横滨国际客运大楼得意洋洋的批判性接待是创造性建筑方法和社会意识思维的产物。1995年由外交部建筑师(FOA)设计，这座未来主义的终点站代表了一种新兴的交通基础设施类型。它的激进的，超科技的设计探索了新的建筑形式的前沿，同时引发了关于大型项目的社会责任的强有力的讨论，以丰富共享的城市空间。

The triumphant critical reception of the Yokohama International Passenger Terminal was the product of inventive architectural methodology and socially conscious thinking. Designed by Foreign Office Architects (FOA) in 1995, the futuristic terminal represented an emergent typology of transportation infrastructure. Its radical, hyper-technological design explored new frontiers of architectural form and simultaneously provoked a powerful discourse on the social responsibility of large-scale projects to enrich shared urban spaces.

The triumphant critical reception of the Yokohama International Passenger Terminal was the product of inventive architectural methodology and socially conscious thinking. Designed by Foreign Office Architects (FOA) in 1995, the futuristic terminal represented an emergent typology of transportation infrastructure. Its radical, hyper-technological design explored new frontiers of architectural form and simultaneously provoked a powerful discourse on the social responsibility of large-scale projects to enrich shared urban spaces.

航站楼的建筑竞争非常激烈，赢得这场比赛需要当时的法什·穆萨维(Farshid Moussavi)和亚历杭德罗·扎伊拉·波罗(Alejandro Zaera-Polo)的妻子和丈夫团队重新考虑终端设计的既定模式。该委员会位于日本人口第二大城市的重要滨水区，吸引了660名来自世界各地的参赛作品，这是日本迄今为止规模最大的国际比赛。[1]这个长达430米的庞大工程耗时8年，预算1.5亿英镑完成，并要求FOA将工作室临时迁往横滨，以监督施工。航站楼的公开开放发生在2002年，巧合的是，世界杯的最后一场比赛只在离海岸线几英里远的地方举行。

The architectural competition for the terminal was famously intense, and winning it required the then-wife-and-husband team of Farshid Moussavi and Alejandro Zaera-Polo to rethink the established template of terminal design. Located on an important waterfront site in Japan’s second most populous city, the high-profile commission attracted 660 entries from around the world, the country's largest international competition to date. [1] The enormous, 430 meter-long project took eight years and a budget of £150 million to complete, and required FOA to temporarily relocate their studios to Yokohama to supervise construction. The public opening of the terminal occurred in 2002, serendipitously coinciding with the final game of the World Cup being held only a few miles from the shoreline.

The architectural competition for the terminal was famously intense, and winning it required the then-wife-and-husband team of Farshid Moussavi and Alejandro Zaera-Polo to rethink the established template of terminal design. Located on an important waterfront site in Japan’s second most populous city, the high-profile commission attracted 660 entries from around the world, the country's largest international competition to date. [1] The enormous, 430 meter-long project took eight years and a budget of £150 million to complete, and required FOA to temporarily relocate their studios to Yokohama to supervise construction. The public opening of the terminal occurred in 2002, serendipitously coinciding with the final game of the World Cup being held only a few miles from the shoreline.

 © Satoru Mishima / FOA

c Satoru Mishima/FOA

 © Satoru Mishima / FOA

c Satoru Mishima/FOA

只有计算机辅助设计的巨大进步才能使终端引人注目。它主要是在剖面上构思的，有一系列极其复杂的表面，这些表面轻轻地弯曲并折叠成适合航行的、适合居住的建筑地形图。在观察甲板上，地板的材料结构以波浪状的振荡起落，形成通道和孔，进入下面广阔的封闭空间。立面上的这些变化-有时是微妙的，有时是尖锐的-是为项目而发明的新颖的建筑语言的精髓。

The striking appearance of the terminal was made possible only by tremendous advances in computer-aided design. It was conceived primarily in section, with an incredibly complex series of surfaces that gently curve and fold into a navigable, inhabitable architectural topography. Atop the observation deck, the material fabric of the floor rises and falls in wave-like oscillations to create pathways and apertures into the vast, enclosed spaces below. These changes in elevation—sometimes subtle, sometimes sharp—were the essence of the novel architectural language invented for the project.

The striking appearance of the terminal was made possible only by tremendous advances in computer-aided design. It was conceived primarily in section, with an incredibly complex series of surfaces that gently curve and fold into a navigable, inhabitable architectural topography. Atop the observation deck, the material fabric of the floor rises and falls in wave-like oscillations to create pathways and apertures into the vast, enclosed spaces below. These changes in elevation—sometimes subtle, sometimes sharp—were the essence of the novel architectural language invented for the project.

