© Jonathan Andrew

乔纳森·安德鲁

架构师提供的文本描述。金光透过树叶的树冠，在埃因霍温新飞利浦照明总部的中庭创造了一个独特的聚集空间。

Text description provided by the architects. Golden light shines through a canopy of leaves to create a unique gathering space in the atrium of the new Philips Lighting headquarters in Eindhoven.

参数化设计的“树”中的智能灯会产生不同的场景，促进员工和游客的交流、交流和福祉。

Intelligent lights in the parametric designed ‘tree’ generate different scenarios, boosting communication, interchange and wellbeing for staff and visitors.

 © Jonathan Andrew

乔纳森·安德鲁

LAVA与INBO和JHK合作，为新总部设计了20世纪中叶建筑的改造方案。其目标是设计公共和工作场所，以创新的、以人为中心的照明技术公司飞利浦(Philips)的价值观为基础。

LAVA, with partners INBO and JHK, designed the adaptation of the mid 20th century building for the new headquarters. The aim was to design public and work spaces that embrace the innovative, people-centric values of lighting technology company Philips.

熔岩导演亚历山大·里克(Alexander Rieck)说：“中庭原本是20世纪50年代建筑的中央庭院，设计成一个欢迎、寻找路、品牌和员工互动的场所，因此必须在空间上保持强大。”

“The atrium, originally the central courtyard of the 1950s building, was designed as a place of welcome, way finding, branding and staff interaction, and therefore had to be strong spatially,” said LAVA director Alexander Rieck.

 © Jonathan Andrew

乔纳森·安德鲁

中庭还聚集了展览、会议室、咖啡吧、公共讲座和员工会议等核心活动，也是新飞利浦照明应用中心的入口处。

The atrium also brings people together by congregating core activities such as exhibitions, meeting rooms, coffee bar, public talks and staff meetings, and is also the entrance to the new Philips Lighting Application Centre.

在中央中庭，工作人员和游客受到熔岩巨大的、参数化设计的“树”的欢迎，树由1500片叶子组成，悬挂在天花板上的金字塔板上。这个概念是透过树木过滤光线。

Staff and visitors are greeted in the central atrium by LAVA’s huge parametrically designed interactive light ‘tree’ comprised of 1500 ‘leaves’, hanging pyramidal panels suspended from the ceiling. The concept is of light filtering through trees.

整个中庭天花板，雕塑展示了光的行为，包括自然的和人为的：反射，扩散和发射。

Covering the whole atrium ceiling the sculpture demonstrates the behaviour of light, both natural and artificial: reflection, diffusion and emission.

 © Jonathan Andrew

乔纳森·安德鲁

“光显然是主要的驱动因素，但熔岩的设计不仅仅是展示技术解决方案-它探索了对光的本质的更深层次的理解。只有当光线反射在某物上时，人类的眼睛才能看到光，因此雕塑给光以形状和可见度，“里克补充说。

“Light was obviously the main driver but LAVA’s design goes beyond just showcasing technical solutions – it explores a deeper understanding of the nature of light. Light is only visible to the human eye when it reflects on something, so the sculpture gives shape and visibility to light,” added Rieck.

光用于信息、可视化、情感和使能-我们的工具创造了大量的空间。Rieck先生解释说：“太阳给了我们时间的感觉。在办公室工作意味着人们错过了白天细微的光线变化。因此，熔岩用低水平人工智能对面板进行编程，以有机和非重复的方式创建整个历年的日常照明场景。场景响应不同的季节、时间和中庭空间的建筑布局，并被用于激活或放松用户一整天。“

“Light is used for information, visualization, emotion and enabling - our tool to create a volume of space.” Mr Rieck explained: “The sun gives our sense of time. Working in an office means people miss the subtle light changes during the day. So LAVA programmed the panels using low-level artificial intelligence to create daily light scenarios in an organic and non-repetitive way for the whole calendar year. Scenarios respond to different seasons, times of the day and the architectural layout of the atrium space and are used to activate or relax the users throughout the day.” 

