墨爾本大學(xué)設(shè)計學(xué)院

建筑設(shè)計：約翰·沃德爾，NADAAA

墨爾本大學(xué)設(shè)計學(xué)院

建筑設(shè)計：約翰·沃德爾，NADAAA

簡介

墨爾本大學(xué)項目是2009年組織的國際競賽的結(jié)果。在為墨爾本大學(xué)建筑系及相關(guān)學(xué)科提供新的設(shè)施之外，競賽的重點是重新思考建筑教育的全面挑戰(zhàn)，并突出了4個主題：學(xué)術(shù)環(huán)境、空中工作室、活態(tài)建筑和建筑體教學(xué)。所有這些主題都涉及到時下的迫切問題，并展望了未來的目標(biāo)。在提出這4個主題時，競賽預(yù)見到了跨學(xué)科合作給建筑教育帶來的重大變化，以及教學(xué)空間為各領(lǐng)域的融合創(chuàng)造平臺的途徑，讓整體大于各部分之和。競賽還順應(yīng)了新技術(shù)與在線教育快速興起的潮流，并注意到應(yīng)當(dāng)重新明確空間的需求。這不僅能優(yōu)化個人空間，還有社交、共享手段和互動技術(shù)的集體空間。此外，在經(jīng)濟危機和生態(tài)脆弱的時期，這座建筑需要解決資源利用、改變常規(guī)措施和項目交付方式的問題，并提出這種探索對于建筑生命周期的意義。最后，這個項目還將作為一種教學(xué)模式，不僅提供創(chuàng)新性的學(xué)習(xí)空間，還將作為建筑藝術(shù)品成為教學(xué)工具——通過實例教學(xué)，并改進所用的手段。

城市建筑

建筑、建造與規(guī)劃學(xué)院新樓與《校園總體規(guī)劃》中確定的城市設(shè)計價值相對應(yīng)，并提升了帕克維爾校區(qū)中心區(qū)歷史核心中現(xiàn)有的開放空間。它與現(xiàn)有的景觀要素融為一體，延續(xù)了排列在校園中的室外建筑序列，并與場地周圍密集的交通路網(wǎng)形成緊密的連接。這座新樓與帕克維爾校區(qū)東區(qū)現(xiàn)有的場所感相得益彰。

街道

兩個庭院之間的聯(lián)系不僅能讓人看到圖書館和制造試驗室，還能通過一洞圓窗望見上方的工作室大廳。

約瑟夫·里德罩屏

100多年前，約瑟夫·里德設(shè)計了新南威爾士銀行的立面，樹立在墨爾本市中心的科林斯大街上。這個立面在1938年被遷到校園中心，但與所安置的建筑樓層并無關(guān)系。最近的一次改造去掉了立面上的樓板，將后部改為灰泥，并改變了洞口，讓它與西側(cè)的連橋在二層相接。它的“大鼻子”成了親密的工作室，并從灰泥墻上延伸出來一條長桌。這個空間的墻面和樓面的墊層均為紅色環(huán)氧樹脂涂層，烘托出室內(nèi)活動的氣氛。

學(xué)術(shù)環(huán)境

這個建筑設(shè)計是教學(xué)問題與空間環(huán)境碰撞的案例。這里不僅有人使用，而且每天都要經(jīng)歷專家、批評家、教師、建筑師和學(xué)生以及反對者的檢驗。它或許是使用者與建筑互動的一個罕例，而建筑師在更高的層面上擔(dān)負(fù)起新的挑戰(zhàn)和責(zé)任，細(xì)致入微地處理建筑的問題。建筑學(xué)院在經(jīng)歷重大變革的同時，在功能類型和空間上也出現(xiàn)了許多變化，使之成為遐想與鉆研的沃土。新的技術(shù)成就改變了許多組織結(jié)構(gòu)和功能方面的根本需求。無論人們有多么懷念手繪圖，計算機工作站還是淘汰了傳統(tǒng)的繪圖板及配套用品——平行尺、圖紙柜、鉛筆、橡皮等等。與此同時，制造實驗室、3D打印機、出圖機、激光切割機等大量數(shù)字設(shè)備不再稀罕，而是智能工作環(huán)境的必需品。只有這樣才能讓學(xué)校順應(yīng)當(dāng)代制圖手段和工作方法的潮流。同樣，在線教育的快速興起不僅改變了全世界獲得教育的途徑，而且顛覆了指定位置和校園教育的特權(quán)。因此，大多數(shù)學(xué)校都積極開展籌款活動，將新技術(shù)作為每年收購的基本項目，繼而尋求資助課程的其他途徑。

