振石会议中心

公司：	玖鹿设计	类型：	景观
地区：	中国	标签：	艺术中心 \| 文化空间

引言 INTRODUCTION

项目用地是一块属于集团总部内部的运动场，在这之上新建一座现代化的会议中心。在这块长110m宽50m的有限空间内，需要在保证同原有集团建筑及环境高度相容的同时，和主塔楼有着物理意义上的连接。当新旧语言、旧改保护、交接界面、交通系统重组这些问题汇聚到一起时，我们发现这个项目的挑战远不止一个新颖的外壳这么简单。

The site is a sports ground within the Group's plot, on which we will build a modern conference centre. In this limited space of 110m in length and 50m in width, we needed to maintain a close connection with the main building while ensuring a high degree of compatibility with the existing group buildings and the surrounding environment. When the issues of old and new design language, renovation preservation, and transportation system reorganization came together, we found that the challenge of this project was much more than a novel shape.

旧与新 OLD & NEW

最先需要处理的是交通衔接问题，难点有二：原本的运动场没有车行功能需求，改为会议中心后，如何从主干道进入，从哪儿入对整体交通环线影响最小，动线最为顺畅；会议中心同时需要增加人行VIP的无风雨入户需求，在现有条件下就必然与车道形成交错，这样就形成了普通人行动线、车行入地库动线、VIP人行动线和VIP停车落客动线四条相互交错但功能分离的路径，在最初的手稿草图中形成了小小空间内错综复杂的网。

The first thing that needs to be dealt with is transport links, There are two difficulties: how to enter from the main road after the original sports field has no functional requirements for vehicles, and where to enter has the least impact on the overall traffic circle line and the most smooth moving line; The convention center needs to add a pedestrian VIP corridor, which in its existing condition must be interlaced with the driveway, thus forming four interlaced but functionally different roads, forming an intricate web within the small space in the initial manuscript sketch.

▼设计手稿Design Manuscript

需处理的新旧交接问题不光是功能上的，会议中心新楼与总部大楼之间，也有着设计语言上的时代差异。主塔楼以编制状弧线为主要表达语言，而会议中心则更为大胆和复杂的运用了超大悬挑与双曲面形式，仿佛一朵巨大是云朵漂浮在塔楼旁。线与体块之间存在先天的视觉轻重差异，如何选择串联的语言，平衡轻与重的关系是我们面临的又一大课题。

The transition between the old and the new that needs to be dealt with is not only functional, but also the era difference in design language between the conference center and the main building. The main building uses woven arcs as the main design language, while the conference center is more bold and complex using oversized overhangs and hyperbolic shapes, like a huge cloud floating beside the tower. There is an innate difference in visual weight between line and volume, so how to choose the language in series and balance the relationship between light and heavy is another big issue we face.

下与上 THE UPPER & THE LOWER

为了解决在有限的空间内功能上的交错，我们建立了两套逻辑系统：一个是地面的解决功能通达性为主的路径系统，它有着更为开阔的空间和更为明确的交通走向，主要表现为通透感及秩序感；而在上层的连廊系统我们又主要以设计语言的连接和空间上的引导过渡为设计核心，主要表现为引导性和围合性。两套逻辑部分重合又在局部分开而行，自然的形成了独特的空间体验。

In order to address multiple functional needs in a limited space, we have built two sets of logic systems: One is the road system based on the ground, which has more open space and more clear traffic direction; In the upper corridor, we mainly take the connection of design language and the guiding transition of space as the design core, which is mainly manifested as guidance and enclosure. The two sets of logic partially overlap and partially separate, forming a unique spatial experience.

▼空中连廊与地面通道并不完全重合

在形式感上，我们延续了云朵轻盈、干净、漂浮的感觉，结构上下小上大，由下自上慢慢发散成片状，顶部的片与片之间不绝如缕，由曲线变化连接着，时而又下潜到地面或中间高度，避免了白色体块的过于平面化的同时连接到了塔楼与会议中心的不同幕墙系统中去。所有柱网落于水景中，而云片遮蔽于道路，独特造型也给结构上带来了巨大的难度。

In the sense of form, we continue the sense of light, clean, floating clouds, The structure is small at the top and large at the top, and slowly diverges into sheets from the bottom to the top. The top pieces are connected to each other, and the positions are connected to the ground, avoiding the white volume being too flat, and also connecting to the different curtain wall systems of the main building and the conference center. All the columns fall into the water, while the corridor covers the road, and the unique shape also brings great difficulty to the structure.

