建筑設(shè)計：標(biāo)準(zhǔn)營造

“輕”是這個設(shè)計中一直堅持要傳達的感覺——空間的輕盈，結(jié)構(gòu)的輕質(zhì)，以及工作的輕松——為了在這棟建筑內(nèi)外工作和生活的人們。

建筑的設(shè)計基于一個融合了新型結(jié)構(gòu)和庭院布局的有機的網(wǎng)格體系，以開放而靈活、可以提升互動性和創(chuàng)造性的公共空間為特色。

最終的成果是一個融合了文化意識、設(shè)計理念、結(jié)構(gòu)和建造技術(shù)的進步的案例。

有機網(wǎng)格

設(shè)計基于一個細胞結(jié)構(gòu)狀的網(wǎng)格，它可以靈活地生成各種各樣的空間， 同時也賦予了建筑獨特的外觀。核心筒、庭院、會議室和內(nèi)部樓梯都被設(shè)計成單獨的小室，其間沒有任何墻體或室內(nèi)空間以直角關(guān)系相交。外部立面也延續(xù)了這一概念，并將這種細胞結(jié)構(gòu)狀的結(jié)構(gòu)呈現(xiàn)在了室外。

由內(nèi)及外

源于有機網(wǎng)格的5個位于地面層的花園，遵循著整個建筑的基本空間構(gòu)成模式，詮釋了中國傳統(tǒng)園林的內(nèi)向性本質(zhì)。在辦公室內(nèi)，這種空間構(gòu)成模式又通過在透明立面圍合的大空間中的5個不規(guī)則核心筒反向地表現(xiàn)出來。通過這種圖與底的置換，內(nèi)向的中國園林成為了開放的當(dāng)代辦公空間，位于頂層的另一系列開放庭院則與地面層的花園相互呼應(yīng)。

滲透性

這棟建筑位于諾華上海園區(qū)的東南部，3層中空玻璃立面賦予其輕松而透明的外觀。人們的視線可以穿透建筑，或開放或圍合的區(qū)域在光線、尺度和形狀上互補而平衡，并形成了豐富的空間體驗，旨在創(chuàng)造一系列不斷變化的感覺。這對于開放而勻質(zhì)的傳統(tǒng)辦公空間理念提出了挑戰(zhàn)。日常工作中交流品質(zhì)的提升，決定了員工的生產(chǎn)力和工作效率。設(shè)計也正是出于這個原因而沒有采用傳統(tǒng)的辦公空間布局，進步由此而來。

不規(guī)則立面

組成立面的傾斜而不規(guī)則的四邊形玻璃也是源于細胞結(jié)構(gòu)狀的網(wǎng)格體系。玻璃的底線和頂線有不大于320mm的差別。這樣的立面組合會在玻璃上生成令人意想不到的室外景觀映像。3層玻璃中有兩層是避免立面過熱的保護層。為了進一步提升使用者的舒適度，避免靠近立面的區(qū)域溫度過高，我們將回風(fēng)口整合進了頂棚邊緣，機械控制的內(nèi)百葉則可以避免熱空氣進入辦公空間。

中國性

建筑以有機的布局和多樣的空間體驗詮釋著傳統(tǒng)中國園林的本質(zhì)，與自然的關(guān)系是設(shè)計中一直被考慮的元素。地面層被劃分為建筑和庭院兩部分。一條通道由建筑引向庭院，被分隔成多個開放和圍合區(qū)的庭院部分由5個不同尺度的院落主導(dǎo)著。在不同位置上設(shè)置的實墻限定了庭院和通道的邊界，同時也有意識地組織起多樣的視角和景觀。在庭院周圍布置了多個會議室和項目室，以及一個可供各部門團隊討論交流的大會議室。其間還設(shè)有一個茶室， 以中國傳統(tǒng)的茶道文化成為吸引整個園區(qū)人們的場所。

六層作為設(shè)備層的同時也提供了額外的會議和交流功能空間。二至五層的辦公空間在開放樓層平面中劃分了工作組、會議室、交流區(qū)等區(qū)域，布置了254個工位（而不是任務(wù)書所要求的相同單位面積的204個工位）。

5個自由布局的核心筒實現(xiàn)了“無柱”的室內(nèi)空間，使得自然光線能夠最大化地進入室內(nèi)，并在辦公空間內(nèi)形成了具有流動性的交通組織。這些核心筒之間的空間尺度大小不一，在每層的中心是一個交流和互動區(qū)域，一部鸚鵡螺般造型的公共樓梯成為了各樓層以及中心交流區(qū)之間動態(tài)的聯(lián)系紐帶，以鼓勵員工間的互動。

當(dāng)傳統(tǒng)中國園林中的吟詩誦詞已經(jīng)多年未曾聽聞之后，在這棟建筑里， 人與人之間思想的交流，人與自然之間的互動，又再一次以一種當(dāng)代的方式得以實現(xiàn)?！?/p>

Lightness is upheld as an overall value -lightness of space, lightness of structure and lightness of work – for people who work and live in and around the building.

