Rem Koolhaas + OMA 之 Dutch Embassy 荷蘭大使館(德國柏林)
設計案名稱：Netherlands Embassy 荷蘭大使館(德國柏林)
設計案位置：德國柏林 Berlin, Germany
建築師：OMA + Rem Koolhaas
總樓地板面積：8,500 平方米
完成：2003年
業主：荷蘭外交部 Netherlands Ministry of Foreign Affairs - Dienst Gebouwen Buitenland, The Hague
主導建築師：Rem Koolhaas, Ellen van Loon
專案主任：Erik Schotte
專案建築師：Michelle Howard, Gro Bonesmo
設計團隊：Beth Margulis, Anu Leinonen, Daan Ooievaar, Adrianne Fisher, Robert Choeff, Christian Muller, Oliver Schu"tte, Fernando Romero Havaux, Matthias Hollwich, Katrin Thorhauer, Barbara Wolff, Bruce Fisher, Anne Filson, Udo Garritzman, Jenny Jones, Shadi Rahbaran, Mette Bos, Adam Kurdahl, Stan Aarts, Julien Desmedt, Annick Hess, Rombout Loman, Antti Lassila, Thomas Kolbasenko, Moritz von Voss, Paolo Costa, Carolus Traenkner, Susanne Manthey, Christiane Sauer, Tammo Prinz, Nils Lindhorst, Felix Thoma,
結構技師：Royal Haskoning / Arup Berlin
服務設施：Huygen Elwako / Arup Berlin
專案管理：Royal Haskoning
防火設施：Hosser Hass + Partner, Berlin
燈光設計：OVI, Washington DC, Berlin
帷幕牆：Inside-Outside, Petra Blaisse
設計目標
與其他大使館設計不同的是，Rem Koolhaas 設計的並不是一個與外界隔絕的建築，他將柏林城搬上了舞台，為了使自己的設計更加生動，他使用了與城市的對立的元素。設計的理念是將大使館自身的安全感與荷蘭熱情開放的民族特性完美結合，此案獲得2005年「Mies van der Rohe Award」之獎項。
規劃
大使館看起來在柏林整個城市框架中顯得獨樹一幟。荷蘭大使館是由一個L形直角建築和一個別緻的六面體建築以及中間的連接大廳組成。直角建築將這個 正六面體建築與周圍建築隔開，從而得以以一個別具一格的外形展示在人們面前。庫哈斯以此卓絕的創意滿足了城市的相關規定，在重視大使館安全防護措施的同時 又與眾不同，他巧妙的運用了建築邊緣並設計出了令人耳目一新的建築，同時建築也閃爍著荷蘭的開放熱情之光。在來訪者和建築之間沒有任何阻隔，開闊的柏油馬 路貫穿六面體建築和L形建築中。沿這條路人們可以參觀到大使館一半的區域,完全沉浸在鋁和玻璃展示出的完美世界中。狹窄的地方開始變得開闊，人們可以放眼 遠觀到施普雷河。
外觀
建築由兩部分構成，一部分是位於17m x 17M地塊上的正六面體的建築，另一部分是直角形的L形建築，它在五個狹窄的地方與六面體形的建築相連。從建築外面看只有6－8層，但是在建築內部卻給人這樣的感覺--建築無論如何也會有15層。
設計思路
設計別具一格和獨出心裁的地方是其空間設計。它沒有傳統意義上的樓層。在同的水平面上有11個樓層，樓層和地板都給人以跳動的感覺，樓層傳達給人們的首先是一種動感和熱情。
樓層通過所謂的"螺旋連廊"彼此相連，連廊就像一條蜿蜒於建築中的螺旋線。你會發現它忽而在建築內部，忽而穿過建築的立面成為建築外部有綠色地板 的懸掛式通道，忽而又回到了建築中心。這條蜿蜒於建築中的連廊路線接近200米，外包有鋁板。人們漫步在這條路上，經歷著視覺景觀的巨大變化：一會兒是施 普雷河，一會兒又可能會看到剛剛所在的房間。庫哈斯設計最為絕妙之處是，從一個空間可以看到另一個空間，沒有任何一個元素是孤立的。給人深刻印象的是建築 對角線，它斜穿過六面體建築，並通過建築中一個水泥窗框的窗戶，通過意想不到的方式將電視塔的景觀引入建築中。同時又有多面牆穿過這條視覺軸線，所以設計 者甚至在L 形的建築中設計了一個服務於視覺景觀的空洞，德國法律規定，如果在相鄰地塊上還要建新建築，那裡電視塔的視覺軸線也必須是無阻礙的。
功能
六面體形的建築將大使館幾乎所有的空間組織起來。直角形的建築中主要是服務區和有金屬外窗遮擋的客房。辦公區主要在半層中。功能在平面上是這樣佈 置的：儘管在垂直方向上有滲透性，但單獨的使館區，下層的商會，和上層的大使和主席辦公區卻非常清晰的相互分開。頂層是郵遞所，健身房和咖啡屋。大使館的 會議區就像在六面體中突出出來的一個櫃子的抽屜，並且由此能夠看到柏林的城市風景。
結構
建築結構主要是鋼和鋼筋水泥組成。窗戶是落地窗，透明和半透明的元素相互交替。空間功能的複雜性與保留的結構給建築結構帶來了新的挑戰。
In the wake of the reunification the German government relocated the capital to Berlin 「Mitte」 (Center). The Netherlands, having sold their former embassy site after the War, were free to choose anew and preferred Roland Ufer in Mitte, the oldest Berlin settlement, next to the (new) government district of their main trade partner.
