© Ossip van Duivenbode

c.OsSIP van Duivenbode

架构师提供的文本描述。MVRDV已经完成了印的建设，这是一座新的2楼艺术娱乐综合体，紧邻首尔仁川机场。这座没有窗户的建筑以一栋大楼里的夜总会和另一座室内主题公园为特色，有三个关键设计元素：周围建筑物正面特征的印记、提升入口，以及一个覆盖夜店大楼一角的金色入口点。

Text description provided by the architects. MVRDV has completed construction on The Imprint, a new 2-building art-entertainment complex in close proximity to Seoul’s Incheon Airport. Featuring a nightclub in one building and indoor theme park in the other, the windowless structures feature three key design elements: imprints of the façade features of surrounding buildings, lifted entrances, and a golden entrance spot covering one corner of the nightclub building.

Text description provided by the architects. MVRDV has completed construction on The Imprint, a new 2-building art-entertainment complex in close proximity to Seoul’s Incheon Airport. Featuring a nightclub in one building and indoor theme park in the other, the windowless structures feature three key design elements: imprints of the façade features of surrounding buildings, lifted entrances, and a golden entrance spot covering one corner of the nightclub building.

 © Ossip van Duivenbode

c.OsSIP van Duivenbode

 © Ossip van Duivenbode

c.OsSIP van Duivenbode

MVRDV的印记是整个6栋建筑的天堂城市综合体的一部分，它将提供全套的娱乐设施和酒店景点，距离韩国最大的机场不到一公里。

MVRDV’s The Imprint is part of the larger Paradise City complex of 6 buildings in total, which will provide a full suite of entertainment and hotel attractions less than a kilometre away from South Korea’s largest airport.

MVRDV’s The Imprint is part of the larger Paradise City complex of 6 buildings in total, which will provide a full suite of entertainment and hotel attractions less than a kilometre away from South Korea’s largest airport.

 Courtesy of MVRDV

MVRDV提供

鉴于拟议的2栋大楼-一家夜总会和一座室内主题公园-的设计方案，客户需要一个没有窗户的设计，但其中一个仍然与建筑群中的其他建筑物相结合。因此，印记的设计产生于一个简单的问题：我们能否设计一个表现力强的立面，即使它没有窗户，也能与周围的环境连接起来？

Given the proposed programme of the 2 buildings – a nightclub and indoor theme park – the client required a design with no windows, yet one that still integrated with the other buildings in the complex. The design of The Imprint therefore arises from a simple question: can we design an expressive façade that connects with its surroundings even though it has no windows?

Given the proposed programme of the 2 buildings – a nightclub and indoor theme park – the client required a design with no windows, yet one that still integrated with the other buildings in the complex. The design of The Imprint therefore arises from a simple question: can we design an expressive façade that connects with its surroundings even though it has no windows?

 © Ossip van Duivenbode

c.OsSIP van Duivenbode

该设计通过将建筑群中的周围建筑的立面投影在简单的建筑形式和广场上，就像阴影一样，并将“印记”作为浮雕图案印在外墙上，从而实现了这一目标。

The design achieves this by projecting the façades of the surrounding buildings in the complex, which are ‘draped’ over the simple building forms and plazas like a shadow, and ‘imprinted’ as a relief pattern onto the façades. 

The design achieves this by projecting the façades of the surrounding buildings in the complex, which are ‘draped’ over the simple building forms and plazas like a shadow, and ‘imprinted’ as a relief pattern onto the façades. 

 © Ossip van Duivenbode

c.OsSIP van Duivenbode

“通过把周围的建筑物放置在我们的建筑物的立面和中央广场上，我们将印记与邻居联系起来，”说，WinyMaas是Mvrv.“这确保了一致性。天堂城不是像拉斯维加斯那样的个人物品的集合，而是一个真正的城市。”的主要和共同创始人。

“By placing, as it were, surrounding buildings into the facades of our buildings and in the central plaza, we connect The Imprint with the neighbours,” says Winy Maas, principal and co-founder of MVRDV. “This ensures coherence. Paradise City is not a collection of individual objects such as Las Vegas, but a real city.”

“By placing, as it were, surrounding buildings into the facades of our buildings and in the central plaza, we connect The Imprint with the neighbours,” says Winy Maas, principal and co-founder of MVRDV. “This ensures coherence. Paradise City is not a collection of individual objects such as Las Vegas, but a real city.”

 © Ossip van Duivenbode

c.OsSIP van Duivenbode

为了实现周围建筑物的“印记”，印纹的外墙是用玻璃纤维增强的混凝土面板建造的。由于3，869个面板中有许多是独特的，因此在设计阶段就需要使用MVRDV的3D建模文件单独制作模具。一旦安装，这些面板被涂成白色，以强调在设计中的浮雕。

In order to achieve the desired ‘imprint’ of the surrounding buildings, the façade of The Imprint is constructed of glass-fibre reinforced concrete panels. As many of the 3,869 panels are unique, the construction required moulds to be individually produced using MVRDV’s 3D modelling files from the design phase. Once installed, these panels were painted white in order to emphasise the relief in the design.