2 入口/Entrance

Introduction

The Melbourne University project is the result of an international competition, organised in 2009. The focus of the competition, beyond housing the new facilities of the Melbourne University architecture department – and its related disciplines – was to rethink the entire challenge of architectural education to give priority to four themes: the "academic environment", the "suspended studio", the "living building", and "built pedagogy", all themes that cover certain urgencies of this time, while projecting forward various ambitions for the future. In offering these four themes, the competition foresaw some critical changes in architectural education that are the result of inter-disciplinary work, and how spaces of pedagogy can react to and accommodate a platform for various fields to come together and form something larger than the sum of their parts. The competition also acknowledged that with the rapid rise of new technologies and online education, that spatial needs need to be redefined not only to optimise personal spaces, but also collective spaces of interaction, shared media and interactive technologies. Further to this, in a time of both economic crisis and ecological vulnerability, the building would need to address the use of resources, challenging conventional means and methods of project delivery, while also projecting forth an understanding of the life cycle implications of such a venture. Finally, the project is also to serve as a pedagogical model, not only offering new and innovative spaces for learning, but also as a built artifact, to serve as a pedagogical instrument – to teach by example and radicalise the media with which it is working.

3 外立面細(xì)部/Screen drawing

室內(nèi)立面

各層樓板均由精細(xì)的不銹鋼管柵欄圍住，樓面支撐著桌椅和臺面。各種要素都從索網(wǎng)欄桿上凸起，使索網(wǎng)更加牢固，并增加了走廊的可用面積。

4 空間構(gòu)成示意圖/Space constitution diagram

5 剖面/Section

6 空中工作室/The suspended studio

空中工作室

藻井作為第五立面，必須同其他4個立面一樣與環(huán)境相呼應(yīng)。藻井的對角都向南，給樓層帶來充足的陽光。每個洞口上的穿孔鋅條板蓋能避免太陽的高位眩光。連續(xù)的木造型表達(dá)出天花懸物的力量感?？罩泄ぷ魇业谋砻鏁S天花板的距離變化，從面狀逐漸轉(zhuǎn)為棒狀。表面的材料在實心膠合板面與穿孔背板之間變換，并有吸音絮為空間降噪。懸物本身的尖面有助于分散聲音，而不會反射。

Y形樓梯

大廳周圍分散的樓梯被聚為獨具特色的層疊樓梯。一連串常規(guī)的直跑樓梯貫通一至四層，形成了一種不同尋常的樓梯。每段直跑樓梯的中間平臺都一分為二，回轉(zhuǎn)成為折返梯段，讓人可以選擇替代路線，以縮短達(dá)到目的的路程。這種布局在每層重復(fù)，但要旋轉(zhuǎn)180o，形成一種皮拉內(nèi)西式的路網(wǎng)。每個樓梯都有木襯里，使樓梯上的感受和陽臺邊不同。外表面襯有氈狀吸音板，有助于降低來自工作室大廳的噪音。

建筑體教學(xué)

作為教學(xué)場所，這座建筑本身就是“建筑體教學(xué)”，即通過明確展示材料、構(gòu)造和空間組織關(guān)系，甚至表達(dá)矛盾的復(fù)雜性來指導(dǎo)使用者和來客。這個工作室不僅是一個房間或空間，還是一種學(xué)習(xí)的手段，側(cè)重在相互批判、協(xié)助與合作的環(huán)境中進行實踐、創(chuàng)造并解決問題。在這個意義上，整棟建筑就是一個大工作室。活態(tài)建筑能適應(yīng)所處的環(huán)境，并與使用者相互作用。學(xué)院共有283名研究員、專業(yè)人士和學(xué)者。他們參與多種多樣的研究課題；有的需要合作，有的需要與世隔絕。對日照和自然通風(fēng)要求都很高的學(xué)術(shù)環(huán)境是一個重要的形式因素。

