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▌趕羚羊╬築設計™ ▌├唸建築，是為了建築我們的將來┤
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轉錄‧饒了台灣吧!
從台中大都會歌劇院哀憐被綁架的台灣建築前途
「到處可以看到，流行著一種浪子的建築：對建築的處理有如花花公子處理生活那樣，由一種感受跳躍至另一種感受，很快的樣樣都厭倦了。」 S. 基提恩，《空間‧時間‧建築》
學生問我覺得台中歌劇院如何，我懶得回答。
學生又問：如果他也作了一件類似的作品來交，我會怎麼說？這下我跳了起來，顯然不能不做聲了。
我一直沒有特別注意台中歌劇院，去年曾經用眼角餘光瞄過一次，覺得有點好笑，很像某種器官的剖面，還以為惠來路要拓寬，所以房子被切掉一半。等到後來用正眼直視，更覺得奇形怪狀，像極了麵攤的滷大腸排排站，比例也不好看，所以連講都不想講，可是既然學生來找碴了，只得認真回應，正好前一陣子收到一些資料，就耐著性子仔細讀讀，只是越讀越是不解，因為不論讀了多久，就是找不到什麼優點來稱讚這棟競圖得獎作品。
這棟乍看極為簡單的歌劇院，在基地配置及環境創造上實在了無新意，大體上就是一個方盒子放在一塊方形基地上，只是盒子裡面玩得很用力，裝了一堆張牙舞爪的有機體，而為了搭配這種詭異的景象，景觀設計也跟著亂玩，導致戶外空間最後連一塊夠大的廣場都沒有，和兩廳院一些有趣的戶外活動相比，未來這裡可能什麼活動都不能辦。如果仔細檢驗去年定案的設計圖面，會發現全案的設計心態比較像圖案設計，因為量體配置與週邊環境完全無關，我敢說就算找村上隆來做也不會比較爛。整件事情的真正企圖，似乎只是想突顯造形設計的奇技淫巧，所以才會弄出這一大坨刻意扭來扭去的殼狀構造，要是這一坨「東西」能夠直接塑造出表演空間或是轉換成樓地板，倒也證明了伊東還算會玩，誰知根本不是這樣，花了這麼多功夫設計了一個與歌劇院功能豪不相干的怪異造型後，接下來就只能另外設計兩間受盡折磨的演藝廳強行塞入，其中大的那間命運坎坷，如同一台誤闖鐘乳石洞的小發財，因為閃不過去，只好把右側的副舞台面積減半，好像把車頭硬生生切掉一角才能轉彎一樣，連幕納高度都被造型犧牲，然後再拿一個新加坡的跛腳案例來哄哄籌建委員會，意思是說人家少了一顆腎都還活跳跳，我們切掉半顆算什麼？更誇張的是，全館看不到任何電扶梯，不知是籌委會要求未果，還是伊東認為電扶梯會破壞其建築造型的純粹性，整個僵硬且自戀的設計思考完全忽視數千人短時間上下樓的需求，顯然開館後的混亂情況會比票房更值得期待。而對此勸說無效的台中市文化局也只能默默祈求老天保佑，希望以後生意千萬不要太好，免得變成議會砲轟的話題。林林種種令人跌破眼鏡的行徑，證明了伊東心中只有造型，缺乏真正的建築素養，可悲的是，在日本不會這麼亂玩的伊東，不知為何敢來台灣如此蠻幹？顯然跟我們是不是一個像樣的業主有關，對於日本這種遇強則強的商場特性，如果沒有一個強而有力的籌建委員會負責設計發展階段的監督工作，結果一定令人鼻酸，偏偏籌委會裡炮火零星，當年的始作俑者早已逃離，未來的管理單位更是潰不成軍（或者說因為過度相信評審委員們而從未成軍），導致伊東的手下肆無忌憚，讓這種只顧造型不顧機能的三流戲碼上演至今，也讓我懷疑伊東的建築誠意，當主要機能被造型野心扼殺之後，台灣付出的13.5%設計酬金到底買到什麼？又是一個昂貴的教訓嗎？還是特大號的國恥？顯然我們的主事者不知道好的表演場地的標準是什麼，與國際「接軌」的建築外觀嗎？還是既實用又具備高度調整彈性的演出機能？伊東若真的懂歌劇院，就不會一直被「美聲涵洞」牽著鼻子走，否則本案的大演藝廳絕對可以容納六倍主舞台大小、甚至多層的舞台空間，讓表演的可能性發揮到極致，以免淪為一個專供國外二團來台演演輕歌劇的地方。難過的是，我們的大把銀子終究只買到一個跛腳產品，甚至還搞到預算不夠，而大有為政府眼見頭已洗了一半，只好再弄個十億元給他繼續玩，顯然伊東只是把台灣當作造型實驗場，作弄台灣的心態跟高松伸幾年前參加台灣歷史博物館競圖很像，當時高松老兄竟然把天津博物館的造型直接拿來用，以為台灣人都是宅男，沒人知道他在天津的勾當，萬一當年他的案子贏了，台灣的臉還真不知要往那裡放。
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Hadid gets big in SingaporeZaha Hadid designs largest residential development in Singapore.Zaha Hadid Architects have unveiled the design for 7 high-end 36-storey residential towers and twelve villas on a 838,488 sq ft site at Farrer Road, Singapore. The chosen site is strategically positioned within the residential area of Singapore, close to the amenities of Holland Road and the future MRT station. The absence of high rise buildings in the near surroundings and direct connection to the main traffic route of Farrer Road make this a prestigious and highly visible site across the whole city. Hadid’s proposal for the Farrer Court site is generated by the study of the existing alignments and the main axis surrounding the site, which are incorporated and connected to generate a series of construction lines highly connected to the neighbourhood. The ground landscape level is visualized as a green layer, emphasizing the