项目概况:
建筑设计:HDR Rice Daubney
位置:Camperdown NSW 2050, Australia
建筑面积:39 948.31平方米 (430000.0 ft2)
时间:2013
获奖:2014世界建筑节医疗单项奖
照片版权:Brett Boardman, Tyrone Branigan, Simon Grimes

项目简介:
澳大利亚克里斯·奥布莱恩生命之家采用创新的方式进行癌症护理,该方式关注患者的体验。这是澳大利亚第一家为患者提供一切需求的综合癌症治疗中心,它包括急救中心、专职医疗、临床试验、研究、教学、补充疗法和社会心理资讯。虽然整合了阿尔弗雷德王子医院的所有功能和悉尼大学的研究设施,但这个生命之家是一个为私人和公立医院的患者服务的非盈利私营机构。它是一个注册慈善机构,所有的收入来源于病人护理利润的再投资。

生命之家实现了悉尼的头颈部肿瘤治疗领导者克里斯·奥布莱恩的愿望。在2006年,克里斯的命运遭到了残酷的打击,他被诊断出恶性脑瘤,随后离开了他原本专注于的诊断和治疗的领域。但是他把自己的个人不幸变成了国家的一个机会,根据他的经验让癌症病人和其家人更加努力地对抗癌症,并倡导癌症研究与治疗的结合。2009年克里斯在对抗病魔的斗争中去世了,但是他的愿望成就了生命之家这一成果。

生命之家的目标很简单:让癌症患者更轻松一些,这样他们就不会在治疗疾病的过程中对那些混乱的程序产生孤独感;把新的发现传化为对癌症更好的治疗;当然更重要的是让我们未来远离癌症。

不同于悉尼其他地方的医院,生命之家是一个九层的竖向格局。因为竖向布局,设计团队花费了相当大的时间让病患流线尽可能的舒适:隐蔽的停车场、一个酒店式门房、扩大的等候空间、现代化的装修效果、大量的自然光和更积极的体验为患者进入和使用建筑提供更直观的路线导航。

建筑内所有的空间围绕通高九层的中庭,中庭屋顶的天窗使建筑内弥漫着自然光。所有的公共交通流线围绕着这个空间,成为一个医生与研究人员的合作空间,同时也是一个患者与访客社交的场所。玻璃电梯与楼板连接,让人们巧妙地看见设备操作,并且戏剧性地看到下面一层的景象。穿孔金属在中庭的设计中是一个重复出现的元素,它同样出现在等候空间和外表皮面板上;图案是盲文“生命之家”。

垂直秩序的设施体现了建筑的功能——底层是流动功能,急诊在中层,最高的两层是住院部;为了更好的视线,这个“高级建筑”设置了96个私人房间。许多房间通往外部私人庭院和康复花园。研究部设置在住院部的下面一层,这样就鼓了励医生和研究人员间的合作,加速了治疗由研究到应用的过程。

受到英国麦琪中心的启发——为受癌症困扰的人们提供服务、信息和实用的建议而创造一个网络——生命之家包括一个称为“生命之家生活屋”的空间,它为临床医疗的护理关系和管理副作用提供服务、教育和医疗。在一楼提供一些像按摩、瑜伽、针灸、灵气和气功等治疗方式。一层有一个非宗教的“反思空间”,为患者和家属提供一个对诊断思考的地方。

在这样的建筑规模背景下介绍,需要对设计有深思熟虑的思考。为了降低整体建筑高度,临床科室设置在地面以下,通过连接建筑边缘下凹的景观庭院提供自然采光。对于沿街立面的设计,是两个透明层包在多孔玻璃里,这打破了巨大的体量,呼应了人的步行尺度。北面水平的釉质叶片平衡了南面的百叶窗,创造了整体的多样性并让设计栩栩如生。

建筑在概念上是围合的但是并不封闭。外立面上的分层、百叶、玻璃图案和穿孔的屏风让大量的自然光穿过建筑,但同时又从外边保护了病人的隐私。设计从未想过要复制周围现有的建筑,比如那些维多利亚式的砖混建筑和装饰艺术建筑。实际上,这种釉质立面更多的是对现有结构的尺度和细节的反应和尊重。这座建筑从RPA校区比从街道上更易辨识,它会是未来研究区的焦点;建筑和主入口朝向医院区域,并且提供了激活但安全的通向公共空间的边缘。

