深圳寶安國(guó)際機(jī)場(chǎng)3號(hào)航站樓

地點(diǎn)：中國(guó)深圳市寶安區(qū)

時(shí)間：2008年-2013年 （國(guó)際設(shè)計(jì)競(jìng)賽獲勝方案）

面積：500,000 平方米

業(yè)主：深圳機(jī)場(chǎng)（集團(tuán)）有限公司

建筑師：馬希米亞諾?福克薩斯，多麗安娜?福克薩斯

攝影：?Archivio Fuksas

SITE: Bao’an District, Shenzhen, Guangdong, China

PERIOD: International competition won 2008 – 2013

AREA: 500,000 sq.m.

CLIENT: Shenzhen Airport (Group) Co., Ltd.

ARCHITECTS: Massimiliano and Doriana Fuksas

PHOTOS: ?Archivio Fuksas

深圳寶安國(guó)際機(jī)場(chǎng)3號(hào)航站樓的設(shè)計(jì)概念能讓人聯(lián)想到蝠鲼的形象，這種魚(yú)能呼吸和改變自己的形狀，設(shè)計(jì)經(jīng)過(guò)一系列改變，最后變成了一只鳥(niǎo)，象征著從這里開(kāi)始將有一段美妙的航程。

3號(hào)航站樓的結(jié)構(gòu)是一條大約1.5公里長(zhǎng)的隧道，它的形狀看上去似乎是被風(fēng)吹成的，很像一件有機(jī)形狀的雕塑。屋面輪廓的特點(diǎn)是高度不斷變化，與周?chē)淖匀痪坝^相呼應(yīng)。

設(shè)計(jì)的象征性元素是包裹著建筑的內(nèi)外雙層“表皮”上的蜂巢主題結(jié)構(gòu)。這兩層“表皮”可以讓自然光照射進(jìn)來(lái)，從而在室內(nèi)空間中創(chuàng)造明亮的效果。覆層由蜂窩形狀的金屬板和可以部分開(kāi)啟的大小不同的玻璃板組成。

乘客通過(guò)巨大的“尾巴”下方的入口進(jìn)入航站樓。寬敞的航站樓空間內(nèi)最大的特點(diǎn)是采用了圓錐形的白色支撐柱，它們向上延伸，一直接觸到屋面，就好像大教堂的內(nèi)部結(jié)構(gòu)。一樓的航站樓廣場(chǎng)通往行李托運(yùn)處、出港區(qū)、進(jìn)港區(qū)以及咖啡館、餐廳、辦公室和商務(wù)設(shè)施。出港廳設(shè)有辦理登機(jī)手續(xù)的柜臺(tái)、航空公司信息臺(tái)和幾個(gè)咨詢臺(tái)。出港廳兩層和三層高度的空間在室內(nèi)空間的不同樓層之間建立起了視覺(jué)聯(lián)系，為自然光創(chuàng)造了一條通道。登機(jī)辦理結(jié)束后，國(guó)內(nèi)外的乘客就可以分別到不同的樓層尋找自己的登機(jī)口了。

大廳是機(jī)場(chǎng)的關(guān)鍵區(qū)域，共有三個(gè)樓層。每個(gè)樓層都設(shè)有三個(gè)不同的區(qū)域，分別為出港區(qū)、進(jìn)港區(qū)和服務(wù)區(qū)。大廳管狀的形狀采用了運(yùn)動(dòng)的概念。“交叉點(diǎn)”是大廳三個(gè)樓層與通高的空間垂直相連的連接處，通高的空間允許自然光從最高處照射下來(lái)，經(jīng)過(guò)過(guò)濾，照射到一層連接處的候機(jī)廳。

蜂窩主題結(jié)構(gòu)也被轉(zhuǎn)移和復(fù)制到了室內(nèi)設(shè)計(jì)中。盒子狀的店鋪面對(duì)面設(shè)置，以更大的規(guī)模再現(xiàn)了蜂窩設(shè)計(jì)，并以不同的連接方式出現(xiàn)在大廳中。

室內(nèi)設(shè)計(jì)由福克薩斯事務(wù)所負(fù)責(zé)，包括上網(wǎng)區(qū)、辦理登記手續(xù)區(qū)、安檢口、登機(jī)口和護(hù)照檢查區(qū)。室內(nèi)設(shè)計(jì)有著嚴(yán)謹(jǐn)?shù)妮喞讳P鋼飾面反射并強(qiáng)化了室內(nèi)“表皮”的蜂窩主題結(jié)構(gòu)。

一座已完工的雕塑品——具有獨(dú)特風(fēng)格的白色大樹(shù)——可進(jìn)行航站樓和大廳內(nèi)的空氣流通，它們復(fù)制了無(wú)定形的設(shè)計(jì)，靈感來(lái)自于大自然。行李認(rèn)領(lǐng)處和信息臺(tái)也采用了這樣的設(shè)計(jì)風(fēng)格。

The concept of the plan for Terminal 3 of Shenzen Bao’an international airport evokes the image of a manta ray, a fish that breathes and changes its own shape, undergoes variations, turns into a bird to celebrate the emotion and fantasy of a flight.

The structure of T3 - an approximately 1,5-km-long tunnel – seems to be modeled by the wind and is reminiscent of the image of an organic-shaped sculpture. The pro file of the roo fing is characterized by variations in height alluding to the natural landscape.

The symbolic element of the plan is the internal and external double “skin” honeycomb motif that wraps up the structure. Through its double-layering, the “skin” allows natural light in, thus creating light effects within the internal spaces. The cladding is made of alveolus-shaped metal and glass panels of different size that can be partially opened.

The passengers accede to the terminal from the entrance situated under the large T3 “tail”. The wide terminal bay is characterized by white conical supporting columns rising up to touch the roo fing like the inside of a cathedral. On the ground floor, the terminal square allows access to the luggage,departures and arrivals areas as well as coffee houses and restaurants, offices and business facilities. The departures room houses the check-in desks, the airlines info-points and several helpdesks. The double and triple height spaces of the departures room establish a visual connection between the internal levels and create a passage for natural light. After checking in, the national and international passengers’ flows spread out vertically for departures.

The concourse is the airport key-area and is made up of three levels. Each level is dedicated to three independent functions: departures, arrivals and services. Its tubular shape chases the idea of motion.The “cross” is the intersection point where the 3 levels of the concourse are vertically connected to create full-height voids which allow natural light to filter from the highest level down to the waiting room set in the node on level 0.

The honeycomb motifis transferred and replicated on the interior design.

Shop boxes, facing one another, reproduce the alveolus design on a larger scale and recur in different articulations along the concourse.

The interiors designed by Fuksas – placed in the internet-point, check-in, security-check, gates and passport-check areas – have a sober pro file and a stainless steel finish that re fl ects and multiplies the honeycomb motif of the internal “skin”

Sculpture–shaped objects - big stylised white trees - have been designed for air conditioning all along the terminal and the concourse, replicating the planning of amorphous forms inspired by nature. This is also the case for the baggage-claim and info-point “islands”.