諾華上海園區(qū)規(guī)劃與實(shí)驗(yàn)樓，上海，中國

諾華上海園區(qū)規(guī)劃與實(shí)驗(yàn)樓，上海，中國

Masterplan and the Laboratory Building, Novartis Shanghai Campus, Shanghai,China, 2015

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評(píng)論

劉家琨：旁觀永和樓

諾華上海園區(qū)是張永和做的規(guī)劃，規(guī)劃關(guān)鍵詞指向全球化背景下的中國傳統(tǒng)，有點(diǎn)特別的是每幢建筑的裙房部分都必須緊貼平接，“像傳統(tǒng)老城里的街道上那樣，房子連著”；更特別的是一種關(guān)于表現(xiàn)分寸的愿望，我還記得他的一個(gè)問題：“能不能看起來只做了一點(diǎn)點(diǎn)設(shè)計(jì)？”

我不知道別的建筑師是不是在意他這個(gè)愿望，但我看見了張永和自己在設(shè)計(jì)分寸問題上的推敲。

從一開始他就選擇了無檐的方正體量，這是他自己規(guī)劃的基本款，可能也是他長期以來的某種關(guān)于現(xiàn)代性的內(nèi)在守則。外墻陶筒瓦排列的角度漸變是根據(jù)光線和視線的變化需求計(jì)算出來的，這個(gè)他也很肯定。但陶筒瓦的顏色卻經(jīng)歷了幾次變化，起初應(yīng)該就有青灰的概念，這是對(duì)傳統(tǒng)的自然響應(yīng)；后來曾經(jīng)至少談到過陶土本色，這意味著轉(zhuǎn)而追求材料本真性并照顧業(yè)主希望溫暖怡人的愿望；如果沒記錯(cuò)，一度出現(xiàn)過深一些暖一些的棕灰色，似乎是更注重現(xiàn)場(chǎng)直觀感受而不依俯于概念；后來又穩(wěn)定在青灰上，表明和傳統(tǒng)建筑的抽象聯(lián)系已經(jīng)肯定下來，在此之后是青灰系列里的一些微妙變化。

好像是在后期了，庭院周圍的屋頂似乎經(jīng)過一番緊張的改動(dòng)，變成了更傾向于傳統(tǒng)建筑中“四水歸堂”般的內(nèi)斜屋頂，但是平緩得多。在引用傳統(tǒng)到底是直接一些還是抽象一些這個(gè)問題上，我感覺到他好像終于下定了決心，并且為之欣然。這些動(dòng)作，對(duì)一些建筑師來說可能很輕松，但對(duì)張永和來說，很可能就要經(jīng)歷一番內(nèi)心掙扎：對(duì)傳統(tǒng)的引用，太抽象看不懂，太直接又賣弄，宣言容易分寸難，而分寸和氣韻正是中國傳統(tǒng)精神的核心要素。

方正體量和外墻上的青灰陶筒瓦是這個(gè)建筑的外部特征，樓梯中庭則是內(nèi)部空間的核心面貌，那些放大成休息座的樓梯平臺(tái)，概念簡(jiǎn)明，足夠精彩，由于太上相，光從照片上看有點(diǎn)搶了其他地方的風(fēng)頭。其實(shí)，明朗的員工餐廳，斜瓦頂?shù)娜狗浚秸?jiǎn)約的室外庭院，都很令人愉快，對(duì)我來說，這些地方隱隱約約有一種“老北京”氣質(zhì)，大氣而舒朗。更令人鼔舞的是，在分寸方面下的功夫最終沒有白費(fèi)，這種氣質(zhì)已經(jīng)不大像是刻意設(shè)計(jì)出來的，更像是無意流露出來的了——好就好在這里。

Comment

LIU Jiakun: View Yung Ho's Work as a Spectator

Novartis Shanghai Campus is planned by Yung Ho Chang. The planning keyword is the Chinese tradition in the context of globalization. One special thing is that the podium part of the building must be close and aligned to each other, just like the house on the traditional old town streets; more special is his desire to show the sense of balance—I remember that he once posed a question: "Could we make the building look like just involving a little bit design?"