(本文贡献方:archdaily,iarch,WAF官网;组织:树状模式)
From the architect. The Chris O’Brien Lifehouse (Lifehouse) takes an innovative approach to cancer care that focuses on the patient experience in ways new to Australia. It is the first integrated cancer treatment center in the country, offering everything a patient needs in one place, including ambulatory care, allied health, clinical trials, research, education, complementary therapies and psycho-social support. Although integrated with the existing functions of the Royal Price Alfred Hospital and research facilities at The University of Sydney, Lifehouse is a private, not-for-profit facility serving both private and public patients. It is a registered charity, and all income is reinvested for the benefit of patient care.

Lifehouse is the realization of the vision of Chris O’Brien, a leading Sydney-based head and neck oncologist. In 2006, in a cruel twist of fate, Chris was diagnosed with a malignant brain tumor and stepped down from his position to focus on his therapy and treatment. But he transformed his personal adversity into a national opportunity, using his experience to fight harder for cancer patients and their families and to advocate for cancer care where research and treatment are integrated. In 2009, Chris lost his battle with cancer, but his vision was brought to fruition in Lifehouse.

The goals of Lifehouse are simple: to make things easier for people with cancer so they do not feel alone navigating the confusing elements of dealing with their illness; to turn new discoveries into better cancer care; and of course, most importantly, to pave a way toward a future without cancer.

Unusual for Australian hospitals, Lifehouse is a nine-story vertical structure. Because of the vertical arrangement, the design team spent a considerable amount of time making the patient journey as natural and comfortable as possible. Discreet parking, a hotel-like concierge, expansive waiting areas, modern design finishes, an abundance of natural light, and intuitive wayfinding support a positive experience as patients enter and navigate the building.

All spaces within the building revolve around a central atrium that rises up through all nine floors and includes an expansive skylight that diffuses natural light throughout the building. All public vertical circulation feeds through this space, which acts as a collaboration area for clinicians and researchers and a place of social interaction for patients and visitors. Glass elevators connect the floors, offering subtle glimpses into the operation of the facility and dramatic views of the floors below. Perforated metal is a recurring design element in the atrium, as well as in the waiting spaces and on exterior panels; the pattern is based on the braille text for the word “Lifehouse.”

The vertical order of the facility reflects functionality—ambulatory facilities are on the lower levels, acute and support zones are in the mid section, and the top two levels house inpatients; the 96 private rooms were purposefully planned in this “prime real estate” to benefit from the expansive views. Many of the rooms also have access to private external courtyards and healing gardens. The research components of the facility are located on a floor below the inpatient areas, encouraging collaboration among doctors and researchers and accelerating treatments from discovery to application.

Taking inspiration from the Maggie’s Centers in Great Britain—a network of centres created to provide support, information and practical advice to those affected by cancer—Lifehouse includes a space called the Lifehouse Living Room to house supportive services, education and treatments that can be used in partnership with clinical care to help manage the side-effects of treatment. Located on the ground floor, the space provides therapies such as massage, yoga, acupuncture, Reiki and Qi Gong. Also located on the ground floor is a non-denominational “reflection space,” offering a private and discrete place for patients and their families to respond to a diagnosis.

The introduction of a building of this scale into the context required a thoughtful design response. To reduce the overall height, a clinical department was set below street level with natural light introduced through recessed landscape courts articulating the building edge. The street fa?ade, which consists of two transparent levels clad in patterned fritted glass, is set back, breaking up the overall mass and responding to the scale of pedestrians. The horizontal glazed blades to the north balance the verticality of the louvers to the south, providing diversity among masses and creating a lively design.

The overall building is conceptually enclosing and protective without being introverted. The exterior fa?ade layering, louvres, patterned glass and perforated screens allow abundant natural light to penetrate the building while providing patients with privacy from those on the outside. The design of the building never attempted to replicate the existing heritage fabric of neighboring buildings, which include a unique blend of Victorian brick facades and art deco buildings. Rather, the glazed facades are more about reflecting and respecting the scale and detail of the existing fabric. Acknowledging the Royal Prince Alfred campus rather than the street, the building is the focus of a future research precinct; the building and main entrance orientate to the main hospital campus and provide an activated yet secure edge to the public domain.
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