心 The Annenberg Public Policy Center of the University of Pennsylvania
住宅 RESIDENCE
336－－－－－－－－－－德国路德维希堡上的别墅 House near Ludwigsburg, Germany
346－－ - -－- - - - - - - - - - - -－－-－－－－360度房子 360 House
354－－－ - - - - - －－－－－－瓦尔斯别墅 Villa Vals
358－－－－－－- - - - - -－－－－克莱因瓶小房屋 Klein Bottle House
364－－－ - - - - - - - - - - -－－－－One & Ortakoy 住宅综合楼 One and Ortakoy
370－－－ - - - - - - - - －－－－－－－紫山小屋 Purple Hill House
378－－ - - - - - - - - - - - - - - - - - - -－－－－－－－岛屋 Island House

SHAPE I NDEX 造型索引
PictogrAphic ShApe 象形造型
Ofunato Civic Center and Library 大船渡市市民文化馆及市立图书馆－－－－－－－－－－－－－－－－－－－－－－－－－－－028
Beijing Science Center 北京科学馆－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－072
Muzeum Lotnictwa Polskiego 波兰LP航空博物馆－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－098
Herning Museum of Contemporary Art 丹麦海宁当代艺术博物馆－－－－－－－－－－－－－－－－－－－－－－－132
Kazakhstan Central Concert Hall 哈萨克斯坦大会堂音乐厅－－－－－－－－－－－－－－－－－－－－－－－－－146
The Site Museum of West Market in Chang'an City of Tang Dynasty 隋唐长安城西市及丝绸之路博物馆－－－－－－－－－－154
National Museum of Qatar Building 卡塔尔国家博物馆－－－－－－－－－－－－－－－－－－－－－－－－170
Batumi Aquarium 巴统水族馆－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－176
Lanyang Museum 兰阳博物馆－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－198
Knut Hamsun Center 克努特·汉姆生纪念馆－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－206
Bechtler Museum, Charlotte 夏洛特市贝希特勒博物馆－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－256
The Central Los Angeles Area High School No.9 for the Visual and Performing 洛杉矶视觉与表演艺术第九中学－－－－－－－－－270
CEIBS Beijing Campus 中欧国际工商学院北京校区－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－286
LOTTE Kindergarten LOTTE幼儿园－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－316
Purple Hill House 紫山小屋－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－ 370
Open ShApe 开放式造型

Onassis Cultural Center 奥纳西斯文化中心－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－076
Auditorium and Convention Center of Aragon Expo 西班牙阿拉贡世博会主场馆－－－－－－－－－－－－－－－－－－－－－－082
Scientific & Technical Center of Chongqing 重庆城市科技中心－－－－－－－－－－－－－－－－－－－－－－－－－090
XVI Chilean Architecture Biennale 第16届智利建筑双年展临时展馆－－－－－－－－－－－－－－－－－－186
Ankara Art Center 土耳其安卡拉艺术中心－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－226
OCT Art Design Gallery 华·美术馆－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－260
CSU Northridge Chaparral Science Hall 查理斯特大学北岭查帕拉尔科学馆－－－－－－－－－－－－－－－－－－300
DigitAl ShApe 数字造型

MAXXI: National Museum of XXI Century Arts 意大利 21 世纪国家美术馆－－－－－－－－－－－－－－－－－－－－016
Guangzhou Opera House 广州歌剧院－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－038
Music Theater, Graz (The Mumuth - Haus für Musik und Musiktheater) 格拉茨表演艺术学校戏剧表演大楼－－－－－－－050
Pavilion 21 Mini Opera Space 慕尼黑移动式迷你歌剧院－－－－－－－－－－－－－－－－－－－－－－－－－－－－－106
Gallery 303 韩国光州 303 画廊－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－116
Tel Aviv Museum of Art 特拉维夫艺术馆－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－ 124
Zoo Zoo Zoo Zoo动物剧院－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－140
Taastrup Theater, Denmark 丹麦措斯楚普剧院－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－164
Liévin Stadium and Sports Center Liévin体育中心－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－250
House near Ludwigsburg, Germany 德国路德维希堡上的别墅－－－－－－－－－－－－－－－－－－－－－－－－－336
360 House 360度房子－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－346
Klein Bottle House 克莱因瓶小房屋－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－358
EcologICAL ShApe 生态造型

Culture Forest—SeongDong Culture and Art Center, Seoul 首尔城东区文化艺术中心——文化森林－－－－－－－－－－－－－－214
One and Ortakoy One & Ortakoy 住宅综合楼－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－364
Island House 岛屋－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－378
NegAtive shApe 负造型

The Los Angeles Museum of the Holocaust 洛杉矶大屠杀博物馆－－－－－－－－－－－－－－－－－－－－－－ 062
Yokosuka Museum of Art 横须贺市美术馆－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－192
Cervantes Theater 塞万提斯剧院－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－232
Villa Vals 瓦尔斯别墅－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－354
表皮索引 sKIN INDEX
重表皮 HeAvy Skin
132－－－－－－－－－－－－－－－－－－－－－－－－丹麦海宁当代艺术博物馆 Herning Museum of Contemporary Art
294－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－-－－-－--－菲茨罗伊中学 Fitzroy High School
346－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－-－-－-－-－-－－360度房子 360 House
轻表皮 Light Skin

116－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－韩国光州303画廊 Gallery 303
170－-－－－－－－－－－－－－－－－－－－－－－－－－－－卡塔尔国家博物馆 National Museum of Qatar Building
198－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－-－-－-－-－-－兰阳博物馆 Lanyang Museum
206－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－克努特·汉姆生纪念馆 Knut Hamsun Center
220－－－－－－－－－－－－－－－－－－－－－－－－－－ Hameenlinna 政府档案馆 Hameenlinna Provincial Archive
238－－－－－－－－－－－－－－－－－－－－－－-－-－－－－纽约艺术设计博物馆 Museum of Arts and Design, New York
358－－－－－－－－－－－－－－－－－－－－－-－-－-－-－-－-－-－-－-－-－-－-－-－-－-－克莱因瓶小房屋 Klein Bottle House
节能表皮 Energy Skin

072－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－北京科学馆 Beijing Science Center
098－－－－－－－－－－－－－－－－－－－－－－－－－－－－－-－-－波兰LP航空博物馆 Muzeum Lotnictwa Polskiego
数字表皮 DigitAl Skin

016－－－－－－－－－－－－－－－－意大利 21 世纪国家美术馆 MAXXI: National Museum of XXI Century Arts
038－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－广州歌剧院 Guangzhou Opera House
106－－－－－－－－－－－－－－－－－－－－－－－－－－－－慕尼黑移动式迷你歌剧院 Pavilion 21 Mini Opera Space
140－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－-－-－-－-－-－-－Zoo Zoo动物剧院 Zoo Zoo
180－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－金山城遗址博物馆 Museum of Kanayama Castle Ruin
244－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－Prism当代艺术博物馆 Prism Contemporary Art
透明表皮 TrAnspArent Skin

050－－－－－－－－－－格拉茨表演艺术学校戏剧表演大楼 Music Theater, Graz （The Mumuth - Haus für Musik und Musiktheater）
076－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－奥纳西斯文化中心 Onassis Cultural Center
082－－－－－－－－－－－－－－－－－－西班牙阿拉贡世博会主场馆 Auditorium and Convention Center of Aragon Expo
090－－－－－－－－－－－－－－－－－－－－－－－－－－－－－重庆城市科技中心 Scientific & Technical Center of Chongqing
164－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－丹麦措斯楚普剧院 Taastrup Theater, Denmark
192－- -－－－－－－ - －－－－- - - - - - -－－－－－－－－－－－－－－－－－－－－－－－－横须贺市美术馆 Yokosuka Museum of Art
226－－－－－－－－--－－- - - - - - －－－－－－－－－－－－－－－－－－－－－－－－－土耳其安卡拉艺术中心 Ankara Art Center
250－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－Liévin体育中心 Liévin Stadium and Sports Center
260－－－－－－－－－-－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－华·美术馆 OCT Art Design Gallery
278－－- －-－－－－－－－－-－－－－－－瑞文斯博艺术与传播学院新教学楼 Ravensbourne College of Design and Communication
308－－-－－－－－－－－－－－-－-－-－－－－－－－－－－－－－－－－－－－－－－－－天津大学体育馆 Tianjin University Sports Arena
322－－－－－－－－－－－-－－宾夕法尼亚大学安尼伯格公共策略研究中心 The Annenberg Public Policy Center of the University of Pennsylvania
生态表皮 EcologICAL Skin

062－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－洛杉矶大屠杀博物馆 The Los Angeles Museum of the Holocaust
154－－－－－－－－－－－－－隋唐长安城西市及丝绸之路博物馆 The Site Museum of West Market in Chang'an City of Tang Dynasty
186－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－第16届智利建筑双年展临时展馆 XVI Chilean Architecture Biennale
364－－－－－－－－－－－-－－－－－－－－－－－-－-－－－－－－－－－－－－－－－－－－－－－－One & Ortakoy 住宅综合楼 One and Ortakoy
CULTURE
文化
016 017
N.001 MAXXI: NATIONAL MUSEUM OF XXI CENTURY

Architecture Office Zaha Hadid Architects Site Area 29,000m2
ARTS Location Rome, Italy Construction Area 19,640m2
Photographer Iwan Baan, Helene Binet, Roland Halbe,

CULTURE 意大利 21 世纪国家美术馆 Werner Huthmacher
Interior Area 21,200m2
shApe AnAlysis 造型分析

Digital Shape
According to the surroundings and the context of the city, the
architecture is designed into a shape of transportation hub. With the
overlapped geometrical architectural structure going hand in hand
with the terrain smoothly, the architecture thus has become not only
fused into the surroundings, but also the symbol and focus of the city.
数字造型
依据周围的环境和城市设计肌理，美术馆被设计成“交
通枢纽”状的造型。交叠、穿插的建筑几何结构顺应着
地势流畅展开，使美术馆不仅很好地溶入周遭环境，更
成为城市的象征和焦点。
Site Plan
总平面图
The MAXXI addresses the question of its urban context by continuing the
low-level urban texture of the former army barracks setting against the
higher level blocks on the surrounding sides. In this way, the center is more
like an “urban graft”, a second skin to the site. At times it affiliates with the
ground, yet it also ascends and coalesces to become a mass where it’s
needed.
By intertwining the circulation patterns with the urban context, the

building’s tendril-like paths and open spaces overlap with those of the city.
The architectural elements are also geometrically aligned with the urban
grids surrounding the site, further assimilating the building with its context.
The proposal offers a quasi-urban field, a “world” to dive into, rather than
the building as an object. The campus is organized and navigated on the
basis of directional drifts and the distribution of densities rather than the
key points, reflecting the porous and immersive character of the MAXXI as
a whole.
意大利21世纪国家美术馆是改造一片庞大军营后落成的。整个建筑延续了
原址的低层建筑风格，又与另一侧的高层建筑衔接。美术馆如城市肌理，
又仿佛是该地的第二张脸谱。有时它的某一端单独紧贴地面，有时又可根
据需要进行延伸和合并以组合成更大的空间。
研究过建筑基地的特殊地理背景后，此建筑设计成如弯曲着的道路，这些
“道路”交叠后，形成与城市对话的开放空间。即建筑的几何结构顺应着
地势流畅展开，与周围环境相统一。
美术馆的设计理念预定为提供一个衔接于地面的场所，即，要杜绝突兀矗
立着的单个物体，创造一个贯通周遭的连续空间。通过有效组织、交叠
后，建筑的各个部分紧贴地基朝各个方向延展，疏密适中，无冗繁的汇聚
感。穿透的开放式设计，使美术馆更加生动了。
018 019
Both the external and internal circulation follow the drift of the geometry, with vertical and oblique circulation
elements located at areas of confluence, interference, and turbulence. The move from the object to the field is
critical to the architecture and the art that it will house. The path leads away from the sanctification of the object
towards fields of multiple associations.
In architectural terms, this is the most radically subverted in terms of the image of the traditional wall. In
opposition to the traditional coding of the museum wall as the privileged and immutable vertical armature
for displaying paintings or delineating discrete spaces to construct order and linear narrative, the wall here
becomes a versatile engine for the staging of exhibition effects.
内部与外部的流线都沿着几何趋势，垂直、倾斜循环等要素在空间各处交汇、融通、波动。这种在物质和场域
间的移动，就建筑和艺术来说，是很重要的。这个贯通的路径，搭起建筑本体与地形的复相关，使得建筑物远
离了神圣荒诞的独立。
此项目墙壁的设计颠覆了博物馆建筑中传统墙壁的形象。以前，展览墙壁一般是隔离出相对隐蔽的、断续的空
间，且不可交换视角地垂直矗立，冷漠地展示着绘画。这样使得空间秩序相对孤立，感官上缺少线性流畅。而
在这里，MAXXI的墙壁被设计成可影响展览效果的多功能背景墙。
020 021
01
02
03
Further deviations from classical composition occur where the walls become a floor, or twist to become a ceiling, or are voided to become large windows. By constantly
shifting in dimension and geometry, the walls adapt themselves to whatever curatorial role is needed.
A versatile exhibition system is created by setting within the gallery spaces a series of potential partitions that hang from the ceiling ribs. These moveable elements enable “sets”
to be constructed, materializing or dematerializing according to exhibition requirements and allowing the drama to change.
当然，设计中还有更加离经叛道的尝试。墙壁在被需要的地方不断地变换大小、几何形状与方向。有时被延续成地板，有时扭曲成天花板，有时甚至直接被悬空成了巨大的窗
户。
另外，悬挂的天花板骨架与分割排列的玻璃屋顶设计，提供了特殊的画廊空间，创造出一个灵活生动的多功能展览系统。可调节的天窗板，随机设置成封闭、敞开或者开放一
定角度，能更好地配合展览背景的需求，创造出戏剧化的效果。
04 05
SKIN AnAlysis 表皮分析

Digital Skin
General wall is more inflexible with no modeling
arrangement. Digital design of walls is usually more difficult
to achieve. Stylist broke the traditional cognition, making
the wall optional and fluent, and become an inseparable
part of the building modeling. 01 Sketch
概念草图
数字表皮 02 Aerial View Model 1
鸟瞰模型图（一）
一般墙壁比较呆板，没有造型设计。墙壁的数字化
03 Aerial View Model 2
设计通常比较难。设计师打破了传统认知，使外墙鸟瞰模型图（二）
变得随意而流畅，并成为建筑造型不可分割的一部 04 Roof Plan
屋顶平面图
分。
05 Ground Floor Ceiling Plan
一层天花板平面图
022 023
StructureAnd mAteriAl 结构与材料

Structure: reinforced concrete
Wall Material: steel, formwork, concrete
Roofing Material: steel, glazed panels, translucent sheet
结构：钢筋混凝土
墙面材料：钢、水泥预制件、水泥
屋面材料：钢、玻璃板、透光面板
01
02
01 Cross Section Plan of Main Lobby
大厅横截面图
02 Cross Section Plan

横截面图
024 025
01
02
In its many guises—the solid surface,
projection screen, canvas, and window to the
city—it becomes the primary space-making
device. By running extensively across the site,
the cursively and gestural lines traverse inside
and out, letting the urban space coincide
with gallery space.
Integrated construction solutions,

experimentation on materials and site-
specific applications, optimization of the
logistic site management, and the opening
of new international markets of products for
the construction industry, represent certain
keys for reading the complexity of the MAXXI
contract.
美术馆拥有独特的外观，坚固的表皮、投影
屏、幕布、对着城市敞开的窗户，这些成为
塑造空间的首要元素。覆盖在基地上极富流
动感、内外部皆攀爬上升的线条，促进了展
馆与城市的空间汇聚与交流。
MAXXI 的实现不仅仅展现出设计的前卫，此
项目复杂的施工更是值得一提。在其逐步实
现的过程中，因为整合了以下元素，最新的
施工科技、实验最新原材、计算机科技在规
划方面的运用、更富有逻辑性地管理设计与
施工、建筑产业的全球化合作，代表了建筑
行业的最新发展情况。
03
01 Roof Detail 1
屋顶细节图（一）
02 Roof Detail 2
屋顶细节图（二）
03 Ground Floor Plan

首层平面图
04 First Floor Plan

一层平面图 04
026 027
028 029
Chiaki Arai Urban & Architecture Design 25,613.70m2

N.002 OfunAto Civic Center And LibrAry
Architecture Office Site Area
Location Ofunato City, Japan Construction Area 5,255.82m2
CULTURE 大船渡市市民文化馆及市立图书馆 Photographer Taisuke Ogawa

Pictographic Shape
We have always been moved and shocked
by the landscape of nature. The shape of the
architecture is inspired by the landscape and
elements of nature. Architecture should follow
examples of nature rather than be space
of indifferent and standardized large-scale
production.
象形造型
我们常常被大自然力量创造的景观所感
染和震撼。此造型的灵感来于大自然中
景观和元素。建筑应该回大自然，而不
是冷漠、标准化地大规模生产的空间。
Site Plan
总平面图
030 031
Located in Ofunato, a town on the distinctive

Sanriku Kaigan coastline of Iwate prefecture in
northeastern Japan, Ofunato Civic Center and
Library is a cultural building which consists of
a main hall with 1,100 seats, a library, multi-
purpose spaces, an atelier, a tea room, and a
studio.
It is the key to a design that can reflect the

local traditional landmark of the landmark
building. And it requires that architect cannot
01
use too peculiar modeling and concept but it
has a clear spatial structure with clear lines.
此图书馆位于日本东北岩手县三陵海岸，具有
能容纳1 100人的礼堂，还有图书馆、画室、
茶室、播音室和多功能厅，是一座综合文化建
筑。
它的关键是需要设计一个能够反映当地习俗文
化的标志性建筑。并且要求建筑师们不能用过
于奇异的造型和理念，同时空间结构要清晰，
线条要分明。
02 03
01 Sketch
设计草图
02 Model 1
模型图（一）
03 Model 2
模型图（二）
04 Section Plan
剖面图
04
032 033
01 Section Plan
剖面图
02 First Floor Plan

一层平面图
01
Structure: steel frame
结构：钢骨架
In our exploration of possibilities in this

project, we interpreted the course of
history and considered consistency and
inconsistency in the search for a new order
and space. Rather than to conform these
factors into a consistent space, we accepted
each inconsistency, which subsequently
reflected directly on the architectural form
resulting from a dynamic spatial formation of
“inconsistent consistency”.
我们在历史长河的生生不息和反复中寻找灵
感，试图创造一种新颖的空间建构，却没有
采取河流永远向前流动的概念将所有的部分
组成一个连贯一致的空间，而是承认河流流
向的反复和矛盾，并且将这种流向的矛盾和
不协调直接反映到这个立体的建筑上，建造
起一个“矛盾的协调”。
02
034 035
035 036
036 037
Lighting Analysis
照明分析
038 039
Zaha Hadid Architects 70,000m2

N.003 GuAngzhou OperAHouse
Location Guangzhou, China Construction Area 42,393m2
CULTURE 广州歌剧院 Photographer Iwan Baan, Virgile Simon Bertrand

Digital Shape
Using the world’s advanced digital and architectural
art, from the nature of interaction between natural
landscape and architecture, Guangzhou Opera
House has a unique twin-boulder design, showing
the space dialogue between the city and Pearl
River, with the adjacent cultural buildings linked
together, combined International Financial Tower in
Zhujiang New Town.
数字造型
运用世界先进的数字建筑艺术，从自然景观
和建筑的相互作用角度看，整个建筑独特的
双卵石设计展现了城市与珠江的空间对话，
与毗邻的文化建筑相连，更是与珠江新城国
Site Plan 际金融塔连为一体。
总平面图
Like pebbles in a stream smoothed by erosion, Guangzhou Opera House sits in perfect harmony with its riverside location.
The Opera House is at the heart of Guangzhou’s cultural development. Its unique twin-boulder design enhances the city by
opening it to the Pearl River, unifying the adjacent cultural buildings with of International Financial Tower in Zhujiang New
Town.
The 1,800-seat auditorium of the Opera House boasts the very latest acoustic technology while the smaller 400-seat
multifunction hall is designed for performance art, opera and concerts in the round.
像一块因磨蚀而变得光滑的鹅卵石，广州歌剧院立于河畔，与周围环境完美和谐地融为一体。它地处广州文化发展的中心地
带，采用独一无二的“双砾”设计，面朝珠江，与邻近的珠江新城国际金融塔相互融合。
歌剧院的大礼堂有1 800个座位，拥有最先进的音响设备。小一点的多功能厅有400个座位，用于表演艺术、歌剧和举行音乐
会。
040 041
The design evolved from the concepts of a natural

landscape and the fascinating interplay between
architecture and nature and engaging with the
principles of erosion, geology and topography. The
Guangzhou Opera House design has been particularly
influenced by river valleys – and the way in which
they are transformed by erosion.
Fold lines in this landscape define territories and zones

within the Opera House, cutting dramatic interior and
exterior canyons for circulation, lobbies and cafes,
and allowing natural light to penetrate deep into
the building. Smooth transitions between disparate
elements and different levels continue this landscape
analogy. Custom molded glass-fiber and reinforced
gypsum (GFRC) units have been used for the interior
01 of the auditorium to continue the architectural
language of fluidity and seamlessness.
设计融入了自然景观的概念，在建筑与自然之间互
动，同时遵循侵蚀、地质和地形等相关原理。广州歌
剧院的设计受河谷影响较大，以减少侵蚀。
剧院景观的折射光线界定了歌剧院内部的区域和地
带。为了确保歌剧院的畅通，增设休息室和咖啡馆，
采用戏剧化的手法隔开剧院的外部和内部。这样阳光
可以渗入剧院。不同元素和不同层次之间的自由转
换，延续着景观的类比。在礼堂的内部定制了玻璃纤
维模具来加固石膏单元，延续了流动与连贯的建筑语
言。
02
03
04
01 Source of Concept
概念来源
02 Structure Profile
结构示意图
03 Section Plan 1
剖面图（一）
04 Section Plan 2
剖面图（二）
05 Section Plan 3
剖面图（三）

横截面图
05
06
042 043
Digital Skin
This building is a good representative non-linearity building, both structure and skin parametric
design in pure crystal. It’s composed by stone and glass epidermis, while stone reflects the
indication of "pebbles", glass emphasizes the theater's opening.
数字表皮
无论是结构还是表皮参数化设计的单纯结晶，该建筑都是颇具代表性的非线型建
筑。表皮由石材和玻璃组成，石材体现“卵石”寓意，玻璃强调了剧院的开放性。
The Guangzhou Opera House has been the catalyst for the development of cultural facilities in the city including
new museums, a library and an archive. The Opera House design is the latest realization of Zaha Hadid Architects’
unique exploration of contextual urban relationships, combining the cultural traditions that have shaped
Guangzhou’s history, with the ambition and optimism that will create its future.
广州歌剧院是城市文化设施发展的促进因素。它包括新的博物馆、图书馆和档案馆。歌剧院的设计是扎哈·哈迪德
建筑事务所的最新创作，暗含对城市与环境的独特探索，同时融合广州历史文化传统，展现出它开创未来的乐观与
雄心。
044 045
046 047

Structure: cast steel structure
Material: GRG pre-cast type glass fiber strengthen
plasterboard, glass, stone materials
结构：铸钢结构
材料：GRG预铸式玻璃纤维加强石膏板、玻璃、石材
048 049
01
02
01 Plan Level 1
楼层平面图（一）
02 Plan Level 2
楼层平面图（二）
050 051
N.004 Music TheAter, GrAz (The MUMUTH - HAus fur Architecture Office UN Studio Site Area 2,745m2
Musik und MusiktheAter) Location Graz, Austria
CULTURE 格拉茨表演艺术学校戏剧表演大楼 Photographer Christian Richters

Digital Shape
Overall modeling is like a distorted "box", while
the distortion part is the vestibular area, spiral
stairs as part of the bearing structure. The
missing of the regional hallway creates a very
open space, with concert halls and rehearsal
room in the "box" interior.
数字造型
整体造型像是一个扭曲的“盒子”，扭
曲部分是建筑的门厅区域。螺旋状楼梯
是该部分的承重结构，墙的消失为门厅
区域创造了非常开放的空间，音乐厅和
排练室在“盒子”的内部。
Site Plan
总平面图
052 053
“Finally we can offer our students an outstanding architectural building space to further their artistic training. The mission of the Arts University is the on-going
development of the arts. Thanks to MUMUTH our audience can be increasingly involved in this exciting process”, says Rector KUG Georg Schulz.
The relationship between music and architecture is a classical one. Too classical for our times, it may be the thought of many contemporary architects. But that is
not our view; UN Studio likes the classical with a twist. The theme of the acoustic space, explored for its dramatic potential by Le Corbusier and Xenakis, is still for us
a topic of fascination and an incredible potential today. And since the MUMUTH theater belongs to the University of Music and Performing Arts Graz and is a place
where young musicians receive their instruction in the performing and musical arts, it seems to us even more appropriate to let the architecture communicate with
the music.
格拉茨表演艺术学校的校长Georg Schulz说：“我们终于给学生们提供了一个像样的地方进行艺术训练。艺术大学的使命是发展艺术。这座大楼将会让越来越多的
观众参与到这个令人激动的过程。”
音乐和建筑的关系是一种经典关系。对于当代的很多建筑师来说，这个话题太老生常谈了。不过，我们并不这样认为。联合工作室喜欢带有点扭曲的经典。勒·柯
布西耶和克塞纳斯基曾探索声学空间的戏剧性潜力，直到如今，这个声学空间的话题还是很有吸引力，很有潜力。这座大楼属于格莱茨音乐表演艺术大学，是年轻
音乐家进行表演和接受音乐艺术指导的场所。在我们看来，它应该更适合音乐与建筑空间的交流。
01
01 Sketch
概念草图
02 Structure Analysis
结构分析
02
054 055
There are two entrances for this building; one is the everyday entrance on the park side which is used by students and staff, and the other is the
public entrance on the Lichtenfelsgasse which is used by the audience when there is a performance. In the performance nights, the student
entrance is transformed into a wardrobe using mobile closets. A removable ticketing desk and screen bulletin are placed underneath the
staircase. The public ascends a wide staircase and enters a large foyer on the first floor. This foyer gives access to the multipurpose auditorium
that can seat up to 450, and that is adaptable to a great variety of performances, ranging from solo instruments to opera to full orchestra.
The free-flowing space of the foyer is made possibly by a spiraling constructive element that connects the entrance to the auditorium and
to the music rooms above, thus welding together “with a twist” on the three levels of this side of the building. The twist is in fact a massive
concrete construction which was one of the most challenging we ever realized—even more difficult to achieve than the twists in our recently
completed museum for Mercedes-Benz. The dimensions of this particular twist necessitated far greater precision and the use of self compacting
concrete which was pumped up from below instead of pouring down from above as the usual method. The twist forms a central feature of the
public space, around which everything revolves. Lighting and material details accentuate the ripple effect. The twist is highlighted from above
by a skylight in the ceiling, which itself consists of lamellas executed in dark wood which fan out from the twist in a wave-like pattern.
这个建筑有两个入口。一个是位于公园方向的日常通道，主要服务于学生与相关工作人员。另一个面向 Lichtenfelsgasse 大街的公共通道，即

