03文献翻译

外 文 翻 译

外文题目：NK‟MIP Desert Cultural Centre, Osoyoos, Cana, 2006 学生姓名： 李燕

学 号： 6001106062

专业班级： 建筑学062班

2010年 3月 22日

NK’MIP Desert Cultural Centre, Osoyoos, Cana, 2006 Architects: HBBH Architects + Urbanistes

The Nk‟Mip Desert Cultural Centre is designed to be a specific and sustainable response to the building‟s unique context – the unusual Canadian desert found in the South Okanagan Valley in Osoyoos, British Columbia. Sited adjacent to a remnant of the Great Basin Desert, this interpretative centre is part of a larger 80 hectare master plan. Nk‟Mip is part of a growing Canadian trend to explore the expressive potential of architecture to convey the rich past and the transforming future of aboriginal culture.

The building features indoor and outdoor exhibits that celebrate the culture and the history of the aboriginal group and reflects the band‟s role as stewards of the land. The desert landscape flows over the buildings green roof, held back by a rammed earth wall. The partially submerged building is sited to focus the visitor‟s eye away from the encroaching development of Osoyoos to the west, with the height of the wall set to create a layered view of the desert rising up in the middle ground, receding to the riparian landscape adjacent, and the mountains in the distance.

The entry sequence from the parking area moves visitors through a series of nested concrete walls up to an entry plaza at the end of the rammed earth wall. The plaza leads along a low concrete wall that separates the original desert landscape and the building. This route is further defined by channel of water that draws people towards the entry, past the cot-ten steel gate of the service court and administration access. Entry into the interpretive centre occurs at the midpoint of the gently arcing wall. Inside, a theatre and “black box” exhibition space present information about the band and its historical relationship with the land. The round volume of the “pit house” (a local historic aboriginal housing type) at the centre of the exhibition space invokes the experience of conversation around a fire. From here, visitors move through a glazed wall into exterior exhibit space. This area also serves as a trailhead for walks along 50 kilometers of paths through the desert.

The extreme climate made sustainable design a very particular challenge. Hot，dry summer and cool, dry winters see average temperatures ranging from -18 degrees to +33 degrees and often reaching +40 on summer days. The building‟s sting and orientation are the first strategic moves toward sustainability：the partially buried structure mitigates the extremes in

temperature，and its orientation optimizes passive solar performance, with glazing minimized on the south and west sides.

The most dramatically visible aspect of sustainable design is the largest rammed earth wall in North America. At 80m long, 5.5m high, and 600mm thick,

this insulated wall stabilizes temperature variations. Constructed from local soils mixed with concrete and color additives, it retains warmth in the winter, its substantial thermal mass cooling the building in the summer.

The rammed earth wall gives the building exterior a unique material and poetic sensibility, its graduated layers of earth shades evoking geological sedimentation within a distinctly contemporary architectural language. The wall has the appearance of being at once handmade and precise – its layers irregular, and its overall form sharp and geometrical..

Rammed earth construction is a traditional building technique found most often in dry regions where wood is scarce. The modern version of this earth-based wall system combines two – 250mm wythes of compacted sand and cement with 100mm of insulation sandwiched between. Successive layers of differently colored local soils were placed into the 600mm wide formwork and a pneumatically powered tamper was used to compress each layer to about 50 percent of its untamped height. Sedimentary-like in appearance, the exposed surface acts as the finished wall, is extremely stable and doesn‟t off-grass toxic or greenhouse gas emissions. The technique results in a durable wall with excellent thermal qualities-heating up slowly during the day in the hot Okanagan sun, and releasing its heat in the evening.

Another example of regional sustainability is the use of “bluestain” pine wood.

A recent infestation of pine beetles in British Columbia has led to an excess of “bluestain” pine (killed by the beetle), which here is used in interior and exterior applications. Although bluestain pine is a local material not normally specified for finished building use, Nk‟Mip is something of a demonstration project, showing how it can be used both inside and outdoors to celebrate its unique visual qualities. As its name suggests, the wood has a blue-tined cast as though a blue wash has been applied, rather than the typical yellow color more typical of pine.

