达卡大学文学院景观设计 | 孟加拉国师生们的沉思之地_景观_设计案例作品

发布时间：2021-04-10 00:51:12 {{ caseViews }} {{ caseCollects }}

设计亮点

整合自然元素，营造宁静空间；旋转八边形图案凝聚氛围；纪念碑致敬解放战争烈士；东区微妙扩展，激活负空间。

达卡大学文学院所在场地是一个具有历史和文化意义的中心，其中包括孟加拉国解放战争最重要的纪念碑、名为“Aparajeyo Bangla”（意为不败的孟加拉）的标志性雕塑以及一棵历史悠久的大榕树。在该项目中，校方希望通过对场地景观的干预和设计来为使用者创造特定的空间，以解决一些实际的问题。这些特定的空间包括：1.位于校园主入口轴线上的三角形中心区。2.西区历史悠久的“Bot-tola”，即大榕树周围的空间。3.东区长期未得到充分利用的负空间。

The premise of Faculty of Arts at Dhaka University is regarded as a center of historic and cultural significance which contains the most substantial monuments representing the Liberation War of Bangladesh, a landmark sculpture named Aparajeyo Bangla (meaning Unvanquished Bengal) and historic Bot-tola (a large Banyan Tree). The university authority wanted to address some issues by creating designated spaces for users through landscaped design interventions for the site. The premise was divided into: -Triangular Central-Zone at the axis of main gateway -Western-Zone containing historic Bot-tola (the place surrounding a large Banyan Tree) -Eastern-Zone, which needed much attention which was being used as a negative space for decades.

▼场地鸟瞰，aerial view © Noufel Sharif Sojol

场地的自然环境乱中有序，且层层叠叠地分布着各种各样的树木，包括雨树、桃花心木、桉树、芒果树和橡胶树等等，地面上覆盖以草坪。大榕树“Bot-tola”于1971年被迁移至此，在1960年代它曾是群众起义的核心地带。

本次的设计目的是为年轻人们创造一个聚集的场所，并使其成为师生们的沉思之地。鉴于场地本身已有主要的地标性建筑，新置入的部分将主要起到完善和强调氛围的作用。景观设计策略是通过对自然元素进行简单直观的整合，将一系列空间编织在公共矩阵内的一个连续界面上。

▼中心区鸟瞰，aerial view to the Central-Zone © Mohammad Shamim

Natural setting was both organized and random with layers of trees like Shegun, Rain-tree, Mahogany, Eucalyptus, Krishnachura, Bakul, Mango, Rubber, Kanchan and Kurchi trees with grass as ground cover. The Bot-tola (replanted Banyan Tree which was uprooted in 1971) was the epicenter of mass uprisings in 1960s.

Objective was to create a meeting place for young minds to act as a place for contemplation for students and faculties. With major landmarks already existing in the site, the new features were conceived to complement and enhance the atmosphere. The landscaping strategy was to weave each element on single sheet of public matrix by recognizable integration of natural elements.

▼整体设计示意，composite drawings © STHANIK Consultants

中心区的瞬时性象征：旋转的八边形图案将周围的气氛凝聚起来，并从位于中央的水面上散发出抚慰心灵的宁静，让整个场地成为一个连续的整体。水流跌入平静的荷塘，一棵庙树从水体深处升起。三角形中心区的南角伫立着四座纪念碑，用以缅怀解放战争中的烈士。

Transient Symbolism of Central Zone: Geometry of rotating octagons gathers the surrounding atmosphere and disperses a spiritual tranquility from its watery center, holding the whole premise into one continuum. A cascade falls to a serene lily pond where a temple tree (plumera) rises from the depth of watery earth. Four commemorative plaques have been erected at the south corner of central triangular zone, dedicated to the memories of the martyrs of liberation war.