演出时的观众入口。在演出之夜，学生通道将被转换成一个可移动壁橱衣柜。一个可移动的售票办公桌和屏幕公告设计在楼梯下。市民可沿着
宽大的楼梯走进一楼的等候大厅。这个等候区直接通到可容纳450人的表演大厅（礼堂）。大厅适应于种类繁多的表演，囊括乐器独奏、管弦
乐队参与的完整歌剧等。
一个螺旋上升的扭转楼梯是连接三层空间的关键：入口、可自由流动的休息等候区、礼堂，以及音乐室都被这个特别设计的衔接因素连接在一
起。这个扭转楼梯是一个巨型的混凝土结构，其设计是我们所遇到的最具挑战性的项目，难度超过了我们已完成的另外一个项目——梅赛德斯
奔驰博物馆。这种特殊扭曲需更高的准确度，特别是其浇灌施工方面，因为无法采用一般的自上而下倾盆浇筑，在此采用了从下往上的自密实
泵送混凝土成型。这个扭转楼梯创造了独特的中央内部空间，整个建筑其余部位围绕着延续展开。采光、材料细节的设计更是强调了这一旋转
效果：天花板开的天窗使其更显突出、通透；展开的扇形黑木薄片扭曲得如波浪形状。
01 Elevation
立面图
02 Detail Plan
节点图
01
With the overt presence of the spring receding from the facade as the design evolved, the exterior again
SKIN AnAlysis 表皮分析 became a blank canvas, generating the opportunity to return to the theme of music in a new way. Our interest
in re-establishing a relationship between music and architecture had from the beginning focused on shared
Transparent Skin aspects such as rhythm, continuity, and channeling. Through our readings of the philosopher Gilles Deleuze we
Because the bearing structure is the spiral learned that there is another element that we had not seriously studied before, that is, the element of repetition.
stairs, walls can be more transparent. Inner Repetition generates an aggregate with densifications, intensifications and intervals. Repetition brings sonority.
part is steel structure and glass, and the It allows for improvisation, marks territory, and codes milieus. We decided to use a repetitive pattern of our own
outer layer is the metal screen, blurring the design, and apply this to the facades in various ways to achieve some of these effects.
architecture and the external environment,

The pattern, executed in the muted tones of stage make-up, is found all over the building in various degrees
with the construction levels more abundant.
of density. Its appearance is furthermore impacted by changes of light during the night and the day, and by
透明表皮 proximity and view angles, since the outermost layer of the facade consists of a glittering mesh.
建筑的承重结构是螺旋状楼梯，因此
墙可以更加透明。内层是钢结构和玻随着设计的进行，山泉在立面方向后退，外部又一次变成了一张空白的帆布，给回归音乐主题开辟了一个新的道
璃，外层是金属丝网，模糊了建筑与路。从一开始，我们就乐于重建音乐与建筑之间的关系，重视两者共同的东西，如节奏、连续性、渠道。通过解
读哲学家吉尔·德勒兹，发现还有一个因素我们以前没有认真研究过，那就是重复。重复产生一个稠化、集约
外部环境的界限，使建筑层次感更丰
化、间隔的总和形式。重复带来洪亮。即兴地拼贴，构成新的大版图，带来新的氛围。我们决定在立面大范围重
富。
复运用这个设计图案。
这种淡色的图案，分布在大楼的各个密度区。因为立面的最外层有一个闪闪发亮的灯网，所以这个图案不但会因
为白天夜晚的光线效果不同而呈现出变幻，且因穿透闪光外立面的视觉角度的不同呈现不同色彩。
02
056 057
01
01 Detail Plan 1
节点图（一）
02 Detail Plan 2
节点图（二）
02
058 059
Structure: steel bone + reinforced concrete
Exterior Material: steel frames, silkscreen printed glass,
enveloped by a stainless steel mesh
Interior Material: drywall and plaster, metal panels, glazing
01 First Floor Plan
结构：钢骨+钢筋混凝土一层平面图
外部材料：钢框架、丝印玻璃、不锈钢网 02 Second Floor Plan

二层平面图
内饰材料：石膏和石膏板、金属板、玻璃
03 Third Floor Plan
三层平面图
01
02
03
060 061
01
01 Structure Analysis 1
结构分析（一）
结构分析（二）
02
062 063
Architecture Office Belzberg Architects 2,508.38m2

N.005 The LosAngeles Museum of the HolocAust
Site Area
Location Los Angeles, USA
CULTURE 洛杉矶大屠杀博物馆 Photographer Iwan Baan, Benny Chan, Belzberg Architects

Negative Shape
Museum submerges under the basement, and the
roof naturally combines with the park's overall
landscape. Using the circularity of the footpath in
the park, it guides the stream of people to visit the
museum whose overall structure and the landscape
of the park totally are fused together. And the
green roof blurs the overall modeling with a sense
of external existence.
负造型
博物馆隐没在地下层，屋顶自然衔接于公园
的整体景观。运用公园内循环的走道，引导
人流进入博物馆内进行参观。博物馆的整体
Skateboard Plan 结构与公园的景观完全融合在一起，绿色屋
斜坡设计图顶隐没了整体造型的外部存在感。
The new building for the Los Angeles Museum of the Holocaust (LAMH) is located within a public park adjacent to
the existing Los Angeles Holocaust Memorial. Paramount to the design strategy is the integration of the building into
the open surrounding and park landscape.
新的洛杉矶大屠杀博物馆（简称 LAMH ）坐落在一个公园，毗邻现有大屠杀纪念馆。此项目的策略是把建筑融合于

周遭，特别是与公园的景观保持和谐。
064 065
Project Feature
Museum building in a public park; submerged into landscape
terrain to maintain an open park space
One of the largest intensive green roofs in Southern California
On the track of receiving LEED Gold Certification from the
USGBC
Design Awards received prior to completion: Los Angles
Cultural Affairs Commission Award and the Green Building
Design Award presented by Mayor Antonio Villaraigosa
项目特色
公园里的博物馆，隐没在景观中，保持着公园的开放空间
拥有南加州目前最大的绿色屋顶，正在申请美国绿色建筑委员
会 LEED 金牌认证
未完工就获得洛杉矶市长维拉莱戈萨亲自颁发的洛杉矶优秀文
化设计奖及绿色建筑设计奖
The museum is submerged into the ground, allowing the

park‘s landscape to continue being over the roof of the
structure. Existing park pathways are used as connective
elements to integrate the pedestrian flow of the park with
the new circulation for museum visitors. The pathways are
morphed onto the building and appropriated as a surface
patterning. The patterning continues being above the
museum’s galleries, further connecting the park’s landscape
and pedestrian paths.
By maintaining the material pallet of the park and extending

it to the museum, the hues and textures of concrete and
vegetation blend with the existing material palette of Pan
Pacific Park. These simple moves create a distinctive facade for
the museum while maintaining the park’s topography and
landscape. The museum emerges from the landscape as a
single, curving concrete wall that splits and carves the ground
to form the entry. Designed and constructed with sustainable
systems and materials, the LAMH building is on the track
of receiving a LEED Gold Certification from the US Green
Building Council.
基于此原则，博物馆隐没在地下层，屋顶自然衔接于公园的整
体景观。运用公园内循环的走道，引导人流进入博物馆内进行
参观。而这样的设计，使得走道不但未失去其功效，还成为博
物馆特殊的表皮图案。这个图案一直持续到博物馆展览区间的
上方，链接到公园的景观与其他人行道。
保留公园的材料托盘，并把它拓展到博物馆，这使它与混凝土
和植物的色泽以及质感相互融为一体。这些简单的设计，不但
可以保留公园的地貌和景观，而且可以设计出一个独特的立
面。博物馆从景观中露了出来，简单弯曲的混凝土墙壁，相互
分开，形成一个入口。用可持续的系统与材料来设计和建造，
有望通过美国绿色建筑委员会LEED金牌认证。
066 067
01 Ramp Wall Elevation

翼墙立面图
02 South Elevation
南立面图
03 Landscape Plan
景观分布图
01
02
Ecological Skin
Museum submerges under the basement, and the roof naturally
combines with the park's overall landscape. This design not only
makes the park not lose its circular aisle efficacy, but becomes
a special pattern of the museum. Through the color and simple
sense, we make the whole harmonious with park extending
to the museum. Through these details, we naturally make the
museum have an unexpected epidermis.
生态表皮
博物馆隐没在地下层，屋顶自然衔接于公园的整体景
观。这样的设计，使得公园内的循环走道不但未失去
其功效，还成为了博物馆特殊的表皮图案。通过色彩
与质感的把握，使得公园整体和谐，又能延展到博物
馆。通过这些细节，博物馆很自然地拥有了出人意料
的表皮。

03
068 069
01
02
03
01 Section Plan 1
剖面图（一）
02 Section Plan 2
剖面图（二）
04 05
03 Elevation Detail Plan
立面节点图
04 Section Detail Plan 1

剖面细节图（一）

剖面细节图（二）

剖面细节图（三）
07 Roof Plan
屋顶平面图
08 Plan Detail
平面细节图
06 07
08
070 071
Lobby Wall Structure Section Analysis

大堂内部墙壁结构剖析
072 073
KSP Jürgen Engel Architekten 57,000m2

N.006 Beijing Science Center
Location Beijing, China Construction Area 100,800m2
CULTURE 北京科学馆

Pictographic Shape
The height of Beijing Science Center is about 20
meters, and its floating in midair square clouds
(133.5m × 133.5m) modeling will be particularly
noticeable.
象形造型
北京科学馆的高度大约为20m，而其漂浮于
半空中的方形云朵（133.5m×133.5m）造
型将特别引人注目。

Energy Skin
Appearance is strikingly white, and the surface
of the building is of aluminum plate square and
lozenge for heat insulation. The openings of the
windows of various sizes emphasize the building,
Site Plan
总平面图 and make a dynamic shape with the internal activity
seen from the outer.
节能表皮
建筑物外观为醒目的白色。建筑表面采用方
形和菱形的铝合金板隔热。尺寸不一的窗户
开口强调了建筑物的动态形状，并且使建筑
内部活动透明化。
KSP Jürgen Engel Architekten wins the competition for the Beijing Science Center in China.
The design for the new Science Center in Beijing, China, will create a new landmark in the city. It will be devoted to
research, science, and future technologies.
约尔根·恩格尔建筑师事务所设计的北京科学馆设计荣获桂冠。
中国将通过新设计的北京科学馆来创造北京市新的里程碑，该馆将用于研究科学和未来技术。
074 075
A Floating Roof—the Center's Distinguishing Feature

The new building’s key element is a floating structure measuring 133.5 meters by 133.5 meters, which rises above the pedestal building at a height 01 Section Plan 1
剖面图（一）
of around 20 meters. This roof is supported by numerous, extremely slender columns, which, based on the image of a bamboo grove, form a
concentrated forest of columns. They create a spatial transition from the public road to the scientific exhibition area. The exhibition’s aim is to give 02 Section Plan 2
剖面图（二）
visitors access to future technology, science, and research. The forest of columns, water basin and the slanting pedestal create an architectural
03 Second Floor Plan
topography that leads the visitors from the city into the Center’s exhibition world. The spherical edifice with a 3D cinima housing the former Beijing 二层平面图
Science Centers, which was well known in the city, is to be integrated in the new museum building, thereby preserving its significance and standing. 04 Third Floor Plan
三层平面图
科学馆的一个主要特征——浮顶设计 05 Sixth Floor Plan

六层平面图
新建筑物的最大造型特点就是它的悬浮式结构，尺寸为 133.5m×133.5m，从高约 20m 的基座上升起。悬浮顶由众多极细的长柱所制成，这些长柱
06 B2 Floor Plan
就像一片竹林，形成了一片集中的柱林。还计划设计一座立交桥，连接公路与科学展览区。展览的目的是让游客们了解未来的科学技术和研究。细长负二层平面图
柱林、水域与倾斜的基座创造了一个建筑地势，将游客们从城市引入该馆的展览世界中。球形的建筑结构将会把北京市有名的前中国科学技术馆（穹
顶影厅部分）包裹在内，使整栋建筑保留了原有的重要意义和地位。
01
02
03 04
05 06
Exhibition Areas and Additional Facilities

The exhibition is divided into three sections: the permanent exhibition, changing exhibitions, and the “Virtual Experience”. The latter section is housed in the spherical structure.
Apart from the three exhibitions, levels 5, 6 and 7, which cover a surface area of some 40,000 square meters in the floating edifice, what is known as the “Science Cloud”,
the Center, which has a total surface area 65,240 square meters, boasts the following facilities: two further sections for changing exhibitions covering a surface area of 4,960
square meters in total, rooms for museum-related educational activities, an auditorium, a restaurant and a museum cafe, not to mention integrated services. The research and
administration areas are located in the northern section of the pedestal.
The Facade Design and Sustainability

The structure of the building is open and inviting, with no large glass sections, which is advantageous in terms of both the flexible exhibition concept on the inside and the
energy concept. The facades stand out for their white, thermally insulated square and rhombic aluminum panels. Various-size window openings emphasize the dynamic shape
of the edifices and make the activities in the inside visible. Furthermore, LED lighting in the exhibition area ensures lower electricity consumption. The water basins humidify
and cool the air naturally.
展览区和额外设施
展览区分为三个区域：永久性展览区、交易展览区以及“模拟体验区”。模拟体验区在球形结构内，除了上述三个区域以外，在悬浮建筑内， 5、 6、7 层三层面积共
40 000m2，称之为“科学云”。博物馆总面积为65 240m2，它还包括了以下设施：另外两个交易展览区（总面积为4 960m2）、博物馆教育活动相关的房间、礼堂、饭店、
咖啡店，还有综合服务区。基座北段是研究管理区。
外观设计和可持续性
建筑物的结构给人的印象是开放式并且有魅力的，它并没有大面积的玻璃区（玻璃有利于内部灵活展览概念以及能源概念）。建筑物外观为醒目的白色，建筑表面采用方形和
菱形的铝合金板隔热。尺寸不一的窗户开口强调了建筑物的动态形状，并且使建筑内部活动透明化。而且，展览区的 LED 灯光可减少电源消耗。水域可保持一定的湿度，并
且有助于空气自然冷却。
076 077
AS. (Architecture-Studio), AETER

N.007 OnAssis CulturAl Center
Architecture Office
Location Athens, Greece Construction Area 20,000m2
CULTURE 奥纳西斯文化中心 Photographer AS. (Architecture-Studio), Takuji Shimmura

Open Shape
Onassis Cultural Center is built on glass base made up of dassault
marble with a concise, easy, and translucent shape. The vision of
wall facade, near or far, presents a transparently and translucently
perspective effect. Special building material combination makes
the whole building dynamic. The irregular entity stone and regular
and transparent glass entity achieve a harmonious balance.
开放式造型
奥纳西斯文化中心由建在玻璃底座上的达索大理石构
成，外形简洁大方，呈半透明状。墙体立面的近景与远
景皆呈现出透明与半透明的透视效果。特殊的建材组合
使整个建筑充满动感。不规则的实体石材与规则透明的
玻璃体相得益彰。
Context Plan
场地环境图
078 079
01 02

Transparent Skin
The processing of the surface gives out an atmosphere of cultural center, full of vitality. That
Programme: Foundation includes an opera house—
style of architecture reflects the special features of city. Because of the body restrictions
a theater of 1,000 seats, an auditorium conference
of the building itself, it seems that the surface of striped stone materials and abstract
hall-cinema of 200 seats, an open air amphitheater of
200 seats, a library, a restaurant and an exhibition hall.
architecture expression can not be combined into a breathtaking gallery.
透明表皮
The building is designed as a simple, diaphanous 建筑表面的处理散发出文化中心的气息，充满勃勃生机。建筑风格体现出城市
volume building of Thassos marble, elevated over a 的特色。由于建筑本身规模的限制，简约的条纹石材表面和抽象的建筑表达造
glass base. The facades are simultaneously opaque 就了一个令人叹为观止的文化中心。
and transparent, which depends on whether one
perceives them from near or afar. The project is
revealed in the movement, and the approach
towards the building. The opacity of the stone is
balanced by transparency, rhythm and matter.
01 Section Plan 1
剖面图（一）
This urban scenography is based on the treatment
02 Section Plan 2
of the building’s facades as a living, responsive 剖面图（二）
membrane, reflecting the activity of the Foundation 03 Elevation 1
立面图（一）
itself and its openness towards the city and the world.
The simplicity of the volume and the abstraction 04 Elevation 2
立面图（二）
of architectural expression create the monumental
aspect that would have seemed almost impossible
because of the small size of the plot.
设计任务包括一座可容纳1 000人的歌剧院、一座可
容纳200人的音乐厅、一座可容纳200人的露天馆和 03
一个图书馆、一个餐厅、一个展览厅。
奥纳西斯文化中心由达索大理石铺成，外形简洁大
方、呈半透明状。墙体立面的近景与远景皆呈现出透
明与半透明的透视效果，当然这取决于观看者所站的
地方离建筑的远近。整个建筑充满动感。不透明的石
头在其他透明物质、节奏感以及其他建筑材料的平衡
下，不会太突兀。
建筑表面的透视处理使得我们从外可以观察到建筑立
面的活动，整幢建筑显得生机勃勃，体现出开放性的
特色。由于建筑大小的限制，简约的条纹石材表面和
抽象的建筑表达，创造了看似不可能的建筑，真是让
人叹为观止。
04
080 081
01 First Floor Plan

一层平面图
02 B2 Floor Plan
负二层平面图
01
Beyond the facades, a precious and surprising

object that brings together the three
auditorium crosses the entire building. This is
the heart of the project. Multiplied by the void
surrounding it, its envelope forms the ideal
stage for the Cultural Center’s events.
在内部，有一结构贯穿整个建筑的巨大主体，
它容纳了三个视听空间。它是建筑的核心部
分。四周空间很壮观，它的外壳为文化中心的
活动展示提供了完美的舞台。
02
Material: stone, glass
材料：石材、玻璃
082 083
Nieto Sobejano Arquitectos, S.L.P. , Fuensanta Nieto, Enrique Sobejano

N.008 AuditoriumAnd Convention Center ofArAgon Expo
Architecture Office
Location Zaragoza
CULTURE 西班牙阿拉贡世博会主场馆 Photographer Aurofoto S.L. , Roland Halbe, Fernando Alda

Open Shape
The corrugated roof modeling looks like a
shimmering white curtain, covering gently on
its top, achieving various kinds of different
structures in the internal space, and showing
its openness.
开放式造型
波纹一般的屋顶造型，似白色闪光帘，
轻轻地覆盖在顶部，形成了内部空间的
各种不同结构，展示出建筑的开放性。
Site Plan
总平面图
085. 1
The new Auditorium and Convention Center portrays a
fractional and varied profile – ascending and descending –
in dialogue with the different spaces housed in its interior,
manifesting expressively the presence of natural light and
the meeting point of the building with the ground. Like
a white shining cover, a great roof gently envelops the
different structures sheltering a large interior space – fluid
and continuous – which demonstrates the public and
institutional character of its purpose.
这个新的会议中心体现了分级与多样的特征：上升和下降。
内部包含各种不同的空间，着重展现自然光的存在以及建筑
与地面之间的汇合点。其巨大的天花板就像一块白色的闪闪
发光的盖子一样轻轻地覆盖在巨大内部空间各种不同的结构
之上，如流水一般延绵，充分体现了该建筑的公共性。
084 085
Section Plan
剖面图
086 087
Three main blocks housing an auditorium, a multi-

functional pavilion and modular halls are connected
to each other via a large common vestibule which
links the different areas. The convention hall was
conceived with the intention of leaving upper tier and
01 Detail Plan mezzanine in separation. The hall for 1,500 persons
建筑细节图
will be available for the use when in smaller numbers.
02 Structure Analysis 1 The exhibition pavilion was used during Expo 2008 as
结构分析（一）
the Water Platform with the possibility of independent
结构分析（二） access allowed it to be used for exhibitions (one or
two simultaneously), for seminars or diverse events.
The modular halls comprise an area that could be
used during the International Exhibition as a press
center, offices or meetings rooms while now it can be
subdivided into multiple halls or seminars of greater
or lesser size. A large subterranean storey houses the
service areas, installations, dressing rooms, storage
areas, kitchens… guaranteeing operation as a center
with the necessary characteristics without interfering
in the public spaces of the building.
主题大厦包括一个礼堂、一个多功能展览馆和许多通
过一个巨大的普通门廊互相连接在一起的组合式大
厅。门廊将这些不同的区域连接在一起。会议厅的主
要构造意图是让上层楼与中层楼互相独立，形成一个
可容纳1 500人的小型会议厅。该建筑展览馆的所处
位置使其成为2008年世博会的水上平台，可独立通
行，因此可作为展览馆（可同时开一至两个展会），
或者用来举行研讨会以及开展各种不同的活动。组合
式大厅包括一个在国际展览期间可作为新闻中心、办
公室或会议厅的区域，然而，现在该区域还可被再分
成许多小厅或者大大小小的研讨会所。巨大的地下储
藏室包括服务区、各种设备、更衣室、储藏区、厨房
等，确保中心的必要功能的正常运行而又不会干扰公
01
共区域的活动。
02

Transparent Skin
Both the inner part made up of glass plate and the outer part made up of metal net, of
the exterior wall, not only ensure a good daylight effect, but make it more open and
public.
透明表皮
建筑外墙内层采用玻璃板，外层采用金属网，这样既保证了良好的采光效
果，又使展馆更加开放和更具公用性。
Geometry, structure and construction are part of this proposal

for a single combined concept. The necessity for rapid execution
did not present a problem, rather being the reason for the
architectural concept itself. Strict geometric modulation, the
preference for using prefabricated building structures which
lend themselves to being repeated, the choice of a structural
solution based on metallic girders with powerful lights and
finally, and voluntary restriction in the range of materials, are
all arguments for a strategy which allowed us to dominate the
structural, geometric and construction preconditions which
impact on the process.
单一组合概念包括几何造型、结构与建造三个方面。这种概念可
以很快地实现，这也是其本身具有的内涵。策略上允许调控影响
建筑进程的结构、几何和建造方面的东西。策略考虑包括严格几
何模数，对可再利用结构的偏好，对装有强光灯金属梁的结构方
案的选择，对各种材料固有限制的考虑。
03
088 089

The interior spaces respond to the same gradation of
textures and colour. Metal and concrete cladding in
vestibules and public areas coexist with continuous tiling
and glass divisions. The main auditorium also contributes
to the drive for luminosity and clarity with its materials. To
the exterior, large glass fronts alternate glazed panels and
metal lattices integrated in the facade with transparent
sections for the elevation to the square that enhances
the perception of the open and public character of the
building.
The brilliance and clarity of the image of the building

which dominates during the day has its counterpoint
at night when the Convention Center appears as a
landscape of solid light emerging from the ground: the
metaphor of an intangible condition which – perhaps
unconsciously – we imagined from the beginning for this
building.
建筑内部空间质地和颜色的渐变效果是一样的。前厅和公
共区域不但金属和混凝土表层经过处理，而且还有大量的
瓷砖和玻璃隔墙。主会堂的材料还要求具备良好的采光性
能和透明度。建筑正面外墙上的大型玻璃窗采用了玻璃板
和内嵌在建筑正面的金属格子与建筑三角形透明部分交替
的形式，加强了建筑的开放性和公用性功能。
Floor Plan
楼层平面图
当会议中心以一实地颜色的景观形式出现时，白天建筑形
象的宏伟和透明同晚上的景观形成鲜明的对比。或许我们
在初见该建筑时就在不知不觉地将其视为无形的了。
090 091
AS. (Architecture-Studio)
N.009 Scientific & technicAl Center of Chongqing
Architecture Office
Location Chongqing, China Construction Area 40,000m2
CULTURE 重庆城市科技中心 Photographer AS. (Architecture-Studio), Takuji Shimmura

Open Shape
Entrance, atrium and important displaying
areas adopted large glass curtain walls,
enriching the architectural sense of levels,
better illustrating the internal modeling, and
closing the distance between the surrounding
environment and technology center.
开放式造型
建筑的入口、中庭及重要展示区域采用
了大面积玻璃幕墙，丰富了建筑的层次
感，更好地展示建筑内部造型，同时又
拉近了周围环境与科技中心的距离。
Landscape Plan
景观分布图
092 093
Programme: the Scientific & Technical Center includes a permanent exhibition room with a planetarium, a fish tank and a
rocket; a cinema; a children center; several temporary exhibition rooms; a conference center and a restaurant.
Located in the North-East of Yuzhong Peninsula which is formed by the Yangtze River, with a 40,000m2 land, the Scientific &
Technical Center is one of the ten major installations of the city. Right in the heart of Chongqing, it brings neighboring lands
in the development of the city.
设计任务包括：一个科技馆（包括一个天文馆、一个水族馆、一个火箭馆），一个电影院，一个儿童中心，几个临时会展
厅，一个大会议室和一个宾馆。
重庆城市科技中心位于长江口岸渝中半岛的西北，建筑面积40 000m2，是城市十大主要公共设施之一。建在重庆市中心，它
可以带动周围地块的发展，促进整个城市的发展进步。
01
01 Model Plan
模型图
02 Section Plan
剖面图 02
094 095
Transparent Skin
Exterior walls use a variety of colorful stone in a form of cross cascade, mixing with glass curtain wall.
Polychromatic stone like a hard rock, is used as a metaphor for "mountain"; clear and transparent glass is
used as a metaphor for "water", revealing the landscape feature of Chongqing City.
透明表皮
外墙使用多种颜色石材交叉层叠，外有玻璃幕墙。多色石材似坚硬的岩石，隐喻“山”，清
澈透明的玻璃隐喻“水”，彰显重庆的景观特征。
096 097
Section Plan
剖面图
Structure: steel bone + reinforced concrete, main building—steel
truss structure, appendage—reinforced concrete
Material: 5 millimeters thick lightweight steel, glass curtain wall,
external stone
结构：钢骨 + 钢筋混凝土，主楼 —— 钢桁架结构，附
楼 —— 钢筋混凝土结构
材料：5mm厚的轻质钢、玻璃幕墙、外墙石材
The Scientific & Technical Center was designed like an organic component of the city in order to represent a certain harmony with
its environment. The style holds the rational and well ordered characteristics of scientific causes as well as of technological creativity.
Translated by strong architectural elements, these concepts offer an opportunity to transform the Scientific & Technical Center into
a symbol of the city of Chongqing.
In order to meet the requirements of sustainable development, the design and the construction of the Scientific & Technical Center
had considered the urban environmental protection, so as to economize energy sources.
重庆城市科技中心之所以成为城市不可缺少的一部分，是因为它与周围环境和谐统一。其建筑格调融入了科技创新的现代概念。其
建筑构思通过运用各种建筑手法力图使重庆城市科技中心成为重庆市的象征。
为了满足可持续发展的要求，重庆城市科技中心的设计和建造考虑了城市环保的问题，以达到节约能源的目的。
098 099
Pysall, Ruge Architekten with Bartlomiej Kisielewski 4,504m2