A habitable green roof reduces the building‟s visual imprint on the landscape, and allows a greater percentage of the desert landscape habitat to be reestablished on the site (replanting uses indigenous species). The roof also provides further temperature stabilization and insulation.

In-slab radiant cooling and heating in both ceiling and floor slabs create and even, comfortable environment that avoids blasts of air, noise and dust. Coupled with 100% outdoor air displacement ventilation, the system will result in energy savings of 30 to 50% over a forced air system.

The building program also includes facilities for the band‟s award-winning rattlesnake research projects, as well as public viewing areas where visitors

can see endangered rattlesnakes captured, tagged and micro-chipped for further study and protection.

The aspect of sustainable design is responsible water management. Water is precious in the desert, and a spare channel of water at the entrance along the rammed earth wall introduces this theme. Less visibly, demand on the site fed well is reduced by 40%by incorporating low-flow faucets, waterless urinals, and dual flush toilets.

尼科米普沙漠文化中心，奥索尤斯，加拿大

建筑设计：HBBH 建筑与规划事务所

尼科米普沙漠文化中心的设计是对其特殊环境采取的独特而可持续回应——雨中普通的加拿大式沙漠位于不列颠哥伦比亚奥索尤斯的南奥卡诺根山谷。基地比邻大盆地沙漠的一处遗址，这座展示中心是面积超过80h㎡的总体规划当中的一部分。尼科米普是加拿大逐步兴起的地区，通过探索建筑方面丰富的潜力，土著文化希望传递身后的历史积淀，改变其文化的未来。

建筑设置了室内与室外部分的展览，以彰显其原住民的文化与历史，反应了该部落作为土地管理者的角色。沙漠特有的景观漫过建筑的种植屋面，后面有夯土墙支撑。建筑局部植入地下，是参观者的视线远离奥索尤斯不断向西寝室的景象。借助墙的高度形成不同层次的景观，沙漠景观于中间地带得到提升，渐渐消隐于邻近的滨水景观和远处的群山之中。

进入建筑的序列始于停车区，参观者经过一系列重叠的混凝土墙，到达位于夯土墙末端的入口广场。从广场沿着一道低矮的混凝土墙进入建筑。墙面 将原有的沙漠景观与建筑分离开来。这条路径更是利用水渠加以定义，将人群引导至入口，途经耐候钢支撑的服务区大门和管理区的入口。进入展示中心的入口设置在微呈户型的墙面的中心。在内部，一座剧场和“黑盒子”展览空间展现了关于这个部落及其与这片土地的历史关系。圆形体量的“窖屋”（当地传统原住民房屋类型）位于展览空间的中心，是人联想到围火交谈的体验。从这里，参观者通过一面玻璃墙，到达室外展览空间，这一区域也是一条长50km的横穿沙漠的小路的起点。

极端的气候条件是可持续设计面临巨大的挑战。夏季炎热而干旱，冬季寒冷而干燥，平均温度从-18℃—33℃，夏季甚至大道40℃。建筑选址和朝向的首要依据就是建筑的可持续性：将部分建筑植入地下，缓解了极端温度对建筑的影响，其建筑朝向最大限度地利用了被动式太阳能的性能，在南面和西面则尽量减少使用玻璃面。

可持续设计中最引人注目的部分就是这篇北美最大的夯土墙，长80m，高5.5m,厚600mm.改保温隔热墙体起到调节温度变化作用。前提是由当地的泥土加入混凝土和彩色添加剂混合而成。在冬季，他可以保持室内的温度。夏季，其热惰性可以让室内保持凉爽。

夯土墙为建筑的室外赋予了独特而充满诗意的材料质感。其逐层累加而成的土层以一种清晰的当代建筑语言使人联想到地质沉积。墙面既赋有手工质感，又显得十分精致——其层次是不规则的，而整体的形式则为鲜明的几何形状。

