艾森曼建筑师事务所的台中城市文化中心竞赛方案(第三名)

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项目概况:
竞标项目名称:台中城市文化中心 Taichung City Cultural Center
造价预算:约新台币24.1亿元
基地面积:共计约2.6公顷
投标单位:Eisenman Architects, PC / 彼得·艾森曼Peter Eisenman 国籍:美国
共同投标单位:宗迈建筑师事务所/费宗澄国籍:中华民国
Tenderer: Eisenman Architects, PC / Peter Eisenman Nationality: USA
Joint Tenderer: Fei & Cheng Associates / Philip TC Fei Nationality:T aiwan (ROC)
评委名单:安郁茜、Kurt Forster、刘育东、潘冀、彭云宏、Linda Pollak、仙田满
获奖名次:第三名 Third Prize

设计概念 Design Concepts(中文翻译):
空间架构
较之于清翠园、北侧的国际会展中心及东侧的商业建筑群的规模,台中城市文化中心的基地相对较小。为强化本中心的门户意象,我们首先引用了相邻公园的主要空间架构元素,以延伸至旧机场跑道以北的路径,塑造出国际会展中心与公园之间的南北向通道;我们接着加上由园道2横跨基地的步道,形成东西向的轴线。我们将连接市区与公园的正交轴线,缩小复制于本案基地与建筑物内。这些轴线既为组织需求空间及建筑造型的基本架构,亦是出入美术馆图书馆的通道,将本馆、市区与公园交织在一起。

建筑概念
台中城市文化中心又有如一处十字路口,图书馆、美术馆及公园等多种空间在此交汇,叠加成一个多层次的动态形体。该形体可回溯至传统中式园林的造景手法,以师法自然为旨,巧蕴峻壑天成之造化于人工景物之中。刚性轴线的对称性触发了清翠园有机地景与本馆动态地景的辩论,本馆基地西侧的印记足以佐证:菲利普‧赫姆及凯撒琳‧摩斯巴赫所设计的螺旋状步道持续地向东伸展,打破了本馆与公园之间的界线。

套句建筑上的说法,台中城市文化中心是一个以剖面为主的设计案。在图书馆与美术馆两个不同机能的空间区划上,我们认为上下堆叠的剖面区划优于左右并排的平面区划。为避免乏味的平面堆叠,我们将需求空间一分为二,构成两个截然不同的量体。

美术馆量体拔地而起,由五行元素:金、木、水、火、土所衍生的特殊地景造型所组成;而被柱群架空的图书馆量体,仿佛山顶上的白云,悬浮于新塑成的“地景”之上。图书馆量体起伏如波的底面可覆以新式媒体装置,呼应下方的美术馆。夹在美术馆及图书馆造型之间的虚体,既是有顶盖的户外公共艺术展场,亦为可遮阳避雨的公园游廊。该虚体是个特别的中介空间,可将公园与市区的活动凝聚于一处,并同时呈现二者景观。
The Organizing Diagram
The TCCC site is small in relation to the proposed park and the projected mass of the convention center to the north and commercial buildings to the east. To establish the importance of the TCCC as a true gateway, we first introduced a large-scale organizing element in the adjacent park, using the path extending to the north of the former airport runway to create a north/south passage between the convention center and the park. We then added an east-west cross axis, beginning at Park Avenue 2, to create a crossing pedestrian route, which also passes through the building site. These primary axes, which link city and park, are duplicated in a pair of minor cross axes repositioned in the TCCC site and building itself.

These organize the building’s form and program spaces and connect the TCCC to the city and the park, as well as provide access to the museum and library.

The Architectural Concept
The TCCC is also conceived as a crossroads, where multiple programs – library, museum, and garden – come together in a dynamic, multilevel iconic form. This form takes its cues from the history of Chinese gardens, recalling the mountains and valleys of these landscapes as an artificial “nature” composed of hills and dales, waterways, pavilions, and walls. The hard symmetry of the organizing cross axes is set in dialogue with both the actual landscape of the park and the artificial landscape of the TCCC’s dynamic forms. This is evident on the western edge of the site, where the continuation of a spiraling path in Philippe Rahm and Catherine Mosbach’s original park design moves into the TCCC, blurring the given edges of the TCCC site and park.

In architectural terms, the TCCC is a sectional project. Rather than divide the library and museum programs in plan, we separated and articulated the library and museum vertically, in section. To avoid stacking a continuous series of flat layers one upon the other, we organized the programs in two distinct topographies. The museum is both carved into the ground and rises above grade in a series of unique forms that are derived from the symbols of the five elements: fire, earth, metal, water, and wood.

The library floats above this new articulated “landscape,” like a cloud and adjacent “mountain,” which rest on columns. The underside of the library volume responds to the museum below with an undulating surface that contains the possibility for new media spaces. Between the articulated surfaces of the museum and the library is an active figural void that provides both a covered outdoor special exhibition space for public art and a “corridor” in a garden, which protects users in inclement weather. The figural void is a unique layer that also gathers the energy of the park and the city within it while continuously affording views of both.





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