阿塞拜疆阿利耶夫文化中心

Heydar Aliyev Center
设计方：扎哈?哈迪德建筑师事务所
位置：阿塞拜疆

作为前苏联的一部分，阿塞拜疆共和国的首都巴库的城市规划与建筑设计，深受那时期的规划影响。自1991年以来，阿塞拜疆大量投资巴库的设施与建筑的现代化与开发，以摆脱前苏联规范化的建筑设计风格。在2007年举办的竞赛后，扎哈?哈迪德建筑师事务所被委任作为阿利耶夫文化中心的设计师。这个设计中心，将成为该国家文化项目的主要建筑，打破巴库僵化而常见的前苏联风格建筑类型，展示了阿塞拜疆文化的敏感性和该国家展望未来的乐观。

这座流线型的建筑不断从地面向上延伸，曲线形的外观表皮将建筑各功能区有效分割，并很好地保留了其各自的私密性。所有功能区域以及出入口均在单一、连续的建筑物表面，由不同的褶皱堆叠呈现。这种流线的堆叠有机地连接了各个独立功能区，与此同时，不同的褶皱形状也赋予每个功能区以高度的视觉识别性和空间区隔性。

博物馆的内部设计同时也与外部景观环境相呼应，为参观者提供相对开阔的视野。玻璃幕墙为室内空间带来了充足的自然光。朝向北面的图书馆区域可以有效地控制自然光照射。一系列坡道设计连接了室内各个区域空间，并形成了一个连续的交通回路；空中通道连接了图书馆和会议中心。除此之外，设计师还在新广场上设计了一个公共论坛区域，作为整个文化中心的延伸。
As part of the former Soviet Union, the urbanism and architecture of Baku, the capital of Azerbaijan on the Western coast of the Caspian Sea, was heavily influenced by the planning of that era. Since its independence in 1991, Azerbaijan has invested heavily in modernising and developing Baku’s infrastructure and architecture, departing from its legacy of normative Soviet Modernism.

Zaha Hadid Architects was appointed as design architects of the Heydar Aliyev Center (Heyd?r ?liyev M?rk?zi) following a competition in 2007. The Center, designed to become the primary building for the nation’s cultural programs, breaks from the rigid and often monumental Soviet architecture that is so prevalent in Baku, aspiring instead to express the sensibilities of Azeri culture and the optimism of a nation that looks to the future.

The design of the Heydar Aliyev Center establishes a continuous, fluid relationship between its surrounding plaza and the building’s interior. The plaza, as the ground surface; accessible to all as part of Baku’s urban fabric, rises to envelop an equally public interior space and define a sequence of event spaces dedicated to the collective celebration of contemporary and traditional Azeri culture. Elaborate formations such as undulations, bifurcations, folds, and inflections modify this plaza surface into an architectural landscape that performs a multitude of functions: welcoming, embracing, and directing visitors through different levels of the interior. With this gesture, the building blurs the conventional differentiation between architectural object and urban landscape, building envelope and urban plaza, figure and ground, interior and exterior.

Fluidity in architecture is not new to this region. In historical Islamic architecture, rows, grids, or sequences of columns flow to infinity like trees in a forest, establishing non-hierarchical space. Continuous calligraphic and ornamental patterns flow from carpets to walls, walls to ceilings, ceilings to domes, establishing seamless relationships and blurring distinctions between architectural elements and the ground they inhabit. Our intention was to relate to that historical understanding of architecture, not through the use of mimicry or a limiting adherence to the iconography of the past, but rather by developing a firmly contemporary interpretation, reflecting a more nuanced understanding. Responding to the topographic sheer drop that formerly split the site in two, the project introduces a precisely terraced landscape that establishes alternative connections and routes between public plaza, building, and underground parking. This solution avoids additional excavation and landfill, and successfully converts an initial disadvantage of the site into a key design feature.

One of the most critical yet challenging elements of the project was the architectural development of the building’s skin. Our ambition to achieve a surface so continuous that it appears homogenous, required a broad range of different functions, construction logics and technical systems had to be brought together and integrated into the building’s envelope. Advanced computing allowed for the continuous control and communication of these complexities among the numerous project participants.

The Heydar Aliyev Center principally consists of two collaborating systems: a concrete structure combined with a space frame system. In order to achieve large-scale column-free spaces that allow the visitor to experience the fluidity of the interior, vertical structural elements are absorbed by the envelope and curtain wall system. The particular surface geometry fosters unconventional structural solutions, such as the introduction of curved ‘boot columns’ to achieve the inverse peel of the surface from the ground to the West of the building, and the ‘dovetail’ tapering of the cantilever beams that support the building envelope to the East of the site.

The space frame system enabled the construction of a free-form structure and saved significant time throughout the construction process, while the substructure was developed to incorporate a flexible relationship between the rigid grid of the space frame and the free-formed exterior cladding seams. These seams were derived from a process of rationalizing the complex geometry, usage, and aesthetics of the project. Glass Fibre Reinforced Concrete (GFRC) and Glass Fibre Reinforced Polyester (GFRP) were chosen as ideal cladding materials, as they allow for the powerful plasticity of the building’s design while responding to very different functional demands related to a variety of situations: plaza, transitional zones and envelope.

In this architectural composition, if the surface is the music, then the seams between the panels are the rhythm. Numerous studies were carried out on the surface geometry to rationalize the panels while maintaining continuity throughout the building and landscape. The seams promote a greater understanding of the project’s scale. They emphasize the continual transformation and implied motion of its fluid geometry, offering a pragmatic solution to practical construction issues such as manufacturing, handling, transportation and assembly; and answering technical concerns such as accommodating movement due to deflection, external loads, temperature change, seismic activity and wind loading.

To emphasize the continuous relationship between the building’s exterior and interior, the lighting of the Heydar Aliyev Center has been very carefully considered. The lighting design strategy differentiates the day and night reading of the building. During the day, the building’s volume reflects light, constantly altering the Center’s appearance according to the time of day and viewing perspective. The use of semi-reflective glass gives tantalizing glimpses within, arousing curiosity without revealing the fluid trajectory of spaces inside. At night, this character is gradually transformed by means of lighting that washes from the interior onto the exterior surfaces, unfolding the formal composition to reveal its content and maintaining the fluidity between interior and exterior.

As with all of our work, the Heydar Aliyev Center’s design evolved from our investigations and research of the site’s topography and the Center’s role within its broader cultural landscape. By employing these articulate relationships, the design is embedded within this context; unfolding the future cultural possibilities for the nation.

阿利耶夫文化中心外部实景图
阿利耶夫文化中心外部实景图

阿利耶夫文化中心外部实景图

阿利耶夫文化中心外部局部实景图

阿利耶夫文化中心外部局部实景图

阿利耶夫文化中心外部局部实景图

阿利耶夫文化中心外部局部实景图

阿利耶夫文化中心外部实景图

阿利耶夫文化中心外部夜景实景图

阿利耶夫文化中心外部夜景实景图

阿利耶夫文化中心外部夜景实景图

阿利耶夫文化中心内部实景图

阿利耶夫文化中心内部实景图