查尔斯·科雷亚的博帕尔 Bharat Bhavan 文化中心设计_家装空间_设计案例作品

发布时间：2016-07-28 16:00:00 {{ caseViews }} {{ caseCollects }}

设计亮点

结合印度传统建筑元素与现代设计理念，打造富有哲学意味的公共空间。

这个由印度建筑名人查尔斯·科雷亚设计的多艺术中心于1982年首次开业。三十多年后，它继续容纳各种文化设施，并主办了众多的艺术活动。这座建筑群的设计是科雷亚的使命的产物，他的使命是建立一种与欧洲现代主义不同的印度特有的现代建筑风格。Bharat Bhavan Correa利用其祖国丰富的建筑遗产所提供的丰富资源，为现代建造了一座建筑，这座建筑还牢牢植根于印度过去的传统。

Designed by Indian architectural luminary Charles Correa, this multi-arts center first opened its doors in 1982. More than thirty years later, it continues to house a variety of cultural facilities and play host to multitude of arts events. The design of the complex is a product of Correa’s mission to establish a modern architectural style specific to India and distinct from European Modernism. Drawing on the plentiful source material provided by the rich architectural heritage of his home country, at Bharat Bhavan Correa produced a building for the modern era which manages to also remain firmly rooted in the vernacular traditions of India’s past.

查尔斯·科雷亚基金会

它建在山坡上，向湖边倾斜，一系列的梯田和庭院构成了这座建筑群。进入后，游客可以选择沿着梯田的路径向下延伸到湖边，或者下降到三个庭院，这些庭院提供了大多数文化设施的通道。其中包括当代艺术画廊，部落艺术博物馆，礼堂，印度诗歌图书馆，印刷厂，以及艺术家的工作室。从庭院，宽阔的玻璃板开口到建筑物，确保了艺术项目无论是字面上还是象征性地向所有人开放。在场地的底部有一个圆形剧场，露天表演是在那里进行的，湖面形成了自然的背景。

Built into a hillside which slopes down toward a lake, a series of terraces and courtyards comprise the complex. Upon entering, the visitor has the choice of following the path of terraces cascading down to the lake, or descending to the three courtyards which provide access to the majority of the cultural facilities. These include contemporary art galleries, a museum of tribal art, an auditorium, a library of Indian poetry, a print shop, and a studio for an artist-in-residence. From the courtyards, wide glass-paneled openings to the buildings ensure the arts program is both literally and figuratively accessible to all. At the bottom of the site sits an amphitheater, where open-air performances take place with the lake forming a natural backdrop.

查尔斯·科雷亚基金会

穿过露台的路线鼓励沿着场地的自然坡度移动，庭院为休息和放松提供了安静的空间。这两个组成部分之间的对话，在科雷亚所称的“仪式道路”中，创造了围绕综合体的能量的涨落和流动。他声称，遵循一条神圣道路的仪式是“一种普遍的冲动，存在于所有文化和宗教中”。[1]科雷亚强调了自己道路的灵性，将其与宗教建筑(包括“墨西哥的太阳穴”和巴厘岛的印度教寺庙)相提并论。

The route through the terraces encourages movement down the site’s natural gradient, with the courtyards providing tranquil spaces for rest and relaxation. The dialogue between these two components creates an ebb and flow of energy around the complex, in what Correa described as a “Ritualistic Pathway”. The ritual of following a sacred pathway is, he claims, “a universal impulse, found in all cultures and religions.”[1] Correa emphasized the spirituality of his own pathways by drawing parallels with those found in religious architecture, including “the sun temples of Mexico” and the Hindu temples of Bali “with their ritualistic pathways up the hillside.”[2]

查尔斯·科雷亚基金会

科雷亚还提到了仪式化道路的世俗例子，比如皇宫城市法特赫普尔·西克里(Fatehpur Sikri)和勒·柯布西耶(Le Corbuser)的长廊建筑，尽管他声称后者只是“一个‘世俗’短语，用来表达现实中一种深刻而神圣的本能。”[3]在巴拉特·巴文(Bharat Bhavan)，梯田之间的楼梯飞行参照了传统的印度建筑，同时也暗示了这条道路的神圣性。楼梯让人想起了ghats；在印度的城市中发现了通向圣水的台阶，就像Correa的脚步声引导行人到湖边一样。的确，科雷亚把瓦拉纳西恒河河岸上的游泳馆作为一种文体影响。[4]在巴拉特巴文，台阶引导行人走向湖边；强调这条道路的神圣性质的宗教内涵。

Correa also noted secular examples of the Ritualistic Pathway, such as the palace city of Fatehpur Sikri and Le Corbusier’s promenade architecturale, though he claimed the latter was merely “a ‘secular’ phrase to express what is in reality a deep and sacred instinct.”[3] At Bharat Bhavan, the flights of stairs between the terraces reference traditional Indian architecture while implying the sanctity of the pathway. The stairs are reminiscent of ghats; steps found in Indian cities which lead down to a body of holy water, just as Correa’s steps guide the pedestrian to the lakeside. Indeed, Correa cited the bathing ghats on the bank of the River Ganges at Varanasi as a stylistic influence.[4] At Bharat Bhavan the steps guide the pedestrian to the lakeside; the religious connotations emphasizing the sacred nature of this pathway.

