歐羅巴公園歐羅博格露天大型運(yùn)動(dòng)場(chǎng)

1、歐羅巴公園/歐羅博格露天大型運(yùn)動(dòng)場(chǎng)格羅寧根，荷蘭，1998 / 2008當(dāng)前的城市競(jìng)爭(zhēng)體現(xiàn)在這樣一種趨勢(shì)：市政府要把越來(lái)越多的市民的和公用的事件組織在一起。城市的這樣一種“節(jié)日化”的趨勢(shì)的目標(biāo)在于使它們能夠參與更廣泛的公眾活動(dòng)。作為一個(gè)位于荷蘭北部的中心城市，格羅寧根也卷入了這場(chǎng)全球性的爭(zhēng)奪閑暇空間的競(jìng)爭(zhēng)。在它的南端，在一個(gè)將要出現(xiàn)的街區(qū)的中央，一個(gè)從前的工業(yè)區(qū)將要被改造成一個(gè)新型的居住和工作環(huán)境。這個(gè)總體規(guī)劃也包括混合式的住宅和辦公大樓區(qū)。這個(gè)新區(qū)域還得益于靠近文化中心和屬于城市交通運(yùn)輸系統(tǒng)這樣的事實(shí)。它在將市周邊和市中心連接起來(lái)的、改建了的街區(qū)中占據(jù)一個(gè)關(guān)鍵的位置。FC·格羅寧根

2、的一個(gè)新型的露天大型運(yùn)動(dòng)場(chǎng)將出現(xiàn)在這片居住與辦公混合的土地上，給如今還閑置的區(qū)域填上內(nèi)容。通過(guò)一個(gè)新的建筑環(huán)境，一個(gè)普通的足球運(yùn)動(dòng)場(chǎng)將變成一個(gè)融娛樂(lè)、購(gòu)物、運(yùn)動(dòng)、工作和居住為一爐的城市綜合體。與那種一年僅僅使用30天的體育設(shè)施不同，這個(gè)運(yùn)動(dòng)場(chǎng)被設(shè)計(jì)得可以容納20，000名觀眾，而其輪廓還是可以移動(dòng)的。意大利城市盧卡的圓形劇場(chǎng)為這片建筑起到了典范的作用。在幾個(gè)世紀(jì)的發(fā)展中，它演變成了一片由一個(gè)環(huán)形的、具有多種用途的雙重建筑包圍的廣場(chǎng)。烏斯特普爾特露天運(yùn)動(dòng)場(chǎng)哈勒姆，荷蘭，2001這個(gè)處在哈勒姆周邊的一個(gè)生態(tài)區(qū)域之中的露天大型運(yùn)動(dòng)場(chǎng)，標(biāo)志著一項(xiàng)新發(fā)展的開(kāi)始。這項(xiàng)新發(fā)展就是沿著該城市的主干道之一 阿姆

3、斯特丹大街進(jìn)行建筑。通過(guò)把體育場(chǎng)設(shè)施融入社交、停車、工作和居住等活動(dòng)之中，確定了一種新型的建筑典范；而把建筑規(guī)劃盡量壓縮的結(jié)果則是：運(yùn)動(dòng)場(chǎng)的覆蓋面積被保持在了最小限度。一塊巨大的橫板（上面有許多箱形建筑）遮住整個(gè)運(yùn)動(dòng)場(chǎng)，猶如一塊切好的積木，而且，又好像在荷蘭的圍海造田風(fēng)景上面翱翔。足球場(chǎng)高高地處在一個(gè)多功能大廳的頂端，面積與后者一樣大，二者共用那個(gè)大廳和許多服務(wù)設(shè)施。停車場(chǎng)（可以經(jīng)由現(xiàn)有的一座橋到達(dá)）不僅是供下面的公共區(qū)域使用的，也是供上面的旅館、閣樓和辦公室使用的。光隙經(jīng)過(guò)上面的建筑的外孔繼續(xù)延伸。它們不僅為巨型建筑提供光源和確定方向，也從視覺(jué)上將眾多的功能空間連接起來(lái)。一些具體的視點(diǎn)可以讓

4、你一眼就瞥見(jiàn)整個(gè)斷面。該建筑物是可調(diào)的，以便能夠適應(yīng)不同的規(guī)劃和空間要求。一方面，一種動(dòng)態(tài)的斜向柱狀結(jié)構(gòu)劃定了公共活動(dòng)地帶；另一方面，多層的室內(nèi)停車場(chǎng)的構(gòu)造是一個(gè)合理的格子結(jié)構(gòu)。你可以通過(guò)樓梯從任何單元和閣樓到達(dá)建筑的頂層。整個(gè)簡(jiǎn)支柱的格子結(jié)構(gòu)就好像森林中的樹(shù)木一樣任意地鋪展開(kāi)來(lái)。一方面，停車場(chǎng)里是循環(huán)式的車輪的無(wú)規(guī)律的排列，而另一方面，均一的正面圖案又將各種箱式結(jié)構(gòu)統(tǒng)一了起來(lái)。兩棟住宅樓鹿特丹，荷蘭，1992 / 1995。在鹿特丹這座被流水網(wǎng)絡(luò)自然地切割開(kāi)來(lái)的城市里，這個(gè)兩棟的住宅建筑就好像突然地插入了其中。這個(gè)工程的位置是一片古老的商業(yè)區(qū)。新橋的作用不僅是把馬斯河的兩邊連接起來(lái)，同時(shí)也通

