当前位置:首页>> >>


无锡文化艺术中心设计说明.rar

收藏

资源目录
    文档预览:
    编号:20181101170116357    类型:共享资源    大小:34.89KB    格式:RAR    上传时间:2019-04-05
    尺寸:148x200像素    分辨率:72dpi   颜色:RGB    工具:   
    15
    金币
    关 键 词:
    无锡 文化艺术 中心 设计 说明
    资源描述:
    无锡文化艺术中心设计说明1. 介绍对于我们建筑设计事务所而言,无锡文化艺术中心项目在很多方面都独具特色。通过与当地的设计研究院的密切合作,特别是与客户的无间合作,让我们有机会积极投身于整座建筑物的设计和修建之中。在客户的长期大力支持下,我们实现了几乎所有的定制设计理念,并自始至终将其灌注于现场的建筑工程之中。2.1. 材料和结构8 片翅膀勾勒出了该建筑的主要建筑形象,然而,从建筑学上来说,这些翅膀的建造却是最为苛刻的。我们很清楚,修建如此巨大并带有复杂曲线结构的建筑物将会面临多大的困难,因此,我们一直将其作为设计任务的重中之重,从我们的芬兰设计团队设计翅膀的经济型结构的伊始,直至方案设计阶段绘制出能够诠释我们关于组装和饰面的设计理念的原理图。我们在设计阶段的早期决定采用锌材对翅膀的顶部进行饰面处理,并采用穿孔铝材来处理翅膀的底部。2.2. 制造和安装在设计阶段的初期,有一点非常清楚,即我们必须寻找顶尖的钢结构,耐风雨型屋顶顶面材料和底面穿孔铝质板材的生产商。对于钢结构,我们幸运地找到了一家有能力生产和安装上万根双曲钢管的当地公司。在最初的时候,我们坚持开发一种不需要在现场进行焊接的组装系统,这样的好处是可以防止锈蚀,还可以保证建筑的耐久度达到一个理想的水平,但是,最终由于当地的习惯,我们同意在工厂车间环境内完成最大面积的焊接和涂覆工作,这样只需在现场进行最少的焊接就能完成组装工作。我们汇同阿克苏诺贝尔涂料公司一起定期检查所有的涂漆和焊接质量。我们在设计的初期阶段就选择了德国的莱茵辛克公司,并要求其提供翅膀部分的盖顶材料。我们在设计阶段试验了大量的 1:1 比例的实物模型,以寻求解决此类大型的双曲翅膀表面的无缝覆面问题。翅膀底部表面的处理是一个非常棘手的问题。负责生产和安装的当地公司缺乏生产我们要求的具有此类外观的产品的经验,于是大家开始一起学习探索,而首要任务则是在非常紧张的时间内找到一种生产和安装上万张双曲三角形穿孔铝板的方法以及在现场以最小误差进行安装的方法。解决这个问题的唯一办法就是采用 1:1 比例的实物模型。我们多次要求采用 1:1 比例模型进行试验,最终我们在一个完整的翅膀上完成了镶面试验。只有当这一切付诸实现之后,我们才能确保在剩下的翅膀上也能取得成功。3.1. 材料主观演厅中选用竹材的理由是:通常来说,竹子是一种理想的声学材料,而且可以制作成非常美妙的乐器。另外,还有两种支持竹子的有力说法:这是一种非常环保的材料并且是真正的中国材料。而且声学方面的要求也支持选用竹子。歌剧厅/ 音乐厅的表面材料的重量至少应达到 35 kg/m2 左右,所有的表面必须精确地满足声学方面的要求,一些区域需要反声效果,一些地方需要扩散声音。现代技术竹材是一种重型材料,可以轻易地进行塑形加工,故早在设计阶段的初期就已经敲定了这种材料。主观演厅的内部全部采用实心竹块饰面。我们的建筑目标就是营造出一种温暖、亲密的氛围,并采用单一材料为观众带来一种连贯、真实的感觉。在设计阶段初期,我们并未最终确定竹材的类型和颜色。我们从数家公司收集了不同纹理和颜色的样本,之后,我们的赫尔辛基设计团队决定从以下两种方案中选择:A. 经典的碳化“胶合”竹材。这种材料采用了竹子本身的自然纹理和颜色,在外观上最具美感,而且可以采用碳化技术淡化那些不需要的黄色。B.重竹竹材。这是一种技术更加先进的均质材料,由粉碎后的竹纤维压制而成。凭借这种重竹材料,我们可以营造出一种颜色更暗而且更具节日气氛的环境。高压碳化方式是一种得到期望的暗琥珀色效果的最自然的方式。在这两种方案之间作出的最终选择非常容易,因为我们发现,只有重竹才是属于耐火类范畴的材料。更暗一些的颜色也更适合于剧院的表现力。我们在设计阶段做了大量的颜色试验以及竹材的生产试验,以确保色调的准确性以及材料中的颜色分布均匀。重竹材料比一般的竹材要重许多,更加适合于声学效果方面的要求。竹子作为一种内饰材料,却被中国的建筑师和设计师们所忽视和低估。其原因可能是,长期以来中国的人们普遍把竹子称为 “穷人的木材原料 ”,并且认为这种材料不适宜用于代表性的公众空间。我们相信我们已经在中国刮起了一股“竹子风暴” 。我们推荐采用竹子,这是因为我们认为,在未来这种材料将大行其道,并且我们还力图复兴这种美学特质。现代的计算机设计技术以及制造工具将有助重拾传统的中国木艺,并助其更上一层楼。3.2. 制造内饰竹材的复杂几何形状和制造得益于工艺现代数字技术。我们使用了 Rhinoceros 三维模型软件,并利用最新的数控切割技术(C N C)将竹材切割成 900m m 长、100m m 高和约 80m m 厚的竹块。共计约有 1.7 万块竹块,每一块都是单独设计,各不相同。我们不仅研制了制造方法,而且还研发了一套现场组装这些竹块的技术。每一块竹块都采用 C N C 车床钻出两个 11m m 的孔。我们将 10m m 的螺纹钢条穿入这些孔中,并将其固定在竹墙后面的次级钢结构之上。经实践证明,重竹是一种适宜于制造和安装的理想材料。当粉碎后的竹纤维在超高压的条件下被压制成块时,竹子就失去了其天然的形状并成为了一种新的材料,从而可以按照各种设想进行试验和加工。所以拥有一名优秀的生产商伙伴对于我们而言是至关重要的,这种伙伴可以直接协助我们开展这类必需的试验。我们的材料选择工作始终与制造、建筑和组装技术紧密相连。这些技术通过设计阶段的大量 1:1 实物模型试验不断改进。只有这样,才能避免在最后的安装阶段中可能出现的大多数问题。通过在生产阶段向材料中加入无毒阻燃剂的方式使其达到消防安全方面的标准。3.3. 安装我们主要关心的是由于原材料生产延误,导致主观演厅的竹块组装时间非常紧迫, 而且我们还非常担心如何达到满意效果的问题。我们了解到在中国,设计和建筑细节都可以达到非常高的国际水准,但是由于主观演厅的内饰是整个建筑最为重要的部分,而且我们的要求苛刻,自然而然地对于竹材内饰抱有很高的期望。主观演厅中的大部分竹块都是相互连接和锁定的,因此为现场的工人研制整体性的组装方法尤为重要,严格遵守这些纪律对于成功而言也是非常重要的。为了精确保证由计算机生成所需要的形状,严禁在现场以任何手工形式调整这些由计算机精确切割的竹块。我们对每一块都进行了编号,并在三维图纸中予以标注,以方便工人快速、准确地寻找和安装竹块。有缺陷的竹块则立即重新制作,以避免耽误安装工作。安装时,每块竹块的最大允许误差为 1/2m m。观演厅的结构性混凝土墙上的那些较大的自然形成的建筑误差,采用竹墙之后的具有弹性的二次结构予以弥补。我们建议采用将竹块自身作为定位模具的办法来解决安装工期过短的问题。在开始阶段,先小心地安装 3 层竹块,确保所有的竹块保持水平并且安装准确到位。之后可以在无需进行大规模调整的情况下,快速地将剩下的竹块安装到位。4.1. 材料和制造最初为“浪墙”选择的材料为红色瓷砖。