責(zé)任編輯：甘海星

挪威斯諾赫塔建筑事務(wù)所 THE DESIGNFIRM 設(shè)計事務(wù)所

責(zé)任編輯：甘海星

挪威斯諾赫塔建筑事務(wù)所

事務(wù)所簡介 Company Presentation

挪威斯諾赫塔（Sn?hetta）建筑事務(wù)所是一家從事建筑結(jié)構(gòu)、園林建筑、室內(nèi)設(shè)計和品牌設(shè)計的國際公司，自1989年成立以來屢獲殊榮。其設(shè)計原則側(cè)重于跨學(xué)科的多行業(yè)協(xié)作，根據(jù)每一項目的具體情況提出不同的設(shè)計方案。重視多元化背景與文化也是其建筑設(shè)計實踐的重要特征。斯諾赫塔建筑事務(wù)所由來自世界各地的設(shè)計師和專業(yè)人士組成，這正反映了這一價值觀。

斯諾赫塔建筑事務(wù)所實行傳統(tǒng)工藝與尖端數(shù)字技術(shù)同時探索的工作方法——一種對他們的創(chuàng)作過程有促進(jìn)作用的偶然聯(lián)系法。設(shè)計工作室的核心是一流的藝術(shù)造型車間，配有3D原型快速制作設(shè)備及可編程制作機(jī)器人。這些工具與傳統(tǒng)的木工機(jī)械相輔相成，使快速造型成為設(shè)計過程不可缺少的一部分，并能實現(xiàn)在模擬和數(shù)字世界之間進(jìn)行無縫對接并來回變換的創(chuàng)意。

斯諾赫塔建筑事務(wù)所有兩個主要工作室，分別位于挪威奧斯陸和美國紐約，目前擁有來自28個不同國家的160名員工。1989年，在贏得國際設(shè)計競標(biāo)之后，斯諾赫塔建筑事務(wù)所接到了其第一單業(yè)務(wù)——埃及亞歷山大圖書館的重建設(shè)計。隨后十年，又在挪威國家歌劇和芭蕾舞劇院項目中再次中標(biāo)。2004年，斯諾赫塔建筑事務(wù)所受托設(shè)計美國紐約世貿(mào)中心遺址唯一的文化建筑——“美國911國家紀(jì)念博物館”，并在紐約設(shè)立了一個常駐機(jī)構(gòu)。斯諾赫塔建筑事務(wù)所目前正在參與遍布于歐洲、亞洲、非洲、大洋洲和美洲的50多個項目。

斯諾赫塔建筑事務(wù)所于2004年和2009年分別獲得了阿卡汗建筑獎和密斯·凡·德·羅獎（Mies van der Rohe Award）。其挪威國家歌劇和芭蕾舞劇院設(shè)計方案，獲2009年全球建筑獎之最佳文化建筑獎和2010年歐洲城市公共空間獎。

斯諾赫塔建筑事務(wù)所致力于園林建筑、建筑結(jié)構(gòu)、室內(nèi)設(shè)計和平面設(shè)計等方面的跨學(xué)科綜合實踐。通過研究與直覺相結(jié)合，將通常所認(rèn)為的挑戰(zhàn)化為機(jī)遇，并在創(chuàng)作過程中對社會和政治環(huán)境因素加以考慮，這正體現(xiàn)了他們設(shè)計的品質(zhì)和實力。

斯諾赫塔的方法側(cè)重于建筑與空間的對話，相互呼應(yīng)。他們對場地固有特征和條件進(jìn)行慎重考慮，從而得出確保每一設(shè)計的最佳切入點。真正有空間與內(nèi)涵的項目往往帶來令人驚喜的互動，創(chuàng)造新穎而永恒。

斯諾赫塔建筑事務(wù)所崇尚互動。他們的所有作品，無論是自然的還是人為的，都努力增強(qiáng)他們的空間感與存在感，以及他人和事務(wù)所所處物理空間的關(guān)系。藝術(shù)博物館、馴鹿觀測館、城市場所和玩具屋都同樣成為關(guān)注的目標(biāo)。是物質(zhì)而不是潮流在推動他們的設(shè)計思想。

在過去的25年里，斯諾赫塔一直致力于全球一些重要的教育、城市建設(shè)和文化項目。他們的優(yōu)勢是包容性工作方法、人際交往和社會可持續(xù)發(fā)展的價值觀。該方法確保了針對具體場地提出具體解決方案，滿足客戶和用戶對于引人入勝的公共空間的需求。

Formed in 1989, Sn?hetta is an award-winning international architecture, landscape architecture, interior architecture, and brand design frm. The practice is centered on a trans-disciplinary approach where multiple professions work together to explore differing perspectives on the conditions for each project. A respect for diverse backgrounds and cultures is a key feature of the practice； refecting this value, Sn?hetta is composed of designers and professionals from around the world.

Sn?hetta’s working method practices a simultaneous exploration of traditional handicraft and cutting edge digital technology - a serendipitous relationship that drives its creative process. At the core of the design studio is a state-of-the-art modeling workshop equipped with 3D rapid prototyping capabilities and a large， programmable manufacturing robot. Alongside traditional woodworking machines，these tools enable rapid prototyping to become an integral part of the design processes， and allow ideas to move seamlessly between analogue and digital worlds and back again.

Comprised of two main studios， in Oslo， Norway and New York，USA， the practice currently has 160 employees from 28 different nations. In 1989， Sn?hetta received its frst commission to re-invent the great Alexandria Library in Egypt， after winning an international design competition. This was followed a decade later by another competition-winning proposal for the Norwegian National Opera and Ballet. In 2004， Sn?hetta was commissioned to build the only cultural building on the World Trade center memorial site， and a permanent offce was then set up in New York. Sn?hetta is currently involved with more than 50 projects in Europe， Asia， Africa， Oceania， and the Americas.

In 2004 the company received the Aga Khan Award for Architecture，and in 2009 it was honored with the Mies van der Rohe Award. The World Architecture Award， best Cultural Building 2009， and European Prize for Urban Public Space in 2010， both for the Norwegian National Opera and Ballet.

Sn?hetta is committed to an integrated trans-disciplinary practice of landscape architecture， architecture， interiors， and graphic design. The quality and strength of identity provoked by its designs is achieved by incorporating research with intuition， leveraging what are often perceived as challenges into opportunities, and factoring the social and political environment in the creative process.

Sn?hetta’s approach focuses on the dialogue between building and place， each informing the other. The inherent character and conditions of any site are carefully considered to provide a sound point of departure for each ensuring design. Projects truly of place can foster meaningful and often surprising interactions, creating something simultaneously new and timeless.

Sn?hetta values human interaction. All of its work strives to enhance its sense of place， identity， and relationship to others and the physical spaces Sn?hetta inhabits， whether natural or human-made. Art museums， reindeer observatories， urban places， and dollhouses receive the same attention to purpose. Essence， rather than trends drive its thoughts.

For over 25 years Sn?hetta has been working internationally on a number of important educational， civic， and cultural projects. Sn?hetta's strength is its inclusive working methodology and values of human interaction and social sustainability. The methodology ensures a site-specifc solution is created that meets client and user needs for a successful and engaging public space.

挪威Karm?y漁業(yè)博物館 Karm?y Fishing Museum

挪威呂薩克車站 Lysaker Station， Norway

伊索商店室內(nèi)設(shè)計

地點：挪威奧斯陸

業(yè)主：伊索商店

類型：零售商店

面積：66平方米

狀況：2014年完工

設(shè)計范圍：室內(nèi)

Aesop

Location： Oslo， Norway

Client： Aesop Typology： Retail

Size： 66 m2

Status： Completed 2014

Scope： Interior

挪威國家歌劇和芭蕾舞劇院

地點：挪威奧斯陸

業(yè)主：教會和文化事務(wù)部

建設(shè)業(yè)主：Statsbygg（政府建設(shè)局）

最終用戶：挪威國家歌劇和芭蕾舞劇院

項目狀況：2008年完工

總面積：38 500平方米

繪圖：斯諾赫塔建筑事務(wù)所

Location： Oslo， Norway

Client： Ministry of Church and Cultural Affairs

Building Client： Statsbygg （The Governmental Building Agency）

End User： The Norwegian National Opera & Ballet

Status： Completed， 2008

Gross Area： 38 500 m2

Drawings： ?Sn?hetta

該歌劇院是中標(biāo)方案的具體實現(xiàn)。競標(biāo)方案包含四幅圖，分別解釋了建筑的基本概念。

“防波堤”

歌劇和芭蕾在挪威是歷史不長的藝術(shù)形式，這些藝術(shù)形式在全球隨著環(huán)境而演變。Bj?rvika半島是港口城市的一部分，歷史上是挪威與其他國家交流的大門。海洋的“彼”和陸地的“此”之間，看似具有真實的限制分界線，又好像具有象征性的門檻。這個門檻的實現(xiàn)形式為陸和海交匯線上的防波堤，實際意義是挪威和外部世界之間的聯(lián)系界面，藝術(shù)與日常生活之間的交匯線?？缭介T檻，藝術(shù)就融入公眾生活之中。

“工廠化”

為參加設(shè)計競標(biāo)，我們制定了基本的設(shè)計方案。斯諾赫塔建筑事務(wù)所建議歌劇院的設(shè)施應(yīng)建造為合理規(guī)劃的自備“工廠”，在規(guī)劃階段以及投入使用后既有功能性，又有靈活性。規(guī)劃階段已證明這種靈活性極其重要：許多房間和套間按最終用戶的意圖進(jìn)行了用途調(diào)整。這些改造雖然改變了建筑物的功能性，但不會影響結(jié)構(gòu)。

“地毯”

投標(biāo)方案要求，歌劇院應(yīng)具有高標(biāo)準(zhǔn)的建筑質(zhì)量，并表達(dá)出其象征意義。我們于是提出體現(xiàn)這一象征意義的創(chuàng)意：即全民團(tuán)結(jié)、人人共享、平易待人和全面開放的理念。為了基于這一理念而體現(xiàn)其象征意義，我們希望能夠讓歌劇院以寬闊宏偉的氣勢出現(xiàn)在人們眼前，因而在建筑物頂部設(shè)計有“地毯狀”水平面和斜面。這塊“地毯狀”屋面天臺又構(gòu)成了一道亮麗的城市風(fēng)景線，它以水平延伸而不是高聳入云的手法體現(xiàn)其象征意義。無論是這次競標(biāo)的基本方案還是最終建筑，都結(jié)合了防波堤、工廠和地毯這三個要素。

城市位置

歌劇院是該城區(qū)規(guī)劃改造的重點。至2010年，要將建筑附近繁忙的車流轉(zhuǎn)移到峽灣下面的隧道。鑒于其建筑規(guī)模和審美形象，歌劇院距該區(qū)其他建筑物有些距離。大理石屋面斜角構(gòu)成了觀賞城市和峽灣景觀的巨大公共空間。

歌劇院的正面面向西北，從峽灣往南有一段很大的距離，這使該建筑的輪廓能夠清晰地顯現(xiàn)出來。從阿克斯胡斯城堡和城區(qū)網(wǎng)格方面看，該建筑將峽灣和東面的艾克貝格（Ekerberg）山聯(lián)系在一起。從中央火車站和弗雷德里克（Chr.Fredriks）廣場朝歌劇院方向看，巨大的斜面覆蓋住峽灣及其島嶼的東部，十分壯觀。

該建筑物把城市和峽灣，都市氛圍與自然景觀聯(lián)系了起來。

建筑物的東部是櫛比相鄰、各種各樣的“工廠”。

人們可以看到建筑內(nèi)部的活動：上層是芭蕾舞排練室，工作坊與街面相平。將來，它與生機(jī)勃勃的城市新區(qū)相連，帶來更多的都市氣息。

與藝術(shù)家合作

對于斯諾赫塔建筑事務(wù)所而言，與藝術(shù)家密切合作一直是建筑項目的重要組成部分。早在競標(biāo)階段，就邀請藝術(shù)家進(jìn)行合作，并希望從設(shè)計階段之初開始合作。斯諾赫塔建筑事務(wù)所力圖避免由藝術(shù)家對建筑進(jìn)行“裝飾”的模式，而是讓藝術(shù)家、工匠和專業(yè)人員進(jìn)行公開交流，以各種方法構(gòu)畫出重要建筑元素。對于該歌劇院，建筑師打算通過協(xié)作來完成大型大理石屋面斜角和鋁包立面設(shè)計。

