天台伞
美国加利福尼亚州卡尔弗市
Umbrella Culver City, California, USA Architect: Eric Owen Moss Architects Key Consultants: Englekirk and Sabol (Structural), Silver, Roth and Associates (Electrical), Fruchtman and Associates (MEP), Advanced Struc- tures Incorporated (Glass Structural)Program : Office Building Area (Square Feet): 17 000sf Year: 1999Awards: Los Angeles Urban Beautification Award, 2000; Saflex Glass Design Award, 2000; DuPont Benedictus Award for Innovation in the Architectural U of Laminated Glass, 2000; AIA/LA Honor Award for Design, 1999Photography: Tom Bonner 设计单位：埃里克·欧文·莫斯建筑师事务所
高跟鞋图片
主要顾问：Englekirk and Sabol (结构)，Silver, Roth and Associates (电气)，Fruchtman and Associates (EMP)，Advanced Structures Incorporated (玻璃结构)
项目类型：办公楼
建筑面积：17 000平方呎
时间: 1999年
获奖：2000年洛杉矶城市美化奖；2000年Saflex玻璃设计奖；2000年 杜邦本尼迪克图斯夹层玻璃建筑应用创新奖；1999年美国建筑 师协会/洛杉矶设计荣誉奖
摄影：汤姆·邦纳卡尔弗市的两个毗邻的仓库建于20世纪40年代，被重新设计为“绿伞”的实验性演出系列的演出和录音场所，洛杉矶爱乐乐团在此制作音乐十多年。爱乐乐团最终决定留在洛杉矶市中心，乐团的项目也进行了调整，为一家图形和在线媒体设计公司提供办公、制作和后期制作设施。第二项规划保留了可容纳三十位演奏家的露天表演场地——天台伞。按照规划，在露天表演中偶尔会使用到“天台伞”。
场地上现有块状建筑，一幢屋顶带有锯齿形的天窗，另一幢屋顶是由弓弦支撑，基本上保持原样。增加了入口坡道和步行道、出口楼梯。内部有一间大堂、四个宽敞的开间、两个会议中心、多个大型开熬肉
放式工作空间和20个私人办公室，其中大部分位于新建的二楼。
这两幢建筑室内用途不一样，外部装饰也不尽相同。带弓弦形梁屋顶的棚屋将用于制作间，外部装有光滑搭接的水泥面板。锯齿棚将用于后期制作中心，装饰有波纹水泥板。由于内部的运作，除了沿入口坡道的玻璃、行政办公室外，大楼内几乎没有窗户。
最典型的概念对象是室外圆形剧场，开始的设想是将爱乐乐团的场地插入到带弓弦形梁屋顶建筑的西北角，悬挑在通往大厅和入口坡道的过道上。天台伞是一个表演场地，其坡度由两个原桁架的弯曲顶弦决定，这两个桁架以前支撑着弓弦屋顶，现在从那里拆了出来，上下颠倒后重新用于支撑天台伞的碗型阀座结构。通过修改其结构，这些桁架延伸到了过道处，以支撑悬臂式结构。弓形屋顶的边缘是一根直径14英寸的弯曲钢管，该钢管也用作新“天台伞”的周界切割。管子的自由端——一个从北面伸出，一个从西面伸出，由新的钢桁架支撑，钢桁架的底部呈弧形，配有倒置的重新使用的木制弓弦，这种性状以往并未使用过。阶梯状座位从楼顶边缘向下排布到悬臂边缘，悬臂上有一个小的指挥台。与演奏家就座区相邻的是一个不规则形状的吹制灰泥屋顶，既包围
Two adjoining warehous in Culver City, constructed in the 1940’s, were re-designed as a performance and recording venue for an experimental performance ries called the Green Umbrella, which has been produced for more than ten years by the Los Angeles Philharmonic Orche
stra. The Philharmonic ultimately decided to remain in downtown Los Angeles, and the orchestra program was changed to accommodate office, production, and post production facilities for a graphics and on-line media design firm. The outdoor performance venue, the roof-top “umbrella”, originally designed for to accommodate thirty performing musicians, was retained in the cond scheme. The plan is to u the umbrella sporadically for outdoor, performance related events.The block-like volumes of the existing buildings on the site, one with a saw-tooth sky lit roof, the other with a bow-string supported roof, remain esntially as they were. An entry ramp and walk, and exit stairs are added. The interiors include a lobby, four avid bays, two conference centers, large open work spaces, and twenty private offices, most of which are located on a newly constructed cond floor.The two building exteriors are differentiated both by interior u, and by exterior finishes. The shed with the bowstring roof, to be ud for production space, is finished on the outside