I do not know if other architects are concerned about his desire, but I see Yung Ho Chang's deliberation on this issue.

From the beginning, he chose the volume of a box with no eaves, which is his basic type. It may also show his long-standing inherent code about the modernity. The gradient angle of the terracotta tiles on the building exterior is calculated according to the change of light and sight, which he is pretty sure about. But the color of the terracotta tile has undergone several changes. At first, the color of gray should be the concept, which is a natural response to the tradition; later they talked about the natural color of clay, which means a turn to pursuit material authenticity and take the owners hope- warm and pleasant - into consideration ; if I remember correctly,it once appeared some color of warm brown gray,which seems to emphasize more on the intuitive feeling on site rather than the original concept; and later it stabilized on the color of gray, indicating that the abstract connection with the traditional building has been determined. After that, it followed a series of subtle changes in the gray tone though.

From the beginning, he chose the volume of a box with no eaves, which is his basic type. It may also show his long-standing inherent code about the modernity.The gradient angle of the terracotta tiles on the facade is calculated according to the change of light and sight,which he is pretty sure about. But the color of the terracotta tile has undergone several changes. At first,the color of cold blue gray should be the concept, which is a natural response to the tradition; later they talked about the natural color of clay, which means a turn to pursuit material authenticity and take the owners hope- warm and pleasant - into consideration; if I remember correctly, it once appeared some color of warm brown gray, which seems to emphasize more on the intuitive feeling on site rather than the original concept; and later it was decided on the color of cold blue gray, indicating that the abstract connection with the traditional building has been determined. After that, it followed a series of subtle changes in the gray tone though.

It seems to be in the later period that the roof around the courtyard have undergone some intense changes, becoming more like the sloping roof of the traditional courtyard house which is called "Si Shui Gui Tang", but with a much gentler slope. For the question whether we should reference the traditional directly or abstractly, I feel that he had finally made up his mind,and was pleased about it. These decisions may be very easy for some architects, but for Yung Ho Chang, it is likely to go through some inner struggle. Because for the reference of traditional architecture, too abstract is hard to understand while too direct is a like a show of f. It is easy to make a declaration but hard to strike a balance.And the sense of proportion and inner character are the core elements of traditional Chinese spirit.

The square volume and the gray tiles on the exterior wall are the external characteristics of the building, and the atrium is the core of the interior space. Those fascinating platforms along the staircase,which was enlarged to be resting space, are concise in the concept. Since they are so brilliant, it may steal the show of the rest of space. In fact, the bright staff restaurant, the podium with the pitched roof,and the square and simple outdoor courtyard, are equally pleasant for me. These places vaguely reveal an "old Beijing" vibe, generous and bright. Even more encouraging is that the effort for the sense of proportion is not in vain. The temperament of the building is not like deliberately designed out, and more like a natural revelation. This, I think, is the best part of the design. (Translated by QI Yiyi)

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項(xiàng)目背景+目前階段

自2006年，非常建筑為諾華上海園區(qū)做了總體規(guī)劃、建筑設(shè)計(jì)導(dǎo)則的編制，及其中一棟實(shí)驗(yàn)樓的單體設(shè)計(jì)。在上海，諾華也延續(xù)了瑞士巴塞爾園區(qū)每一棟建筑都是請(qǐng)一位不同的建筑師設(shè)計(jì)的做法。中心園林及小院落的景觀及建筑室內(nèi)有些也分別請(qǐng)了設(shè)計(jì)師。在設(shè)計(jì)上，諾華給建筑師們提出的方向是：要在上海園區(qū)實(shí)現(xiàn)新型的實(shí)驗(yàn)室和新型的工作場(chǎng)所，使研究人員能在一個(gè)輕松舒適的環(huán)境、一個(gè)“家園”里有更多的交流與合作，更好地發(fā)揮出創(chuàng)造力。2016年，諾華上海園區(qū)一期完成施工，共有7棟建筑建成。