 © Satoru Mishima / FOA

c Satoru Mishima/FOA

 © Satoru Mishima / FOA

c Satoru Mishima/FOA

 © Satoru Mishima / FOA

c Satoru Mishima/FOA

该建筑是在三个垂直层次组织的。在一楼的停车场，一个宽敞的中间层包含终端的行政和运营区域，包括票务、海关、移民、餐馆、购物和等候区。跨越天花板的钢梁向空间增加了沉重的感觉，这与观察甲板的感觉形成鲜明的对比，这具有由光线、柔性和容易延展的平面构成的感觉。连接这三个层次是一系列缓坡的斜坡，建筑师们决定比楼梯更有效，以维持连续和多维的循环流动。

The building is organized in three vertical levels. Atop a first-floor parking garage, a spacious middle floor contains the terminal’s administrative and operational areas, including ticketing, customs, immigration, restaurants, shopping, and waiting areas. The steel beams that span the ceiling add a weighty feeling to the space that contrasts sharply with the feel of the observation deck, which has the sensation of being made of a light, flexible, and easily malleable plane. Connecting the three levels are a series of gently sloping ramps, which the architects decided were more effective than stairs at maintaining a continuous and multi-dimensional flow of circulation.

The building is organized in three vertical levels. Atop a first-floor parking garage, a spacious middle floor contains the terminal’s administrative and operational areas, including ticketing, customs, immigration, restaurants, shopping, and waiting areas. The steel beams that span the ceiling add a weighty feeling to the space that contrasts sharply with the feel of the observation deck, which has the sensation of being made of a light, flexible, and easily malleable plane. Connecting the three levels are a series of gently sloping ramps, which the architects decided were more effective than stairs at maintaining a continuous and multi-dimensional flow of circulation.

 © Satoru Mishima / FOA

c Satoru Mishima/FOA

由折叠钢板和混凝土梁组成的独特的结构体系支撑建筑物。材料的强度最小化了对垂直支撑件的需要，并且允许大部分打开的楼层平面，而该结构的高度允许在内部空间中产生壮观的各种天花板状况。根据建筑师的说法，该结构方案特别擅长应对地震运动的侧向力，这是日本大小建筑的必要前提。[2]

A unique structural system made of folded steel plates and concrete girders supports the building. The strength of the materials minimizes the need for vertical supports and allows for a mostly open floor plan, while the height of the structure allows for a spectacular variety of ceiling conditions in the interior spaces. According to the architects, the structural scheme is especially adept at coping with the lateral forces of seismic movements, a necessary precondition of buildings of its size in Japan. [2]

A unique structural system made of folded steel plates and concrete girders supports the building. The strength of the materials minimizes the need for vertical supports and allows for a mostly open floor plan, while the height of the structure allows for a spectacular variety of ceiling conditions in the interior spaces. According to the architects, the structural scheme is especially adept at coping with the lateral forces of seismic movements, a necessary precondition of buildings of its size in Japan. [2]

 © Flickr user twu

c Flickr用户TWU

 © Satoru Mishima / FOA

c Satoru Mishima/FOA

在整个项目中，在建筑的构造和材料语言中渗透着一种有意识的动力。非正交墙、地板和天花板的丰度产生了一种受控的眩晕感，由类似的离焦装置和细节来强调。该效应被材料提示放大，例如在观察甲板上的木板的移位颗粒，其指示折痕的位置，以及由其下方的结构所展示的极简的灰色金属镶板。

Throughout the project, a deliberate dynamism pervades the tectonic and material languages of the building. The abundance of non-orthogonal walls, floors, and ceilings creates a controlled sense of vertigo that is accentuated by similarly off-kilter fixtures and details. The effect is magnified by material cues, such as the shifting grains of the wooden planks on the observation deck that indicate the locations of creases, and the minimalist grey metal paneling that is revealingly worn by the structures under it.

Throughout the project, a deliberate dynamism pervades the tectonic and material languages of the building. The abundance of non-orthogonal walls, floors, and ceilings creates a controlled sense of vertigo that is accentuated by similarly off-kilter fixtures and details. The effect is magnified by material cues, such as the shifting grains of the wooden planks on the observation deck that indicate the locations of creases, and the minimalist grey metal paneling that is revealingly worn by the structures under it.

