帅男的大鸡吧日美女,综合一区下一页熟女

最好的建筑是這樣的。我們深處在其中，卻不知道自然在哪里終了，藝術(shù)在哪里開始。

The best buildings are like this. Weare deep in it, but we don't know where nature ends and art begins.

入口 Entrance

項(xiàng)目位于合柴建筑保護(hù)區(qū)內(nèi)，基地所在的原有建筑考慮部分保留。通常我們面對(duì)這樣的建筑時(shí)會(huì)希望重塑新的建筑形式，然而歷史是沒法粉飾的，我們有責(zé)任去將某一段時(shí)間的歷史延續(xù)，讓未來的人看到并且感受時(shí)間在某一個(gè)階段留下的痕跡并且體會(huì)到隨著時(shí)代的發(fā)展以及技術(shù)的改變，不同時(shí)期的建造方式和審美體系所帶來的文化內(nèi)涵。所以我們需要做的是去延續(xù)而不是摧毀。

The project is located in hechai buildingprotection zone, and the original buildings where the base is located areconsidered to be partially retained. Usually, when facing such buildings, wehope to reshape new architectural forms. However, history cannot bewhitewashed. We have the responsibility to continue the history of a certainperiod of time, so that future people can see and feel the traces left by timeat a certain stage, and experience the changes with the development of timesand technology, The cultural connotation brought by the construction methodsand aesthetic system in different periods. So what we need to do is continue,not destroy.

基于“簡(jiǎn)”、“輕”、“薄”的建筑設(shè)計(jì)理念，整體建筑形式輕盈，自由，簡(jiǎn)約，流動(dòng)，與大自然融洽。設(shè)計(jì)尋求人造結(jié)構(gòu)與自然界中已有的結(jié)構(gòu)之間的和諧，幫人們回到和自然的原始連接中，解放城市對(duì)人身體的束縛。

Basedon the architectural design concept of "simplicity","lightness" and "thinness", the overall architectural formis light, free, simple, flowing and harmonious with nature. Design seeks theharmony between man-made structures and existing structures in nature, helpspeople return to the original connection with nature, and liberates theshackles of the city on the human body.

院落 Courtyard

設(shè)計(jì)試圖以現(xiàn)代的方法和概念來對(duì)傳統(tǒng)的建筑進(jìn)行補(bǔ)充，從而在場(chǎng)地中營(yíng)造出前所未有的廣闊風(fēng)景。例如西側(cè)的建筑外立面被擴(kuò)建了出來，新的落地玻璃包裹住了老的建筑表皮。老的歷史得到了延續(xù)，同時(shí)也獲得了新的生命。

The design attempts to supplement the traditionalarchitecture with modern methods and concepts, so as to create an unprecedentedbroad landscape in the site. For example, the facade of the building on thewest side has been expanded, and the new floor glass covers the skin of the oldbuilding. The old history has been continued and new life has been obtained atthe same time.

新的建造技術(shù)得到了體現(xiàn)，像是安裝在老的建筑上的一個(gè)義肢，給了老的建筑新的可能。新和舊，歷史和未來，傳承和創(chuàng)新，都在這個(gè)場(chǎng)所中逐漸融合，逐漸被走進(jìn)它人體驗(yàn)。

The new and the old, the history and the future, theinheritance and innovation, are all gradually integrated in this place andgradually experienced by people entering it.

設(shè)計(jì)前期勘察階段，我們?cè)谛吕辖ㄖ唤拥牡胤桨l(fā)現(xiàn)了兩顆雪松正對(duì)著西側(cè)，于是我們?cè)谀莾煽醚┧汕懊驿佋O(shè)了一片水景，將進(jìn)入建筑的入口放在這里，最終形成一種比較有趣的關(guān)系。人們被新的建筑吸引然后走向老的建筑，如是和老建筑年紀(jì)差不多大的兩顆雪松便成為了端景，然后通過旋轉(zhuǎn)樓梯的底部再進(jìn)入新的建筑從而創(chuàng)造了一項(xiàng)非常有趣的行為體驗(yàn)。

Inthe preliminary survey stage of the design, we found two cedars facing the westat the junction of the new and old buildings, so we laid a Waterscape in frontof the two cedars and put the entrance to the building here, finally forming amore interesting relationship. People are attracted by the new buildings andthen go to the old buildings. For example, two cedar trees about the same ageas the old buildings become the end view, and then enter the new buildingsthrough the bottom of the rotating stairs, thus creating a very interestingbehavior experience.

大廳 Hall

曲線的頂面造型仿佛展開的花瓣，自由而輕盈。圓形的鋼柱既是結(jié)構(gòu)也是裝飾，疏密有間的布置在兩側(cè)，仿佛將室外的樹林抽象的引入到室內(nèi)，自然而富有趣味。

Thetop of the curve looks like an unfolded petal, free and light. The round steelcolumn is both a structure and decoration. It is arranged on both sides withdense rooms, as if the outdoor woods are abstractly introduced into theinterior, which is natural and interesting.

樓梯 Stair

旋轉(zhuǎn)樓梯就好像是個(gè)新老世界之間的傳送門，被巧妙的放在新老建筑的交界處。

The spiral staircase is like a portal between the old andnew worlds, cleverly placed at thejunction of the old and the new.

卡座區(qū) Cardseat area

輕盈的玻璃立面和戶外的綠色樹蔭，律動(dòng)的圓柱和一側(cè)的變化光影，設(shè)計(jì)的每個(gè)細(xì)節(jié)都根植于自然的語境從而形成在地的契合的設(shè)計(jì)語言。

The top shape of the curve is like an unfoldedpetal, free and light. The circular steel column is both a structure anddecoration. It is densely arranged on both sides, and it seems to introduce theoutdoor woods into the interior abstractly, which is natural and interesting.The light glass facade and outdoor green shade, rhythmic columns and changinglight and shadow on one side, each detail of the design is rooted in thenatural context, so as to form a suitable design language on the ground.

綠植墻面的營(yíng)造和白色鋼柱變化支撐的盥洗區(qū)，水自由的流動(dòng)，一切都是那樣自然而然。

The construction of green plant walls and thetoilet area supported by white steel columns, the free flow of water,everything is so natural

“自由”并不是目標(biāo)，而是一種手段，所謂的自由，就是盡可能地創(chuàng)造更多樣化的建筑并且借助對(duì)環(huán)境、自然與尺度的把握，將建筑轉(zhuǎn)變?yōu)槿碌娘L(fēng)景，從而發(fā)現(xiàn)全新的世界。

"Freedom" is not a goal, but a means.The so-called freedom is to create more diverse buildings as much as possible,and change buildings into new landscapes with the help of the grasp ofenvironment, nature and scale, so as to discover a new world.

平面布局利用入口的水景空間將人流引入到室內(nèi)，再由前廳過度到大廳，室內(nèi)外的層次和關(guān)系過度自然，垂直交通主要借助白色旋轉(zhuǎn)樓梯將人流從一層連接到二層以及頂部的觀景平臺(tái)。

The plane layout uses the waterscape space atthe entrance to introduce the flow of people indoors, and then transition fromthe front hall to the hall. The indoor and outdoor levels and relations are toonatural. The vertical traffic mainly connects the flow of people from the firstfloor to the second floor and the viewing platform at the top with the help ofwhite rotating stairs.