早期參加石屋頂合作設(shè)計的藝術(shù)家包括KristianBlystad， KalleGrude和JorunnSannes。一年后，根據(jù)國有資金建設(shè)項目指南，正式成立了綜合藝術(shù)設(shè)計委員會。該委員會聘請了Astrid L?vaas和Kirsten Wagle等藝術(shù)家進(jìn)行金屬包覆元素方面的合作設(shè)計。

選材

選材的比重、顏色、紋理和溫度一直是建筑設(shè)計的重要因素。斯諾赫塔建筑事務(wù)所的建筑風(fēng)格采用敘事手法，由材料形成空間的確定元素，并使用多種材料，從不同的細(xì)節(jié)和精度入手，體現(xiàn)其建筑風(fēng)格。

早在競標(biāo)之初，就為該歌劇院項目指定了三種主材：鋪設(shè)“地毯”式的白色大理石，“防波堤”所用木材和 “工廠”所用金屬。在該項目的進(jìn)行過程中出現(xiàn)了第四種材料——露出“地毯”下側(cè)的玻璃，并予以特殊的關(guān)注。

石材

經(jīng)過國際性競標(biāo)，選中了意大利La Facciata大理石。同其他大理石一樣，它具有色彩永久絢麗的共性，即使受潮也是如此。而且在穩(wěn)定性、密度和壽命方面達(dá)到技術(shù)質(zhì)量要求。Campolonghi大理石加工廠家有專業(yè)能力，對于這樣一個龐大而復(fù)雜的工程，完全具備所要求的技術(shù)實力和經(jīng)驗。

“地毯”的可用面積約18 000平方米。其細(xì)節(jié)設(shè)計很重要：建筑師希望它不要與建筑物的主拱相沖突，但同時又能在近處充分體現(xiàn)出其引人入勝之處。與藝術(shù)家一起討論并提出了幾種替代方案，最后才確定為不重復(fù)的特殊圖案，把浮凸區(qū)、特殊切口、各種表面紋理和和具體細(xì)節(jié)融入圖案，旨在有力地表達(dá)主體的幾何形狀。

木材

無論是“防波堤”還是主禮堂都以橡木作為主材。采用的橡木具有變化的淺色表面。禮堂所有地板、墻壁和天花板都使用橡木。防波堤具有由錐形接合面有機(jī)組合而成的復(fù)雜幾何形狀，也是門廳空間內(nèi)的重要消聲器；為了實現(xiàn)這些目標(biāo)，防波堤由較小元素組成，便于處理幾何形狀變化和吸音。

出于多種原因，禮堂里面采用橡木：致密的橡木很容易成形，具有穩(wěn)定性和觸摸感。橡木已經(jīng)用氨處理成暗色調(diào)。在本設(shè)計中，橡木也用于地板、墻壁和天花板，以及陽臺正面和反聲器。

金屬

歌劇院有很長的壽命。這意味著需要對簡單而現(xiàn)代感的金屬包層進(jìn)行重新評估和設(shè)計，為此，我們聯(lián)系了多家工廠和車間。

考慮到美觀、壽命、延展性和平板面的加工之后，最后選中鋁板加工的面板。為了進(jìn)一步改善面板的質(zhì)量，開始了與兩位藝術(shù)家合作的過程。

設(shè)計團(tuán)隊最初瞄準(zhǔn)工業(yè)模塊化的面板，但面板本身應(yīng)該具有更佳的外觀質(zhì)量。面板分別沖壓加工成凸球形和凹錐形。由藝術(shù)家基于古老編織技術(shù)開發(fā)出這種凹凸搭接模式。

總共設(shè)計了八塊不同的面板，所以隨著燈光的不同角度、強(qiáng)度和顏色的變化，視覺效果也發(fā)生變化。

玻璃

在建筑物的南，西，北三面，門廳上方主要是高空玻璃幕墻。在項目早期就意識到這種玻璃工程比以前設(shè)想的還要重要，白天、夜晚，它們的外表面都會閃閃發(fā)光。

玻璃幕墻高達(dá)15米。建筑師的意圖是設(shè)計一種玻璃建筑，采用盡可能少的鋼柱、框架和支撐。解決方案是用玻璃塊與夾在里面的少量鋼夾一起組成層板。

由于希望為大面板銜接處加細(xì)接縫，對玻璃的剛度要求增加。而這種厚玻璃往往相當(dāng)綠而不透明。因此，決定為歌劇院的外墻采用低鐵玻璃。

The opera house is the realisation of the winning competition entry. Four diagrams，which were part of the entry， explain the building's basic concept.

"The wave wall"

Opera and ballet are young art forms in Norway. These art forms evolve in an international setting. The Bj?rvika peninsula is part of a harbour city， which is historically the meeting point with the rest of the world. The dividing line between the ground 'here' and the water ‘there' is both a real and a symbolic threshold. This threshold is realised as a large wall on the line of the meeting between land and sea， Norway and the world， art and everyday life. This is the threshold where the public meet the art.

"The Factory"

A detailed brief was developed as a basis for the competition. Sn?hetta proposed that the production facilities of the opera house should be realised as a selfcontained， rationally planned ‘factory'. This factory should be both functional and fexible during the planning phase as well as in later use. This fexibility has proved to be very important during the planning phase： a number of rooms and room groups have been adjusted in collaboration with the end user. These changes have improved the buildings functionality without affecting the architecture.

"The Carpet"

The competition brief stated that the opera house should be of high architectural quality and should be monumental in its expression. One idea stood out as a legitimation of this monumentality： the concept of togetherness， joint ownership，easy and open access for all. To achieve a monumentality based on these notions we wished to make the opera accessible in the widest possible sense， by laying out a ‘carpet' of horizontal and sloping surfaces on top of the building. This carpet has been given an articulated form， related to the cityscape. Monumentality is achieved through horizontal extension and not verticality.

The conceptual basis of the competition， and the fnal building， is a combination of these three elements - The wave wall， the factory and the carpet.

Urban situation

The opera house is the frst element in the planned transformation of this area of the city. In 2010 the heavy traffc besides the building will be moved into a tunnel under the fjord. Due to its size and aesthetic expression， the opera house will stand apart from other buildings in the area. The marble clad roofs cape forms a large public space in the landscape of the city and the fjord.

The public face of the opera house faces west and north - while at the same time，the building's profle is clear from a great distance from the fjord to the south. Viewed from the Akershus castle and from the grid city the building creates a relationship between the fjord and the Ekerberg hill to the east. Seen from the central station and Chr. Fredriks sq.， the opera catches the attention with a falling which frames the eastern edge of the view of the fjord and its islands.

The building connects city and fjord， urbanity and landscape.

To the East， the ‘factory' is articulated and varied.

One can see the activities within the building： Ballet rehearsal rooms at the upper levels， workshops at street level. The future connection to a living and animated new part of town will give a greater sense of urbanity.

Collaboration with artists

For Sn?hetta， close collaboration with artists has always been an important part of building projects. As early as the competition stage， artists were invited in as collaborators, and the wished to continue this from the beginning of the design phase. Sn?hetta have tried to avoid having artist apply ‘decoration' to the architecture, preferring to allow for an open dialogue between artists, artisans and professionals with various approaches to important building elements. With the opera house, the architect intended that both the large marble clad roofs cape and the aluminium clad facades should be approached as collaborative endeavours.

An early collaboration was established for the stone roof with artists： Kristian Blystad， Kalle Grude and Jorunn Sannes. One year later， in accordance with the guidelines for state funding building projects, a committee for integrated artwork was established. This committee engaged the artists Astrid L?vaas and Kirsten Wagle to collaborate on the design of the metal cladding elements.

首層平面 ground floor plan

三層平面 second floor plan

二層平面 first floor plan

四層平面 third floor plan

屋頂平面 roof plan

地下層平面 underground level plan

Choice of materials

The materials， with their specific weight， colour， texture and temperature， have been vital to the design of the building. Sn?hetta's architecture is narrative. It is the materials which form the defning elements of the spaces. It is the meeting of the materials which articulates the architecture through varied detail and precision.

In the opera house， three main materials were specifed as early as the competition entry： White stone for the ‘carpet'， timber for the ‘wave wall'， and metal for the ‘factory'. During the continued work on the project, a fourth material, glass, which allows for the exposure of the underside of the ‘carpet'， has been given specifc attention.

Stone

After an international tender competition， the Italian marble， La Facciata， was chosen. This is a stone which， in common with other marbles， retains its brilliance and colour even when wet. It has the necessary technical quality in terms of stability，density， and longevity. The producer， Campolonghi， has had the professional ability，capacity， and experience necessary for such a large and complex project.

The accessible area of the ‘carpet' is approx. 18，000 m2. Its detailed design has been important： the architect desired that it should not interfere with the general dorm of the building but that it simultaneously was articulated enough to be interesting at close quarters.

Together with the artists several alternatives were proposed before a particular non repetitive pattern with integrated raised areas, special cuts, various surface textures, and specifc details were designed to articulate the main geometry.

Timber

Oak has been chosen as the dominating material for both the ’wave wall’ and the main auditorium. For the wave wall it has a light and varied surface. Oak is used throughout for the foors， walls and ceilings. The wave wall has a complex organic geometry made up of joined cone shapes. It is also an important acoustic attenuator within the foyer space. To achieve these goals it is made up of smaller elements which can deal with the changing geometry and provide acoustic absorption.

Inside the auditorium oak has been chosen for a number of reasons： It is dense，

easily formed， stable and tactile.

The oak has been treated with ammonia to give a dark tone. Here too oak is used for foors， walls， and ceilings， as well as balcony fronts， and acoustic refectors.

Metal

An opera house is designed and built to have a long lifespan. This means that a simple, modern metal cladding, such as we associate with factories and workshops, needs to be re-evaluated and redesigned.

After a consideration of aesthetics， longevity， malleability and the possibility to make very flat panel， aluminium was chosen. To give the panel further quality， a collaborative process was begun with two artists.

The design team initially aimed for an industrial modularity but that the panels themselves should have greater visual quality. The panels were punched with convex spherical segments and concave conical forms. The pattern was developed by the artists based on old weaving techniques.

In all， eight different panels were designed which give a constantly changing effect depending on the angle， intensity and colour of the light playing on them.

Glass

The high glass facade over the foyer has a dominant role in the views of the building from the south， west， and north. Early in the project it was realised that this glass faced was more important than previously assumed， both during the day and night when it would act as a lamp illuminating the external surfaces.

The glass fa?ade is up to 15 meters high. It was the architects' intention to design a glass construction with an absolute minimum of columns, framing, and stiffening in steel. The solution was to use glass fins where minimised steel fixings are sandwiched inside the laminates.

The requirements for the glass's stiffness increased due to the desire for large panels and slim joints where the panels meet. Thick glass of this sort tends to be quite green rather than transparent. It was therefore decided that the fa?ade of the opera house would use low iron glass.

