釉面陶土陶瓷外墙

IF 0.5 0 ARCHITECTURE Technology Architecture and Design Pub Date : 2023-01-02 DOI:10.1080/24751448.2023.2176138
Frans van Vuure, Filippo Lodi, Roman Kristesiashvili, Nick Marks, Harlen Miller
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引用次数: 0

摘要

那是7号。受其固有的风化美学和反射特性的吸引,以及其压制和成型形式中发现的缺陷的诱惑,UNStudio开始将釉面陶土陶瓷纳入其立面设计项目中,例如2012年阿塞拜疆巴库白城总体规划开发的W21-22零售大楼(图1和2),以及2014年的wasl塔(图7)。这是一座300米(984.25英尺)的超高层建筑,位于迪拜市中心,毗邻哈利法塔。这篇文章交叉分析了这两种不同的建筑类型,并概述了UNStudio在设计过程中使用材料的策略方法。巴库作为风之城的地理特征成为将陶瓷融入W21-22零售大楼设计的驱动叙事元素,因为工作室想要创造一个被风和沙子雕刻和侵蚀的石头块的形态。建筑的实体体量看起来好像被塑造成一个棱镜和反射表面;城市的万花筒是通过陶瓷釉的纹理和光泽实现的,这让人联想到石油表面的珠光光泽。除了建筑的美学之外,这个三层独立的城市演员有四个面向公众的立面,成为我们在建筑上实施的第一个“双陶瓷双层皮肤”系统,它不仅可以保护基础幕墙玻璃免受极端的风磨损,还可以保护直接入射的热量。术语“双陶瓷双表皮”源于立面系统需要一个玻璃砖,既面向外部的城市街道,也面向内部的居住者,这样就不会产生背面或未经抛光的外观。这需要大约9,150个外部面砖和9,150个内部面砖。双陶瓷双表皮包层的设计要求将两个半壳瓦锁定在一个悬挂的斜桁钢基础结构上(图3),以增强内外表面的表面深度(Z-depth)。这种悬挂式双层皮肤系统需要600毫米的弗兰斯·范·Vuure UNStudio
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Glazed Terracotta-Based Ceramic Façades
TA D 7 : 1 Attracted by the inherent weathered aesthetic and reflective properties, and the allure of the imperfections found in its pressed and molded form, UNStudio began incorporating glazed terracotta-based ceramics into their façade designs on projects such as the W21–22 Retail Building (Figures 1 and 2) for the Baku White City Masterplan Development in Azerbaijan in 2012, and again in 2014 on the wasl Tower (Figure 7), a benchmark 300 m (984.25 ft.) super-high-rise located in the heart of Dubai’s downtown next to the Burj Khalifa. This article cross-analyzes these two contrasting building typologies and outlines strategic approaches UNStudio took using the material during the design process. Baku’s geographical identity as the City of Wind became the driving narrative element for incorporating ceramics into the W21–22 Retail Building design, as the studio wanted to create the morphology of a stone massing being carved and eroded by wind and sand over time. The solid volume of the building looks as though it were shaped into a prismatic and reflecting surface; an urban kaleidoscope is achieved through the texture and luster of the ceramic glazing, which is reminiscent of the pearlescent sheen found on the surface of oil. Beyond the building’s aesthetic, this three-story self-standing urban actor with four public-facing façades became our first ‘dual ceramic double-skin’ system implemented on a building that functionally shielded the base curtain wall glazing from not only extreme wind abrasion but direct incident heat. The term ‘dual ceramic double-skin’ resulted from the façade system needing a glazed tile facing both externally toward the city street and internally toward the occupants so as never to create a backside or unpolished appearance. This required approximately 9,150 external-facing tiles and 9,150 internalfacing tiles. The design of the dual ceramic double-skin cladding called for two half-shell tiles locking together onto a suspended diagrid steel substructure (Figure 3) to enhance the depth of the façade (Z-depth) on both the external and internal faces. This suspended double-skin system would require a 600 mm Frans van Vuure UNStudio
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来源期刊
Technology Architecture and Design
Technology Architecture and Design Arts and Humanities-Visual Arts and Performing Arts
CiteScore
1.30
自引率
0.00%
发文量
18
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