由于客户反对这种方案,因此我们提出了在墙面上使用玻璃材料的建议。我们与赫尔辛基的阿尔托大学一道研究了手工制作玻璃砖的可行性,制作出了一系列的试验样品,在此阶段敲定了最终的形状和波浪样式的概念。选择图案和安装技术的灵感源自于主观演厅中的竹块墙以及近在咫尺的蠡湖的水面波纹。我们与苏州大学一道研制出了完美的“浪形玻璃砖” 。并对波浪图案不断浓缩深化而且还改善了安装方式。最终生产出 2.5 万块玻璃砖并送抵现场进行安装。4.2. 安装由于浪形玻璃砖只能以两种方案使用:1)完整的砖块;2)1/2 砖块,因此为了避免出现装饰不当的现象,必须按照浪形玻璃砖的样式对整个墙体立面(包括所有的技术安装部分)进行调整。安装原理与竹墙安装差不多。每一块完整的玻璃砖中都穿入了两根 10m m 的螺纹钢条,并由此将其固定在浪形玻璃砖墙后面的次级钢结构之上。之后以白色涂料填涂次级机构。在安装阶段以及对于一些 1:1 实物模型的检查表明,解决玻璃砖的照明问题非常重要。我们反对任何采用彩色 L E D 照明的办法并坚持仅使用白色洗墙灯照明系统的方案,在这种方案中,需要将照明系统安装并隐藏于玻璃砖墙上方的天花板上,而且试验也表明这是一种最佳的方案。5. 主观演厅中的金色京剧脸谱反声顶在设计阶段的初期,我们就有了为主观演厅设计反声顶的想法,这种设计既能够体现当地的文化,又能成为观演厅空间中的一个主要的焦点,正如古典歌剧厅中的传统枝形吊灯一般,而且对于观众而言,更能体现其作为庆典场所的主要功能。我们借鉴了流水以及中国京剧脸谱中的流线形状,设计出了曲纹图案,并且最后我们还将其命名为“京剧脸谱” 。这种设计理念将反射顶上的那些赋有流动感的条纹与金色的叶形图案结合起来,并采用了特殊的可调光暗的轮廓照明设备为这一部分提供照明,从而能够在表演之夜根据观众的要求营造出不同的气氛。灯光效果的设计能够烘托出京剧脸谱的形状,映入眼帘的是漆黑色背景之上的纤细、轻巧的金色轮廓。与此同时,我们还必须满足声学方面对于反射顶的要求。 “我们与声学顾问一道设计了反射顶的尺寸、重量和最终形状。 ”京剧脸谱反射顶的最终形态给人一种如此强烈和形象的感觉,以致于客户要求我们制作两套这样的艺术品,此类艺术品采用与剧院中使用的实心竹材相同的材料,经 C N C 切割之后组成京剧脸谱的形状。如今这两块墙雕正安置于大剧院的两个 V I P 接待主厅之中。WUXI CULTURE ART CENTER DESIGNS1. IntroductionThe Wuxi Grand Theater was in many ways a special project for our office. Our close collaboration with the local design institutes and especially with the client made it possible for us to be actively involved in the design and construction of the complete building. With the client supporting our work at all times we realized nearly all of our custom design ideas and guided the process all the way to the installation work on site.2. Steel Structure of the 8 “Butterfly Wings”2.1. Material and structure The eight wings are forming the main architectural gesture of the building, and they are architecturally the most demanding. We knew about the difficulties which came with building such mega structures with a complicated curvature, and therefore we always put our highest priority on this design task. Our Finnish design team worked from the very start on developing an economic structure for the wings, and already in the schematic design phase we made principle drawings to illustrate our ideas about assembly and cladding. We also decided early in the design stage that we want to use zinc material for the cladding of the wing top and a perforated aluminium for the wing bottom.2.2. Fabrication and InstallationVery early in the design phase it became clear that we have to search for the top producers of steel structures, the top weather proof roofing material and the bottom perforated Aluminium paneling.For the steel structures we were lucky to find a local company which was able to produce and install thousands of double curved steel pipes. We insisted from the beginning on to develop an assembly system which will not use welding on site to prevent rusting and to ensure a long durability of the structure, but finally, and due to local customs, we agreed to weld and paint elements with maximum dimensions in a workshop environment which could then be assembled with a minimum welding efforton site. Together with the Akzo Nobel painting company we checked all painting and welding regularly to ensure the top quality.We chose the German based Rheinzink