星宇項(xiàng)目，新加坡

建筑設(shè)計(jì)：Aedas

Architects: Aedas

1.2 鳥(niǎo)瞰/Aerial views（圖片來(lái)源/Sources: Aedas）

星宇項(xiàng)目設(shè)計(jì)方案內(nèi)涵豐富，無(wú)法單一解讀。項(xiàng)目設(shè)計(jì)采用了多面可滲透的設(shè)計(jì)，富有穿透性，生動(dòng)反映了室內(nèi)豐富多樣的活動(dòng)，并模糊了公共區(qū)域、私人領(lǐng)域以及商業(yè)和文化部分之間的界限。項(xiàng)目采用柔和流動(dòng)的過(guò)渡設(shè)計(jì)，鼓勵(lì)人們探尋，使得項(xiàng)目成為充滿(mǎn)活力和吸引力的城市目的地。項(xiàng)目面積62,000m2，包括由Rock Productions Pte Ltd.管理經(jīng)營(yíng)的星宇表演藝術(shù)中心和由凱德商用產(chǎn)業(yè)有限公司管理經(jīng)營(yíng)的商業(yè)和娛樂(lè)區(qū)。項(xiàng)目不僅成為緯壹科技城的地標(biāo)建筑，同時(shí)還為更大范圍內(nèi)的新加坡市民提供了優(yōu)質(zhì)娛樂(lè)、生活和商業(yè)體驗(yàn)。

項(xiàng)目旨在成為富有活力的城市節(jié)點(diǎn)，包括一座5000席的文化劇院和餐飲為主的商業(yè)部分，兩個(gè)部分互為補(bǔ)充，提高了彼此的活力。項(xiàng)目基地屬于新加坡緯壹科技城總體規(guī)劃的一部分。該總體規(guī)劃旨在打造可舉行各種市民和文化活動(dòng)的區(qū)域中心，鼓勵(lì)創(chuàng)意和創(chuàng)新產(chǎn)業(yè)發(fā)展。為符合緯壹科技城的大膽定位，建筑需要滿(mǎn)足業(yè)主任務(wù)書(shū)對(duì)于打造標(biāo)志性建筑的要求以及相關(guān)的功能和技術(shù)要求。

此外，總體規(guī)劃說(shuō)明了詳細(xì)的規(guī)劃限制條件，包括：連接人行道、建筑圍護(hù)、建筑控制高度、保留基地現(xiàn)有地形與關(guān)鍵的基地特色，以及保留/移植重要的成材樹(shù)木。

為滿(mǎn)足上述條件，設(shè)計(jì)采用了如下措施：

（1）保留基地天然地形：《城市規(guī)劃導(dǎo)則》要求保留原有地形標(biāo)高，并強(qiáng)調(diào)重要的基地地貌。建筑物將底層劃分為一層（從南側(cè)，東南和西側(cè)進(jìn)入）和二層（從北側(cè)和東北進(jìn)入），適應(yīng)了標(biāo)高上的變化（+118.50 FFL - +111.00 FFL）。

（2）+111.0 FFL - +115.0 FFL標(biāo)高的不同出入口和落客點(diǎn)融入到開(kāi)放式廣場(chǎng)中，吸引游客從各個(gè)主要連接點(diǎn)進(jìn)入項(xiàng)目。

（3）基地地形為山地，標(biāo)高+111.00 FFL - +118.50 FFL；設(shè)計(jì)采用一系列退臺(tái)露臺(tái)再現(xiàn)山地地形，同時(shí)在星宇表演藝術(shù)中心處設(shè)置了貴賓落客點(diǎn)。

3 外景/Exterior view（攝影/Photo: ?Paul Warchol）

（4）人行交通：設(shè)計(jì)了自然通風(fēng)的有滲透性接地平面，中間設(shè)置35m高的大型廣場(chǎng)，向來(lái)自地鐵站，緯壹科技城和其他未來(lái)項(xiàng)目的主要人流量開(kāi)放。

