土木在线论坛 \ 建筑结构 \ 混凝土结构 \ 如山形起伏，自然的形态演绎—— 华侨城巢湖自然文化中心

如山形起伏，自然的形态演绎—— 华侨城巢湖自然文化中心

发布于：2022-12-27 09:23:27 来自：建筑结构/混凝土结构 [复制转发]

合肥·华侨城巢湖自然文化中心

上海前及建筑设计事务所

宏大自然环境中生长出来的建筑

项目位于巢湖城市北侧自东北向西南方向绵延数十公里的自然山脉与城市接壤的岠嶂山脚下，是华侨城巢湖半汤温泉小镇的核心公共配套。东西联通城市与山脉，南北贯穿小镇公共空间，是宏大景观与城市人文生活的临界面上生长出来的生态地景建筑地标，是地质文脉与城市未来生活的展示客厅。

Architecture that Grows out of the Great NatureChaohu Natural and Cultural Center is the core public supporting facility developed by OCT Group for Chaohu Bantang Hot Spring Town. On the north side of the city, Juzhang Moutain stretches for tens kilometers from northeast to southwest. Located at the foot of the mountain, the building is regarded as a landmark grows out of the juncture of local natural environment and city life, demonstrating cultural heritage and future lifestyle.

▲ 体量生成

线索于自然的形态演绎

建筑的‘模形’起始于山体和大地等高线的‘投影’；通过一条虫子蠕动的运动过程将地质运动改变大地地貌的力量对‘模形’进行了‘壳体’运动的演绎，虫的路径亦成为了建筑室内外‘壳面’的边界；在‘虫洞’的位置，嵌入了贯穿自然要素的观景方盒子。柔和的形态是展露其外的对外部山体的成像，刚性挠度的曲率线条则是内在蕴藏的源于令人敬畏的地表之下大地力量的含蓄侧露。整个建筑就像从地壳之下被自然造山力量挤压出地面似的，是地质空间的三维剖面。种植在壳体表面的绿植屋面，使得这个建筑仿佛不是被建筑师空降在这个场所里，而更像是原本存在，只是没有把附着在外的地表揭开被见而已。

Form Deduced from Natural ElementsThe overall plan and elevations of the building are projected by the external shape of the mountain and the land contour. When comes to this individual building block, the architects began to carry out fascinating and creative imagination about a geological movement caused by a worm wiggling in the ground. As worms crawl through, a path is formed as the boundary of the inside and outside of the building. The wormhole shaped by drilling is the node where to insert a viewing platform. The curve morphological shape of the building is a figurative representation of the existing mountain. The steel structure with rigid deflection of the whole building implicitly reveals the beauty of the power in earth. The project seems to be squeezed out of the ground by natural forces underneath the crust, which is an abstract expression of the three-dimensional profile of the geological space. With a whole coverage of green plants over the roof, the building is like a natural mountain exists on the site. The architects slightly uncover the ground to spontaneously reveal the space.

自然要素的载体，宏大环境的剖面

溶解入岠嶂山剪影的近100米视野面的如山形起伏的建筑天际轮廓呈现出这个建筑源起于地面之上的山脉和地面之下的地壳板块运动的双重牵引和挤压，并且这种惯性还未停止，仿佛这个建筑还在以肉眼不可见的微小变化在继续生长。原生的山脉，野趣的水塘，本来就存在于场地之内。“介入”这原生环境的建筑之所以有了意义，是因为对环境进行了重新塑造，并且这种重塑是需要有一定戏剧性的。屋面即是地面，地面也是屋面。建筑的内外边界是模糊的，这是因为建筑本身没有刻意强调自己是个建筑，它只是环境的一部分。冬季，皑皑白雪覆盖下的建筑，是看的见温度的。夏夜，山影重重的绿意之间，是可以听见虫鸣的。

A Grand Section of the Environment, Carrier of Natural ElementsThe undulating skyline of building perfectly blends in the 100-meters long silhouette of Juzhang Mountain, pretending to be pulled by mountains and squeezed by the movement of tectonic plates simultaneously. The inertia is continuously affecting the growth of the building without notice. There are native mountains and wild pools existing in the original context. The building only makes sense when the intervention is dramatically reshaping the stie. Without a clear boundary between the inside and outside, neither the roof and ground, it is hard to tell the building but a part of the environment. In the winter, temperature can be felt from the building cover with snow. In the summer night, sound of insects can be hear from green shadows of mountains.