▼中心区荷塘与纪念碑，The Central Lily Pond and the Commemorative Plaques © Noufel Sharif Sojol

▼位于中心的荷塘，The Central Lily Pond © Noufel Sharif Sojol

▼细节，detailed view © Noufel Sharif Sojol

▼瀑布装置，the Water Cascade © Iwan Baan

▼纪念碑，the Commemorative Plaques © Noufel Sharif Sojol

东区的微妙延展：这是一个没有明确定义和束缚的民主空间。策略性的设计将原本的负空间转化为一个无障碍的活动场地。未被开发的空间承载了多重的想象，引导使用者走进全新的场景当中。

Unfolded Subtlety at East: A democratic space devoid of symbolism while removing constrains. Strategic design decisions were taken to transform negative spaces into accessible event spaces. Unexplored spaces were transformed all anomalies and grew into a novel introduction.

▼东区公共空间，public space in the Eastern-Zone © Noufel Sharif Sojol

▼写有标语的金属墙，the Slogan Wall © Noufel Sharif Sojol

西区的历史标志：“bot-tola”反映着孟加拉人民的独立意志和对自由的坚定追求。砖砌平台呈八边形环绕在榕树和镌刻着文字的金属装置周围，为原先较为呆板的元素赋予了动态感。

Historical Emblem at West: The landmark ‘bot-tola’ is a reflection of Bengali consciousness and indomitable yearning for freedom. There is an ‘apparent numbness’ to be transformed into an animated one by introducing an octagonal patterned brick platform surrounding the banyan tree and informative text installation with rust metal.

▼西区“bot-tola”大榕树空间，Western-Zone containing historic Bot-tola © Noufel Sharif Sojol

▼砖砌平台和金属装置，brick platform and text installation © Noufel Sharif Sojol

▼树下空间，the sheltered space surrounding the tree © Noufel Sharif Sojol

材料与工艺：设计将当地材料与创新性的处理方式相结合，以场地中的色彩为基调，采用以水泥覆盖的砖块和砖片，同时引入低碳钢和纯铜色的金属元素，融合了当地工艺和机械制造的美感。

Crafted Materiality: Local Materials obtained and measured with innovative and novel operatives. An honest containment of local craftsmanship and machine made aesthetic was achieved by using local bricks, cut bricks and brick chips with pigmented Cement Finished surfaces in reference to site-found colour palettes while introducing Mild-steel and Pure Brass-patina where all these dissolve into an experiential-image.

▼景观细节，landscape elements © Noufel Sharif Sojol

精心编排的体验：步道和平台等连接元素在引导使用者的同时也为游览体验赋予了自由度。每个空间都具有明确的定义，并带来无所不在的空间关联感。基于这种巧妙的布局和编排，人们可以在体验相互联系的空间的同时，按照自己的意愿停留或前进。

Choreographed Experience: Through walkways, platforms and connections user is guided and given liberty while experiencing and being at the place. Functions have clear definitions with a sense of omnipresent spatial connections. A choreographed pattern to follow for sensing a continuity for the user and also finding pauses at their will and consent.

与时间共同发展：随着实用性和功能性的提高，场地空间变得更加通畅和可渗透。在保持既有尺度的同时，各个区域的限制因素得以消除，并且保留了各自的特色。新置入的功能与既有元素共同为场地赋予了一种理想的动态感，自然元素也在其中获得了发展。

Transformation with Time: With increased usability and added features spaces become both accessible and permeable. The constraints were removed while keeping the scale and as a result the zones breathe with their own identity. The designed features along with existing elements developed a desirable dynamics in between while the natural elements transformed itself within.

一个由人为干预定义的自然环境，自然与人工形式在这里持续地发生对话。使用者的体验将依赖于个人映射所产生的记忆与思考的连接。

A natural setting defined by human interventions where constant dialogue is set with both natural and artificial forms. Here the user experiences rely on memories and contemplated connections of individual mapping.

Additional Credits Construction: Nazmul Ahsan, Arcadia Graphic Illustration: Bin Sayeed Bakhti Sponsor of the construction work: ACI Limited

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