（5）融合公共空間：將非正式的公共空間精心融入到建筑物地下一層、二層和三層中，打造了多處帶景觀的公共區(qū)，可用于舉辦表演活動(dòng)、展覽、聚會(huì)和其他公共活動(dòng)。

由于公共和文化區(qū)域的總建筑面積限制，機(jī)電豎向布置需要優(yōu)化，為更加重要的表演、大堂和動(dòng)線空間騰出更多建筑面積。

星悅匯

商業(yè)空間設(shè)計(jì)與復(fù)雜的基地地形響應(yīng)，區(qū)域采用內(nèi)凹設(shè)計(jì)方便設(shè)置主入口，并直達(dá)開(kāi)放的圓形劇場(chǎng)。這種復(fù)雜的設(shè)計(jì)在確保功能性的同時(shí)，為大樓內(nèi)各類(lèi)活動(dòng)的開(kāi)展創(chuàng)造條件。

小面玻璃裂紋消解了體量的龐大感，確保實(shí)體空間與周邊空間的動(dòng)態(tài)融合以及平衡感。南向立面完全開(kāi)敞，內(nèi)部設(shè)施可從外部一覽無(wú)余。大樓被設(shè)計(jì)成一個(gè)有機(jī)的整體，等待人們進(jìn)行探索。人們可以在低區(qū)迂回漫游，流連其間，穿越各種坡道、扶梯、露臺(tái)及公共花園攀至頂點(diǎn)。所有的流線、運(yùn)動(dòng)及內(nèi)部形狀均委婉柔和，交織各類(lèi)活動(dòng)。

文化分區(qū)與商業(yè)分區(qū)之間采用豎向柔性過(guò)渡的手法連接，由最開(kāi)放、公共程度最高的零售商場(chǎng)漸次進(jìn)入具有一定私密性的劇場(chǎng)空間。整個(gè)順序及變換與33m高的大廳從視覺(jué)及空間上串聯(lián)，連通了地下商業(yè)及頂部玻璃層的影院主大廳，坦露出建筑懸空部分的內(nèi)部空間。

星宇表演藝術(shù)中心

作為市政及公共場(chǎng)所的星宇表演藝術(shù)中心的外觀設(shè)計(jì)極富沖擊力。與星悅匯一樣，南向立面為開(kāi)敞立面，將設(shè)施內(nèi)部的運(yùn)營(yíng)展露在外。建筑劇場(chǎng)部分處于懸空，外立面玻璃幕墻分割為不規(guī)則多面體，并采用了阻止震動(dòng)和噪音的定制材料，有助于緩和并分解上方龐大體量，巧妙組合排布正負(fù)空間，與建筑下半部分達(dá)到虛實(shí)平衡。

影院包含兩個(gè)包廂，擁有超過(guò)5000個(gè)座位，是迄今為止新加坡同類(lèi)設(shè)施中規(guī)模最大的演出場(chǎng)地，可以承擔(dān)音樂(lè)劇、音樂(lè)會(huì)及其它大型演出?？招膲γ嫦到y(tǒng)阻擋了大廳內(nèi)部及外部環(huán)境的聲響及振動(dòng)。影院的整個(gè)鋼結(jié)構(gòu)被包覆在傳統(tǒng)的“箱中箱”結(jié)構(gòu)內(nèi)。

可持續(xù)性

本項(xiàng)目主要作為一棟社會(huì)性建筑，旨在通過(guò)對(duì)公眾開(kāi)放的公共區(qū)域及商業(yè)區(qū)為當(dāng)?shù)鼐用裉峁┗盍Φ纳鐣?huì)界面。

項(xiàng)目打造了一系列強(qiáng)調(diào)自然風(fēng)環(huán)境的防風(fēng)雨室外空間，在為戶(hù)外顧客提供自然制冷的同時(shí)，為訪客提供空間，遮蔽新加坡的熱帶風(fēng)雨及日光。