夯土建筑结构是一种传统的建筑技术，多采用于干旱切木材缺乏的地区。这种现代的土质墙体系统包括2道250mm厚的密实沙子和水泥，之间夹层为100mm厚的隔热材料。颜色不同的当地泥土被逐层放置于600mm厚的模块中用力压缩夯实，形成连续的层面，厚度为夯实之前的50%。暴露在外的表面具有如同沉积岩一般的质感，起到了饰面的作用。改饰面稳定且不会散发有毒气体或者温室气体。该技术生成了一种具有优秀热性能的可持续墙面——白天再炎热的奥卡诺根地区日照下缓慢升温，在夜晚则释放热量。

另一个具有低于可持续性的例子是采用了“蓝变”松木。近期，不列颠哥伦比亚地区收到了病虫害的侵袭，导致“蓝边”松木（被宠害致死）过剩。改项目则是在室内和室外都是用了蓝边松木。尽管蓝边松木是一种当地的材料，并不常用语建筑。尼科米普沙漠文化中心可以说是一个示范性项目，展示了如何将这种材料应用于室内和室外，并彰显其独特的视觉效果，正如它的名字所暗示的那样，这种木材由于经过蓝色洗液的清洗，具有蓝色的印记，而并不是通常松木所呈现的黄色。

种植屋面减少了建筑在视觉上对于景观的影响，是其具有更高比例的沙漠景观环境，是基地的环境得到回复（重新种植本地的物种）。屋面也可以提供更好的温度稳定性和保温隔热性能。

天花板与楼板的混凝土板内嵌制冷和加热系统，创造出舒缓而稳定的环境，避免产生气流，噪声和灰尘。再加上100%的室外新风循环，改体系将比强迫通风系统节约30%-50%的能量。

建筑的功能还包括该部落出色的响尾蛇研究项目以及公共的观察区域，在这里，参观者可以看到濒临灭绝的响尾蛇被捕获并加以标签和微型芯片，用于更进一步的研究与保护。

可持续设计的最后一个方面是关于水的处理，水灾沙漠中尤为珍贵。入口处沿夯土墙设置的是谁的备用河道，也引出了这一主题。其次，通过采用节水龙头，无水小便池和复式节水马桶，基地内的用水需求量减少了40%。

Urban Renewal and Cultural Centre, Library, Riverside Park, Bus Station, Plaza, Quarrata, Italy, 2004

Quarrata is a unique experience both in absolute and relative terms. Absolute te4rms because it‟s the only Italian case of such complexity that, from the original European 3 project, has come to construction.

The theme of the competition was the construction of a new urban centrality; Quarrata is a twon of recent construction, born around a furniture factoray that was its very physical centre. The project couldn‟t be limited to the sole architectural form but it suggested reading the surrounding territory to point out actual energies, inclinations, ambitions, and potentialities. The overall outline plan was a result of a design seminar by the winning groups of two

Finnish, one Italian and one English.

Under Clinostat‟s (co-ordination a master plan was produced by the tour groups together, along a central public footpath different buildings found a place, the Polo Tecnologico. Council Offices, new private dwellings and an old disused cinema that had to be transformed. And also public spaces and routes along the river Fermula; the building that housed the public laundry was demolished for the construction of a new youth centre, now called Casa delle culture. The fact that Quarrat is not the typical Tuscan town, which all mode in clay and stone, gave us much broader design limits. The whole project was structured by the open spaces around the buildings and along the river Fermulla, which give accessibility to ante-abandoned plots in a new series of visual and physical events.

And from the master plan to the detailed designs, the Finnish co-winner moved to Lucca, another city nearby, for a short period and designed, in collaboration with Cliostraat. Three of us in charge of the project for Cliostraat moved to Quarrata, temporality shifting our won office and lives. Moving there was important because being on the site allows a continuous exchange with the Administration regarding design issues and the definitioion of an overall requalification process.

