法國建築師 Dominique Perrault - Ewha Womans University 梨花女子大學

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法國建築師 Dominique Perrault - Ewha Womans University 梨花女子大學

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韓國首爾的新村區(Sinchon)可說是年輕人的天下,有梨花女子大學、延世大學、西江大學,弘益大學和等高等學府,其中梨花女子大學是韓國有名的女子大學,在此學府,法國建築師Dominique Perrault設計了一座相當有趣的建築物:「梨花女子大學(Ewha Womans University)校園中心(Ewha Womans University Campus Center)」,人們給了這座建築一個暱稱:「大峽谷」,因為基地位於山谷而且建築本身也像峽谷。

1886年由美國監理教傳教士夫人Mary Scranton女士設立的梨花女子大學是韓國第一所女子大學。1887年明成皇后[1851 ~ 1895]稱其為梨花學堂,因此有了梨花女子大學的名字。1910年梨花女大設立了4年制的課程,但1943年日本入侵佔領韓國,不僅更改了梨花女大的名字,還將學校的課程改為1年制。直到1945年10月韓國獨立,學校才重新使用梨花女大的名字,並擴建為擁有8個系的綜合大學。

梨花女子大學建築群體設計依山勢而建,呈現有秩序的空間序列非,不過最惹眼的還是進入校區大門後所見「校園中心」超長的入口空間,其實台階部分不高也不陡,只是俯瞰的視覺效果非常驚人。好玩的是,這個「大峽谷」其實一個覆土建築,谷兩側的玻璃幕牆後面隱藏的兩棟建築包含教室、圖書館、劇院、商店、健身、管理用房等功能,可容納兩萬兩千名學生。



>>相關資料

設計案名稱:Ewha Womans University 梨花女子大學校園中心
設計案位置:南韓首爾西大門區大峴洞 11-1 (11-1 Daehyungdong, Seodaemun-gu, Seoul 120-750, Korea)
業主:Ewha Womans University 梨花女子大學
建築師:Dominique Perrault 建築師事務所
完成:2008年
基地面積:19,000 平方米
總樓地板面積:70,000 平方米
景觀面積:31,000 平方米
業主:梨花女子大學
當地建築師:Baum Architects
造價:80 574 000 韓幣

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Ewha Womans University Campus Center
南韓梨花女子大學校園中心


Blurring the line between construction and topography, French architect Dominique Perrault’s campus center for Ewha Womans University in Seoul, South Korea’s trendy Sinchon district is seamlessly integrated into the sloping hillside it intersects. At the crux of the prestigious campus, this multitiered, multifunctional hive of activity anchors the site and creates a landscape of its own.

The unique site is particularly fitting for the school, which was founded by American Methodist missionary Mary F. Scranton in 1886 and named Ewha (pear blossom in Sino-Korean) by the emperor in 1887 for the abundance of delicate flora at its original location in the city’s central Chong-dong area. Beyond poetic metaphor, however, necessity was the mother of this striking structural invention.

Primarily, the existing gated campus of traditional Collegiate Gothic structures, designed in the 1930s by W.M. Vories, the eponymous, Japan-based architectural design firm of Kansas-born William Merrell Vories, was becoming increasingly inadequate. Ewha had risen in prominence and size to more than 20,000 students—reputedly the world’s largest private women’s university. Yet, while its international student body continued to grow, most domestic students were living at home, many with 2-hour commutes, and the campus lacked sufficient study space or places to gather for long days at school. For those who did remain on campus, weekends proved disconcertingly lonely and detached. Moreover, the addition of a notable building would communicate the university’s growing global connection.

Working with a task force, former university president Shin In-ryung established structural and logistical guidelines for the proposed facility. It would be embedded into the landscape, include bi-level parking and a commercial area on lower levels, and redefine access to the campus. It was also determined that the project would require a design by an established international architect. So in February 2004, invitations to compete for the project were sent to a select group of firms from which three finalists were chosen: Zaha Hadid, Foreign Office Architects (FOA), and Perrault.

Ultimately, the commission was awarded to Perrault for his scheme’s sensitivity to landscape. According to the architect, his brief was “to expand urban activities into the campus.” His solution was to rebuild the site’s original topography, a hill with a slope; introduce the new building into the “constructed” hillside; then cover the building with a park. The result is both heroic and naturalistic, depending on the viewer’s perspective.