 First Floor Plan

一层平面图

 Observation Deck Plan

观测甲板平面图

 Circulation Diagram

环流图

虽然建筑物的轮廓偶尔会暴露出随机性的因素，但实际上它们是由一个决定空间组织的单一循环方案产生的。循环作为一个连续的环图运作，直接拒绝任何线性和方向性的概念。游客在到达任何目的地之前，都是经过垂直和水平弯曲的路径，而他们穿越空间的视线则是相当曲折和间接的。尽管所有的材料和正式手势的混乱的复杂性，这个简单的图表提供了一种清晰的感觉，并揭示了建筑产生的过程。

While the contours of the building occasionally betray an element of randomness, they are in fact generated by a single circulation scheme that dictates spatial organization. The circulation operates as a continuous looped diagram, directly rejecting any notion of linearity and directionality. Visitors are taken through paths that meander vertically and horizontally before arriving at any destination, and their sight lines through space are comparably tortuous and indirect. For all of the chaotic complexity of the materials and formal gestures, the simplicity of this diagram offers a sense of clarity and reveals the process from which the building emerged.

While the contours of the building occasionally betray an element of randomness, they are in fact generated by a single circulation scheme that dictates spatial organization. The circulation operates as a continuous looped diagram, directly rejecting any notion of linearity and directionality. Visitors are taken through paths that meander vertically and horizontally before arriving at any destination, and their sight lines through space are comparably tortuous and indirect. For all of the chaotic complexity of the materials and formal gestures, the simplicity of this diagram offers a sense of clarity and reveals the process from which the building emerged.

 © Satoru Mishima / FOA

c Satoru Mishima/FOA

这个项目最大的概念力量可能是它与城市滨水区的敏感关系。由于观景台是一个完全可到达的公共广场，航站楼从邻近的山下公园和Akaranega公园无缝地出现，形成一个不间断的、普遍可达的城市公园景观。其高度的计算是为了保持与海岸的连续性，并确保滨水区的内陆景观保持畅通无阻。

The greatest conceptual strength of the project is perhaps its sensitive relationship with the urban waterfront. With the observation deck doubling as a fully accessible public plaza, the terminal seamlessly emerges from the neighboring Yamashita and Akaranega Parks to make one uninterrupted, universally accessible urban parkscape. Its height is calculated to achieve continuity with the shore and to ensure that inland views of the waterfront remain unobstructed.

The greatest conceptual strength of the project is perhaps its sensitive relationship with the urban waterfront. With the observation deck doubling as a fully accessible public plaza, the terminal seamlessly emerges from the neighboring Yamashita and Akaranega Parks to make one uninterrupted, universally accessible urban parkscape. Its height is calculated to achieve continuity with the shore and to ensure that inland views of the waterfront remain unobstructed.

航站楼建成后获得了多个国际奖项，包括2004年Enric Miralles奖，并为FOA、Zaera-Polo和Moussavi赢得了巨大的认可。它还彻底挑战了传统公共基础设施项目有限的作用，开创了技术创新和城市一体化的新先例，此后许多人试图与之相匹配。

The terminal won several international awards after its completion, including the 2004 Enric Miralles Prize, and brought enormous recognition to FOA, Zaera-Polo, and Moussavi. It also completely challenged the limited role of traditional public infrastructure projects, creating a new precedent of technological innovation and urban integration that many have since tried to match.

The terminal won several international awards after its completion, including the 2004 Enric Miralles Prize, and brought enormous recognition to FOA, Zaera-Polo, and Moussavi. It also completely challenged the limited role of traditional public infrastructure projects, creating a new precedent of technological innovation and urban integration that many have since tried to match.

[1]“横滨国际客运站的诞生”。Osanbashi.com9月22日访问2014年来自http://www.osanbashi.com/en/outline/.

[1] "The Birth of the Yokohama International Passenger Terminal." Osanbashi.com. Accessed 22 Sept. 2014 from http://www.osanbashi.com/en/outline/.

[1] "The Birth of the Yokohama International Passenger Terminal." Osanbashi.com. Accessed 22 Sept. 2014 from http://www.osanbashi.com/en/outline/.

[2]FarshidMoussavi建筑师。“横滨国际港口终端：概述。”从http://www.farshidmoussavi.com/flash/index.html#/projects/465.访问了2014年9月22日

[2] Farshid Moussavi Architects. “Yokohama International Port Terminal: Overview.” Accessed 22 Sept. 2014 from http://www.farshidmoussavi.com/flash/index.html#/projects/465.

[2] Farshid Moussavi Architects. “Yokohama International Port Terminal: Overview.” Accessed 22 Sept. 2014 from http://www.farshidmoussavi.com/flash/index.html#/projects/465.

Osanbashi码头面积48000.0平方米，2002年项目年照片Satoru Mishima/FOA，Flickr用户TWU类别码头

Architects Foreign Office Architects (FOA) Location Osanbashi Pier Area 48000.0 m2 Project Year 2002 Photographs Satoru Mishima / FOA, Flickr user twu Category Pier

Architects Foreign Office Architects (FOA) Location Osanbashi Pier Area 48000.0 m2 Project Year 2002 Photographs Satoru Mishima / FOA, Flickr user twu Category Pier