N.010 Muzeum LotnictwAPolskiego
Location Krakow, Poland
CULTURE 波兰 LP 航空博物馆 Photographer Jakub Pierzchala, Marcin Przybylko, Jens Willebrand, Dariusz Rutkowski

Pictographic Shape
A paper airplane modeling echoes the theme,
with a large concrete structure of triangle
wing. It is arranged like spiral vane; different
directions have different functions. A total of
three layers, mutually intertwined, provide
visitors a good experience.
象形造型
建筑以一种纸飞机的造型呼应主题，是
大型的三角形机翼式混凝土结构。如螺
旋叶片般排布，不同的方向具有不同的
功能。一共三层，相互交织，给参观者
提供了良好的体验。
Site Plan
总平面图
100 101
The Muzeum Lotnictwa is one of the largest museums of the aviation in the world. It is located in the historically preserved buildings and hangars of the former historic airfield
of Rakowice-Cyzyny in Cracow, the first airfield on Polish terrain built in 1912 for the air fleet No. 7 of the Austrio-Hungarian Empire.
The idea of flying, the spirit of the place, the structure of the historic airfield and the new building for the Museum of Aviation take up these references intellectually and
synthesizes them into a building. The old hangars give the footprint and the height for the basic module and, when it is cut and folded like a windmill or a propeller, it yields
a subtle, functionally expressive architectural sculpture. Developed from this modular scale, cut out and folded, as if it’s made like a paper airplane, a large structure has arisen
with triangular wings made of concrete and yet as light as a wind-vane or propeller. Size and orientation of the wings got developed out of three different functions. 4,500 sq
m usable area on three floors is of disposition now. Intertwining spaces provide good orientation for the visitor.
波兰 LP 航空博物馆是世界上最大的飞行博物馆之一，它位于历史保护区和之前 Rakowice- Cyzyny 机场飞机仓库里，这是 1912 年在波兰领土上建成的第一个飞行基

地，是为奥匈帝国的第七飞行队建造的。
拥有飞的感觉，象征着该地区精神，基于旧机场的历史文化，2010 博物馆新建筑的完成，将这些理念逐一表达出来。此建筑的造型类似于一个风车，又酷似螺旋桨、折
叠的纸飞机，展示出此建筑与航空主题的微妙联系。建筑师继承了场地精神，对用地模块经过裁剪和折叠，最后出来的建筑就像一个纸飞机，具有大型的三角形机翼式混
凝土结构，就像螺旋叶片一样排布，不同的方向具有不同的功能。一共三层，相互交织，给参观者提供了良好的体验。
Energy Skin
01
Building is located in the Northern Europe, adopting reinforced concrete
and a glass combination skin, implementing the sustainable spirit, making
every effort to reduce energy through modeling and skin. It makes full use
of natural ventilation, lighting, and chooses durable materials to reduce
maintenance cost.
节能表皮
建筑地处北欧，采用混凝土钢筋、玻璃组合表皮，贯彻了可持续
的精神，力求通过造型和表皮上减少能源的消耗，充分利用自然
02
风、自然光。选择材料时，选择耐用材料以降低维修费用。
01 South Elevation
南立面图
02 East Elevation
东立面图
03 Section Plan
剖面图
03
101 102
102 103
Entering the building one has the choice to

go into the education wing with a voluminous
3D-cinema or directly into the exhibition area
with the planes. The wings are generously
glazed, opening in all directions. The first floor is
occupied with the conference room seating 150
people, a bibliotheca, a multimedia section and a
restaurant with bar over viewing the exhibition.
Besides the generous using of geometry of

space, architects also research the low-energy
using of this building, which is composed by the
concrete and glass. Such as, the lasting material
to reduce the cost of repair, only the auditorium
and cinema use the air-condition, collecting
natural daylight which is through the facade and
big skylights; also an energy-efficient light system
is realized throughout the building. This includes
light directing commutator sections and the
use of energy saving lamps in combination with
motion detectors.
此展馆作为教育的一部分机翼，内设 3D 影院，
且可直接通达飞机展览区域。折叠的机翼造型，
对各个方向开放。一楼有可容纳 150 人的会议
室、图书室、多媒体室、带有展览酒吧的餐厅
等，为此建筑能更好有效地服务大众。
此外设计师在设计过程中，除了寻找建筑空间的
美学语言，也致力于此项目的节能低耗研究。建
筑采用混凝土钢筋、玻璃组合结构，在设计过程
始终贯彻生态可持续性原则，如，最大限度降低
能耗，选择耐久材料以降低维修消耗，只有影院
和礼堂依靠暖通设备，立面通透，预留了足够大
的采光天窗口来满足通风、采光。此外，为了
实现展览的最佳效果，设计了特殊的节能照明系
01 统。
01 Site Plan
总平面图

首层平面图
03 First Floor Plan
一层平面图
二层平面图
02 03 04
103 104
104 105
106 107
COOP HIMMELB (L) AU 560m2

N.011 PAvilion 21 Mini OperASpAce
Location Munich, Germany Construction Area 1,790m2
CULTURE 慕尼黑移动式迷你歌剧院 Photographer Duccio Malagamba

Digital Shape
According to the frequency and the power figure
of the guitarist Jimmy Hendrix and Mozart's with
computer 3D technology, we designed a theater
in the shape of conical body, forming a removable
geometric buildings, and eliminating the influence
of the surrounding acoustical environment on the
interior of the theater.
数字造型
根据吉他演奏家吉米·亨德里克斯与作曲家莫
扎特的乐曲频率、功率图，结合计算机3D技
术，分别设计出锥形体的剧院。它是一个可移
动的几何建筑物，消除周围声学环境对剧院内
Sketch 部的影响。
设计草图
The task which we had to solve with our design was to create a
space with 300 seats (or 700 standing spectators) for experimental
performances of the Bavarian State Opera. The Pavilion should
be dismountable, transportable and re-mountable and make the
respective urban space distinctive through its shape.
在这个任务中，我们的设计必须为巴伐利亚歌剧院的实验性演出创造
一个拥有300个座位（或700个站位）的空间。这个展馆可拆卸、可移
动并且可以重新组装，并通过它自身形态变化来展现各自城市空间的
特色。
108 109
01
Mass and weight are the decisive criteria for good

acoustics. The conception of the Pavilion 21 MINI Opera
Space therefore had to overcome a contradiction: to
design a lightweight construction which must allow to be
dismantled and reassembled quickly, and at the same time
meet the acoustical requirements of a concert hall.
Hence how do we create the conditions for good

acoustics despite a reduction of mass? Already the first
considerations fixed in drawings show the basic concept
of the Pavilion to introduce elements which are on the one
hand the spatial transformation of sound sequences, and
which on the other hand develop sound reflecting and
absorbing properties through their pyramid-like shape:
“Soundscaping”.
规模和重量是良好声学效果的两个决定性标准。因此移动式
迷你剧院要克服的矛盾是建造一个轻质地、可快速拆卸组合
的建筑，同时又要符合声学要求的音乐厅。
因此，在减少规模的情况下，我们如何创造出良好的声音效
02
果呢？工作首要考虑的是基本概念。那就是一方面采用空间
变换的声音序列，再者就是通过建筑角锥体形状建立稳固地
反射和吸收声音性能的“音响范围”。
03
04
01 Function Analysis
功能分析
02 Concept Analysis
概念分析
03 Floor Plan
楼层平面图
04 Section Plan
剖面图
结构分析
05
110 111

Digital Skin
It not only requires that sound effect must be good, but is visually attractive
and meanwhile it should be lightweight and movable. Designer uses tilted wall,
guaranteeing the sound effects and increasing the surface area. Another strategy
is to reduce interference of the external voice for the opera. And it has a sound
insulation effect with the outside world.
数字表皮
歌剧院既要音响效果良好，又要在视觉上吸引人，同时还要轻质可移
动。设计师采用倾斜的墙体保证了音响效果，增加了表面面积。另外
一个策略是减少外部声音对歌剧院的干扰。这样确保剧院与外界的隔
音效果。
112 113
Our strategy to achieve soundscaping comprises three steps: Firstly, realize the shielding effect
between square and street, secondly, shape the geometry of the Pavilion in such a way that
the surface deflects noise, and thirdly, design the surface of the Pavilion in such a way that it
reflects and absorbs sound.
As a starting point towards the abstraction of music into spatial form, a sequence from
the song “Purple Haze” by Jimi Hendrix and a passage from “Don Giovanni” by Mozart were
transcribed. Through the analysis of frequence sections from these pieces of music and
through the combination with the computer generated 3D model, the sequences are
translated into pyramidal “spike constructions” by means of parametric “scripting”.
In order to implement the objectives of the interior spatial acoustics, the interior wall and
ceiling surfaces were fitted with a combination of perforated absorbing and smooth reflecting
sandwich panels. The flooring of the Pavilion is carried out as a reflecting even “stage floor”.
Sound reflecting, parallel wall and ceiling surfaces are avoided and are tilted or skewed.
音响范围的作用体现在三个方面：首先是形成广场和街道之间的屏蔽效应；其次是构成了小剧
场的几何外形，减少了噪声；最后建筑外层反射和吸收了声音。从内部看，内墙和天花板用穿
孔和光滑的板材组合而成，并以倾斜来避免或加强声音的反射。
作为从抽象的音乐到空间形式的一个起点，转录了 Jimi Hendrix 的歌曲《Purple Hze》中的

序列和莫扎特的《Don Giovanni》中的段落。设计者分析了频率和节奏，用电脑制作了三维
模型，将参数的脚本转换成一个个金字塔般的锥体。
为实现内部空间音效之目标，内墙和天花板表层装有穿孔式吸声板和光滑的反射夹层板。地板
做成反声的平整的“舞台地板”。反声的平行墙和天花板设计成了倾斜状。
114 115

Structure: steel structure
结构：钢结构
116 117
Unsangdong Architects 3,493m2

N.012 GAllery 303
Location Gwangju, South Korea Construction Area 1,152.09m2
CULTURE 韩国光州303画廊

Digital Shape
Through the parametric design, five faces,
similar to the gem processing, of the building
were cut into several smaller faces, achieving
the effect of "urban sculpture".
数字造型
通过参数化设计，将建筑的五个面像加
工宝石那样切割成若干个面，以达到
Roof Model
房顶模型图 “城市雕塑”的效果。
118 119

Light Skin
Skin: punching metal + THK24 double glazing
+THK30 stone (white color).
轻表皮
表皮处理采用金属冲压+THK24上光
双排石+THK30白色石。
01
Gallery 303 is the only apartment complex reflecting

a global life style incorporating business, culture, and
art located in Gwangju. We designed the model house
like a gallery to catch people’s fancy by using a kind of
simple white material. The gallery atmosphere is also
02
evident in the interior materials of the base panel and
stainless steel.
Compared to existing model houses, Gallery 303

proposes a new shape as an urban sculpture something
like a city's jewel. The Gwangju model house provides
information about a new type of model house that
breaks from preconceived notions of temporary
buildings that perfectly align the interior and exterior.
Based on the plan of the exhibition space, performance
space, and restaurant, this complex offers a real
community space for the residents.
The unit space of the interior in length and height is in

the natural form of three dimensions. The stairs connect
03 different spaces to form of a gallery. Using light, and the
lighting display provides a meaningful experience for
the visitor.
303画廊位于韩国光州，是唯一将商务、文化与艺术结
合于一体，并反映全球生活方式的公寓大楼。我们将样
板房设计得如同画廊一样，通过使用简单的白色材料，
来激发人们的幻想。画廊的气氛也明显地在装潢材料的
基础面板和不锈钢上得到充分反映。
与现存的样板房相比，303画廊提供了一种新的、有点
像珠宝的模型，起到类似城市雕塑的效果。光州样板房
提供了一种打破常人观念的、将临时性建筑内部与外在
完美结合的新型住宅模式。以展览场地、表演空间、餐
馆的平面图为基础，综合配套为居民提供了一个真正的
社区空间。
内部单位空间利用的是三维空间形式，楼梯连接不同的
空间形成了画廊。利用灯光、照明设备的展示为来访者
04
提供了一次韵味无穷的体验。
01 Front Elevation

正立面图
02 Back Elevation
后立面图
03 Section Plan 1 Structure: steel structure

剖面图（一） Material: recycled materials and those able to push simple
04 Section Plan 2 construction and convenient dismantling materials
剖面图（二）
05 Right Elevation 结构：钢结构

右立面图材料：再生材料以及那些能够推动简易建造和方便拆除
06 Left Elevation 的材料
左立面图
05 06
120 121
Changing the image of the sculpture to

different points of view make it seem alive. We
want the white crystal to impact the city. The
general idea of a crystal sculpture is to make it
differentiate itself from others by cutting the
mass. On the pure white, the matching red is
reminiscent of Kumho's corporate identity in
a natural way. The use of natural wood and a
gray base panel in the interior provide special
features for the minimal gallery space.
To secure efficient space, simple materials

and methods of construction were specially
chosen. This also lowered the per unit price
for construction. The plans call for selecting
materials that promote easy construction
and that is easy to tear down, and that can be
recycled.
我们希望这“白色水晶”建筑提升城市形象，
主旨是使它与其他大多数建筑区别开来，我们
改变“雕塑”外观的不同视点使之变得富有
活力，纯白色搭配红色让人自然而然地想起
Kumho的企业标志。利用天然木材和一个灰
色的内部底部面板为最小美术馆空间提供特殊
功能。
为确保有效利用空间，简单的材料和施工方法
都是经过精心挑选的。这也降低了建造成本。
该项目提倡选择可再生材料，以及那些能够简
01 易建造和方便拆卸并回收的材料。
01 Entrance Elevation Detail Plan
入口立面节点图
02 First Floor Plan

一层平面图
02
122 123
Second Floor Plan
二层平面图
124 125
Preston Scott Cohen Inc.

N.013 TelAviv Museum ofArt
Architecture Office
Location Tel Aviv, Israel Construction Area 18,500m2
CULTURE 特拉维夫艺术馆

Digital Shape
We can interpret this building as a thing that is
composed of a series of independent volumes and
steel structures in the form of layers, connecting all
other parts through an intangible and vertical space.
Its slightly distorted surface (hyperbolic linear)
organically joins each rectangle space between
different angles, and makes the reflection of natural
light down the bottom of the building.
数字造型
我们可以将这个建筑理解成是由一系列相互
独立的量体和钢构架层层叠置，经一条无形
的垂直空间流线连接为一个整体。其轻微扭
曲的表面（双曲线型）有机地连接了不同角
度之间各个长方形空间，并将自然光反射至
建筑最深处。
Site Plan
总平面图
Located in the center of the city's cultural
complex, the program for the Tel Aviv Museum
of Art Amir Building posed an extraordinary
architectural challenge: to resolve the tension
between the tight, idiosyncratic triangular site
and the museum's need for a series of large,
neutral rectangular galleries. The solution is the
subtly twisting geometric surfaces (hyperbolic
parabolas) that connect the disparate angles
between the galleries and the context while
refracting natural light into the deepest recesses
of the half buried building.
The building represents an unusual synthesis of

two opposing paradigms for the contemporary
museums, the museum of neutral white boxes
and the museum of architectural spectacle.
Individual, rectangular galleries are organized
around the “Lightfall”, an eighty-seven foot tall
and spiraling atrium. The building is composed
according to multiple axes that deviate
significantly from floor to floor. In essence, it is a
series of independent plans and steel structural
systems stacked one atop the other, which are
connected by geometric episodes of vertical
circulation.
特拉维夫艺术馆位于城市文化综合区域的中心地
带。设计一开始就面临一个非同寻常的挑战，那
就是它必须处理好密集的三角形之间的压力，满
足在建筑中央设置一些美术馆的要求。解决的办
法是巧妙地围绕几何学表面（双抛物线）在美术
馆和其周围环境实现不同角度的连接，并使自然
光线照射到博物馆的中心部位。
艺术馆结合了当代博物馆两种对立的模式，是
一个奇特的结合体——中性白色盒体造型和常
规博物馆的统一。单个、方形展览室围绕的
“Lightfall”排列，这是一个26.51m高的螺旋形
式中庭。艺术馆由多重轴心组成，轴心在层与层
之间明显错位。奇特的是轴心由一楼向另一楼偏
移。大体上，建筑是由一系列独立的量体和钢制
结构层层叠叠组成的。这些结构通过垂直循环几
何片段连接在一起。
126 127
02
01
03

Structure: reinforced concrete 01 Sculpt Analysis
造型分析
结构：钢筋混凝土 02 Structure Analysis

结构分析
03 South Elevation
南立面图
04 Model
模型图
04
128 129
01 Structure Plan
结构平面图
02 Elevation
立面图
03 Section Plan 1
剖面图（一）
04 Section Plan 2
剖面图（二）
01
02
03
04
130 131
First Floor Plan

一层平面图
The new building refers to the original building in such a way that the two can be seen as having a family
resemblance. At the same time, it relates to a larger tradition of the new that exists within Israeli architectural culture.
The multiple vocabularies of Mendelsohn and Bauhaus Modernism in Tel Aviv are re-synthesized in an architectural
language that is international and progressive in its culture.
新的艺术馆是在常规的建筑方式上，保留了传统艺术馆相似的形式，同时，又包含了更多崭新的以色列建筑文化的
传统。在特拉维夫市，德尔松的多种建筑词汇和包豪斯现代主义重新融合，生成一种新的建筑学语言。这种语言体
现了文化的国际性和先进性。
132 133
Steven Holl Architects 12,000m2

N.014 Herning Museum of ContemporAryArt
Location Herning, Denmark Construction Area 5,600m2
CULTURE 丹麦海宁当代艺术博物馆 Photographer Thomas Moelvig, Thomas Mayer, Susan Wides

Pictographic Shape
The separated parts of the roof of the
museum are like shirt sleeves which are
elegantly in a superposition. There are two
building centers composed of two treasure
boxes like a shell.
象形造型
该馆分离出来的部分屋顶就像衬衫的袖
子一样，一个叠加在另一个上面。建筑
物的中心由两个“宝盒”组成的，像外
Site Plan
总平面图壳一样。
The Herning Museum of Contemporary Art
unites three distinct cultural institutions:
the Herning Museum of Contemporary Art,
the MidWest Ensemble and the Socle du
Monde. The new center is intended to be
an innovative forum combining visual art
and music.
The museum’s design combines the

landscape and architecture. It includes
a permanent and temporary gallery
exhibition, a 150-seat auditorium, a music
rehearsal room, a restaurant, a digital library,
and an administrative office.
海宁当代艺术博物馆由三个相独立的文化
机构结合而成：海宁艺术中心、中西部服
装部和Socle du Monde部。这个博物馆将
被打造成一个创新型的综合视觉艺术和音
乐的殿堂。
该馆的设计融景观和建筑为一体，设置临
时和永久展厅、能容纳150人的礼堂、音
乐演播厅、餐厅、数字图书馆和管理办公
室。
134 135
Herning’s prominent relationship with textiles and the Museum’s

large collection of original works painted by Piero Manzoni (46
works in total) gives an inspiration for the concept of design. The
museum is located near Herning’s original Angli shirt factory. And
the shirt collar-shaped plan of the 1960s’ buildings has an impact
on this new building. Viewed from above, the roof geometry
resembles several shirt sleeves laid over the gallery. The curved
roofs bring in natural lights. The loose edges of the plan offer space
for the cafe, auditorium, lobby, and offices.
The exhibition space can be easily closed, while all peripheral

space remains open for other use. Truck tarps were applied in the
white concrete formwork to yield a fabric texture on the building’s
exterior walls. Gallery space is orthogonal and finely proportioned
in terms of art, while overhead curved roof sections admit natural
light in. The gallery’s exterior walls are built in accordance with
the theory of the bearing, just like a “treasure box” in the museum.
Internal gallery walls in lightweight construction are movable,
providing flexibility in anticipation of various exhibitions. Floors of
integral color in charcoal concrete unify the ground plane into a
continuous patina with a wax finish.
该馆的设计灵感来源于它与纺织的渊源及它里面所珍藏着的46部皮
耶罗曼佐尼的原创作品。它坐落于海宁的第一家衬衫工厂Angli附
近，20世纪60年代衬衫衣领状的工厂造型，显然也影响了这次新
博物馆的外形设计。俯瞰该馆，像是拼凑起来的几只衬衫袖子覆盖
在展馆上方，弧形屋顶设计保证了展厅柔和的自然光线，几只袖子
的边缘地带则成了咖啡厅、音乐厅、会议厅、办公室。
即使展馆关闭，它外围的空间仍然可作他用。混凝土结构外面附有
卡车用帆布，使外立面产生一种类似纺织物纹理的质感。展馆空间
按精细的艺术比例垂直相交。几个弧形顶部交错的设计，能使自然
光线进入。展馆外墙设计符合轴承原理，仿佛一个博物馆里深藏的
宝盒，内墙采用轻盈的可移动结构，这样可以灵活运用，以满足各
种展览的需要，深灰色混凝土质的地板，色泽圆润饱满，就像在满
是铜绿的大地上打了一层蜡。
01
02
01 First Floor Plan

一层平面图
02 Section Plan
剖面图
03 East Elevation
东立面图
SKIN AnAlysis 表皮分析 The surrounding landscape is partially shaped in the

reverse curve of the geometry of the roof. In transforming
Heavy Skin
the flat field, a new 3,716 square meters landscape of
White concrete walls are like covered with cloth of patterns and crease. Building
lawn, mounds and pools diverts the visitors from the
surface is rough, and each fine line is exposed to the outside. parking and service areas where it seems a bit monotony,
重表皮 only to focus on the charming playground underneath
洁白的混凝土墙就如同覆盖了一层有着折痕纹样的布料。建筑物的表 the sunshine.
面很粗糙，每一个细纹都袒露在外。
另外，周围的景观也是这个反向弯曲几何造型屋顶的重要
部分。3 716m2的草坪、土堆和水池构成的新景观，将人
们对停车场和服务区的视线聚焦到阳光反射下的魅力球场
上，使这片区域不会因这个几何建筑体的出现而显得呆板
沉闷。
03
136 137
138 139
Material: white concrete material
材料：白色混凝土材料
140 141
Yoo Hyunjoon Architect Construction Area 379.78m2(Lion Theater)

N.015 Zoo Zoo
Architecture Office
Location Geonggi-do, Korea Construction Area 417.17m2(Crocodile Theater)
CULTURE Zoo Zoo动物剧院

Digital Shape
Building bottom is of 37 degrees oblique modeling. Seen
from the front, it looks like a three-dimensional curve,
as if it is made casually, but actually the slope modeling
is created in the consideration of the arrangement of
the internal seat, giving a shelter for visitors to avoid
from rain and sun while enjoying the landscape. It also
protects us from the flood.
Outside Drawing
外形图数字造型
建筑底部呈37°倾斜造型。从正面看它像三维
立体曲线，看似很随意，其实斜坡造型结合了剧
院内部座椅的布置，游人可在此避雨、遮阳，同
时又可以欣赏周围景观。它还有防洪功能。
142 143
The client wanted to leave some space for the visitors

to take shelter from rain and sunlight when traveling.
The best solution for three conditions of maximizing
the use of small site, avoiding flood, and avoiding
rainfall was simple. The answer was “piloti”. However,
the too high piloti would block the beautiful sky and
scenery. So we had to design lower building with
piloti space by utilizing the bottom of the sloped seats
in the theater.
客户要求建筑物预留一部分空间为游客游览时避雨遮
阳。要同时解决空间使用的最大化、防洪、避雨这三
个问题的措施非常简单，答案就是采用底层架空。但
是架空柱过高会挡住美丽的天空和风景，所以我们利
用剧院座椅的底层倾斜设计成架空层。

Digital Skin
Using parametric design, architecture
epidermis is irregular, concise, delicate,
which is sharply contrasted with the
disorderly environment around, achieving
a landmark and attracting visitors.
数字表皮
我们运用参数化设计，设计出不规
则、简洁、精致的建筑表皮，与周
围杂乱的环境形成对比，以达到成
为地标和吸引游客的目的。
01
02
功能分析
02 First Floor Plan

一层平面图
03 Grount Floor Plan

首层平面图
03
144 145
There are two buildings. One is a “lion theater” and the other is a “crocodile theater”. While keeping the design concept of utilizing the sloping bottom of the seats, the building
is shaped by the shape of the site. The lion theater mass is a parallelogram and sloped by 20 degrees under the client's requirement. Crocodile theater mass is molded by the
distorted round-shaped island site and 37-degree slope. This condition produced a three dimensional curve line edging at the elevation. This seems arbitrary, the slope and the
seats meet the requirements of those who travel here.
Current Zoo Zoo architectural environment is chaotic because of the complex program, too many stone sculptures and various trees. Therefore, the newly constructed building
has to be simple but not dazzled, and to work as a landmark indicating the location of the zoo. As a solution for these needs, we designed the building a simple in white in an
asymmetry shape.
整个剧院由两栋建筑组成，一个叫狮子院，一个叫鳄鱼院。为了实现建筑体底部倾斜这个设计理念，整个建筑体的造型相应地受其影响。狮子院底部被设计成一个平行四边
形，并且与地基构成一个20°的倾角，解决了客户所需预留空间问题。鳄鱼院底部阶梯座椅被设计成一个不规则的圆形岛屿造型，呈37°倾斜。从正面看它像三维立体曲线，
看似很随意，其实斜坡造型和座椅满足了游客的现场观看需求。
目前动物剧院周围的建筑环境项目复杂，石雕和树木过多而显得十分混乱，因此新建的建筑必须简洁，不能再令人眼花缭乱，同时能起到一个地标的作用，为游客指示动物剧
院的相对位置。为此我们将其设计成一个简洁、精致的白色不规则建筑物。
146 147
Nicoletti Associati 54,000m2

N.016 KAzAkhstAn CentrAl Concert HAll
Location Astana, Kazakhstan Construction Area 40,000m2
CULTURE 哈萨克斯坦大会堂音乐厅