為了避免與新加坡其他眾多場(chǎng)所內(nèi)設(shè)置空調(diào)的狹窄公共空間一樣，大樓外型可以收集南北向的盛行風(fēng)，加速通過(guò)外部空間，為顧客打造舒適的戶(hù)外座椅區(qū)，進(jìn)而推廣健康的戶(hù)外環(huán)境。

此外，還設(shè)有雨篷阻擋日光及風(fēng)雨的直接影響，進(jìn)一步收集微風(fēng)，并控制室內(nèi)外環(huán)境之間的視覺(jué)對(duì)比，提高用戶(hù)的舒適感。

大樓的設(shè)計(jì)靈感將成為可持續(xù)及被動(dòng)設(shè)計(jì)的典范。隨著被動(dòng)設(shè)計(jì)中第一原則的應(yīng)用，大樓與四周環(huán)境互為補(bǔ)充，融為一體。

設(shè)計(jì)應(yīng)用了計(jì)算流體動(dòng)力學(xué)，優(yōu)化自然及生物學(xué)通風(fēng)效果，在通常采用空調(diào)的普通流線區(qū)域內(nèi)營(yíng)造出舒適的熱環(huán)境。

此外，在僅靠自然通風(fēng)無(wú)法滿(mǎn)足舒適要求的區(qū)域還實(shí)施了混合通風(fēng)策略，以獲得最佳舒適度。在地下市民廣場(chǎng)內(nèi)，安裝了設(shè)有高容量低速風(fēng)機(jī)的機(jī)械輔助蒸發(fā)冷卻系統(tǒng)，在避免機(jī)械冷凍的同時(shí)，提供了戶(hù)外熱舒適所需的空氣流動(dòng)。

通過(guò)使用建筑物理技術(shù)，優(yōu)化了項(xiàng)目朝向。并對(duì)采光、日照得熱、眩光及熱舒適均進(jìn)行了分析。減少了東西外露面積，最大程度降低整體日光得熱。對(duì)外立面的設(shè)計(jì)、性能及窗墻比進(jìn)行了優(yōu)化，最大化使用區(qū)域的采光，并進(jìn)一步控制日光得熱量。

除了上文所述的應(yīng)用了第一原則的整體被動(dòng)設(shè)計(jì)外，項(xiàng)目還采用了大量措施，來(lái)降低整體能耗：

（1）采用了設(shè)有變壓變頻及休眠模式的節(jié)能電梯及扶梯，來(lái)降低能耗。

（2）在公共區(qū)域（如樓梯及衛(wèi)生間）內(nèi)采用運(yùn)動(dòng)傳感器照明控制，來(lái)降低照明能耗。

（3）觀眾廳采用了地板下送風(fēng)系統(tǒng)，通過(guò)為溫度稍高的使用平面?zhèn)鬏敍鲲L(fēng)來(lái)減少制冷要求及能耗。

（4）地下車(chē)庫(kù)采用了設(shè)有CO傳感器的無(wú)管風(fēng)機(jī)，最大化減少系統(tǒng)阻力降低能耗。

（5）開(kāi)敞商業(yè)空間設(shè)計(jì)在空氣調(diào)節(jié)方面節(jié)約了大量能源。

空調(diào)系統(tǒng)、空調(diào)泵及冷卻塔設(shè)計(jì)分別為項(xiàng)目減少了20%、39.1%及29%的能耗。與非可持續(xù)設(shè)計(jì)項(xiàng)目相比，本項(xiàng)目的整體節(jié)能率預(yù)計(jì)為15%，預(yù)計(jì)年度運(yùn)營(yíng)耗電量為499kWh/m2。這些數(shù)據(jù)均滿(mǎn)足新加坡建設(shè)局綠色建筑標(biāo)志金獎(jiǎng)要求。