挪威野生馴鹿中心展館

地點：挪威多夫勒

業(yè)主：挪威野生馴鹿中心

類型：無鍵結(jié)構(gòu)

面積：90平方米

項目狀況：2011年完工

設(shè)計范圍：建筑、景觀和室內(nèi)繪圖：斯諾赫塔建筑事務(wù)所

Location： Hjerkinn， Dovre， Norway

Client： Norwegian Wild Reindeer Centre

Typology： Keyless structure

Size： 90 m2

Status： Completed 2011

Scope： Architecture， Landscape and Interior Drawings： ?Sn?hetta

斯諾赫塔建筑事務(wù)所設(shè)計的挪威野生馴鹿中心，位于多夫勒山脈國家公園外一個很美的地方，海拔約1250米，俯瞰山巒。

75平方米的建筑主要是為登山向?qū)驅(qū)W校學(xué)生和游客講解多夫勒山高原獨特的野生動物和歷史時提供場所。

多夫勒山脈是野生馴鹿、麝牛和北極狐的家園，也是許多珍稀動植物的自然棲息地。在漫長的歷史長河中，旅行者來來往往，狩獵的傳統(tǒng)、采礦、軍事活動也在這片土地上留下了各種印記。如今，現(xiàn)代旅游和娛樂也塑造了這個地方的文化景觀。多夫勒山脈在挪威人的意識中也占據(jù)了重要的地位。民族傳說、神話、詩歌（易卜生）和音樂（格里格）都贊美了這片神秘、永生、遼闊的土地。挪威憲法締造者的名言“意見一致、忠貞不渝，除非多夫勒山倒塌！”

具有文化特色的神秘的自然景觀是建筑理念的基礎(chǔ)。建筑設(shè)計基于堅硬外殼與柔軟的有機(jī)內(nèi)核的對比。木質(zhì)的內(nèi)里置于粗鋼鐵玻璃的方形結(jié)構(gòu)中。內(nèi)核塑造成被風(fēng)和流水等自然力量腐蝕的石頭或冰塊。外墻和內(nèi)部空間營造出一個安全而溫暖的聚會場所，同時游客觀看風(fēng)景。

為抵御嚴(yán)酷的氣候，相當(dāng)大一部分設(shè)計重點放在材料的質(zhì)量和耐久性上。庇護(hù)所簡潔的外形和對自然材料的使用也沿襲了當(dāng)?shù)氐慕ㄖ鹘y(tǒng)。同時，在建造的過程中，也采用了新技術(shù)以便獲得現(xiàn)代功能。木質(zhì)核心的產(chǎn)生基于數(shù)字三維模型，采用機(jī)器人控制的大型的銑床。

挪威野生馴鹿中心是一棟堅固的建筑，它改良了當(dāng)?shù)亟ㄖ鹘y(tǒng)，提供了游客聚集的地點，豐富了多夫勒山脈的獨特美景。

The Norwegian Wild Reindeer Pavilion sits on a spectacular site on the outskirts of Dovrefjell National Park at around 1250 meters above sea level， overlooking the mountain， Sn?hetta.

The main purpose of the 75m2 building is to provide shelter for school groups and visitors as mountain guides lecture about the unique wildlife and history of the Dovre Mountain plateau.

Dovrefjell is home to wild reindeer herds， musk oxen， arctic foxes and a variety of endemic botanical species. A long history filled with travellers， hunting traditions，mining and military activities have left their mark on this land. Today， modern tourism and recreation continue to shape the cultural landscape of this place. Dovrefjell also holds signifcant importance in the consciousness of Norway. National legends，myths， poetry， music， and pilgrimages celebrate the mystic， eternal， and grounded qualities of this robust place. The founding fathers of the Norwegian constitution are “agreed and faithful, until the fall of Dovre!”

Natural， cultural and mythical landscapes form the basis of the architectural idea. The building design is based on a contrast between a rigid outer shell and a soft organic-shaped inner core. A wooden interior is placed within a rectangular frame of raw steel and glass. The core is shaped like rock or ice is eroded by natural forces like wind and running water. Its shape creates a protected and warm gathering place， while still preserving visitor's access to spectacular views.

Considerable emphasis is put on the quality and durability of materials so that the building can withstand the harsh climate. The shelter's simple form and use of natural building materials reference local building traditions. And at the same time， new technologies will be utilized to bring modern effciency to the fabrication process. The wood core will be manufactured using a large scale robot-controlled milling machine based on digital 3D models.

Tverrfjellhytta is a robust building that refnes local building traditions， provides a protected gathering place for the visitors and enriches the unique landscape of Dovrefjell.

平面 plan

南立面 south elevation

北立面 north elevation

剖面 typical section

條碼區(qū)B.10.1 - 德勤總部

地點：挪威奧斯陸

業(yè)主：Oslo S Utvikling

類型：辦公樓

面積：20 000平方米

項目狀況：2013年完工

設(shè)計范圍：建筑、景觀與室內(nèi)

繪圖+模型：斯諾赫塔建筑事務(wù)所

Location： Oslo， Norway

Client： Oslo S Utvikling

Typology： Offce building

Size： 20 000 m2

Status： Completed 2013

Scope： Architecture， landscape， interior

Drawings+model： ?Sn?hetta

2007年，斯諾赫塔建筑事務(wù)所接受委托設(shè)計了現(xiàn)位于Bj?rvika中央車站的西側(cè)“條碼”區(qū)的一棟辦公樓。

大樓的底下兩層有商店、餐飲店，室外區(qū)域配有戶外餐飲設(shè)施。2樓至11樓為辦公室，12樓至15樓層為食堂和會議室，旁邊配有綠色屋頂露臺。

建筑設(shè)計融合了建筑的內(nèi)部規(guī)劃與場地的外部限制以及創(chuàng)造雕塑風(fēng)格建筑的想法。大樓的外形和高度與條碼區(qū)總體規(guī)劃原則一致。外墻采用交叉垂直平面主題，讓人聯(lián)想到蕾絲面料。外墻系統(tǒng)僅由四種不同的面板構(gòu)成；無論如何，外墻所表達(dá)的內(nèi)涵是豐富的。

條碼區(qū)規(guī)劃制度中的觀景廊限制了在大樓橫向上斜切樓頂區(qū)域內(nèi)的建筑物高度。地面上的另一個橫向切割便于行人從奧斯陸中央車站穿過大樓。這一人行道也體現(xiàn)了中央車站區(qū)域和通向Dronning Eufemias街之間的街道高低差異。

Sn?hetta was in 2007 commissioned to draw an office building with a site that lies on the west side of the Central Station in Bj?rvika， in the “Barcode” - area.

The two lowest foors of the building will have shops and refreshment areas， the belonging outdoor areas will have supplementary outdoor refreshment facilities. From the 2nd to 11th foor there will be offces and 12th to 15th foor will hold a canteen and conference rooms with adjacent green roof terraces.

The building's design merges the building's internal program with the external limitations of the site and a desire to create a volume that has sculptural in form. The footprint and height of the building complies with the Barcode master plan principles for the area. The facades introduce a theme of surfaces crossing in horizontal and vertical planes， giving associations to lace fabric. The system of the facades is built up of only 4 different panels； despite its rationality the fa?ade expresses richness.

A sight corridor in the planning regulations of Barcode limits the height of the buildings in an area that cuts diagonally across the roof in the transverse direction of the volume. Another cross direction is made on the ground level， enabling the pedestrians from Oslo Central to cross the building. This pedestrian route also conveys the difference in street level between the Central Station area and the lower level towards Dronning Eufemias street.

美國“9.11”國家紀(jì)念博物館

地點：美國紐約市

業(yè)主：9.11國家紀(jì)念館

類型：文化及游客中心

面積：50 000平方米

項目狀況：2014年完工

合作建筑師：Adamson Associates

設(shè)計范圍：建筑、景觀和室內(nèi)

Location： New York， NY， USA

Client： National 9/11 Memorial

Typology： Culture & visitor orientation center

Size： 50 0002

Status： Completed May 2014

Associate Architect： Adamson Associates

Scope： Architecture， landscape & interior

2004年，斯諾赫塔建筑事務(wù)接受委托設(shè)計美國紐約世貿(mào)雙塔紀(jì)念廣場上的唯一文化建筑——“9·11”國家紀(jì)念博物館。此后幾年，項目幾經(jīng)變化，但它仍是一個文化機(jī)構(gòu)，為游人提供舒適的環(huán)境。建筑設(shè)計體現(xiàn)了與紀(jì)念廣場橫向展開的平面特色的細(xì)致呼應(yīng)，同時也提供了一個充滿活力的有機(jī)體，以便游客在更廣的意義上來思考遺址與城市。斯諾赫塔建筑事務(wù)所創(chuàng)始合伙人Craig Dykers認(rèn)為“我們的愿望是讓游客找到城市日常生活與紀(jì)念碑獨一無二精神特質(zhì)之間的自然入口。當(dāng)人們深入建筑之中，可感受到被其引領(lǐng)一直走到遺址的其它地方去體驗”。

斯諾赫塔建筑事務(wù)所的設(shè)計一直都是探索環(huán)境造就的特色。WTC紀(jì)念一直承載著歷史的權(quán)力，又飽含對未來的新希望。這個地方承載著受它的影響而又無法忘記與紐約人們親密聯(lián)系的世界各地人們的記憶與夢想。

博物館的一些特質(zhì)似乎讓人聯(lián)想起原來的雙子塔，另一些時候，這些念頭只是些暗示而已。高反光率的外表能夠反映變化的四季，以及一年四季博物館的不同特征。傾斜、反光的、透明的表面鼓勵游人走進(jìn)、觸摸和凝視建筑。

一旦進(jìn)入，游客穿過博物館的中庭可以看到其他同行者，在身體與心理上開始了從上空到地面轉(zhuǎn)變。中庭里面矗立從被摧毀的雙子塔中整理出的兩根柱子。雖然它們已從原有位置移走，也沒有了以往的功能，但它們寓意深刻和富有美感的姿態(tài)，是

遺址的標(biāo)志。博物館的用材明亮通風(fēng)，日光可以進(jìn)入博物館的下層，博物館與地面的關(guān)系微妙，同樣的無重量，但卻充滿了希望。

斯諾赫塔建筑事務(wù)所設(shè)計的這座紀(jì)念博物館，映襯著紀(jì)念廣場上簡潔的水池與樹林，是一個視覺上可以接近的樸素的建筑，它完全融入了紀(jì)念性這一設(shè)想。低處的水平形式以及向上的構(gòu)造使其成為溝通兩個世界的橋梁：紀(jì)念館和博物館、地面之上與地面之下、光明與黑暗、集體與個人。此外，它也與地下的Path車站、博物館和地鐵站聯(lián)通。

介于水平廣場與垂直極限之間，它是摩天大樓與廣場之間的基石。斯諾赫塔與客戶合作建造了紀(jì)念館寶石般條紋的外觀，讓建筑與游人產(chǎn)生強(qiáng)烈的共鳴，并在視覺和建筑上建立與周邊城市環(huán)境的聯(lián)系。紀(jì)念廣場的平面被紀(jì)念館的玻璃中庭打破，由此游客可以進(jìn)入地下博物館，并從上面提供采光。

紀(jì)念廣場的名稱是“倒影虛空”：當(dāng)游客穿越廣場來到方形水池時，他們的目光就為人工瀑布吸引，看到四周的人工瀑布匯入主水池，然后再流入第二方形水池最終進(jìn)入池中央的深淵，這是對“9·11”悲慘事件帶來的巨大虛空的物質(zhì)反映，相比之下，斯諾赫塔建筑事務(wù)所設(shè)計的紀(jì)念博物館則反映在：此時此刻、天氣、樹木、周圍的建筑，特別是前來紀(jì)念館的所有游客。在廣場，人們俯視紀(jì)念噴泉，思考過去，對過去致意。在紀(jì)念博物館，人們則朝前朝上看，勇敢地、充滿了希望地思考現(xiàn)在與未來。

In 2004， SN?HETTA was commissioned to design the only building on the memorial plaza. In the years since， the program has changed several times，however it has remained a cultural facility dedicated to visitor comfort and orientation. The design for the building embodies a careful reaction to the horizontal character of the memorial plaza’s design, while also providing the area with a lively organic form that allows the visitor to imagine the site and city in a broader sense. According to Sn?hetta's Founding Partner， Craig Dykers， “Our desire is to allow visitors to find a place that is a naturally occurring threshold between the everyday life of the city and the uniquely spiritual quality of the Memorial. It is important that people physically engage with the building and feel that it helps lead them on to other areas of the site and other thoughts about their experiences there.”

