A Library In The Cloud
北京万科翡翠书院天空图书馆
Beijing Vanke Jade Academy Sky Library
摘要：文章分析了北京万科翡翠书院天空图书馆设计过程中的理念和手法，认为在建筑的功能和使用方式日趋复杂和多元化的现代，建筑理应具有更多的自由度与可能性，建筑的设计可以拆解为不同场景、流线、节点的设计，而不是按照其风格形制进行简单的概括统一。
关键词：自由；序列；矛盾性；复杂性
在“世界”这个存在的本身日益丰富与复杂的现在，人们的观念亦越来向无限宽广的领域延展，建筑不再拘泥于某些固定的、约定俗称的风格与套路，而是呈现出更加纯粹的可能性。天空图书馆的设计即是这样的一种尝试，从设计之初就没有被刻意地设想过“建筑的外观应该是什么样子”，而更多地作为被思考“建筑本身应该是什么样子”这种更为简单、直接的命题下的产物。
Abstract
This paper analyzes Beijing Vanke Jade Academy Sky Library in the process of design concept and construction technique. It expounds more flexibility and possibility of building function and usage under the increasingly complicated and diversified modern society, Architectural design can be decomposed into different scenes,flow line, node design, rather than simply generalize and unify according to its shape style.
Key words: Flexibility ; Sequence; Contradiction; Complexity
As the "world" itself has become increasingly rich and complex, people's ideas have also been extended to an infinitely broad field. Buildings are no longer rigidly wedded to certain fixed and commonly known styles and routines, but they are showing more pure possibilities.The design of the Sky Library is such an attempt. From the beginning of the design, it has not been deliberately envisaged that “ how the appearance of a building should be like” and more is considered as “how the building itself should be”,a more simple and direct product under the proposition.
1. 形制与空间
从基地南边远远望去，银灰色的建筑安静地被置于草坡之上，方正的形体与漫反射铝板的材质形成戏剧化的体验，使建筑似是轮廓分明，又似是与背景天空融为一体。沿着西侧主入口的方向渐渐接近，建筑的面貌再次发生根本性的改变——从南侧完全封闭的铝板表皮，到西侧完全通透的超白玻幕墙；从南侧呈现自然状态的绿草如茵的草坡，到西侧大跨度的底层架空、人工设计感极强的水池和金属坡道，仿佛建筑本身切割开了两个风格全然不同的世界。
Shape and space
Looking from the south of the base , the silver-gray building is quietly placed on the grassy slope. The just body and the material of diffuse aluminum plate form dramatic experience,which makes the building appear to be well-defined and similar to blend the background sky.Gradually approaching the main entrance on the west side, the landscape of the building has undergone a fundamental change again – from the aluminum skin that is completely closed on the south side to the ultra-white glass curtain wall that is completely transparent on the west side;from the natural grassy grass slopes on the south side to the west side of the large-span floor overhead, artificial design of the strong pool and metal ramps. It seemed as if the building itself cuts two completely different worlds.
如果说建筑自身风格与形式方面的“自由”只是诠释了自由的一个方面，那么建筑师在设计中无疑试图表达了更多。建筑主体方正、沉稳的体量与西侧那一条充满力量感和动感的坡道的组合，庭院里几何分割棱角分明的台阶、水景与延续了南侧整个立面自然态的草坡的对比和融合，作为主材质的玻璃和铝板清冷、坚硬的质感对多处点缀的Parklex木纹板温暖而亲近自然的柔和感的衬托，无一不在喻示着本身的矛盾性和复杂性。正如罗伯特•文丘里所说，现代建筑往往是以牺牲多样而复杂的东西为代价，来将建筑中原始而基本的东西理想化，因此在面对更复杂、变化更快的世界时会变得软弱而无力。而能深刻有力地满足人们心灵需求的美，都是来自内在的复杂性。
If the “freedom” of the architectural style and form of the building itself only interpret one aspect of freedom, then the architect undoubtedly tries to express more in the design. The combination of the square and calm mass of the building’s main body and the ramp on the west side that is full of sense of strength and motion, the contrast and fusion between the geometrically segment steps and the waterscape in the courtyard and the natural slope of the entire slope on the south side, the cold and hard texture of the main material of the glass and the aluminum plate serving as a foil to the Parklex woodgrain plates embellished with various warmth and closeness to the softness of nature, are all indicative of its own contradiction and complexity.As Robert Venturi said, modern buildings often sacrificed multiple and comlex things to make the original and essential things in the architecture into idealization ,therefore it became weak and powerless faced with more comlex and more fast changed world. While the beauty that could powerfully satisfy people’s need for excitement,was all from the complexity in our heart.
