12年前新西兰基督城一度遭受地震重创,如今随着伍兹贝格操刀的Te Pae会展中心正式开放,基督城正向其市民和世界展示着这座城市的新生与活力。作为基督城中心城区重建蓝图规划的17个重点项目之一,Te Pae会展中心在城市中心展开了一场宏大的文化叙事。

It’s been twelve years since the city of Christchurch was devastated by a deadly earthquake. With Woods Bagot’s completion of Te Pae Christchurch Convention and Exhibition Centre, the city is showing its people and the world that it continues to rebuild and regenerate. As one of the seventeen anchor projects of the Christchurch Rebuild, Tepae helps established a strong cultural narrative throughout the central city.

▼项目鸟瞰,aerial view ©Dennis Radermacher

项目远见性的设计理念早在2014年就初具雏形,当时伍兹贝格建筑师Bruno Mendes在前往基督城参加项目初期讨论的飞机上灵感现,他在宽阔的Rakaia河上空,抓拍下了独特的辫状河床景观,并由此启发了后续的建筑设计。作为一座公共建筑,Te Pae会展中心为庆祝和反映该地区的多元文化遗产而设计,融入了传统工艺与文化内涵的同时,巧妙地回应了Ngāi Tahu/Ngāi Tuahuriri独特的地域特征。在设计过程中,Mendes和他的团队充分采纳了毛利部落后裔Puamiria Parata-Goodall的建议,将传统部落文化的价值纳入建筑事。”Ngāi Tahu的祖先就埋葬在这片土地上,在城市重建中,新的Ōtautahi(基督城)将Ngāi Tahu和欧洲的历史一并反映了出来,毛利语言、艺术和历史都获得了前所未有的认可和传颂。” Parata-Goodall分享道。她表示:有别于地震发生前,基督城正在进行一场历史与现代的对话。站在Te Pae面前,ParataGoodall会问路人:”你能看到辫状河流吗?你想听听Aoraki的传统和南岛的历史吗?你想了解一下我们的水道和湖泊是如何形成的吗?”而答案就展现在人们的眼前。她解释道: “我的祖先在我们的景观中又找到了自己的存在。”

▼独特的辫状河床景观,distinctive braided riverbed seeded ©Woods Bagot

In a plane flying over the broad Rakaia River on the approach to Christchurch, Woods Bagot architect Bruno Mendes was struck by an idea. It was 2014 and Mendes was travelling to a workshop early in the design of the building. Seizing the opportunity to photograph the distinctive braided riverbed seeded a prescient and crucial design idea. Celebrating and reflecting the region’s multi-cultural heritage, the completed Te Pae holds its own as a piece of civic architecture in the ongoing re-mending of the city. Its design embeds craft, cultural meaning and—critically—a sensitivity to the place of Ngāi Tahu / Ngāi Tuahuriri. Puamiria Parata-Goodall is a descendent of these people and advised Mendes and histeam on the cultural values and narratives in the design process. “The ancestral bones of the Ngāi Tahu people are in this land. Across the rebuilt city, the new Ōtautahi (Christchurch) reflects both its Ngāi Tahu and European history. Māori language, art and stories are recognised and celebrated like they haven’t been before,” Parata-Goodall says. Parata-Goodall says Christchurch is becoming a city of conversations that didn’t happen before the disaster. Standing in front of Te Pae, Parata-Goodall asks a passer-by: “Can you see the braided rivers? Would you like to hear about the tradition of Aoraki and the formation of the South Island, the story of the formation of our waterways and our lakes?” What you see playing out in front of you now, she says, are those narratives. “My ancestors have their voice back again in our landscape.”

▼由河流望向会展中心,view from river ©Dennis Radermacher

▼由桥望向会展中心,view from bridge ©Dennis Radermacher

壮观的Te Pae彻底改写了会展中心的设计规则,极大程度地证明了建筑师兼顾本地与全球的设计理念和设计包容性。有别于传统会展中心的“大盒子”设计,本案建筑规模较小,由一个流动的外墙包裹着。近43,000块外墙砖变幻出五种不同的灰调和纹理,分别编号、放置,形成富有动感的起伏立面,呼应了Canterbury平原广阔的河流景观⸺这正是Mendes在高空惊叹并抓拍到的辫状河床。独特的建筑造型是对新西兰标志性南阿尔卑斯山景观的回应,也是受到Ngāi Tahu起源故事影响的呈现。建筑师将整个建筑面向河流,使公共建筑能够融入城市中心,这也成为基督城打造新城市形象的重大举措。主入口通向Oxford Terrace,游客可以经此轻松进入Te Papa Ōtākaro/Avon River新海滨区域,而这里也成为了一个全新的市民活动空间。

▼模型示意,sketch ©Woods Bagot

▼经过编号的砖,numbered bricks ©Woods Bagot

In a testament to the architects’ local/global design nous and inclusivity, the spectacular Te Pae rewrites the rule book for convention centres, several times over. Unlike conventional convention centres, which tend to be a generic ‘big box’, the building is smaller in scale and wrapped in a fluid façade. Nearly 43,000 façade tiles—in five variations, individually numbered and placed—evoke the expansive river landscapes that formed the Canterbury Plains, and which spoke arrestingly to Mendes in the air that day. The contoured profile of the building reflects New Zealand’s iconic Southern Alps, another influence in the design central to the Ngāi Tahu origin story. Opting to integrate the facility into the city centre, the architects also turned it to face towards the river—a genius move for Christchurch’s new urban sensibility. The main entrance opens to Oxford Terrace and Avon River, giving visitors easy access to the new waterfront of the Te Papa Ōtākaro /Avon River Precinct and creating a space for civic events.