Sn?hetta's design approach has always been characterized by an exploration of context. The WTC Memorial site carries with it both the power of its history and a new hope for the future. It is a place that conveys the memories and dreams of people around the world who are affected by its presence without forgetting its intimate connection to the people of New York.

Certain characteristics of the Museum Pavilion will seem reminiscent of the original towers， while at other times these notions are only alluded to. The alternating refective treatment of the fa?ade will mirror the changing seasons， revealing the Pavilion's differing qualities throughout the year. Inclined， refective and transparent surfaces encourage people to walk up close， touch and gaze into the building.

Once inside, visitors look out through the Pavilion’s atrium to see others peer in， and begin a physical and mental transition in the journey from above to below ground. Within the atrium， stand two structural columns rescued from the original towers. Although removed from their former location and function， they mark the site with their own profound and aesthetic gesture. The Pavilion's light and airy materials allow daylight into the Museum below grade, commemorating the Pavilion’s tenuous relationship with the ground, equal parts weightless and hopeful.

Complementing the power and simplicity of the pools and the trees， Sn?hetta has designed a visually-accessible， unimposing， building which is fully integrated into the Memorial site. With its low， horizontal form and its uplifting geometry the Pavilion acts as a bridge between two worlds - between the Memorial and the Museum, the above and below ground, the light and dark, between collective and individual experiences. It also bridges over separate structures： the Path station， Museum and subway station below.

Between vertical and horizontal extremes, it is a stepping stone between skyscrapers and the plaza. The Pavilion's jewel-like， striped fa?ade was developed in collaboration with the Client to allow the building to have a strong resonance for the visitor as well as providing visual and architectural connection to the surrounding urban environment. The flat plane of the Memorial Plaza is pierced by the glass Atrium of the Pavilion，which allows visitors to enter the below-grade Museum and bring with them sunlight from above.

The name of the Memorial Plaza is “Refecting Absence.” As visitors cross the Plaza and approach the perimeter of the pools their gaze drops to watch the water cascading into the main pools， then fowing further over the second rim into the inner void. It is a physical refection of the monumental absence created by the tragic events of September 11. By contrast，Sn?hetta's Pavilion reflects presence： the present moment， the day， the time， the weather， the trees， the surrounding buildings， and especially all the visitors present at the Memorial. While they look down into the Memorial fountains to contemplate and pay respect to the past， they look straight ahead and up at the Pavilion to refect on the present and the future， bravely and with hope.

“編織”文化中心

地點：瑞典于默奧

業(yè)主：V?ven i Ume? AB/Balticgruppen AB

類型：文化建筑

當(dāng)?shù)亟ㄖ煟篧hite Arkitekter AB

面積：27 000平方米

項目狀況：2014年完工

設(shè)計范圍：建筑、景觀和室內(nèi)

繪圖：斯諾赫塔建筑事務(wù)所

Location： Ume?， Sweden

Client： V?ven i Ume? AB/Balticgruppen AB

Typology： Cultural building

Local architect： White Arkitekter AB

Size： 27 000m2

Status： Completed 2014

Scope： Architecture， landscape & interior

Drawings： ?Sn?hetta & White Arkitekter AB

“編織”文化中心是“橋間城市”的市區(qū)發(fā)展項目的一部分。該新開發(fā)項目是默奧城市翻新的重要催化劑，旨在打造Ume河沿岸的文化區(qū)。

編織文化中心位于默奧市中心，毗鄰Ume河上的市政廳公園。斯諾赫塔建筑師事務(wù)所與White ARKITEKTER AB合作設(shè)計的新文化中心覆蓋市中心的整個街區(qū)。該新建筑融合了多個文化項目和不同的功能（故名V?ven，瑞典語的“編織”），提供了一個共同的舞臺。建筑物外觀和樓層體現(xiàn)了文化、文學(xué)、知識、社交、娛樂和餐飲功能的融合。

建筑物的一部分位于現(xiàn)有城市網(wǎng)格圍限的場地，另一部分在碼頭區(qū)域——功能是暫時的，但使用靈活。設(shè)計吸取了建筑物的原定用途以及場地特征。編織文化中心集綜合樓各公共功能于一體?？傮w體驗強(qiáng)調(diào)由各部分組成的整體，建筑人性化，打破內(nèi)部功能與公共空間之間的障礙。

編織的概念不僅體現(xiàn)在文化的方方面面，而且存在于建筑許各種的功能之中，包括酒店、會議中心、黑箱劇場、博物館和圖書館，規(guī)模大，但姿態(tài)統(tǒng)一。將建筑各種功能“包裹”于同樣的表面是取得此種效果的方式，其中各種稍稍移動的外墻圈構(gòu)成外圍，形成強(qiáng)烈的圖形對照。建筑也融入城市，位于現(xiàn)有的城市畫面之中，高層部分可以俯瞰城市，低層部分融合于城市之中。

同時，建筑理念形成時還參考了默奧當(dāng)?shù)爻Ｒ姷臉鍢洹７忾]部分就像是樺樹上的白色樹皮，而開放的玻璃幕墻則像是樹皮剝裂處露出的黑色樹干。鑒于這兩個概念以及建筑反映周圍人群、天空和河流從而與周圍環(huán)境溝通的設(shè)想，因此選擇玻璃為外墻的主要材料。

The cultural center V?ven is part of an urban development project - the City between the Bridges. The new development is seen as an important catalyst for Ume?'s urban regeneration， and it aims to create a cultural area along the river Ume.

V?ven is located in Ume?'s city center， next to the town hall park on the river. The new cultural center covers a whole block in the heart of the city. Designed by Sn?hetta in collaboration with White Arkitekter AB， this new building weaves （hence the name V?ven， meaning ‘weave' in Swedish） multiple cultural programs and activities together， providing one common stage. A weave of culture， literature，knowledge， socializing， recreation， and food is expressed in the building's facades and levels.

One part of the building lies on a site defned by the existing city grid， while the rest occupies part of the quayside - a zone characterized by transient activity and fexibility of use. The design takes its cues from the building's intended use， as well as the characteristics of the site. V?ven unifes various public functions in one complex building.

The overall experience emphasizes a whole made up by many parts， giving the building a human scale，braking down the barriers between internal activities and public space.

The concept of weaving is not only present in the cultural aspects， but also in the many different functions of the building， including hotel， conference center， black-box theatre， museum， library， and many others， with one large， unifying gesture. This is achieved by ‘wrapping' the manifold functions of the building in one homogenous fa?ade， consisting of varying and slightly shifting fa?ade bands forming the building envelope and creating a strong graphical reference. The building also weaves into the city -in between， above， and below the existing city picture.

At the same time， the reference of the birch trees， a tree typical for Ume?， was used in creating the concept. The white bark resembles the closed parts of the building， while the darker areas symbolize the open， glazed parts. These two concepts， as well as the wish for a building that communicates with its surroundings by refecting the people around， the sky， and the river， led to the choice of glass as the main material for the fa?ade.

小詹姆斯·亨特圖書館

地點：美國北卡羅來納州

業(yè)主：北卡羅來納州立大學(xué)圖書館

類型：圖書館

執(zhí)行建筑師：Clark Nexsen（原PBC+L）

項目狀況：2013年完工

設(shè)計范圍：建筑、景觀和室內(nèi)

Location： Raleigh， North Carolina， USA

Client： NCSU Libraries

Typology： Library

Executive Architect： Clark Nexsen （formerly PBC+L）

Status： Completed 2013

Scope： Architecture， Landscape and Interior

2013年7月，斯諾赫塔建筑師事務(wù)所與北卡羅來納大學(xué)當(dāng)?shù)亟ㄖ烠lark Nexsen（原PBC+ L）合作設(shè)計的北卡羅萊納州立大學(xué)新小詹姆斯·亨特圖書館獲得了2013年圖書館建筑獎，這是美國建筑師學(xué)會和美國圖書館協(xié)會認(rèn)可的優(yōu)秀設(shè)計獎。

為了設(shè)計這個新建筑，斯諾赫塔建筑師事務(wù)所與當(dāng)?shù)亟ㄖ烠lark Nexsen以及北卡羅來納大學(xué)（NCSU）圖書館密切合作，樹立先進(jìn)技術(shù)協(xié)作學(xué)習(xí)空間的新標(biāo)桿。它既是州立的知識庫也是社會的大學(xué)校園中心。亨特圖書館包含新興問題的研究所——前北卡羅來納州州長詹姆斯·亨特（James B. Hunt）領(lǐng)導(dǎo)的智囊團(tuán)、學(xué)術(shù)辦公室、可視化和數(shù)字媒體實驗室和禮堂。建筑設(shè)計旨在讓高校通過民主化方式獲得驅(qū)動經(jīng)濟(jì)的技術(shù)而取得決定性的競爭優(yōu)勢。

圖書館是動態(tài)的、不斷變化的。雖然亨特圖書館顯然是一個傳統(tǒng)范疇內(nèi)的當(dāng)代結(jié)構(gòu)，但不同之處是它提供了影響周圍環(huán)境的前瞻性平臺。技術(shù)創(chuàng)新和方案創(chuàng)新都升華成學(xué)習(xí)經(jīng)驗的一部分，并為用戶提供一個多功能和激勵性的環(huán)境。

所以有樓層的大型開放的學(xué)習(xí)室都用透明樓梯相連，強(qiáng)調(diào)除了嚴(yán)謹(jǐn)?shù)难芯款I(lǐng)域還有互動和社會性的環(huán)境。各種各樣的研究和學(xué)習(xí)環(huán)境以及技術(shù)嚴(yán)謹(jǐn)?shù)膶嶒炇?，超越了?dāng)前以學(xué)習(xí)為主的一貫?zāi)Ｊ?。裝備五彩繽紛并動感十足家具的“顛覆性”學(xué)習(xí)空間毗鄰傳

統(tǒng)的學(xué)習(xí)室。建筑的設(shè)計意識到這里既是一處社會交往的聚集點，也是一個激發(fā)創(chuàng)意的孵化器。

整個圖書館也處處融入了各種技術(shù)。交互式數(shù)字和高清視頻顯示屏傳遞編程和現(xiàn)場輸入信息。游戲?qū)嶒炇易鳛橐曨l游戲設(shè)計和開發(fā)項目的測試實驗室，并為學(xué)生提供有趣的學(xué)間休息區(qū)。高科技展柜使得用戶可以嘗試新技術(shù)，借用最新電子設(shè)備。工作人員區(qū)域集中在一層樓上，而不是分散在各樓層。

亨特圖書館還為其200萬冊藏書采用了名為“BookBot”的自動化存儲和交付系統(tǒng)。這項性價比高且節(jié)省空間的措施減少建筑面積達(dá)20萬平方英尺，讓大學(xué)有更多的預(yù)算和圖書館空間劃撥到實現(xiàn)技術(shù)和協(xié)作學(xué)習(xí)的空間。

LEED銀色大廈提供充足的自然采光，戶外工作場所和附近湖泊的景致開闊。許多可持續(xù)發(fā)展的設(shè)計功能都集中到建筑中，包括燒結(jié)玻璃和固定的外部鋁板遮陽系統(tǒng)有助于減少吸熱，同時視野最大化并盡量采用環(huán)境的自然光。

天花板安裝的主動式冷梁和輻射板用于供暖和制冷，收集系統(tǒng)則將雨水用于花園和屋頂綠化。

In July 2013， the new James B. Hunt Jr. Library at North Carolina State University， designed by Sn?hetta in collaboration with local architect Clark Nexsen （formerly PBC+L）， received the 2013 Library Building Award from the American Institute of Architects and the American Library Association in recognition of design excellence.

