OMA 前進新加坡 153米高層豪宅 Scotts Tower

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OMA 前進新加坡 153米高層豪宅 Scotts Tower

文章站長eaGer 發表於 2007-03-24, 00:31

新加坡最大的私人房地產開發商:遠東機構(Far East Organization),委託由 Rem Koolhaas 創設、領軍的OMA 建築師事務所(Office for Metropolitan Architecture)設計一棟36層的高級住宅 Scotts Tower,這也是OMA在新加坡的首件建築作品。

此住宅案高153米,位於新加坡史各士路(Scotts Road)與經禧路(Cairnhill Road)的交界處,緊鄰著名的時尚購物街烏節路(Orchard Road),豪宅大樓樓地板面積共2萬平方米,落成後裡頭將有六十八套高品質住宅單元足以俯瞰市區全景。

為了在新加坡嚴格的建築法規環境中,能將土地的可能性進行最大程度的利用,在建築物的設計上將四個獨立的公寓塔樓彼此錯開,由中央的核心塔延伸出來,四個龐大量體分離但又相互聯繫,四個「漂浮塔樓」的天際線與其周邊高樓的量體相呼應,並且重新開拓市中心天際線視野,在景觀上則延續都市綠帶往北面延伸的綠地空間。

懸浮的公寓塔樓有效地將建築在地面上的投影面積減少到最小,釋放出來的地平面將設計為休閒的熱帶園林景觀。

遠東機構營運總裁謝文華(Chia Boon Kuah)表示,「能與OMA一起合作建造一個別具風格的建案,我們為此深感興奮,設計詮釋了烏節路以及新加坡的活力與熱情,OMA廣泛的國際設計經驗無疑將為城市的豪華居住型態帶來新的設計亮點,並為我們的發展注入更多的國際化元素。」

「與遠東機構合作是一個令人興奮的機遇,藉此 OMA也得以更深入亞洲。」而負責此案,身為 OMA 合夥人的型男建築師 Ole Scheeren 說,「此項設計垂直地將建築樓層面積分配到四個彼此獨立的塔樓當中,由此締造了一棟建築、都市景觀和結構系統完美結合的摩天大樓。從這個角度而言,建築超越了一種表現形式,形成了一個協作共生的綜合體」。

型男建築師 Ole Scheeren 主導此案的設計,OMA 協理張維理(Eric Chang)擔任專案建築師,於 1995年加入 OMA 並於 2002年成為合夥人的Ole Scheeren 是OMA北京總監,作為 Rem Koolhaas 的分身,主導且負責OMA 在亞洲的業務,其中包括位於北京,施工當中的 CCTV 及電視文化中心(TVCC)工程,他之前曾負責的設計案包括紐約與洛杉磯的 Prada 旗艦店,張維理同時在這兩個Prada項目中擔任專案建築師,Ole Scheeren 與張維理有相當多的共事經驗。

說到出錢的業主也來歷不小,遠東機構(Far East Organization)是新加坡最大的私人房地産發展商。其發展業務包括住宅、商業及工業地産。它同時也是新加坡最大的私人住宅業主以及最大的酒店擁有經營者之一。集團屬下擁有180多家私人房地産發展企業、投資公司及兩家上市公司-烏節廣場控股有限公司與楊協成有限公司。

遠東機構是全球唯一榮獲四項由世界不動産連盟總會(FIABCI)頒發的-全球年度傑出建築金獎-(Prix d'Excellence)的發展商。榮獲此國際房地産業最高榮譽獎的項目包括:浮爾頓酒店(The Fullerton Singapore-休閒組別、2003年度)、香園景(Gardenville-住宅組別、2002年度)、遠東廣場(Far East Square-特別組別、2001年度)及翠灣園 (The Bayshore-住宅組別、1999年度)。

>>相關網站
::遠東機構(Far East Organization)::
::OMA 建築師事務所(Office for Metropolitan Architecture)::

最後由 站長eaGer 於 2007-03-26, 23:13 編輯,總共編輯了 3 次。
站長eaGer
 

Ole Scheeren訪談錄

文章ykw 發表於 2007-03-24, 07:43

轉錄自: http://www.feedmecoolshit.com/interview ... -scheeren/ (原稿有精彩的照片)

FMCS: Please tell us a little bit about yourself and your work.
I joined Rem Koolhaas and OMA in 1995, and became Partner in 2002. Since 1999 I was leading the projects for Prada, and completed the epicenter stores in New York and Los Angeles.
Now, I am responsible for OMA’s work throughout Asia, with several projects in China and Singapore.
After starting to work in Germany, I was later working on a series of projects through my own studio in the United Kingdom.
Beyond the domains of architecture I collaborated with the graphic designers 2×4, in New York; and I was engaged in a range of art projects and exhibitions, such as Cities on the Move in London and Bangkok, Media City Seoul and the Rotterdam Film Festival.

FMCS: Where do you currently live and work?
I am based in Beijing, in a country that I visited for the first time fourteen years ago.
Back in the days, China was still largely unexplored and underdeveloped, the intensive experience of those 3-months in a completely different world were the beginning of a fantastic relationship with Asia.

