程博

嵐建筑設(shè)計主持建筑師程博在 “一切皆改造”的演講中，提出改造核心無非是處理新舊的關(guān)系，而存量時代下的建成環(huán)境仍有很多可操作的余地。隨后，通過數(shù)個相對輕量級的城市空間介入項(xiàng)目，論述如何激發(fā)城市空間特質(zhì)以及回應(yīng)日常生活中城市尺度和人體尺度。在這些項(xiàng)目中，劇院改造在保留建筑類型特征同時采用經(jīng)典立面形式語言，中軸線綠地改造中利用交通核心回應(yīng)城市公共空間絕對意義，濱海棧橋改造運(yùn)用算法優(yōu)化擬合幫助從基礎(chǔ)設(shè)施到人體的尺度拉伸。另一方面，節(jié)日大道美術(shù)館通過尺度轉(zhuǎn)換實(shí)現(xiàn)對日常狀態(tài)的切割和剝離。

In the speech “Everything can be transformed,” CHENG Bo, the principal architect of Lan Architectural Design,proposed that the core of transformation deals with the relationship between the old and the new. Especially in the stock era, there are still a lot of possibilities for manipulation in the existing built environment. Later on, through several relatively lightweight urban space intervention projects, Cheng discusses how to stimulate the characteristics of urban space to reflect the urban and human scale in daily life. Among these projects,the renovation of the theater retains the characteristics of the building type while adopting the classic fa?ade design. In the renovation of the central axis green space,the traffic core has absolute meaning for urban public space. The utilization of algorithm optimization can help extend space scale from infrastructure to the human body in the case of Binhai Trestle Bridge Renovation. On the other hand, the Festival Avenue Art Museum project achieved the separation of the daily state through scale conversion.

案例1 深圳垂直設(shè)施

案例2 夢工場-實(shí)驗(yàn)劇場改造

案例3 大鵬濱海扶手

案例4 增量美術(shù)館