For the design of the new building, Sn?hetta and Clark Nexsen worked closely with the NCSU Libraries to set a new benchmark for technologically sophisticated collaborative learning spaces. It serves both as NC State's second main library and the intellectual and social heart of the university's Centennial Campus. The Hunt Library also houses the Institute for Emerging Issues， a think tank led by former North Carolina Governor James B. Hunt， academic offces， visualization and digital media labs and an auditorium. It is designed to be a decisive competitive edge for the university by democratizing access to the technologies driving our economy.

Libraries are dynamic and continually changing. While clearly a contemporary structure within a traditional context， the Hunt Library provides a forward-thinking platform for infuencing its surroundings. Both technical and programmatic innovations are celebrated as part of the learning experience and provide a versatile and stimulating environment for the user.

Generous open spaces connect all floors of the library and open stairs emphasize an interactive and social environment alongside more focused study areas. A wide variety of study and learning environments and technology-focused experimental labs go beyond the now ubiquitous model of the learning commons. “Disruptive” learning spaces with colorful，dynamic furnishings exist adjacent to more traditional study rooms. The building's design recognizes the power of chance encounters and celebrates the role physical space plays in the intellectual stimulation of its users.

Technology zones are integrated throughout the Library as well. Interactive digital surfaces and high definition video display screens deliver both programmed and live-feed information. The Game Lab serves as a testing lab for the video game design and development program, and provides students with a fun study break area. The Tech Showcase allows users to experiment with new technology and borrow the latest electronic devices. Staff areas are consolidated on one foor rather than dispersed in clusters on each foor.

The Hunt Library also employs the use of the bookBot，an automated book delivery system， for the Library's two million volume collection. This highly effective cost and space saving measure reduced the building area by 200，000 GSF， allowing more of the University's budget and library space to be allocated towards technology and collaborative learning spaces.

The LEED Silver building provides abundant natural light，outdoor work spaces and expansive views of the nearby lake. Many sustainable design features are integrated into the building including fritted glass and a fxed external aluminum shading system helps diminish heat gain while maximizing views and ambient natural light.

Ceiling mounted active chilled beams and radiant panels provide heating and cooling while rain gardens and green roofs manage storm water.

亞歷山大圖書館

地點：埃及亞歷山大省

業(yè)主：阿拉伯埃及共和國教育部

類型：圖書館

面積：80 000平方米

項目狀況：2001年完工

當(dāng)?shù)亟ㄖ煟篐amza Associates

繪圖：斯諾赫塔建筑事務(wù)所

Location： El Shatby， Alexandria， Egypt

Client： Arab Republic of Egypt， Ministry of Education

Typology： Library

Size： 80 000 m2

Status： Completed 2001

Local Architect： Hamza Associates

Drawings： ?Sn?hetta

該圖書館建在亞歷山大城市的歷史中心，一個位于古老港口邊的寬廣場地上。11層的圖書館可藏書400萬冊，通過壓縮儲存，這個數(shù)字在將來可以上升到800萬冊。

20000平方米的開放式閱覽空間可容納2000名讀者，超過圖書館一半的體積，一共有7個平臺，規(guī)模全球最大。通過朝北的立式屋頂天窗間接采光，這個寬敞的空間不會直接暴露在陽光下，因此不會損害書籍和手稿。與按采用傳統(tǒng)圖書館規(guī)劃的許多最近竣工項目相比，臺階分布式閱覽空間的設(shè)計，大大減少了圖書檢索時間。

同一層的閱讀區(qū)與書架相鄰配置，每一層都放置有書架，緊挨上一層。這樣一來，坐在兩層交界處的讀者，不僅可以享受最佳自然光線并欣賞巨大的空間，而且靠近相關(guān)的圖書存儲區(qū)。在整個閱覽空間中重復(fù)這一概念，形成巨大的環(huán)形閱覽空間，且設(shè)施齊全，采光均勻。此外，最新數(shù)字信息設(shè)施進(jìn)一步增強(qiáng)該建筑的效果。

除了藏書設(shè)施，圖書館還有其他文化和教育功能，包括一個天文館、幾個博物館，一個信息科學(xué)教育點和各種保護(hù)設(shè)施。青年圖書館可對年輕學(xué)生和游客開放。此外，新的會議中心連通該場所現(xiàn)有的禮堂，使得該圖書館成為學(xué)習(xí)和交流中心。

會議中心像一個巨大的傾斜輪盤，直徑跨距160米，高達(dá)32米，同時最低處潛入地面以下約12米。開放的外部廣場和環(huán)繞建筑的倒影池，一座行人天橋?qū)⒊鞘羞B接到附近的亞歷山大大學(xué)。

新館的設(shè)計既永恒又大膽。沿圓形的亞歷山大港，其龐大的圓形喚起知識隨時光流動的周期性。它閃閃發(fā)光的傾斜屋頂讓人回憶古代亞歷山大燈塔，是城市學(xué)習(xí)和文化的新符號。

隨著落地和升空，圖書館在明顯運動軌跡中體現(xiàn)出時光凍結(jié)的時刻。與運動同步，矗立史無前例的宏偉石建筑。在6000平方米的彎曲建筑外墻上裝飾有花崗巖，刻有從世界各民族語言字母表中選擇的字母，銘文仔細(xì)顯示該圖書館的基礎(chǔ)附文、語言。

新圖書館館的設(shè)計采用了最先進(jìn)技術(shù)的最新解決方案，包括世界上最杰出的基礎(chǔ)和結(jié)構(gòu)設(shè)計之一。其室內(nèi)也經(jīng)過精心設(shè)計，滿足用戶四個季節(jié)的舒適性。先進(jìn)的解決方案也用于減輕自然災(zāi)害，如地震和火災(zāi)的影響。

亞歷山大圖書館將成為這個歷史悠久城市中心未來發(fā)展的催化劑。開發(fā)項目已經(jīng)開始，濱海公路正在經(jīng)歷全面改造，項目鄰近地區(qū)正處于重塑。本圖書館的目標(biāo)是振興城市和地區(qū)，成為新的學(xué)習(xí)和文化中心，朝圣之地，長盛不衰之所。

The 80，000 square meter Bibliotheca is built on a magnifcent site alongside Alexandria's ancient harbor in the historic center of the city. The 11-story library can contain up to 4 million volumes of books， a fgure that can be expanded up to 8 million in the future by the use of compact storage.

The 20，000 m2open reading room for 2000 readers， the largest of its kind， worldwide， occupies more than half of the library volume and is stepped over seven terraces. Indirectly lit by vertical， north facing skylights in the roof， the spacious room will not be exposed to direct sunlight that is harmful to books and manuscripts. The terraced reading room design reduces book retrieval time considerably， compared to traditional library planning employed in many recently completed projects.

Reading areas and stacks are arranged at close proximity at the same level， the stacks being placed at each terrace level， underneath the next higher terrace. This way， the readers who are sitting at the terrace edge， enjoy maximum exposure to natural light and grand views of the space while being in close proximity to the associated book storage area. This concept is repeated throughout the room and creates a large amphitheater with a large variety of evenly lit reading facilities. The building is further augmented by up-to-date digital information facilities.

In addition to the library facilities， the Bibliotheca also contains other cultural and educational functions including a planetarium， several museums， a school for information science， and conservation facilities. A Young Person's Library is available for younger students and visitors. Added to this a new conference center is linked to an existing auditorium on the site, making the Bibliotheca a centerpiece for both learning and debate.

Characterized by its circular， tilting form， the building spans 160 meters in diameter and reaches up to 32 meters in height， while also diving some 12 meters into the ground. An open plaza and refecting pool surrounds the building， and a footbridge links the city to the nearby University of Alexandria.

The design of the new library is both timeless and bold. Its vast circular form alongside the circular Alexandrian harbor recalls the cyclical nature of knowledge， fuid throughout time. Its glistening， tilting roof recalls the ancient Alexandrian lighthouse and provides the city with a new symbol for learning and culture.

As it descends into the earth and reaches upward to the sky the library manifests within its apparent movement a frozen moment in time. Synchronous with this movement stands a grand stone edifce of historic proportions. The 6000 m2wall is carved with alphabetic inscriptions from throughout the world in a careful display of the library's basic proviso， language.

The new library's design has employed the most up-to-date engineering solutions and includes one of the world's most distinguished foundation and structural designs. Its interiors are carefully designed for the comfort of the user during all seasons. State of the art solutions have been employed to mitigate the effects of natural disasters such as earthquake and fre.

The Bibliotheca Alexandrina will be the catalyst for future developments in the historic city center. Signs are already underway， the Corniche road is undergoing a complete renovation and areas adjacent to the project are undergoing remodeling. The Bibliotheca is intended to revitalize the city and the region as a new center for learning and culture， a place of both pilgrimage and long-term viability.

培特·達(dá)斯博物館

地點：挪威阿爾斯塔海于格

業(yè)主：KF Petter Dass Eiendom

類型：博物館

面積：1 350平方米

項目狀況：2007年完工

設(shè)計范圍：建筑、景觀與室內(nèi)

繪圖：斯諾赫塔建筑事務(wù)所

Location： Alstahaug， Norway

Client： KF Petter Dass Eiendom

Typology： Museum

Size： 1 350 m2

Status： Completed 2007

Scope： Architecture， landscape， interior

Drawings： ?Sn?hetta

培特·達(dá)斯是一位牧師和作家。從1689年直到1707年去世，他都生活和工作在挪威北部。培特·達(dá)斯與窮苦漁民建立了緊密的聯(lián)系，他的詩歌和他無所畏懼、開放的個性使他成為挪威的傳奇人物。

阿爾斯塔海于格以其建筑、墓地和田野形成了美麗的人文景觀。業(yè)主決定在教區(qū)牧師住所和老教堂附近建造一個新的博物館。斯諾赫塔建筑事務(wù)所建議選址靠近老教堂，在教堂和大海之間的狹窄山脊上挖開一個長70米寬15.5米的開口，建立一個連接教堂入口的親密空間和西邊壯麗景觀的場所。

建筑確定建在這個開口中，屋頂?shù)男螤钫凵涑錾郊沟那€。建筑物的地面層是透明的，二樓的展覽空間是用一種有組織的“繭“進(jìn)行封閉。在展覽廳的東端，人們可以俯看到歷史的教堂綠色，而在展覽廳的西端，則可以欣賞到永恒的海岸景觀。通過這種方式，建筑就可以把地和天、昔和今結(jié)合起來，正如培特·達(dá)斯在他的作品中寫到的一樣。

該博物館的建筑面積是1 350平方米，它包括首層的大廳、禮堂和二層的咖啡廳；以及一個三樓的大型展覽空間。

Petter Dass was a clergyman and a writer. He lived and worked in North Norway from 1689 until his death in 1707. Petter Dass established strong ties with the poor fshing population. His poetry and his fearless， open personality made him a legendary character in Norway.

Alstahaug with its buildings， cemetery， and fields forms a beautiful cultural landscape. The client decided to build a new museum， adjoining the vicarage and the old church. Sn?hetta suggested the site， close to the old church. With a wire saw， a 15.5-meter-wide and 70-meter long cleft was cut in the narrow ridge between the church and the sea, establishing a site that connects the intimate space by the church entrance and the imposing landscape to the west.

The building is positioned in this cleft. The shape of the roof refects the curve of the ridge. At ground level， the building is transparent， while the frst foor with the exhibition space is enclosed in an organic “cocoon.” At the east end of the exhibition room one can look down on the historical church green， while at the west end one is confronted by the timelessness of the great coastal landscape. In this way， the building combines — as Petter Dass did in his writing — earth and sky，past and present.

The foor area of the building is 1.350 m2. It contains a lobby， auditorium， and café on the frst foor；and a large exhibition space on the second foor.