5、過(guò)建立一個(gè)垂直的空間把兩座高樓分割開(kāi)來(lái)。建筑的巨大之感覺(jué)被一個(gè)玻璃楔塊給抵消，后者制造了一種漂浮的高樓群的萬(wàn)花筒般的景觀，明顯地與重力的邏輯相違背。住宅樓被組織得井井有條，足以容納停車場(chǎng)、大廳、大咖啡館和技術(shù)服務(wù)室。堆在玻璃楔塊上方的是翱翔般的大塊建筑，其外層是黑色的混凝土。它含有公共停車場(chǎng)、儲(chǔ)藏室、休息室、游泳池、桑那浴室和一個(gè)室外花園。兩座高樓就挺立在這個(gè)建筑之上，垂直地伸入藍(lán)天。它們由290個(gè)單元組成，共有29層。原文：Europark / Euroborg StadiumGroningen, The Netherlands, 1998 / 2008The current rivalry

6、 among cities is reflected in the tendency of city governments to organize an increasing number of civic and public events. Such a »festivalisation« of cities aims at their reaching a wider presence in the public domain. Groningen, a city centrally located in the northern part of the Nethe

7、rlands, is also taking part in this global competition for leisure programs. On its southern edge, at the center of a neighborhood in the process of redevelopment, a former industrial area will be converted into a new living and working environment. The general program also includes mixed housing an

8、d office parks. The new district benefits from its proximity to the cultural center and its connection to the urban transportation system. It occupies a key position in the redeveloped neighborhood which links the periphery to the city center. A new stadium complex of FC Groningen will provide its i

9、dentity to the mixed housing and office park which will cover the now vacant area. An ordinary soccer stadium changes into a piece of urbanity by means of a new »envelope« which consists of structures for entertaining, shopping, sporting, working and living. In contrast to a facility which

10、 is used only thirty days a year for sports events, this stadium is defined as an architectural void for 20.000 spectators with a fluctuating contour. The Italian city of Luccas amphitheater served as a model for this urban development. Over the centuries, it was transformed into a plaza enclosed by

11、 a double structural ring of mixed uses.Stadium OostpoortHaarlem, The Netherlands, 2001The stadium, located in an ecological zone at Haarlems periphery marks the beginning of a new development along one of the citys main inroads, the Amsterdamsevaar. By sandwiching the stadium facilities with public

12、 amenities, parking, working and living, a new building prototype is defined, and by stacking the program, the stadiums footprint area is kept to a minimum. A horizontal slab (roofed by numerous box structures) contains the stadium - a kind of cut-out - and seems to hover above the Dutch polder land

13、scape. The soccer field is elevated on top of a multi-purpose hall with the same floor area, both share the foyer and a number of service facilities. The parking lobby (accessible via the existing bridge) serves the public areas below, but also the hotel, lofts and offices above. Light slits continu

14、e the outer gaps of the upper structure. They not only provide light and orientation in the huge building, but also link the various functional spaces visually. Specific points afford views of a complete cross section »at one glance«. The structure is variable so that it can accommodate th

15、e different programmatic and spatial requirements. While a sort of »dynamic diagonal column structure« defines the public zones, the organization of the multi-story parking garage is based on a rational grid. Its top floor gives direct access, via stairs, to all the apartments and lofts an

16、d makes the simple column grid spread out in a random pattern like trees in a forest. While an irregular arrangement of recycled car wheels covers the car lobby, a homogeneous facade pattern unifies the hybrid boxes.Two residential blocksRotterdam, The Netherlands, 1992/1995.The structure of the two

17、 residential blocks is an intervention in the center of Rotterdam, a city that is naturally incised by a network of flowing waters. The site of the project is an old commercial trade ground.The new bridge functions not only as a linkage between both sides of the river Maas but also as an object that

18、 separates the two towers by creating a vertical void between the them.The massiveness of the volume is negated by the introduction of a glass wedge that creates a panorama of floating towers which are apparently disobeying the logic of gravity. The residual spaces are well organized to accommodate the parking spaces, the hall of the towers, the grand cafe and the technical rooms. Stacked on top of the glass wedge is the hovering volume skinned in black concrete mantle. It contains the c