荷蘭阿姆斯特丹

EYE Film Institute NetherlandsAmsterdam, the Netherlands 荷蘭EYE電影學(xué)院

荷蘭阿姆斯特丹

業(yè)主：ING 地產(chǎn)公司

建筑類型：文化

設(shè)計(jì)競(jìng)賽：2005年一等獎(jiǎng)

規(guī)劃設(shè)計(jì)：2005年

施工：2009年8月

竣工：2011年12月

總建筑面積：6 300平方米

表面面積：8 700平方米

建成面積：3 250立方米

攝影： Iwan Baan

Client: ING – Real Estate

Category: Cultural

Competition: 2005 (1st prize)

Start of planning: 2005

Start of construction: 08/2009

Completion: 12/2011

Floor area [total]: 6 300 m2

Gross surface area: 8 700 m2

Built-up area: 3 250 m2

Photographer: Iwan Baan

電影是一種幻覺，通過放映變得真實(shí)，是光、空間和運(yùn)動(dòng)三者的協(xié)調(diào)。在建筑中，這些參數(shù)之間的相互作用定義了人們空間知覺的強(qiáng)度和有效性。它們是空間設(shè)定的重要元素，通過人體移動(dòng)次序，以多層次手法呈現(xiàn)建筑效果。

電影學(xué)院坐落于阿姆斯特丹中心地段的河畔地區(qū)，是阿姆斯特丹鹿特丹新區(qū)的視覺地標(biāo)。這片開發(fā)區(qū)域蔓延至曾經(jīng)的Shell Terrain地區(qū)——中央車站（阿姆斯特丹的火車站）的河對(duì)岸。作為國際石油公司曾經(jīng)的研究中心，這片區(qū)域緊鄰市中心，沿著繁忙的城市水脈分布，其功能變化也與周邊環(huán)境息息相關(guān)。

EYE電影學(xué)院的設(shè)計(jì)概念和規(guī)劃實(shí)施都是基于兩種創(chuàng)造性學(xué)科之間的重疊——其核心貫穿的是現(xiàn)實(shí)和虛構(gòu)、幻覺和真實(shí)的體驗(yàn)。建筑概念成為腳本，而建筑成了布景。通過動(dòng)態(tài)的交互作用，建筑被賦予的角色在兩者之間徘徊：時(shí)而是都市場(chǎng)景的主角，時(shí)而又是被放置于混雜多樣的城市景觀之前的戲劇元素。

位于陸地與水面、城市歷史中心區(qū)與現(xiàn)代開發(fā)地區(qū)的的分界面上，從不同的視點(diǎn)觀察，這座建筑有著多樣的外形，與周圍環(huán)境實(shí)現(xiàn)持續(xù)性的對(duì)話。該建筑與周圍環(huán)境的互動(dòng)、設(shè)計(jì)定位以及幾何形體都讓它光彩奪目，超越了城市的分區(qū)和歷史上的“生命線”——伊日河，輻射到更大的范圍。場(chǎng)地內(nèi)獨(dú)特的交際效果已經(jīng)超越了建筑的范圍，從而將對(duì)于電影學(xué)院的參觀體驗(yàn)變?yōu)橐环N城市真實(shí)性與電影虛幻性之間的持續(xù)碰撞。作為一個(gè)多功能的交匯點(diǎn)，該建筑的設(shè)計(jì)構(gòu)想在很多方面都符合了一個(gè)功能性和持續(xù)性都極強(qiáng)的文化機(jī)構(gòu)所應(yīng)承擔(dān)的職能要求。

Film is an illusion created by the scenic coordination of light, space, and movement, which becomes real through projection. In architecture, the interplay between these parameters defines the intensity and e ff ectiveness of the individual spatial perception signi fi cantly. They are understood to be integrative components of spatial enactment, their e ff ect being projected through sequences of human motion and unfolded in multilayered ways.

Situated in the privileged riverside area in the heart of Amsterdam, the Film Institute represents the visual landmark of the new Amstrdam Noord quarter. This development area extends over to the former Shell Terrain on the opposite side of the river to the Centraal Station, Amsterdam’s train station. As the international oil company’s former research centre, this area which is situated close to the city centre and along the the busy urban water vein held a sensitive function.

Both the Eye Film Institute’s concept and urban implementation are based on an overlay of two creative disciplines which have at their core reality and fi ction, illusion and real experience. The building concept becomes the story board, the architecture the scenography. By delivering a dynamic interplay,the building’s assigned role oscillates between acting as the urban scenery’s protagonist and as a dramaturgical element placed in front of a heterogeneous landscape setting.

On the interface between land and water, between historic centre and modern development area,the building adopts many faces from each viewpoint, thus finding itself in a constant dialogue with its surroundings. Its radiance overcomes the city’s natural divide and historic lifeline, the IJ river, and is defined by its interaction with the surroundings, its positioning, and geometry. The area’s distinctive communicative effect goes beyond the confines of the building, thus transforming the visit to the Film Institute into a sustained encounter between urban reality and cinematographic fi ction. As a multi fi nctionalmeeting point, the building’s architectural formulation complies in multiple ways with the responsibility held by a cultural institution of the highest functionality and sustainability.