presence of florid vegetation in Singapore’s climate. The site levels are re-organized into a series of terraced plateaus to maximise the area dedicated to communal site amenities. The orientation and placement of the buildings is optimized in relation to the local environment as well as to maximize views out towards the surrounding city and landscape. Zaha Hadid commented:”We have been working in Singapore for almost a decade and the Farrer Road development is a continuation of our detailed research into the urban fabric of the city. The seven tower development on one of Singapore’s most prominent sites represents further exploration into the tower typology and our studies into organisational systems and growth in the natural world. The towers are subdivided into petals according to the layout of each level to form a series of diverse and distinctive towers.” Each of the 7 towers reach 150 m, growing from sunken private gardens within the site landscape. The lower floors kink to highlight the point where buildings meet the ground, reducing the footprint and enabling a greater open area at the base. This creates highly private gardens which are quite unique given the scale and density of the development. The towers are subdivided into petals according to the number of residential units per floor. The petals are expressed in three dimensions thanks to vertical cuts which give definition to the buildings' façades and, at the same time, allow for cross ventilation of most of the flats. The buildings culminate at the top with a series of fingers stepped at different heights, which blend the transition between the architectural fabric and the sky. Through rotating the buildings across the site, and the careful use of balconies and façade panelling, a combination of self similar towers produce a diverse array across the development. Views to Bukit Timah Hill, Singapore Botanic Gardens, MacRitchie Reservoir and the Orchard Road city skyline are also optimised. The £1.1 billion project is a CapitaLand-led consortium development; other partners include Hotel Properties Limited, Morgan Stanley Real Estate Special Situations Fund III, L.P. and Wachovia Development Corporation. It will be the largest residential development in Singapore’s history.
Laura Salmi
Source from http://www.worldarchitecturenews.com/index.php?fuseaction=wanappln.projectview&upload_id=10175
Chatou by h2o architectesChatou by Paris-based h2o architectes is a garden pavilion where the furniture forms the entire interior.
Arranged on four split levels, the 12m² building is intended for a teenager to live within the garden of the family home.
Made from silver birch plywood, the furniture allows for sleeping, living, studying and washing.
Photographs by Stéphane Chalmeau.
