光大国际中心

　　设计时间/Design：2004

　　建成时间/Completion：2007

　　建筑面积/Building area：120 000㎡

　　建筑设计并不是主观性地无限发挥，也不是偶发性的某种巧合，它是解决问题的一个过程。设计的结果是面对场所特征、使用功能、商业动态提出解决问题的答案。在这个解决矛盾的过程中，伴随着客观条件限制下的必然性寻求。光大国际中心的建筑形态融合于简洁手法和复杂关系的统一体中，以一种还原的态度，执着于传统文化信息的表达，用“记忆”的建筑语言，重新建立一种新秩序。北京城的几何对称性导致城市意象的对称性，以中轴线为对称轴的城市认知图像，如东四、西四；东单、西单；东直门、西直门的客观存在。光大国际中心作为北京城中重要的场所，试图通过城市认知图像的对称性恢复京城应有的规律。光大国际中心作为城市节点的重要建筑，落在两条道路的“开端”和“终结”处，并聚焦十字路口。它的这种双重性一方面体现在平安大街的传统文脉；另一方面体现在金融街国际化的水准。这种双重气质的融贯成为此时此地的地标建筑。源于场所分析和形态解析，光大国际中心的独特性有别于塔式高层建筑的表现而形成卓而不凡的品质。坚持批判“表皮主义”的同时，为如此体量、身高的建筑寻求一种修正式的表皮，在综合考虑尺度、边界、对位的基础上，希望超越所谓建筑的遮蔽体而成为有意义的界面。整体性体现在三栋高层建筑与京剧院在功能上的独立和形态上的有机统一，而达到和而不同的境界。它不仅表现在单体形象完整，群体形象完美，更主要的是相互因借而形成的“场力”，这种新秩序，首先在存在于面对城市所形成的完整界面关系和外向性仪典格局中，同时体现在三者对话关系中，“背景”对“角色”的互补效应。通过一种引人思索的抽象手法去探究隐含在中国传统表面之后的“存在”，应用律动变化的图案组合希望记录和谱写更多的恒久，并以怀旧式态度，借用博古架的结构秩序承载几分厚重。

Architectural design is not an infnite elaboration of subjectivity, neither is it an accidental coincidence, but is rather a process of solving problems. The result of a design is to give solutions to a building’s site features, function, and commercial trends. Such process is also a logical pursuit under objective conditions. The building form of Everbright World Center presents both simplicity in design and intricacy in relationship. It is focused on presenting traditional culture in design and building a new style by recalling architectural features through memories.

The symmetrical image of Beijing is a result of the geometric symmetrical features of the city. The Chinese capital’s distinct images, such as Dongsi and Xisi, Dongdan and Xidan, Dongzhimen and Xizhimen, are symmetrical to the central axis of Beijing. Everbright World Center, as a significant venue in the city, tries to restore and continue the proper pattern by putting an emphasis on the symmetrical image of Beijing.

Everbright World Center is a distinguished-looking building in the city. It is located at the beginning and end of two roads, and is facing an intersection. Its duality, on the one hand, inherits the traditional features of Ping’an Street, and on the other, shows the international level of Financial Street. Such duplicity makes it a unique landmark building in this area in the 21st century.

The uniqueness of Everbright World Center is different from skyscrapers; it has its own outstanding qualities and features. The building tries to create a new style of surface for a building with such massive volume and height while contrasting against the “surface phenomenon” of modern buildings. By taking dimension, boundary and location into full consideration, the design makes this building into a piece of meaningful art rather than simply a place of shelter.

The center is an integrated one because its three high-rise buildings that create a harmonious and distinct atmosphere in its independent functions and uniform shapes, quite different from the Beijing Opera Museum facing it. Everbright World Center has a complete image for single buildings and a complex as a whole. More important, the two images serve as a foil to each other.

The design explores the cultural existence hiding behind Chinese traditions by using an abstract artistic method. It tries to create an everlasting piece of art by dynamics and changing pattern combinations, and it inherits the rich traditional culture by means of the “curio shelf” surface style.