項(xiàng)目的設(shè)計(jì)也側(cè)重于減少飲用水的消耗和水污染。對(duì)雨水和空調(diào)冷凝水進(jìn)行收集，并用作灌溉種植區(qū)域的替代水源。這種替代水源也用于冷卻塔，由城市的新生水（經(jīng)過(guò)處理的未使用的水）來(lái)補(bǔ)充，無(wú)需使用飲用水。

此外，遍布整個(gè)基地的入滲溝有助于減少雨水徑流，最大化減小對(duì)當(dāng)?shù)鼗A(chǔ)設(shè)施造成的壓力，并減少污染。除了這些措施之外，所有主要用水計(jì)量分表都與建筑管理系統(tǒng)相連，以監(jiān)控用水量，有助于在未來(lái)建立節(jié)水的指導(dǎo)方針。

除了盡最大可能增加人體舒適性、減少資源消耗之外，運(yùn)輸、廢物處理和空氣質(zhì)量等問(wèn)題在設(shè)計(jì)之時(shí)也得到了精心的考慮。下列為在基地得以實(shí)施的額外舉措：

（1）在施工期間移走現(xiàn)場(chǎng)的原始樹(shù)木，竣工后重新栽回。

（2）回收?qǐng)@藝?yán)糜诙逊省?/p>

（3）為操作性廢物轉(zhuǎn)移提供了垃圾箱。

（4）建筑的位置靠近Buona Vista地鐵站和公共汽車(chē)站，促進(jìn)了公共交通的使用。

（5）提供自行車(chē)停車(chē)場(chǎng)及相關(guān)設(shè)施。

（6）在停車(chē)場(chǎng)設(shè)有混合動(dòng)力車(chē)和電動(dòng)汽車(chē)充電站。

（7）在停車(chē)場(chǎng)安裝導(dǎo)引系統(tǒng)，方便分區(qū)，并在必要時(shí)暫時(shí)關(guān)閉沒(méi)人使用的地方。

（8）安裝了制冷劑泄漏檢測(cè)系統(tǒng)，以免制冷劑泄漏。

（9）為保護(hù)室內(nèi)空氣質(zhì)量，使用了低揮發(fā)性有機(jī)物涂料和低甲醛黏合劑。

（10）為盡量減小對(duì)整體環(huán)境的影響，在施工中采用了環(huán)境規(guī)劃方案。

（11）在租賃協(xié)議中限制租戶(hù)的能耗水平。

該發(fā)展項(xiàng)目在社會(huì)、經(jīng)濟(jì)、環(huán)境和生態(tài)方面均高水平融入了這個(gè)密集的城市環(huán)境中，并在熱帶地區(qū)設(shè)立了全新的先進(jìn)公共空間的設(shè)計(jì)標(biāo)準(zhǔn)。

安保系統(tǒng)和無(wú)障礙設(shè)計(jì)

開(kāi)發(fā)一種表達(dá)項(xiàng)目中商業(yè)及市民元素的建筑語(yǔ)言是至關(guān)重要的。其南立面完全對(duì)外開(kāi)放，從室外景觀區(qū)域清晰可見(jiàn)內(nèi)部設(shè)施運(yùn)營(yíng)狀況。上部文化部分采用小塊玻璃的設(shè)計(jì)，以減少整體體量的視覺(jué)影響，在對(duì)劇場(chǎng)正負(fù)空間解讀的同時(shí)，與商業(yè)部分的虛實(shí)空間保持平衡。

