卢布尔维那机场空中交通管制中心/Arhitekti

发布于：2023-05-02 18:27:22

Ljubljana Airport, Slovenia : ATCC Building

设计方：SADAR + VUGA, Arhitekti

位置：斯洛文尼亚

分类：交通建筑

内容：实景照片

项目规模：2350平方米

图片：27张

新的航空交通控制中心位于卢布尔雅那机场，包括提供24/7 设施及办公室的空中管制中心。该设计旨在让游客以及24小时轮候工作的职员提供安全、高效以及舒适的场所。该建筑坐落于机场中央，北边是一个停车平台，南边是种满了高大乔木的花园。建筑为五层，每层都设有安全访问权限。行政主管部门及其他区域面对着建筑中央，拥有着较高的安全访问权限。紧凑的设计有助于提高工作效率，步道要短，而且易于管理。室内明确地划分为一个五边形的核心（控制中心）、两个翼楼（办公室及公共场所）。它们通过多层高中庭与入口大厅、餐厅、会议室及健身室相连。垂直大厅用于会见、非正式交际。
该中心外观为单一的外壳，只在必要时打开对外界的开口。建筑采用了上釉的铝合金护墙以及调节光照的百叶窗。百叶窗的角度根据窗口的布局以及太阳辐射程度决定。而护墙的高度由室内空间以及室内使用者需求而决定。窗户采用了青铜色的反射玻璃，户外风景全映在窗户上。外墙的米色以及窗户的青铜色体现了建筑安全的形象。屋顶延续着建筑立面的风格缓缓升起，为室内提供自然光线，尤其是五边形核心区控制室。
该交通空中管制中心于今年五月正式使用，此后获得德国设计委员会颁发的2013标志大奖，又凭借其在建筑领域的出色表现获得2013金铅笔奖，并获得2013 PIRANESI奖提名。

建筑时间：2009.12
图片来源：SADAR + VUGA

New Air Traffic Control Center at the Ljubljana airport, comprising air control center with 24/7 amenities and office premises, is a highly demanding and complex object due to the nature of the institution it hosts. It is designed to enable safety and high operational activity as well as consistent comfort for visitors and staff 24 hours a day all year around.
The building is located in the middle of the plot, at the north there is a parking platform and at the south high vegetation of the garden. Within, the object is organized by five levels of security zones with access control at each passage. The further one moves from the rim that holds administrative and rest areas towards the centre of the object, the greater the security level of the areas. The compact design serves to enhance the operational efficiency of the object, paths are short and manageable. The clear division into a pentagonal head (control center) and two wings (offices and public program) provides easy orientation within. They are connected by a central multi-leveled area with an entrance lobby, restaurant, conference room and gym. The vertical hall is a place for meeting, informal socializing and communication.
The Center appears as a monolithic shell, opening towards outside only when necessary. The building is wrapped in belts of glazing and combined aluminium parapets and brise-soleils that regulate the intensity of heat and light transmission to the interior. The angle and the size of the brise-soleil are determined by the layout of the windows and the intensity of solar radiation related to it. The height of the parapet is determined by the interior of individual areas and the related wish for greater or lesser openings for views. The windows are made of bronze reflective glass mirroring the mountains in the surrounding. The beige and bronze colour coding of the façade visually reflects the building’s character of security and protection. The roof is rising in terraces, thus continuing the play of blinds and parapets on the facade, providing daylight to the interior areas, especially to the control room in the pentagonal core of the object.
ATCC has been officialy opened in May this year and since then awarded the ICONIC AWARD 2013 winner by the German Design Coucil, GOLDEN PENCIL 2013 for the excellent realization in the field of architecture and nominated for PIRANESI AWARD 2013.
Andreas Ruby, Quote form the Golden jury report about the excellent realization of ATCC:
“With their air traffic control centre building, Sadar+Vuga have achieved something incredible. They have managed to make a typology visible that normally does not register on the radar of our architectural culture. This structure wants you to look at it, and it looks at you: its meandering banded windows are crowned by obliquely cantilevering sunshade panels that read like eyelids. Inside, the porosity of the facade pays off in generously lit interiors, which yields another exotism – daylight in a control building.
The atrium is a carefully sculpted well of light that you would expect in a cultural institution or high standard office building, and stands emblematic as an architectural strategy to overwrite the usual misery of this typology with an abundance of tectonic care and sensual consideration. This investment in design is no boutique-fetish, but acknowledges the exceptional kind of work of those who work there.
Now, from the inside, you also understand the rationale for the design of windows and sunshades. The size of the window strip corresponds to the hierarchical importance of the program behind it. Thanks to this “primitive parametricism” (Boštjan Vuga) the design of the building never slides off into arbitrariness and formalism, which you can better witness on site than from photographs. The building uses its form not as an end, but as a means to transform the conventions of its typology. It wants to restore cultural value and dignity to a type of building all too often treated as junk or inconsequential space. One could easily (mis)take it for a cultural or public building, but that’s exactly the effect the architects worked to generate with their design: to make us reconsider the role of such buildings for our cities and endow them with a greater mission and ambition.”