The design of the building, which is characterised by open and flexible working spaces, supporting interaction and creativity, is based on an organic grid system that evolves into a new type of structure and also leads to a new kind of courtyard situation.

The outcome stands as an example of the evolution in cultural awareness, design concept,structure and building technology, consistent with what Mark C. Fishman said, "The lifetime fitness of an animal, or of a building, is a trade-off between utilisation perfected for today and flexibility in the face of environmental challenge. "

An organic grid

The design is based on a cellular grid, which allows flexibility in creating individual spaces and gives the building a unique appearance. Cores,courtyards, meeting rooms, and the internal staircase are designed as cells, without having a rectangular relationship between the objects themselves and their interspaces. The exterior facade follows this concept and conveys the cellular structure to the outside.

From inside out

Originating from the organic grid, the five courtyards on the ground floor depict the inwardness of traditional Chinese gardens, which has composed the fundamental spatial pattern for the whole building. Inside the office, this inward pattern is demonstrated in a reversed manner with five closed irregular cores standing within plain space encircled by the transparent facade. By overturning the figure and the ground, the inward Chinese garden becomes open contemporary work space, ending on the top floor with another set of open courtyards echoing to the ground floor gardens.

Permeability

The building is located at the southeast of the Novartis Shanghai Campus, with triple layers of the glazing facade of which the consistency gives the building a light and transparent appearance. It is designed to be a permeable building, which enriches the experience of a balanced relationship between open and enclosed areas that complement each other in matters of light, dimensions, and shapes.The goal is to create a series of varying feelings and increasing them. This challenges the old fashion idea that an office building must be open and soulless.The improvement of communication and quality of relationships in daily working life is crucial for the productivity and effciency of the employees. For that matter, the design defies the regular and ordinary approach, and this is how evolution is achieved.

Irregular facade

Derived from the cellular grid system, the facade is composed by trapezoid, tilted glass. Floor and ceiling lines of the glass layer are irregular with a difference up to 320mm. This movement of the facade allows surprising reflections from the outside view. The triple glazing layers are coated with two protection layers to avoid overheating facade. To further improve the users'comfort regarding overheating close to the facade, air return louvers are integrated in the ceiling periphery.Mechanical controlled internal blinds avoid hot air to enter the offce space.

Chinese characteristics

The building is following the essence of traditional Chinese gardens with its organic layout and diverse spatial feelings, when the relation with nature becomes a constant element to be reflected on.

The ground floor is divided into the building and courtyard parts. A path through the building leads to the courtyard space, which is divided into open and closed areas, dominated by five courtyards in different sizes. Variously located solid walls define the border between courtyard and passage, intentionally composing the diversity of views and landscape.Around the courtyards, there are several meeting and project rooms, as well as a conference room, where interdisciplinary groups find place to discuss and communicate. A tea room has the possibility to serve in the courtyards, also to be an attraction point for the whole campus, which underline the culture of Chinese tea ceremony.

1 外景/Exterior view

2 外景/Exterior view

3 走廊/Corridor

4 內(nèi)景/Interior view

While the 6th floor is used as plant room and providing additional meeting and communication function, the office space from the 2nd to the 5th floors is divided up for working groups, meeting rooms and communication spaces with open floor plans, which result in placing 254 workstations instead of required 204 units of the same area.

Five free standing cores are situated within plan in order to establish a "column free" space, allowing to maximise natural light penetration throughout the building and to define a fluid circulation around the office area. The interspaces between these elements have different dimensions, forming a communication and interaction zone in the central area of the floor layout, where a Nautiluspompilius-like public staircase becomes a dynamic connection through each floor and the heart of the communication area that is designed to encourage interactions of co-workers.

When the poems once chanted in traditional Chinese gardens have not been heard for years,in this building, people's intellectual activities and nature interact with each other again, in a contemporary way.□