In order to achieve the desired ‘imprint’ of the surrounding buildings, the façade of The Imprint is constructed of glass-fibre reinforced concrete panels. As many of the 3,869 panels are unique, the construction required moulds to be individually produced using MVRDV’s 3D modelling files from the design phase. Once installed, these panels were painted white in order to emphasise the relief in the design.

 © Ossip van Duivenbode

c.OsSIP van Duivenbode

正如WinyMaas所解释的：“两个月前，大部分包层已经完成，客户说，‘这是一件艺术品。有趣的是，他们正在寻找这种动力-娱乐可以成为艺术，建筑也可以这种方式成为艺术。那么，建筑之间的区别是什么呢？这个项目发挥了这个作用，我认为抽象是其中的一部分，但它必须惊喜，诱惑，它必须冷静下来。“

As Winy Maas explains: “Two months ago most of the cladding was done and client said, ‘this is an art piece. What is interesting about that is that they are looking for that momentum—that entertainment can become art or that the building can become artistic in that way. What, then, is the difference between architecture an art? The project plays with that and I think that abstraction is part of it, but it has to surprise, seduce and it has to calm down.”

As Winy Maas explains: “Two months ago most of the cladding was done and client said, ‘this is an art piece. What is interesting about that is that they are looking for that momentum—that entertainment can become art or that the building can become artistic in that way. What, then, is the difference between architecture an art? The project plays with that and I think that abstraction is part of it, but it has to surprise, seduce and it has to calm down.”

 © Ossip van Duivenbode

c.OsSIP van Duivenbode

“黄金地带”是该项目最明显、最引人注意的表现元素，甚至吸引了在仁川机场降落的乘客的目光。金色是通过使用金色油漆而不是白色来实现的，并通过夜间的正面照明而得到加强：虽然大部分正面是从下面点亮的，但黄金点是从上面突出的。马斯说：“即使在晚上，从仁川登陆的外国游客也会受到这种光线的欢迎。”

The golden spot is the project’s most obvious and attention-grabbing expressive element, even catching the eyes of passengers coming in to land at Incheon Airport. The golden colour is achieved simply, by using gold paint instead of white, and is reinforced by the lighting of the facades at night: while the majority of the façade is lit from below, the gold spot is highlighted from above.“Even in the night, visitors from abroad, landing in Incheon, are welcomed by this ray of light”, says Maas.

The golden spot is the project’s most obvious and attention-grabbing expressive element, even catching the eyes of passengers coming in to land at Incheon Airport. The golden colour is achieved simply, by using gold paint instead of white, and is reinforced by the lighting of the facades at night: while the majority of the façade is lit from below, the gold spot is highlighted from above.“Even in the night, visitors from abroad, landing in Incheon, are welcomed by this ray of light”, says Maas.

 © Ossip van Duivenbode

c.OsSIP van Duivenbode

入口像窗帘一样升起，露出镜面天花板和玻璃媒体地板，散发出一种内心的兴奋感。“因此，反思和戏剧是结合在一起的，”马斯总结道。“根据我们的设计，在夜间逃避现实之后，白天会出现一种类似禅宗的静默，为事后聚会提供了一个近乎真实的反思环境。”我想，乔吉奥·德·奇里科(Giorgio De Chirico)会喜欢画它的。“

The entrances, where the façades are lifted like a curtain to reveal mirrored ceilings and glass media floors, exude a sense of the excitement happening inside. “Reflection and theatricality are therefore combined,” concludes Maas. “With our design, after the nightly escapades, a zen-like silence follows during the day, providing an almost literally reflective situation for the after parties. Giorgio de Chirico would have liked to paint it, I think."

The entrances, where the façades are lifted like a curtain to reveal mirrored ceilings and glass media floors, exude a sense of the excitement happening inside. “Reflection and theatricality are therefore combined,” concludes Maas. “With our design, after the nightly escapades, a zen-like silence follows during the day, providing an almost literally reflective situation for the after parties. Giorgio de Chirico would have liked to paint it, I think."

 © Ossip van Duivenbode

c.OsSIP van Duivenbode

Architects MVRDV

Location 186, Yeongjonghaeannam-ro 321beon-gil, Jung-gu, Incheon, South Korea

Principal-in-charge Winy Maas, Jacob van Rijs

Partner Wenchian Shi

Design Team María López Calleja with Daehee Suk, Xiaoting Chen, Kyosuk Lee, Guang Ruey Tan, Stavros Gargaretas, Mafalda Rangel, Dong Min Lee

Area 9800.0 m2

Project Year 2018

Photographs Ossip van Duivenbode

Category Commercial Architecture