Pictographic Shape
Architecture was designed into a full bloom
flower in the prairie, giving out a life-like
sense. The entire building as a music flower
decorates the deserted Astana prairie.
象形造型
建筑设计成一座“草原之花”，花朵似
乎在音乐声中盛开，栩栩如生。整座建
筑如同音乐之花装点着整个阿斯塔纳荒
芜的草原。
Sketch
概念草图
This auditorium—one of the largest in the world—was awarded to Studio Nicoletti as a result of an International
restricted competition. Located in the heart of the steppes only four years after independence of the country, Astana
is now a decade old and is the new capital of Kazakhstan. Astana's central nucleus occupies a rectangular area whose
organizational axis is based upon a system of three piazzas among which the largest one is the Presidential Palace. The
State Auditorium faces the Senate House. The vastness of the location conjures up an impression of the immensity of the
territory. Flying over the arid vastness of the steppes, we felt that what is really missing were flowers. We decided to build
the “Flower of the Steppe”.
该会堂是世界上最大的会堂之一，是国际内部设计大赛Studio Nicoletti建筑事务所的获奖作品。该建筑是在国家独立之后
四年建立起来的，坐落于阿斯塔纳大草原的中心区域，如今阿斯纳塔已经成为古老的哈萨克斯坦的新首都。阿斯塔纳的中
心是一个矩形的区域，该建筑的基轴是建立在三大广场系统基础之上的，其中最大的广场为总统府，国家礼堂正对着参议
院议厅。建筑占地面积之大能让人联想到该国领土的宽阔。从这个荒芜的大草原飞过，我们唯一感受到的是缺少花朵的装
饰，因此我们决定建立一个“花的海洋”。
148 149
Amidst this monumental void, the structures of the Auditorium rise like the petals of a flower animated through music. They
create an envelope that encloses an internal piazza housing shops, balconies, restaurants, exhibition halls, two cinemas and
the 3,500 seats Auditorium has is entirely clad in wood inside and outside. Its shape is similar to a “Dombra”, a typical Kazak
instrument. Such internal multi-levelled piazza integrates with Astana's system of public squares, while providing a space
protected from the harsh local climate: its temperature range from -40 to +40 with salty winds.
在这块庞大的空地上，礼堂的结构就像是音乐的花瓣，就像一个大信封，里面装了一个内部广场，广场里有商店、露台、
餐厅、展览馆和两家电影院。内外共有3 500个观众席座位。所有座位都是木头制造，外表覆着一层金属。它的形状类似于
“冬不拉”——哈萨克人的一种典型乐器。这种内部多层广场既包含了阿斯塔纳公共广场系统，又能提供一个抵御当地恶劣
气候的场所。当地的温度范围是- 40~40℃，而且还伴有阵阵咸风。
01 Elevation 1
立面图（一）
02 Elevation 2
立面图（二）
03 Section Plan 1
剖面图（一）
04 Section Plan 2
剖面图（二）
05 Section Plan 3
剖面图（三）
01
02
03
04
05
150 151

Structure: cast steel
结构：铸钢结构
152 153
01
01 Floor Plan 1
02 Floor Plan 2
02
154 155
N.017 The Site Museum of West MArket in ChAng'An

Architecture Office Liu Kecheng studio Site Area 14,084.9m2
City of TAng DynAsty Location Xi'an, China Construction Area 32,000m2
CULTURE 隋唐长安城西市及丝绸之路博物馆 Photographer Hengzhong Lv

Pictographic Shape
By adopting the 12m × 12m exhibition unit, the layout
of the ancient Chang’an City is reproduced with the
features of the Chinese chessboard road. Meanwhile
the dimension of building materials, the texture
of skin, dimension, and color are within a series of
new exploration, making the high part and the low
part in order, giving out an effect of layers, as if we
have crossed the time and space and back to then
Chang’an City.
象形造型
此设计通过采用尺寸为12m×12m的展览单
元，再现了隋唐长安城里坊的布局和棋盘路
网的特点。同时对建筑的材料、尺度、肌理
和色彩等方面进行了一系列新探索，创造出
高低错落、丰富有序的空间层次和效果，令
Site Plan
区位示意图人们仿佛穿越时空，回到盛世之长安，一睹
昔日繁荣。
Tang King Market Museum is the first site museum built up by the private capital
investment. It is the only one museum reflecting the commercial culture, silk-
road culture and historical culture of Tang King as well as the only one museum
that was rebuilt on the original market site in the capital of Tang Dynasty—
Chang’an city and preserved the “Market Site” originally. It has many sites, such
as “Cross Street”, “Road Rut”, “Stone Slab Bridge”, “Foundations of the Building”,
“Trench”, and so on. The building covers an area of 32,000m2 with 8,000m2
exhibition area and 2,500m2 site protection areas. The museum collects more
than 20,000 cultural relics. It possesses perfect exhibit system, integrating various
exhibitions, such as the history, art, folk-custom, collections, and theme activities.
It is one of the important landmark buildings and a place for public activities.
隋唐长安城西市及丝绸之路博物馆是国内首座由民间资本投资建设的遗址类博
物馆。它是唯一反映盛唐商业文化、丝路文化和西市历史文化的主题博物馆，
也是唯一在唐代长安城西市原址上再建的、原真性保存“西市遗址”的博物
馆。有“十字街”“道路车辙”“石板桥”“房基”“水沟”等多处遗址，建
筑面积32 000m2，展出面积8 000m2，遗址保护面积2 500m2，馆藏文物 2 万
余件，具有完备的陈列展览体系，集历史、艺术、民俗、收藏等各类陈列展览
及主题活动于一体，是西安市的重要地标性建筑与公众活动场所之一。
156 157
Based on the practical protection of the historical sites of Sui and Tang Dynasty, such as the road, stone bridge, trench, and
buildings, the architect design innovatively protects and displays the Cross street as well as its original road structure, dimension,
scale and atmosphere through a reasonable layout. The exhibition unit measured 12m × 12m implements the city layout of
Chang’an city as well as the city’s chessboard network features throughout the space design of the museum. Meanwhile, the
design carried out a series of new explorations on the building’s measurement, dimension, material, texture and colors to create
a high and low scattered, rich but orderly space levels and effect, three-dimensionally restoring the real dimension and spatial
feeling of the historical street of the Tang Dynasty. It reflects the deep structure of Chang’an city and architect culture in Sui and
Tang Dynasty as well as the qualities momentum and prosperous image at that time from the building’s texture and disposition
by matching with the specially designed facade materials. 01 Sketch
概念草图
建筑设计在切实保护隋唐西市道路、石桥、沟渠和建筑等遗址的基础上，通过合理布局，创造性地保护和展示隋唐西市十字街
02 Concept Aerial View
概念鸟瞰图
遗址以及十字街原有道路格局、尺度、规模及氛围。通过采用尺寸为 12m × 12m 的展览单元，将隋唐长安城里坊布局、棋盘
03 Section Plan 1
路网的特点，贯彻于博物馆空间设计的始终。同时，对建筑的体量、尺度、材料、肌理和色彩等方面进行了一系列新探索，创剖面图（一）
造出高低错落、丰富有序的空间层次和效果，立体地还原唐西市历史街道的真实尺度与空间感受。配合经过特别设计的外墙材 04 Section Plan 2
料，从肌理、质感和气度等方面表现隋唐长安城市与建筑文化的深层结构，以及唐代西市的恢弘气势与繁华景象。剖面图（二）
01 02
03
04
158 159

Ecological Skin
Specially designed texture of adornment
concrete wall skin echoes the ancient
Chang’an city in Tang dynasty and
advances with the times without losing its
modern charm.
生态表皮
经过特别设计的装饰混凝土外墙从
肌理、质感等方面呼应了隋唐西市
建筑的夯土墙体，同时又展现出其
与时俱进的现代魅力。
Concept Analysis
概念分析
The museum is equipped with many perfect exhibit systems, such as basic
exhibition, featured exhibition, temporary exhibition, and special exhibition,
and integrates the history, art, folk-custom, collections of collectors together,
offering you a constant freshness on the exhibition. This new museum is
another important landmark building in Xi’an city. The cultural place is well
welcomed by the public, and the important window is open to the outside
because of its unique form, qualities momentum, beautiful environment,
complete functions and first class services.
The museum applies the new regional architectural language to interpret the
history of Tang King Market and highlights and exhibits the cultural relics and
site’s environment, providing various perspectives for people to know and
understand the cultural relics. Moreover, it uses the uniqueness of commercial
museum to display the uniqueness of Tang King Market and the cultural relics
collected privately, endows the site and cultural relics with fresh vitality by
combing the development trend of domestic and foreign museums, teaches
through lively activities, combines the functions of the city living room with
the original sign of silk-road and integrates the cultural activities with leisure
activities to facilitate the sustainable development of the museum.
此博物馆设有基本陈列、专题展览、临时展览、特别展览等完备的陈列展览体
系，集历史、艺术、民俗、藏友收藏等内容为一体，常看常新。这座造型独
特、气势恢弘、环境优美、功能齐备、服务一流的新型博物馆是西安市的又一
重要地标性建筑，是公众喜闻乐见的文化场所和对外开放的重要窗口。
此博物馆运用新的地域建筑语言解读隋唐西市的历史，衬托和展示文物与遗址
环境，为人们认识和了解文物提供了多种视角。另外，以商业博物馆的独特性
展示西市以及私人收藏文物的独特性，结合国内外博物馆发展的趋势，赋予遗
址和文物以新的生命力，寓教于乐，结合城市客厅功能和丝绸之路的起点标
志，集文化活动与休闲博览为一体，促进博物馆的可持续发展。
160 161

Site Plan
总平面图
162 163
01 Detail Plan 1
节点图（一）
02 Detail Plan 2
节点图（二）
03 Detail Plan 3
节点图（三）
01
02 03
164 165
COBE 1,400m2
N.018 TAAstrup TheAter, DenmArk
Architecture Office Site Area (Renovation)
Location Taastrup, Denmark Construction Area 200m2

(New building)
CULTURE 丹麦措斯楚普剧院 Photographer Stamers Kontor Construction Area 1,150m² (Renovation)

Digital Shape
The renovation project of the original and rough
concrete construction has implanted a second
(independent) theater, which is curtain to
improve its function, and increase its attracting
rate. And in the original coarse concrete
structure, we made a new layer and tried to
extend it and open towards the north of the Jeld
Abels Plads.
数字造型
改造工程在原有建筑的粗糙混凝土结构中
植入第二层（独立的）剧院幕帘，使剧院
的功能性增加，从而提高吸引率。在原粗
糙的混凝土结构的基础上新增一层，令剧
085. 1 院得到延伸并尽量向Jeld Abels广场北
Floor Plan 面开放。
楼层平面图
166 167
The project for the extension and renovation of Taastrup

Theater seeks to improve the communication of
the building with its environment – a social housing
neighborhood. Transparent Skin
Exterior wall skin is made of acrylic prisms, which are very stable around the clock.
Formally, we were commissioned to improve the energy And because of the irregular shape of the prism and translucent change, projected
consumption of the 1970s local community theater in shadow and reflective light makes the skin beautiful and charming.
the Copenhagen neighborhood of Taastrup. Yet, we
透明表皮
use this opportunity to improve the general appeal and
functionality of the building by introducing a second 外墙表皮是由丙烯酸棱镜组合成的，这种材料无论白天还是黑夜都非
(isolating) theater curtain around the rough concrete 常稳定。得益于棱镜的不规则形状和半透明变化，投射的阴影和反光
structure. By adding this new layer in front of the existing 令建筑表皮显得漂亮迷人。
rough concrete structure, the building is extended and
opened as wide as possible towards Kjeld Abels Plads
north.
The new translucent facade subtly reminds us of a

theater curtain that is about to open when the play
starts. In fact, when the tickets are outsold or the show
is on, red lights underneath the facade broadcast the
special atmosphere of this magic moment towards the
square.
措斯楚普剧院的扩建与翻修，旨在增进与周边环境的融
01
合，与周围建筑形成街坊式对话。
我们受委托改造的项目在哥本哈根附近的措斯楚普市。
目的是改建这个20世纪70年代本地社区剧院，降低其能
源损耗。因此，我们利用这个机会，在原粗糙的混凝土
结构的基础上设计了独立的剧院幕墙，来提高剧院的综
合吸引力。这新增加的一层，使剧院得以延伸，并尽量
向Kjeld Abels广场北面开放。
演出开始时，新的透明立面巧妙地提醒我们剧院的帷幕
即将拉开。而当门票告罄或者演出进行时，立面闪烁的
红灯向广场散发出特别的气氛，犹如魔幻时刻的到来。 02
The facade is assembled by acrylic prisms. The
material is very robust, and because of its shape it
has an exciting effect day and night. The light inside
will glow out to the surroundings outside. The
prisms vary from totally transparent to translucent to
opaque. Because of the many elements of irregular
shapes and the variance in translucency, the facade is
a beautiful play of shadows and reflections.
This new composition underlines the unity of

the old building and its extension as one piece of 03
architecture. The facade is conceived as a translucent
curtain of acrylic prisms elegantly embracing the
existing building, and creating a new open foyer,
arrival area, and cafe. A whole new spatial dimension
is added to the building newly connecting the
formerly enclosed interior with the outside. Now
the theater visually and spatially connects to both
the northern Kjeld Abels Plads and the protected
green courtyard in the south of the theater. With this
overall concept, the theater now has the possibility
to involve the surroundings by exposing its activities.
The facade of the theater includes a number of gates

04
creating connection and access between the foyer
and the theater space. These gates can be opened
01 Front Elevation
or closed depending on the arrangement. So the 正立面图
theater has the possibility to work as one coherent 02 North Elevation (inner)
floating space, or separately as a theater space and a 北立面图（内部）
foyer. 03 East Elevation

东立面图
04 North Elevation
With the renovation of the interior we pay reference 北立面图
to the aesthetics of classical theaters in order to soften 05 Section Plan 1
the appearance of the rough concrete structure. 剖面图（一）
Gold colors, mirror pixel tiles, crystal chandeliers – all 06 Section Plan 2
剖面图（二）
things that not only children associate with theater
– are mixed with fluorescent lamps, an RGB bar, and
modern design chairs by Paustian.
立面设计为透明的丙烯酸棱镜，优雅地覆盖在老剧院
上。这种材料非常牢固，当里面灯光灼热地射向周
围，黑夜也像白昼，令人非常吃惊。棱镜可从透明到
不透明变化。而得益于少许不规则形状和透明的变
化，投影出的景象也不规则，令立面显得更加奇妙。
新的构造不但融合于老剧院的整体，并扩展了空间。
扩展部分成为一个新的开放大厅、接待区、咖啡休憩
区，将原来封闭的内部和外部贯通。现在，剧院在视 05
觉上和空间上，连接Kjeld Abels广场和南边受保护的
绿化庭院。总之，新的概念设计使得剧院与周围环境
更加亲密。
剧院内部空间现在被设计得更加灵活，增加了更多的
门，使得放映区与休憩区的联系更加畅通。这些门也
可以根据需要打开或关闭。因此内部既可以连贯成为
一个大空间，又可以被分割成单独的放映区和休憩
区。
对于内部的重新设计，为了打破粗糙混凝土结构的形
象，我们大胆利用金黄色、瓷、镜子、水晶装饰灯、
荧光灯，甚至包括Paustian设计的椅子等所有因素，
打造出了一个现代型的古典美学剧院。
06
168 169

Material: acrylic prism
材料：丙烯酸棱镜
The theater’s service functions are upgraded:

restrooms and cafe are moved from the basement
to the first floor, which means that now all non-
technical functions are gathered on the ground floor.
Bar, box office, and administration are consolidated
as a functional block that can now be run by
one person. Thus, the interior is of good rational
distribution, and the operation is smoother.
The modernization considerably improves the

theater’s logistics. The new facade wraps the
theater in new dramatic apparels. Together, interior
renovation and the exterior curtain help establish
a solid project that improves the organization and
communication of the building significantly – we are
proud of this project!
剧院的服务功能设施也被改善：洗手间和咖啡店被从
地下室设计到第一层。于是现在非技术功能区被聚在
同一层，使用更加便捷。如酒吧、售票处、行政处被
安排在同一个区域，现在只需一个人就能顺利完成工
作。因此，剧院内部的活动空间得到优化配置，工作
更加顺畅。
改建工作在一定程度上令剧院的使用更加顺畅。新的
立面也赋予剧院更加戏剧化的形象。内部空间的重新
整合更有效地方便了剧院日常运转。我们为这个改建
工程感到自豪。
170 171
Jean Nouvel
N.019 NAtionAl Museum of QAtAr Building
Architecture Office
Location Doha, Qatar
CULTURE 卡塔尔国家博物馆

Pictographic Shape
The museum consists of a series of various
curvatures and diameters of interlocking disks;
they form the building wall, floor, ceiling and
balcony. Each disk will use glass reinforced
concrete and composite steel truss structure,
forming a gap between disks with glaze
covered. Disk shapes a bit like petals, and the
building is a unique image of imitation from
a desert rose. Inclined angle interleaves each
other and plays wall, structure column, floor
and so on the different roles, generating a
space, and admitting natural light into the
building.
象形造型
建筑包含不同曲率和直径的连锁圆盘。
这些圆盘又构成了墙壁、天花板和阳
台。每个圆盘都用玻璃钢筋混凝土，采
用复合钢桁架结构，圆盘间形成釉质空
隙。圆盘形如花瓣，整个建筑也是模仿
沙漠玫瑰而建。圆盘相互倾斜，可以作
为墙壁、构造柱、地板等来加以使用，
Site Plan 同时可以形成一个空间，方便采光。
总平面图
Nouvel's concept wanted to embody the pride and traditions
of Qatar’s people while offering international visitors a dialogue
about rapid change and modernization. The National Museum
of Qatar will be the setting for an ambitious program in which
entire walls become cinematic displays. “Sonorous cocoons”
shelter oral-history presentations and hand-held mobile devices
guide visitors through thematic displays of the collection’s
treasures.
The National Museum of Qatar building will provide 7,989

square meters of permanent gallery space, 1,997 square meters
of temporary gallery space, a 220-seat auditorium, a 70-seat
food forum / TV studio, two cafés, a restaurant and a museum
shop. Separate facilities are provided for school groups and
special guests. Staff facilities include a heritage research center,
restoration laboratories, staff offices and collection processing
and storage areas. The Museum will be surrounded by a
111,483-square-meter landscaped park that interprets a Qatari
desert landscape.
让·努维尔关于卡塔尔国家博物馆的设计方案，意在展示卡塔尔
人民的骄傲和传统，向国际游客们展现卡塔尔的快速变化和现代
化进程。卡塔尔博物馆所有的墙都能用作电影演示，成为“圆润
的茧”，口述历史或手持式的移动装置引导参观者观看有关馆藏
珍宝的电影演示。
将于2014年建成开馆的此博物馆包括一个建设面积7 989m2的
永久性展厅、一个1 997m2的临时展厅，一个设有220个座位的
礼堂，一个70个座位的小报告厅，一个电视工作室，两个咖啡
厅，一个餐厅及一个博物馆商店。独立设施可供学校团体和特邀
嘉宾使用。员工设施包括一个遗产研究中心、若干恢复实验室、
几个办公室、一些工作人员收集处理和存储的区域。整个博物馆
将由一个111 483m2的景观公园所包围，以更好地诠释卡塔尔的
沙漠景观。
172 173
Inspired by the desert rose, the interlocking disks that compose the building, some of which standing more or less upright and acting as support 01 Section Plan 1
剖面图（一）
elements, while others lying more or less horizontal, are of varying curvature and diameter. The disks are made of steel truss structures assembled in a
hub-and-spoke arrangement and are clad in glass fiber reinforced concrete panels. Columns concealed within the vertical disks carry the loads of the 02 Section Plan 2
剖面图（二）
horizontal disks to the ground. Glazed facades fill the voids between disks. Perimeter mullions are recessed into the ceiling, floor and walls, giving the
03 East Elevation
glazing a frameless appearance when viewed from the outside. Deep disk-shaped sun-breaker elements filter incoming sunlight. Like the exterior, the 东立面图
interior is a landscape of interlocking disks. Floors are sand-colored polished concrete, while the vertical disk walls are clad in “stuc-pierre,” a traditional 04 South Elevation
南立面图
gypsum and lime-blended plaster formulated to imitate stone.
05 West Elevation
西立面图
此设计灵感来源于沙漠玫瑰，由不同曲率和直径的联锁圆盘组成。“飞碟”由“轴与辐布局”的钢结构组成，表面采用玻璃纤维复合钢筋混凝土板。
06 North Elevation
间隙采用玻璃制成。而柱子则隐藏在垂直圆盘中，传递水平圆盘的荷载到地上。窗框的设计边缘嵌入天花板、地板和墙壁，从外看此建筑就如无框玻北立面图
璃窗。深盘形遮阳百叶过滤透露的阳光。如同外观一样，内部是环环相扣圆盘景观。楼层为沙色抛光混凝土，而垂直的墙壁上覆盖着“stuc- pierre”
（一种用传统石膏和石灰混合石膏模仿石头的混合物）。
01
02
03
04
05
06
174 175
SKIN AnAlysis 表皮分析 StructureAnd mAteriAl 结构与材料

Light Skin Structure: glass reinforced concrete and complex steel truss
Skin uses glass fiber composite reinforced concrete board, with the gap made by structure
glass. Floor is of sand color polishing concrete, while vertical wall is covered with Material: steel structure truss, fiber glass, composite reinforced
"stuc-pierre" (a kind of traditional gypsum and lime gypsum imitating the stone). concrete board, polished concrete
轻表皮结构：玻璃钢筋混凝土和复合结构钢桁架结构
表皮采用玻璃纤维复合钢筋混凝土板，间隙采用玻璃制成。楼层为沙材料：钢结构桁架、纤维玻璃、复合钢筋混凝土板、抛
色抛光混凝土，而垂直的墙壁上覆盖着“stuc-pierre”（一种用传统光混凝土
石膏和石灰混合石膏模仿石头的混合物）。
Thermal buffer zones within the disk
cavities will reduce cooling loads,
while the deep overhangs of the
disks will create cool, shady areas for
outdoor promenades and protect
the interior from light and heat. Steel
and concrete, the main materials of
the building, will be locally sourced
and/or fabricated. The landscaping
will feature sparse native vegetation
with low water consumption.
Through these and other sustainability
measures, the Museum is working to
achieve a USGBC LEED Silver rating.
The Museum’s gardens are specifically
designed for the intense climate of
Qatar. Plantings will include native
grasses and indigenous plants, such as
pomegranate trees, date palms, herbs
and the Sidra tree, and the national
tree of Qatar.
圆盘空洞中的热量缓冲区能够起到制
冷作用，悬挂的圆盘结构遮挡了户外
散步道，保护内部空间不受阳光和热
量的冲击。钢材和混凝土都将在当地
生产。而景观设计也将贴近当地实况
而尽量争取低水耗，因为这座建筑将
申请LEED银级认证。景观花园中将种
植尽量多的本地草本与植物，如石榴
树、海枣树、草、锡德拉树和卡塔尔
国树。
Ground Floor Plan

首层平面图
176 177
Architecture Office Henning Larsen Architects Site Area 2,000m2

N.020 BAtumiAquArium Location Batumi, Georgia
CULTURE 巴统水族馆

Pictographic Shape
Its modeling design inspiration comes from
pebbles on the local beach. Four scattering
"pebbles" shape the exhibition center
including four independent galleries.
象形造型
巴统水族馆的造型设计灵感来源于当地
海滩边的卵石。四个分散的“卵石”组
Sketch 成这个展览中心。展览中心包括四个独
设计草图
立展区。
Batumi Aquarium is inspired by the characteristic pebbles of the Batumi beach—the residue of dynamic seas continually
shaping the shorefront throughout millennia. The building will be situated in the port of Batumi and will stand out as an
iconic rock formation—visible from both land and sea.
巴统水族馆的设计灵感来源于巴统海滩上特有的鹅卵石，如今的海滩景象是汹涌澎湃的波涛千百年来拍打着岸边塑造出来
的。水族馆位于巴统港口，作为这里的标志性建筑而存在，从海面和陆地上都清晰可见。
178 179
The formation constitutes four self-

supporting exhibition areas where each
of the four stones represents a unique
marine biotype—the Mediterranean, the
Black Sea, Red Sea, the Aegean Sea and the
Indian Ocean. The four dispersed aquarium
exhibitions are connected by a central,
multipurpose space including a café, an
auditorium and retail functions with views
of the black sea and Batumi beach as scenic
backdrop. Visitors gather in the central
space to convene, play, eat, shop and relax
before continuing their adventures within
the exhibitions.
Batumi Aquarium will become a modern,

cultural aquarium offering visitors an
educational, entertaining and visually
stimulating journey from the different
01
seas. Unfolding around the aquarium, a
landscape of different sea archipelagos
provides attractive opportunities for
innovative outdoor research and learning,
public space and meeting places along the
beach.
The building's significant expression

inspired by nature will not only make
Batumi Aquarium a spectacular new
landmark in Georgia but also a state-
of-the-art contribution to exploring life
underneath the sea surface.
水族馆由4块巨石结构组成4个独立的展
区。每一块巨石都代表独一无二的海洋生物
02
环境，分别是：地中海、黑海/红海、爱琴
海和印度洋。4个独立的水族馆通过一个中
央多功能区相连。多功能区包括咖啡厅、大
厅和零售区。零售区的背景是带有黑海风景
和巴统海滩优美风景的装饰。进入水疗馆的
游客将聚集在这里，吃、玩、购物和休息。
然后在展览馆中继续他们的参观。
巴统水族馆将成为一个现代文化水族馆。通
过不同的海洋馆，为游客提供一个既可娱乐
身心，又有教育意义的旅程。从水族馆散
向四周，不同的地方有不同的功能。那里有
吸引人的新型户外研究、学习场所和公共区
域、会客区。
03
受大自然的启发，巴统水族馆非同寻常的表
现不仅给佐治亚州带来一个令人惊叹的新里
程碑，还使佐治亚州成为一个艺术州，吸引
人们去探索生活在海面下的生物。
04
01 Concept Analysis
概念分析
02 Section Plan
剖面图
03 South Elevation
南立面图
04 East Elevation
东立面图
05 First Floor Plan

一层平面图
05
180 181
Kengo Kuma & Associates 3,318.69m2

N.021 Museum of KAnAyAmACAstle Ruin
Location Ota City, Gunma, Japan Construction Area 1,319.45m2
CULTURE 金山城遗址博物馆 Photographer Takeshi Yamagishi Total Floor Area 1,676.89m²

Digital Skin
The facade is made up of oblong and square
stones, which are irregularly arranged. And
because of the interaction among the gaps, it
becomes a three-dimensional picture.
数字表皮
建筑表面由长方形与正方形的石材以不规
则方式拼接而成，加上衔接的空隙的互
动，组成了一幅立体三维图案。
Site Plan
总平面图
The site is located at the foot of Kanayama Castle
known for its beautiful stone wall and stone pavement.
Community center will combine historic sites and local
residents into one. This plot is near the horizontal center
with six meters of difference, so characteristics are to
form a natural lane end connecting facilities. Technically,
the two-storey community center has been applied,
through the guide wall substitution and with the 2nd-
storey community square facilities in connection, to
become a circular layout, so the whole building point is
of slurry-supported walls.
项目坐落在以石墙和石板路闻名的金山城堡脚下。社区
中心将历史遗迹和当地居民生活融为一体。该地块有接
近水平中心6m的高差，考虑到这个特征，设计旨在形成
一条自然的小巷连接设施两端。技术上，二层的社区中
心被护壁墙替代，通过引导设施连接二层的社区广场，
成为一种循环布局，这样整个建筑点都是护壁墙。
181 183
182 182
01
02
03
04 05 06
01 Section Plan
剖面图
02 South Elevation
南立面图
03 East Elevation
东立面图
04 First Floor Plan