釜山歌劇院

地點：韓國釜山

業(yè)主：釜山市政府

類型：歌劇院

面積：48 000平方米

項目狀況：設(shè)計競賽一等獎，施工中

當(dāng)?shù)睾献髡撸篒lshin建筑師事務(wù)所

設(shè)計范圍：建筑、景觀與室內(nèi)

繪圖：斯諾赫塔建筑事務(wù)所

Location： Busan， South Korea

Client： Busan Metropolitan City Government

Typology： Opera house

Size： 48 000 m2

Status： Competition 1st prize， in progress

Local partner： Ilshin Architects

Scope： Architecture， landscape & interior

Drawings： ?Sn?hetta

在斯諾赫塔建筑事務(wù)釜山歌劇院的設(shè)計中，歌劇不再是精英們被動享受的場地，而變成互動性的民主空間，回應(yīng)公眾的渴望與興趣。新的歌劇院位于韓國釜山海濱開墾的土地，將促使釜山這個歷史上的工業(yè)區(qū)轉(zhuǎn)變?yōu)楦饺说墓部臻g。

建筑形式來源于其所在的環(huán)境和文化。布局參照Kun（天）和Kon（地）交匯再與Kam（水）相遇之意。這些經(jīng)典八卦元素極好地描繪了現(xiàn)場的地理，同時也表明在歷史和哲學(xué)關(guān)系上對韓國文化的重要意義。在斯諾赫塔的設(shè)計中，表面的輕微彎曲就像輕微變形的卦片，以一種微妙的方式彼此輕觸和交匯。

歌劇院的大廳構(gòu)思源自一種樂器，與歌劇音響和回聲精確形成共鳴。與門廳墻壁一樣，觀眾席也用櫻桃木的實心面板構(gòu)成。在地平面上，釜山歌劇院則盡可能設(shè)計成開放式。門廳空間圍繞建筑朝向大海的兩側(cè)。房子門廳、餐廳和花壇公共入口的正面位置都處于相同水平面。

有特色的斜坡彎道通向屋頂?shù)牡诙庸簿坝^。游客可以在屋頂上行走，好像建筑因為占據(jù)空間而對公眾回饋。

橫跨在兩個公眾平面之間，并涵蓋了公共功能的是一層柔軟的流動表皮，為門廳提供保護(hù)和透明度，連貫地連接地平面與屋頂平面，一氣呵成。

With the design of the Busan Opera， the opera is no longer a passive playground for the elite but becomes interactive， democratic space， responding to the public's ambitions and interests. Located on reclaimed land on the city's waterfront， the new Opera help will convert the historically industrial area into a public space for Busan.

The form is derived from its own context and culture. The layout refers to Kun （Heaven） meeting Kon （Earth）which again meet Kam （Water）. The classical trigrams of these elements describe this site exceptionally well， whilst also referring to the historical and philosophical relationships of great importance to Korean culture. The slight bending of the surfaces in Sn?hetta's design are the bars of the trigrams slightly deformed to touch and meet each other in a subtle manner.

The Opera hall is conceived as a musical instrument， precisely formed to resonate with the operatic acoustics and resonance. As with the foyer wall， the auditorium is to be constructed from solid panels of Cherry wood.

The Busan Opera House is designed to be as open as possible on the ground level. The foyer space wraps around two sides of the building towards the sea. This level is the location for main front of house foyer， restaurant and public entrance to the Parterre.

The characteristic onramps lead to a second public scape on the rooftop， giving back to the public what the building's footprint occupies by allowing the visitors to walk on its roof.

Spanning between the two public planes and enveloping the public functions is the soft flowing skin, offering protection and transparency to the foyer within and linking the ground plane to the roof plane in an unbroken movement.

阿卜杜勒阿齊茲國王世界文化中心

地點：沙特阿拉伯達(dá)蘭

業(yè)主：沙特阿美公司

類型：文化中心

面積：100 000平方米

項目狀況：施工中，預(yù)計2015年完工

繪圖：斯諾赫塔建筑事務(wù)所

Location： Dhahran， Saudi Arabia

Client： Saudi Aramco

Typology： Cultural center

Size： 100 000 m2

Status： Under construction， expected 2015

Drawings： ?Sn?hetta

阿卜杜勒阿齊茲國王世界文化中心是沙特阿美石油公司為促進(jìn)王國文化的發(fā)展而推出的一個大膽的新舉措。2007年，應(yīng)邀參加建筑設(shè)計競標(biāo)后，斯諾赫塔建筑事務(wù)所中標(biāo)，獲得了這個著名文化設(shè)施的設(shè)計權(quán)。

文化中心位于沙特東部達(dá)蘭省，開展廣泛的文化活動服務(wù)當(dāng)?shù)鼐用?，是地區(qū)、全國和全球范圍內(nèi)的文化地標(biāo)。建成后，項目將包含約45 000平方米的各種文化設(shè)施，包括禮堂、電影院、圖書館、展覽館、博物館和檔案館。

禮堂將容納1000觀眾，可廣泛用于各種文化活動，包括歌劇、交響音樂會、音樂劇和演講等，還有小電影院。這里將是沙特王國一個無與倫比的藝術(shù)表演場所。

文化中心的圖書館將成為學(xué)習(xí)中心，滿足各種年齡段和各種類型讀者需求的約300000冊圖書，將免費向讀者開放。

大展館將容納大型巡回展覽，并提供社交活動、宴會和會議設(shè)施。博物館和檔案館便于將中心充滿活力的文化生活聯(lián)系到過去和社會最基層。這正是該中心的構(gòu)想宗旨。

建筑理念基于以下六個觀點：

過去與未來

文化來源于過去，沒有文化沉淀，任何團(tuán)體或公司就不可能創(chuàng)造未來。沙特阿美文化中心采用的設(shè)計同時包含過去和未來，著眼于當(dāng)下。方案從建筑表現(xiàn)和內(nèi)在邏輯兩方面都發(fā)掘過去，展望未來。

內(nèi)外

理念是指要既內(nèi)向又外向。地平面以下，博物館和檔案館圍繞樓內(nèi)深井布置，向內(nèi)才能探知沙特阿美公司和沙特阿拉伯王國的文化和知識。地平面以上，建筑組合體伸出地面，連接外面的世界。

寶庫和燈塔

博物館和檔案館位于地平面以下，在受保護(hù)的環(huán)境中是真正的知識寶庫，為后人儲藏知識。然而，圖書館、兒童展廳和游客中心表現(xiàn)為世界各地學(xué)者的燈塔。

多元化和統(tǒng)一性

設(shè)計采取復(fù)雜組合體的形式，由許多單獨和分散的組件組成。通過相互依存創(chuàng)建平衡與和諧。每個組件都塑造為獨特而量身定制的實體，符合和表達(dá)自身的個性化需求和要求。

團(tuán)隊合作

每一組件都是必不可少的，一切都相互依存和依靠。由此產(chǎn)生的組合體是團(tuán)隊合作的表現(xiàn)。每一部分都可不斷調(diào)整，以適應(yīng)個體化的具體需求。這種靈活形式不是一般的或總體的，而是具體的和個體的。

能源概念

組合體的平衡與和諧不是靜態(tài)的，而是動態(tài)的，是團(tuán)隊合作精神的表現(xiàn)，最重要的是發(fā)現(xiàn)包括沙特阿美公司和沙特阿拉伯人在內(nèi)所有人的正能量。為石油先驅(qū)者在惡劣條件下的堅定耐力和辛勤勞動而發(fā)出感嘆，載入記憶。

The King Abdulaziz Center for World Culture is a bold new initiative on the part of the Saudi Aramco Oil Company to promote cultural development within the Kingdom. Following an invited architectural design competition in 2007， Sn?hetta has been selected to design this prestigious cultural facility.

Located in Dhahran， in the eastern province， the cultural center will provide for a wide range of activities serving the local population and becoming a cultural landmark on a regional， national， and global horizon. When completed， the project will contain some 45.000 m2 of diverse cultural facilities， including an auditorium，cinema， library， exhibition hall， museum， and archive.

The auditorium will seat 1000 visitors and will provide for a wide range of events ranging from opera， symphony concerts， musicals， and speeches etc. Together with the smaller cinema， this will be an unrivalled venue for the performing arts in the Kingdom.

The library will become a center for learning containing some 300.000 books on open access， and catering for all ages and categories of users.

The great exhibition hall will accommodate large scale travelling exhibitions， as well as providing the setting for social events， banquets， and conferences. The museum and archive facilities connect the vibrant cultural life of the center to the past and to the very roots of the society from which this center is conceived.

The architectural concept is based upon the following six concepts：

The Past and the Future

Culture grows out of the past， without culture no community or company can create a future. The design for the Saudi Aramco Cultural Center embraces both past and future， captured in the present. Both in terms of architectural expression and internal logic， this proposal digs down into the past and reaches up in to the future.

Introvert and Extrovert

The concept is both introverted and extroverted. Below grade， the museum and archive functions are grouped around the inner void, looking inwards to the truths and knowledge to be found within Saudi Aramco and the Kingdom of Saudi Arabia. Above the grade， the composition reaches out of the ground， connecting to the world beyond.

Repository and Beacon

Located below the grade， the museum and archive becomes a true repository of knowledge in protective surroundings and stored for posterity. In contrast， the Library， Children's Exhibit， and Visitor Centre are expressed as beacons to scholars across the world.

Diversity and Unity

This design takes the form of a complex composition， consisting of a number of individual and discrete components. Balance and harmony is created through interdependence. Each component is fashioned as a unique and tailor-made entity，conforming to and expressive of its own individual needs and requirements.

Teamwork

No one component can be removed. All are interdependent and rely upon each other. The resulting composition is an expression of teamwork. Each part can be endlessly adjusted to suit the individual and specifc needs. This form for fexibility is not general or universal， but specifc and individual.

Energy

The balance and harmony of the composition is not static， but dynamic， expressive of the teamwork， and above all of the energy to be found in the people that comprise Saudi Aramco and Saudi Arabia. Evoking wonder and bearing memory of the steadfast endurance and hard labor under severe conditions in the pioneer striking of oil.

蒙蒂尼亞克拉斯科巖壁藝術(shù)國際中心——拉斯科巖洞博物館四期

地點：法國蒙蒂尼亞克

業(yè)主：Conseil Géneral de la Dordogne

土地面積：53 065平方米

總建筑面積：6 307.70平方米

項目狀況：施工中

繪圖：斯諾赫塔建筑事務(wù)所

Location： Montignac， France

Client： Conseil Géneral de la Dordogne

Land area： 53 065 m2

Total foor surface： 6 307.70 m2

Status： Under construction

Drawings： ?Sn?hetta

拉斯科IV（四期）項目的背景

法國多爾多涅省Vézère谷是史前的圣地，包含15個主要景點，全部都列入了聯(lián)合國教科文組織（UNESCO）世界遺產(chǎn)名錄。拉斯科巖洞雕刻是最重要的舊石器時代巖壁藝術(shù)群之一，數(shù)量和作品的卓越品質(zhì)都首屈一指。

協(xié)調(diào)保護(hù)人類歷史上獨一無二的遺產(chǎn)與每年接待大量游客的矛盾，經(jīng)過數(shù)十年的反思和倡導(dǎo)，拉斯科四期項目應(yīng)運而生。

拉斯科巖洞發(fā)現(xiàn)于1940年，于1948年向游客開放。但是很快就出現(xiàn)了改變原貌的初步跡象，于是，從1963年起就禁止游客進(jìn)入巖洞。在隨后的幾年中，所進(jìn)行的研究都視遺產(chǎn)保護(hù)為第一要務(wù)；千百年來雖保持完好，但仍然如此脆弱。

現(xiàn)在，為了再次向公眾開放拉斯科這一寶貴的科學(xué)和文化財富，產(chǎn)生了復(fù)制的設(shè)想。首先在離原址200米處，對巖洞（公牛廳）進(jìn)行了部分復(fù)制的拉斯科一期。拉斯科二期于1983年向公眾開放。隨著復(fù)制技術(shù)的發(fā)展，2008年在蒙蒂尼亞克建成了一個重要的展覽館——拉斯科國際展覽館，也稱為拉斯科三期，展示了巖洞中殿的景觀——拉斯科二期中尚未出現(xiàn)再現(xiàn)的畫廊。至今，本期展覽仍然在世界各地巡回展出。