因此，建筑师遵循“意义的简明”不如“意义的丰富”的思考，将建筑的设计拆解为每一个场景的设计，而拒绝将其风格形制进行简单的概括统一。比如在入口雨蓬处就大胆应用了不规则折线形木纹板，作为入口空间上强有力的对景元素；建筑南侧延续了旁边的公共绿地，首层大部分埋于草坡之下，并且巧妙地隐藏了一个小巧精致、自然气息浓郁的庭院，与北侧清晰明了的空间关系形成了鲜明的对比。
Therefore, the architect follows meaningful thinking instead of compendious thinking. The design of the building is dismantled into the design of each scene, and it is refused to simply unify its style.For example, the irregular fold-lined wood grain board is boldly applied at the entrance awning, which is a powerful element of the entrance space; the south side of the building continues to the side of the public green space. Most of the first floor is buried under the grass slopes, and subtly concealed a small, exquisite, natural and rich courtyard, which contrasts sharply with the clear spatial relationship on the north side.
2. 院落与序列
除了建筑自身的“自由”之外，建筑师希望建筑对于城市环境的关系也同样是“自由”的，因此在西侧主入口打造了一个完全开敞的、可穿过的底层架空空间，而在场地内部营造了界限模糊的“院落”。建筑师认为，“院落”的界定不应拘泥于固定的格式，因此尝试了以一条半悬空的坡道对内外庭院进行模糊划分，从空间的暧昧关系上继续呼应“自由”的设计理念。
Yard and sequence
Except the “freedom”of building of its own, the architects hope that the relationship between the architecture and the urban environment is also "free." Therefore,a completely open and passable bottom shelf space has been made at the main entrance on the west side and a “yard” with blurred boundaries has been created inside the site. The architects think that the definition of“yard”should not be limited to fixed format. Thus,a half-empty ramp making the internal and external courtyards into vague division has been attempted, which continues echoing the design concept of the “freedom” from the ambiguous relation of space.
从建筑正面看去，轻盈而闪耀着金属光泽的坡道宛如悬浮，与水池之上的道路在平面投影上呈现互相平行的关系。这样的关系喻示着两者在流线方面高度的并列性，并不刻意强化其中一种，而更多地突出并存的“可能性”。这两条通路通过建筑内部的流线融合在一起，形成一个完整的环线，这即是建筑中主要的流线组织方式，更少强调“顺序”“方向性”，更注重不同区域间流线相互的融合与串联。
From the front of the building, the light and shining metal luster slopes appear to be suspended and parallel to the shadow of the pool.Such a relationship implies a high degree of parallelism between the two in terms of streamlines. It does not deliberately reinforce one of them, but rather highlights the "possibility" of coexistence.The two paths are merged together through streamlines within the building to form a complete loop. This is the main streamline organization in the building, with less emphasis on "order" and "directionality," and more emphasis on streamlined and mutual fusion and connection in different areas.
不同的流线提供了多种多样的可能性，也带来了多种多样的空间感受。站在建筑正前方的广场上，既可以选择穿过水池直接走进折线形雨蓬下的接待主入口，也可以选择沿坡道徐徐向上体验空中花园的感受；从二层的图书馆出来，既可以穿过花园体验上层的样板房，也可以走下曲径通幽的景观楼梯到达下沉的庭院。建筑师致力于赋予“人”的活动更多的可能，让使用者在建筑中充分发挥主观能动性。在建筑的功能与使用方式日趋复杂和多元化的现在，建筑师不应以掌控者自居，而应将更多的可能性让渡给实际使用者，人的使用活动才是空间的灵魂。
Different streamlines provide diverse possibilities and bring diverse space perception. Standing on the square in front of the building, you can choose to go directly through the pool into the main entrance under the pleated canopy, or you can choose to experience the feeling of the Hanging Gardens upward along the ramp; coming out from the second floor of the library, you can walk through the garden to experience the upper model house, or you can walk down the winding landscape stairs to reach the sinking courtyard.The architects are committed to giving more possibilities to "human" activities, allowing users to fully exert their subjective initiative in the building. In the increasingly complex and diversified functions and modes of use of buildings, architects should not be self-reliant, but should give more possibilities to actual users. The use of human activities is the soul of space.
