麹町露臺，東京，日本

建筑設計：nendo設計事務所

Architects: nendo

這是為東京市中心麹町地區一棟11層的辦公樓所做的室內和室外設計項目。

常見的辦公建筑通常都是帶有人工氣候控制的封閉區塊，與外部環境沒有任何實際的物理聯系。因此，在麹町露臺的設計中我們考慮了外部元素，融入更多的戶外體驗，如可以目睹天氣變化與季節更迭。

我們在11層建筑中的6層間隔性地設置了露臺以更好地融入環境。這是一些臨時性的外部空間，通過關閉隱藏在露臺周圍的門窗，每個露臺都可以輕松地轉變成為私人會議區域。在建筑的最高層有一個獨特的露天花園，融合了郁郁蔥蔥的綠色植物，引入了自然光線和新鮮空氣。3層通高的“天空森林”為員工提供了一個猶如大自然般的隱蔽之處，且與其他樓層相協調。建筑外立面的其他部分，覆蓋著可以讓空氣進入室內的大玻璃窗。

使用露臺和大開窗的結果便是出現了多用于防止墜落并支撐窗戶結構但影響美觀的欄桿。為使欄桿看起來與立面的尺寸及木質裝飾相融合，我們將其編織成一個自然的網格。視覺干擾已和外立面融為一體，從而中和了在大多數辦公建筑中常見的單調與冰冷感。

除了錯綜交疊的立面設計，室內材料選用原始石材和古銅色不銹鋼。地板及墻壁的紋理效果由抹灰匠手工完成，以實現非均勻的自然之感。同理，室內照明也使用了與室外同比例的編織元素。射向地板及天花板的光線營造出了縱深感，并通過間接照明照亮了整個空間。編織元素也融入在入口長椅、地毯圖案和建筑的標志當中?！酰ㄌ炷?譯）

項目信息/Credits and Data

合作方/Collaborator: Ikawaya Architects

攝影/Photos: Takumi Ota

1 外景/Exterior view

2 立面局部/Partial view

3 陽臺被錯落地布置在11層中的6個樓層/Balconies have been placed sporadically on six out of the building' s eleven floors

An interior and exterior design project for an eleven-storey office building located in the Kojimachi neighbourhood in central Tokyo.

Typical office buildings are usually built as closed-off blocks with artificial climate control that do not share any real physical connection with their exterior environments. Therefore, in the "Kojimachi Terrace" design, the external elements were taken into account to allow for a more physical experience of the outdoors, witnessing to the changing weather and seasons.

To best incorporate the environment,balconies have been placed sporadically on six out of the building's eleven floors. Assumed to be used as exterior spaces, each terrace can easily transform into a private meeting area by closing the doors and windows concealed around it. A unique open air garden located on the building's highest levels, incorporates lush greenery infused with natural light and air. This three-storey "Sky Forest" allows for a nature-like hideaway for employees in the building, while generating a sense of unity over the different floors. The rest of the building's fa?ade is covered with large glass windows, some of which them enable natural air to enter the building.

Incorporating many terraces and large open windows can result in unsightly rails for prevention from falling as well as numerous pillars to support the window construction. By designing these rails and pillars to appear the same size and wooden finish as the fa?ade, and by weaving this together into a natural looking grid, the visual noise has become integrated and camouflaged within the exterior, reducing the flat and cold impression usually known in most office buildings.

Along with the intricate exterior design, the materials used for the interior include raw stone and bronze-coloured stainless steel. The textured finish of the floors and walls were executed manually by a plasterer to achieve an uneven natural appearance.Similarly to the building's fa?ade, the interior lighting elements were also weaved using rails in the same proportions as the external profiles. The light is directed both to the floor and ceiling, creating a sense of depth and brightening-up the whole space with indirect illuminations. The weaving element was also incorporated in a bench placed by the entrance, as well as in the carpet's pattern and the building's logo.

4 夜景/Night view

評論

胡恒：“天空森林”這個概念，大概只有這類財力雄厚的商業寫字樓才能完成。豐富了建筑外觀與識別性，緩解那些上班族的緊張情緒、平復焦慮，這些是題中應有之意。不過，如果就此止步，那不免有些浪費如此高的成本以及“天空森林”這個概念的潛力。在我看來，選擇這個概念，意味著建筑本身需做重新定義。那些“樹叢陽臺”不是視覺點綴或噱頭，它們應該是整個建筑設計的邏輯基礎。也即，這個寫字樓并非是在陽臺上人造出微觀“森林”，它本身就是一個伸向天空的“森林”。就目前的設計來看，建筑師確有這一意向。比如在室內的許多地方都有各類木紋界面和細木桿件做內飾。但這只是表面文章，離創造出一個垂直森林還有距離。其實，賴特曾在半個世紀前的約翰遜制蠟公司的高層塔樓中對此略有實踐。現在的建筑師完全可以再大膽一些。

張昕楠：植入空中庭院并以之解決高度人工化的封閉環境的做法,在高層建筑的設計中并不少見，例如建筑師福斯特在法蘭克福銀行項目中所進行的討論。不過，在麹町露臺項目中仍有幾處設計方法值得關注：其一，是庭院不同尺度的變化為不同類型的事件發生提供了可能；其二，是植入的庭院系統外部氣候邊界的靈活可變來完成的空間屬性轉變，同時在某種程度上，這一轉變回應了日本傳統建筑緣側空間中的類型傳統，以障子的開合完成內緣側空間室內外屬性的轉換。

5.6 通過關閉隱藏在陽臺周邊的門和窗戶，陽臺可以輕松地轉變為私密的會議區/Each terrace can easily transform into a private meeting area by closing the doors and windows concealed around it

7 花園與辦公空間相連接/The garden space is linked to the office area

8 “空中森林”為員工提供了充滿自然氣息的隱蔽之處/"Sky Forest" allows for a nature-like hideaway for the building' s employees

Comments

HU Heng: The concept of "sky forest" can only be put into reality by such a commercial office building with deep pockets. The main point is certainly to enrich the appearance and identity of the architecture, and ease the intense emotion and anxiety of people working there.But being limited to such an intention would be a waste to either such a high cost or the potential of the "sky forest" concept. In my opinion, choosing such a concept means re-defining the architecture. Those "balcony with bushes" are not only visual embellishments or stunts, but the fundamental logical basis for the whole architectural design. In other words, instead of creating micro "forest" on the balconies of the building, the building itself should be a "forest" stretching toward the sky. In fact, the design indicates such an intention by the architect, for example, interior decorations of various wood grain interface and fine wood rod pieces can be seen in many places. However, these are only superficial work that is far from creating a vertical forest. In fact,Frank Lloyd Wright once tried this concept in his design for Johnson Wax Headquarters half a century ago.Architects nowadays can been more bold. (Translated by QIAN Fang).

ZHANG Xinnan: It is not uncommon to see the adoption of sky gardens in the design of high-rise buildings, as an compensation to highly artificial and enclosed environment. Similar discussion can be found in Norman Foster's design of the Commerzbank Tower in Frankfurt. In this project Kojimachi Terrace, several design approaches are also worthy of our attention.Firstly, changes in variable scales of the garden provided possibility for different types of events.Secondly, the transformation in spatial attribution was enabled by the flexible climate boundaries with the adoption of the garden system; and this transformation, to some extent, was responsive to the typological tradition of the "engawa" space in traditional Japanese architecture－with the opening and closing of "shoji", transformation between the interior and exterior at the indoor side of "engawa" was realised. (Translated by WANG Xinxin)

9.10 露天花園內景/Interior view of the open air garden