建筑設(shè)計：敦信工作室

普密蓬·桑格特大樓，瑪希隆大學(xué)，佛統(tǒng)府，泰國

建筑設(shè)計：敦信工作室

1 藝術(shù)家柱廊和水池/Artist poles and pond

作為設(shè)計師，我感到言辭窮盡，很難找到合適的語言來解釋和表達(dá)自己的設(shè)計作品所具備的特性。這類表述也許只能提及整個作品的一小部分而忽略了設(shè)計中最重要的方面。這種難以捉摸的重要性存在于外部和內(nèi)部之間，或是實體和抽象之間。如果表述是必要的，我只能談?wù)勗陧椖吭O(shè)計過程中面臨的挑戰(zhàn)和成功克服的限制因素。然而，對建筑來講，建成的作品應(yīng)該是不言自明的。

這個項目最具挑戰(zhàn)性的方面就是所有功能需求都要安排在封閉空間內(nèi)：教室、練習(xí)室、表演室、錄音室等等。比如，噪聲控制對教學(xué)至關(guān)重要，因此門必須始終保持關(guān)閉。這種內(nèi)在的限制因素對建筑裝飾帶來嚴(yán)格的制約。在這些條件下，需要解決的問題是“我們?nèi)绾螢橐粋€音樂學(xué)習(xí)社區(qū)創(chuàng)造出有活力的、能激發(fā)靈感的設(shè)施？”

我作品的核心理念可以稱之為“核心空間”或是“半室外空間”。假如我們將封閉空間視為“黑”，而將開敞空間視為“白”，那么，設(shè)計的焦點就成了在兩者之間進(jìn)行調(diào)和，并創(chuàng)造“灰”空間。灰空間元素產(chǎn)生了延續(xù)性和聯(lián)系性。這種效果將帶來一種感受上的二元性：封閉的和開敞的、肯定的和否定的，等等。這是一種外部和內(nèi)部的交流。這種聯(lián)系源于通過建筑技術(shù)發(fā)展出點、線、面的集合體并共創(chuàng)和諧。設(shè)計與周邊自然環(huán)境相融合：微風(fēng)、陽光、雨露給這個設(shè)想的灰空間披上了自然的外衣。在建筑中，這一“概念空間”持續(xù)不停地前后流動，在某種意義上，模糊了室外與室內(nèi)的界線。

這個項目的亮點是禮堂。禮堂設(shè)計的每一個方面都包含了復(fù)雜的技術(shù)。困難在于音樂廳的建造需要滿足很多條件要求，比如，通過吸音板實現(xiàn)聲音回響的控制、專業(yè)人員的控制臺、音樂廳要能夠舉辦所有種類的音樂表演：聲樂、流行搖滾、爵士、泰國古典音樂和交響樂。為了達(dá)成這個目標(biāo)，需要通過墻面和吊頂?shù)暮熌幌到y(tǒng)調(diào)整降低殘響時間的數(shù)值?！酰ㄍ蹙?譯）

項目信息/Credits and Data

客戶/Client: 瑪希隆大學(xué)音樂學(xué)院/College of Music, Mahidol University

場地面積/Site Area: 32000m2

建筑面積/Floor Area: 30479m2

設(shè)計時間/Design Period: 1997

攝影/Photos: Srirath Somsawat

As a designer, I feel foolish as I struggle to find the right words to explain and communicate the qualities of what I have designed. Such explanations may only cover a small portion of the entire work and miss what is most important in the design. This elusive significance exists somewhere between the external and the internal, or the concrete and the abstract. If an explanation were necessary, I would only talk about the challenges encountered and limitations successfully overcome during the project. However, for architecture, the finished work should be self-explanatory.

The most challenging aspect of this project was that all required functions had to be in enclosed spaces: classrooms, practice rooms, performance rooms, recording studios, etc. For example, sound suppression is very critical to music study, so doors must remain shut at all times. This kind of restriction imposes strict limitations on architectural embellishments. With these conditions in mind, the question is "How do we create a lively, stimulating facility for a music learning community?"

Now, the central concept for my work is what is known as "Key Space" or "Semi-Outdoor Space". If we interpret an enclosed space as "black" and an open space as “white”, the focus here is to incorporate the flows between them, creating "grey" area. The effect will bring a sense of duality: closed and opened, granted and denied etc. It is an interchange of the exterior and the interior. This connectivity is created by applying architectural techniques of developing a matrix of points, lines, and planes that spell their concord. The design allows the blend of surrounding nature: breeze, sunshine, and rain, coat this visionary grey space. In architecture, this "conceptual space" is continually flows back and forth, blurring the border between the exterior and interior.

