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与树木无缝共存的艺术社区 Naiipa Art Complex by stu/D/O Architects

作者: 2024-03-29暂无评论

Naiipa(意大利“森林深处”)是由美术馆、录音室、舞蹈室、餐厅、咖啡店和办公空间组成的混合用途项目。它位于Sukhumvit 46,一条连接Rama 4路到Sukhumvit路Phrakanong BTS站的小街。该项目以隐藏森林建筑的概念命名,因为绿化的愿景通过使用反光玻璃来延伸。
抵达后,游客迎接了项目的主要特点和设计动力,其中心地区有一批大型预先存在的树木。从一开始,Naiipa的目标就是创造与树木无缝共存的建筑,为住客和游客提供一个和平启发的艺术社区。

为了实现项目二千平方米的办公和零售计划要求,主要功能分为两个主要的群众,围绕着现场,将主树庭院作为自由开放空间。 A楼被设计成一个细长的2层卧式建筑,允许阳光到达现有的粉红色小号树,保持其成长,同时为建筑物的乘客创造一个大气庭院。为了对比A楼的水平形式,B楼是一个垂直方向的4层建筑。然后两个主要的群众通过多层次的雕塑梯田连接起来,这些梯田在现有的树木之间交织在一起,使所有的树木都不变。

 

Naiipa (Literally means ‘Deep in the Forest’) is a mixed use project consisted of an Art Gallery, Sound Recording Studio, Dance Studio, Restaurants, Coffee Shops, and Office Spaces. It is located on Sukhumvit 46, a small street that connects Rama 4 road to Phrakanong BTS Station on Sukhumvit road. The project is named after the concept of concealing the architecture in the forest as the vision of greenery is expanded by using reflective glass all around.

Upon arrival, visitors are greeted with the project’s main feature and driving force in design, a groups of large, pre-existing trees in its center. From the very beginning, the goal of Naiipa has been to create architecture that seamlessly co-exist with the trees, providing a peaceful and inspiring art community for both its occupants and visitors.

In order to fulfill the 2,000-square-meter office and retail programmatic requirement of the project, the main functions are divided into two to main masses which bounded the site, leaving the main tree courtyard as a free open space. Building A was designed to be an elongated 2-story horizontal building, allowing sunlight to reach the existing Pink Trumpet Tree, preserving its growth while creating an atmospheric courtyard for the building’s occupant. To contrast the horizontal form of Building A, Building B is a vertically orientated 4-story building. The two main masses are then connected together by multi-level sculptural terraces that intertwine itself between the existing trees, leaving all the trees untouched.

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