東大邱交通樞紐韓國東大邱

業(yè)主：東大邱運輸公司、新世界公司

項目規(guī)模：16.73萬平方米

類型：市政+文化、綜合用途、商業(yè)、交通

合作設計單位：Haeahn Architecture（記錄建筑設計單位）

攝影：Brian Chung (p89)，Tim Franco (p89, 90, 91, 92)Tim Griffith (p92)

Client: Dongdaegu Transportation, Shinsegae Company

Size: 167,300 SM

Program: Civic + Cultural, Mixed-Use, Retail, Transportation

Team: Haeahn Architecture (Architect of Record)

Photography: Brian Chung (p89), Tim Franco (p89, 90, 91, 92),Tim Griffith (p92)

車站將一系列交通功能整合至一座獨立門戶。它包含了相互咬合的體量和各種形態(tài)的材料。

業(yè)主要求KPF設計一座高效聯(lián)通的建筑，沿新建的購物、餐飲和活動設施整合地鐵、公共汽車和高速鐵路，打造大邱社區(qū)的市民中心。最終設計包含12個相互連接并懸挑的矩形體量，視覺上實現(xiàn)了動態(tài)協(xié)調(diào)。這些體量代表了運動前的靜止時刻，體現(xiàn)了強有力的極簡主義實現(xiàn)方法，平衡了長短比例。例如，所有逃生樓梯均隱藏于面板后方，盡管這一設計處理會帶來運營上的障礙。這種整體結(jié)構也呼應了業(yè)主對東大邱交通樞紐的愿景，可以體現(xiàn)其商業(yè)品牌的重要性。雖然沒有展示新世界商業(yè)身份的華麗裝飾，但其擁有博物館般的品質(zhì)特征，彰顯了其目的地功能。

建筑的材料表達遵循這個巧妙的體量解決方案。雖然商業(yè)中心通常采用透明設計，在玻璃墻內(nèi)展示商店品牌，但這一樞紐采用的不透明立面卻展示出各類石材和玻璃材質(zhì)。業(yè)主新世界僅僅要求使用花崗巖材料—這為韓國建筑語言中的常見材料，經(jīng)常在佛教寺廟中應用。因此，設計應用了不同飾面，以代表不同的內(nèi)部功能—拋光、粗鑿和亞光飾面變得更亮或更暗、光澤更強或更弱。在米色花崗巖和半透明玻璃之間，設計團隊營造出一種平衡構圖，除對角線外，沒有任何相同的飾面相互接觸。然而，當以三維形式呈現(xiàn)時，在懸挑結(jié)構底部應用花崗巖會存在結(jié)構上的風險。因此，KPF為了解決了這一問題，嘗試了一系列輕質(zhì)的材料，以模擬和立面類似的視覺效果，使每一個體塊從各個面看起來都是一個實體。

This station combines a range of transport programs into a single gateway composed of massing interlocks and diverse material gestures.

The client challenged KPF to craft a building that would provide efficient connectivity and function as a civic center within the Daegu community, integrating subway, buses, and high-speed rail, alongside new amenities for shopping, dining, and event-going. The final design includes twelve rectangular volumes, connected and cantilevered, which appear visually dynamic in concert. They represent the moment of stillness before motion and embody a powerful approach to minimalism, balancing short and long proportions . For instance, all egress stairs are tucked behind the veneer, demonstrating an operational roadblock posed by commitment to this design methodology. Yet this monolithic structure also echoes the client’s desire for Dongdaegu Transportation Hub to represent the importance of its retail brand. Though devoid of decorative flourish that might denote Shinsegae’s commercial identity,its disposition evokes a museum-like quality that suggests its role as a destination.

The building’s material expression follows this clever massing solution. While typical retail centers are transparent, branded by the stores containeds within their glass walls, the hub’s opaque facades present varied textures of stone and glass. Shinsegae requested using a single granite species,which is common to Korea’s architectural language and traditionally used at Buddhist temples.Multiple finishes denote different internal programs – polished, chiselled and honed blocks become lighter or darker, sheen or matte. Between these shades of beige granite and translucent glass,the design team fashioned a balanced composition in which none of the same finishes touch one another except diagonally. However, when rendered in three dimensions, the granite’s application to the bottom of the cantilevered blocks posed a structural hazard. KPF solved this by testing lighter materials that could be painted to mimic the visual effect of each block being a solid object.