company very early in the design process to provide the material for the roofing of the wings. During the design process we tested with numerous 1:1 mockup models how to solve the problems of covering the large and double curved wing surfaces seamlessly. The bottom surface of the wings proved to be the most difficult task to solve. The local company responsible for the production and installation was un-experienced to produce the type of facade product we demanded. The project became a learning process for us all. The task was to find a way to produce and install thousands of double curved triangular perforated aluminium panels and to install them on site with minimal tolerance in a very tight schedule. The only way we could solve the problem was to work with 1:1 mockup models. We demanded the production of such 1:1 test several times, and finally we were able to test the paneling on one complete wing. Only after seeing this in reality we were sure to succeed with the remaining wings.3. Bamboo Wall in Main Auditorium3.1. MaterialThe reason for choosing bamboo in the Main Auditorium was the fact that wood in general is an ideal material for acoustics and it relates to a beautiful wooden instrument. Additionally, two strong arguments speak for bamboo: it is ecologicaland it is truly a Chinese material. Also acoustical demands spoke for choosing bamboo. The weight of the surface materials in the opera hall/concert hall should be at least around 35 kg/m2, and all surfaces need to react precisely to acoustical requirements, some areas need to be reflective and some diffusing. Modern technical bamboo is a heavy material which is easy to shape and it was chosen very early in the design process.The interior of the main opera auditorium is completely clad with solid bamboo blocks. Our architectural goal was to create a warm and intimate atmosphere for the audience and with a coherent and authentic feeling by using only one single material. The final type and color of bamboo was not clear in the beginning of the design process. We collected samples with different patterns and colors from several companies, and our design team in Helsinki came to the conclusion to choose from two options:A. Classical “glue-lam” bamboo, carbonized. Using the well-known natural pattern and color of the bamboo makes for the most authentic appearance of the material, and the undesirable yellow color could be weakened with the carbonization technique.B. Strand-woven bamboo. This is a more modern an homogenous material made of crushed and pressed bamboo fibers. By using the strandwoven solid bamboo material we could achieve a darker color and more festive atmosphere. The method of high pressure carbonization was the most natural way to achieve the desired dark amberColor.The final choice between these two options was rather easy, as we found out that the strandwoven bamboo was the only one, which gets the fire resistant classification. The darker color also suits best for theater performances. We made numerous color tests during the design process together with the bamboo produces to ensure