© Ema Peter

(EMA Peter)

架构师提供的文本描述。地点和上下文。

Text description provided by the architects. Site and Context.

为该地点制定的设计战略建立在直接环境的重要自然属性的基础上，同时解决了公园内存在的一些重大问题和错失的机会。为解决这些问题，制定了以下设计举措：

The design strategies developed for the site build on the significant natural attributes of the immediate context while addressing several significant problems and missed opportunities that existed within the park. The following design initiatives were developed to address these issues:

 © Ema Peter

(EMA Peter)

恢复和加强车辆循环的清晰和直观的层次，从停车循环系统转向通过交通。这项策略不但可以纾缓交通挤塞和泊车问题，而且亦透过清楚了解行人周围的交通情况，为他们创造一个更安全的环境。

Reinstatement and reinforcement of a clear and intuitive hierarchy of vehicular circulation by redirecting through-traffic away from the parking circulation system. This strategy not only relieves congestion and parking problems but has also created a safer environment for pedestrians by establishing a clear understanding of the traffic movements around them.

通过在主要目的地和决策点之间提供更直接的视线，整个站点的直观方式已经得到了增强。

Intuitive way finding throughout the site has been enhanced by providing more direct sightlines between primary destinations and decision points.

 © Ema Peter

(EMA Peter)

通过建立新的和加强与周围网络的现有联系，如城市森林内的小径和第20大道的绿道，行人和自行车的流通得到了加强。

Pedestrian and bicycle circulation has been enhanced by creating new and reinforcing existing linkages with surrounding networks such as the trails within the urban forest and the greenway at 20th avenue.

由于更直观的方式发现和加强循环联系，以及通过使用额外的安全照明和建筑物本身更大的视觉监视，室外空间的安全得到了加强。不像现有的设施，新增加的促进视觉访问和所有权的边缘的城市森林和间隙之间的空间。

Security of the outdoor spaces has been enhanced as a result of the more intuitive way-finding and reinforced circulation linkages as well as through the use of additional security lighting and greater visual surveillance from the building itself. Unlike the existing facility, the new addition promotes visual access and a sense of ownership of the edges of the urban forest and the interstitial spaces between.

大厅附近新建了一个入口广场，作为大厅的自然延伸，举办了许多公共活动和庆祝活动。

A new entry plaza has been created adjacent to the lobby which acts as a natural extension to it and plays host to a number of public functions and celebrations.

景观观念

Landscape Concept

景观概念加强了扩大的设施向更大的社区和自然环境的方向。大楼附近的绿道、自行车和步行街、停车场和城市森林之间的连接已经得到加强。森林环境被保留下来，并被带回大楼的体育和艺术区。入口广场具有鲜明的特色，有艺术展示窗口。一个艺术广场已经创建，毗邻演播室空间，并接近城市森林。这一空间的设计是为了容纳一个临时的户外窑和其他户外艺术项目，也是一个卸料的入口。

The Landscape Concept strengthens the orientation of the expanded facility to the larger community and natural environment. Connections to the greenway, bike and pedestrian pathways, parking, and the Urban Forest have been reinforced in the vicinity of the building.   The forest environment has been retained and brought back around the sports and arts areas of the building.   The Entry Plaza takes on a distinctive character, with arts display windows. An arts plaza has been created adjacent to the studio spaces and in close proximity to the urban forest. This space has been designed to accommodate a temporary outdoor kiln and other outdoor arts projects, as well as being an access point for materials unloading.

 © Ema Peter

(EMA Peter)

空间关系与建筑组织

Spatial Relationships and Building Organization

设计小组对方案和功能限制进行了严格分析，并测试了14个以上不同概念选择的不同方法。这些方案试图对地形、方向、建筑原则和背景作出合乎逻辑的反应，同时有效地满足艺术和健身团体的方案要求。

The design team undertook a rigorous analysis of programmatic and functional constraints and tested different approaches with more than 14 different conceptual options. These options attempted to provide a logical response to topography, orientation, construction principals and context while effectively addressing the programmatic requirements of the Arts and Fitness groups.

 Floor Plan

最初的反应是，在现有设施以北的两层或三层上，尽可能均匀地组织东/西方向的项目单元。这里的策略是提供一个最大的前景，现有森林的北部，提供极好的意见，而不过量的太阳能热。这些早期的方案也试图优化切割和填充操作。

The initial response was to organize the program elements in an East/West direction as evenly as possible over either two or three floors to the north of the existing facility. The strategy here was to provide a maximum outlook to the existing forest to the north of the site providing excellent views without excessive solar heat gain. These early schemes also attempted in optimize cut and fill operations.

 © Ema Peter

(EMA Peter)

通过与用户群体的互动过程，可以清楚地看到，方案要求所有艺术活动都应在同一水平上，突出地从视觉艺术/多用途空间进入大厅，同时保持从陶艺工作室直接进入户外。

Through an interactive process with user groups it was clear that the programmatic requirements dictated that all Arts activities should be on the same level with prominent access to the lobby from the visual arts/ multipurpose space while maintaining direct access to the outdoors from the pottery studio.