活態(tài)建筑

建筑的立面以獨特的方式呼應(yīng)著特殊的場地和性能要求，具體分為兩個部分。第一部分是防風(fēng)雨的圍護結(jié)構(gòu)。它能蓄熱保溫，并有用于觀景和通風(fēng)的開孔。第二部分是控制日照的屏板。建筑圍護結(jié)構(gòu)可以作為調(diào)節(jié)日照和氣候條件的教學(xué)示范。東、西、北3個立面受日照調(diào)節(jié)影響最大。屏板用800mm的鋼架掛在防風(fēng)雨的立面上，這個鋼架還支撐著維護用的走道。每塊屏板都由3個水平點支撐，減少了對垂直加固的需求。建筑的防風(fēng)雨圍護結(jié)構(gòu)在南面最開敞，各種功能要素也顯露在這里。這個由預(yù)制混凝土板制成的表面呈波形紋理，與屏板材料所用的紋理相反。立面轉(zhuǎn)向東西的角部可以看到鑄件與模具之間的關(guān)系，而波形金屬板與預(yù)制混凝土表面是脫開的?！酰ㄉ袝x 譯）

7 內(nèi)景/Interior view

8 軸側(cè)示意/Joseph reed diagram

Urban Rooms

The new building for the Faculty of Architecture, Building and Planning responds to the urban design values identified in the Campus Master Plan and enhances the existing open spaces within the historic core of the Centre Precinct of the Parkville Campus. It engages with the existing landscape elements, continues the sequence of outdoor rooms arrayed across the campus, and links strongly to the intricate network of circulation routes that surround the site. The new building compliments and enhances the sense of place that the Eastern Precinct of the Parkville Campus already commands.

The Street

A linkage between two courtyards reveals not only the library and fabrication lab, but also, through an oculus, the Studio Hall above

J-reed Mask

The Joseph Reed designed the facade of the Bank of New South Wales to stand on Collins Street in downtown Melbourne over a century ago. The facade was re-located in 1938 on the centre of campus with no particular relationship with the floors of the building it was attached to. The latest appropriation leaves the facade free of floor plates standing allowing the back to become plastic and morph it's openings to meet the western bridge on level 02. The large "nose" becomes an intimate workspace for a studio reinforced by a long table extending from the plaster wall. The lining on both walls and floor of the space is a visceral red epoxy coating adding to the intensity of the activity within.

9 走廊及展覽空間/Gallery and exhibition spaces

10 各層平面/Visiters plan

11 剪刀梯/Y stairs

12 公共空間/Public spaces

The Academic Environment

The design of this building presents a case where problems of pedagogy come face to face with a physical environment that is inhabited and tested daily by an audience of experts, critics, teachers, practitioners, and students, the very protagonists of the medium. It is perhaps one the few occasions where the audience is engaging with the building and its authors at a higher level, making it a added challenge – and responsibility – to speak to architectural questions with a greater degree of nuance. While schools of architecture have seen some significant changes over time, they have also seen a good deal of typological and spatial variety, making them an open and rich terrain for speculation and research. More recent technological advancements have changed some fundamental organisational and functional demands. The computer station, despite all yearnings for the hand drawing, has led to the obsolescence of the traditional drafting board, and its amenities – parallel rules, paper storage, pencils, erasers, and a host of equipment. So too, FAB-labs, 3D printers, plotters, laser cutters and a host of other digital paraphernalia are no longer a privilege, but an absolute necessity of the intellectual environment, if the school is to be relevant for the current means and methods of production. Concurrently, the rapid rise of online education is transforming not only worldwide access to education, but also the special privilege of location-specific and on campus education. For this reason, most schools have incorporated aggressive capital campaigns that target new technologies as the basis of many annual acquisitions, and in turn, have sought other ways of subsidizing the programmes.

Interior Facade

An intricate lace of stainless steel tubing wraps the edge of each floor plate supporting the tables benches and counters. Each element pushes out against the cable mesh balustrade increasing the mesh rigidity and the usable area of the corridor.

The Suspended Studio

The coffered ceiling acts as the fifth elevation and must respond to the same environment as the other four fa?ade. Each coffer void angles toward the south to allow ample daylight down to the floor while perforated zinc slatted cowls over each opening protect from glare from high sun. The figure of the continuous timber form expresses the forces of a hanging object drooping from the ceiling. The surface of hanging studios itself transforms as it distances itself from the ceiling, becoming less planar and more baton formed. The surface also alternates from solid plywood surfaces to perforated panels back with acoustic batting to assist in softening the noise in the space. The angled surface of the object itself aids in the distribution of sound rather than reflection.

