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编辑导读:街道边低预算的混凝土建筑,建筑师仿佛对这座建筑进行了雕刻,连续的墙体,独特的结构,非常规的开口,极简的风格……(经典值评价:7.1)
项目概况:
建筑设计:Yasuhiro Yamashita x Atelier TEKUTO
地点:日本,埼玉县(Saitama, Japan)
主持建筑师:Yasuhiro Yamashita, Kenji Mizukami, Fumi Otosaka / Atelier TEKUTO
建筑面积:155.79 m2
完工时间:2018
照片版权:Toshihiro Sobajima 
 
项目简介:
场地和客户简介
这个115.8平方米的场地坐落在繁忙的工业街上,该项目是重建现有的钢结构仓库/办公楼。
 
场地毗邻一条宽阔的街道,其优势是方便其销售的商品的装卸和称重,而且位于角落,建筑可以从周围环境中脱颖而出。另一方面,它的缺点是白天持续的噪音,繁忙的交通造成的震动以及非常脆弱的土壤强度。
 
客户的公司是一个中等的零售商,处理大量的螺母和螺栓以及其他建筑材料。他们要求新总部拥有库房,样品间和办公室,而且是一个有趣的、引人注目的建筑。 然而,预算是非常有限的,大约是普通混凝土建筑的60%(每平方米240-250K日元)。通过深入分析客户的需求,并考虑到最低的成本和最终建筑的形象,我开始与我的结构工程师和承包商同事一起研究各种设计的可能性。
 
通过合作创造
为了降低建筑的成本,我考虑使用木结构和钢结构,希望使建筑更轻,符合脆弱的土地条件。但经过一些研究,我发现,这些选择虽然较轻,但在成本方面没有太大区别。考虑到各种因素,我们最终决定采用防火和隔音性能更好的混凝土材料。
 
我有信心即使这个项目管预算有限,但还是可行的,因为我从一开始就和我的合作者一起工作。我与结构工程师 Jun Sato 一起工作了15年,承包商 Shigeki Matsuoka 是房屋建筑商有限公司(Homebuilder Co., Ltd.)的负责人,他与我合作了25年,共同建设了80多个项目,我也认识大部分在现场工作很长一段时间的成员。
 
一旦我们决定使用混凝土、松岗先生和我创建了一个20多个类别的详细列表和它们之间分配的总成本,以决定适当的材料和建筑上的细节,这是一个独特的方法,与设计和估算成本的正常程序恰恰相反。
 
追求建筑中不可避免的事物和活力
 Unkei 和 Kaikei 是两名日本著名佛像雕塑家,他们活跃于12世纪末至13世纪初,据说他们不是自己创造形状,而是“挖掘”嵌在木片中的形状。我们的设计过程遵循了与两位大师雕塑家相似的自然路径。
 
为了实现强大、简单而又复杂的形式,我做了很多研究模型,寻找合适的形式。我的目标是用“nuke (noo-kay)*”创建三维连接空间,使用连续的墙壁,就像在建筑的一部分中存在的一笔画。
 
此外,为了将建筑重量减少到常规结构的60%,我尽可能从箱框结构中去除混凝土。在我眼前出现的结果是一个独特的结构,类似于哈密瓜的网状皮肤。这是一件我从未见过的东西,宁静而精致,就好像我在这座建筑中雕刻了佛像。开口采用了玻璃并安装了镀锌钢楼梯,设计了极简主义的悬空扶手,因此不降低结构的力量和宁静。我们还用 Lauan 胶合板设计了一些内置家具,这种材料主要用作垫层和底板。
 
当客户、承包商和我一起检查完成的建筑时,有人提出了我完全同意的意见,说这个新总部散发出的活力和新鲜感确实符合 Boltun 公司的企业形象。



Structural Engineering:Jun Sato, Shingi Tarirah / Jun Sato Structural Engineers 
Construction Management:Shigeki Matsuoka, Shinichi Uchimura, Koji Izawa / Home Builder

The Site and the Client’s Brief
The 115.8 m2 site sits along a busy industrial street, and the program was to rebuild the existing steel structured warehouse / office building.

Being adjacent to a wide street, the advantages of this site were accessibility with an ease of loading and unloading, quantity and size wise, the merchandize they deal in and the site also being a corner site, the building would stand out from the surroundings. On the other hand, the disadvantages were the continuous noise during the day, together with the tremors caused by heavy traffic and also the extremely week ground strength.
 
 
The clients’ company is a moderate size retailer handling a vast range of nuts and bolts together with other architectural materials. They requested the new headquarters to have the function of a warehouse, showroom and an office; and to be an interesting, eye-catching piece of architecture. However, the budget was extremely limited, at about 60% (about 240-250K yen per square meter) of an average concrete building. Through analyzing the clients’ requests thoroughly and with the minimum possible cost and the image of the final structure in mind, I began studying the possibilities together with my fellow structural engineer and contractor.
 
 
Creation through Collaboration
In order to lower the building-cost I considered using wood structure and steel structure in hope of making the building lighter to correspond to the weak ground conditions. But after some studies, I found out that these options, although lighter, did not make much of a difference cost-wise. All things considered, the final decision was made to go with concrete for its fireproof and soundproof benefits.
 
 
I was very confident that this project was feasible despite the limited budget because I was able to work with my collaborators right from the very first stages. I have worked with structural engineer Jun Sato for 15 years, and the contractor Shigeki Matsuoka, head of Homebuilder Co., Ltd., has been my collaborator for 25 years, building more than 80 projects together. I also knew most of the members working on site for a long period of time.
 
 
As soon as we decided to go with concrete, Mr. Matsuoka and I created a detailed list of more than 20 categories and allocated the total cost among them in order to decide on the appropriate materials and architectural details, which is a unique approach and quite the opposite process from normal procedures of design and estimation of cost.
 
 
In Pursuit of the Inevitable or What Was Meant to Be and Dynamism in Architecture
Unkei and Kaikei, two famous Japanese sculptors of Buddha statues who were active in the late 12th to the early 13th centuries, are quoted to have said that they do not create the shapes themselves but rather ‘excavate’ the shapes embedded in the pieces of wood. Our design process followed a similar path in nature to that of the two master sculptors.
 
 
Aspiring to achieve a powerful, simple yet complex form like bolts, products that gave the company its name “Boltun Co., Ltd.,” (BOLT and NUT spelled backwards) I made numerous study models in search of the right form. My goal became to create 3-dimensionally connected spaces with “nuke (noo-kay)*” using continuous walls like a one-stroke drawing existing in one piece of architecture.
 
 
Also, in order to reduce the building weight to 60 percent of a regular structure of this sort, I shaved off as much concrete as possible from the box-frame structure. The result that emerged before my eyes was a unique structure resembling the mesh-like skin of a cantaloupe. It was something I had never seen before, serene and refined as if I had carved out the Buddha in the structure. The openings were glazed, galvanized steel stairs were installed, and minimalistic suspended handrails were designed with the utmost care not to diminish the power and serenity of the structure. I also designed some built-in furniture using only Lauan plywood, a material mainly used as underlayment and backer boards.
 
 
When the client, the contractor and I checked the completed architecture together, someone made a comment to which I totally agreed, that the dynamism and freshness this new headquarters exudes truly matches the corporate image of Boltun Co., Ltd.?
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