在運(yùn)營(yíng)第一年，預(yù)計(jì)僅在此舉辦新加坡36%的文化活動(dòng)。

（1）完全符合無(wú)障礙要求。

（2）商業(yè)區(qū)域及文化區(qū)域遍布家庭休息室、嬰兒換尿布設(shè)施及哺乳室。

（3）二層、三層及屋頂?shù)木坝^空中廊道增強(qiáng)了室內(nèi)空間的空氣流動(dòng)及綠化效果。

（4）位于商業(yè)區(qū)中心的綠化市民廣場(chǎng)活動(dòng)空間供市民24小時(shí)全天候使用。

（5） 三層的景觀“開(kāi)放式”圓形劇場(chǎng)供公眾使用。

（6）通過(guò)街區(qū)行人通道可隨時(shí)進(jìn)入。

材料&施工方法

整個(gè)項(xiàng)目利用含纖維玻璃夾層的高性能三重釉面玻璃系統(tǒng)，以大大減少烈日烘烤，同時(shí)提供了一個(gè)透明的建筑外觀，其內(nèi)部體驗(yàn)從外部清晰可見(jiàn)。項(xiàng)目商業(yè)區(qū)域及室外區(qū)域采用了回收利用的防滑花崗巖鋪路石。劇場(chǎng)前廳區(qū)域采用的是本地竹子制作的竹地板。劇場(chǎng)采用的是防過(guò)敏地毯，劇場(chǎng)室內(nèi)包層則采用含單層吸音氈襯板的輕質(zhì)鋅鋁穿孔板。

項(xiàng)目采用的主要方法為逆作施工法。通過(guò)采用特殊技術(shù)，確保了地下室及上層結(jié)構(gòu)施工的同時(shí)進(jìn)行。也就是說(shuō)，當(dāng)一個(gè)施工隊(duì)伍進(jìn)行底部4層施工的同時(shí)，另一個(gè)施工隊(duì)員正在進(jìn)行上方建筑的施工。

三層以上的結(jié)構(gòu)總共包含11,000t的鋼結(jié)構(gòu)。由于形狀不規(guī)則、跨度大，且樓層高度較高，設(shè)計(jì)考慮了大型橫梁及桁架裝配的上下輸送。這些重型塔吊由承包商負(fù)責(zé)；完全伸展至50m時(shí)，每個(gè)塔吊的臂端吊重為7~8t，當(dāng)?shù)醣劭拷行臅r(shí)，其吊重可達(dá)24噸。在處理靠近建筑邊緣一些重達(dá)25t的重型貨物時(shí)，還采用了移動(dòng)式起重機(jī)。

從鋼結(jié)構(gòu)處理、設(shè)計(jì)、放線、工廠及安裝施工圖到為工廠計(jì)算機(jī)數(shù)控機(jī)床創(chuàng)建輸入的鋼結(jié)構(gòu)過(guò)程中廣泛采用了BIM技術(shù)。

外立面材料在中國(guó)制造，運(yùn)至基地進(jìn)行安裝。由于外立面造型復(fù)雜，需要大量的規(guī)劃、協(xié)調(diào)及密切監(jiān)控工作?！?/p>

The design for The Star does not present one singular expression to describe the project; instead it celebrates the rich and diverse happenings inside the building with a multi-faceted, permeable and dynamic design, blurring the boundaries between public and private realms as well as retail and cultural components. The transitions are soft and flowing to encourage discovery and therefore make it a highly engaging and energetic attraction for the city. The 62,000m2development comprises The Star Performing Arts Centre, a Cultural Zone owned and managed by Rock Productions Pte Ltd; and The Star Vista, a Retail and Entertainment Zone owned and managed by CapitaLand Mall Asia Limited. The development provides a premier entertainment, lifestyle and retail experience not only for one-north but also the wider Singapore community.

The project aims to become a vibrant civic node with a 5000-seat cultural theatre and a food-andbeverage oriented retail sector, working together to enhance each other's viability. The site is located within the larger one-north master plan at Buona Vista, Singapore, which was established to create a regional centre for a wide variety of civic and cultural activities and promote innovation and creativity. In keeping with one-north's bold vision it was paramount that the architectural response to the client’s brief married the functional and technical requirements of an iconic architectural form. In addition, the master plan sets out detailed planning constraints in terms of pedestrian connectivity, building envelope, height control, retaining of site topography and key site features, as well as retaining/transplanting of mature trees of significance.

