天华集团 | 苏州高新区文体中心
“在苏州高新区文体中心方案中，近二十万平方的巨大体量可以呈现为功能小模块的搭接，而不再需要像国家大剧院那样一个蛋形的外壳笼罩其上获得整体感和纪念性。从而建筑的体量也得以消解，成为地景的一个部分。”
—李翔宁，同济大学建筑与城市规划学院副院长
“In the scheme for the centre, the nearly 200,000 sqm complex is created out of many program units, unlike the National Centre for the Performing Arts that features an egg-shaped shell designed to add the sense of entirety and monument. The massiveness of the complex is thus reduced, fitting it into the surroundings. ”
—Li Xiangning
Associate Dean of the College of
Architecture and Urban Planning, Tongji University
『“Eyes on Me夺目”旨在发掘蕴含创新的设计思维和实践。
更多“微评论”，请阅读下文。』
今天的中国不缺少纪念碑般的庞然巨物。他们在城市尺度上书写着自己的壮志雄心却完全超越了日常生活的尺度，将人抛弃在建筑之外并让人们对此顶礼膜拜。这群巨物标榜了城市的野心和热血，却忽视着城市中的生命和活力。
In today’s China, there is no lack of monumental, collossal buildings symbolic of the ambitions of the city which accommodates them, yet too far away from people’ s day-to-day lives, depriving the general public from the real experiences of a structure. As a result, such architecture is a failed attempt to generate vitality in a city.
“如何对付这种大都会夸大狂般的宣言和野心将成为本世纪末最艰巨的工作。”库哈斯在《癫狂的纽约》中一语中的。而这种现象跨过世纪之门之后仍在持续着它引以为豪的蔓延趋势。
Just like what Rem Koolhaas pointed out in his first major publication Delirious New York, “it is the arduous task of the final part of this century to deal with the extravagant and megalomaniac claims, ambitions and possibilities of the Metropolis openly.” This phenomenon lasts through the 21st century.
20年的发展，苏州高新区发生了天翻地覆的变化，越来越多的企业落户这个区域，使得区域内的文体设施建设迫在眉睫。2013年，高新区管委会西进到科技城区域内，文体中心项目也随着西进的步伐进入了这个“一核四城”的发展重心区域。文体中心的竞标拉开序幕，天华作为一个本土的公司是通过什么在与英日两家著名事务所的竞争中拔得头筹?
Over the past two decades, the Suzhou New District has been turned upside down, with an increasing number of businesses relocating here, making the construction of cultural and sports facilities more urgent. In 2013 the District’s Administrative Committee moved its workplace westward to the Science & Technology Town inside the District. The plan to build the SND Cultural & Sports Centre was once again placed high on the agenda, as part of the broader strategy of “one core, four towns”. The competition for the Centre thus took place. What enabled Tianhua, a local firm, to eventually outperform the other two established practices from Japan and the UK respectively?
今天的中国，每个城市都有众多尺度巨大的公共建筑，人性化的维度被无视、忽略、消散，令设计与真实的生活相去甚远，成为仅仅维持城市形象的工具，不免令人扼腕。并不是一切建筑都符合夸张的尺度，也不需要符合。在苏州高新区文体中心的设计中则蕴含了这样的一种重返日常城市生活的温柔情怀。“做一个好建筑师，你必须热爱人民，因为建筑是一门应用艺术，与一些事关人民生活的结构框架打交道。”苏州高新区文体中心首先应该是苏州人的，之后才是苏州的。这样的尝试如此亲切，如此贴近生活，也因此少了一些高冷与生人勿近的距离感。
It is lamentable that the myriads of massive public buildings across the nation have failed to incorporate the humanist element, too far away from our real life, thus reducing themselves to mere tools for preserving a city’s image. Not all existing structures are of extravagant scale, and there is no need for this. The scheme for the SND Cultural & Sports Centre is a call for architecture embracing our day-to-day life. “To be a good architect you have to love people, because architecture is an applied art and deals with the frameworks for people's lives,” said the celebrated architect Ralph Erskine.The Centre should put the residents of Suzhou first and the city second. This attempt is so close to our daily life, more appealing to the general public.