2010年為慶祝發(fā)現(xiàn)拉斯科巖洞70周年，蒙蒂尼亞克巖壁藝術(shù)國際中心——拉斯科項目宣布上馬。該藝術(shù)中心稱為拉斯科四期，將在這一特殊景點的知識推廣方面開創(chuàng)一個新階段。這是一個旨在容納幾乎全部原巖洞（公牛廳、中軸畫廊、通道、軸、后殿和中殿）的復(fù)制品，連同數(shù)字化呈現(xiàn)和巖壁藝術(shù)解說空間在內(nèi)的大型項目。

一般說明

占地總面積達(dá)到6.5公頃的蒙蒂尼亞克——拉斯科巖壁藝術(shù)國際中心，呈長向布置，建筑在山腳綿延，地面面積約11 400平方米（1.14公頃），其中樓板面積8 635平方米。在拉斯科大道（部級公路RD704）另一側(cè)的土地用作停車場（168個車位）和夏天旺季才開放的額外售票點。

建筑平均高度8米，在最長點長約500米，而它在最寬處達(dá)70米。屋頂采用破折線，與山巒起伏相呼應(yīng)。屋頂設(shè)計是項目的一個強(qiáng)大元素，因為它有助于實現(xiàn)景觀斷裂和裂縫的想法，這也是在樓層建筑設(shè)計創(chuàng)作中常表現(xiàn)的想法。

項目選址因地就勢，扎根于山并與它建立一種有機(jī)連貫。屋頂?shù)乃狡胶髩Φ挠覀?cè)，對應(yīng)于土地的天然水平。半掩埋的建筑因此與景觀融為一體。后部逐步過渡并消失在森林中，而完全透明的正面外墻朝山谷大幅敞開。

材料的選擇也符合這種愿望，從建筑到景觀，因地制宜。地板（內(nèi)部和外部）、墻壁和整體屋頂方面，未經(jīng)全面處理（簡單）的材料喚起礦物的世界、山丘和巖洞的巖石。此外，由于制造結(jié)合了自然元素和人為技術(shù)，輔以混凝土結(jié)構(gòu)則反映拉斯科的本質(zhì)和精髓：使用自然造型的巖洞作為對人類祖先行為和思想的支持。

項目的輔材——玻璃在朝東區(qū)域的正面和屋頂上占主導(dǎo)地位。玻璃與混凝土一起產(chǎn)生一系列對比效果：不透明和透明度、明和暗、簡單和復(fù)雜、粗糙和光滑。平衡有助于營造設(shè)施獨特的現(xiàn)代感。

用途和功能在蒙蒂尼亞克——拉斯科巖壁藝術(shù)國際中心為新的拓展，作為解說中心。與“博物館”的傳統(tǒng)字面意思不同，解說中心不展示作品的全部，而是旨在強(qiáng)調(diào)和解釋某一景點及其文化財富。這就是建筑、景點和教學(xué)功能在此相得益彰的原因。

采用全面的方法構(gòu)思項目，深思熟慮，其中景觀、建筑和舞臺布景視為一個整體，與參觀敘事和情景關(guān)系密切。數(shù)字和互動式解說起著關(guān)鍵的作用。利用RFID和Wi-Fi技術(shù)的單體裝備是名符其實的“導(dǎo)游”。在整個行程中，每位游客都可以收集適合其年齡和知識水平的內(nèi)容和信息，以及他們感興趣的主題。

在項目的尺度上，因為建議游覽行程清晰和簡單以及按功能或服務(wù)的分類識別各特定氛圍，游客很容易在項目整體規(guī)模上感知各種空間差異。每種氛圍都有一定的意義，與傳遞給游客的信息相宜。例如，靠山的位置和黑暗使得展覽空間更是若隱若現(xiàn)，而公務(wù)接待、轉(zhuǎn)運和餐飲空間則沐浴在自然光中，讓人一目了然。這種氛圍變化和光照強(qiáng)度差異，以同樣的方式在下降和提升之間、內(nèi)和外之間、地和空之間、自然與文化之間交替變換，讓人聯(lián)想到巖洞經(jīng)歷，并與之進(jìn)行廣義上的類比。

Origins of the Lascaux IV project

The Vézère valley in Dordogne， France， is a mecca of prehistory. It contains about 15 major sites， which are all on the UNESCO World Heritage List. The Lascaux cave has one of the most important groups of Paleolithic rock wall art， both by its number and by the exceptional quality of its works.

The Lascaux IV project is in line with the decades of reflections and initiatives focused on reconciling the safeguarding of a heritage that is unique for the history of humanity， and at the same time give access to a large number of people.

The Lascaux cave， discovered in 1940， was opened to visitors in 1948. Very quickly，however， the frst signs of alteration were observed， and its access was prohibited in 1963. In the years that followed， the research undertaken made the preservation of the heritage the frst priority； kept intact for thousands of years and nonetheless so fragile.

Concurrently， the desire to transmit this invaluable scientifc and cultural wealth of Lascaux to the public， resulted in the idea of a replica. A frst work， which partially reproduced the cave （Hall of Bulls）， was completed 200 meters from the original. Lascaux II opened to the public in 1983. Through the development of replica techniques， a major exhibition was mounted in Montignac in 2008. Lascaux： The International Exhibition， also called Lascaux III， revealed scenes appearing in the cave's nave - a gallery that had not been represented in Lascaux II. Today， this exhibition is still traveling throughout the world.

It was in 2010， for the 70th anniversary of the Lascaux cave's discovery， that the International Center of Rock Wall Art of Montignac-Lascaux project was announced. This center， called Lascaux IV， will inaugurate a new phase in the promotion of the knowledge of this exceptional site. It is a large-scale project whose aim is to house the virtually complete replica of the original cave （Hall of Bulls， Axial Gallery，the Passageway， The Shaft， the Apse， and the Nave）， accompanied by a digital presentation and rock wall art interpretation spaces.

General description

The land dedicated to the siting of the International Center of Rock Wall Art of Montignac-Lascaux extends over a total area of 6.5 hectares. The long building stretches out at the foot of the hill， over a ground surface area of about 11，400 m2 （1.14 hectares） with a floor area of 8，635 m2. The land on the other side of the Avenue de Lascaux （departmental road RD 704） is earmarked for parking （168 places） and an additional ticket window for the summer period with its many visitors. The building， with an average height of 8 meters is about 500 meters at its longest point. It expands to 70 meters at its widest point. The roof features a gentle broken line， which echoes the hill's undulation. This roof design is a strong element of the project because it helps materialize the idea of a fault， a fssure in the landscape， an idea that is also expressed in the architectural writing of the foors.

Playing with the site's topography， the building is anchored in the hill with which it establishes a sort of organic continuity. The level of the roof， to the right of the rear wall， corresponds to the level of the natural land. The semi-buried building thus blends in with the landscape. The rear disappears in the relief and the forest， while the totally transparent front fa?ade generously opens onto the valley.

The choice of material was made in line with this desire for a building-landscape, which fts into the geography and which splits it. The foors （interior and exterior）， the walls， the roof monolithic aspect. The unfnished treatment of the material evokes the mineral world， the rock of the hills and the cave. Due to its fabrication combining natural elements and human techniques, concrete moreover recalls the essence of Lascaux， where cavities modeled by nature were uses as a support for the gestures and thought of the frst human beings.

The project's second materiality， glass， dominates in the fa?ade and the roof of the orientation area. Together with the concrete， it produces a series of contrasting effects： opaqueness and transparency， light and shade， unfnished and sophisticated， rough and smooth. Their balance helps give the facility a unique contemporary feel.

As to uses and functions， International Center of Rock Wall Art of Montignac-Lascaux is an interpretation center. Unlike a museum in the traditional meaning of the word, an interpretation center does not exhibit collections of works, but has the objective of highlighting and explaining a site and its wealth. That is why architecture， site and pedagogic vocation are intrinsically combined here.

The project was thought out using a holistic approach in which the landscape， the architecture and the scenography are considered a whole， in a close relationship with the narration and the scenario of the visit. Digital and interactive mediation plays a key role. Individual equipment using RFID and Wi-Fi technology are genuine tour guides. Throughout the itinerary， each visitor can collect contents and information adapted to his age, his level of knowledge, and the themes that interest him.

On the scale of the project as a whole， the visitor easily perceives the difference spaces through the clarity and simplicity of the itinerary proposed and through the identifcation of certain atmospheres with function or service categories. Each ambience is meaning-laden and fits the contents delivered to the visitor. For example, the exhibition spaces are more ensconced in the hill and in darkness, while the public reception, transition and restaurant spaces are bathed in natural light. These variations in atmospheres and intensities， in the same way as the alternations between descent and ascension, between inside and outside, between earth and sky， between nature and culture， bring to mind the analogy with the cave experience in the broad sense.

馬吉癌癥康復(fù)中心

地點：蘇格蘭阿伯丁郡

業(yè)主：馬吉癌癥康復(fù)中心

類型：涼亭式建筑

面積：花園/露臺 350平方米/270平方米

項目狀況：2013年完工

設(shè)計范圍：建筑、景觀與室內(nèi)

繪圖：斯諾赫塔建筑事務(wù)所

Location： Aberdeen， Scotland

Client： Maggie's Cancer Caring Centre

Typology： Pavilion

Size： 350 m2 / 270 m2garden & terrace

Status： Completed 2013

Scope： Architecture， landscape & interior

Drawings： ?Sn?hetta

背景

2011年，斯諾赫塔建筑事務(wù)所應(yīng)邀設(shè)計新的阿伯丁馬吉癌癥康復(fù)中心（阿伯丁Forester山醫(yī)院的附屬康復(fù)中心）。馬吉癌癥康復(fù)中心不是治療中心，而是有相同情況的癌癥診斷患者和家屬會面、接受幫助和指導(dǎo)的地方。中心有6名員工，訪問量每天各不相同。

地點

中心在Westburn大草地邊緣，是一座獨立的房屋。場地與馬吉醫(yī)院既有歸屬關(guān)系又有獨立性。房屋的位置朝著綠色的原野美景，視野開闊，西面和南面陽光充足。

架構(gòu)

起初的設(shè)計概念是簡單的結(jié)構(gòu)形成外墻。外墻內(nèi)進(jìn)行了三次關(guān)鍵的分隔，只留出北部入口，西南部的中庭，東面則完全敞開，采光好。此外，外墻有五個不同尺寸的穿孔讓頂部陽光射入室內(nèi)。白色的外墻形成了一個大空間，封閉，但同時朝公園和天空開放。在此空間的中央是一個獨立的橡木屋把大空間分成四個區(qū)域：西南部一個寬敞的戶外空間、北面是廚房、東邊是個大客廳、南邊是另一個客廳。

所有房間都與封閉的外墻相通，成為房屋的社交房間。此外，在橡木屋的頂部有一個閣樓，設(shè)有可以看見整座房舍的康復(fù)中心辦公室和會議室。而治療室、技術(shù)室和衛(wèi)生間則位于橡木屋內(nèi)。

外墻是混凝土的原始結(jié)構(gòu)。它包括三層：混凝土層、隔離層和粉刷層，全是靠手工噴涂或裝飾。中央的橡木屋為木框架結(jié)構(gòu)，以橡木包裹而已。

室內(nèi)裝飾

中心內(nèi)部是外墻與內(nèi)核的交匯處，是外墻與內(nèi)核形成的空間。堅硬的混凝土石膏選材明智、外表柔和，而有角的內(nèi)核則包覆軟木。這個空間是所有裝飾元素的起點。

馬吉康復(fù)中心在人們生活困難的時候提供幫助。因此，重要的是里面有親切的氣氛，且具有一定的封閉性。臨床不是關(guān)注的重點。不同分區(qū)的空間有利于不同時段的社交活動和私人談話。普通的茶杯、壁爐、書籍和藝術(shù)品布置旨在使人們團(tuán)結(jié)在一起。所有可移動家具的選擇強(qiáng)調(diào)親切感和安全性。

中央橡木屋的結(jié)構(gòu)具有一系列嵌段，用作長凳和書架。沙發(fā)靠墊以及用對比色涂漆和貼瓷磚表面打破木材的主導(dǎo)地位。沿外墻，里外各有白色鋼板制作的長椅，作為支撐臺和座位，室內(nèi)裝修和可遮風(fēng)雨的室外空間相互聯(lián)系。中心室內(nèi)外掛有B?rdBreivik，KristianBlystad， KjellNupen和NicoWiderberg等挪威藝術(shù)家的作品。還有幾件當(dāng)?shù)厮囆g(shù)家的作品。

風(fēng)景

建筑所在位置的草地種滿了各種香料植物。高高的觀賞草種在路堤邊上，朝向草地。Westburn路旁有成排的樹木還有一些楓樹使得整個場所郁郁蔥蔥。

新種植的山毛櫸是入口標(biāo)志，與現(xiàn)有的成排樹木形成變化和對比。室外技術(shù)室被紅豆杉樹樁包圍，室外成排的太陽能電池板與常青的寄生植物和鵝卵石小徑上的椅子都融合到景觀的整體布局中。

房屋的中心是不可或缺的可遮風(fēng)雨的室外空間。這里的地面是堅硬和柔軟的組合，中央栽有綻放的櫻桃樹。

Background

Sn?hetta was in 2011 asked to draw the new Maggie's Cancer Caring Center， a center associated with Forester hill Hospital in Aberdeen. Maggie's is not a treatment center，but a place where people diagnosed with cancer, as well as their families, can meet others who are in the same situation， and receive help and guidance. The center has six employees and a varying amount of daily visitors.