The development implements the following strategies:

(1) Retention of the Natural Site Topography –The Urban Planning Guidelinesrequired that the original topographical levels were to be retained and certain significant site features were to be emphasised. The building responds to the variance in levels (from +118.50 FFL to +111.00 FFL) by splitting the ground floor into Level 1 (accessing from the south, southeast and west) and Level 2 (accessing from the north and northeast).

(2) The varying access and drop-off points that range from +111.0 FFL to +115.0 FFL are integrated into the open plaza, welcoming visitors from all major connection points.

(3) The hilltop feature that rises from a ground level of +111.00 FFL to +118.50 FFL is re-created by a series of stepped terraces, housing also the VIP drop-off point at The Star Performing Arts Centre.

(4) Pedestrian Connectivity – A naturally ventilated porous ground plate with a 35m high grand plaza at its core opens up to the main pedestrian flows from the MRT, one-north Park and other future developments.

(5) Integration of Civic Spaces – Informal civic spaces are thoughtfully integrated into the lower floors of the building at Basement 1, Level 1 and Level 2, creating several landscaped communal zones where performances, exhibitions , gatherings and other civic activities can be held.

Constraints on gross floor area (GFA) available for the Civic and Cultural Zone also required MEP arrangements to be optimised and stacked to free up GFA for the more critical performances, lobby and circulation spaces within.

The Star Vista

The design for the retail space responds to the challenging site topography as the zone spirals inwards to address the major entry points and culminate in an open amphitheatre. The complex allows an array of rich and varying activities to take place inside the building whilst maintaining functionality.

Faceted glass fissures dissolve big masses and create a dynamic composition of positive and negative spaces as well as a sense of balance. The south elevation is completely opened up and its facilities are clearly visible from outside. The building is an organic object opening to public discovery. One can crawl under, move through, transverse around and climb onto the complex via a series of ramps, escalators, terraces and public gardens. All circulations, movements and internal forms are soft and sinuous as if the civic activities have shaped the inside of the complex.

Soft transition occurs vertically from the public, open retail to the private, enclosed theatre. The entire sequence and transition is linked visually and spatially to the 33 m high grand foyer, connecting the below-ground retail and the top glass floor of the theatre's main lobby and exposing the volume floating above.

The Star Performing Arts Centre

The civic and public components of The Star Performing Arts Centre are paramount and outwardly expressed. Same as The Star Vista, the south elevation is opened up to present the inner workings of the facility as a "visible section". The mass of the theatre floating above is faceted with glass fissures, and utilises custom made ribbons with acoustic render for cladding, which help dissolve and break down the mass above, playing with a composition of positive and negative readings and in balance with the lower portions of solid and void.

The theatre contains over 5000 seats with two balconies, by far the largest venue of its kind in Singapore and is capable of staging musicals, concerts and other large scale performances. A cavity wall system prevents sound and vibrations coming in from the lobbies and external environment. The entire steel structure of the theatre is contained in a traditional "box within a box" approach.

Sustainability

The Star is first and foremost a social building. Its design aims to provide an active and welcoming social interface for the local neighbourhood through the publicly accessible forecourt and retail areas.

A series of climate ameliorated outdoor spaces that accentuate natural air movement has been created to protect visitors against Singapore's tropical rain and sun while at the same time providing outdoor patrons with physiological cooling.

To avoid confining and air conditioning public spaces as in many other parts of Singapore, the form of the building is shaped to collect prevailing northerly and southerly breezes and accelerate through the outdoor spaces, creating comfortable outdoor seating areas for patrons to socialise in a healthy outdoor environment.

Canopies are installed to provide shelter from direct sun and rain, further collect breezes and control the visual contrast between inside and outside environments to enhance the occupants' sensory comfort.

