48 天打造的印度德里工作室_文化中心_设计案例作品

发布时间：2018-07-09 07:00:00 {{ caseViews }} {{ caseCollects }}

设计亮点

利用自然光线、环保材料和灵活布局，创造高效协同的办公环境。

c.吉廷·夏尔马

架构师提供的文本描述。随着工作室进入其十几岁的存在，它需要一个有趣的，但“建筑收费”的环境来进行业务。从繁忙的商业环境中搬出一片安静的土地，在盛开的芥末地里，隐藏在喧嚣之中，那就是德里。要找到工作室是很有挑战性的；放置在古色古香的林荫林中，林立着无花果的树叶，常常妨碍人们看到随意摆放的非描述性的黑色大门。然而，大门有一个“白色”谷歌别针为好奇的眼睛。

Text description provided by the architects. As the studio enters its teenage years of existence, it demanded a fun yet “architecturally charged” environment to conduct business. Moving out of a busy commercial surrounding to a quiet piece of land amidst blooming mustard fields hidden within the commotion, that is Delhi. It can be challenging to locate the studio; placed within the quaint boulevards lined with ficus foliage often hindering views to the randomly placed non-descriptive black gates. However, the gate has a “white” google pin for the curious eyes.

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Floor Plan

c.吉廷·夏尔马

游客的入口处是一张铺满砾石的床，两边都是树木，向东隐藏着前面的草坪。砾石的作用是一个多孔的表面，它允许补丁的芦苇和草成长通过改变景观每天。人们沿着这条礼仪之路走下去，迎接的是漂浮在一堆被象征的绿色植物包围的土堆上的深红色集装箱。这长方体被解构了一个声学内衬双层玻璃正面，暴露温暖的桦树铺墙对游客。里面摆着一张白色的萨里宁风格的桌子，里面有一张用灰色和军用绿色装饰的被拆解的沙发-这个空间可以作为私人谈话/会议的爆发区，或者只是在与同龄人进行严格围捕之后的一些单独时间。

The visitor’s ingress on a bed of gravel guarded with trees on either side hiding the front lawn to the east. The gravel acts a porous surface which allows patches of reeds and grass to grow through- transforming landscape every day. One moves down this ceremonial pathway to be greeted by a deep red, shipping container floating on a mound of earth surrounded by token greenery. This cuboid is deconstructed with an acoustically lined double glazed facade, exposing the warm birch ply walls to the visitor. The insides host a white Saarinen-esque table with a deconstructed polder couch upholstered in grey and military green- the space doubles up as a break-out zone for private conversations/meetings or just some alone time after rigorous roundups with peers.

c.吉廷·夏尔马

转身离开红匣子，我们看到了“工作室”，这是一个以白色盒子为导向的东西，坐落在密密麻麻的树林中。整个东面是玻璃，种植在“超薄”黑色金属部分。高地俯瞰着由修剪过的叶子的树木把守的私人草坪。这种设置允许院子一整天都被点燃，为工作空间提供了分散的光线，减少了对人工照明的依赖。在南面的窗户上穿孔的屏幕减少了眩光，同时也让人们瞥见不断变化的天空和环绕着站点的茂密的树叶。

Turn away from the Red box, and we come across “The studio”, a white box -oriented east-west, nestled within dense foliage of ficus trees. The entire east façade is glazed, farmed within “super” thin black metal sections. The elevation looks over the private front lawn guarded by trees with trim foliage. The setting allows for the yard to be lit throughout the day, providing diffused light into the workspace and reducing the reliance on artificial lighting. Perforated screens on the south-facing windows cut down the glare while giving a glimpse of the constantly changing sky and the dense foliage enclosing the site.

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屋顶是由大型卡西亚石材建造的，最后是一层薄薄的平板、夹层绝缘和防水-这是一种被称为“Tukdi板”的老年技术。增加的热质量从石头提供延迟传热通过对流层内。板系在承重砖墙上的金属梁上.内部被暴露的砖块完成在水基马特-黑色油漆要求无水分墙壁；因此，外面是完成了液压石灰灰泥和白色：反映直接和间接的太阳能收益。悬垂是精心设计的，以减少附带的阳光和尽量减少能源消耗，而不妥协的理想舒适水平的内部空间。按照一种既进步又现代的极简主义的方法，工作室强调物质，这可以追溯到19世纪初。这座48天的简朴建筑证明了“材料真实”的说法，使工作室的经验类似于其建筑的叙事。