▼建筑面向河流,the building faces towards the river ©Dennis Radermacher

▼流动的外墙,fluid facade ©Dennis Radermacher

▼独特的造型,contoured profile ©Dennis Radermacher

▼外观细部,detail ©Dennis Radermacher

在尽量减少建筑体量的影响下,全新设计的Te Pae会展中心可同时容纳2,000名代表出席各种国内、国际活动,包括了一个1,400座的礼堂、一个3,600平方米的展厅和能够俯瞰Victoria广场的1,600平方米的会议室空间。”大盒子 “会展中心具有的所有功能Te Pae也一样拥有,并且把这些功能集中设置到场地中央,这样的设计能够充分释放建筑边沿空间,使建筑外墙更具流动性,同时也让访客能够观赏到Ōtākaro Avon河和周围大教堂广场的美秒景色。很多传统会展中心给人的感觉就像小型机场,长长的走廊,没有自然光,挤满了标识、屏幕和访客。Te Pae则不同,大部分人区域和通道都视野通透,充满自然光,让人们仿佛置身满含生命力的户外空间。

While minimising the impact of the building’s mass, Te Pae’s design makes it capable of hosting up to 2,000 delegates at a time for a variety of national and international events and includes a 1,400-delegate auditorium, a 3,600-square-metre exhibition hall and 1,600-square-metres of meeting rooms overlooking the nearby Victoria Square. All the ‘big box’ functionality is drawn into the centre of the site. Pulling these requirements away from the building’s edges allow it to be wrapped by the flowing façade and pre function spaces which have fantastic views out to the Ōtākaro Avon River and all around to Cathedral Square. Many convention centres look and feel like small airports – long corridors, devoid of natural light, crammed with signs, screens and people. Te Pae is different. Most of the people movement happens in areas that seem almost organic. The pathways are full of natural light and look out to all sides.

▼入口,entrance ©Dennis Radermacher

▼接待,reception ©Dennis Radermacher

▼礼堂,auditorium ©Dennis Radermacher

传统会展中心也常常缺少与周边景观的互动,缺乏宽容度。而在Te Pae,伍兹贝格的建筑师们对场地特征做了细致的考量。Mendes分享说,实现Te Pae与城市细微空间节点的无缝融合是至关重要的,因为对来访的各地代表们来说,Te Pae是基督城活力的体现,也是他们对这座城市的第一印象。”我们通过一系列借景、造景手法引导游客的视线:从功能室望向大教堂广场;向Victoria广场开放入口;建筑体量向河边倾斜等,使建筑与周边环境紧密相关,也让访客与这座城市紧密联系起来。这是项目的独特之处,也成为基督城独一无二的城市风景。”在Warren and Mahoney合伙人Peter Marshall看来,Te Pae是基督城急需的公共资产,它让这座城市更具识别性。”我们很自豪,与Ōtākaro, Matapopore Trust和伍兹贝格一起,为基督城人民创造了这样一个世界级的场所。”他说道,“游客一经抵达,就能够亲身感受到这片土地上发生的故事,获得温暖好客的美好体验。”

Conventions centres are also regularly unresponsive and unforgiving to their place. Here, the architects approached the design with particular sensitivity to site. Mendes says stitching Te Pae into the various nuances of the city is vastly important, for local vitality and the delegates attending events, many for whom Te Pae will offer their first experience of Christchurch. “From inside, framed views out curate the site for you. Views from the function room back to Cathedral Square; the opening out onto Victoria Square; the leaning toward the river—these were very specific moves to make the building engage strongly with what’s around it.” “I think that’s what’s special about the project,” says Mendes. “You’re connected to Christchurch and it couldn’t be anywhere else.” Warren and Mahoney principal Peter Marshall says the facility is a much-needed asset for the city, that reflects the identity of its place. “We feel very proud to have partnered with Ōtākaro, Matapopore Trust and Woods Bagot on this world-class facility for the people of Christchurch,” says Marshall. “Upon arrival, visitors are greeted with a warm and welcoming experience through the unique storyline that links people and place.”

▼立面图,elevations ©Woods Bagot

项目:Te Pae基督城会展中心
地址:基督城, 新西兰
竣工日期:2021
建筑设计:伍兹贝格 与 Warren + Mahoney
摄影:Dennis Radermacher

Architecture: Woods Bagot with Warren + Mahoney
Location: Christchurch, New Zealand
Client: Ōtākaro
Completion: 2021
Photography: Dennis Radermacher

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