The client demanded a solitary building, integrating requirements of conventional civil service security with Dutch openness.
「Traditional (former West Berlin) city planning guidelines demanded the new building to complete the city block in 19th century fashion, the (former East Berlin) city planning officials had an open mind towards our proposal for a free-standing cube on a - block completing - podium.
When we were given charge of the design of the entire site we were able to further explore a combination of obedience (fulfilling the block's perimeter) and disobedience (building a solitary cube).」
OMA
The access road between 「cube」 and 「residential wall」 acts as courtyard open to one side to allow a panoramic view over the Spree and the park. In order to emphasize the difference with the surrounding buildings which are clad with stone, the sockle and the wall with the residences are clad with aluminium.
A continuous trajectory reaching all eight stories of the embassy shapes the building's internal communication.
The workspaces, the 「leftover areas,」 after the trajectory was 「carved」 out of the cube, are situated along the facade.
Reception spaces are activated inside the cube. Other semi-public spaces are located closer to the facade and at one point cantilever out over the drop-off area.
From the entry, the trajectory leads on via the library, meeting rooms, fitness area and restaurant to the roof terrace.
The trajectory exploits the relationship with the context, river Spree, Television Tower (「Fernsehturm」), park and wall of embassy residences; part of it is a 「diagonal void」 through the building that allows one to see the TV Tower from the park.
The (slightly over pressurized) trajectory works as a main airduct from which fresh air percolates to the offices to be drawn off via the double (plenum) facade. This ventilation concept is part of a strategy to integrate more functions into one element.
This integration strategy is also used with the structural concept. The internal walls adjacent to the trajectory are load bearing beams that cross over each other enough to bring loads down. Hereby big open spaces are created on the lower floors of the building. Load baring glass mullions, allowed to fall out in case of a fire while still leaving the superstructure in tact, support the floor slabs where the trajectory meets the facade.
The building won the European Union Prize for Contemporary Architecture - Mies van der Rohe Award 2005
設計案位置：德國柏林 Berlin, Germany
建築師：OMA + Rem Koolhaas
總樓地板面積：8,500 平方米
完成：2003年
業主：荷蘭外交部 Netherlands Ministry of Foreign Affairs - Dienst Gebouwen Buitenland, The Hague
主導建築師：Rem Koolhaas, Ellen van Loon
專案主任：Erik Schotte
專案建築師：Michelle Howard, Gro Bonesmo
設計團隊：Beth Margulis, Anu Leinonen, Daan Ooievaar, Adrianne Fisher, Robert Choeff, Christian Muller, Oliver Schu"tte, Fernando Romero Havaux, Matthias Hollwich, Katrin Thorhauer, Barbara Wolff, Bruce Fisher, Anne Filson, Udo Garritzman, Jenny Jones, Shadi Rahbaran, Mette Bos, Adam Kurdahl, Stan Aarts, Julien Desmedt, Annick Hess, Rombout Loman, Antti Lassila, Thomas Kolbasenko, Moritz von Voss, Paolo Costa, Carolus Traenkner, Susanne Manthey, Christiane Sauer, Tammo Prinz, Nils Lindhorst, Felix Thoma,
結構技師：Royal Haskoning / Arup Berlin
服務設施：Huygen Elwako / Arup Berlin
專案管理：Royal Haskoning
防火設施：Hosser Hass + Partner, Berlin
燈光設計：OVI, Washington DC, Berlin
帷幕牆：Inside-Outside, Petra Blaisse
設計目標
與其他大使館設計不同的是，Rem Koolhaas 設計的並不是一個與外界隔絕的建築，他將柏林城搬上了舞台，為了使自己的設計更加生動，他使用了與城市的對立的元素。設計的理念是將大使館自身的安全感與荷蘭熱情開放的民族特性完美結合，此案獲得2005年「Mies van der Rohe Award」之獎項。
規劃
大使館看起來在柏林整個城市框架中顯得獨樹一幟。荷蘭大使館是由一個L形直角建築和一個別緻的六面體建築以及中間的連接大廳組成。直角建築將這個 正六面體建築與周圍建築隔開，從而得以以一個別具一格的外形展示在人們面前。庫哈斯以此卓絕的創意滿足了城市的相關規定，在重視大使館安全防護措施的同時 又與眾不同，他巧妙的運用了建築邊緣並設計出了令人耳目一新的建築，同時建築也閃爍著荷蘭的開放熱情之光。在來訪者和建築之間沒有任何阻隔，開闊的柏油馬 路貫穿六面體建築和L形建築中。沿這條路人們可以參觀到大使館一半的區域,完全沉浸在鋁和玻璃展示出的完美世界中。狹窄的地方開始變得開闊，人們可以放眼 遠觀到施普雷河。