一层平面图

二层平面图
Structure: steel frame + reinforced concrete 06 Third Floor Plan

三层平面图
结构：钢架+钢筋混凝土
The external walls of thin and smooth corridors use heavy material to support it. Stone divide into kind graphics, ceiling, floor slab and rectangular
internal carve patterns or designs on woods, layered pasting up panels. More different angles split into many space gaps. Main areas and space
difference develop in a three-dimension body. This is also a try with materials and space model.
外部墙壁薄而平滑，走廊的砥柱使用重材支撑。石材有多种，有绘图石、天花板用石、水泥板雕花和矩形镶嵌石、木石。多个不同的角度分割成多
个空间缺口。空间区分和空间差异在三维立体中得以发展。这也是模型结合材料与空间的一个尝试。
184 185
01 Section Plan
剖面图
02 Detail Plan
节点图
03 Ceiling Detail
天花板细节图
01
02
03
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Assadi + Pulido
N.022 XVI ChileAnArchitecture BiennAle
Architecture Office
Location Santiago, Chile Construction Area 400m2
CULTURE 第16届智利建筑双年展临时展馆 Photographer Cristobal Palma, Felipe Assadi, Pablo casals, Nicolas saieh

Open Shape
Stylist built this 400m² temporary exhibition
hall through scaffolding, aluminum zinc steel
bars, and wood. From the appearance, it’s a
bit like weaved square basket. And it looks
generous in the square when it’s built.
开放式造型
设计师选择采用脚手架、镀铝锌钢板
条、木材等材料组成这个 4 0 0 m 2的临
时展馆。从外形看，有点儿像编织好的
方形篮子，架起后，大方地立于广场之
上。
Effect Diagram
效果图
The 400 square-meter temporary exhibition hall, which from its appearance is a bit like
weaving, is built into a good square basket, standing above the square. One air corridor
connects this temporary exhibition hall to San Diego Museum of Contemporary Art.
Round grassroots holes revealed the lamplight design and weaving skin formation in a
geometric contrast.
这个400m2 的临时展馆，从外形看，有点儿像编织好的方形篮。架起后，立于广场之上。
其中一条空中走廊连接此临时展馆和圣地亚哥当代艺术博物馆。基层的圆孔透露出灯光的
设计与编织的表皮形成几何对比。
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The scaffolding structure completely echoes the theme of the expo,

the theme “facing the environmental protection building”. After the
exhibition hall, the temporary hall use material that is 100% recyclable.
Wave feels extremely strong while the skin is provided by Hunter
Douglas Company whose recycling fabric is specally made. And this
fabric uses materials free from contamination decomposition, with
little impact on to the natural environment. The pavilion will use
a carpet provided by InterfaceFlor, which uses an 80% of recycled
fabrics.
It’s a big surprise for the XVI Chilean Architecture Biennale with this
convenient and practical project plus its ecological skin.
此棚架结构，完全呼应展会的主题，即“面向环保的建筑”。展览过
后，此临时展馆的所有使用材料百分之百可回收。波动感极强的表皮
是由 Hunter Douglas 公司提供的可回收织物特制的。且此织物使用
过后，无污染分解，对自然环境的影响微乎其微。而 InterfaceFlor 公
司提供的地毯, 80% 的材料源于回收的废弃纤维。
此临时展馆项目方便实用、带着环保趣味的表皮，成为 2008 年第 16
届智利建筑双年展上的一大亮点。
01

Ecological Skin
The skin is made of aluminum plates with many small
holes on it. It will well admit the daylight and ventilation,
and shelter us from the sun. The exterior and the interior
are in a good combination.
生态表皮
建筑表皮由带孔的金属铝板制成。它既保证了建
筑内部的通风、遮阳、采光，又使建筑内部与周
围环境融为一体。
02
Structure: renovated aluminum, recycled carpet, steel
Material: recycling environmental protection material
结构：翻新的铝材、回收的地毯、钢材
材料：可回收的环保材料

二层平面图
02 Floor Plan
楼层平面图
01
03 Elevation 1
立面图（一）
04 Elevation 2
立面图（二）
03
04
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Riken Yamamoto & Field Shop 12,095.15m2

N.023 YokosukAMuseum ofArt
Location Kanagawa, Japan Construction Area 703,646.71m2
CULTURE 横须贺市美术馆 Photographer Sergio Pirrone

Negative Shape
To protect the local beautiful scenery, the
museum should be sheltered under the
ground. And it can keep anything in the
museum from marine climate erosion.
负造型
为了保护当地优美的山地景观，横须贺
市美术馆将建筑主体埋入地下。这样可
以保护藏品不受海洋气候的侵蚀。

Transparent Skin
Steel is coated with glass epidermis,
ventilating well with the anticorrosive
function and moisture proof, and providing a
clear vision for tourists.
透明表皮
钢铁架上覆玻璃表皮，通风透气，防腐
防潮，又可以为游客提供清晰的视野。
Site Plan
总平面图
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03
01
02 04
01 First Floor Plan

一层平面图

二层平面图
Structure: concrete + steel
03 B1 Floor Plan
负一层平面图结构：混凝土+钢架
04 B2 Floor Plan
负二层平面图
05 Section Plan 1
剖面图（一）
06 Section Plan 2
剖面图（二）
05
06
We began to call the project a “boarding museum”. This is the type of a museum, which comprises such an environment
richly endowed with nature, far away from the center of Tokyo. What museum it is, where visitors do not have chance to
get bored even if they stay half a day, or even a whole day?
We cut and tried in various ways at the exhibition. We wanted to produce a building as low as possible by allocating
art storages and the gallery spaces of the permanent collection under the ground level. Considering the impact to the
surrounding environment, many of the attendees of the meeting agreed with this concept. Then, we wanted to cover
the entire building by the use of glass, which seemed to avoid the damage from the moisture and deterioration. We also
wanted to open towards the ocean, which can provide a view of sea for the visitors. Therefore, we placed a restaurant, a
museum shop, and a space for workshops at the front facade side, as we thought those activities would be open to the
public. The rooftop space would have the best view from this building, thus the space should become another central
area of this museum. Considering that behind the building are the mountains, whereas the front is the ocean, then these
ideas appeared to be quite reasonable.
The interior should be an attractive space where visitors would have a completely different experience once they step
into the museum building, while the space is a mix with the surroundings. In order to fulfill this concept, we designed
to cover the exterior surface of the building by glasses, while thin steel panels wrapped the space in the building with
another cladding. Steel panel is chosen as a material in order to provide a smooth surface and it is hard to distinguish the
interior from the exterior. The visitors in the building would get a completely different experience, although this museum
appears to be a part of the surrounding environment outside.
我们称该项目为“寄宿型博物馆”，因为这个艺术中心远离东京都市的喧嚣，是亲近和享受自然环境恩赐的美好场所，在
这样的自然环境中，即使待上半天甚至一整天也不会产生丝毫腻烦。
对于展厅我们可是费尽心思，我们试图设计一个尽可能低层的建筑体，于是在地下建立起一个储藏艺术珍品和展示画廊
的空间，这也是考虑到对周围环境的影响而作出的受到多数人认可的设计概念。为了防腐、防潮，表层使用了玻璃这种
物质。我们将该艺术馆正面朝向大海，这样参观者可以将海面美景尽收眼底。同时在此处设置了餐厅、商店、会议厅供游
客使用。该艺术馆的另一个重点处理部分是屋顶，因为它是最佳观景场所。结合博物馆三面环山、面朝大海的特殊地理环
境，这些概念就显得很合理了。
内部空间既要体现与外部环境的融合，也要设计得令人眼前一亮，给参观者带来与众不同的体验。为了执行这个概念，我
们设计用玻璃作为表皮，覆盖博物馆表面，同时，薄钢板包成了一个相对密封的内部空间。采用薄钢板作为内墙材料，是
因为它外表光滑、可以做成圆润的造型，这给参观者带来一个相对静谧和独立的空间。尽管此艺术馆外部与自然环境不可
分割，但内部绝对是全然不同的体验。
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Artech Architects 39,426m2

N.024 LAnyAng Museum
Location Yilan County, Taiwan, China Construction Area 7,681. 72m2
CULTURE 兰阳博物馆

Pictographic Shape
Shape imitates the rock of Taiwan Yilan
County coast. It looks like a single mountain
or a pyramid, extending to the mountain line,
with 20° angle leaning toward the water. Its
extension is like a time axis. It shows time
through the building itself, and displays the
local history of development.
象形造型
建筑造型仿效台湾宜兰县海岸礁石的地
形，呈现出的最后形态如一座小山。三
角锥状的量体延续了山势，以20°角插
入水边，如时间轴般纵向无限延伸，用
建筑表达时间，叙述当地史诗般的发展
变化。
Site Plan
总平面图
Sketch
设计草图
To design Lanyang Museum is to design a gateway for Lanyang Plain. To design the visiting experience of Lanyang
Museum is to design a process for people to gain the ability to know, to introspect, and to face Lanyang when
participating in the Yilan tourism, and the educational tours or the local community leisure activities.
To design the landscape of Lanyang Museum is to design a museum experience. The design experience of the museum’s
site comes from utilizing the latent natural resources of the site and the historical relics of Wushi Harbor to conduct an
inspirable spatial imagination.
设计兰阳博物馆就像是设计兰阳平原的一个门户。设计兰阳博物馆的参观体验，就是设计一个在宜兰观光旅游、参观教学
和社区休闲的过程中，能够获得认识兰阳、反省兰阳、面对兰阳的过程。
设计兰阳博物馆的地景就像是设计一个体验博物馆。设计兰阳博物馆的体验基地，是利用基地潜在的自然资源与乌石港的
历史遗迹，打开启示性的空间想象。
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The method to exhibit the natural resources of the site is to turn the neglected water area into an ecological wetland and to combine the museum’s visiting activities to create
the diverse ecological environments of the forest, grassland, and wetland. The dense forest at the west side of the site baffles the interference from the coastal highway and at
the same time to protect the central diverse wetlands that cultivate many of the native plants. The specially designed management plans, such as the restoration of the native
tree species at waterside habitat and the evolution plan of the bell fruit trees, are the carefully designed as educational topics for people to learn which are about the ecological
balance and the sustainable management lessons. Therefore, the experience of visiting a wetland becomes a biodiversity experience: visitors walk into the site as a student
of the nature, learning how to observe and to preserve the nature; the wetland visiting experience is also a “wild” spatial experience, which enables visitors to know the living
habitats of various organisms on a seeming empty site, and learn to look at the human history from the nature’s point of view. The site that bears a long history becomes a
stage for people to learn how to face the nature and how to sustainably manage the environment.
To exhibit the cultural resources of the site is to use the Wushih reef located at the water area of the Wushih harbor as an introduction to show the flourishing, the down fall,
and the rebirth experience of the site. The building mass is centralized and extends the orographic trend of the cuesta coastal mountain. It inserts into the water front ground
at a 20-degree angle, presenting the local cuesta rock terrain with a low key expression; and hence it is to preserve a bigger natural wetland area and to maintain a better
relationship with the natural terrain. The
crevice separating the mass cleverly becomes
the source of the interior natural light and the
program zoning device; it is also the spiritual
axis that connects to Guishan Island at a
distance, and builds a spiritual tide visually and
geographically, in terms of spatial imagination.
Under the slanted roof, there is the 27-meter
large span steel truss and load bearing wall
system, which constructs the column with less
continuous interior exhibition spaces, and also
constructs an interpenetrating Yilan landscape
experience of the “Mountain-Plain-Sea.”
展示基地自然资源的方法，是将荒废的水域变
为生态湿地，结合博物馆参观活动，创造包含
森林、草地、湿地变化的多样化生态环境。
基地西侧密林可以隔绝滨海公路干扰，以环绕
中央孕育生物的多样化湿地。特别设计的管理
平面，水边种植乡土树种，进化规划区种植果
树，这些都具有教育意义，令人了解生态平衡
和可持续发展。因而参访湿地的经历就是体验
生物的多样化。参访者以大自然学生的身份走
进基地，学习如何观察自然、保护自然；参访
湿地的经历也是一次“野”的体验。在看似空
无的基地上了解各种生物的栖地环境，学习从
大自然的角度看待人类的历史。这块基地历史
悠久，是人们学会面对自然、学会可持续性利
01
用自然的舞台。
展示基地的人文资源，是将乌石港遗迹水域中
的乌石礁作为引子，展示基地的兴衰更替。建
筑的量体集中，延续海边单面山的山势，以
20°角插入水边，低调地展现海岸乌石礁地
形，保有较多的自然湿地面积，以及与自然地
貌的较好关系；分开量体的隙缝，巧妙地作为
内部采光来源和功能区隔，并且连接远方龟山
岛的精神轴线，在视线上、地形上和空间的想
象上建立精神的联系。斜屋顶内部27m大跨距
的钢桁架及承重墙系统，构成室内无柱的连续
性展示空间，构成山─平原─海相互贯穿的宜
兰景观。
02
01 First Floor Plan
一层平面图

二层平面图
03 Section Plan A-A

剖面图 A- A
04 Section Plan C-C

剖面图 C- C
03
04
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While the slanted building mass tries quietly to act as the background of the
SKIN AnAlysis 表皮分析 Wushih water area, the building details describe the Wushih spatial imagination.
The division lines of the dark grey exterior cast-aluminum panels continue
Light Shape to divide every single detail components at the exterior and interior spaces,
The exterior wall is pasted with all kinds of stones and cast aluminum and even the furniture installations, which draw the connection between the
piece together walls, showing the erosion in rock by nature. Concrete and landscape and the interior experience. The texture of the cast-aluminum panel
glass are intertwined, making a visual penetration among the gaps. is chosen as a way of using the material characteristics to show the effects
of fluidity and etching to echo with the process of nature’s erosion force to
轻表皮
the coastal reef. The dark grey metallic quality brings out the contrast here to
外墙由各种石材及铸铝板拼贴而成，表现出大自然侵蚀礁石的 commemorate the cultural harmony and the nature’s expectation in the process
过程。实体与玻璃量体交错，错位之缝隙，形成视觉穿透。 of each etch mark..
When visitors look back at the spatial scenes of the sails at the Wushih harbor, the
air-raid shelters, the fish farms, the graveyards, and the faraway mountains are
next to each other, experiencing the different dramatic sceneries of the site. The
Wushih in the water shows a strange yet familiar appearance. The new Wushih is
like a mirror, reflecting today’s dream and participating in the rebirth of the site.
斜向建筑量体试图低调地扮演乌石水域的背景，建筑的细部则诉说乌石的空间想
象。外墙灰黑色的铸铝板分割延续室内外空间以及室内家具装置每一个构造的细
节，将景观和室内联系在一起。选用铸铝板的质感是使用材料特征的一种方式，
同时表现流动与蚀刻的影响，呼应自然的力量蚀刻海边礁石的过程，并且以灰黑
金属的质感作为对比，在每一处蚀刻的过程中，纪念文明的和谐与自然的期待。
当参访者回顾石港春帆、防空壕、鱼池及坟墓、远山与乌石并置的空间场景，体
验基地戏剧化的不同情境时，水中的乌石展现出一幅既陌生又熟悉的样子。新的
乌石就像一面镜子，呈现今日的梦，又参与基地的重生。
Elevation
立面图
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Structure: steel frame structure + reinforced concrete
Outside Wall Material: cast aluminum, granite, clad low-e glass
结构：钢骨结构+钢筋混凝土
外墙材料：铸铝板、花岗岩、复层传统铝条玻璃
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Steven Holl Architects 2,508m2

N.025 Knut HAmsun Center
Location Hamaroy, Norway
CULTURE 克努特 · 汉姆生纪念馆 Photographer Iwan Baan, Steven Holl Architects

Pictographic Shape
Knut Hamsun Center looks like the medieval
church in Norway. Grass lives on the top, full of
interest and warmth.
象形造型
克努特·汉姆生纪念馆看上去很像挪威
中世纪的教堂。“头上长草”，趣味横
生，打破冷漠。
Sketch
概念草图
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Knut Hamsun, Norway's most inventive twentieth-century writer and recipient of the Nobel Prize in Literature, fabricated new
forms of expression in his first novel Hunger . This center dedicated to Hamsun is located above the Arctic Circle by the village of
Presteid of Hamaroey, near the farm where the writer grew up. The 250 square-meter center includes exhibition areas, a library
and a reading room, a cafe, and an auditorium for museum and community use.
克努特·汉姆生是1920年诺贝尔文学奖获得者、挪威20世纪最出色的作家之一。他的成名小说《饥饿》开创了挪威小说写作
风格的新时期。为了表达对克努特·汉姆生的敬意，此纪念馆选址在靠近汉姆生成长的农庄。农庄位于北极圈内。250m2的中
心，功能齐全，可划分为展览区、图书馆、阅读室、咖啡休憩处、小礼堂和工作室等。
01
Influenced by Hamsun’s explorations of the
intricacies of the human mind, the building
is conceived as an archetypal and intensified
compression of spirit in space and light,
and as a Hamsun character in architectonic
terms. Inspired by passages of Hamsun’s
texts, there is an “empty violin case” deck,
where a viewing balcony is like the “girl with
sleeves rolled up polishing yellow panes.”
The concept for the museum completely

meets the requirement of making use of
natural light. The concept for the museum,
“Building as a Body: Battleground of Invisible
Forces,” is realized from the inside and
outside. The wooden exterior is punctuated
by hidden impulses piercing through
the surface. The spine of the building,
constructed by perforated brass, is the
central elevator. The board form in concrete
structure with stained white interior is
illuminated by diagonal rays of sunlight
calculated to ricochet through the section
on certain days of the year.
建筑师在设计中融入汉姆生提倡的个人主义
心理情感的表达。通过运用空间语言、光
的艺术，解读出了汉姆生主张的自然主义 02
哲学，并使之在实体建筑中再现。我们按
汉姆生描述的意境，设计出“空的小提琴
盒”“卷起袖子的女孩站在黄颜色的观景阳
台”等场景。
整个建筑的设计概念完全符合自然采光要
求。设计理念是像身体一样：无形的战场力
量。可以说，建筑内外都力行了这个理念。
木质结构的外围像那穿越表层的隐形脉搏。
建筑脊梁都是用孔状黄铜筑成，形成一个特
别的中央电梯。内部点点白色，每年还能在
某段特定的时间内可以照到阳光。
01 Sketch
概念草图
02 Floor Plan 1
03 Floor Plan 2
03
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01 02
01 East Elevation
东立面图
02 West Elevation
西立面图
03 South Elevation
南立面图
04 North Elevation
北立面图
05 Section Plan DD
剖面图 DD
06 Section Plan BB
剖面图 BB
03 04
The tarred black wooden exterior skin alludes to Norwegian Medieval wooden stave churches and on the roof
garden the long chutes of bamboo refer to traditional Norwegian sod roofs. The auditorium is connected to the
main building via a passageway accessing to the lower lobby, which takes advantage of the natural topography,
allowing natural light along the circulation route.
克努特·汉姆生纪念馆看上去很像是挪威中世纪的教堂。主体建筑的外置走道如人的手臂轻轻环抱。长长的竹
制斜槽点缀着屋顶花园，与挪威传统的屋顶风格遥相呼应。一个简单的走廊，依附地形，将一侧的礼堂和主体
建筑自然联通，同时增强了自然光的流通。
05 06
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Light Skin 01 Detail Plan AA
Skin is solemn with the black elements which are widely used in 节点图 AA
Norwegian church buildings. 02 Detail Plan BC 1

节点图 BC （一）
轻表皮 03 Detail Plan BC 2

节点图 BC （二）
为了强调建筑表皮的庄严肃穆，选择使用的是常见的挪
04 Detail Plan BC 3
威建教堂用的黑色元素。节点图 BC （三）
01 02
03 04
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N.026 Culture Forest--SeongDong Culture And Art

Architecture Office Unsangdong Architects Site Area 1,694m2
Center, Seoul Location Seoul, South Korea Construction Area 1,001.77m2
CULTURE 首尔城东区文化艺术中心——文化森林

Ecological Shape
Skin and the inner space are covered by plants,
getting a good air condition. On the circular
corridors are some wave-shaped sightseeing stands,
which are used for rest, and a view overlooking the
city. Solar facilities will be equipped on the roof,
showing its effort for the renewable energy sources.
生态造型
此立方体造型建筑的表皮及内外空间设计为
植被覆盖，力求空气流畅。建筑循环走道上
形成波浪形观景台，以供人们休憩、俯瞰城
市。屋顶将安装太阳能设备，突出运用可再
生能源方面的努力。
Area Distribution
区域分布
Structure: reinforced concrete structuralgrid
结构：钢筋混凝土柱网结构
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Forest lets us experience nature, heal our soul and mind,

and make us dream of a new future. In a forest, natural
substances such as air, trees, water, soil and wind do not
exist separately. The natural substances in a forest are
linked together. Since forests provide a beautiful voice and
stunning experiences, many people are amused with the
harmony of forests and moon over the space of forests.
The scenery facing Seongdong will possibly be opened,
and provides us a landscape of intensive and storytelling
experience. By planning eco-friendly architecture, the
new cultural space will become a dreaming space. Each
program consists of an eco-friendly and creative cultural
space by a floating rest, events and a green area. The space
skin of culture will unify architecture and nature through
green walls and generate energy by solar power panel.
森林让我们了解自然、抚慰心灵，对未来充满憧憬。在森
林中，所有自然物质，如空气、树木、土壤和风都不是独
立存在的，而是相互联系在一起的。森林能给我们带来悦
耳的声音和令人难忘的经历，因此许多人都对和谐的森林
着迷以及对森林上方的月亮迷恋。韩国首尔城东区文化艺
术中心——文化森林的视角很开放，是一处可带给人一种
强烈的童话般经历的景观。这个新的文化空间设计成生态
友好的建筑形式，将会成为人们梦寐以求的地方。每一项
工程都是一处生态友好、富有创意的文化空间，一处流动
休息室以及举行活动的绿色地带。该文化中心的墙壁为绿
色，所有电源都来自于太阳能电源板，将建筑与自然融为
一体。
01
功能分析
结构分析
03 Sculpt Analysis
造型分析
02
03
218 219
01
The flying theater has a unique and creative form.

Because of geometrical patterns and forms of nature,
the skin inside is a logical space for the sound. The
entire space of the theater will be filled with dark wine
color. By using the crack of the inside skin, the lighting
will become atypical and organic, suggesting an
attractive theater space connecting reality, ideal and
dream.
The walkway around the building naturally connects

each program and becomes an intensive and cultural
street, converting from inside to outside and outside to
inside. In order to become a sustainable culture space,
the space should get over the basic rules. A multi-
culture complex is suggested to actively realize the
needs of residents. Becoming a multi-cultural facility
that provides an eco-friendly and healthy cultural
living room, Culture Forest will create various cultural
programs for residents such as concerts, women‘s
02 culture and children playing area and become a
landmark with beautiful culture, future-oriented
dreams and passion of SeongDong.
内部的飞翔式电影院造型独特，富有创意。内墙设计成
几何形状，样子很自然，是播放音质优良的场所。电影
院内部空间都会被涂成紫红色。内部墙身设计成裂缝
状，使灯光变得不规则，创造出一个将现实、理想空间
和梦境结合在一起的梦幻电影院。
将建筑的内外部对调，使建筑内的通道很自然地将各个
区域连接在一起，变成一条文化集中街。为了使该空间
变成一个可持续的文化空间，我们必须摒弃一些基本规
则。多元文化可以满足居民的这种要求。要使文化森林
成为一个为人们提供生态友好和健康文化生活的多元文
化区域，就必须为居民创造许多文化场所，例如音乐
厅、妇女文化以及儿童游乐园。这样它就会成为一座拥
有灿烂文化、未来之梦和城东之情的标志性建筑。
03
04
01 Elevation
立面图
02 Right Elevation
右立面图
03 Front Elevation
正立面图
04 Back Elevation
后立面图
05 Section Plan
剖面图
05
220 221
Heikkinen-Komonen Architects
N.027 HAmeenlinnAProvinciAlArchive
Architecture Office
Location Hämeenlinna, Finland Construction Area 6,000m2
CULTURE Hameenlinna 政府档案馆

Light Skin
Part of the facade in the complex is patterned under the theme of
the pattern of a piece of historical documents dating back to 400
years ago. It looks like “a book carved in stone”.
轻表皮
档案馆的一立面，以400多年前流传下来的一份历史文
件的图案为装饰主题，看起来仿佛“石头上的刻书”。

Site Plan
总平面图
The Provincial Archive is not only a store
for old documents, but a significant public
institution that preserves and displays and
makes accessible to researchers the records
of the collective and private past. It is an
important public building that should play a
visible and recognizable role in the townscape.
As the depository of our collective memory it
should not be looked upon as an anonymous
warehouse or office block.
Hämeenlinna is a small town some 100

kilometers to the north of Helsinki. In Finnish
history, however, its role has been far greater
than its size. It possesses a magnificent and now
renovated medieval stone castle and many
other buildings of historical significance. It is
also the birthplace of Finland’s great composer,
Jean Sibelius.
此档案馆不仅仅是用来储存旧文件的地方，而
且也保留与展示有关个人和集体的记录。同时
这些记录会对研究人员开放。档案馆是一个很
重要的公共建筑，应该实实在在地发挥它在其
中的作用。作为我们集体记忆的储藏所，档案
馆不应该被视为仅仅是一栋无名仓库或办公大
楼。
海门林纳是一个小镇，坐落在赫尔辛基北面约
100千米处。然而，在芬兰史上，却有着比领土
还要重要的作用。它拥有宏伟的、如今被修复
过的中世纪石头城堡和许多其他具有历史意义
的建筑。它也是芬兰伟大作曲家西贝柳斯的诞
生地。
222 223
The architectural solution of the design is

based on the clear differentiation of the
functional units within the building and the
01 Function Analysis creation of a unique architecture for each
功能分析 of them. The spaces open to the public are
02 Section Plan 1 01 located on the ground floor in a free-form,
剖面图（一）
transparent and colorful archipelago. Above
03 Section Plan 2
剖面图（二） this is a three-storey concrete box designed
04 Floor Plan for the archives. The offices and document-
楼层平面图
handling facilities are located alongside
05 Elevation 1 corridors on four floors on the courtyard side
立面图（一）
in an aluminium-faced volume.
06 Elevation 2
立面图（二）
Between the office and archive volumes is
a long and narrow, sky-lit canyon close to
the bridges to the archive floors and main
entrances. What characteristics the building
has is that there are some letters and patters
etched on the facade. The patterns are derived
from the historical documents deposited in
the building, ranging from the ancient ones
(some maybe over four hundred years) to the
02
modern ones. This is modern architecture’s
narrative, and as in the days before the
printing was invented, it looks like “a book
carved in stone”.
The graphic concrete method employed has

been patented in Finland. The technology
is based on applying a surface retarder to a
special membrane that is spread over the
mould table, on which the desired patterns
are printed. After corrosion, these appear
bright against the dark surface concrete.
该建筑设计的特点是其内部建筑清晰的功能单
元划分以及各自独特的建筑风格。向公众开放
的区域在第一层。这一层的设计形式自由、透
03
明，犹如异彩纷呈的群岛。往上三层用于存放
档案。每层向庭院的一面，都有一些铝制门，
里面则是办公室和文件处理设施。
办公室和档案室中间是一条又长又窄但很明亮
的走道，该走道还将通往档案层和主入口的桥
梁包含在内。建筑最具特色是建筑立面刻有
字母和图案。图案来源于储存在该档案馆内部
的历史文件以及现代文件。历史文件可追溯到
400多年之前。这是现代建筑的标志，也是印
刷术发明之前的建筑标志。它就像是一本“刻
在石头上的书”。
该建筑所采用的图形混凝土建造法已被芬兰列
为专利，该技术是将表面缓凝剂放在模具中的
一个特殊薄膜上，然后印刷出所需要的风格。
04
腐蚀成型之后，在黑暗环境下就会发亮。
05
06
224 225
Detail Plan
节点图
226 227
Iki design
N.028 AnkArAArt Center
Architecture Office
Location Ankara, Turkey
CULTURE 土耳其安卡拉艺术中心

