開羅國際會議中心，開羅，埃及

建筑設計：魏敦山/上海市民用建筑設計院

開羅國際會議中心，開羅，埃及

建筑設計：魏敦山/上海市民用建筑設計院

1 外景/Exterior view

開羅國際會議中心是一座國際性、現(xiàn)代化、多功能綜合性大型公共建筑。基地建在埃及首都開羅市納賽爾城，東鄰無名英雄紀念碑及檢閱臺，北面為開羅國家體育場，西面為國際博覽會，建成后將成為埃及的重要政治文化及旅游中心。

建筑設計充分考慮所處地理自然環(huán)境，注意吸收埃及的人文歷史精華、傳統(tǒng)藝術(shù)形象等特點。埃及是人類社會最早創(chuàng)造阿拉伯數(shù)字以及幾何學的古代文明國家，給人類社會帶來進步的影響。會議中心平面設計采用了多種嚴謹完整的幾何形體，把圓形、方形和八角形等形體有機地構(gòu)成一個斜邊300多米長的三角形建筑群體，并應用建筑軸線對位手法，將圓形國際會議廳和宴會廳的圓心軸線均對準紀念碑中心，形成一個三角形軸線網(wǎng)格關系的圖案。這樣既突出了主體建筑，也強調(diào)了環(huán)境的完整性。

2 模型/Model

基地地形南高北低，高差達7m，故將主要廳室全部設在2層標高處，底層架空，結(jié)合庭院綠化，形成優(yōu)雅的流動空間，虛實結(jié)合，變化有序，底層部分設置新聞中心、設備機房等輔助用房，整個建筑物高度得到提高，使建筑外貌更為雄偉壯觀。

在建筑藝術(shù)造型方面，力求在充分吸取埃及民族伊斯蘭建筑藝術(shù)傳統(tǒng)風格的基礎上，體現(xiàn)現(xiàn)代建筑的時代特征，使兩者取得結(jié)合。建筑形式能忠實地反映出建筑的內(nèi)容，使建筑形式、內(nèi)容與技術(shù)上具有一個內(nèi)涵的聯(lián)系，創(chuàng)作思想上追求技術(shù)、藝術(shù)、文化完美的結(jié)合。在吸取埃及傳統(tǒng)建筑形式時，采取“神似”的處理手法，不搞伊斯蘭清真寺院穹頂，對稱、封閉的內(nèi)庭廣場等形式，在建筑外形處理上，兩座圓形主體建筑采用線條挺拔粗獷、簡潔有序的柱廊，并配以埃及常見的尖拱形式，用恰當?shù)某叨燃氨壤右蕴幚?。整個建筑群選用的大片白色實墻、白色大理石柱廊與深茶色的玻璃幕墻有機組合；柱廊凹凸陰影強烈、虛實相間，力求取得較好的藝術(shù)效果。

主大門入口設置2排旗桿臺座，可懸掛120個國家的國旗。28m寬的立交橋可直達國際會議廳序廳及主門廳，立交橋正中設有大型噴水池及主旗桿，增強建筑環(huán)境的歡樂熱烈氣氛。

基地西面設置西入口，供宴會廳專用，北面設大片停車場，可停車1268輛。

基地東南面設置大片綠化，設置數(shù)處中國特色的江南庭園，環(huán)境幽美。

本工程于1986年5月6日由中、埃兩國元首時任中國國家主席李先念與時任埃及總統(tǒng)穆巴拉克奠基開工，1989年11月由中、埃兩國元首時任中國國家主席楊尚昆與時任埃及總統(tǒng)穆巴拉克竣工剪彩開幕，并授予埃及國家一級軍事勛章。

項目信息/Credits and Data

主持建筑師/Principal Architect: 魏敦山/WEI Dunshan

建筑設計團隊/Project Team: 滕典，田守林，朱榮亞等/ TENG Dian, TIAN Shoulin, ZHU Rongya, et al

用地面積/Site Area: 25.4hm2

總建筑面積/Total Floor Area: 58415m2

總造價/Cost: 15484萬瑞士法郎

設計時間/Design Period: 1983-1986Cairo International Conference Center is a large-scale comprehensive international modern public building with multi-functions. Located in Nasr City, Cairo of Egypt, it is adjacent to the Unknown Soldier Memorial and the Reviewing Stand to the east, Cairo International Stadium to the north and International Exposition Center to the west. Since completion it has become an important political, cultural and tourist center in Egypt.