5 交通流線/Traffc flow

6.7 草圖/Sketches

8.9 剖面/Sections

10 標(biāo)準(zhǔn)層平面/Typical floor plan

1-會議室/Meeting room

2-開放討論區(qū)/Open discussion area

3-會議區(qū)/Meeting area

4-茶水區(qū)/Pantry area

5-開放工位/Open position

11 首層平面/Ground floor plan

1-商店/Store

2-辦公室/Offce

3-門廳/Hall

4-會議室/Meeting room

5-VIP會議室/VIP's meeting room

6-VIP辦公室/VIP's offce

7-NEM室/NEM's room

8-茶室/Tea room

9-多功能廳/Multi-funtion room

10-項目室/Project room

12 走廊/Corridor

評論

青鋒：細胞與進化

建筑師用細胞的概念來描述這個設(shè)計的理念，這是一個很有趣的比喻，尤其是考慮到業(yè)主是一家制藥公司，不可避免地要與各種細胞打交道的特殊背景。從平面上看，最接近于細胞形態(tài)的是一些有明確功能配置的塊，它們仿佛游離在培養(yǎng)液當(dāng)中，隨時可能分化出新的細胞體。在實際使用中，我們可以設(shè)想使用者也是微小的細胞，他們也同樣在辦公空間中游走，并且不斷與幾個固定的巨型細胞產(chǎn)生交互，去完成各種機能。

當(dāng)然，我們也可以將普通辦公樓的核心筒也看作是一些核心細胞的集成，那它們與張軻的細胞體有什么本質(zhì)的區(qū)別？首先，形狀的差異不言而喻，一個是整齊的長方形，另一個是不規(guī)則的多邊形；其次，是組織方式，一個是密集地相互擠壓，另一個是寬松的散布。很明顯，張軻的細胞體更接近于我們在實驗中所觀察到的生物現(xiàn)象。在相似形態(tài)背后是邏輯上的近似。一個活的細胞需要充分的空間與養(yǎng)分才能維持活力，張軻的細胞體也正是有了更寬松的條件才能夠讓勻質(zhì)而平淡的辦公空間具有了活力。

這可以延伸到對建筑設(shè)計基本前提的反思。如果說傳統(tǒng)的核心筒模式指代的是理性計算中對最高效率的追求，那么張軻的模式就更接近于生物進化的真實歷程。沒有人能夠預(yù)先設(shè)計一條最優(yōu)的發(fā)展路徑，一切的變化都是不可預(yù)知的，再通過自然選擇遴選出最具有競爭力的變異。而這一切的前提，是有足夠的空間讓生物體能夠去孕育那些不可預(yù)知的可能性。但，恰恰是這種變異的可能性在傳統(tǒng)的辦公樓模式中被扼殺了。

從這個意義上來說，張軻的設(shè)計的確是“有機”的，它呈現(xiàn)了一種無法消滅的偶然性。除了諾華，我們也可以在標(biāo)準(zhǔn)營造事務(wù)所室內(nèi)設(shè)計中看到這個非常獨特的成分。事實上，在張軻身上也可以感受到這種無法預(yù)知、但隨時可能衍生出異類分歧的力量，這或許是分析標(biāo)準(zhǔn)營造作品特色的視角之一。

Comment

QING Feng:Cell and Evolution

The architect uses the notion of "cell" to describe the concept of this design. It is a very interesting metaphor, especially considering that the client is a pharmaceutical company which inevitably has to deal with all kinds of cells. In plan, the parts that resemble cell the most are the blocks with distinct functions.They appear like floating in the growth medium and might divide into new cells at any time. In the actual use of the building, users also become small cells moving around in the offce space. They interact with the fixed massive cells to complete various functions.

Certainly, the central cores of regular office buildings can also be regarded as a congregation of functional cells. What is different in ZHANG Ke’s cells? Firstly, their shapes are different. The regular office core is a rectangle, while the cores in ZHANG Ke’s design are irregular polygons. Secondly,their ways of organization are disparate. Small cells are tightly pushed into each other in normal office building, while ZHANG Ke’s cells are loosely dispersing around. Obviously, ZHANG Ke's design is closer to the real biological phenomena observed in a lab. Similar form is the result of similar logic.A living cell needs adequate space and nutrition to maintain its vitality. Correspondingly, it is the more flexible condition of ZHANG Ke's cells that makes the homogenous and dull offce spaces full of vitality.

This observation leads us to a reflection on the basic premise of architectural design. If conventional core system is driven by a rational maximization of efficiency, ZHANG Ke's design strategy is rather closer to the real process of biological evolution. No one can design an optimal path of evolution beforehand. None of the changes is predictable. The most competitive survives in the blind natural selection. The prerequisite condition of the whole process is to have enough space and opportunities for organism to have unpredictable alternations. However, it is precisely those possibilities that have been strangled in the conventional offce space.

In this sense, ZHANG Ke's design is indeed"organic". It presents an undeniable contingency.Besides the Novaritis project, such feature is also present in ZHANG Ke’s design of his own studio.In fact, you can perceive this unpredictable energy in ZHANG Ke himself – a kind of latent energy to generate divergence at any time. Perhaps this would be one the particular perspectives to understand the peculiarity of the works of ZAO/standardarchitecture.(Translated by ZHANG Jingqiu, Proofread by QING Feng, WANG Xinxin)