with smooth, lapped, cement board panels. The saw tooth shed, to be ud for post-production facilities, is finished with corrugated cement board panels. As a conquence of the operational purpos inside, there are few windows in the building, with the exception of the glazed, executive office spaces along the entry ramp.The defining conceptual object is an outdoor amphitheatre – the originally intended Philharmonic Orchestra venue – inrted into the north-west corner of the existing bow string building, and cantilevering over the entry ramp and walkway to the lobby. The “umbrella” is a p
erformance arena, the slope of which is determined by the curving top 10 WORLD ARCHITECTURE REVIEW 本期人物
PERSONAGE OF THE EDITION 构思草图 Sketch 平面图 Plan
1 Lobby
2 Open Work Space
3 Private Office
4 Conference
中观村
5 Avid Bay松子的功效与作用
6 Kitchen
7 Green Plaza
清宿便最有效的方法
NO.197 世界建筑导报11
老舍的作品
12WORLD ARCHITECTURE REVIEW本期人物 PERSONAGE OF THE EDITION
了碗状结构下面的新的会议，又为音乐表演提供了必要的起伏表面。
十七个倾斜的叠层玻璃板支撑在钢管框架上，在音乐家的座位上提供了一个双弯曲的透明顶篷。十七块面板都是独一无二的，相邻边缘的匹配有助于面板的重叠，并由两个不锈钢z 形夹支撑，连接到每
个重叠面板边缘的管道上。弯曲玻璃伞面的施工是第一次弯曲的夹层玻璃制造和安装成功的工程。可以从二楼的台面或从下面一楼的楼梯进入天台伞。伞的正下方是一个25英尺高的多媒体会议玻璃房。
chords of two original truss, once supporting the bow-string roof, now salvaged from the corner demolition, and re-ud up-side-down to define the bowl ating profile. With steel amendments, the truss extend over the entry walk to support the cantilevered ating. A fourteen inch diameter curving steel pipe marks the existing roof edge of the bow-string structure, and the perimeter cut for the new “umbrella”. The free ends of that pipe projecting, one from the north elevation, one from the west, are, supported by a new steel truss with a curved bottom, configured with the inverted, re-ud wood bow-strings as precedents for the shape. The terraced ating steps down the bowl from the edge at the building roof-top to the edge of the cantilever, where a small conductor’s podium is situated. Adjacent to the performers’ ating area, within the ring, is an irregularly shaped, blown plaster roof that both enclos a new conference space below the bowl, and provides the requisite undulating acoustic surface for music performance on the roof-top theatre.
Seventeen slumped, laminated, over-lapping glass panels, supported on a frame of steel pipes, provide a double curving, transparent canopy over the musicians’ ating. Each of the venteen panels is unique, with matching adjacent edges facilitating the panel overlap, and supported by two s
tainless steel z-clips attached to the pipes at each overlapping panel edge. The construction of the bent glass umbrella roof is the first time curving, laminated glass has been successfully engineered, fabricated, and installed.
Access to the “umbrella” is from a cond floor deck, or a stair from the first floor below. Directly under the umbrella is a twenty-five foot high, glass enclod, multi-media equipped conference space.NO.197 世界建筑导报
妈妈的由来
归纳演绎13