Location

The center is a detached pavilion at the edge of a big grass feld， the Westburn Field. The site creates both belonging and independence from the hospital for Maggie's. The location of the pavilion gives it a great view towards the green feld， with plenty of sun from south to west.

Architecture

The starting point for the concept is a simple form creating a shell. Three strategic cuts have been made in the shell, making up the north entrance, the south-west atrium, and a generous opening for lights to the east. Furthermore， the shell has fve perforations of different sizes giving top light for the interior. The white shell creates a big room which encapsulates， at the same time as it opens up towards the park and the sky. In the middle of this room is a detached oak core which divides the big room into four zones；a generous outdoor room south-west, a kitchen to the north, a big living room east, and another living room to the south.

All these rooms have a connection to the encapsulated shell， and they make up the social rooms of the house. On the top of the core there is a mezzanine foor with offce spaces and a meeting room with a view of the whole house. Therapy rooms， technical rooms， and toilets are located inside the core.

The shell is a primitive structure built in concrete. It consists of three layers； concrete，isolation， and stucco， which all are sprayed and crafted by hand. The core is a timberframe construction clad with oak.

Interior

The center's interior is created as the shell and the core meet - in the spaces they make. Material-wise， the softly shaped shell is given a hard concrete plaster， while the angular core is clad with soft wood. This span is the starting point for all elements of décor.

Maggie's offers help in a diffcult time in people's life. It is therefore important that the atmosphere inside has a homely and enclosing character. Nothing clinical should be in focus. The rooms' different zones facilitate for community， for private conversations， and for alone-time. Generous tea cups， a fre place， books， and art， are intended to bring people together. All movable furniture is chosen to emphasize intimacy and security.

The structure of the core has a series of embedded segments， which are utilized as benches and book shelves. Upholstered cushions as well as painted and tiled surfaces in contrasting colors are used to break the dominance of the wood. Along the shell，inside and out, runs a long, white steel bench that works as a support bench and seating. It creates a link between the interior and the shielded outdoor space. The center has artworks of Norwegian artists both indoors and outside. B?rd Breivik， Kristian Blystad， Kjell Nupen， and Nico Widerberg are represented. There are also several pieces by local artist.

Landscape

The grass feld on which the building is located is dominated by various grass spices. Tall-growing ornamental grasses are planted in a delimiting embankment towards the grass feld. The existing line of trees alongside Westburn Road is supplemented with additional maple trees to create a lush delimitation to the feld.

A group of newly planted beech marks the entrance and creates a variation and contrast to the existing line of trees. An outdoor technical room is surrounded by a yew hedge，and the row of outdoor solar panels is integrated in the landscape’s overall pattern of perennial boarder and gravel paths with benches.

The heart of the pavilion is an integral and sheltered outdoor space. The foor here is a combination of hard and soft surfaces with a centrally planted blooming cherry tree.

零排放樣板房

地點：挪威拉爾維克

業(yè)主：Optimera and Br?drene Dahl （Saint Gobain）

類型：零排放示范建筑

面積：220平方米

項目狀況：2014年9月17日完工

設(shè)計范圍：建筑、景觀與室內(nèi)

繪圖：斯諾赫塔建筑事務(wù)所

Location： Ringdalskogen， Larvik， Norway

Client： Optimera and Br?drene Dahl （Saint Gobain）

Typology： Zero Emission Demonstration Building

Size： 220m2

Status： Completed September 17， 2014

Scope： Architecture， landscape & interior

Drawings： ?Sn?hetta

斯諾赫塔建筑事務(wù)所是ZEB（零排放建筑研究中心）的積極合作伙伴。ZEB“多功能舒適樣板房”（ZEB Multi-Comfort House）由斯諾赫塔建筑事務(wù)所、斯堪的納維亞半島最大的獨立研究機(jī)構(gòu)SINTEF、ZEB合伙人Br?drene Dahl和Optimera合作完成。房子看上去是獨戶家庭住房，但建造的意愿是將它作為展示平臺，以便學(xué)習(xí)采用綜合可持續(xù)性解決方案建造優(yōu)良住房的建筑方法。

為了達(dá)到ZEB-OM的等級目標(biāo)，項目需要記錄并驗證二氧化碳零排放。建筑通過安裝在圍護(hù)結(jié)構(gòu)上的光伏發(fā)電板和太陽能集熱板生產(chǎn)可再生能源，代替發(fā)電站產(chǎn)生的能源，以此抵消燃燒化石燃料產(chǎn)生的碳排放量，并以此方式減少了其他溫室氣體的排放。關(guān)注建筑材料的碳排放代表了一個新的研究方向，這是建筑邁向可持續(xù)發(fā)展時代的重要驅(qū)動力。

東南朝向的特性

房子位于花園之中，東南朝向，斜屋頂上安裝了太陽能電池板和集電極。屋頂安裝的能源設(shè)備以及地面上地?zé)峋峁┑牡責(zé)崮茉床粌H能滿足一年內(nèi)家庭的能源需求，而且有盈余的電力提供給電動汽車。為了實現(xiàn)這個目標(biāo)，建筑和技術(shù)必須共同確保最優(yōu)化的舒適性和能源使用。

日光、視野以及與景觀及室外空間的親密接觸緩解了在平衡密封墻壁與窗戶的需求。通過玻璃面、朝向、房子幾何形狀和體積，并選擇具有良好隔熱特性的材料，取暖和制冷問題自然而然得到解決。室內(nèi)裝飾材料的選用在于材料對保證室內(nèi)氣候和空氣質(zhì)量的貢獻(xiàn)以及審美的特質(zhì)。

露天中庭

早春或是深秋，屋主都可以在裝有壁爐和配備家具的露天中庭中享受戶外就餐的樂趣。在安裝了世界上最先進(jìn)的家庭設(shè)施的房子里，在木柴和磚塊砌成的墻體圍護(hù)的房間里有種小屋生活的溫馨。

景觀

景觀采用花園形式。游客圍繞建筑散步可以發(fā)現(xiàn)房屋獨一無二的元素?；▓@里有一個游泳池和利用太陽能過剩熱量的淋浴器、用木柴加熱的桑拿房和與遮蔽周邊環(huán)境的儲藏室。東側(cè)早餐點可以看到鄰近農(nóng)田的景色，用回收木塊鋪砌的地面給人以賓至如歸感覺。

環(huán)保雄心和設(shè)計過程

在設(shè)計過程中，環(huán)保方面的雄心壯志創(chuàng)造了新的參數(shù)。新工具投入使用，各學(xué)科的工作緊密聯(lián)系，并且文件工作的要求比以往任何時候都更為苛刻。在早期開發(fā)階段，高度尤其專注于材料選擇是前所未有的，因此產(chǎn)生了跨學(xué)科的創(chuàng)新設(shè)計流程。如此雄心勃勃的環(huán)保項目的設(shè)計是新技術(shù)知識驅(qū)動的結(jié)果，包括關(guān)于新技術(shù)、當(dāng)?shù)啬茉?、材料和建筑技術(shù)及在該位置其他資源的知識，以及有利于最佳能源利用而精心選擇的布置和朝向。

該項目專注于通過不可計量的特質(zhì)使建筑維持家的感覺。在設(shè)計過程中，同等考慮了業(yè)主情感和歸屬方面的需求與能源需求。土地賜予了人們各種可以全年享受的空間，包括小規(guī)模生產(chǎn)食物的果樹林和菜園。

Sn?hetta is an active partner within ZEB （The Research Center on Zero Emission Buildings）. The ZEB Multi-Comfort House is a cooperation between Sn?hetta，Scandinavia's largest independent research body SINTEF， ZEB partner Br?drene Dahl， and Optimera. The volume of the house describes a single family house，however, the building is intended for use as a demonstration platform to facilitate learning on building methodology for plus houses with integrated sustainable solutions.

To achieve ZEB-OM classification the project is required to document and verify a minimum of 100% CO2 offsetting. Renewable energy production via photovoltaic and solar-thermal panels integrated in the building envelope enables offsetting of carbon emissions generated by the burning of fossil fuels in power stations. By offsetting in this manner we reduce emission of other greenhouse gasses simultaneously. Focus on carbon emissions associated with building materials represents a new direction in the vital drive toward a sustainable construction industry.

Characteristic tilt to the southeast

The house in the garden has a characteristic tilt towards southeast and a sloping roof surface clad with solar panels and collectors. These elements， together with geothermal energy from energy wells in the ground， will serve the energy needs of the family house and generate enough surplus to power an electric car year-round！For this to become a successful reality， architecture and technology must come together and ensure optimization of both comfort and energy use.

Daylight， view， and contact with landscape and outdoor space is reconciled with the need for balancing sealed walls and windows. Heating and cooling is solved passively through placement of glass surfaces， orientation， house geometry and volume， and choosing materials with good thermal characteristics. Materials used on interior surfaces have been chosen on the basis of their ability to contribute to good indoor climate and air quality as well as aesthetic qualities.

Outdoor atrium

An outdoor atrium with freplace and furnishing opens for outdoor dining from early spring to late fall. A feeling of cabin life， in one of the world's most advanced family houses， in a room with walls of stacked frewood and bricks.

Landscape

The landscape is formed as a garden where visitors can walk around the building and discover the elements that make this an exceptional family house. The garden has a swimming pool and shower utilizing solar-generated thermal heat surplus, a sauna heated with frewood， and storage rooms as shielding from neighbours. A breakfast spot on the eastern side with a view to neighbouring farmland is paved with recycled timber blocks， creating an inviting surface.

Environmental ambitions and design process

High environmental ambitions create new parameters in the design process. New tools are put to use, the academic disciplines work closer together, and the requirements for documentation are more demanding than ever. In particular，the high focus on choice of material in early development phases is new， and it generates innovative design processes on a multidisciplinary level.

The design of such an ambitious environmental project is driven by knowledge of new technologies， local energy sources， materials and building techniques， and other resources at location， as well as intelligent placement and orientation in a way that facilitates optimal utilization of energy resources.

The project has a strong focus on retaining home-like qualities through nonquantifiable properties. Emotive comfort and sense of wellbeing have governed the design process to the same extent as energy demands. The grounds employ a variety of spaces that can be enjoyed year-round， with the inclusion of fruit trees and vegetable gardens to accommodate small scale food production.