Remarkably, little changed from Perrault’s original program. Crucial to his realization was the decision to bifurcate the concrete-framed structure, dividing it into seemingly cloned halves by an immense rift, or “valley”—a strong assertion of contemporary intervention into the landscape. Ramped from its intersection with the street, this passage, lined with granite pavers, descends into the sliced reconstructed hillside, allowing access to the buildings along its route. It then terminates at a grand stairway that not only climbs up into the campus at the opposite end but serves as an informal seating area or, as Perrault envisioned, an open-air amphitheater. Intended to be a link to the community and social space for students and visitors, this walkway maintains a controlled progression of height to width that points downward to the interior activities, and upward to the older buildings on the hills above.

Insulated glazed walls, supported by a polished, stainless-steel-clad aluminum framing system notable for its perpendicular vertical fins, provide light to the lowest interior levels and animate both indoor and oudoor spaces with human activity. Intermittent doorways, signified by bold graphic numerals, provide the simplest of alterations to the otherwise continuous curtain wall.

Surmounting the binary structure, a green roof partially conceals the large building footprints. At the outset, Perrault intended to plant trees in this overhead park, but the shallow depth of the soil would only permit grass and shrubs. Nonetheless, the constructed roofscape produces a natural effect with a stone path that meanders among plantings, artfully introduced mechanical elements (read chimneys), and stairs. It is difficult to understand if the park existed on the hillside, or if the hillside is entirely new. Indeed, the passageway can disappear from view, depending on where one stands on either side of the building, leaving only greenery merged with the campus landscape.

Perrault, a proponent of below-grade structures—with built projects like the French National Library in Paris and Velodrome and Olympic swimming pool in Berlin under his belt—feels there should be more research on the use of the earth, or landscape, as a viable building material like concrete or steel. “Usually nature is around the architecture,” he says, adding that he and fellow architects should be “thinking about another kind of relationship with nature and soil.”

Within this trompe l’oeil–like setting, one will find a battery of much-needed spaces—enough to constitute “a small city,” notes Yoonhie Lee, associate professor of the university’s department of architecture, and a member of the original competition committee instrumental in the center’s interior programming. No single programmatic element dominates, though the building tends to aggregate the noisier, more social activities on the lowest level, four levels beneath the roof. Like a commercial district, this level, B-4, contains a twinned-screen art cinema, coffee houses, a gymnasium, restaurant, theater, art exhibition space, commercial banks, and retail outlets.

The higher you ascend, the quieter it gets, because, explains Lee, while classes are held here, one of the center’s most important functions is to provide places for study. Formal, monitored librarylike spaces, with reserved carrels and desks, alternate with informal couches interspersed throughout, where students talk in small groups, review lessons, or simply socialize. A large, open staircase links upper and lower levels adjacent to the glazed curtain wall and seems to attract more student traffic on inclement days than the “valley” outside, which can seem daunting. While gravity-based drainage removes heavy monsoon rain, snowfall on the outer passage must be cleared by hand.

Of course, one benefit of building into a hillside is energy conservation. According to university sources, the thermal mass of the green roof and side walls sheltered by existing topography has resulted in a passive protection system that saves up to 25 percent of total energy costs as compared to conventional construction. Perrault also used a concrete core activation system, (aka in-floor HVAC made of piped heating and cooling under floor slabs) along with a “thermal labyrinth” system that optimizes air flow in the interstices between retaining walls and other structural elements to cool ambient air. And while the building’s interior could have been dark and dingy, Perrault and his collaborators inserted light wells down through to the lowest inhabited levels, a strategy augmented by the glazing.

In terms of budget, the simple system and material choices, such as exposed-concrete columns, helped to deliver the building on time and within the financial strictures of the university. Even fireproofing, often prohibitive in such large open spaces, doubled as decorative elements in the otherwise muted interiors.

Clearly, Ewha Womans University took a bold step specifying a scheme that goes not up, but down. No less dramatic or memorable than the towers dotting the Asian landscape, the campus center makes a strong statement of the institution’s commitment to the future, to its heritage, to its place in the environment, and to its students.
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