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赫夫顿乌鸦

架构师提供的文本描述。占地22万平方米的建筑群位于北京朝阳公园(─)的南缘，是北京中心商业区─现存的最大公园，占地面积22万平方米，包括10座建筑，这些建筑都是一幅典型的城市山水画。与曼哈顿中央公园(CentralPark)的位置和功能相似，但与现代的盒子式建筑不同的是，“朝阳公园广场”是一种自然的扩张。这些建筑只在公园和城市之间形成了隔阂。它是公园进入城市的延伸，使CBD强大的人造天际线自然化，借鉴远处景观─的风景，这是中国园林建筑的经典方法，自然与建筑相互融合。

Text description provided by the architects. Positioned on the southern edge of Beijing’s Chaoyang Park ─ the largest remaining park in Beijing’s central business district area ─ the 220,000 sqm complex includes 10 buildings which unfold as a classic Shanshui painting on an urban scale. Having a similar position and function as Central Park in Manhattan, but unlike the modern box-like buildings that only create a separation between the park and the city, “Chaoyang Park Plaza” instead is an expansion of nature. It is an extension of the park into the city, naturalizing the CBD’s strong artificial skyline, borrowing scenery from a distant landscape ─ a classical approach to Chinese garden architecture, where nature and architecture blend into one another.

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赫夫顿乌鸦

“在现代城市中，建筑作为一种人工创造更多地被看作是资本、权力或技术发展的象征，而自然则是独立存在的。它不同于传统的东方城市，那里的建筑和自然都是作为一个整体设计的，创造了一种满足自己精神追求的氛围，“建筑师马岩松说。“我们想要模糊自然和人工之间的界限，并使两者在设计上都考虑到另一个。那么，在现代人类保护或破坏自然的逻辑中，如果我们理解并将人与自然视为共存的话，这个论点就不再存在。人类的行为和情感是自然的一部分，自然是起源和结束的地方。“

“In modern cities, architecture as an artificial creation is seen more as a symbol of capital, power or technological development; while nature exists independently. It is different from traditional Eastern cities where architecture and nature are designed as a whole, creating an atmosphere that serves to fulfill one’s spiritual pursuits,” said architect Ma Yansong. “We want to blur the boundary between nature and the artificial, and make it so that both are designed with the other in mind. Then, the argument in the modern logic of humans to protect or to destroy nature will no longer exist if we understand and see humans and nature as co-existing. Human behavior and emotion is part of nature, and nature is where that originates and ends.”

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赫夫顿乌鸦

在中国传统山水画的启发下，设计重塑了我们城市中心内大型建筑的关系。它将自然形态和空间─“山，小溪，岩石，山谷和森林”─引入城市。位于园区北侧的不对称双塔办公楼，坐落在公园的湖底，就像从水里生长出来的两座山峰。透明而明亮的中庭就像一根“拉线”，通过一个连接着玻璃屋顶的结构把两座塔拉在一起。

Inspired by traditional Chinese landscape paintings, the design remodels the relationship of large-scale architecture within our urban centers. It introduces natural forms and spaces ─ “mountain, brook, creek, rocks, valley and forest” ─ into the city. The asymmetrical twin tower office buildings on the north side of the site, sit at the base of the park’s lake and are like two mountain peaks growing out of the water. The transparent and bright atrium acts like a “drawstring” that pulls the two towers together by a connecting glass rooftop structure.

 Concept - Painting by Wang Mingxian

王明贤的概念绘画

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这些小型的、低层的商业建筑看起来像山岩，经受了长期的侵蚀.它们似乎是随机放置的，但它们之间的战略关系形成了一个与世隔绝但开放的城市花园，提供了一个人们可以在城市中心的自然中相遇的地方。

The small-scale, low-rise commercial buildings appear as mountain rocks that have endured long-term erosion. They seem to be randomly placed, but their strategic relationship to one another forms a secluded, but open urban garden, offering a place where people can meet within nature in the middle of the city.

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位于西南部的两套多层阿玛尼公寓继续采用交错阳台的“露天生活”概念，为每个住宅单元提供更多机会，让它们暴露在自然阳光下，并最终感受到与大自然的特别亲近。

The two multi-story Armani apartments to the southwest continue this concept of “open air living” with their staggered balconies, offering each residential unit more opportunities to be exposed to natural sunlight, and ultimately feel a particular closeness to nature.