Open Shape
This building is located in Turkey's capital
Ankara's center. It includes art center,
theaters and concert hall; the three functional
spaces are placed in a large "box", saving
much more urban space.
开放式造型
这个建筑位于土耳其首都安卡拉的中心
区。它包括艺术中心、剧院以及音乐
厅。这三个功能空间都被放在一个大
“盒子”里，节省了更多的城市空间。
Site Plan
总平面图
228 229

Transparent Skin
The facade imitates the audio frequency, echoing with the theme of the art
center. Glass curtain wall increases the transparency of the whole building.
透明表皮
建筑立面模拟声音音频，以呼应艺术中心的主题。玻璃幕墙增
进通透感。

Structure: concrete + steel
Material: concrete trunk, steel frame, glass, perforated metals
结构：混凝土+钢架
材料：混凝土主干、钢架、玻璃、穿孔金属
Iki, a practice based in Ankara, Turkey, has arranged a competition

for a Concert Hall and Art Center for Ankara, capital city of Turkey.
The competition challenged participants to make this architecture
a complex which consists of a Local Municipality Building, an Art
Center, a theater hall and a big concert hall which will be made
in remember of the famous Turkish classical musician “Ulvi Cemal
Erkin”. The collaborative effort within the office, led by Hakan
Evkaya and Kutlu Bal, made a consensus which would combine
all these functions in one big box. Thus the outer space of the city
could be maximized.
All basic functions have been connected to a core in the middle

of the building. Waiting halls and circulation have been arranged
around the core vertically. All systems have been cladding by
transparent facade which shows the space of the exterior and the
interior. The relations with main streets nearby, the street opposite
and the activity zone are important parts of the design.
01
Iki，土耳其安卡拉市的一家设计公司，拿下了土耳其首都安卡拉文
化中心与音乐厅的设计竞标项目。竞赛方案的内容是设计由市政府
办公大楼、艺术中心、戏剧院和大音乐厅组成的综合设施，以纪念
著名的土耳其古典音乐家Ulvi Cemal Erkin。该合作项目在Hakan
Evkaya和Kutlu Bal的领导下，已经达成共识，即是将以上所有的
功能放入一个大的空间内，使城市的外部空间得以最大化。
所有基本功能都通过建筑中部的一个中心聚集起来。等候厅和流动
区被垂直地安置在中心的周围。所有的系统都可以通过透明的建筑
外表皮看见。附近主要大街、街对面和活动区域都是设计的重要部
分。
02
结构分析
02 Inner Structure
内部结构图
03 Section Plan 1
剖面图（一）
04 Section Plan 2
剖面图（二）
03
04
230 231
01
01 Floor Plan 1
02 Floor Plan 2
02
232 233
Ensamble Studio
N.029 CervAntes TheAter
Architecture Office
Location Mexico City, Mexico
CULTURE 塞万提斯剧院

Negative Shape
This building style is different from the
surrounding buildings, hiding the theater
underground. It not only has the strikingly
attractive style, but gives a fresh feeling for
those visitors.
负造型
剧院主体有别于周围裙楼而设于地下，
不但建筑造型令人称奇，更令观众获得
全新的感受。
Site Plan
总平面图
Structure: reinforced concrete, steel frame
结构：钢筋混凝土、钢骨架
Cervantes Theater, buried underground,

evidences its presence through a large
metallic structure lifted from ground level,
named Dovela (Keystone), which acts as a
lure.
We understand contemporary culture as a

constant expression of connectivity with the
movements of time, and the layers of history
that overlap and hybridize the Mexican
culture are of great inspiration to make
a work of architecture today. Therefore,
Dovela appears like a stone in the air, which
is supported by the space that comes in a
sequence of excavated terraces, and the
space that offers the sun which moves as
the time when going through its slats, and
that protects from the rain and shelters
us inside. Dovela tries to collect all the
resonances of the world emerging above it,
making them in order.
塞万提斯剧院建在地下，但巨大的金属结构
一直延伸到地面上。它取名为Dovela，提示
剧院所在的位置。
我们知道当代文化就像一种常量表达式，随
着时光的流逝而运转。墨西哥文化在历史潮
流中交织更迭，给当代建筑带来了无数灵
感。因此，Dovela就像空气中的一块宝石，
被有序的空间支撑着，那里有阳光，也可遮
风挡雨。Dovela尝试搜集地上的自然元素，
然后使它们井然有序。
234 235
Dovela is a mathematical object which allows

the natural elements (water, light and air) to
affect its last configuration. The excavated
spaces articulated in a sequence of theater
lobbies at different levels are given to the
public and open to the sky, and protected
by the symbolic metal structure. The project
confronts the elemental natures with which
it is built. They are the deep density of the
negative space, of vertical character and the
horizontal tension of the air contained and
supported by Dovela, the last key piece of
an abstract balance that loses its weight to
appear aerial, mutable and light as a cloud
qualifying the space in the ground by filtering
sunlight rays.
And the contact between the sun and the

earth could not pick up patterns of the order of
any of them. So in the design of the structure
that generates the gravitational connection
between Dovela and the excavations in the
ground, we decided to make a very figurative
solution, as if it were caryatids and Atlanteans,
evoking diversity and reflecting the world of
the man that will inhabit the space. Therefore,
the supports are involved in the movement in
time, and are freely arranged in the dancing
space, relying on the rigidity of the structure
of its non symmetric disposition within the
internal grid of Dovela.
Dovela是一个计算精准的建筑，允许自然条件
（水分、光线和空气）影响它最终的轮廓。剧
院不同楼层的大厅有序地连接在一起，对公众
开放，是露天的，有具有象征意义的金属外皮
包裹保护着。该项目包含了一些基本特征：实
体空间深而密度大，垂直于建筑所能包含和支
撑的空气的水平张力和虚幻的平衡。这个平衡
使得地面的空间在日光照射时避免阳光直射。
太阳与地球之间的联系不能简单套用二者之一
的模式。同样，在设计一个可以产生建筑和地
面挖掘之间的重力联系的结构时，我们作出了
这样一个比喻：二者之间的关系好像女像柱和
亚特兰提斯岛一样，可以引起差异化，反映居
住在这一空间里人们的世界。因此，这些支撑
结构涉及到活动和时间，自由地安排在空间间
隔之处，根据建筑物的硬度在Dovela的网格内
部，不对称地进行配置。
结构分析

横截面图
01
02
236 237
01
01 Section Plan
剖面图
02 Detail Plan
节点图
By immersing ourselves in the negative space of the open excavated

lobbies, we can have access to a new and final happening. Once inside
the earth, the Theater appears at the end of this sequence of spaces.
Here the synthesis of the building culminates with the function of a
halted time, recreation, a place to contemplate.
置身于开放式大厅的负空间中，深入大地内部，我们可以获得一个全
新的感受，剧院像是完全处于空间序列的尽头。在这里，不仅能让人
感受到时光的停滞，娱乐身心，又可沉思默想。
02
238 239
Allied Works Architecture

N.030 Museum ofArtsAnd Design, New York
Architecture Office
Location New York, USA Construction Area 54,000m2
CULTURE 纽约艺术设计博物馆

Light Skin
The fissures of the building produce a sense of hanging in the air.
After the permutations of different materials, it gives a feel of new
vitality.
轻表皮
表皮的龟裂分割线使得建筑呈现出悬空感。不同材料排
列组合后，给新立面带来全新活力。

Material: glass, wood, metal
01 结构：钢筋混凝土
材料：玻璃、木材、金属材料
01 Sketch
概念草图
02 Elevation
立面图
03 Model
模型图
02 03
240 241
Section Plan
剖面图
The new architecture for the Museum of Arts and Design is one combined with preservation and transformation – preservation of
the physical body of the building, its original shape and scale, and preservation of the building’s memory, its fleeting image from a
distance, its color and character. The transformation of the Museum is manifold; it re-establishes the building as an active marker and
a new orientation for the city, converts a silent and boring building into one full of life and warmth, and creates a resonant context
for the display and interpretation of contemporary art. With a focus on materials such as glass, wood and metal, it looks much
attractive under the bright sunshine.
It is the force of light acting upon the building that transforms both the physical body and spatial experience of the building.
Through a single act of editing – a 0.6-meter-wide cut into the solid concrete walls – the building becomes clear and renders
transparent. Continuous ribbons of light rise from the corner of the street, radiating from the building core and touching each
surface – wall, floor, and ceiling – as they move up through the gallery, and expanding as they pass through the classroom, office
and restaurant.
新的纽约艺术设计博物馆对原样既有保留也有改变。它保留了最初的建筑造型与规模、颜色和特征，保留了一闪而过的画面和曾经
的记忆。重建是多方面的，从而使它成为这个城市的鲜活标志。它从原来的沉静抑郁变得温暖而富有生命力，为诠释和展示当代艺
术魅力提供了一个和谐的环境。它的制作材料混合了玻璃、木头和金属，在阳光下熠熠生辉，引人注目。
光线作用改变了这个建筑体的整体和内部的空间体验。这是个特殊的剪辑，光线透进一条宽0.6m的混凝土墙缝里，整个建筑就变得
清新明亮起来。这样的小小的光线缎带从街角开始移动，经过地板、墙面、中心、天花板，进而辐射到整个建筑体的各个立面。同
时光线也会照射到教室、办公室和餐厅里。
Light incises the structural body, transforming the earth-bound building into an interlocking series of cantilevers tenuously
held together by the tautness of the new building surface. Light is invited into the gallery, bringing the art and space to life,
and offering the city myriads of colors reflected from the iridescent glaze of the ceramic tile. Gathering in the forces of the
light, the building forms fissures of exacting specificity. Intervals of light provide measure and reference for the visitors, while
precise views from the interior allow the building to become a compass indicating a hint for the direction. Through color and
light, the exterior of the building acts as a reference of change through the four seasons.
The transformation of the Museum amplifies the experience of both place and art. Not being a passive sentinel, the new
design resumes the life and energy of the institution, Columbus Circle, and goes beyond the conventions of the whole
Columbus Central Park.
由于这种光线的切割，整个建筑由生硬的地面实体变成一个仿佛由一系列光带紧缩而成的悬空漂浮物体。透进室内的光线让
整个艺术展示空间更具活力，陶瓷玻璃荧光表面反射的光线给这个城市以绚烂多彩。强烈的光芒仿佛要劈裂了这个建筑，令
光线缎带聚集的地方呈龟裂状。虽然建筑内部构造精细，但表皮的这种光线间隔却使它成为这个城市的罗盘，给参观者以指
引。光与色的四季变换也自然地反映到整个建筑表皮，于是它也有了时令参考的价值。
这些改变增强了这个博物馆的艺术空间体验，也打破了整个哥伦布公园的传统惯例，不再显得冷漠淡然，而是恢复了这个城
市本来的生命与活力，实现了一种超越。
242 243

二层平面图
02 Third Floor Plan

01 三层平面图
03 Structure
建筑结构图
04 Sketch
概念草图
02
03 04
244 245
La Patterns, Inc. 700m2

N.031 Prism ContemporAryArt
Location West Hollywood, California, USA
CULTURE Prism当代艺术博物馆

Digital Skin
The skin uses new smooth translucent resin
which daubs two ruled surfaces into a bending
interaction with purple strap. This shows the
movement and vitality of optics.
数字表皮
使用新型光滑的半透明树脂材料涂抹的
两个直纹面，弯曲交互形成紫色表皮
带。它展现出光学的动感和活力。
Site Plan
总平面图
246 247
01
结构分析
02 Elevation
立面图
03 Vision Analysis
视觉分析
Prism is a new three-story contemporary art

museum located at the heart of the Sunset
Strip in West Hollywood. The mission of
the museum is to become a base of artistic
experimentation, carving a new castle for
the arts in Southern California. Alongside the
exhibition space, the museum also houses a
bookshelf collecting many texts and works in
Christianity..
While patterns involvement was limited to

the structure of the interior or the exterior,
this project presented the possibility of true
material innovation: to be the first facade in
the US to be constructed entirely out of a resin-
based material rather than polycarbonate.
Prism是一个三层高的新型当代艺术博物馆，
坐落于好莱坞最繁华的中心商业街。此博物馆
旨在于南加利福利亚建立一个艺术实验基地，
为之雕琢出一个艺术堡垒，同时该博物馆也设
置了一个收藏着一系列基督教义文集和相关作
品的书店。
虽然它造型上受制于建筑物的内外物理构造，
并不能令人沉醉，但在用材上绝对是一个未来
材料革命的有力证明。这是美国首次运用聚碳
酸脂复合材料而不是树脂为基础原料构建的外
立面。
02
The museum envelope is designed to create subtle sensations by inducing a physical and optical dynamism that both challenges and enhances the pedestrian movement
along the iconic Sunset Strip. Its formal logic is the outcome of a productive negotiation between the orderly structural grid of the existing building and the intense vitality of
the context.
Almost theatrically, the facade surfaces appear to lift up and down, dramatically opening the interior while suspending its mass over the strip and projecting a sense of
weightiness for pedestrian and vehicular traffic approaching from the west. Deeply inspired by the supple forms, streamlined detailing and plastic finishes of automotive
design, the facade has a dual aesthetic performance associated with plastic materiality and responsive to its lively context, which shows up like a reflectively glossy surface
during the day and like a virtually translucent skin when lit inside at night.
此外立面利用物理和动态光学产生的综合效应，给穿梭于此的行人带来一种微妙感受，创造性地将整齐有序的格子状结构建筑和周围生气蓬勃的人文环境融合在了一起。
外立面奇迹般地产生一种流光溢彩的效应，仿佛建筑本身在不停地上下移动。你甚至可以感觉到它仿佛为你抬起身躯敞开室内的大门。这种轻盈的感觉强烈地凸显了往来人群
和车辆的繁重。它灵活的形式和独特的细节处理以及采用塑胶材料对表面的抛光，散发了塑料材质本身以及它与周围人文环境相呼应而产生的双重美感。白天，它自然反光，
光彩夺目；夜晚，室内光线照射，晶莹剔透。
03
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Structure: steel structure
Material: polycarbonate composite materials
结构：钢结构
材料：聚碳酸脂复合材料
Second Floor Plan

二层平面图
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AS. (Architecture-Studio)
N.032 Lievin stAdiumAnd sports center
Architecture Office
Location Liévin, France Construction Area 21,000m2
CULTURE Liévin体育中心 Photographer AS. (Architecture-Studio), Takuji Shimmura

Digital Shape
Vaulted connectors keep the two new and old halls in
harmony. This makes the stadium a landmark building of
the city. Two main lines will put the whole project in the
position of keeping its existing stadium function. Unity
is not only in more advanced and complete function and
equipment, but in a newer spot because of its harmony.
数字造型
拱形连接体和谐地将新旧两馆统一起来，使体育中
心成为城市的标志性建筑。两条主干线将整个项目
定位在保留原有体育馆功能的基础上。新旧大楼的
“统一”，不仅使其功能和设备更先进、更完整，
更因其和谐兼容而成为新的亮点。
Site Plan
总平面图
252 253
The international fame of Liévin athletic meeting marks the exceptional sports image of the site. For this remarkable
yearly event, the stake of this restructuration project lies in the consideration of technical work previous to each
performance.
This project is a contemporary shop-window of existing equipment. It takes the site characteristics into account. It is
oriented according to two main axes: reasserting the value and qualities of existing equipment and creating a new
“unifying” building able to meet new functional and image requirements. As for the unique complex in Europe, we
have thus focused our thinking on everyday life, the quality of organization, functional rigor, as well as the convivial
aspect of the whole sports-teaching-leisure center.
著名的Liévin国际田径运动会标志着体育运动与这一地区的紧密联系。为了这一年一度的盛会，Liévin体育中心的重
建工作，最重要的是针对每一运动项目的相关技术问题的处理。
考虑到当地的特色，这个项目使用了现有的现代商店式窗子。项目以两条主轴为中心，保留原有的价值观和现有的
设备品质，同时又创造出能满足新建筑功能和形象要求的大楼。作为很独特的欧洲建筑，在设计时，我们主要考虑
它的日常用途、机构品质和功能，以使其便于交际和休闲。
01
01 Model Plan Transparent Skin
模型图
This project uses the concept of modern glass window, and the face retains the
02 Elevation
立面图 originality while filling with a contemporary feeling. Meanwhile windows echo with the
03 Section Plan surrounding, showing a natural harmony.
剖面图
透明表皮
这个项目使用现代的玻璃橱窗理念，既保留了原有体育馆的面貌又有现代
感。同时玻璃窗与周围的草地相呼应，表现出与自然的和谐。
02
03
254 255
We considered it appropriate to transform this site into a “unified” amenity. The extended arch used
StructureAnd mAteriAl 结构与材料 in the stadium represents a frame of public areas and, at the same time, a stadium’s signal of flagship.
Architectural and urban treatments have been organized along a north-south axis, underlined by the
Structure: reinforced concrete arch as a structural spine. This spine declines according to different projects, such as urban links, inner
circulations and architectural dimension.
我们认为，将此建筑转化为一个“统一”的实体是合理的。扩大的拱形门不仅代表着公共区域的门
框，还是体育馆旗舰的标志。在设计和城市规划方面，我们按照南北走向这一主干，依照不同的项目
按阶梯式方法建设，例如城市枢纽、内部动线、架构维度。
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Wagner Murray Architects PA, Charlotte 1,912m2

N.033 Bechtler Museum, ChArlotte
Location Charlotte, USA Construction Area 2,490m2
CULTURE 夏洛特市贝希特勒博物馆 Photographer Joel Lassiter, Enrico Cano

Pictographic Shape
The building is set up by huge solid and space
interweaves. Internal empty space is to be
sculptured off the modeling; and architecture
is to build itself a sculpture at the beginning of
the design.
象形造型
建筑由巨大的固体和空间交织成。内部
空间就是被雕塑掉的空隙，建筑的造型
就是将建筑本身视为一座雕塑来进行设
计的。
Sketch
设计草图
The museum is in downtown Charlotte, a city that has
undergone a rapid urban development in recent years.
The new museum will house the works of art of the Bechtlers’
collection including important artists such as Tinguely, Niki de
Saint Phalle, Picasso, Giacometti, Matisse, Mirò, Degas, Warhol, Le
Corbusier, and Leger.
The four-storey structure is characterized by the soaring glass

atrium that extends to the museum’s core and admits the
natural light into the building thanks to a series of vaulted
skylights. Despite the modest dimensions, its great plastic force
is created by the play of solids and voids. It can be thus defined
as an architecture-sculpture where the voids carved inside the
primary volume mark a new urban space sheltered by the fourth Section Plan
floor gallery which juts out from the center of the building 剖面图
cantilevered and supported by a column rising from the plaza

below. The choice of the materials for the interior spaces and the
terra cotta exterior cladding give the museum a rigorous, though
elegant, simplicity.
该博物馆坐落于近年来发展迅速的夏洛特市市中心。
这个新的博物馆包括贝希特勒收藏的一些重要艺术家的作品，
如丁格利、尼基·德·圣法尔、毕加索、贾科梅蒂、马蒂斯、
Mirò、德加、沃霍尔、勒·柯布西耶、Leger等人的作品。
该博物馆有四层。高耸的玻璃中庭一直延伸至博物馆中心。诸多
拱形天窗采光良好，建筑里面很明亮。尽管博物馆的规模不大，
但各种混凝土形体形成的空间很多。这种空间犹如雕刻后留下的
各种空间，很有艺术感。博物馆四楼走廊从主建筑中凸出，由底
下广场的圆柱支撑着悬在空中，是新型城市空间的标志。内部空
间材料的运用以及外墙上赤褐色的表层，形成了博物馆严肃但又
高雅简约的风格。
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首层平面图
02 Third Floor Plan

三层平面图
01
02
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URBANUS Architecture and Design

N.034 OCTArt Design GAllery
Architecture Office
Location Shenzhen, China Construction Area 2,620m2
CULTURE 华 · 美术馆

Open Shape
By using glass curtain wall to parcel original
architecture facade's window, wall system can
retain the original architecture style and build a good
relationship with surrounding environment. This
choice not only highlights its feature, but also shows
its distinction from the buildings of both sides. It is
also a good way to display furnishings and support
the activities in the gallery.
开放式造型
采用玻璃幕墙包裹原有建筑立面的窗墙体
系，既保留了原有建筑与周围环境的关系，
又突显了个性，与两边建筑形成差异，同时
更好地展现了美术馆的陈设与活动。
Site Plan
区位示意图
Site Plan
总平面图
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01
02
01 Facade Component Detail Plan The site has had a rather unremarkable history. Originally made for a laundry facility for Shenzhen Bay Hotel in the early 1980’s,
幕墙构建节点图
it is situated along the main road, between a Spanish-style OCT Hotel and the Hexiangning Gallery. Over many years, the
02 Elevation warehouse itself remained unaltered while the city around it rapidly transformed. Considering the significance of its location,
立面图
the owner decides to remodel the warehouse in a meaningful way. For Urbanus, the remodeling of the site makes difficult
questions of how to address the existing urban condition, and how new interventions would relate to it. The main architectural
gesture is to wrap the entire warehouse with a hexagonal glass curtain wall. The pattern is created from 4 different sizes of
hexagons. As a result, the new wall becomes a lively theatrical screen.
The geometric pattern is more than just deep surface. It is actually a three-dimensional matrix of intersecting elements
that project into the gallery spaces, structuring the building's interior design. The result is the creation of delightful and
unexpected spatial experiences.
建设中的华侨城洲际大酒店展馆，有段不寻常的历史。它是20世纪80年代早期建设的深圳湾大酒店的洗衣房，位于华侨城西
班牙风情主题酒店和何香凝美术馆之间的大马路边。城市快速发展变化，但这个展馆却依旧没什么变化。如今，考虑到它的地
理作用，决定重建。对于乌尔巴努斯而言，重建将困难重重。如何处理现有城市环境，如何让重建不会突兀，这些问题都必须
考虑。建筑主体外有六角形玻璃幕墙，总共有四种不同尺寸的六角形。这样，新墙活脱脱就是一个剧场屏幕。
几何图样不只是深表面，事实上，它就如一个三维脉石，交叉而成，构成室内结构。这样给人带来愉悦和出人意料的空间体
验。
264 265
Transparent Skin
Building skin is composed by a single and
original hexagon through a complex and
organic combination, and lined from the solid
to the virtual, from small to large. And then
patterns are organized by multi-level gradient,
achieving the 3D visual effect. During the day,
the inner space shows in partly hidden and
partly visible. And at night, the original old
building wall-window system dramatically
stands out clearly through the glass.
透明表皮
玻璃建筑表皮由单一的、原始的六边形
通过复杂有机的组合而形成，按由实至
虚、由小到大、多层次渐变的三维视觉
效果排列。白日若隐若现，夜晚时在灯
光衬托下，原先建筑的墙窗体系又很清
晰地透过外墙呈现出来，极富戏剧性。
结构分析
02 Section Plan
剖面图
01
02
266 267

Material: glass
材料：玻璃
01 Floor Plan
楼层平面图
02 Main Entrance Analysis

主入口剖析
01
02
EDUCATION
教育
270 271
N.035 The CentrAl Los Angeles AreA High School No. 9

Architecture Office COOP HIMMELB (L) AU Site Area 39,578m2
for the VisuAlAnd Performing Location Los Angeles, California, USA Construction Area 31,138m2
COOP HIMMELB (L) AU, Roland Halbe, Tom Bonner, Duccio Malagamba
EDUCATION 洛杉矶视觉与表演艺术第九中学 Photographer
Warren Aerial Photography, Inc. und PCL Construction Leaders

Pictographic Shape
Cuboids, round and surround arcs, the torch-
like sculptures, circles, cones, wedges,
and decomposed geometric distortion are
dramatically combined together, making the
current high school.
象形造型
长方体、圆、环绕的弧线、火炬般的雕
塑、圆形、锥体、楔形，被分解后的几
何变形后重新戏剧化组合在一起，建成
了现在的这所中学。
Site Plan
总平面图
The ninth middle school is located in downtown Los
Angeles Grant avenue, covering an area of 39,600 square
meters. Because the school is in the special geographical
position (st expressway, West Virginia, and cesar E
chavez street are around), Rio grande avenue north is an
important part of cultural landscape.
第九中学位于洛杉矶市中心格兰特大街，占地
39 600m2。由于学校特殊的地理位置（圣阿尼亚高速公
路、西塞萨尔E查韦斯大街围绕），已成为北格兰德大街
文化景观的重要组成部分。
272 273
Library, with cohesion to the skyline, is similar to the deformation of

half cones.
Theater complex always reveals a "silent" theme. Seeing from the

California highway, this is a sculptural landmark tower.
Square building combining with the round Windows, can make

the internal space of the classroom vividly rise. Circular and
square combination between the school and city contributed
to the building dialogue. Round windows, also like stamps, stick
in the cavity of the general selection algorithm parts, making
overall coherence more and echoing better with the surrounding
landscape.
图书馆衔接天际线，类似于变形的半圆锥体。
剧场综合体始终透露出“沉默”的主题。从圣阿尼亚高速公路往上
看，这就是一个雕塑般的地标塔。
方形教学楼与圆窗组合，可使得教室内部空间生动起来。圆形与方
形的组合促成了学校与城市之间的建筑对话。圆形的窗户，如同邮
票一般，贴在立面的精选部位，使得建筑体更显整体的连贯，更加
融合于周围的景观之中。
01
01 Concept Analysis
概念分析
02 Site Plan
总平面图
02
274 275
01 Section Plan AA
剖面图 AA 01
02 Section Plan BB
剖面图 BB
02
276 277
01
02
03
01 Section Plan CC
剖面图 CC
02 Section Plan EE
剖面图 EE
03 Floor Plan 1
04 Floor Plan 2
04
278 279
N.036 RAvensbourne College of Design And

Architecture Office Foreign Office Architects
CommunicAtion Location London, UK Construction Area 21,500m2
EDUCATION 瑞文斯博艺术与传播学院新教学楼 Photographer Morley von Sternberg

