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这才是真实版的书中自有黄金屋!| 松岛新城世界文学国家博物馆第1张图片


Hou De Sousa + Archotus将世界文学国家博物馆作为松岛文化地标
Hou De Sousa + Archotus' national museum of world writing proposed as songdo cultural landmark

由专筑网黎旭辰,朱王倩编译

Hou De Sousa与Archotus的craig cook合作,在国际盲人比赛中获得了二等奖,在韩国松岛设计了一个23万平方英尺的世界文学国家博物馆。

这个博物馆有两个相互矛盾的条件:第一是博物馆的目的——要求以书面形式探索人类交流传播的古老普遍性。第二个是它的地理位置:松岛市,这是在过去十年中建立在填海区的一个城市。

HouDe Sousa, in collaboration with craig cook of archotus, have been awarded the second prize in an international blind competition for the design of a 230,000 sqft national museum of world writing in songdo, South Korea. The national museum of world writing pairs two conditions at odds with one another: the first is the purpose of the museum — exploring the ancient universality of human communication in written form. The second is its site: the city of Songdo, built in the past decade on a tabula rasa of reclaimed land.

这才是真实版的书中自有黄金屋!| 松岛新城世界文学国家博物馆第2张图片

竞赛由文化、体育、旅游部主办/The competition was hosted by the ministry of culture, sports, and tourism

Hou De Sousa设计的博物馆解决了这些对立面:在一座文化尚未定义的城市中,创造一个容纳学习和阐释古代文化表现的场所。

在这个过程中,设计师正在通过建筑为这个新城市的阐述文化。设计师的策略是通过寻找可以书写的基础场所,以及建筑的重叠,而不是采用刻板的历史建筑形式——加强实虚关系,表面符号的轨迹,标记深度,渗透或挤压的意义。

Hou De Sousa‘s proposal for the museum addresses these opposites, creating a container for the study and exposition of writing as an ancient manifestation of culture, in a city whose culture is so new as to be undefined. In the process, the designers are writing this new city’s culture through architecture.Their strategy addresses these conditions by proposing a form evocative of the very thing songdo lacks… a history. Rather than employing stereotypical historic architectural forms, the designers look for places where the fundamentals of writing and architecture overlap – solid to void relationships, the trace of gesture on surface, the meaning in the depth of a mark, penetration, or extrusion.

这才是真实版的书中自有黄金屋!| 松岛新城世界文学国家博物馆第3张图片

咖啡馆周围的下沉广场和小巷/café surrounded by lower level plazas and alleyways

博物馆可以让人们感受到,就像地球上的一处考古遗址被发现的意外,其重复的模块化几何形式将古老的楔形文字系统表现在平坦的立面上。而不是一座单一的建筑,博物馆仿佛变成可以被阅读的村庄遗址。

访问者可以沿着地下两层在连接流线分支的露天广场上穿行。每部分包含在地下全部的曲线墙和支撑系统中。博物馆由7m×7m×5m模块组成,每个模块都有一个雕刻的空隙元素。

这些雕刻元素反映了所有书写系统共享的印刷策略。它的形式产生一个让人意想不到的“屋顶”,能够鼓励发现和探索的开放性渗透地面的空间。

The result is a museum one discovers as if by accident revealed in the earth as an archaeological site, its repeated modular geometries evocative of the ancient cuneiform writing system of marks cut into a flat clay surface.Rather than a singular building, the museum reads as a below-grade, unearthed village. Two levels down, visitors circulate on open-air plazas that connect the program components. The components are contained in a ring of circulation and support systems that is entirely below grade. The village components themselves are composed of 7m x 7m x 5m modules, each of which has a carved void element. These carved elements reflect the typographic maneuvers shared by all writing systems.It generates a ‘roof’ that is a ground plane of unexpected openings and penetrations that encourage investigation and discovery.

这才是真实版的书中自有黄金屋!| 松岛新城世界文学国家博物馆第4张图片

博物馆不是一个单一的建筑,它仿佛成为了可以被阅读的村庄遗址/Rather than a singular building, the museum reads as a below-grade, unearthed village

此外,每个模块的空隙可以用作光井、清洁室和小庭院,同时能够分隔空间。作为设计策略,这种多孔模块化系统是高度可重构的,可根据每个空间的具体需求进行调整。

虽然该提案仅仅反映了几乎无限可能中的一种安排布局,但这个设计已经以独特的方式解决了简短的几个标准。

公众可以游览博物馆小巷,去行走在开放的公共空间、商店、咖啡馆、餐馆和研究图书馆——甚至无需进入博物馆本身。

而屋顶作为公园的一个元素,所以在设计中没有浪费开放区域,同时保护了公园的景色。

Additionally, the voids of each module serve as light wells, clerestories, and small courtyards while simultaneously providing a means of partitioning spaces. It should be noted that as a design strategy, this porous modular system is highly reconfigurable and can be tailored to the specific needs of each program. The proposal reflects just one arrangement of nearly infinite possibilities. This design addresses several criteria of the brief in unique ways. The public can wander into the museum alleyways and open pubic program – the store, cafe, restaurant, and research library – without ever having to go into the museum itself. The roof functions as an element of the park, so no open area is lost, and views of the park are maintained.

这才是真实版的书中自有黄金屋!| 松岛新城世界文学国家博物馆第5张图片

设计礼堂/the proposed auditorium

博物馆的标志性形式被其虚空间而不是其形体所定义,这使其得在街道一级,以及从高处,如周围的摩天大楼和谷歌地球都能有独特的阅读感受。

博物馆上方是独一无二的,阅读变成一种巨大的抽象主题标签。

最后,建筑的次级特征是可持续性特点。通过利用周围地形和上面的绿色屋顶的热质量来实现可持续效率,从而最大限度地减少了博物馆和档案馆所需的高功率机械系统的需求。

雨水被收集进屋顶内,引流至下面小巷内的水池中。

The iconic form of the museum becomes defined by its voids, rather than its solids, this makes a distinctive reading both at the street level, and from high elevations, such as the surrounding skyscrapers and google earth. Above the museum is utterly unique, reading as a massive abstract hashtag. Finally, the sub-grade character of the building allows for numerous sustainability features. Substantive efficiencies are to be gained environmentally by taking advantage of the thermal mass of the surrounding earth and the green roof above, minimizing the need for the high powered mechanical systems needed in museum and archival settings. Rainwater is captured within the roof and runoff is channelled into water features within the alleyways below.

这才是真实版的书中自有黄金屋!| 松岛新城世界文学国家博物馆第6张图片

永久的展览空间/permanent exhibition space

这才是真实版的书中自有黄金屋!| 松岛新城世界文学国家博物馆第7张图片

特殊的展览空间/special exhibition space

这才是真实版的书中自有黄金屋!| 松岛新城世界文学国家博物馆第8张图片

这种多孔模块化系统是高度可重构的,可以根据每个空间的具体需求进行调整/This porous modular system is highly reconfigurable and can be tailored to the specific needs of each program

这才是真实版的书中自有黄金屋!| 松岛新城世界文学国家博物馆第9张图片

古代写作技巧、活动类型、矛盾的排版分析,多孔模块群策略、嵌入式基地策略和项目步骤图/Ancient writing techniques, movable type, analysis of hangul typography, porous modular massing strategy, embedded site strategy, and program diagrams

这才是真实版的书中自有黄金屋!| 松岛新城世界文学国家博物馆第10张图片

场地的轴测图/Axonometric view of the site



出处:本文译自www.designboom.com/,转载请注明出处。

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