4 二層平面/Floor 1 plan

5.6 內(nèi)景/Interior view

The design fully considers the geographical and

natural environment and purposely absorbs the essence of human history and traditional art image. Egypt is the first ancient civilization to have created Arabic numerals and geometry, which has exerted positive influence on human society. So the plane of the conference center adopts various rigorous and complete geometric forms such as circle, square and octagon etc., putting them into an organic triangle building complex with a hypotenuse of 300 meters long. By applying the axis contrapuntal method, the central axes of the circular international conference hall and the banquet hall are aligned with the center of the monument, so as to form a triangular axis grid pattern. It does not only highlight the main building, but also stresses the environmental integrity. The south side of the base is seven meters higher than the north, so most of the main halls are located at the second floor elevation. The elevated ground floor and the green courtyard form a gracefully flowing space with orderly intricacy. On the ground floor are auxiliary rooms such as the news center and equipment room etc. The whole building is heightened and its appearance is splendid. Concerning the formative arts of architecture, the design successfully combines the characteristics of modern architecture with Egypt's national elements and the Islamic traditional architectural style. Its form faithfully reflects its content, which establishes a connotative connection between form, content and technology. A perfect union oftechnology, arts and culture is also achieved. In absorbing Egypt's traditional architectural form, likeness in spirit is pursued instead of building an Islamic dome or an enclosed symmetrical court square. In the handling of architectural appearance, two round main buildings are supported by a tall, rough and simple colonnade with the common pointed arches of Egypt. The colonnade is well proportioned and appropriately scaled. The large white solid walls, the white marble colonnade and the deep dark brown glass curtain walls are organically integrated into the entire architectural complex. The colonnade, with strong shadows between the concave and the convex, achieves better artistic effects.

7 南立面/South elevation

At the main entrance there is a pedestal with two rows of flagpoles which are able to hang the flags of 120 countries. The 28m wide overpass directly reaches the vestibule and the main entrance hall of the conference center. At the center of the overpass are located a large fountain and the main flagpole, which enhances the joyous atmosphere of the architectural environment.

The west entrance serves exclusively for the banquet hall. In the north there is a huge parking lot with a capacity of 1268 vehicles.

The southeastern part of the base is a large green area, where several Chinese gardens are built.

The project was started on May 6, 1986, by LI Xiannian, then-President of China and Anwar Mubarak, then-President of Egypt. When the construction was completed, it was opened in November, 1989, by YANG Shangkun, then-President of China and Anwar Mubarak, then-President of Egypt. It was awarded Egypt's highest military honor.

8 埃及國家一級軍事勛章/Egypt's national military medal

9 內(nèi)景/Interior view

10.11 內(nèi)景/Interior view

評論

柳亦春：這個建筑讓我們回到了1980年代在設計中關于感性與理性的詮釋與記憶中。理性的是一套隱含的有關軸線與網(wǎng)格的數(shù)學關系，仿佛這個場地中的密碼，由設計者在一開始設定，隨著各種設計元素的進入，密碼被多次轉(zhuǎn)化。這樣的設計，深刻印證著柯布西耶的“平面式生成元”的設計思想，體量的幾何都是平面生成的結(jié)果，立面中衍生的有關埃及地方常見的尖拱形式是設計者的感性疊加，同時也是平面幾何的產(chǎn)物。

彭怒：1950年代的援外項目為中國建筑師提供了實踐在國內(nèi)被批判的現(xiàn)代建筑的機緣，作為1980年代援外項目的代表，該建筑展現(xiàn)了中國建筑師獲得創(chuàng)作自由時所具有的知識和實踐狀態(tài)。設計生成明顯依循了從多軸線系統(tǒng)、平面到基本幾何體組合的原則。圓形主體建筑頂部的連續(xù)尖券，并非傳統(tǒng)建筑符號的拼貼而演化為簡練的體塊組合，呈現(xiàn)出建筑師對伊斯蘭建筑傳統(tǒng)“神似”的主動追求下結(jié)果的“形似”，而非“神似形異”。

Comments

LIU Yichun: This building reminds us of the interpretation of rationality and sensibility in architectural design in the 1980s. The rationality of the building is hidden in the mathematical relationship between axes and grids, like a cipher code of the site set by the designer and repeatedly converted as various design elements are added. The design further confirms Le Corbusier's concept of the plan as the generator. The geometric volume is generated by the plan, and the pointed arch derived from the fa?ade, which is often seen in Egypt, is the overlaying of the architect's sensibility and also the product of plane geometry.

PENG Nu: The foreign aid projects in the 1950s provided opportunities for Chinese architects to practice modernism architecture design, which was criticized in China at that time. As a representative work in the 1980s, the project reflects the professional knowledge and practice capacity delivered by Chinese architects when they were given the freedom in creation. The design apparently follows the principle of multiaxis system and planes, with fundamental geometries. The continuous arch on the top of the main building is not collage of traditional architectural symbols, but achieved by volume organization, which shows the architect's pursuit for "spiritalike" Islamic architecture and the "form-alike" is achieved as a result, rather than "spirit-alike but form-different".

Cairo International Conference Center, Cairo, Egypt, 1989

Architects: WEI Dunshan/Shanghai Municipal Civil Building Design Institute