 © Ema Peter

(EMA Peter)

为了创造一个成功和吸引人的设施，还很明显的是，充满活力和活力的活动，如卡迪奥和举重训练，需要从大厅以及从入口广场和停车场进入和出入的突出视觉通道。(这种从清晨到深夜的视觉监视是CPTED的一个关键原则，它被认为是设计的关键。)

In order to create a successful and inviting facility, it was also clear that the vibrant and energetic activities such as Cardio and weight training needed prominent visual access from the lobby as well as to and from the entry plaza and car parking areas. (this visual surveillance from the early morning to late at night is a key CPTED principal that was considered critical to the design)

首选的解决方案将大多数项目区域组织在一个级别上。健身工作室(不需要直接从大堂或停车场看到)位于较低层，可以看到城市森林。进入这一空间是通过一个充满灯光的双高度空间，以方便明确的视觉连接之间的停车场，通过大堂到城市森林以外。这个双高度空间也是缩进的，以容纳未来的楼梯，以提供一个更直接的连接之间的大厅和其他较低层次的空间，在现有的设施。

The preferred solution organizes the majority of the program areas on a single level at grade. The fitness studio (which does not require direct visual access from the lobby or parking areas was located on the lower level with an outlook to the urban forest. Access to this space is via a light filled double height space that facilitates a clear visual connection between the parking areas, through the lobby to the urban forest beyond. This double height space is also indented to accommodate a future stair to provide a more direct connection between the lobby and the other lower level spaces in the existing facility.

 © Ema Peter

(EMA Peter)

这项建议的方向最初被认为与所有逻辑被动的设计原则相矛盾，因为它将增加的内容定位于南北方向。仔细考虑和分析证明情况并非如此。与较早的2至3层方案相比，以单层建筑为主的建筑也要经济得多，而且证明流通效率要高得多。这使得预算能够更多地分配给其他被动能源最小化策略，如太阳能遮阳、绝缘等更深的悬垂。这一方向还创造了一座更加透明的建筑，从设施本身以及停车场和主要场地循环系统两方面促进了与森林的更强有力的视觉联系。这显然为预防犯罪和现场安全提供了更为有效的战略。

The orientation of this proposal was initially thought to contradict all logical passive design principals by orienting the addition in a North – South direction. Careful consideration and analysis proved this not to be the case. The largely single story building is also far more economical to construct than the earlier 2 or 3 storey schemes as well as proving to be far more efficient in circulation. This has allowed a greater allocation of the budget to other passive energy minimization strategies such as deeper overhangs for solar shading, insulation etc. This orientation also creates a far more transparent building which promotes a stronger visual connection with the forest from both within the facility itself and from the car parking areas and primary site circulation systems. This obviously provides a far more effective strategy for crime prevention and site safety.

 © Ema Peter

(EMA Peter)

建筑形式与特征

Architectural Form and Character

现有的设施有一个非常“繁忙”的建筑表现，有许多材料和不同的屋顶角度和聚集元素。而不是试图与这个表达竞争，新的添加是“安静”和简单的表现。它试图以一种类似的方式来尊重现有的建筑，这可能会给一个历史性的地标增添一个现代的东西。即是要与原来的表达方式有一个清晰而清晰的分别，以保持第一、第二等概念的清晰和清晰，而这种清晰的程度，是透过两幢建筑物之间提供“空间”，互相“呼吸”的双层玻璃空间所进一步体现出来的。它也为充满活力和刺激的编程提供了一个极好的机会。

The existing facility had a very “busy” architectural expression with many materials and different roof angles and massing elements. Rather than attempt to compete with this expression, the new addition is “quiet” and simple in its presentation. It attempts to pay respect to the existing building in a similar way one might add a modern addition to an historic landmark. That is, to draw a clear and distinct departure from the original expression so as maintain a clarity and legibility about what came first, second and so on.   This legibility is further articulated by the glazed double height volume which provides “space” between the two buildings allowing each other to “breath”. It also provides a fantastic opportunity for vibrant and stimulating programming.

 © Ema Peter

(EMA Peter)

材料托盘与扩建中使用的结构和建筑系统是不可分割的，同时保持上述新的和现有的对话。托盘是一个简单和限制使用建筑混凝土，木材，金属和玻璃。这些材料的使用已得到认真考虑，以确保持续的维护和耐久性问题得到解决。这些材料还尽可能从当地来源取用，并采用环境上可持续的生产工艺。

The material pallet is integral with the structural and construction systems employed in the expansion while maintaining a dialogue between the new and the existing as mentioned above. The pallet is a simple and restrained use of architectural concrete, wood, metal and glass. The use of these materials has been carefully considered to ensure ongoing maintenance and durability issues are addressed. The materials were also drawn from local sources where possible and employ environmentally sustainable production processes.

该项目的公共艺术战略包括将一件名为“青蛙”的重要作品迁往新的大厅，为这位非常有影响力的第一民族艺术家提供了更大的知名度。入口广场还主办了一个大型的三维公共艺术作品，名为“丝带”，由露丝比尔和夏洛特沃尔。这是一个“…”。物理运动和创造性努力的隐喻-…“并加强该设施内的艺术和健身项目与整个社区之间的社会和文化关系。艺术家们与设计团队广泛合作，确保作品为广场的活力和功能做出了贡献，并能以各种方式被世世代代欣赏。

The public Art Strategy for the project involved the relocation of a significant Susan Point artwork titled “Frogs” to the new lobby providing significantly greater prominence for the very influential First Nations artist. The entry plaza also plays host to a large three dimensional public art piece titled “Ribbon” by Ruth Beer and Charlotte Wall. The piece is a “…. Metaphor for physical movement and creative endeavors….” and reinforces the social and cultural relationship between the arts and fitness programs in this facility and the community as a whole. The artists worked extensively with the design team to ensure the piece contributed to the vitality and functionality of the plaza and could be enjoyed by all generations in a variety of ways.

Architects Taylor Kurtz Architecture+Design

Location 14601 20 Avenue, Surrey, BC V4A 8P7, Canada

Category Gymnasium

Area 2124.0 sqm

Project Year 2014

Photographs Ema Peter

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