4 軸測(cè)剖面分析/Axonometric section（圖片來(lái)源/Sources: Aedas）

5 內(nèi)景/Interior view（攝影/Photo: ?Virgile Bertrand）

The aspiration for this building is to become an exemplar of both sustainable and passive design. With the use of the first principles in passive design, it complements and integrates with its surroundings.

Computational Fluid Dynamics is used to optimise natural and physiological ventilation effects and create comfortable thermal conditions in the common and circulation areas that would otherwise have to be air conditioned.

A hybrid ventilation strategy is also implemented to maximise comfort in areas where comfortable conditions cannot be achieved by natural ventilation alone. A mechanically assisted evaporative cooling system which employs high volume, low speed fans is deployed in the basement civic plaza, providing air movement that is required for outdoor thermal comfort while avoiding mechanical refrigeration.

The orientation of the development was optimised by using building physics techniques. Daylight, solar heat gain, glare, and thermal comfort were all analysed. East and west exposure was reduced to minimise the overall solar heat gain. The design, performance and window to wall ratio of the fa?ade were optimised to maximise daylight in occupied areas and also further control solar heat gain.

In addition to the holistic passive design by the first principles described above, the development also implements a number of strategies to reduce overall energy consumption:

(1) Energy efficient lifts and escalators with VVVF and sleep mode features reduce energy consumption.

(2) Motion sensor lighting controls in common areas such as staircases and toilets reduce lighting consumption.

(3) An underfloor displacement ventilation system in the auditorium reduces cooling requirements and energy consumption by delivering cool air at a slightly higher temperature at the occupied levels.

(4) Ductless fans with CO sensors are used in the basement car parks, minimising system resistance and reducing energy consumption.

(5) The open space retail design brings a huge energy savings in air conditioning.

The current savings in air conditioning systems, air conditioning pumps and cooling tower for the development are 20%, 39.1% and 29% respectively. The overall energy saving is currently estimated at 15% compared to a non-sustainably designed development, and it is estimated to operate at about 499 kWh/m2/annum. These figures meet the requirements of the BCA Green Mark Gold rating.

The design of the development also focuses on reducing potable water consumption and water pollution. Rain water and air conditioning condensate water is collected and used as alternative water source to irrigate site planting. This alternative water source is also used for the cooling tower, which is supplemented by the city's NEWater (treated unused water) without the need for potable water.

Besides, infiltration trenches throughout the site help reduce storm water runoff, minimising stress on local infrastructure and reducing pollution. In addition to these initiatives, sub-metres for all major water uses are linked to the building management system to monitor water consumption and help set water saving guidelines in the future.

In addition to maximising human comfort and minimising operational resource consumption, issues such as transportation, waste management and air quality were also considered when designing the development. The following list outlines the additional initiatives that are implemented within the site.

(1) Original trees on site were removed during construction and restored post construction.

(2) Recycled horticultural waste is used for compost.

(3) Recycling bins are provided for operational waste diversion.

(4) The building is located in close proximity to the Buona Vista MRT station and public bus stations, promoting the use of public transport.

6 夜景/Night view

7 劇場(chǎng)/The Theatre

(5) Bicycle parking lots and associated facilities are provided.

(6) Recharging stations for hybrid and electric vehicles are available in car parks.

(7) A car park guidance system is installed to facilitate zoning and temporary closure of unoccupied areas when necessary.

(8) A refrigerant leak detection system is installed to avoid leaking of refrigerants.

8 夜景/Night view（攝影/Photo: ?Paul Warchol）

(9) Low VOC paints and low formaldehyde adhesives were used to protect internal air quality.

(10) Environmental programmes were adopted during construction to minimise the overall environmental impact.

(11) Tenancy agreements limit tenants' power consumption.

This development achieves a high level of social, economic, environmental, and ecological integration into this dense urban environment and sets new standards for the design of progressive public spaces in the tropics.