查尔斯·科雷亚基金会

欧洲现代主义，特别是勒柯布西耶的现代主义，在20世纪的大部分时间里都对印度的现代建筑产生了很大的影响。科雷亚对这一趋势有些警惕，并批评勒柯布西耶位于昌迪加尔的议会宫通风不良，光线不足，完全不适合印度炎热潮湿的气候。[5]相反，科雷亚的建筑是由其环境塑造的，气候控制是他设计过程中的首要考虑。事实上，这往往是必要的，因为他早期的大部分工作包括棚户区的项目，那里的居民没有能力支付空调费用，被迫依靠建筑物本身来调节温度。

European Modernism, and in particular that of Le Corbusier, had heavily influenced modern architecture in India for much of the 20th century. Correa was somewhat wary of this trend, and criticized Le Corbusier’s Palace of the Assembly at Chandigarh for being poorly ventilated, insufficiently lit, and wholly unsuitable for India’s hot and humid climate.[5] Correa’s architecture, conversely, is shaped by its environment, with climate control a primary concern in his design process. Indeed, this was often a necessity, as much of his early work consisted of projects for squatter housing, where inhabitants did not have the means to pay for air-conditioning and were forced to rely on the building itself to regulate temperature.

查尔斯·科雷亚基金会

科雷亚没有引进欧洲建筑的“密封箱”，而是创造了“空旷的天空空间”。在温暖的气候下，晚上晚些时候和清晨，最好的地方是在户外，而不是进口欧洲建筑的“密封盒”，因为西方气候比较寒冷，所以科雷亚创造了“开放的天空空间”。[7]Bharat Bhavan下陷的庭院提供阴凉的正午阳光，而高耸的露台在一天凉爽的时候提供清新的空气和空间。这种气候控制的解决方案是直接从印度的建筑史上提出来的，受到了阿格拉红堡的庭院和梯田的启发。

Rather than importing the “sealed boxes” of European architecture, necessitated by the colder Western climate, instead Correa created “open-to-sky spaces.”[6] He observed that “in a warm climate, the best place to be in the late evenings and in the early mornings is outdoors, under the open sky.”[7] The sunken courtyards at Bharat Bhavan provide shade from the scorching midday sun, while the raised terraces offer refreshing air and space at cooler times of day. This climate-control solution was lifted directly from India’s architectural history, inspired by the courtyards and terraces of the Red Fort at Agra.[8]

查尔斯·科雷亚基金会

天空对科雷亚有着精神力量和神话意义，科雷亚把它描述为“众神的居所”和“光的来源-这是影响我们感官的最原始的刺激”。[9]他的目标是利用天空的力量，通过建筑创造一种形而上学的体验，宣称“没有什么比走进一个空旷的空间，感受天空的大拱门更能让人感动的了。”[10]

The sky held a spiritual power and mythical significance for Correa, who described it as “the abode of the gods” and “the source of light – which is the most primordial of stimuli acting on our senses.”[9] He aimed to harness the power of the sky to create a metaphysical experience through architecture, proclaiming that “there is nothing so profoundly moving as stepping out into an open-to-sky space and feeling the great arch of the sky above.”[10]

在Bharat Bhavan，意图是那些从画廊到庭院的人经历了同样戏剧性的空间体验。天空甚至被纳入了遗址的内部空间，混凝土“贝壳”的顶部，允许光线和空气从他们的圆形开口倾泻进来。从外表上看，这些贝壳似乎重新诠释了印度建筑词汇的另一个特征：最初位于拉贾斯坦尼宫殿顶上的装饰性饰物(“雨伞”)。

At Bharat Bhavan, the intention is that those emerging from the galleries to the courtyards undergo a similarly dramatic spatial experience. The sky is even incorporated into the interior spaces of the site, with concrete ‘shells’ atop the structure allowing light and air to pour in through their circular openings. From the exterior, these shells seem to reinterpret another feature of India’s architectural vocabulary: the decorative chattris (‘umbrellas’) which originally sat atop Rajasthani palaces.