3. 光与影
建筑主体由浅灰色铝板，配合超白玻为作为主立面效果，局部添加Parklex木板作为点缀。玻璃本身具有的随光线变化的通透性和反射性，配合铝板的漫反射对周边环境也形成了深浅不一的反射效果，形成了建筑对自然环境主观的反映和融入，从另一方面达成“与自然对话”的设计主题。
Light and Shadow
The main body of the building consists of a light grey aluminum plate with an ultra-white glass as the main façade effect, with Parklex wood added as a decoration.The glass itself has light-transmitting permeability and reflectivity, and the diffuse reflection of the aluminum plate also forms a reflection effect on the surrounding environment, forming a subjective reflection and integration of the building on the natural environment, reaching a design theme of "Dialogue with nature" on the other hand.
建筑西立面上竖向的不规则排列的铝板，不仅仅是立面造型的元素，同时也是遮挡西晒的遮阳板。从侧面看过去，铝板和玻璃幕墙互相形成彼此的反射，模糊了室内外的界限，提供了一种暧昧的美感。
The irregularly arranged aluminum plates on the west facade of the building are not only the elements of the facade, but also the sun visors that block the sun.
随着一天中光线的变化，光相当于作为一种独立的材质参与到建筑中。铝板随着阳光的强度变化呈现出不同的色调，玻璃的色调则是同时具备了天空的颜色和内部的光照，平静的水面再将建筑和天空一同纳入其中，层叠反复的光影反射让建筑的边缘和界限模糊起来，也为建筑呈现出更丰富多变的面貌。夕阳西下时分，从二层平台的花园向西望去，温暖的余晖直透过两层玻璃幕墙，如“框景”一般勾勒出西侧公园景观和远方西山的轮廓，玻璃退让为光线的画布，室内的场景与活动展示于画布之上，上演了有趣的看与被看的空间叙事关系。
With the change of light in the day, light acts as an independent material to participate in the building.The aluminum plates exhibit different shades as the intensity of sunlight changes. The glass shades also have the colour of the sky and the internal lighting. The calm water then incorporates the building and the sky, and the repeated light reflections make the edges of the building repetitive. The blurring of boundaries has also given the building a richer and more varied appearance. At sunset, looking west from the garden of the second floor platform, the warm breeze passes through the two glass curtain walls, which is like “enframed scenery”,draw the outline of the park landscape in the west side and a distant western mountain. Glass receding as a canvas of light, indoor scenes and activities are displayed on the canvas, which appeared an interesting spatial narrative relation between seeing and seen.
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项目概况：
项目名称：北京万科翡翠书院天空图书馆
项目地点：北京市海淀区
业主单位：北京万科
建筑设计：北京日清建筑设计有限公司
景观设计：北京熬那国际建筑设计事务所
室内设计：广州杜文彪装饰有限公司
总建筑师：宋照方
设计团队：张强 王小飞 刘姝婷
建筑面积：2800㎡
设计时间：2017年7月
竣工时间：2017年12月
建筑摄影：Peter Dixie
Project：Beijing Jade Academy Sky Library
Location：Haidian District, Beijing
Client：Beijing Vanke
Architecture：Lacime Architects, Beijing
Landscape:Beijing Aona International Design
Interior:GBD Design
Chief Architect:Song Zhaofang
Design Team:Zhang Qiang, Wang Xiaofei, Liu Shuting
Area:2800㎡
Design period:2017.07-2017.12
Photography:Peter Dixie
来源：本文由北京日清建筑设计有限公司提供稿件，所有著作权归属北京日清建筑设计有限公司所有。
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