[分享]克罗地亚克尔克岛体育馆及广场

发表于2015-06-15     13人浏览     0人跟帖     总热度:10  

克罗地亚克尔克岛体育馆及广场_1

克罗地亚克尔克岛体育馆及广场

设计机构: Turato Architects
作品类型: 建筑设计
项目类型: 体育建筑
图片类型: 实景照片
所在地区: 其它

这是由Turato Architects设计的克尔克岛体育馆及广场。新运动馆曾于2013年夏天短暂开放,与一所学校仅一街之隔。该项目为克尔克岛古镇顶部提供了一个完整的城市整体,从而创建一个至为重要的新焦点。新体育馆除了提供学生使用的建身设施,还通过一条地下过道增加当地社区的通达性和需求,还可以举办大规模的运动赛事、文化活动和公共节庆互动。因此,建筑东北角与广场相对,提供集散功能上的连续性,并使其融为一体。

学校—体育馆—广场整体被几个教堂、修道院和两个高大的塔楼包围,共同定义了这个大型公共空间,根据场合条件还可兼作世俗和教会的步行区。体育馆采用原石和预制混凝土构件搭砌城墙。预制混凝土构件首先将石头放入一个木制模具中,后用PVC膜覆盖,最后浇筑混凝土,通过简单的制作手法达到强烈的视觉冲击。体育馆外观是六个大型混凝土巨石外墙,重量达23吨,运用了一种名为“水磨石”的古老技术。

译者:筑龙网 艾比

One of the main focuses of the Turato Architects’ Hall and Square project in Krk was to finish an architectural dialogue started way back in 2005, when Idis Turato completed an elementary school, Fran Krsto Frankopan (with his former studio “Randić Turato”).

The new Hall, which opened shortly before the summer of 2013, is situated in the very vicinity of the above-mentioned school, just across a narrow pedestrian street. The completion of the new sports building and public square was a crown achievement of the architect’s quest to complete an integral urban ensemble on top of Krk’s old town, thereby creating a newly defined focal point of high importance.

The newly built Hall, aside from being a gym facility for the school pupils – who can now easily access it through an underground corridor – aims to meet demands of the local community as well, housing sports events as well as future cultural activities and public festivities on a larger scale. This is the reason why the north-eastern corner of the Hall’s façade opens up onto the Square, providing functional continuity of passing through and enabling them to become almost one.

The school-hall-square assembly is surrounded by several churches and monasteries, as well as by two tall church towers that act as the Square’s vertical accents. Together, they all define and describe this wide public space, which, depending on occasion, can function both as a secular and an ecclesiastical pedestrian zone.

On the very site of the new Hall there used to be an old student dorm, which had been used in past as a gym facility for the school. Prior to the Hall construction it had to be demolished. The demolition, however, unearthed several new and important archaeological discoveries on the site, thus creating a whole new context for the Hall itself. All that had been found on the site had to be preserved as discovered. The architects took this fact to be crucial in redefining the concept according to the new input. This affected directly the very organizational scheme of the project. The excavated and preserved church and monastery walls were to become integral parts of the new building, with new walls and façades of the Hall emerging directly from the restored, older ones.

Yet another contextual element was important in forming the shape and size of the building. These are the high walls, seen throughout the old town of Krk, especially around the aforementioned monasteries, enclosing the town lots, lining the narrow streets of the town. These site-specific structures surround the Hall itself as well. Behind these walls different stories are taking place daily, balancing between the public and the private, depending on the usage of the space enclosed. The high walls of the western Hall façade, next to the Franciscan monastery, are then but a continuation of these town alleys.This is where the story of the walls, their origin, context and their shape began, resulting in variety of the façade walls, formally corresponding to the context, input and location.

Although seemingly set “back”, on secondary surfaces (the western alley and southern façade), the most recognizable and by far the most unique element of the Hall itself is a wall consisting of original and striking prefabricated concrete elements. The architect named these the innards due to their origin and their fabrication, and the ambiguity of the impression they leave upon the viewer, due to a formal factor of its (un)attractiveness. The innards are in fact unique precast elements produced as a negative of a dry stone wall, or more precisely - made by placing stones in a wooden mold, covering them with a PVC foil and pouring concrete over it all. In this way the negative of the stones forms the “face” of the precast element. This inverse building process, a simple and basic fabrication with a distinct visual impact, is an invention of the Hall’s author. It happened as a result of researching simple building materials with a crafty bricklayer, with whom the architect had collaborated on several projects in the past as well.

On the other hand, the most representative façade of the Hall, the one visually dominating the square, is the façade constructed out of six impressively large concrete monoliths, weighing up to 23 tons. The monolithic blocks are finished off with a layer of ‘terrazzo’, which is an ancient technique usually used for floor finishes, requiring hours of polishing by hand. Here, however, the terrazzo is redefined and used vertically, fittingly renamed into a “vertical terrazzo”. While this sudden vertical use of the finish creates a shiny and finely shaded façade, its “normal” use, on horizontal surfaces, is recontextualized and rethought once again, since this finish, usually ‘reserved’ for interiors, is now used for exterior surfaces of the public Square. The red color of the Square’s terrazzo floor panels is in contrast to the lightness of the Hall’s façade. Its smoothness and slip-resistance is achieved by application of a layer of epoxy after polishing.

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