外觀
建築由兩部分構成，一部分是位於17m x 17M地塊上的正六面體的建築，另一部分是直角形的L形建築，它在五個狹窄的地方與六面體形的建築相連。從建築外面看只有6－8層，但是在建築內部卻給人這樣的感覺--建築無論如何也會有15層。
設計思路
設計別具一格和獨出心裁的地方是其空間設計。它沒有傳統意義上的樓層。在同的水平面上有11個樓層，樓層和地板都給人以跳動的感覺，樓層傳達給人們的首先是一種動感和熱情。
樓層通過所謂的"螺旋連廊"彼此相連，連廊就像一條蜿蜒於建築中的螺旋線。你會發現它忽而在建築內部，忽而穿過建築的立面成為建築外部有綠色地板 的懸掛式通道，忽而又回到了建築中心。這條蜿蜒於建築中的連廊路線接近200米，外包有鋁板。人們漫步在這條路上，經歷著視覺景觀的巨大變化：一會兒是施 普雷河，一會兒又可能會看到剛剛所在的房間。庫哈斯設計最為絕妙之處是，從一個空間可以看到另一個空間，沒有任何一個元素是孤立的。給人深刻印象的是建築 對角線，它斜穿過六面體建築，並通過建築中一個水泥窗框的窗戶，通過意想不到的方式將電視塔的景觀引入建築中。同時又有多面牆穿過這條視覺軸線，所以設計 者甚至在L 形的建築中設計了一個服務於視覺景觀的空洞，德國法律規定，如果在相鄰地塊上還要建新建築，那裡電視塔的視覺軸線也必須是無阻礙的。
功能
六面體形的建築將大使館幾乎所有的空間組織起來。直角形的建築中主要是服務區和有金屬外窗遮擋的客房。辦公區主要在半層中。功能在平面上是這樣佈 置的：儘管在垂直方向上有滲透性，但單獨的使館區，下層的商會，和上層的大使和主席辦公區卻非常清晰的相互分開。頂層是郵遞所，健身房和咖啡屋。大使館的 會議區就像在六面體中突出出來的一個櫃子的抽屜，並且由此能夠看到柏林的城市風景。
結構
建築結構主要是鋼和鋼筋水泥組成。窗戶是落地窗，透明和半透明的元素相互交替。空間功能的複雜性與保留的結構給建築結構帶來了新的挑戰。
In the wake of the reunification the German government relocated the capital to Berlin 「Mitte」 (Center). The Netherlands, having sold their former embassy site after the War, were free to choose anew and preferred Roland Ufer in Mitte, the oldest Berlin settlement, next to the (new) government district of their main trade partner.
The client demanded a solitary building, integrating requirements of conventional civil service security with Dutch openness.
「Traditional (former West Berlin) city planning guidelines demanded the new building to complete the city block in 19th century fashion, the (former East Berlin) city planning officials had an open mind towards our proposal for a free-standing cube on a - block completing - podium.
When we were given charge of the design of the entire site we were able to further explore a combination of obedience (fulfilling the block's perimeter) and disobedience (building a solitary cube).」
OMA
The access road between 「cube」 and 「residential wall」 acts as courtyard open to one side to allow a panoramic view over the Spree and the park. In order to emphasize the difference with the surrounding buildings which are clad with stone, the sockle and the wall with the residences are clad with aluminium.
A continuous trajectory reaching all eight stories of the embassy shapes the building's internal communication.
The workspaces, the 「leftover areas,」 after the trajectory was 「carved」 out of the cube, are situated along the facade.
Reception spaces are activated inside the cube. Other semi-public spaces are located closer to the facade and at one point cantilever out over the drop-off area.
From the entry, the trajectory leads on via the library, meeting rooms, fitness area and restaurant to the roof terrace.
The trajectory exploits the relationship with the context, river Spree, Television Tower (「Fernsehturm」), park and wall of embassy residences; part of it is a 「diagonal void」 through the building that allows one to see the TV Tower from the park.
The (slightly over pressurized) trajectory works as a main airduct from which fresh air percolates to the offices to be drawn off via the double (plenum) facade. This ventilation concept is part of a strategy to integrate more functions into one element.
This integration strategy is also used with the structural concept. The internal walls adjacent to the trajectory are load bearing beams that cross over each other enough to bring loads down. Hereby big open spaces are created on the lower floors of the building. Load baring glass mullions, allowed to fall out in case of a fire while still leaving the superstructure in tact, support the floor slabs where the trajectory meets the facade.
The building won the European Union Prize for Contemporary Architecture - Mies van der Rohe Award 2005