天华在创作项目之前，对苏州千百年来的地域文脉和文化进行深入研究。姑苏地区人们历来喜欢赏玩湖石，所谓“洞庭山下湖波碧，波中万古生幽石。”千万年滴水洞穿后的玲珑通透，充满着“里中有外，外中有里”的暧昧。苏州的街坊和园林、庭院和建筑也充满了这种虚实相生、内外交替的空间关系。
Tianhua has dug into the centuries-old local context and culture before starting the work. Residents of the Gusu area have historically taken to appreciating lake rocks, as the old Chinese saying goes, “the lakes at the foot of the Dongting Mountain are known for their clarity and rocks dating back many centuries”. The rocks look almost translucent after thousands of years’ erosion by the waters, which blurs the line between their very existence and the outside world. Such spacial relations are also featured in Suzhou’s streets, gardens, courtyards and buildings.
受到湖石启发，天华构想出了“云形水石”的设计概念，在数字化的背景之下，希望通过用一些简单抽象的方形体块，以一种魔方式、像素化的方式堆积在一起，来传达一种类似太湖石般精妙复杂的空间状态。
Inspired by the lake rocks, Tianhua has come up with the “digitalized cloud-shaped rockery”. In a digital era, the company aims to create spaces as intricate as the Taihu stones out of simple, abstract square units arranged in a Rubik's Cube-like way.
此概念是文化与未来的延续：承袭苏州园林虚实结合的空间构型的同时，多意的弹性空间组织可以为未来运营提供更多可能。在这里，凹凸的体块使空间产生一种“留白”，形式与功能的对应不再单一不变，多意和辩证的孔洞结构的自主性可以通过复制和变异来适应环境，引导建筑自发生长而不破坏它的完整性。这也许是在中国复杂多变的项目环境下，提高运营功能可变性和灵活性的同时，在未来需要变更的情况下保护设计概念的一种策略。
This concept carries on the city’s tradition and symbolizes its prospect. In compliance with the unique spatial layout of classical gardens, the flexible spaces are designed to create further operational potential. The units, concave or convex, allow the form to respond to the programs in various manners. The independent structure riddled with holes is able to adapt to the context through duplication and variations, guiding the architecture to grow on its own without spoiling its entirety. It is perhaps this strategy that can make the programs more flexible and keep the design concept as it is when there is a need for change in the future, amid uncertainties in the domestic construction climate.
同时，关注城市和人始终是天华进行创作和服务的基因。天华将文化类城市综合体内外部空间的研究着墨于建立人与空间的交融之上，将人的活动、心理以及环境的关系作为着眼点，注重人的体验、建筑与日常城市生活的联系，从而使建筑成为真正“公共的建筑”。
Meanwhile, Tianhua has been offering city- and inhabitants-oriented solutions and services since its founding. Its research on both interior and exterior of urban cultural complexes is all about establishing the connection between architecture itself, user experience and daily life as a way to make architecture serve the general public.
项目与周围地块环境关系的处理是天华在设计中十分看中的部分。项目所处的地块呈三角形，被高速路、运河和山体包围其中，基地本身曾经是采石场，荡口禁采后，裸露的石壁之下积水成湖。面对已经遭到破坏的自然脉络，天华通过对剩下的石壁进行复绿形成山体景观来修复这个“疤痕“，希望建筑成为山的延续：延续原有的山体，使整个建筑群体与环境融合在一起。
Tianhua has been focused on dealing with the relationship between the project and the site’s context. The SND Cultural & Sports Centre sits on a triangular plot, surrounded by freeways, canals and mountains. Below the exposed stone walls at the former quarry, rainwater has accumulated into a lake over the past years since the exploitation ban was imposed. In response to the already damaged context, the company has managed to treat the “scars” by landscaping the remaining walls. The aim is to make the Centre an extension of the mountains in a bid to merge the entire complex into the context.
天华的方案突破传统的”方方正正的盒子“或是”完形“的建筑，成为一个”隐形“于环境之中的地景化建筑。于是，多层次、多标高、多重院落的组合空间和逐层退台顺势成山，通过层层推进和展开赢得了更多的屋顶空间和攀爬体验，以人文之山回应自然之山。
The company’s scheme, therefore, is an attempt to create an architecture that perfectly fits into its surroundings instead of a detached “square box”. The complex’s multiple courtyards, varying heights, and a terraced form based on the site’s topography bring more generous rooftop space and better climbing experience.