▲ 爆炸分析图

有形的建筑，无形的边界

大自然是没有边界的。作为自然环境中的一部分，建筑的边界就是随性所致的在环境中行走的时刻。

坡道进入

进入建筑的第一条路径是通过前场外置的半空高度的坡道进入，并将人缓缓导向一个令视觉振奋的穹型壳面空间。

大台阶进入

进入建筑的第二条路径是从朝向跨越道路的屋面下空广场的景观台阶上去，同样把人导向了那个穹壳空间的下空。

屋面进入

跨越市政道路的屋面，同时也是一个联系南北地块的步行桥面。从桥上走过，欣赏着建筑和远山的叠影重重，不经意间，也走向了那个穹壳空间。

Tangible Architecture, Invisible BorderAs a part of the endless nature, boundary of the building is the random moment when walking in the environment.Ramp as the EntryThe ramp extends at half-air level outside the front is the first pathway entering the building, which slowly leads to a visually exhilarating dome-shaped shell space.Landscape Step as the EntryLandscape step of the empty square facing the roof over the road is the second pathway, leading to the same dome space.Roof as the EntryThe roof over the municipal road is also a footbridge connecting the north and south plots, walking over which to enjoy the view of distant mountains and entering the dome.

穹壳大空间

建筑的功能空间和灰空间两片壳面交汇形成一个巨大的大平台公共空间和垂直于穹壳的通高空间。正反两道壳面对外部环境进行了取景的剪裁，使得这个空间成为了这个建筑最富有自然环境在建筑中重塑意义精神的场所。

Big Space under the DomeA large public platform and double-height space perpendicular to the dome is formed by the intersection of two shells, one is the functional space of the building and the other is the grey space. The dome becomes the most spiritual place where the building reshapes the nature, when these two opposite shells are cutting and framing the view of external environment.

▲ 陶粒土选择

当其无，有器之用

这个建筑的产生本来就是和建筑师没有关系的，是自然环境“假手”于建筑师却实在是由其自我完成的。老子《道德经》说：“埏埴以为器，当其无，有器之用。凿户牖以为室，当其无，有室之用。”这是一种达到极高境界的建筑哲学，就是说建筑产生于它成为载体并是其“尚未被使用”的“空”的状态的那时那刻。所以当这个建筑‘无为而治’地自我塑造出来一个‘壳’的载体以后，这个载体是不自觉地被‘不期而遇’的环境要素填充了进来，反倒产生了更有趣的环境重塑。

Usability Lies in Its Non-beingThis building is completed by the nature itself by empowering the architects to reshape and form the space under a shell. It is saying in the ‘Dao De Jing’ of Laozi that, ‘When moulding clay to make a vessel, the void inside makes it useful. When chiseling out windows and doors to make a room, the void inside makes it a living space.’ This is a high-level architectural philosophy that architecture is born and became a carrier at the moment when it is unused and empty. The shell of this building ‘spontaneously’ created by itself is ‘unconsciously’ filled with unexpected natural elements, which surprisingly reshapes the environment.

展陈自然的雨后倒影

半圆形的壳面洞口使远景的山脉进入了建筑的“橱窗”。一阵小雨后的大平台，半圆形洞口在镜像作用下，反而完型了。这不是可以说“是故虚胜实，以不足胜有余了”

场所的观影

丰富自由的曲线，处处可见对外部环境的独到剪裁。这些瞬间的剪影在整个建筑的行走过程中形成了一帧帧具有电影感的画面，连在一起，就是一场自然的完美演出。

An Exhibition of Natural Reflection after the RainThe semicircular opening on the shell is like a window to the distant mountains, which could be completed by reflection of the rain falling on the platform. Silhouette of the PlaceThere are rich and free curves everywhere tailoring the external environment. A perfect performance of the nature is made during the process of meandering in the building by connecting these film-like moments of silhouette altogether.