The library has part of the space at double height, a long curved ceiling with slits of afternoon light. The main façade a fully glaced surface, shielded by wooden movable blinds: luminous screen at night, never identical, continuous theatre of shapes. The Casa delle Culture shaped as an owl is a new centre that hosts cultural events and project. If the new building is meant for youth, and young people love the night, the building will have the shape of a night creature, an Owl. The building has waqlls that look like feathers, canoples to form the tail and a pair of bright yellow eyes that light up in the night. The relation with the nearby building becomes an evident contrast, even more after we designed the Cat that lies behind the Owl, ready to catch it.

During the past winter a group of citizens signed a petition against the bad architectural taste of the Owl, pointing it out as an „animal with an unsetting presence‟. At this point we had the proof that our being architects was not overlooked, and the spirit of the building was fully understood. Moreover, with the official opening of the buildings to the public, on November 11th, 2001, the people of Quarrata seem to have lost their distrust. They have become aware of the passion and enthusiasm, which we had in designing and thinking these spaces.

城市改造及文化中心，图书馆，河畔公园，车站，广场，夸拉塔，意大利

不管从绝对意义还是相对意义上来说，夸拉塔都是一个独特的体验。层绝对意义上说，这是因为他是唯一的如此复杂的意大利项目，是从原来的“欧洲3”

规划中发展而来的，并且得以实施。

竞赛的主题是建设一个新城市中心，夸拉塔式一个新近围绕着一家位于其正中心的家具厂建设起来的城市，项目要求不能局限于单一的建筑形式。而需要了解周围的地域，从而知名现实资源，发展方向，目标与潜在的可能性等等。总体规划是在竞赛中生出的团队(两个来自芬兰，一个来自意大利，一个来自英格兰)通过研讨会的方式讨论得来的。

在Cliostraat 事务所的协助下，4个团队一起完成了总体规划：沿着中央公用小径，不同的建筑各自占据着一个位置，其中包括科技馆，会堂，新的私人住宅和一个需要改建。现已不再使用的老电影院。同时燕佛莫拉河还留有公共空间和通道：原来的公共洗衣店被拆除，用来建造一个新的青年中心，现在叫文化中心。夸拉塔并不是典型的托斯卡纳式城市（完全用粘土和石头建造），这一事实给设计带来更大的空间。整个项目由建筑物周围以及沿佛莫拉河的开敞空间构成，它们将一系列视觉及实体活动联系了起来。

从总体规划到详细设计时，一同剩出的芬兰人搬到夸拉塔附近的另一个城市卢卡住了一段时间，与Cliostraat事务所合作设计。我们中3个负责这个项目的同事也来到了夸拉塔，临时性地改变了我们的办公地点和生活。这次搬家非常重要，因为在这里。我们可以不断地与行政部门就设计有关的问题和总体认证过程的确定交换意见。

图书馆有部分空间是两层高的，上面是一个能透进午后阳光的长拱形吊顶。主立面的标称是玻璃，被一些可移动的模板遮蔽着，在夜晚，它就像是可以发光的屏风，永远在变化着，总是呈现出不同形状。猫头鹰状的文化中心是一个举办文化活动的地方。如果说它是面对青少年的，而年轻人喜欢在晚上活动，这个建筑本身正具有一个夜之生灵的外形——一只猫头鹰。建筑的墙看起来就像是羽毛，顶棚像个尾巴，还有一对黄色的亮眼睛在夜晚是供照明之用。它与周围的建筑物形成一个鲜明的对比，我们在猫头鹰的后面设计了一只猫之后，这种对比就更为强烈——猫正准备着扑向猫头鹰。

去年冬天，一些市民表示了对这个“猫头鹰”建筑的不满，并正式在请愿书上签名，他们说猫头鹰是一种“给人带来不安的动物”。在这里，我们要说明建筑师们并非没有注意到这点，而他们正是在完全领会了这个建筑物的精神之后才做出了这样的方案，2001年11月11日，这些建筑正式向公众开放，夸拉塔人似乎已不再表示怀疑，他们已经开始意识到我们在设计和构思空间时所投入的激情与热情。