▼网壳结构应力分析Deformed Shape

白色的连云在空间上环抱住了会议中心的前广场，反向为落客环岛空间提供了屏蔽相邻干道干扰的屏障。当中心被包裹后，所有小尺度的设计细节才得以在此空间中成立，让整个项目在精致度上有了高于周围环境的可能性。

White clouds encircle the front plaza of the convention center in space, and also provide a barrier for the drop-off circle space to shield from the interference of the adjacent main road. When the center is wrapped, all the small scale design details are established, giving the whole project the possibility of higher sophistication than the surrounding environment.

在上与下的选择中，我们同样没有对水景的标高体系做了恒定的控制，水景通过跌级等高线错落布置，高低的变化、层级的多少、落水的形式一切皆根据空间的需要决定。云和水,相互依存、接触又交织，在不同高度处形成镜水、波光和瀑布。

We also didn't have constant control over the elevation of the water feature, The water feature is arranged by descending contour lines, and the change of height, the number of levels, and the form of falling water are all determined according to the needs of space. Clouds and water, interdependent, touching and intertwined, form mirror water, waves and waterfalls at different heights.

▼云片尽头的水帘落入中心

内与外 INSIDE & OUTSIDE

区别于传统立体空间的项目，项目的2、3楼在室外相连，几根白色曲线柱托住了上方巨大的建筑体块，从外部看形成了巨大的悬挑，而身在内部就变成一个类似洞穴感的灰空间。我们很难界定这个空间属于内还是外，从外围看它确实属于建筑内的一部分，但身在3楼你却找不到真正“内”的空间，它又是可以与外界的绿地和湖面直接对话的平台。

Different from the traditional project, the second and third floors of the project are connected outdoors, and several white curved columns support the huge building volume above, forming a huge overhang from the outside, and turning the interior into a cavernous space. It is difficult for us to define whether this space belongs to the inside or the outside. From the outside, it does belong to the part of the building, but you can't find the real "inside" space on the third floor, and it can directly look out onto the green space and the lake.

我们在3楼同样采用了白色的语言营造空间的小起伏，为了整体空间的连贯与一致，我们选用了4种不用的白色材料相互交接过渡，在内部形成连贯而又不同功能的聚落点，整体空间纯粹又克制，穿梭在洞穴中、坐在洞穴开口处远眺城市抑或是看向内部空间都能形成奇妙而充满变化的视觉体验。我们希望创造一种“望”这一动作不单是从内看向外，还可以从外看向内、从外看向更外的多种可能性。

We also use white design language to create space on the third floor. In order to make the whole space coherent and consistent, we choose four different white materials to transition to each other and form a coherent and different functional stop point inside. The overall space is pure and restrained, and people can travel through the cave, sit in the opening overlooking the city, or look into the interior space to form a wonderful and varied visual experience.

▼设计细部 Details Of Design.

在有限的空间内创造大体量又完全没有规则的“云朵”一开始被认为是个相当冒险与激进的行为，但当写意与流动的造型源于逻辑分析并最终导向功能时，一切空间的发展就慢慢扎生长根并且成立了。在巨大构筑与建筑本身的对话上，我们不希望传统遮挡既干扰，打开既成立的一刀切思维成为唯一真理，犹抱琵琶半遮面也是一种选择：由远及近，当悬浮的大体块层积云慢慢从低空卷云中浮现时，我想另一种答案已经呼之欲出了。

The creation of a massive and completely irregular "cloud" in a limited space was initially considered a rather risky and radical act, but when the freehand and flowing shape originated from logical analysis and eventually led to function, the development of all Spaces slowly took root and took hold. In the dialogue between the huge construction and the building itself, we do not want the traditional blocking of both intrusive thinking to be the only truth, and the looming is also an option: when people move from far to near, when the suspended mass stratocumulus clouds slowly emerge from the low cirrus clouds, I think another answer has appeared.