Akershus University Hosptial / C.F.Møller Architects01

Architects: C.F.Møller Architects
Location: Oslo, Norway
Collaborators: Multiconsult AS, SWECO AS, Hjellnes COWI AS / Interconsult ASA, Ingemannson Technology, Nosyko/Erstad og Lekven
Client: Helse Sør-Øst RHF
Landscape: Bjørbekk & Lindheim AS, Schønherr Landskab A/S
Artists Involved: Troels Wörsel, Gunilla Klingberg, Mari Slaattelid, Knut Henrik Henriksen, Jan Christensen, Tony Cragg, Birgir Andrésson, Petteri Nisunen, Tommi Grönlund, Julie Nord, Per Sundberg, Vesa Honkonen, Janna Thöle-Juul, Kristine Halmrast, Mikkel Rasmussen Hofplass
Project year: 2000-2008
Constructed Area: 137,000 sqm
Photographs: Torben Eskerod & C.F.Møller Architects

The new university hospital is not a traditional institutional construction; it is a friendly, informal place with open, well-structured surroundings which present a welcoming aspect to patients and their families.

Akershus University Hospital has been designed to emphasize security and clarity in experientially rich surroundings, where everyday functions and well-known materials are integrated into the hospital’s structure.

Wholeness and variation

Although the individual parts of the development each have their own material expression and the material expression of the development varies, nonetheless it is united into a whole by means of a general architectural theme centred on panels and transparency. In this way, a unity is created between the individual parts of the complex, which thereby receive a subtle effect of transparency and depth.

Treatment department

Facades in glass, plaster and aluminium panelling, with white-lacquered sinusoidal aluminium panels in the courtyards

Wards

Facades in dark screen tiling
Children’s department
Facades with wood cladding

Chapel

Facades clad in oak panels and tombac (an alloy of zinc and brass)

Front building and main arrivals area

Facades in glass, plaster and glass tiling

Structured like a town

A glass-roofed main thoroughfare, in which wood is the dominating material, links the various buildings and departments. The ’glass street’ begins in the welcoming foyer of the arrivals area, where the main reception desk receives visitors, and concludes in the foyer and separate arrivals area of the children’s department.

In the glass street, the central element in the development, the various materials are united in an overall composition, in which the large coloured panels designed by the Icelandic artist Birgir Andrésson form a natural element and provide a ’palette’ for the colour scheme of the hospital.

The glass street has a town-like structure, with public and semi-public zones defined as squares and open spaces, offering the everyday functions of a town: church, pharmacy, hairdresser, florist, café and kiosk, as well as traffic nodes and other services for the benefit of patients, relatives and staff.

In natural continuation of these functions, a number of other services, such as health information, polyclinics and out-patient surgeries, are located near the street level of the thoroughfare

.

Centred on the patient

The hospital’s structure helps to ensure that the patient remains the natural focus in the physical design, despite the strict and demanding logistical requirements which underlie all hospital constructions. Just as the overall complex is made up of clear and comprehensible units, so the individual wards are built up from smaller elements.

The wards are centred around four so-called courtyards which ensure a well-defined daily life for the patients, with a manageable level of social contact, assisted by a clear staff interface.
The wards of the children’s department are equipped with windows which give the children and young people individual views of both the sky and the surrounding greenery from their beds. The well-equipped facilities for parents secure excellent contact between the children and their families.

Image courtesy Sparch

The original Vision City was intended for completion more than a decade ago but when financial problems halted the construction work it left the site with a massive piece of bare concrete structure. The current owner acquired the development rights with the intention of dressing up the existing mass, located four monorail stops from Kuala Lumpur’s main shopping district, into a new icon for the neighbourhood and the city.

Sparch’s vision for the development goes beyond the brief of interior fit out and facade cladding as that would merely amount to a conversion of use of the pre-defined spaces. To truly transform the current spaces within the block and also its relationship to the street, Sparch cracked open the monolith, hollowing out the central portion to create a hybrid space - a voluminous garden naturally ventilated but sheltered from the elements - that is an extension of the urban fabric.