that the color tone is right, and the color distribution in the material is even and homogenous. Strand-woven bamboo is substantially heavier than classical bamboo which gives it an acoustical advantage as well.Bamboo as an interior material has been neglected and under-estimated by Chinese architects and designers. The reason might be that for centuries bamboo was known as a “poor man's timber” in China, and not suitable for representative public spaces.We believe that we have started a “Bamboo Boom” in China. We promote bamboo, as we think it is in many ways the material of the future, and we try to revive its aesthetical qualities. Modern computer-based design and fabrication tools can help to reconnect to and re-invent traditional Chinese wood craftsmanship.3.2. FabricationThe complex geometry and the manufacturing process of the bamboo interior are based on modern digital technology. We have used Rhinoceros 3D-modelling software, and the bamboo blocks, on average 900 mm long, 100 mm high and about 80 mm thick, are cut using latest CNC technology. In total there are about 17 000 bamboo blocks, each unique and different from each other.Along with the fabrication method we developed a technique for assembling the blocks on site. Each bamboo block has two 11 mm holes cut by the CNC machine. 10 mm threaded steel rods are fitted through these holes and structurally attached to the secondary steel structure behind the bamboo wall. The strand-woven bamboo proved to be the ideal material for the fabrication and installation process. When crushing the bamboo fibers and pressing them into blocks with extremely high pressure, the bamboo loses its natural shape and becomes a new material, ready to be experimented with and shaped in whichever way one can think of. It was crucial to have a good production partner on our side , which could assist in these necessary experiments in a straight forward way. Our material choice was at all times developed closely together with fabrication, construction and assembly techniques. These were refined throughout the design process with a help of numerous 1:1 mockup models. Only like this most problems could be avoided before the final installation process.The fire safety standard was met by adding non-toxic fire retarder agent to the material during the manufacturing process.3.3. InstallationOur main concern was that the time for assembling the bamboo blocks of the MainAuditorium was very short due to a production delay of the raw material, and we worried a lot, how it would be possible to reach a very good result. We learned that it is possible in China to design and build details with very high international quality, but since the interior of the main auditorium was the most important part of the whole building, and our tolerance expectations were very demanding, we naturally had higher expectations for the bamboo interior. As the main part of the bamboo blocks in the Main Auditorium are all connected and interlocked it was important to develop holistic assembly instructions for the workers on site, and high discipline in