乐高之家
比隆，丹麦
12,000 平方米
文化建筑
2017 年
乐高公司成功地让世界各地的人们相信乐高来自他们的祖国。但它实际上来自我们的祖国。想象一下，当我们受邀设计砖房时，我们的兴奋之情。 LEGO House 位于 Billund 的中心地带，旨在像 LEGO 本身一样引人入胜。 21 个重叠的街区像独立的建筑物一样放置，相交以创造一个内外连续的旅程。在顶部，相互连接的游乐场的屋顶景观开放供任何人攀爬。下面，一个公共广场通过上面体积之间的裂缝和间隙被照亮。广场看起来像一个没有柱子的城市洞穴，可以从四个角落公开进入，允许游客和比隆市民在建筑物中自由漫步。上面重叠的画廊用乐高的原色进行了颜色编码，因此浏览展览就像是一次穿越色谱的旅程。通过系统的创造力，所有年龄段的孩子都可以使用工具来创造自己的世界，并通过游戏融入其中。它可能是唯一一个鼓励您触摸文物的博物馆。在地下，金库拥有有史以来最珍贵的乐高积木套装。尽管乐高之家是所有年龄和国籍的建造者的朝圣地，但它首先是一个欢迎世界儿童之都比隆市民的公共空间。可攀爬的屋顶和可步行的广场延伸了城镇的公共领域，肯定了乐高对其社区的承诺。
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所属专题
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一个城市可能有教堂、博物馆或市政厅。带有公共项目和公共空间的公共建筑——内外。但是 99% 的城市是我们生活、工作、学习和购物的地方。这些建筑大多是基于将可用总面积用于私人用途的零和游戏。但是，如果每栋建筑都只关心自己，那么这座城市将成为一个缺乏共同点的私人空间的贫瘠之地。要开启我们的城市，我们需要激活 99% 以产生巨大影响，而不仅仅是坚持 1% 的公共地标。
寄生是开辟空间以欢迎公共寄生虫的礼物。主动招揽入侵者。建筑师必须构建的每一个机会都代表着一个机会，可以创建一个比现状更有吸引力、更有吸引力、更适合公众的框架。一种文化机构，在其中心创建一个公共房间或在其中心创建一个公共通道。一个解放地面并打开屋顶形成室外舞台的剧院。乐高的家，地面和屋顶成为公共广场和层叠的游乐场。海上的一个城市街区，像吊桥一样敞开，将船只汇集在里面。沿纵轴和纵轴吸引公众的孵化器。一个城市项目，将整体平台化为由山峰和山谷、洞穴和峡谷组成的立体景观。一个巴黎街区，将城市街区翻了个底朝天。最后，一对米兰式的高楼由悬链线连接在一起，遮蔽了下方的遮蔽广场。
寄生建筑是寄生程序作为受欢迎的共生体的住宿。由于许多过去需要公共空间的活动已经迁移到网上——购物、教育和社交互动——公共领域正在失去物流需求。离开舒适的触摸屏的其余原因是偶然巧合和人际互动的快感。随着建筑物内的程序随着时间的推移而变化和变化，它成为使目的地保持活力的寄生程序。与大街上传统的前门不同，最显眼的地址是内部、下方或上方的空间。主人的房子把慷慨变成了一种生存策略。侵入者成为最终的占有者。A city may have a church, a museum, or a city hall. Public buildings with public programs and public spaces - inside and out. But 99 percent of the city is where we live, work, learn, and shop. Most of these buildings are based on the zero-sum game of using the total available area for their own private purposes. But if every building cared only for itself, the city would become a poor place of private spaces deprived of common ground. To turn our cities on, we need to activate the 99 percent for massive impact and not just stick to the one percent of public landmarks.
Hosting is the gift of carving out space to welcome a public parasite. The active solicitation of trespassers. Every chance an architect has to build represents an opportunity to create a framework that is more inviting, more engaging, more accommodating to the public than the status quo. A cultural institution that creates a public room at its heart - or a public passage at its center. A theater that liberates the ground and opens the roof to form outdoor arenas. A home for LEGO where the ground and roof become public squares and cascading playgrounds. A city block on the sea that opens up like a drawbridge to funnel ships inside. An incubator that draws the public along the longitudinal and vertical axes. An urban project that dissolves the monolithic podium into a voxelated landscape of peaks and valleys, caves and canyons. A Parisian district that turns the citv block inside out and upside down. And finally, a Milanese pair of high rises united by a catenary shading a sheltered plaza underneath.
Hosting architecture is the accommodation of the parasitic program as a welcome symbiote. As many activities that used to require public space have migrated online - shopping, education, and social interaction -the public realm is losing ground from logistical necessity. The remaining reason to leave the comfort of your touch screen is the thrill of casual coincidence and human interaction. As the programs inside the buildings transform and change over time, it becomes the parasitic program that keeps the destination alive. Rather than the traditional front door on Main Street, the most prominent address becomes the space within, underneath, or above. The house that hosts turns generosity into a survival strategy. The trespasser becomes the ultimate occupant.