The highlight of this project is an Auditorium. Every aspect of the design for the Auditorium is combined with complicated technical requirements. The difficult task is to create the Concert Hall with requirements such as the control of sound echo with absorption panels, the station for specialist to operate, the hall’s ability to accommodate all types of musical performances: acoustic, pop rock, jazz, Thai classical, and a full band of orchestra. To accomplish this, the value of RT 60 needs to be adjusted downward by a system of curtains which hang from both walls and ceilings. □

2 首層平面/Floor 0 plan

3 二層平面/Floor 1 plan

4 三層平面/Floor 2 plan

5 去往西區(qū)的轉(zhuǎn)換空間/Transfer space to west area of campus

6 四層平面/Floor 3 plan

7 五層平面/Floor 4 plan

1-入口/Entrance

2-藝術(shù)家柱廊/Artist poles

3-多功能空間/Multipurpose space

4-水池/Pond

5-階梯教室/Amphitheather

6-綠化/Green

7-廊道/Covered way

8-音樂治療室/Music therapy room

9-辦公室/Office

10-機房/Mechanical room

11-電梯間/Lift lobby

12-練習(xí)室/Practice rooms

13-教學(xué)工作室/Teaching studios

14-露臺/Terrace

15-教室休息室/Teacher's lounge

16-音樂教室/Music class rooms

17-雕塑/Sculpture

8 從一層走廊看大樓/View from the corridor on the ground floor of Bhumibol Sangkeet Building

9 從二層走廊看大樓/View from the corridor on the 1stfloor of Bhumibol Sangkeet building

評論

王彥：喚醒身體感官的灰空間

功能布局嚴(yán)謹(jǐn)實用，并無夸張之處。空間氛圍也是瑣碎而親切的，并不強調(diào)某種紀(jì)念性。然而，各種尺度的灰空間著實讓人充滿遐想，時而是高挑的屋檐，時而是親切的外廊，時而是一方出挑深遠(yuǎn)的陽臺，而最讓人神往的是幾乎全架空的底層空間。因為自己也曾有過音樂創(chuàng)作經(jīng)歷，深知回歸自然現(xiàn)實對于音樂工作者身心健康的重要性。可以想象，音樂家們從封閉的琴房，完全的精神世界中走出來，在劇烈的感官情緒調(diào)動之后，回到親切平靜的半室外空間里，泥土的潮濕氣味、暖暖的微風(fēng)、平靜的水面將逐步喚醒各種身體的感官，讓人自然地回歸到親切而瑣碎的現(xiàn)實世界中。

祁斌：整個項目似乎經(jīng)歷了很長時間的設(shè)計和建造過程，使得建筑群體展現(xiàn)出不同的面孔效果，各部分設(shè)計語言、材料運用有著十分明顯的差別，以致于在建筑之間產(chǎn)生了某種時間錯位的感覺。項目的設(shè)計邏輯有些讓人捉摸不透，建筑的意義似乎存在于建筑特定使用空間外部和內(nèi)部形態(tài)的復(fù)雜性表達(dá)上，呈現(xiàn)出或具體或抽象，或交流或封閉，或接受或拒絕的一系列雙重、多重、不確定的感覺。

10 大樓東翼的灰空間/Grey space at east wing of Bhumibol Sangkeet building

Comments

WANG Yan: Grey Space for Awakening Body Senses

The layout is strict and practical, nothing flashy. Instead of emphasizing monumentality, the space here is tender and focused on detail. But what it has in abundance are all kinds and scales of grey spacesspaces full of reverie in the eaves, warm verandas, on balconies and the so very attractive elevated ground floor space. From my own experiences with music, I understand how important it is for a musician to return to nature and its realities. Imagine this: Musicians leaving sealed practice rooms-complete spiritual worlds of their own-return to these warm calm semi-open spaces with a strong sense of excitement. The smells of damp earth, warm breeze and tranquil water awaken all the body's senses slowly, and naturally lead them to embrace the warm and "trivial" real world.

QI Bin: The project looks complex and disjointed. It seems to have experienced an overly long design and construction process. The clearly differences in architectural language and material between each of the buildings seems haphazard and has the aura of someone working against the clock. The design logics of the project are confusing and unpredictable. The intention of the architecture seems to be to express the complexity of the external and internal morphologywhether literal or abstract, communicating or isolated, accepting or rejecting. It certainly creates a host of uncertain feelings.

Bhumibol Sangkeet Building, Mahidol University, Nakhon Pathom, Thailand, 2013

Architects: Tonsilp Studio