FMCS: How did you become interested in architecture?
My father is an architect… It might just have been the strongest reason against becoming one myself, but then again it might have well been the inevitable reason for becoming one.
When I was around fourteen years old I used to go to my father’s office quite often. I picked up many essential aspects in his busy atmosphere and learned a great deal.
Later, after I finished school, the interest in architecture disappeared for a while, somehow the urge went into hibernation, and writing and music kept me busy.
The first time I became aware of Rem Koolhaas was during an exhibition of the ZKM where his winning project for a competition for a new building was showcased.
Something in the work captured me instantly, I thought that if something like this is possible [in architecture] then maybe it is worthwhile doing it – and that at some point in my life I would actually want to work with him.
I decided to study architecture. I started in Karlsruhe; after tensions and an unsatisfying time in Germany I went to Lausanne and studied under Luigi Snozzi.
During those years, I traveled a lot and tried to see as much architecture as possible. My aim was to not see architecture through the eye of photography or media, but to see and understand it in real space, out there.
I was looking for something that couldn’t be captured in publications.
Later, I graduated from the Architectural Association in London. After Lausanne I went to Rotterdam, to OMA, I had the feeling that it was time to try pushing things further, and I ended up working with Rem Koolhaas, and its been an intense 11 years.

FMCS: How do you handle the pressure of multiple ongoing projects?
It’s all about strategy and teamwork. In order to coordinate project teams of up to 60 architects, like for CCTV, it is crucial for me to keep complete overview and be able to zoom into details at the same time.
You have to be present on several levels simultaneously, and then shift focus very quickly from project to project, from context to context.

FMCS: What do you like most at your job?
To adapt and improvise, to strategize the process of design as much as the one of implementation.
I am interested in architecture not so much as built object, but more as what I call organizational structures – complex systems of interrelations and interaction.

FMCS: Tell us more about your current project!
The CCTV and TVCC buildings are in a very intense phase of construction at this moment. It’s a very large project, almost 600,000 square meters, and it will serve a population of 10.000 people every day.
Now, many thousand workers are on site going 24/7 to meet the Olympic deadline in 2008. It’s an intense process, and takes the complete focus and attention of a huge team.
And it will remain to be a process, rather than ever become a finished product: a building of this scale will always imply a certain amount of programmatic instability – it is so large, that some parts of the building might already change before the last sections are actually completed. But it is not only the building itself that attains a degree of continuous transformation and instability, it is also its environment of a rapidly changing and developing culture in China.
The project is situated in Beijing’s new Central Business District (CBD), the surging commercial center of the city. CCTV and TVCC will form a vast media landscape, with its 20-hectar site offering parks, media events and spaces for the public to congregate.
The 24-hour activity of the buildings will inject continuous life into the CBD, and the functions of the Television Cultural Center will offer a multitude of spaces for public entertainment.

FMCS: Why this location?
It’s a political decision, the CBD is located in Beijing’s center but far away enough from the historic inner city. It is the declared center of “newness” – I have seen a computer-generated image that projects the emergence of about 300 skyscrapers here over the next decade.

FMCS: Why didn’t you just follow the ongoing trend to build another skyscraper just aiming for height?
The race for height is pointless – dominance of the skyline by being the tallest is something you can only lose. There will always be someone taller.
We were looking for an identity of the skyscraper that would emerge from other aspects – from its programmatic arrangement, its social impacts, its spatial engagement with its context – we wanted to break the traditional hierarchy implied in the vertical line.
CCTV is a loop folded in space, it creates a circuit of interconnected activities and joins all aspects of television making in one single organism. The loop acts as a non-hierarchical principle, with no beginning and end, no top and bottom, in which all elements form part of a single whole.
The ‘visitor’s loop’, a trajectory for the public to explore the building, gives insight in the processes of media making and transforms the building into an open structure.
The top is no longer occupied by the senior management, but it is accessible to the entire staff in a staff forum.

FMCS: Building such a remarkable project and being in the spotlight, how do you handle criticism?
I take it very serious. You have to accept criticism as part of your work, and you have to be ready to answer it and confront yourself.
I believe it is an unavoidable aspect of pushing the boundaries, of trying to move outside the conservative circles.

FMCS: How do you see contemporary architecture in Beijing?
I think Beijing is on its way to become one of the most influential cities in the world.
Its current process of modernization is dramatic, and with it the emergence of a multitude of architectures – I think you can hardly speak of a singular one here. But while the city is undergoing rapid change, it seems to maintain a character that is maybe no longer the old, but nonetheless distinct and charismatic.
You can feel the presence of power, of an intellectual base, and observe a physical transformation that is producing some remarkable pieces of architecture.

FMCS: How about other projects?
In the Beijing office, we are currently busy with a small headquarters for a Shanghai-based media company, a high-end residential tower in Singapore, and we are preparing for a project for the Shenzhen Stock Exchange.
There are also plans for new Prada epicenters in Shanghai and Beijing.

FMCS: What or who is your source of inspiration?
Even if it might be a boring answer: It’s everything and nothing, its life in general.
I am not so much interested in direct references. It’s maybe a search for the new, for discovering potentials.

FMCS: What keeps you busy besides work?
Life and work is inseparable at this stage, I’m lucky to work with many of my friends.
Thank you for this Interview!
ykw
 


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