following these instructions was important for the success. All manual adjustments of the precisely computer cut bamboo blocks on site were strictly forbidden to achieve the desired precise computer generated formation. Each block was to be numbered and marked in a 3D drawing for the workers to find and install the correct blocks quickly. Faulty blocks were to be reproduced quickly to avoid time delay during installation. The bamboo block shapes allowed for a maximum of only 1/2 mm installation tolerance for each block. The naturally larger construction tolerances of the structural concrete walls of the auditorium were compensated by the flexible secondary structure behind the bamboo wall. We proposed to solve the problem of the tight installation schedule by using the bamboo blocks themselves as a jig for the correct location. As a start 3 layers of blocks were to be installed on site carefully, making sure that all is level and in the precise location within the space. Then the remaining blocks could drop into place with no large adjustments and at high speed.4. Glass Brick Wave Wall in the Main Auditorium lake side lobby4.1. Material and fabricationThe original material choice for the “wave wall” was red tinted ceramic tiles. As this was opposed by the client we proposed the use of glass on this wall. Together with the Aalto University in Helsinki we studied the possibility to fabricate each glass brick by hand, and we made a series of test pieces. We decided at that stage on the final shape and wave pattern concept. The choice of pattern and installation technique was inspired by both the bamboo block wall inside the Main Auditorium and by waves on water, with the WuLi Lake in close proximity. Together with the Shuzhou University we developed the “wave glass brick” element to perfection. The wave pattern was refined and the installation method improved. Final 25 000 glass bricks were produced and sent to site for installation4.2. InstallationAs the wave glass bricks only came in two options; 1) the complete brick and 2) 1/2 brick, it was necessary to adjust the complete wall elevation including all technical installations according to the wave glass brick pattern in order to avoid inappropriate detailing. The installation principle is related to the bamboo wall installation detail. Each full glass brick has two holes. 10mm threaded steel rods are fitted through these holes and structurally attached to the secondary steel structure behind the wave glass brick wall. The secondary structure is later covered with a white cover. During the installation and several 1:1 mockup inspections it became clear that it was very important to solve the lighting of the glass bricks. We opposed all ideas to use colored LED lighting and insisted to us
    展开阅读全文
    1
      金牌文库所有资源均是用户自行上传分享,仅供网友学习交流,未经上传用户书面授权,请勿作他用。
    0条评论

    还可以输入200字符

    暂无评论,赶快抢占沙发吧。

    关于本文
    本文标题:无锡文化艺术中心设计说明.rar
    链接地址:http://www.gold-doc.com/p-289010.html
    关于我们 - 网站声明 - 网站地图 - 资源地图 - 友情链接 - 网站客服客服 - 联系我们
    copyright@ 2014-2018 金牌文库网站版权所有
    经营许可证编号:浙ICP备15046084号-3
    收起
    展开