建筑專業(yè)設(shè)計文獻(xiàn)翻譯-建筑結(jié)構(gòu)-資料下載頁
2025-01-19 11:11本頁面
【導(dǎo)讀】施市場的高端市場。該項(xiàng)目是由管理著波士頓的馬薩諸塞會議中心署來設(shè)計的，它發(fā)起的第。平米的舞廳以及總建筑面積超過15000平方米的72個會議室。第一階段的建筑完成了四年。之后，第二階段即將進(jìn)行，將增加大約30%的總建筑面積來擴(kuò)大展覽廳和會議室。波士頓會議和會展中心的巨大體量坐落在兩個單獨(dú)的都市環(huán)境中。盡管場地北部地區(qū)主。模的住宅建筑為主。建筑設(shè)計通過沿著一個長長的斜屋頂進(jìn)行高度上的變化而有效地調(diào)和了。為了進(jìn)一步將建筑融合進(jìn)它周圍的環(huán)境中，并減少它對南波士頓近鄰地區(qū)的視覺影響，展覽館的大體量已經(jīng)被小規(guī)模的會議室和社交場所包圍了。通工具對于當(dāng)?shù)鼐用穸砸彩且粋€敏感的問題。為了從南波士頓街道上將這些交通隔離開。大廳提供了單獨(dú)的車輛通道。擔(dān)超過50米的自由跨度，并且標(biāo)志著該場所是高度結(jié)構(gòu)化的且非常適合大型設(shè)施。些功能的面積是常設(shè)展覽空間的4倍。
【正文】 具有多種含義和啟示的“建筑 — 自然”， 既有日本式的自然，又有日本式的人工，比如，以地形起伏表示自然??，以樹木傳達(dá)對瞬息的表露，櫻桃樹、紅楓樹??，以火山為象征??，以山峰作為沉思之所和神圣之地，等等 。使人們聯(lián)想到富士山、金字塔和它埋葬的寶物，等等。 在人工地形的起伏下 —— 暗指自然的輪廓 —— 以堅(jiān)實(shí)的鋼結(jié)構(gòu)建造的臨時性的東京古根海姆博物館創(chuàng)造出寬闊的空間。透過水平的大窗，人們可以看到港口的水面和海灣，還有無以計數(shù)的樹木。 蜿蜒的小路引領(lǐng)參觀者來到一個火山口狀的餐廳，周圍滿是櫻桃樹和楓樹。 臨時性的東京古根海姆博物館是一座小山，一座展現(xiàn)季節(jié)更替的小山：春季粉白的櫻花綻放，夏季綠樹成蔭，秋季艷麗，冬季灰暗。一個高聳的桅桿像圖騰柱一樣支撐著 3 幅緩慢變化的大型圖畫，也標(biāo)示了博物館將成為引人入勝的、神秘而誘人的場所 ，它將成為東京新文化生活的標(biāo)志。 GUGGENHEIM MUSEUM, TOKYO, JAPAN ARCHITECTS: Ateliers Jean Nouvel Artifice /Nature The paradigm artifice－ nature is one of the most basic principles of Japanese culture and essence of the Japanese garden, surmising such notions as: the cult of the present... the revelation of the fleeting instant... the consciousness of the passing time... the emotions of the seasons... nature as positive counterpoint to the urbanisation of Tokyo. The gardens are the places of privilege, the nobility of the city (Imperial parks, temple gardens). In Japan nature is to be found in all dimensions and in topographies of low and high relief. In Japan, where it is reputed that it is not possible to build on the hills, artifice and nature are chosen as an alternative strategy:an indispensable alternative because it is so difficult to exist in the urban collage of Tokyo. A perfect example is the Odaiba neighbourhood. For the Temporary Guggenheim of Tokyo an exceptional status is necessary,a particularity in keeping with the world of the Japanese and the world of art. Here the context is constituted through difference, separateness, but also in the permanence of references. Here the Temporary Guggenheim of Tokyo bees architecture－ nature with multiple connotations and evocations, bothJapanese nature and Japanese artifice, ., the topographical relief associated with nature... the tree as the revelation of the ephemeral, cherry, red maple trees... the volcano as an emblem... the mountain as the place of meditation and the sacred, etc. ... Mount Fuji, Kapoor, Pennone, Koons, Simmonds... the pyramid and it’s buried treasures, etc. Beneath an artificial topographical relief－ alluding to natural silhouettes－ the Temporary Guggenheim of Tokyo creates large spaces constructed as a solid steel infrastructure. Through a large horizontal window opening one can see the water of the port and bay and a profuse number of trees. A sinuous walk takes the visitor into a craterrestaurant overtaken by cherry and maple trees. The Temporary Guggenheim of Tokyo is the little hill, the hill of seasons: cherry blossom whitepink in the springtime, tender green in the summer, flamboyant in autumn and grey as bark in winter. A large totemic mast supporting three large, lit and slowly turning images also marks the museum that aims to be intriguing, mysterious and attractive in order to bee the icon of new cultural life in Tokyo
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