Transparent Skin
Gothic rose windows and flower patterns are the
inspiration for this project. This inspiration won't
be considered as an imitation of the nature, but
an abstract construction test. In order to achieve
this, a non repeating pattern is adopted on the
surface, and three different tiles are used for
seven different types of window.
透明表皮
哥特式玫瑰窗和花朵图案是该项目的丰富
灵感。但这座大楼，不会被看作是自然的
模仿，而是作为一个抽象的建筑试验。为
了实现这一点，它采用了一种非重复模式
平铺在建筑表面，使用了三种不同的瓷
砖，以供七种不同类型的窗口使用。
Site Plan
总平面图
280 281
The new building for Ravensbourne College of
Design and Communication, a university sector of
college innovating and specializing in digital media
and design, will be located at Greenwich Peninsula
on the south-eastern edge of the O2 building, at
the right of the North-South axis that structures the
master plan.
B y moving to this ex traordinar y location,

Ravensbourne College aims to deliver education to
meet the shifting demands of 21st century learners –
learners who expect access to resources and support
in demand and whose needs can differ greatly
according to a variety of social and economic factors.
The new building is designed to stimulate the

environment and working practices of creative
professionals, providing the best of technology and
mobile computing in an environment which enables
a variety of learning styles.
瑞文斯博艺术与传播学院专注于设计和数字化媒体。
新的教学楼规划在伦敦的格林威治半岛。具体坐标为
千年穹顶（Millennium Dome，亦称为O2）东南部，
在格林威治半岛区域规划南北线的右侧。
校方迁移到此特殊地带，希望教学楼能够满足21世纪
不断增长的教育要求，即学生希望获得教学资源和必
要的支持。不过，学生也因社会和经济因素的不同，
相应的需求也不同。
建筑旨在形成良好的激励环境，为学生提供最好的科
技基础、多媒体电脑教学环境和多渠道学习。
01 Elevation
立面图
02 Section Plan 01 02
剖面图
03 North Elevation
北立面图
03
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01
01 Section Plan 1
StructureAnd mAteriAl 结构与材料剖面图（一）
02 Section Plan 2
剖面图（二）
Walls Material: ceramic tiles, glass 03 South Elevation

南立面图
外墙材料：瓷砖、玻璃 04 Second Floor Plan
二层平面图
The building is specified to reach a BREEAM
05 First Floor Plan
一层平面图 qualification of environmental excellence. In
order to achieve optimum environmental
performance, low maintenance and high
flexibility, the massing has been kept as
compact as possible with a very low ratio
of facade to area, and a deep building with
big enough interior which is able to provide
flexible space to host various activities which
take place in the building.
Gothic rose windows and flower patterns

have also been a rich field sea of inspiration for
the project, but in this building they will not
be produced as an imitation of nature but an
abstract construction. To achieve this we have
resorted to the use of a non-periodic tiling
pattern on the facade, which allows us to build
seven different types of windows out of three
different tiles.
The architecture of the building has

been designed to express the culture of
contemporary production, by using a non-
periodic tiling system which symbolizes a
more diverse and contemporary approach to
technology.
此新教学楼遵循英国建筑研究所环境评价方法
而建。为了减少对周围环境的影响，降低维护
费用并且实现高效利用。建筑内部空间足够
大，可以开展各种活动。
哥特式的玫瑰花型窗口和鲜花图案绝非单纯地
模仿自然，而是更加抽象化地排列，我们运用
了三种不同的瓷砖拼贴，创造出了七种不一样
的窗口排列。
建筑通过瓷砖拼贴来表达出现代的文化气息。
02 这种瓷砖拼贴象征着现代科技的不同手段。
03
04 05
284 285
North Elevation
北立面图
286 287
ACXT Arquitectos Site Area 18,000m2

N.037 CEIBS Beijing CAmpus
Architecture Office
Location Beijing, China
EDUCATION 中欧国际工商学院北京校区 Photographer Aitor Ortiz

Pictographic Shape
The building is designed into three floors.
Modeling is contemporary and concise. The first
floor is irregular oval with a courtyard in the
internal, creating an effect of Chinese courtyard;
the second and the third floors are 5 rectangles
covering the irregular oval orderly like fingers.
And "the fingers" run-through each other with a
long corridor, presenting a connection between
sense and sensibility.
象形造型
建筑分三层，造型现代、简洁。首层为不
规则的椭圆形，并在内部穿插庭院，营造
出中国四合院的空间效果；二、三层为5
个长方条形，如同手指一般有规则地覆盖
Site Plan
总平面图在不规则的椭圆之上。而“手指”之间有
长廊贯通，体现了理性与感性的结合。
CEIBS (China Europe Internacional Business
School) is the Bussines School leader in Asia.
As part of its growth has taken the decision of
building a new Campus in Beijing by contracting
AXCT-IDOM Group as design architect.
中欧国际工商学院是亚洲地区数一数二的工商学
院，该学院的部分发展原因就是它决定与 AXCT-
IDOM 建筑设计小组签约，使 AXCT- IDOM 建
筑设计小组成为其北京新校区的建筑设计师。
288 289
The new Campus occupies about 19,000m² in a three floors building with a basement floor in a plot of 33,000m² in the Zhong Guan
Cun Science Park in Beijing. The project is conditioned by the teaching function, the Zhong Guan Cun Science Park master planning
which proposes a series of compact buildings scattering in the forest like small islands in the ocean and finally meets the client´s needs
of building it in two phases and making it look perfect at the end of the phaseⅠ.
新校区包含一栋面积为19 000m2的三层楼建筑以及一栋位于北京中关村科技园区内占地面积为33 000m2的地下室层。该工程以教学

功能为前提，中关村科技园区的总体规划包含一系列分散在森林中的紧密型建筑群，这些建筑就好像是浩瀚海洋上的小岛一样，随处
分布在海洋上。该总体规划最终会根据客户的需求将建筑物分为两期，并且在第一期结束时，使建筑看上去尽可能的完善。
01
02
The building in phaseⅠis composed by a basement which occupies completely the plot permmiting the public and main uses as a lecture hall,
the amphitheaters classrooms, discussion rooms and a bar. It is full of courtyards that like the Chinese traditional architecture give a very good
climate control and let us prioritize the relationship among different spaces, not losing the complete vision of the building as it happens in the
01 Section Plan 1 forbidden city in Beijing. In the other two floors, we have some more discussion rooms and flat classrooms and other more not for public uses such
剖面图（一）
as professors and staff working spaces, organized like fingers linking to a long corridor. Each floor has a different shape and a different relationship
02 Section Plan 2 with the forest. For the basement, the relationship is like the trunk of the tree and like the courtyards full of green bamboo creating a introvert
剖面图（二）
space, while the second floor is like the crown with a similar ambient and so does the third floor, the one occupied by the staff and professors, and
03 Section Plan 3
剖面图（三） meanwhile, the third floor is the one that looks over the forest like a guardship.
04 Section Plan 4
剖面图（四）
第一期工程由地下室组成，地下室占据所有公共建筑和主建筑，如讲堂、阶梯教室、讨论区和酒吧。该建筑就像中国传统的建筑一样拥有许多庭
院，能够极好地控制天气变化，并且使我们将建筑的整体效果与北京紫禁城挂钩，但又能理清不同空间之间的关系划分。在另外两层，我们还有更
多的讨论区和教室，以及其他更多非公共使用区域，如教授和工作人员的工作室，以及如手指般组织而形成的一条长廊。每一层的形状都各不相
同，并且与森林的关系也不同。地下室与森林的关系就好像是树干，与遍布绿色竹林的庭院一起创造了一个内敛的空间；第二层与其周围环境的关
系就好像是树冠；而第三层——工作人员和教授所工作的地方——可以俯瞰森林，就好像一艘警戒船。
03
04
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The traditional Chinese architecture and philosophy already fascinated us, and it has been the engine of our architectural ideas helping us to shape the project, and it is easy to
recognize it in the election of the colors and materials, mainly, in the spatial configuration of the building. This is the way the building represents CEIBS spirit of the encounter
between China and Europe.
Now we can see the phaseⅠended, but it will be in phaseⅡwhen the building will be able to express the dynamic concept of balance of the Chinese yin yang in the Chinese
architecture according to the feng shui art and, in this case, it’s interpreted from our European respectful point of view.
中国传统的建筑和哲学已经深深地吸引了我们，它们是我们建筑创意的动力，帮助我们形成这一项建筑工程。并且该建筑由于其颜色和材料的选择（主要在建筑的空间配置
上）而变得容易辨认。该建筑是中欧国际工商学院用来展现中欧之间精神交流的方式。
现在，我们能看到一期工程已经结束，但是只有等到二期工程时，我们才能体会到风水艺术在中国建筑中阴阳平衡的动态理念，并且在该项目中，这种阴阳平衡的动态理念是
通过欧洲的观点而被表现出来的。
Ground Floor Plan

首层平面图
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01
01 First Floor Plan

一层平面图
二层平面图
02
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Mcbride Charles Ryan Architecture + Interior Design Site Area 1,300m2

N.038 Fitzroy High School
Architecture Office
EDUCATION 菲茨罗伊中学 Photographer John Gollings

Heavy Skin
Double color brick was exposed on
the skin. Combining with the wavy
architectural design, the whole facade is
rich of flowing sense and venation.
重表皮
双色砖颜色外露构成彩色的表皮。
结合整个波纹状建筑设计，创造出
流动感，使得层次和纹理也很好地
展示出来。
Ground Floor Plan

首层平面图
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01 First Floor Plan

一层平面图

二层平面图
01
Fitzroy High School is a governmental
7-10-grade school in the inner of
Melbourne. The school had been
closed in 1992 but was reopened in
2004. Fitzroy High School has a strong
design curriculum and is a state leader
in implementing progressive education
models in the class room.
In 2008 the scope of the school

will be increased to include post-
compulsory level students, with the
additional grades of 11 and 12, raising
the projected enrolment from 375
to 600. To facilitate this expansion,
McBride Charles R yan has been
engaged to design and document a
“new school model” accommodating
and expressing the requirements and
aspirations of a 21st century school.
菲茨罗伊中学是墨尔本城市内部的一
所政府学校，供7年级到10年级的学生
念书。1992年，学校倒闭，2004年重
开。菲茨罗伊中学的强项是设计课程，
是教育界中推行先进教育的佼佼者和典
范。
2008年，学校将开始接收11至12年级
的学生，将预计招生数由375提高至
600。为了能够容纳新招收的学生，学
校请McBride Charles Ryan为新学校
设计。设计要体现学校的“新面貌”，
即既要适合和体现学校的要求，又要能
充分反映其建设21世纪学校的愿望。
02 02
298 299

Walls Material: double color brick
外墙材料：双色砖
Section Plan
剖面图
MCR’s design provides the additional 225 students
and 12 staffs on three levels, interfacing with the
existing 1960‘s school building. Private study areas,
resource centers and an art & technology studio
are also provided. The art & technology studio has
been designed to open up a generous display foyer,
providing a space for community gatherings that is
currently lacking in this suburb.
The model unit is a space designed for 40 to 60

students. Following a “team teaching” approach,
the spaces are configured to allow for a flexible use
of distribution, accommodating activities ranging
from large “chalk and talk” lecture-style presentations
to medium scale seminar groupings to individual
private study. This is achieved by a floor plan with an
undulating perimeter, allowing for an optimum of
supervision to occur within a variety of more discrete
spaces.
The undulating perimeter is constructed from double

brick with a deep cavity, allowing the building’s skin
to perform structurally, thereby reducing the need
for additional framing or bracing. The exposure of the
inner skin of brickwork and the underside of the slabs
maximizes the buildings potential thermal stability,
considerably reducing the need of additional climate
control. The 4m floor-to-floor height required to be the
same with the existing building at each level increases
the quality of daylight admiting into the proposed
place.
With its prominent effects on the street, and its

dynamic relationship with existing features such as the
mature fig tree and its confident, exuberant expression
of the aspirations of the school and its community,
Fitzroy High School provides a positive example that
when confronting with, the Department of Education’s
facilities schedules, architecture still can be designed
with a modicum of “zing”.
McBride Charles Ryan将其设计为三层，可容纳扩招

的225名学生和12名工作人员。与原有20世纪60年代
建设的学校大楼连接在一起。里面有个人学习区、资源
中心和艺术科技工作室。艺术科技工作室设计成一开放
式的巨大展览厅，可为社区提供聚会场所。
每个教室预计可容纳40至60个学生。本着“小组教
学”的教学方法，此区域将被设计为组合结构，以便灵
活分配区域，举行各种不同的活动。可满足“注入式教
学法”讲座、中型研讨会以及个人学习三个要求。楼层
设计为波形，可提供一个监管多个分散区域的最佳地
点。
波形楼层由那些中间带孔的双面砖建造而成。这样建筑
的外观就具有一定的结构性，而且不需要额外的框架或
支撑。这种砖以及平板可使建筑物耐热尽可能最大化，
进而大大降低额外气候控制的工作量。层与层之间高
4m，与原有建筑相似，同时又可增加采光量。
学校对街道影响显著。菲茨罗伊中学与现有学校特色
（如成熟的无花果树，以及体现学校和社区的自信和生
气勃勃）之间的动态关系，告诉人们在符合教育部门的
设施规划要求下，该如何设计建筑，给建筑注入一点点
“活力”。
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Yazdani Studio
N.039 CSU Northridge ChApArrAl Science HAll
Architecture Office
Location Northridge, California, USA Construction Area 8,361.2736m2
EDUCATION 查理斯特大学北岭查帕拉尔科学馆 Photographer Timothy Hursley

Open Shape
The characteristic of the building lies in the
circular sidewalk which is set for outdoor view
and rest, and it connects all other functional
spaces. Visually it makes the science facilities
and campus as a whole.
开放式造型
此建筑物的特点在于设置了供室外观赏
和休憩的循环人行廊道，以及连接建筑
的其他功能空间。从视觉上看，它将科
Site Plan 学设施和校园连接起来。
总平面图
The building serves students from the College of Science and Mathematics who have more access to new
and improved lecture halls on the first floor and the computer labs throughout the building. The building
is home to the Department of Biology’s office as well as much of the department’s offerings, including
teaching and research activities. Chaparral Hall includes 18 research labs, nine introductory teaching labs
and 13 lecture rooms in addition to a DNA sequencing lab and a microscopy suite. The building has two
computer labs equipped with high-speed “hard wired” and wireless connections. The building supports
fiber optic data transmission required by high-bandwidth instruments like the new confocal and electron
01
microscopes.
该馆改进了一楼的大讲堂，整个大厅遍布计算机实验室，专为所有科学院和数学院里有志于研究新项目的
学生服务。科学馆原来是生物学系的办公室所在地，可开展多种活动，包括教学和研究活动。查帕拉尔科
学馆包括 18 个研究实验室、9 个介绍教学实验室和 13 个演讲室，除此之外，有一个 DNA 测序实验室和
一个显微镜检查房。科学馆有两个计算机实验室，配有高速硬件和无线网络连接。大厅因为新的共焦电子 01 Model 1
显微镜的高屏宽带仪器的需要，还提供了光纤技术数据传输。模型图（一）
02 Model 2
模型图（二） 02
302 303
The complex encompasses a four-story outdoor lobby,

a plaza and a three-level outdoor public staircase which
facilitates circulation to the teaching labs located on the
upper floors, serves the oriented visitors, and promotes
social interaction. A plaza facing the Botanical Gardens
offers students a quiet place for study and reflection.
A continuous outdoor covered walkway enables
pedestrian circulation around the facility while visually
connecting the Science Complex and the campus.
A series of schemes were selectively cross-bred to exploit

the views of the botanical gardens, and to stimulate
collaboration among faculty, researchers and students.
此科学馆含有一个四层的室外休息室、一个广场及一座
三层的室外公共楼梯，有利于楼上教学实验室的流通，
同时为来访者服务，促进社会互动。广场面向植物园，
为学生学习和思考提供安静的空间。一条露天的连绵小
道，可以让行人围绕场所漫步。从视觉上看，它将科学
设施和校园连接起来。
这一系列的方案有选择性地结合和利用了植物园的景
观，增进了全体教员、研究人员和学生之间的沟通与合
作。
01 First Floor Plan
一层平面图

二层平面图
03 Third Floor Plan Structure: reinforced concrete

三层平面图
04 Fourth Floor Plan 结构：钢筋混凝土

四层平面图
01 02
03 04
304 305
306 307
308 309
KSP Jürgen Engel Architekten 19,620m2

N.040 TiAnjin University SportsArenA
Location Tianjin, China Construction Area 13,835m2
EDUCATION 天津大学体育馆 Photographer KSP (Baijing)

Transparent Skin
The translucent and punching metal curtain
wall is the remarkable characteristic of the
stadium, which creates a lozenge structure,
making the entire stadium appear solid and
energetic.
透明表皮
半透明的打孔金属幕墙是该体育馆的
显著特征，由此创造出来的菱形结
构，使整座体育馆显得坚实而充满活
Site Plan 力。
总平面图
October20, 2010 saw the official opening of the Tianjin Sports Arena, which forms part of the campus of the
renowned Tianjin University. It serves as a venue for university and national sports events and has room for approx
5,000 spectators. It was built on behalf of Tianjin University Department of Campus Construction and Planning
inline with a design proposal put forward by KSP Jürgen Engel Architekten, Beijing, China. After various cultural
buildings such as the National Library of China in Beijing, the art museum in Nanjing, and the Tianjin Art Museum,
which is currently at the planning stage, KSP Jürgen Engel Architekten’s design for the Tianjin Sports Arena in
Tianjin is the first university and sports structure the company has built in China.
2010 年10月20日，天津大学校区的重要组成部分——天津大学体育馆喜庆开幕。天津大学体育馆可承办各种校
级及国家级体育赛事，并可容纳5 000名观众。该项目受天津大学校园建设与规划部委托，由KSP尤根恩格尔建
筑师事务所北京办公室与其中方合作伙伴天津大学建筑设计研究院共同设计完成。它是KSP尤根恩格尔建筑师事
务所在其文化场馆系列，如北京国家图书馆、南京江苏艺术博物馆和正在设计中的新天津艺术博物馆之后建造实
现的第一个高校体育场馆。
310 311
01
The building is 120 meters long, 58 meters

wide, and located in the northeast of the Tianjin
StructureAnd mAteriAl 结构与材料 University campus. Situated at the junction

between the campus and downtown, the
new building is an important link in the urban
Exterior Wall Material: metal plate 01 Section Plan 1 structure. The Sports Arena has a distinctive
剖面图（一）
feature in the form of a translucent sheath made
外墙材料：金属板 02 Section Plan 2
剖面图（二）
of gold-colored perforated sheet steel panels,
which form a rhombic structure and emphasize
the Arena’s dynamic, powerful shape. Punching
tools were made specially to produce the
perforations, which, with their triangular shape,
take up the format of the panels. A special effect
adds further emphasis to the spatial depth and
the lightness of the metallic facade, which is
mounted some four meters in front of the actual
outer wall: an enlarged likeness of the structure
of the translucent perforated sheet steel facade
(comparable to that of a silhouette) in the form
of a black-and-white print was transferred to the
outer wall of the hall. The overlapping of these
two levels—the perforated sheet steel facade and
the likeness of it—produces a Moiré effect, which
is heightened further by the observer moving,
and when it is dark, when the space between the
façade and the outer wall is artificially lit.
体育馆长120m，宽58m，坐落在天津大学校区
的东北角，成为天津大学与城市中心交汇处的重
要城市组成。半透明的打孔金属幕墙是该体育馆
的显著特征，由此创造出来的菱形结构，使整座
体育馆显得坚实而充满活力。用特殊的穿孔工具
在金属板上冲制形成三角形状的孔洞。在距离体
育馆外墙4m处安装空间感和明亮度均佳的金属
立面，强调出一种特殊的建筑效果：半透明的打
孔金属幕墙结构是体育馆外墙放大映照在建筑外
壳上的一个黑白影像（相当于外墙的剪影）。通
过金属幕墙和外墙影像这两层结构的叠加，一种
02 奇妙的云纹效果由此产生。而夜间使用的人造光
源，会使这种视觉效果更加明显。
312 313
01
02
01 Elevation
立面图
02 Metal Facade Expand Plan

金属幕墙展开图
03 Detail Plan
节点图
Two spacious foyers open out the Sports
Arena in the campus and a busy junction
in the direction of downtown Tianjin.
The two entrance halls each penetrate
the corner of the outer skin and provide
access to the building via the narrow
sides. The large expanses of glass in the
foyer extend almost the entire height
of the building (24 meters) and create
an entrance that is bright and flooded
with light. On the longitudinal sides the
glass facades mimic the inclination of the
spectator stands. This way the geometry
of the hall’s interior and the rising
spectator stands is also discernible in the
design of the facade.
Furthermore, the sloping roofs of the

entrance halls create an entrance area
that expands upwards, and which at its
highest point measures up to 20 meters.
The walls of the entrance halls are bright
orange and form an exciting contrast
to the open exposed concrete stairs.
These lead from the foyer directly up to
the spectator stands on the inside of the
arena, which have room for some 4,000
spectators. In addition there are 1,000
temporary places on the longitudinal
sides of the court. The rows of spectator
seats, which, being orange and gray,
correspond with the color of the foyer,
flank a 24 × 44-meter basketball or
handball court that conforms to the
sports’ rules. For everyday university
purposes the playing area can be divided
into two smaller basketball courts or a
maximum of 12 badminton courts. All
the ancillary rooms such as the changing
rooms are located in the levels beneath
the stand.
体育馆拥有两座宏伟的大厅，分别朝向天
津大学校区和天津市繁华的城区。这两座
大厅都建在外墙的转角处，充分利用了体
育馆较为狭窄的那两侧。大厅高24m，大 03
面积使用玻璃窗，为到访者提供了一个明
亮的、日光充足的内部空间。用玻璃幕墙
刻画两侧的观众看台，这样可以将看台斜
坡的几何结构和幕墙设计完美结合。
斜顶设计在高度上延展了大厅区域的空间
变化，最高点距离地面20m。大厅的墙壁
为明亮的橙色，与混凝土楼梯形成对比。
开放式混凝土楼梯由大堂延伸到体育馆内
部的观众看台。看台可容纳约4 000名观
众。此外，体育场两侧还可添加1 000个
临时座位。看台座椅的颜色也为明亮的橙
色和稳重的灰色，与大厅区域的配色一
致，环抱着一个规格为长44m、宽24m
的篮球手球场地。场地可以根据大学的课
程安排，灵活分割成两个小型篮球场或至
多12块羽毛球场地。更衣室等其他功能
房位于看台下方。
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01
01 First Floor Plan
一层平面图

二层平面图
02
316 317
kavakava Architects 8,041m2

N.041 LOTTE KINDERGARTEN
Location Tartu, Estonia Construction Area 2,292m2
Kaido Haagen, Aivo Kallas, Martin Siplane, Lauri

EDUCATION LOTTE幼儿园 Photographer
Kulpsoo, Kristo Nurmis
Total Floor Area 1,885m2

Pictographic Shape
The whole building is composed by six petals.
The space between each petal formed six
triangular areas. One is used as entrance; the
rest is enclosed with fences, making the triangle
area become activity space for children.
象形造型
整个建筑由6枚花瓣构成。花瓣末梢的
间隔形成了6个三角形区域。除了一个
作为进入幼儿园的通道，其余用篱笆围
起来，设计成为孩子们活动的空间。
Site Plan
总平面图
The kindergarten is located in one of the least attractive parts of Tartu, the so-called Chinatown, the site of a former Soviet
military garrison.
The floor plan resembles a flower with six wings as petals. Such configuration creates a refulgent interior with intimate
courtyards in between. For better use of the yard, the building is located on the north side of the plot, at the same time
defining the street.
幼儿园坐落于塔尔图一个未引人注目的地带，就是所谓的唐人街——曾经的苏维埃军事驻地。
整个建筑平面由6枚花瓣构成。这种结构之下，室内一片辉煌，中间的庭院温馨可人。为了好好利用这个庭院，建筑坐落在地
块的北部，街道旁边。
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01
Internal design on the wall body and six petals photograph echoes with the glass. And the
outside wall body, regular triangle windows are of arrangement, letting the indoor have
enough natural light.
内部的墙体上设计了与6枚花瓣相呼应的玻璃窗。而外墙体上则排布着规律的三角形窗户，以
确保室内拥有足够的自然光。
01 Sketch Plan
StructureAnd mAteriAl 结构与材料构思图
02 Elevation
立面图
Structure: concrete + steel 03 Section Plan

剖面图
Hall, Corridor Material: bearing heavy concrete
04 Floor Plan
楼层平面图
结构：混凝土+钢
大厅、走廊材料：承重混凝土
02
03
04
320 321
In dealing with the building's color, stylist takes vivid

natural color combination more into consideration.
The original coarse wood, concrete wall combined
with windows, and facilities, all used for the
interesting colors of kids such as purple, yellow, red,
grass green, light green, and orange, make whole
space more capacious and lively.
在处理这个建筑的颜色时，设计师更多地考虑生动的
自然色组合。如原粗木、混凝土墙结合窗户、设施，
都设计成孩子们感兴趣的色彩（紫色、黄色、红色、
草绿色、淡绿色、橙色），让整个空间更加宽敞、活
泼。
322 323
Fumihiko Maki & Maki and Associates, Maki and
N.042 The Annenberg Public Policy Center of the
Architecture Office
Associates in association with Ballinger Site Area 1,858.06m2
University of PennsylvAniA Location Philadelphia, Pennsylvania, USA Construction Area 908.87m2
4,764.63m2
OFFICE 宾夕法尼亚大学安尼伯格公共策略研究中心 Photographer Barry Halkin, Jeff Totaro (interior), Maki and
Associates (exterior)
Total Floor Area
SKIN Analysis 表皮分析

Transparent Skin
The layering of transparent glass curtain wall
over wood panels has a rich sense of depth.
Transparency is a metaphor for this center,
dedicated to the study of public policy.
The interior design extends the themes
of transparency and openness, aiming for
connectivity through and across different
levels.
透明表皮
将透明玻璃幕墙置于木板之上的分层
做法极富深度。透明是这个中心的隐
喻，象征中心的公共政策研究亦敞亮
通透。室内设计则延伸了透明和开放
的主题，旨在创造出跨越不同层次的
贯通感。
Roof Plan
屋顶平面图
324 325
The Annenberg Public Policy Center (APPC) was established in 1994 at the University
of Pennsylvania. The new device contains offices, meeting rooms, broadcast room,
and a multi-purpose hall, including speeches, demos and other center and university
programs.
The interior design of the APPC extends these themes of transparency and openness,
striving for connectivity and flexibility amongst the various research interests. Open
and private offices and the stair towers ring the perimeter of the building. The core
contains kitchenettes, bathrooms, storage, and mechanical spaces. A three-story atrium
links all the spaces of the building, from a 200 person capacity multi-purpose “agora”
space on the first level, to a skylit lounge on the fourth. This atrium is crowned with a
faceted metal and glass roof, adding the sense of dynamism and tying the rectangular
massing of the building to its surrounding context of sharply peaked roofs.
安尼伯格公共策略研究中心（APPC）在宾夕法尼亚大学，创建于 1994 年。新设备包