Y-stair

Condensing the dispersed set of stairs around the hall into the unique stacked stair condition. A conventional series of straight run stairs linking L01 L02 L03 and L04 serves as a basis for an unconventional stair typology. At each mid landing of each straight run the stair splits and turns back as a return stair thus allowing the user to choose alternate routes to shorten their path to their given destination. The configuration is repeated at each level but rotate 180 degrees producing a Piranasian lacing of pathways. Each stair is lined in timber separating the experience of traveling along its length as different from the balcony edges. the outer surface is lined with a felt-like acoustic paneling that helps subdue the noise from the studio hall.

Built Pedagogy

As a place for teaching the building itself would be Built Pedagogy, active in the education of its occupants and visitors through its clarity of materials, tectonics, and organisation and even express the complexities of contradicting pressures. The Studio is not only a room or space, but a way of learning that preference the acts of doing, making and problem solving in an environment of critical, supportive and partnering peers. In this definition the entire building can become the studio. The Living building is an edifice that reacts to environment it is built in as well as reacts and engages to those people that occupy it. The faculty is composed of 283 researchers, professional and academic staff, involved in an expansive variety of research topics requiring environments ranging from collaborative to hermetic. The Academic Environment with its rigorous day lighting and natural ventilation requirements became a primary form driver.

The Living Building

The building facade makes a distinct response to the specifics of place and the particulars of performance, in two parts. The first part is a weatherproof envelope that provides thermal insulation and punctuated apertures for vision and ventilation. The second part is a screen that controls solar access. The building envelope is a didactic demonstration of the mediation of solar and climatic conditions. The east, west and north facades are most affected by the mediation of solar conditions. The screen is held off the weatherproof fa?ade by 800mm by a steel armature that also supports a catwalk for maintenance access. Each screen panel is supported by 3 horizontal points reducing the necessity for vertical reinforcing. The weatherproof envelope of the building is most apparently revealed to the south, and here specific elements of the functional programme find expression. Constructed of precast concrete panels the surface is patterned with a corrugated texture that is the reverse of the texture of the material utilised for the screen. The relationship between cast and mold can be understood at the corner conditions where the fa?ade turns east and west, and the corrugated metal panels peel and stand off from the precast concrete surface.□

項目信息/Credits and Data

客戶/Client: 墨爾本大學(xué)/University of Melbourne

面積/Size: 15,772 m2(169,768 square feet)

總負(fù)責(zé)人/Principals in Charge: John Wardle & Stefan Mee

設(shè)計協(xié)調(diào)人/Design Coordinator: Stefan Mee

高級設(shè)計/Senior Associate: Meaghan Dwyer

項目經(jīng)理/Project Manager: Stephen Georgalas

項目團隊/Project Team: Bill Krotiris, Andy Wong, Jasmin Williamson, Adam Kolsrud, Alex Peck, Barry Hayes, Jeff Arnold, Amanda Moore, James Loder, Sharon Crabb, Yohan Abhayaratne, Rebecca Wilkie, Ben Sheridan, Giorgio Marfella, Kirrilly Wilson, Elisabetta Zanella, Adrian Bonaventura, Genevieve Griffiths, Michael Barraclough, Matthew Browne, Maria Bauer, Anja Grant

總負(fù)責(zé)人/Principal in Charge: Nader Tehrani

項目經(jīng)理/Project Manager: John Chow

設(shè)計協(xié)調(diào)人/Design Coordinator: Arthur Chang

項目團隊/Project Team: Katie Faulkner, AIA; Daniel Gallagher, AIA; James Juricevich, Parke MacDowell, Marta Guerra Pastrián, Tim Wong, Ryan Murphy, Rich Lee, Kevin Lee, Ellee Lee

建成時間/Completion: 2014

圖紙版權(quán)/Drawing Credits: JWA/NADAAA

攝影/Photos: John Horner (fig. 1, 2, 7, 9, 11, 16), Roland Halbe (fig. 15), Peter Bennetts (fig. 6, 12-14)

School of Design at the University of Melbourne

Architects: John Wardle, NADAAA

作者介紹：NADAAA建筑事務(wù)所主持設(shè)計師

2017-07-06