查尔斯·科雷亚基金会

Bharat Bhavan的户外空间是“空间”概念的物理表现，这是印度视觉文化中反复出现的主题，尤其是它的哲学。[11]远离建筑物内的活动，庭院提供了一种沉思的空虚，通过在其中心放置雕塑而得到加强。这些都是观赏者冥想的焦点，就像日本庭院中心的一棵孤零零的树。科雷亚将空洞作为一种建筑工具的特点被广泛地描述为“非建筑”。他对虚无的表现力感到惊奇，认为“从一开始，人类总是使用最惰性的材料，如砖石、钢铁和混凝土，来表达强烈感动他的顿悟，这确实很奇怪。”

The outdoor spaces at Bharat Bhavan are physical manifestations of the concept of “Empty Space,” a recurring theme both in India’s visual culture and, in particular, its philosophy.[11] Away from the activity within the buildings, the courtyards provide a contemplative void, enhanced by the placing of sculptures in their center. These act a meditative focal point for the viewer, much like the solitary tree often found in the center of Japanese courtyards. Correa’s characteristic use of the void as an architectural tool has been widely described as ‘non-building’. He marveled at the expressive potency of nothingness, reflecting that it is “strange indeed that since the beginning of time, Man has always used the most inert of materials, like brick and stone, steel and concrete, to express the invisibilia that so passionately move him.”[12]

查尔斯·科雷亚基金会

Bharat Bhavan的长期成功在很大程度上是由于它在当地居民中的长期受欢迎程度。庭院创造了公共空间，围绕着周边的台阶为居民提供了清晰的座位，供他们聚会和社交。这些露台已被证明很受家庭欢迎，他们晚上在海边漫步，享受着建筑群的文化服务。[13]在创建一座非常适合当代社会需要、同时又利用熟悉的建筑主题的建筑时，科雷亚设法将现代与传统结合起来；朝着他建立一个明显的印度现代主义的目标迈出了重要的一步。

The long-term success of Bharat Bhavan is largely due to its enduring popularity with local residents. The courtyards create communal public space, with the steps around their peripheries providing articulated seating for residents to meet and socialize. The terraces have proven popular with families, who spend their evenings promenading down to the water’s edge and enjoying the cultural offerings of the complex.[13] In creating a building well-suited to the needs of contemporary society while making use of familiar architectural motifs, Correa manages to reconcile modernity with tradition; a significant step towards his goal of establishing a distinctly Indian Modernism.

查尔斯·科雷亚基金会

参考文献[1]Correa，Charles。“蜗牛小径”。在伊莲娜·默里。查尔斯·科雷亚：印度最伟大的建筑师。RIBA：伦敦，2013年。P.6[2]Correa，Charles。“太阳下的地方”。在阴凉的地方：新的风景和其他散文。Hatje坎茨：Ostfildern，2012年。P.19[3]同上。科雷亚。第7页[4]科雷亚，查尔斯。“天空的祝福”。在肯尼斯·弗兰普顿。查尔斯·科雷亚。泰晤士河和哈德逊：伦敦，1996年。第25页[5]Correa，Charles。“昌迪加尔大会”。在阴凉的地方：新的风景和其他散文。Hatje坎茨：Ostfildern，2012年。P.13[6]同上。科雷亚。“天空的祝福”。P.25[7]同上。P.18[8]同上。科雷亚。“蜗牛小径”。第6页[9]同上。科雷亚。“天空的祝福”。第28页[10]Correa，Charles。住房和城市化。泰晤士河和哈德逊：伦敦，2000年。第7页[11]穆雷，伊雷纳。查尔斯·科雷亚：印度最伟大的建筑师。RIBA：伦敦，2013年。P.22[12]同上。科雷亚。“天空的祝福”。第27页[13]弗兰普顿，肯尼斯。查尔斯·科雷亚。泰晤士河和哈德逊：伦敦，1996年。第45页

References [1] Correa, Charles. “Snail Trail”. In Irena Murray. Charles Correa: India’s Greatest Architect. RIBA: London, 2013. P.6 [2] Correa, Charles. “A Place in the Sun”. In A Place in the Shade: The New Landscape and Other Essays. Hatje Cantz: Ostfildern, 2012. p.19 [3] Ibid. Correa. p.7 [4] Correa, Charles. “Blessings of the Sky”. In Kenneth Frampton. Charles Correa. Thames and Hudson: London, 1996. p.25 [5] Correa, Charles. “The Assembly at Chandigarh”. In A Place in the Shade: The New Landscape and Other Essays. Hatje Cantz: Ostfildern, 2012. p.13 [6] Ibid. Correa. “Blessings of the Sky”. p.25 [7] Ibid. p.18 [8] Ibid. Correa. “Snail Trail”. p.6 [9] Ibid. Correa. “Blessings of the Sky”. p.28 [10] Correa, Charles. Housing and Urbanisation. Thames and Hudson: London, 2000. p.7 [11] Murray, Irena. Charles Correa: India’s Greatest Architect. RIBA: London, 2013. p.22 [12] Ibid. Correa. “Blessings of the Sky”. p.27 [13] Frampton, Kenneth. Charles Correa. Thames and Hudson: London, 1996. p.45

建筑师CharlesCorrea Location J Swaminathan Marg，Shymala Hills，博帕尔，中央邦462002，印度类别文化中心建筑师Charles Correa Area 120000.0 ft2项目年1982年

Architects Charles Correa Location J Swaminathan Marg, Shymala Hills, Bhopal, Madhya Pradesh 462002, India Category Cultural Center Architect Charles Correa Area 120000.0 ft2 Project Year 1982

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