總體規(guī)劃

我們的規(guī)劃重視園區(qū)內(nèi)部的空間質(zhì)量，試圖創(chuàng)造一個(gè)宜居的工作社區(qū)，設(shè)計(jì)概念為庭園城市：即用院落作為空間結(jié)構(gòu)組織總平面，以不同大小的院落覆蓋整個(gè)園區(qū)，并將服務(wù)生活設(shè)施放置在庭園之內(nèi)或周圍。文化延續(xù)是我們的另一設(shè)計(jì)策略：把傳統(tǒng)中國園林的意境融入其中，用“庭園”模糊“院”和“園”之間的區(qū)別。庭園比典型的園林更具有院落式的建筑空間特征；人們通過步行可將園區(qū)內(nèi)的建筑內(nèi)外空間串連成一個(gè)連續(xù)且豐富的系列, 體驗(yàn)一種對(duì)江南園林經(jīng)驗(yàn)的當(dāng)代闡釋。

實(shí)驗(yàn)樓設(shè)計(jì)

我們?cè)O(shè)計(jì)的實(shí)驗(yàn)樓中心是一個(gè)圍合的庭園，可視為一個(gè)現(xiàn)代的四合院或沒有屋頂?shù)姆块g，景觀設(shè)計(jì)由朱育帆完成。庭園的一側(cè)是個(gè)園區(qū)餐廳。把各種公共服務(wù)設(shè)施置入各棟實(shí)驗(yàn)或辦公樓的獨(dú)立庭院內(nèi)，是此園區(qū)重要的規(guī)劃策略, 一方面方便員工，另一方面吸引園區(qū)的使用者在各樓之間探索或“游園”，從而多在戶外活動(dòng)。在本庭園的另一側(cè)，即餐廳的對(duì)面，是5層高的實(shí)驗(yàn)樓。

外墻材料

文化延續(xù)也體現(xiàn)在實(shí)驗(yàn)樓主體的外墻設(shè)計(jì)上：我們將4種不同灰色調(diào)的橢圓截面的現(xiàn)代陶土板逐漸旋轉(zhuǎn), 分別構(gòu)成實(shí)墻的外飾面和窗外的遮陽百葉；在餐廳及廊子的屋頂上, 我們選用了另一種陶產(chǎn)品，使建筑整體上呈現(xiàn)出老江南粘土磚瓦的色調(diào)、質(zhì)感和氣質(zhì)。

室內(nèi)設(shè)計(jì)

本著諾華把實(shí)驗(yàn)室家居化的精神，我們?cè)诿繉用鎸?duì)庭園的一側(cè)設(shè)置了具有起居室、餐廳、廚房氛圍的非實(shí)驗(yàn)工作空間。同時(shí)，在實(shí)驗(yàn)樓的中心，我們把不同大小的開放式平臺(tái)在中庭的豎向空間中上下疊摞, 并利用樓梯與各樓層互相連接，形成室內(nèi)的、垂直向的庭園系列。如同庭園，這些平臺(tái)有明確的空間質(zhì)量，但并沒有指定的功能。研究人員在上下樓的途中可以在這些平臺(tái)上休息、看書、冥想;研發(fā)工作中互動(dòng)合作至關(guān)重要，樓梯加平臺(tái)的設(shè)計(jì)也旨在增加科學(xué)家們偶遇并交流的機(jī)會(huì)。□

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項(xiàng)目信息/Credits and Data

客戶/Client: 諾華（中國）生物醫(yī)學(xué)研究有限公司/Novartis Institutes for BioMedical Research (China)