露天剧场

比喻山体切面的片墙构成了通往建筑下沉空间的边界，在边界之间，是一个下沉的露天剧场。这个剧场将会承担未来建筑的室外表演场地。

下沉空间

剧场的视觉灭点，是穹壳下通高空间下的下沉水面，自然雨水在这里被汇集。当雨水被排干，水面消失的时候，也可以作为一个表演的小舞台。

Open TheaterBoundaries of the sunken theater are the walls shaped like the section of mountains. There will be outdoor performances held here in the future.Sunken SpaceThe visual extinction point of the theater is the sinking water under the double-height space under the dome, where the natural rain is collected. When the rain is drained and water disappears, it can also serve as a small stage for performances.

地壳的剖面

如果说建筑的壳面形态是远景的山脉决定的，那么壳面以下的空间就是地壳板块运动的力量形成的。整个下沉空间和壳面空间之间是一半上空的大平台一半是通高空间，四周由实体挡土墙围合，上虚下实，是一个不折不扣的地壳剖面。在这里，人可以感受到的是地质空间的力量。

虫洞

整个建筑连贯的屋面室外流线起点从北侧跨道路的桥面开始，至穹壳下空的半平台，继续向南至西南角的虫洞结束，这条路径的上下表面分别代表了建筑的外和内部空间的边界，也创造出了一条完全贯通但却可以不参与建筑内部空间的屋面流线，这个流线和边界的产生，起点就是模拟了土壤中的一个虫子的蠕动动态轨迹，通过这样的轨迹来塑造地质空间演绎的形态。因此，从起点的地面，到过程的屋面，最后还是从虫洞这个位置再回到室外场地的地面，也是“虫洞”这个词语的另一个哲学含义的回应。

Section of the CrustThe shell of building is shaped as the distant mountains, while the space underneath is created by the movement of tectonic plates. In between the shell and sunken space, there is a large open platform and a double-height space enclosed by retaining walls, where to feel the power of geological space. The section of the building is same as the one of crust with void upper part and solid lower part.The WormholeThe continuous outdoor circulation over the whole building roof starts from the bridge crossing the road on the north side to the platform under the dome, and continues to the wormhole at the southwest corner. It is not only an independent but complete path, but also the boundary of indoor and outdoor. The geological space is deduced from a simulation of the dynamic trace of a worm wiggling in the soil, so as the circulation and boundary. Responding to another philosophical meaning of the word ‘wormhole’, this route starts from the ground level to the roof, and finally back to the outdoor ground through the wormhole.

是起点也是终点的方盒子

如果说这个建筑唯一有一处地方是由建筑师代笔完成的，那就是这个直接不做任何修饰地嵌进自由曲面建筑轮廓里的这个观景的方盒子了。它是建筑内部唯一的竖向贯通体，也是建筑内部唯一的向山的方向打开视觉的空间。在这整个建筑的设计中，建筑师试图呈现的是去建筑师化。然而这最后的一笔，人在这个建筑里直接面对山体的对话空间，建筑师最终还是选择了和自然泾渭分明的角色。是起点，也是终点，其实是回到了创作这个作品最初的思考：人和自然，到底是什么关系? 那就留下这10%的争议吧。

A Square Box as the Start and EndA viewing box is straightforwardly inserted into the curvy outline of this building, which is the only touch done by the architects. It vertically connects the space inside and provides a direct view towards the mountains. The architects tried to hide their existence through the design, except in the last dialogue with the mountains, playing a completely different role with the nature. This is the start and the end, which goes back to the first question at the beginning of design: what is the relationship between human beings and the nature? Let39;s leave this 10% of controversy.