The roof is constructed out of large Kashia-stone and finished with a thin layer of a screed, sandwiching insulation and waterproofing- An old age technique known as “Tukdi slab”. The increase thermal mass from the stone provides delayed heat transfer through convection within the layers. The slab rests upon on metal girders supported over load-bearing brick walls. The insides being exposed brickwork finished in a water-based matt-black paint required moisture free walls; thus the outsides are finished with hydraulic lime plaster and painted in white: reflecting direct and indirect solar gains. The overhangs are carefully designed to cut down the incidental sunlight and minimize the energy consumption without compromising on the desired comfort levels of the interior spaces. Following a minimalistic approach, which is both progressive and modern, the studio emphasizes materiality which hearkens back to the early 19th century. The 48-day frugal build is a testament to the saying “ True to the material”, making the experience of the studio analogous to the narrative of its construction.

Elevations

参观者直接进入4米高的空间，俯瞰工作室的开放图书馆部分，然后安顿在白色图书馆桌子周围的彩色“愿望骨”椅子上-这改变了休闲讨论和问候的空间。墙壁展示了公司的旅程，不同的项目和荣誉。理想情况下，一个人会把一个巨大的桌子放在一个线性的空间，但故意尝试将空间仔细分层为海湾，这是阻碍元素创造的深度和兴趣。

The visitor directly enters 4m high space overlooking the open-library section of the studio and consequently settle themselves on to a colorful “wishbone” chair placed around the white library table- transforming the space for casual discussions and greetings. The walls display a journey of the firm, different projects, and accolades. Ideally one would place a giant table in a linear space, but a deliberate attempt is made at carefully layering the space into bays which is obstructed by elements to create depth and interest.

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内部主要为木炭黑壁，通过天然饰面软木地板上的桦木层板偏移。砖墩和窗的独特节奏为结构和规划提供了并列的网格，在4m大体积的自由流动空间内增加了一层复杂性。

Interiors are predominantly charcoal black walls, offset by birch ply tables over natural finish cork flooring. The unique rhythms of brick piers and the windows provide juxtaposed grids of structure and planning, adding a new layer of complexity within the 4m high volume of free-flowing space.

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所有工作站都垂直于开放演播室空间中构建的长度。作为一种创造性的实践，我们相信设计是一个分层的、可加性的过程；用户不断给工作室添加不同的元素-一只红色的鸟最近在入口处漂浮。辅助室和会议室与多个空间的办公环境分开，使用黑色隔墙，离散的门通向一个隐蔽的衣柜和一般的衣帽间。会议室是一个手动操作的浮动隔板与滑动天花板，灵感来自皮埃尔查罗的MaisondeVerre元素。

All workstations are aligned perpendicular to the length of the built in the open studio space. As a creative practice, we believe design as a layered and additive process; the users keep adding diverse elements to the studio- A red bird was recently placed afloat at the entrance. Ancillaries and the conference room are separated from the multi-space office environment using black partitions with discrete doors leading into a concealed closet and general cloakrooms. The conference room is a manually operable floating partition with sliding ceiling, inspired by elements from Pierre Chareau’s Maison de Verre.

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它可以扩展为声学空间或折叠成为工作室工作空间的一部分，增加了布局的灵活性。会议室的标志性墙壁被涂成白色，以捕捉透过玻璃的自然光的流入，并强调展示面板。开放式工作空间的背景是由回收绞线板组成的架子单元，其中一边是纸柜和媒体集线器，另一边是储藏室的嵌套阀盖座位。

It can be extended to become an acoustically sound space or collapsed to become a part of the studio workspace, adding flexibility to the layout. The signature wall of the meeting room is painted white to capture the inflow of natural light through the glazing and give emphasis on the display panels. The Backdrop of the open workspace is shelving unit made out of recycled strand-board, housing the paper pantry and the media hub on one side and a nested bonket seating for the pantry on the other.

工作室提供不同的角色和音量空间，如阁楼层，音乐室和休息区，作为不同的情感空间。脚手架格结构是另一个常用的撤退空间，伴随着羽毛球球场。脚手架的概念是表示连续性和施工。通过将自然和活动与工作空间相结合，架构规程创造了一个高效、协同的环境，从而定义了他们对新的办公体验的愿景。

The studio offers spaces that are varying in character and volume such as the mezzanine level, music room and the break area that act as different emotive spaces. The scaffold lattice structure is another frequently used space for retreat along with the badminton court. The idea of the scaffold is to indicate continuity and construction. By integrating nature and activity with a working space, Architecture Discipline creates a productive, synergetic environment that defines their vision for a new office experience.

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