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整体环境由光滑、弯曲的黑白表面塑造，营造出一种安静而神秘的氛围。它唤起了中国传统水墨画的情感和审美共鸣，创造了一种从周围喧嚣的城市环境中解脱出来的宁静。建筑之间编织的景观融合了松树、竹子、岩石和池塘─所有传统的东方景观元素，这意味着建筑与古典空间之间有着更深层次的联系。日本平面艺术家肯尼亚原领导设计的“简单”和“精炼”的标志系统为该项目。

The overall environment is shaped by smooth, curved surfaces of black and white, creating a quiet and mysterious atmosphere. It is one that evokes the emotion and aesthetic resonance of a traditional Chinese ink painting, creating a tranquil escape from the surrounding, bustling urban environment. The landscape that weaves itself in between the buildings incorporates pine trees, bamboo, rocks and ponds ─ all traditional Eastern landscape elements that imply a deeper connection between the architecture and classical space. Japanese graphic artist Kenya Hara led the design of the “simple” and “refined” signage system for the project.

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赫夫顿乌鸦

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该项目已被美国绿色建筑委员会授予LEED黄金认证，因为“自然”的理念不仅体现在设计理念上，也体现在绿色技术的创新和整合上。在玻璃外墙上看到的垂直鳍强调了塔楼的平顺性和垂直性。它们还起到节能通风和过滤系统的作用，在室内吸收新鲜空气。在塔的底部，有一个池塘，当它们看起来像是进入无穷大的时候，在夏天起着空气冷却系统的作用，降低了室内的整体温度。

The project has been awarded the LEED Gold Certification by the US Green Building Council, as the ideal of “nature” is not only embodied in the design concept, but in the innovation and integration of green technology as well. The vertical fins seen on the exterior glass façade emphasize the smoothness and verticality of the towers. They also function as the energy efficient ventilation and filtration system, drawing fresh air indoors. At the base of the towers, there is a pond, that while making them appear as if they are going into infinity, works as an air cooling system in the summer, decreasing the overall temperature of the interior.

 Cross Section

 Long Section

长剖面

“朝阳公园广场”彻底改变了我国城市中心商业区的建筑模式。尽管它位于北京CBD的中心，但它的意图是与传统的和古典的北京城市进行对话-反映出城市规划中人与自然的相互依存，以及山水花园的大规模展示。在建筑史学家王明贤的绘画中，他将“朝阳公园广场”并列为一幅古典山水画。建筑和自然景观似乎和谐地结合在一起，不像一些人认为这些建筑不适合他们的城市环境。在谈到这种对比时，马岩松说：“我不认为这是我们的问题。真正的问题是这个城市最初的文化背景是什么时候消失的？我们有机会尝试创造一种不同的城市，在精神和文化层面上，可以与东方哲学和智慧的古典城市相比。“

“Chaoyang Park Plaza” completely transforms the model of building found in our cities’ central business districts. But even though it is located in the center of Beijing’s CBD, the intention is for it to have a dialogue with the traditional and classical city of Beijing – reflecting the interdependence between man and nature, both in urban planning, and the large-scale presentation of the Shanshui garden. In the painting of Wang Mingxian, an architectural historian, he juxtaposed “Chaoyang Park Plaza” into a classical landscape painting. The architecture and the natural scenery seemed harmonious together, unlike how some might think the buildings do not fit into their urban context. Commenting on this contrast, Ma Yansong said: “I don’t think that’s our problem. The real question is when did the original cultural context of this city disappear? We have the opportunity to try and create a different kind of city, that on a spiritual and cultural level, can be compared to the classical cities of Eastern philosophy and wisdom.”

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赫夫顿乌鸦

Architects MAD Architects

Location Beijing, China

Principals in Charge Ma Yansong, Dang Qun, Yosuke Hayano

Associate Partners in Charge Kin Li, Liu Huiying

Team Fu Changrui, Zhao Wei, Li Guangchong, Lin Guomin, Bennet Hu Po-Kang, Nathan Kiatkulpiboone, Yang Jie, Julian Sattler, Younjin Park, Zhu Jinglu, Xue Yan, Zheng Fang, Matteo Vergano, Wing Lung Peng, Gustavo Maya, Li Yunlong, Tiffany Dahlen, Gustaaf Alfred Van Staveren

Area 223009.0 m2

Project Year 2017

Photographs Hufton+Crow

Category Commercial Architecture