含了办公室、会议室、广播厅和一个多功能厅，里面包括演讲厅、演示厅和其他中心
及大学项目。
APPC的室内设计向透明与公开的主题扩展，致力于连通性和满足各种不同的研究兴
趣的灵活性。公开办公室、私人办公室和台阶塔围绕着建筑周围。建筑核心包含小厨
01 房、浴室、仓库和机械空间。一个三层中庭连接所有的建筑空间，第一层是能容纳
二百人的多功能集会空间，第四层有天窗休息厅。中庭装有小平面金属玻璃屋顶，增
添了活力，又将长方形块和大厦周边尖锐的有遮檐的屋顶连结起来。
02
03
功能分析
Structureand materials 结构与材料 02 Section Plan A-A

剖面图 A- A
03 Section Plan B-B

Structure: concrete + steel 剖面图 B- B
04 Floor Plan
结构：混凝土+钢架楼层平面图
04
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326 327
Detail Plan
节点图
328 329
Detail Plan
节点图
330 331
Roof Analysis
屋顶分析
332 333
RESIDENCE
住宅
336 337
J. MAYER H. Architects 6,900m2

N.043 House neAr Ludwigsburg, GermAny
Location Ludwigsburg, Germany Construction Area 569m2
1,190m2
RESIDENCE 德国路德维希堡上的别墅 Photographer David Franck Total Floor Area

Digital Shape
The design of the house is based on the
geometrical modeling of the old house, which
was built in 1984 and had never stop to change
its image. We copy the existent first layer, and
revolve 225°, becoming the new second floor.
A new public space (interlining) is formed
between the two layers. The improvement
creates an open public space in the middle of
the two layers.
数字造型
这座房屋的几何造型基于它之前的型
迹，1984年建成后一直在改建。此次
将首层复制，再旋转225°，成为崭新
的第二层。新建筑的两层之间形成一个
半公共空间（夹层）。此次改进，是在
两个隔层的中间增设了一个公共空间。
Site Plan
总平面图
085. 1
338 339
The geometry of the building is based on the footprint of the house

that previously locates in the site. Originally built in 1984 and with many
extensions and modifications since then, the new building echoes the
family archaeology by duplication and rotation. Lifted up, it creates a semi-
public space on ground level between two layers with discretion. The skin
of the villa performs a sophisticated connection between inside and outside
and offers spectacular views on the old town of Marbach and the German
national literature archive on the other side of the Neckar valley.
这座小屋的几何造型基于它之前的形状。初建于1984年，自建成以来，它
已经历过多次扩建和修缮。这次同样按照“家族遗制”复制了原先的造型。
此次的改进，是在两个隔层的中间非常谨慎地增设了一个半公共空间。另
外，这个建筑的表皮完美地演绎了内外构造的精密结合，成为德国马巴赫古
镇上一道独特的风景，是内卡河流域文化库中宝贵的一页。
01
01 Concept Analysis
概念分析
02 Section Plan
剖面图
02
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01
02
01 Function Analysis 1
功能分析 (一）
功能分析 (二）
功能分析 (三）
功能分析 (四）
03
04
342 343
01
功能分析
02 First Floor Plan

一层平面图

首层平面图
02 03
344 345

首层平面图
02 B1 Floor Plan
负一层平面图
01 02
346 347
SUBARQUITECTURA 385m2
N.044 360 HOUSE
Location Madrid, Spain Construction Area 1,528m2
RESIDENCE 360度房子 Photographer David Frutos Ruiz

Digital Shape
Houses are designed to be a 360° arc type
in overall planning. To the greatest extent,
the arc shows the beauty of art. It comes in
a circle. And the center of rotation is simply
designed as a simple and technical arc
supporting point.
数字造型
房屋整体设计成一个360°的弧形，这
个极致弯曲的弧形最大程度地展现了线
条的艺术美感，由远及近，逐渐旋转，
慢慢靠近。旋转的中心处被单纯地设计
成一个弧形的技术性支撑点，更显简
洁、大方。
A unique opportunity for us in reality is a problem that’s been posed
thousands of times, a problem that is to construct a house with a public
program in social relation associating with the private life of numerous
families on a sloping plot with a good view of the mountains outside
Madrid. It has not just one solution, instead there are many. They’re even
cataloged in a book about houses on a slope.
We try not to think of domestic spaces. On the contrary, we take

the following into consideration. They are engineering, motorway
intersections, and changes of direction. We proceed with generic solutions
to the problem of descending slope, solutions that conceal artificial traces.
We seek the poem in all that seem to have been considered from the
merely pragmatic point.
The result is the literal construction by the use of diagram. In this instance,
form does not follow function, but is instead function itself. Cyclical
movement, routine and surprise turn into a way of living.
如何在一块倾斜的小土地上建起一栋房子？随着一座360°建筑的出现，
这个问题迎刃而解。作为一座公住房，这座建筑不仅可以容纳不少的住 Heavy Skin
户，还可以让人欣赏马德里外面的青山。此座建筑的设计从众多设计方案 Local black slate is used as the material, which is not only excellent in
中脱颖而出，堪称经典名作，而其他一些优秀方案也已经收藏于书。 absorbability, but also eye-catching.
我们并没有执着于建筑内部的居住空间，而是将设计重点放在工程的实重表皮
施、高速公路交叉口的位置以及方位角度如何变换等综合考量上。从开始房屋的表皮材料采用了当地一种吸收性能很好的黑色石板，非常
时寻求一个普通的解决方案，至最终创造性地解决坡度问题，这个过程，醒目。
可以说是在看似实用主义的方式下寻找到了一种诗意的解决方案。
这个方案可以用一个表格来说明，但是这个表格并非为说明建构而制，它
就是建构本身。运用这样一种数理逻辑来处理问题，也是将固定常规的又
或者令人欣喜刺激的各种模式转变成一种比较真切实在的生活方式。
348 349
Skin Material: black slate
表皮材料：黑色石板
01 Section Plan 01
剖面图
02 Elevation
立面图
02
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Its formal complexity offers the possibility of reaching all points of the house through two different routes, which multiply the
possibilities of practical use and enjoyment. It has the form of a loop, 360º, like the shape skaters make, and the movements of
gymnasts.
房屋结构复杂，紧致有序，在岔路口两条不同的路线，为展示房屋提供了全方位的视角，从而增强了此房屋的实用性和观赏
性。房屋整体被设计成一个360°的弧形，如同溜冰运动员依靠他们精湛的技艺，运用脚下的冰刀，在冰面上自由挥洒留下的冰
痕，自然完美，富有强烈的诗意，充满艺术的美感。
01 Isometric Plan
轴测图
02 Unfolded Section Plan

剖面展开图
01
As an extreme, shape the house is curved, generating the greatest quantity of linear meters towards the good views. It is shored up in the
landscape and, turns back on itself, completing the revolution. The degree of intimacy increases as the distance between the two ends increases. At
the midpoint, there is a mediatheque isolated and it’s completely dark, with 100% technology but 0% landscape.
With a single gesture, two ways of moving are generated: going down and looking outwards. The long house, with a sinuous movement, a descent
by ramp and ample turning radii tangential to the setbacks of the plot of land, generates a panoramic vision. The short house is in a quick way in a
straight line, with stairs of direct descent and a great view towards the landscape.
A building that is black outside, absorbent, of slate, and a material specific to the location, is almost imposed as an aesthetic specification of the
area. It’s white inside, reflective, generic, neutral and luminous. Life is colorful. At the outside, there is vegetation while inside the people.
这个极致弯曲的弧型最大程度地展现了线条的艺术美感，由远及近，逐渐旋转，慢慢向你靠近。但旋转的中心处没有任何景观，一片空洞漆黑，只
是单纯地作为弧型的一个技术性支撑点。
一般而言，想以一种姿态作不同方向的运动，便是先向下延伸，再调头折回原处。这座房屋的较长部分便是呈迂回状：在坡陡低窄处急势下滑，在
地势平缓处又与地基正切成一个半圆，从而实现整个弧线的华美转身；房屋较短部分则是一个简单的直线型，内置楼梯，自然地嵌入周围环境之
中，与自然景观融为一体。
房屋的表皮材料采用了当地一种吸收性能很好的黑色石板，非常醒目。内部空间则是光线自然发射墙面，迷漫净白。室内人们行动随心，室外植物
静谧安然，二者交相辉映，丰富了生活的色彩。
02
352 353
01
01 Layout Plan
平面图
02 Site Plan
总平面图
02
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SeARCH and CMA

N.045 villA VAls
Architecture Office
Location Switzerland
RESIDENCE 瓦尔斯别墅

Negative Shape
"The cave in the Alps of villa" means the
architecture located on the hillside, and
architects make the whole building obey the
nature space. And then the shape is hidden in
the mountain slope, only a circular hole opened.
People can overlook everything through this hole
and it can also get plenty of sunshine. The design
is full of modern and classical ideas of fashion,
and fully conceives the environmental protection
and energy conservation, warmth in winter and
coolness in summer.
负造型
“山洞别墅”建在阿尔卑斯山的山坡上，
设计师选择了臣服大自然的态度，将整个
Site Plan 建筑空间都隐藏在山体之中。只在山坡上
总平面图
开了一个圆形的洞口，由此将美景尽收眼
底，同时获得充足的阳光。此设计充分体
现了现代化与时兴简约的经典设想，并且
表达了环保和节能的理念，使之冬暖夏
凉。
Shouldn’t it be possible to conceal a house in an
Alpine slope while still enjoying the wonderful views
and allowing light to enter the building?
Surprising that it was permissible to construct a pair

of dwellings so close to the world famous thermal
baths of Vals, and the client seized the opportunity
to develop the site, without disturbing the bath’s
expansive views. The introduction of a central patio
in the steep incline creates a large facade with
considerable potential for window openings. The
viewing angle from the building is slightly inclined,
giving an even more dramatic view of the strikingly
beautiful mountains on the opposite side of the
narrow valley. (More info: www.villavals.com)
当阳光照射时，一所位于阿尔卑斯山山坡的房屋被隐
藏起来，但仍能欣赏美丽的风景，并且让光线照进屋
子内部，这可能吗？
令人惊讶的是，两个住户居然得到允许，在距离世界
闻名的 Vals 热浴池如此近的地方建造房屋。他们抓住
了机会开发了这个地方，保留了热浴池辽阔的风景原
貌。在一个陡坡处引入了一个中央庭院，尽可能为窗
口创造开阔的视野。从建筑里往外面观看，角度稍微
有点倾斜，正是这样，在望向对面狭长峡谷两边的美
丽山景时，呈现的是一派令人赞叹的景色。 (更多信息
请登录网站 www.villavals.com)
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01 02
03 04
01 Concept Analysis
StructureAnd mAteriAl 结构与材料概念分析
02 Floor Plan 1
Material: masonry, local stone
03 Floor Plan 2
材料：砌体、当地石材
04 Section Plan
剖面图
The Local Authority’s well intentioned caution that unusual modern
proposals were generally not favored proved unfounded. The planners
were pleased that the proposal did not appear “residential” or giving any
effect for the adjacent baths building. The scheme was not perceived as a
typical structure but an example of pragmatic unobtrusive development
in a sensitive location. The placing of the entrance via an old Graubünder
barn and an underground tunnel further convinced them that the concept,
while slightly absurd, could still be accepted.
Switzerland’s planning laws dictate that it is only possible to grant a

definitive planning permission after a timber model of the building’s volume
has first been constructed on site. This can then be accurately appraised by
the local community and it also can be objected if considered unsuitable.
For this proposal, it logically prevailed and then this part of the process was
deemed to be unnecessary.
当地政府出于谨慎，通常不赞成不寻常的提案，这是毫无根据的。规划师很
高兴，建议书没有显示出“与住宅有关”或影响邻近的浴室建筑的字眼。这
个方案没有打算建设一个特别的建筑，而仅仅作为在敏感地带进行务实而低
调开发的先例。建筑的入口取道于一个老Graubünde 的谷仓和一条地下隧
道，这令人确信，这个想法虽然荒谬，但仍被接受了。
瑞士的编制法显示，只有在建筑所需木材已经用于现场建设后，才有可能授
予建筑以明确的规划许可。通过当地社区作精确的评估后，如果觉得这规定
不适用，可以提出反对。这个提议由于逻辑上可行，所以没有遭到反对。
358 359
Mcbride Charles Ryan Architecture + Interior Design

N.046 Klein Bottle House
Architecture Office
Location Melbourne, Australian Construction Area 258m2
RESIDENCE 克莱因瓶小房屋 Photographer John Gollings

Pictographic Shape
The form of the house completely broke
traditional architecture concepts such as
midpoints, lines, and the facade (built on
Cartesian coordinate system based on the
structure model), presenting a architectural
design of successfully applied within topology,
and contacting the outside.
数字造型
这个房子形态在构成上完全打破了传统
意义上建筑学中点、线、面的概念（建
立在直角坐标系基础上的），将拓扑学
的结构模型成功运用到建筑设计中，使
室内室外连贯成一体。
Site Plan
总平面图
Light Skin
The black wall highlights, and accentuates the beautiful
and wild natural surroundings.
轻表皮
混凝土板材结合黑色金属板材构成的黑色表皮，
与周围的自然环境形成强烈的对比，非常显眼。
Klein bottle, mobius strips, and boy surfaces are unique surfaces that
while they may be distorted, they will remain topologically the same.
That is, a donut will remain topologically a donut if you twist and distort
it, it will only change topologically if it is cut.
The building (we think) is also within that tradition of the use of an
experimental geometry that could be adapted to more suitably meet
contemporary needs, and desires. In that sense, it is within the heroic
tradition of invigorating the very nature of the home. The house
revolves around a central courtyard, with a grand regal stair connecting
all the levels. The black walls highlight and accentuate the beautiful wild
natural surroundings.
克莱因瓶、梅比斯环、三叶结都是拓扑学的重要结构模型——物体在连
续变换下，能保持性质不变。也就是说，对于任意形状的闭曲面，只要
不把曲面撕裂或割破，它的变换就是拓扑变幻，就存在“拓扑等价”。
我们认为，这座建筑也是使用了传统的实验几何。这种实验几何可以更
好地满足现代需求和欲望。从这个角度看，它是属于英雄传统的，旨在
增添家的魅力。建筑环绕在中央庭院的外面，各层由帝皇式楼梯连接。
黑色的墙强调并映衬着周围优美的自然环境。黑色表皮和周围的自然环
境形成强烈的对比，非常显眼。
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325
360 360
361
01
02
03
04
05
01 South Elevation
南立面图
02 East Elevation
东立面图
03 North Elevation
北立面图
04 Section Plan 1
剖面图（一）
05 Section Plan 2
剖面图（二）
362 363
Floor Plan
楼层平面图
Skin Material: concrete plank, black sheet metal
表皮材料：混凝土板材、黑色金属板材
364 365
Global Architectural Development (GAD) 12,000m2

N.047 ONEAnd ORTAKOY
Location Istanbul, Turkey Total floor Area 56,100m2
RESIDENCE One & Ortakoy 住宅综合楼 Photographer Tahsin Inanici

Ecological Shape
It consists of two residential and commercial
building bodies. Using natural stone makes
the facade. Roof is covered by flowers and
grass. The curving form of organic structure
makes the beautiful mountain as a whole.
Architectural modeling, structure and
facade can withstand the test of bad natural
environment in this area.
生态造型
它由住宅和商用两座楼体构成。正面使
用天然石头打造，屋顶由鲜花和绿草覆
Site Plan 盖。建筑弯曲的有机形态与所在的美丽
总平面图
山区融为一体。建筑的造型、结构以及
外立面都经得起本区恶劣自然环境的考
验。
366 367
ONE & ORTAKOY is a complex of mixed use, which is currently under construction in the Istanbul neighborhood of Ortakoy. The project consists of two buildings. One building
is residential and the other is commercial and retail. Nestled next to a hillside, the project will be an iconic step towards the modernization of the area. The project’s form, facade
and overall organization are developed through a series of experimental strategies influenced by contextual elements. CAD’s design solution optimizes the use of the various
programs distributed throughout the site. The roofs on both buildings are intended to be landscaped with recreational playgrounds. These green roofs lessen the scale of the
buildings, merging them with the existing topography. Also, the natural stone facade that wrap both buildings provides a soft skin blending with the natural hillside setting.
ONE & ORTAKOY是一座多功能建筑，位于Ortakoy附近的伊斯坦布尔。项目目前正在建设当中。建筑由两部分组成，一部分是住宅区，一部分为商业区和零售区。这个地

处山腰的建筑，将成为该地区走向现代化的重要标志。项目的形状、立面及整体结构都经得起本区恶劣自然环境的考验。早在CAD制图时期，就设计了优化此处项目环境的
相关方案。住宅区与商业区的屋顶，都将配置休闲娱乐设施。这些绿化的屋顶缩小了建筑的规模，沿地势起伏。同时，石头构成的圆润质地的表皮，与自然环境融为一体。

Ecological Skin
Approximate colored stone of the building elevate the facade and roof garden
into the local and natural environment.
生态表皮
颜色近似的石头材料，使得建筑立面和屋顶花园的设计很好地融入
当地的自然环境。
01
01 Section Plan
剖面图
02 Floor Plan
楼层平面图
02
368 369
370 371
IROJE KHM Architects 554m2

N.048 Purple Hill House
Location Gyeounggi-do, Korea Construction Area 110.28m2
290.88m2
RESIDENCE 紫山小屋 Photographer Moon Jeong Sik Total Floor Area

Pictographic Shape
The program is designed as the simulated
modeling of peaks, according to the evergreen
mountains. The building is located in the
northwest, and it has geographical disadvantage
which means less sunshine from south. But with
more detail ideas, the whole project now is full
of sunshine. The purple house takes the natural
environment as background, and the architecture
and the landscape are concord with each other.
象形造型
项目结合地势（长青的山峦）设计出模拟
山峰的造型。并用细节设计，使得整体更
加通透，克服了建筑坐落于西北面而缺乏
南向阳光的地理缺点。以整个自然环境为
背景的紫色小屋看起来更显协调，建筑与
景观和谐地融为一体。
Site Plan
总平面图
372 373
This scenic site is a part of the residential area

developed in the natural greenery area of the
mountain gwanggyo. It’s located at the entrance
area to the mountain. Merit for the site plan is
that it faces the evergreen mountain while the
demerit is that it faces not south but northwest.
Although it is lack of southern sunlight and with
no agony from the direction in which the major
living space is, where the plan of this house started.
After all, the direction opposite the mountain
that will be preserved in the natural green space
forever was selected. But this charming selection
that introduces the permanent natural landscape
brought the problem of bad solar condition that
the major living space faces the northwest sunlight.
And so, we must make the solution to absorb the
01
southern and eastern sunlight into the inside of
the house. Solution for the demerit is “floating glass
garden”, which absorbs southern sunlight while
the “glass box of light” that will absorb the useful
sunlight was introduced to the inside space of the
various level. These boxes which are planted with
flower and fruit trees are functioned as “floating
glass garden”. Actually, we solved the problem
and we own both the two conditions that are
the introduction of landscape and ecological
environment and naturally, we have been reached
to the complex solution that all the rooms have
their own garden.
这里是一处植物茂盛的矿山，小屋就位于矿山山脚
的入口处。小屋的优势在于对面是茂密的青山，
风景优美；劣势在于面朝西北而不是朝南，采光
不足。尽管如此，小屋的修建工作还是开始了。小
屋最终还是选择了面山而建。这样的选择的魅力在
于有永久的自然景观。有了这样的景观，光照不足
就不是很重要了。当然，我们可以想办法引入南面
和东边的阳光。我们可以建立一个“漂浮的玻璃花
02 园”来吸收南部光线。这个“透明的玻璃盒子”可
以吸收各种频率的有用光线。加上盒子表面种植的
鲜花水果，我们可称其为“玻璃花园”。事实上，
这个“花园”的设计，不仅解决了光照不足的问
题，也利用周围的自然景观和生态环境，为每一位
住户创造了一个美丽的私人花园。
03
01 Design Sketch 1
效果图（一）
02 Design Sketch 2
效果图（二）
03 Section Plan 1
剖面图（一）
04 Section Plan 2
剖面图（二）
05 Section Plan 3
剖面图（三）
04
05
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01
01 First Floor Plan

一层平面图

二层平面图
02
376 377
Floating boxes with bamboo garden are in dynamic and vertical sequence. The dynamic, unrealistic interior which
is produced with several floating glass boxes over the major living space is opened to the vertical height of 3 floors,
which will be the symbolic impression of this house. Small purple hill—landscape architecture is harmonizing with
the surrounding context. We expect that this landscape architecture will coexist with the surrounding context for a
long time, as if a small purple hill does.
这个漂浮的盒子是一个动态的悬浮竹园。三层居住空间上漂浮着几个“透明玻璃盒子”，这样的室内空间可能有点梦
幻，但却也是这座房屋的一大亮点。以整个自然环境为背景的紫色小屋看起来是如此协调，建筑与景观和谐地融为一
体。我们希望这个像山丘一样的紫色小屋可以与周围的环境长期共存。
378 379
IROJE KHM Architects 872.63m2

N.049 ISLAND HOUSE
Location Gyeounggi-do, Korea Construction Area 337.33m2
628.02m2
RESIDENCE 岛屋 Photographer Moon Jeong Sik Total Floor Area

Ecological Shape
The annular subsection is rising to the roof
garden. The whole building looks like a hill,
enhancing the dialogue between the building
and nature. This irregular polygon house
is organized by concrete blocks and metal
nets, like a man-made hill, fusing into the
surrounding landscape.
生态造型
环形阶式分段上升的屋顶花园，使整个
建筑看起来犹如一座小山，增进了建筑
体与自然之间的对话。这个由混凝土块
和金属网构成的不规则多边形小屋，可
谓一座人工小山，相融于周围的山水
Site Plan 间。
总平面图
380 381
This site, which is floating on river and confronted with the

graceful landscape, in my mind is a part of nature since the
first time that I met it. From then, I started to visualize “the
architectural nature” as a place of recreation.
Continuous circulation of the staged roof gardens is a creation

of the new green land in this site. The whole parts of the
staged-type roofs, where they are moving upward with various
levels, are directly linked to the bed rooms in upper floor. Finally,
these staged roof gardens are linked to both sides of the inner
court where the swimming pool is. The inner court is filled with
the water and flower and fruit trees, and the whole of the roof
gardens are circulated as a continuous landscape place and it is
the place of “architectural nature” in concept.
Naturally, all of the rooms inside this site are laid with the
picturesque landscape, enjoying the graceful surrounding
scenery. The huge panoramic view framed with slopping
ceiling line that is composed with the lines of stepped roof
gardens and the bottom line of the inner court, is the major
impression of the inner space of this house. Promenade inner
space of skip floor makes it the roof garden-space. Skip floor
plan of the inside of this house produced various dramatic
spaces.
01
这座漂浮于河上的岛屋，四周景色优美。从第一眼看到它时，
就觉得它已经是自然的一部分。也就从那时起，我把“建筑自
然化”当作快乐的源泉。
盘旋的阶梯式屋顶花园，仿佛是在此处开辟的绿色新大陆。这
个阶梯状的屋顶，梯级自下而上直通楼上卧室。这个阶梯屋顶
花园连接着内院两边的泳池。内院里有水，有花，还有果树。
屋顶花园成了一个循环的生态景观。这是“建筑自然化”概念
的一种体现。
小屋依势而建，所有置于其中的房间都嵌入到周围整个生态
环境中了，住户可以享受自然的宁静与优雅。天花板的倾斜
线条、屋顶花园的阶梯状线条、房屋底部庭院的线条，一起构
成了独特的视景。这是对小屋室内空间最重要的诠释。阶梯状
的屋顶花园也是屋内休闲漫步的场所，悠然其间，令人印象深
02 刻。
01 Design Sketch 1
效果图（一）
02 Design Sketch 2
效果图（二）
03 Section Plan 1
剖面图（一）
04 Section Plan 2
剖面图（二）
05 Section Plan 3
剖面图（三）
03 04
05
382 383
01
Floating boxes with bamboo garden are in dynamic, unrealistic sequence. As “the architectural nature”, floating white polyhedral
masses that have the built-in bamboo gardens, produced vertical space in various stories .
The shape of the mountain-type composed of irregular polygonal shaped concrete mass and metal mesh was designed to
harmonize with the context in “the artificial mountain”. There was the intention to be a part of the surrounding context that
consisted of the river and the mountain.
漂浮的竹园——梦幻般的生态室内空间组合，是基于“建筑自然化”的理念而建设的。设计者在这个白色的多面体建筑中设计
了生态竹园，从而令墙壁外层凸显出白绿相间的层次感。
这个由混凝土块和金属网构成的不规则多边形小屋，可谓一座人工小山，相融于周围的山水之间。
01 Basement Floor Plan

地下层平面图

二层平面图
02
图书在版编目（CIP）数据
100×N建筑造型与表皮（上、下册） / 杨锋主编. -南京：江苏人民出版社，2011.7
ISBN 978-7-214-07073-9
Ⅰ. ①1… Ⅱ. ①杨… Ⅲ. ①建筑设计：造型设计－作品集－世界 ②建筑物－外墙
－建筑设计－作品集－世界 Ⅳ. ①TU206
中国版本图书馆CIP数据核字(2011)第077335号
100×N建筑造型与表皮（上、下册）杨锋主编
责任编辑刘焱曹惠珍段建姣

特约编辑黄夏炎黄香琴
美术编辑喻小燕
策划设计香港建筑科学出版社
责任监印马琳
出版江苏人民出版社（南京湖南路1号A楼邮编：210009）
发行天津凤凰空间文化传媒有限公司
销售电话 022-87893668
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集团地址凤凰出版传媒集团（南京湖南路1号A楼邮编：210009）
经销全国新华书店
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开本 1020毫米×1440毫米 1/16
印张 24（上册）
字数 480千字（上、下册）
版次 2011年7月第1版
印次 2011年7月第1次印刷
书号 ISBN 978-7-214-07073-9
定价 798.00元（USD120.00）
（上、下册）
（本书若有印装质量问题，请向发行公司调换）
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（上 册）

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180－－－－－－－－－金山城遗址博物馆 Museum of Kanayama Castle Ruin

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Open ShApe 开放式造型

DigitAl ShApe 数字造型

EcologICAL ShApe 生态造型

NegAtive shApe 负造型

轻表皮 Light Skin

节能表皮 Energy Skin

数字表皮 DigitAl Skin

透明表皮 TrAnspArent Skin

生态表皮 EcologICAL Skin

N.001 MAXXI: NATIONAL MUSEUM OF XXI CENTURY

ARTS Location Rome, Italy Construction Area 19,640m2

Photographer Iwan Baan, Helene Binet, Roland Halbe,

shApe AnAlysis 造型分析

（上册）

诺·赛维（Bruno Zevi）认为，建筑的历史就是精如此构成的双重表皮，达到了建筑与周边的隔热效果，

Beijing Science Center 北京科学馆－－－－－－－-－－－－072

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Liévin Stadium and Sports Center Liévin体育中心－－－－－－－-－－－ - - - - - - - -－250