天华的设计重点从”事件性”转移到了”日常性”：穿行场地的商业街道和丰富的公共开放空间，将这个体量庞大的公共建筑归还给周边市民。
The scheme shifts its focus away from serving the project’s initial program of hosting events to becoming part of our daily life: the high street spanning the site and the multiple open spaces enable the huge complex to host residents’ daily activities.
整个建筑地块中的公共空间相互交织，削弱了综合体巨大的体量感。每一块中间地带都有可能成为建筑空间使用者日常生活的舞台。除却功能确定的空间之外，苏州高新区文体中心中大量的空间被归还给使用者。这样的设计可贵在于他并不会暗示着事件的发生，而是等待着它们的发生。相较于一些计划中的结果，这里更有可能会常年上演充满嬉笑怒骂和丰富可能的日常戏剧。
The open spaces crisscrossing the site help reduce the massiveness of the complex. Each and every plot between the spaces has the potential for accommodating daily acitivities. Besides those with defined programs, plenty of spaces inside the Centre are designed to serve the inhabitants. All this does not imply events, but await them. A variety of daily dramas tend to take place here all year round.
一条贯穿整个地块同时联系城市其他部分的商业街道，为步行提供了一种穿越可能。这个庞大的综合体几乎所有的主要功能模块都在这条街道上设有出入口，图书馆、文化中心、电影院、游泳馆、咖啡馆、书店、餐厅和其他店铺都成为这条街道生活体验的一部分。
The high street allows the pedestrians to take a shortcut and access elsewhere. The street leads to almost all of the complex’s major program units – the library, cultural centre, cinema, swimming pool, coffee shop, bookstore, and restaurant and other stores, all of which contribute to daily experiences.
六米平台上的台地广场作为地块当中的主要集散场地，和其下方的商业街道一起，展现着城市生活的多样性和复杂性，在步行、购物、休息、逗留和交流之间发生着重叠且频繁的日常性转换。
The terraced square on a six-meter-high platform serving as the site’s main transit area, alongside the high street, is an encapsulation of the diverse and complex urban life, in which inhabitants routinely shift between activities of stroll, shopping, short breaks and interaction.
“我们用互联网+作为破题之法来解决在现今的语境下面，我们怎么去对接需求，供给产品。”
—苏久华，苏州高新文体集团有限公司董事长/总裁
“Against the backdrop we have come up with an “Internet Plus” solution to supply products in accordance with demands.”
—Su Jiuhua
President of Suzhou New District
Cultural & Sports Development Co., Ltd.
“努力打造高新区的人文庭院，使文体中心最终要扛起一座城市的生活美学这面大旗。”
—周平，苏州高新文体集团有限公司董事/副总裁
“We are making every effort to establish the centre as the ‘humanistic courtyard’ of the New District, symbolic of the aesthetics of everyday life in the city of Suzhou.”
—Zhou Ping
Director & Vice President of Suzhou New District
Cultural & Sports Development Co., Ltd.
“我们和很多第三方有合作，包括之前和阿里体育的电竞大赛；包括我们的机器人服务；包括场馆内的VR体验；想把它们很好的跟我们的场馆结合起来。”
—徐媛，苏州高新文体集团有限公司董事/副总裁
“We have entered partnership with many third-party companies, including the World Electronic Sports Games hosted together with Alisports, our robotic technology, and the VR service inside our centre, all of which are aimed at making the best use of the centre.”
—Xu Yuan
Director & Vice President of Suzhou New District
Cultural & Sports Development Co., Ltd.
“我们之前一直在考虑苏州高新区文体中心是不是可以做成一个山的延续。这个山呢，也不光是看的，是层层叠叠的。它不是一座建筑，而是一座山，一座文化的山。”
—黄向明，文体中心项目总设计师
“We have thought about the possibility of making the centre an extenion of a mountain, which has so many parts. The centre is more of a mountain of culture than a structure. ”
—Huang Xiangming
Chief Architect of Tianhua Architecture
Planning & Engineering Co,. Ltd.
“在文体中心里面看每一个细节，里面的每一张办公桌，以及所有那些小的太湖石那种调性特殊处理以及浮在墙壁的感觉，你会发现，他在试图把苏州文化的精髓通过现代的手段，让现代的科技和传统的艺术这两方面能够很完美的结合起来。”
—李海波，喜马拉雅FM副总裁
“