Traditional Culture Encyclopedia - Hotel franchise - Why is the black office building designed by Peter mcquarrie defined as a subordinate building of Aishen Plaza?

Why is the black office building designed by Peter mcquarrie defined as a subordinate building of Aishen Plaza?

Peter. Macquarie's black office building is defined as a subordinate building of Aishen Plaza.

In the other corner of Picasso Square, stood Peter? Macquarie designed the black office building. This building is defined as a subordinate building of Aeschenplatz, and its eight-story volume is just in harmony with the eight-story volume designed by Dina. Compared with Dina's urban design, Macquarie's volume layout is more architectural.

The architect took two ends of two streets with two eight-story volumes, and then integrated them into a city palace through the pedestal, plus a top floor with double height, forming a classic three-stage pattern in the vertical direction. As a result, the architect successfully achieved a win-win situation of urban form and architectural posture.

In the facade design, the black frame, triple angle and reflective glass are reminiscent of the curtain wall design of "Big Miss". However, if we carefully observe the vertical division of glass, we will find that architects pay more attention to the thickness and accessibility of materials. However, if you visit this office building on the spot, people will be shocked by its privacy: there are no colonnades and shops, only strange small entrances, strange dark halls and forever locked doors.

The building adjacent to Macquarie's black office building was transformed into a design hotel on 20 16. Its interior decoration color adopts Nordic style, and deeply draws lessons from Willenz's fabric design. In the bars and restaurants downstairs, concrete and metal technology have been fully exerted: a series of concrete ceilings, tables and bars have fully demonstrated the quality of the building; A series of metal sliding doors, inner windows and curtain walls explain the thickness and accuracy of the material. This project shows people the sensory enjoyment that "completion" can bring.

The recognition of this building is so high that you can guess that it is Botha's work without knowing it. It may be too early to evaluate an important building only 20 years after it was built, but at least so far, this building has been regarded as a scar in Basel. In terms of urban relations, the semi-circular building volume obviously completely opens a corner of Aeschenplatz and weakens its directional urban space.

As for the historical building next to it, the overwhelming volume makes the historical building look a bit outdated. In terms of architectural language, the excavation method of Lansler architecture (TI 17) is basically copied, and too few windows and holes make the facade closed like Hadrian's tomb. In terms of materials, black and white Tuscan has an unspeakable embarrassment in Basel.

The deeper question is how such a problematic building can land in Basel. The historical situation at that time was that the implementation of the plan was decided by the close personal relationship between UBS executives and Botha. In the process of examination and approval, the municipal department cannot refuse a technically reasonable building. Faced with the last insurance of public opinion, UBS threatened the intellectual elite who tried to initiate the motion by "quitting Basel". At this point, the building finally broke through all institutional barriers and landed in Basel.

Gao Jie residential building is a closed building in Block A of19th century. This plot has been eroded by railway construction for a century, as if it were on the edge of a cliff. On the street side of the building, the newly planned expressway and Qiaozha are integrated into the urban road network here. The architect covered the plot with a column net and cut off a corner to adapt to the road relationship. The tangent angle of the roll is pulled to the fourth floor and finally closed by the cantilever part of the fifth floor.

This exaggerated expression of "the relationship between city and infrastructure" is exactly the same as the treatment of SBB Railway Signal Tower (BS09). Dina even used brick wall veneer to strengthen this cutting relationship. The architect's volume handling fully embodies the characteristics of the plot. As a common unit of a city, the proportion and size of the windows of the building show the age of the building.

Here, the traditional 850 mm high windowsill continues, but in Dina's works in the 1990s, the ultra-low windowsill with a height of 500 mm gave birth to super-large windows and more open urban buildings. Before 1990s, the urban areas on both sides of Basel Railway Station were seriously separated, and there were a lot of railway land along the railway station.

However, due to the complexity of land ownership, neither side can implement comprehensive urban design. However, the architectural elites in Basel with academic knowledge helped the city to achieve the construction goal of "expanding the city and compressing the railway" bit by bit through conscious single building design.

As the last in Dina's series of works related to Basel infrastructure, the building is a masterpiece. As the first commercial and residential complex in the railway station, the strategy adopted in this building is instructive. The original brewery in the plot was demolished, and Dina restored the urban order of the plot. According to the orthogonal relationship of the main street on the north side, the plot was covered with quadrangle grid buildings.

In the south, the railway control line cut off all the buildings, leaving three semi-open courtyards. There are different height differences around the building, but the pedestal formed by the courtyard wall integrates all the complicated height differences. On the facade treatment, Dina continued the practice of "dry hanging decorative surface+concrete cornice", but here, life balcony added a new spatial level between buildings and courtyards, and worse railway space.

Brick walls allow buildings to have smaller scale details, while prefabrication shows industrialized production methods. Sunshades and fountains along the main street soften the relationship with the street, and the staggered brick wall facade along the railway line implements the handover relationship with the railway line in detail. In this work, people can see how Dina integrated her understanding of the city into the final details of the building, but it was from this period that Dina began to leave room for artists to intervene in her overly rational works.

The plot is located between the main building of the railway station and Dina UBS training center, opposite the market hall. The base was originally a railway warehouse, followed by a platform leading to the French station, hence the name Mr. Sastre, which means the gate of Alsace. In the first edition of 1990, on the one hand, the architect takes the "repeatability" of the railway as the design concept, on the other hand, through typological analysis of the surrounding buildings, the urban strategy of "inner courtyard building" is determined.

But unfortunately, the plan has not been implemented. In the second edition, the concepts of "railway order" and "inner courtyard" are continued. However, in terms of geometric layout, architects adopted more flexible forms, such as directly enclosing a series of small squares and shaping a series of sharp perspective. These are very specific architectural techniques, and the pursuit is likely to be the early intention of Miss, a pointed glass skyscraper. However, the ambiguity of "killing two birds with one stone" seen in Swiss architecture in the 1980s seems to have disappeared.

As for the facade of the building, the glass technology determined in the headquarters of Hervety Insurance Company in St Gallen (CH 12) was applied to the building, but the unit curtain wall was replaced by the double curtain wall. Since 2000, due to various reasons such as design fees and energy, the phenomenon of Herzog and De Mellon's patchwork technique has intensified in commercial and overseas projects.

The original railway station used tunnels to connect various platforms. Ruitie's new reconstruction goal is to connect the two sides of the city through a large footbridge and turn the original tunnel into a logistics war preparation channel. The architect's strategy is extremely simple, that is, to design a bridge-shaped building with enough shops to make it a continuation of urban streets like Ponte diRialto and Ponte Vecchio. The final result is effective in urban strategy, but its formalistic roof does not bring the corresponding urban experience.