 © Jonathan Andrew

乔纳森·安德鲁

“这有点像一个生态系统，例如，在早上，光的影响会变成金色，这是一种能量的增强。”每个面板背面的反光表面会产生一个光线和阴影。它还过滤和反射来自中庭侧窗和天窗的自然光。

“It’s a bit like an ecosystem, with light effects turning golden, for example, as an energy boost in the morning.” A reflective surface on the back of each panel creates a play of light and shadow. It also filters and reflects natural light from the atrium side windows and skylights.

 © Jonathan Andrew

乔纳森·安德鲁

五百个面板使用自发光飞利浦EcophonSoundlight-一个完整的产品，包括舒适的LED照明和吸声在一个综合的光和声学天花板系统。“我们从夫琅和费研究所(Fraunhofer Institute)的研究中了解到，产生不同的照明效果是一种成本效益高的方法，可以为工人的生活带来多样性和生产力，他们很快就会对周围的环境视而不见，不管他们有

Five hundred panels use self-emitting Philips Ecophon Soundlight - an integral product that consists of comfortable LED lighting with sound absorption in an integrated light and acoustic ceiling system. “We know from Fraunhofer Institute research that generating different lighting effects is a cost effective way to bring variety and productivity to the lives of workers who quickly become oblivious to their surroundings, no matter how attractive.”

 © Jonathan Andrew

乔纳森·安德鲁

他补充说：“这个标志性的设计不仅给游客提供了令人惊叹的体验，也让他们从入口过渡到办公室和拉丁美洲和加勒比地区，同时也反映了这家创新和前瞻性的公司。”这些办公室的设计目的是通过更灵活和更有效地利用空间来培养创造力。空间的设计是为了鼓励非正式的“偶然”的互动，众所周知这是R中成功的关键促进因素。

“The iconic design not only gives visitors an amazing experience and a transition from the entrance to offices and the LAC, but also reflects this innovative and forward-thinking company,” he added. The offices were designed to foster creativity with a more flexible and efficient use of space. Spaces were designed to encourage informal ‘accidental’ interactions, known to be a key enhancer of success in R&D businesses.

 © Jonathan Andrew

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为不同的工作环境创造了特殊的环境-从专注到交流，从激活到放松。其他因素，如可变视野、感知安全、声学、嗅觉、照明、材料和纹理等，有助于创造有效和谐的工作环境，符合创新工作空间布局的最高标准WPI(工作场所创新)。

Special environments were created for different work situations – from concentration to communication, activation to relaxation. Other factors such as variable visual fields, perceived security, acoustics, smell, lighting, materials and textures contribute to an effective and harmonious work environment, which meets the highest standards of the innovative workspace layout WPI (work place innovation).

该设计是利用最新的工作空间研究和菲利普最近的健身实验的经验，再加上与最终用户和大厦管理人员进行的密集的访谈和设计会议来开发的。

The design was developed using the latest workspace research and Philip’s experience with recent fit-out experiments plus an intensive cycle of interviews and design meetings involving the end users and building management.

 © Jonathan Andrew

乔纳森·安德鲁

Architects LAVA

Location Eindhoven, The Netherlands

Category Offices

LAVA team Alexander Rieck, Tobias Wallisser, Chris Bosse

Project Architects Nuno Galvao, Matthijs la Roi, Stephan Markus Albrecht, Sebastian Schott, Mariusz Polski

Design Team Marvin Bratke, Mircea Mogan, Barbora Srpkova, Miroslav Strigac, Diana Schlebe, Rashmi Katkar, Roxelane Güllmeister, Paolo Alborghetti, Ruis Dervishi, Aida Ramirez, Julian Wengzinek, Benjamin Hitscherich, Simone Tchonova, Erik Didar, Jeroen van Lith, David Stieler

Project Year 2016

Photographs Jonathan Andrew

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