天臺傘美國加利福尼亞州卡爾弗市

設計單位：埃里克·歐文·莫斯建筑師事務所

主要顧問：Englekirk and Sabol (結構)，Silver, Roth and Associates(電氣)，Fruchtman and Associates (EMP)，Advanced Structures Incorporated (玻璃結構)

項目類型：辦公樓

建筑面積：17 000平方呎

時間: 1999年

獲獎：2000年洛杉磯城市美化獎；2000年Saflex玻璃設計獎；2000年杜邦本尼迪克圖斯夾層玻璃建筑應用創新獎；1999年美國建筑師協會/洛杉磯設計榮譽獎

攝影：湯姆·邦納

Architect: Eric Owen Moss Architects

Key Consultants: Englekirk and Sabol (Structural), Silver, Roth and Associates(Electrical), Fruchtman and Associates (MEP), Advanced Structures Incorporated (Glass Structural)

Program: Office

Building Area (Square Feet): 17 000sf

Year: 1999

Awards: Los Angeles Urban Beautification Award, 2000; Saflex Glass Design Award, 2000; DuPont Benedictus Award for Innovation in the Architectural Use of Laminated Glass, 2000; AIA/LA Honor Award for Design, 1999

Photography: Tom Bonner

卡爾弗市的兩個毗鄰的倉庫建于20世紀40年代，被重新設計為“綠傘”的實驗性演出系列的演出和錄音場所，洛杉磯愛樂樂團在此制作音樂十多年。愛樂樂團最終決定留在洛杉磯市中心，樂團的項目也進行了調整，為一家圖形和在線媒體設計公司提供辦公、制作和后期制作設施。第二項規劃保留了可容納三十位演奏家的露天表演場地——天臺傘。按照規劃，在露天表演中偶爾會使用到“天臺傘”。

場地上現有塊狀建筑，一幢屋頂帶有鋸齒形的天窗，另一幢屋頂是由弓弦支撐，基本上保持原樣。增加了入口坡道和步行道、出口樓梯。內部有一間大堂、四個寬敞的開間、兩個會議中心、多個大型開放式工作空間和20個私人辦公室，其中大部分位于新建的二樓。

這兩幢建筑室內用途不一樣，外部裝飾也不盡相同。帶弓弦形梁屋頂的棚屋將用于制作間，外部裝有光滑搭接的水泥面板。鋸齒棚將用于后期制作中心，裝飾有波紋水泥板。由于內部的運作，除了沿入口坡道的玻璃、行政辦公室外，大樓內幾乎沒有窗戶。

最典型的概念對象是室外圓形劇場，開始的設想是將愛樂樂團的場地插入到帶弓弦形梁屋頂建筑的西北角，懸挑在通往大廳和入口坡道的過道上。天臺傘是一個表演場地，其坡度由兩個原桁架的彎曲頂弦決定，這兩個桁架以前支撐著弓弦屋頂，現在從那里拆了出來，上下顛倒后重新用于支撐天臺傘的碗型閥座結構。通過修改其結構，這些桁架延伸到了過道處，以支撐懸臂式結構。弓形屋頂的邊緣是一根直徑14英寸的彎曲鋼管，該鋼管也用作新“天臺傘”的周界切割。管子的自由端——一個從北面伸出，一個從西面伸出，由新的鋼桁架支撐，鋼桁架的底部呈弧形，配有倒置的重新使用的木制弓弦，這種性狀以往并未使用過。階梯狀座位從樓頂邊緣向下排布到懸臂邊緣，懸臂上有一個小的指揮臺。與演奏家就座區相鄰的是一個不規則形狀的吹制灰泥屋頂，既包圍了碗狀結構下面的新的會議，又為音樂表演提供了必要的起伏表面。

十七塊面板都是獨一無二的，相鄰邊緣的匹配有助于面板的重疊，并由兩個不銹鋼z形夾支撐，連接到每個重疊面板邊緣的管道上。彎曲玻璃傘面的施工是第一次彎曲的夾層玻璃制造和安裝成功的工程。

可以從二樓的臺面或從下面一樓的樓梯進入天臺傘。傘的正下方是一個25英尺高的多媒體會議玻璃房。

Two adjoining warehouses in Culver City, constructed in the 1940’s, were re-designed as a performance and recording venue for an experimental performance series called the Green Umbrella, which has been produced for more than ten years by the Los Angeles Philharmonic Orchestra.The Philharmonic ultimately decided to remain in downtown Los Angeles, and the orchestra program was changed to accommodate office, production,and post production facilities for a graphics and on-line media design firm.The outdoor performance venue, the roof-top “umbrella”, originally designed for to accommodate thirty performing musicians, was retained in the second scheme.The plan is to use the umbrella sporadically for outdoor, performance related events.

The block-like volumes of the existing buildings on the site, one with a saw-tooth sky lit roof, the other with a bow-string supported roof, remain essentially as they were.An entry ramp and walk, and exit stairs are added.The interiors include a lobby, four avid bays, two conference centers, large open work spaces, and twenty private offices, most of which are located on a newly constructed second floor.

The two building exteriors are differentiated both by interior use, and by exterior finishes.The shed with the bowstring roof, to be used for production space, is finished on the outside with smooth, lapped, cement board panels.The saw tooth shed, to be used for postproduction facilities, is finished with corrugated cement board panels.As a consequence of the operational purposes inside, there are few windows in the building, with the exception of the glazed, executive office spaces along the entry ramp.

The defining conceptual object is an outdoor amphitheatre - the originally intended Philharmonic Orchestra venue - inserted into the north-west corner of the existing bow string building, and cantilevering over the entry ramp and walkway to the lobby.The“umbrella” is a performance arena, the slope of which is determined by the curving top chords of two original trusses, once supporting the bowstring roof, now salvaged from the corner demolition, and reused up-side-down to define the bowl seating profile.With steel amendments, these trusses extend over the entry walk to support the cantilevered seating.A fourteen inch diameter curving steel pipe marks the existing roof edge of the bowstring structure, and the perimeter cut for the new “umbrella”.The free ends of that pipe projecting, one from the north elevation, one from the west, are, supported by a new steel truss with a curved bottom, configured with the inverted, reused wood bow-strings as precedents for the shape.The terraced seating steps down the bowl from the edge at the building roof-top to the edge of the cantilever, where a small conductor’s podium is situated.Adjacent to the performers’seating area, within the ring, is an irregularly shaped, blown plaster roof that both encloses a new conference space below the bowl, and provides the requisite undulating acoustic surface for music performance on the roof-top theatre.

構思草圖 Sketch

平面圖 Plan

Seventeen slumped, laminated, over-lapping glass panels,supported on a frame of steel pipes, provide a double curving, transparent canopy over the musicians’ seating.Each of the seventeen panels is unique, with matching adjacent edges facilitating the panel overlap, and supported by two stainless steel z-clips attached to the pipes at each overlapping panel edge.The construction of the bent glass umbrella roof is the first time curving, laminated glass has been successfully engineered, fabricated, and installed.

Access to the “umbrella” is from a second floor deck, or a stair from the first floor below.Directly under the umbrella is a twenty-five foot high, glass enclosed, multi-media equipped conference space.