Safety, Security & Accessibility

Developing an architectural language to express both commercial and civic components of the project is paramount. The design opens up the south elevation, allowing the inner workings of the facility to be visible from and to the outdoor landscaped areas. The mass of the upper cultural component is faceted with intersecting glass fissures to reduce the visual impact of the overall volume, playing with a composition of positive and negative readings of the theatre in balance with the use of solid and void in the retail component.

It is planned to run only 36% of cultural events in Singapore during the first year of operation.

(1) Fully barrier free compliant.

(2) Family friendly restrooms, baby changing facilities and nursing rooms are available throughout the commercial and cultural areas.

(3) Intermediate landscaped sky terraces on Level 2, Level 3 and the rooftop promote airflow and greening of the building interior.

(4) Landscaped civic plaza activity space at the heart of the retail zone with 24-hour accessibility for communal use.

(5) Landscaped "open air" amphitheatre at Level 3 for communal use.

(6) 24-hour accessible through block pedestrian linkage.

Materials & Method of Construction

The entire development utilises a high performance triple glazed glass system with a fibreglass interlay to significantly reduce solar heating and provide a translucent appearance, allowing external expression of internal experience. The retail zone and external zones of the project use recycled no-slip granite pavers. The flooring of the pre-function spaces of the theatre is locally procured bamboo. Hypoallergenic carpet is used for the theatre with the internal theatre cladding utilising light weight zinc-aluminium perforated panels with simple acoustical absorptive felt behind.

The main method used was top-down construction. With this special technique, the basement and superstructure were constructed concurrently. In other words, while one team was working downwards to construct the balance of the four basements, another team was working on constructing the building upwards.

The structure from Level 3 onwards consists of about 11,000 tons of structural steel. Due to the irregular shapes, long spans and high floor to floor heights, lifting of large beam and truss assemblies was envisaged and planned for. Three heavy duty tower cranes were erected by the contractors; and each crane could take a tip load of 7~8 tons when fully outstretched at 50m and up to 24 tons when closer to the centre. Mobile cranes were also brought in the handle some of the heavy lifts of up to 25 tons which occurred near the building edge.

BIM was employed extensively throughout the steel structure process, from design, setting out, and factory and installation shop drawings to creating input for the factory's CNC machines.

The fa?ade materials were fabricated in China and shipped to the site for installation. Given the complex geometry of the fa?ade, it required tremendous planning, coordination and close supervision.□

項(xiàng)目信息/Credits and Data

地點(diǎn)/Location: 新加坡緯壹/One North, Singapore

客戶(hù)/Client: Rock Productions Pte Ltd., CapitaMalls Asia Ltd.

設(shè)計(jì)團(tuán)隊(duì)/Design Team: Aedas

結(jié)構(gòu)工程師/Structural Engineers: Parsons Brinckerhoff, Thornton Tomasetti (Before DD Stage)

環(huán)境工程/Environmental Engineer: Arup Singapore Pte Ltd.

消防工程/Fire Engineer: Arup Singapore Pte Ltd.

立面/Fa?ade: Alt Limited

機(jī)電工程/MEP: Mott Macdonald

室內(nèi)設(shè)計(jì)/Interior Design: Aedas

劇場(chǎng)與聲學(xué)顧問(wèn)/Theater and Acoustic Consultant: Artec Consultants Inc.

工程測(cè)算/QS: Langdon & Seah Singapore Pte Ltd.

照明設(shè)計(jì)/Lighting: Lighting Planners Associates(S) Pte Ltd.

景觀設(shè)計(jì)/Landscape: ICN Design International Pte Ltd.

基底面積/Built Area: 19,200 m2

總建筑面積/Total Floor Area: 62,000 m2

建筑高度/Height: 75 m

造價(jià)/Cost: 453.7 MSGD

竣工時(shí)間/Completion Time: 2012.10

攝影/Photos: Aedas, Paul Warchol, Virgile Bertrand