Here’s some information from the architects: – Chatou This little building, located in the owner’s backyard, was neglected for years. The aim of the project was to provide a private space for a teenager looking for his independence. Therefore, the program includes elements necessary for an autonomous life including sleeping, living, studying and washing. It had been decided between the parents and teenager that meals would still be a shared time in the family home.
Due to the very limited floor space (12m²) we tested different options assembling the programs into a kind of “inhabitable furniture”. Multiple spaces are connected in a unique volume in a series of four split-levels with dedicated areas for each of the programmatic functions.
Silver birch plywood was chosen as the singular material for this living-space-as-furniture, giving a visual coherence and unity to the details and interlocking spaces.
Source from http://www.dezeen.com/2008/07/19/inhabitable-furniture-by-h2o-architects/
Transforming Tate Modern: Green Scheme for Herzog & de Meuron’s RedesignTate Director, Nicholas Serota, and leading architect Jacques Herzog of Herzog & de Meuron, today revealed the revised plans for the new development of Tate Modern.
In response to a revised brief and consultation with artists and curators, the architects have refined designs to create a dramatic new museum for the 21st century. At the heart of the updated plans are the unique oil tanks of the former power station which will be retained as raw spaces for art and from which the new building will rise. In the previous scheme the oil tanks were occupied by an auditorium and other facilities.
Before/After: Herzog & de Meuron’s latest redesign (left) and the previous design (right)
These revisions have been shaped by a desire to integrate the new building both with the existing building and the local environment. The oil tanks lead directly into the Turbine Hall and these interconnecting spaces will become the foundation of the new Tate Modern. This closer relationship between the buildings is expressed in the façade, which uses brick in a radical new way by creating a perforated brick screen through which was the building will glow at night. The building is more compact than in the previous scheme which built up of stacked boxes and the configuration is more flexible to allow for future changes in the program. The revised building also sets new benchmarks for museums and galleries in the UK for both sustainability and energy use. By exploiting heat emitted from EDFE’s relocated transformers and employing passive design principles wherever practicable the scheme will use 40% less energy, and 35% less carbon than building regulations demand. The scheme includes more varied spaces for Tate’s growing Collection and better facilities for the gallery’s popular learning programs. The new building rises 65 meters above ground in 11 levels and will add an additional 21,500 sq meters to Tate Modern’s existing 35,000 sq meters. A sweeping ceremonial route rises up through the floors providing a connecting path through the galleries and offering stunning views over London.
The first design of the Tate Modern expansion had to be revised
A new north/south route through the building will link Southwark to the City of London and will be open 12 hours a day. Two new public spaces will be created – a southern square modeled as a city piazza with the potential for special commissions and performance, and new gardens to the west designed for families and children.
Source from http://bustler.net/index.php/article/transforming_tate_modern_green_scheme_for_herzog_de_meurons_redesign/
Directorio de Arquitectos 2008 de Wallpaper*Tal como publicamos el año pasado, este año la revista Wallpaper* publica un directorio de arquitectos, seleccionando en este caso, 50 oficinas de arquitectura emergentes. Y tal como en años anteriores - cuando fueron destacados Germán del Sol, Mathias Klotz, Felipe Assadi, y el año pasado Sebastián Irarrázaval y Riesco+Rivera - este año también aparece una oficina chilena; Murúa-Valenzuela, de quienes hemos publicado anteriormente obras acá en Plataforma Arquitectura. Además, de América Latina tenemos a BGP Arquitectura (Bernardo Gómez Pimienta, ver obras publicadas acá) y Atelier 103, ambos de México. A continuación, el listado de arquitectos. Alemania Pott ArchitectsMatthias R Schmalohr Austria Bélgica España Francia Grecia Konstantinos Labrinopoulos - KLAB architects Holanda Italia Polonia Portugal Reino Unido República Checa Australia China Japón Canadá Chile Estados Unidos Ogrydziak/Prillinger Architects México Sudáfrica
Source from http://www.plataformaarquitectura.cl/2008/07/17/directorio-de-arquitectos-2008-de-wallpaper/
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Less is More-Mies Van der Role. Creation is a patience searching-Le Corbusier. 讓光線來做設計-貝聿銘.
大師曾說過這些話，現在，換你說
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