Image courtesy Sparch

With the originally planned hermetic air-conditioned box now drawing the streetscape into its carved out volume, Vision City deviates from the mold of the ubiquitous modern mall, engaging more directly its immediate surroundings, physically as well as visually, to realize the urban rejuvenation that its developers and urban planners are envisioning for the neighborhood.

Image courtesy Sparch

Image courtesy Sparch

Image courtesy Sparch

Image courtesy Sparch

The strategy of bringing the outside in and up has practical values beyond creating new spatial and sequential experiences, it provides for more facade frontage and exposure to retail units. The through-slot that breaks the original facade monotony allows differential treatments to either side of it.

Image courtesy Sparch

Image courtesy Sparch

With the creation of the elevated Garden, Sparch aims to achieve at least 30% additional savings in air-conditioning load over the development’s original design. Critical to the scheme is the climatic comfort conditions on the Garden level and the central platforms suspended within that volume. Besides ensuring the printed filigree canopy keeps out monsoon rains and direct tropical sunlight, other environmental challenges include maximization of natural wind flow by sculpting the central void and reduction of humidity levels via strategic mechanical means.

Image courtesy Sparch

Drawing courtesy Sparch
Ground Level Plan

Drawing courtesy Sparch
Courtyard Level Plan

Drawing courtesy Sparch
Level Five Plan

Total area: 30,000 square meters
Mall area: 100,000 square meters

Projected Construction Start: End of 2009

Client: Quill Retail Malls Sdn Bhd
Architects: Sparch (formerly SMC Alsop’s Asia offices)
Design Director: Stephen Pimbley
Project Team:
Ho Hsiu Yen
Chong Sing Keat
Lim Wen Hui
Alvin Fong
Michael Gibert
Tan Kim Lee
Darmaganda
Project Manager:
CapitaLand Commercial Project Management
Local Architect: Michael Ong
Quantity Surveyor: Davis Langdon Seah Sdn Bhd
M&E Engineer: Li-Zainal Sdn Bhd
C&S Engineer: RSP Engineers Sdn Bhd

چند هفته پیش ، عکس هایی از دفتر فیس بوک که در ایالت کالیفرنیای آمریکا قرار دارد، در اینترنت منتشر شده بود که محیطی جالب و مشابه به آنچه پیش تر در دفاتر شرکت گوگل دیده میشد ایجاد شده ( ببینید :  افتتاح دفتر جدید گوگل در سوییس ). این دفتر واقع شده در شهر Palo Alto است و کاریست از شرکت طراحی O + A ، که بیشتر در شهر سان فرانسیسکو فعالیت میکند و از سال ۱۹۹۰، طراحی های متعددی برای شرکت های معتبر انجام داده.

طراحی های داخلی مجموعه واقعا” جالب توجه است. فضاهایی متعدد و با جزییات زیاد که برای مقاصد مختلفی مانند جلسات و کار و استراحت به دقت طراحی شده و فضاهایی بزرگتر و باز که برای فعالیت های دسته جمعی کارکنان فیس بوک در نظر گرفته شده است. این دفتر تازه تاسیس که از ۱۰ قسمت مجزا از هم تشکیل شده، پذیرای ۷۰۰ کارمند شرکت کامپیوتری فیس بوک است.

با توجه به اینکه کارمندان فیس بوک از نقاط مختلف با فرهنگ های مختلف هستند، طراحی های اختصاصی و خاص برای هر فضا انجام شده که اکثرا” با رنگ های متفاوتی از هم جدا شده اند و در نهایت این فضاهای کوچک، به فضایی بزرگ تر که برای کارهای گروهی در نظر گرفته شده است میرسند. در ادامه تصاویر بیشتری از این دفتر را میتوانید مشاهده کنید …

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