地點(diǎn)/Location: 上海浦東/Pudong, Shanghai, China

主持建筑師/Principal Architect: 張永和/Yung Ho Chang

項(xiàng)目團(tuán)隊(duì)/Project Team: 李啟悠，陳正達(dá)，吳倛輝，馮紓苨，李相廷，郭照煒，常誠/Simon Lee, Dan Chen, Keith Goh, FENG Shuni, LI Xiangting, GUO Zhaowei, CHANG Cheng景觀合作/Landscape: 北京清華同衡規(guī)劃設(shè)計(jì)研究院有限公司/Beijing Tsinghua Tongheng Urban Planning & Design Institute

建筑面積/Floor Area: 141,270,000m2

建筑高度/Building Height: 36.45m

結(jié)構(gòu)材料/Structure and Material: 鋼筋混凝土結(jié)構(gòu)；鋁制窗間墻、陶板擋雨屏及遮陽屏/Reinforced concrete structure, aluminium spandrel with terracotta rainscreen and sun shading

竣工時(shí)間/Completion Time: 2015

攝影/Photos: 呂恒中/LYU Hengzhong

Project Background + Current Stage

Since 2006, Atelier FCJZ has produced a comprehensive planning scheme and architectural design guidelines for the Novartis Shanghai Campus,in addition to designing one research laboratory building on the Campus. In a continuation of the methods used by Novartis' Basel Campus in Switzerland, each building at the Shanghai Campus is also designed by a different architect. Further,a number of the buildings and elements of the landscape of the central garden and courtyard are also designed by different designers. With regard to design, Novartis provided architects with the following direction: "In the Shanghai Campus, we wish to achieve modern laboratories and modern workspaces, providing researchers with a relaxing and home-like environment such with greater opportunities to interact and cooperate, and make better use of their creativity." In 2016, Novartis Shanghai Campus had its Phase I construction completed, with a total of seven buildings.

Masterplan

Our plan emphasises on the spatial quality of the campus, and the creation of a liveable working community. We adopted "Courtyard Urbanism"as the design concept: courtyards are used to establish the overall spatial structure and given different scales across the campus. The service and living facilities are located within or surrounding the courtyards. Cultural continuity is another of our design strategies: we introduced the concepts of traditional Chinese gardens and blurred the difference between "court" and "garden" with the notion of "court-garden". A court-garden brings architectural qualities than a typical garden. The internal and external spaces of buildings within the campus are linked with pedestrian accessibility,forming a rich and continuous system, in which the users can perceive a modern interpretation of southern Chinese gardens.

Laboratory Building Design

The laboratory building is designed to be an enclosed courtyard. It can be conceptualised as a modern courtyard housing complex (siheyuan), or a room without a roof. The landscape design was made by ZHU Yufan. One of the campus restaurants is located on one side of the courtyard. An important design strategy for this campus plan was to include a variety of public service facilities in the independent courtyards of each laboratory or office building;this design is convenient for the staff, on the other hand campus users are encouraged to explore each building or moving through courtyards, allowing users to spend more time engaging in outdoor activities. On the other side of the courtyard,opposite to the restaurant, is a five-storey laboratory building.

Fa?ade Materials

Cultural continuity is also present in the exterior wall design of the main body of laboratory building. Oval-section modern terracotta plates in four tones of gray are gradually rotated, which clad the outer surface of the wall and also open to become the sun-shading louver. On the roof of the restaurant and veranda, we used another type of terracotta product, so the building generally reflected the tone, texture, and a nostalgic feeling of gray clay bricks in South China.

Interior Design

In the spirit of Novartis' aim of home-like laboratories, each floor has non-lab work spaces facing the courtyard, with atmosphere of living room, dining room, and kitchen. In the centre of the research laboratory building, open platforms in different sizes are stacked together in atrium vertically, and connected to each floor by staircases,which forms an indoor, vertical courtyards series.Like the courtyard, these platforms have distinct spatial qualities but no specific function. While going up or down the stairs, researchers may use these platforms to rest, read, or meditate.Interaction and cooperation are crucially important for work such as research and invention, and so the combination of these platforms and staircases is aimed at increasing opportunities for scientists to meet and interact.□