天台伞美国加利福尼亚州卡尔弗市

设计单位：埃里克·欧文·莫斯建筑师事务所

主要顾问：Englekirk and Sabol (结构)，Silver, Roth and Associates(电气)，Fruchtman and Associates (EMP)，Advanced Structures Incorporated (玻璃结构)

项目类型：办公楼

建筑面积：17 000平方呎

时间: 1999年

获奖：2000年洛杉矶城市美化奖；2000年Saflex玻璃设计奖；2000年杜邦本尼迪克图斯夹层玻璃建筑应用创新奖；1999年美国建筑师协会/洛杉矶设计荣誉奖

摄影：汤姆·邦纳

Architect: Eric Owen Moss Architects

Key Consultants: Englekirk and Sabol (Structural), Silver, Roth and Associates(Electrical), Fruchtman and Associates (MEP), Advanced Structures Incorporated (Glass Structural)

Program: Office

Building Area (Square Feet): 17 000sf

Year: 1999

Awards: Los Angeles Urban Beautification Award, 2000; Saflex Glass Design Award, 2000; DuPont Benedictus Award for Innovation in the Architectural Use of Laminated Glass, 2000; AIA/LA Honor Award for Design, 1999

Photography: Tom Bonner

卡尔弗市的两个毗邻的仓库建于20世纪40年代，被重新设计为“绿伞”的实验性演出系列的演出和录音场所，洛杉矶爱乐乐团在此制作音乐十多年。爱乐乐团最终决定留在洛杉矶市中心，乐团的项目也进行了调整，为一家图形和在线媒体设计公司提供办公、制作和后期制作设施。第二项规划保留了可容纳三十位演奏家的露天表演场地——天台伞。按照规划，在露天表演中偶尔会使用到“天台伞”。

场地上现有块状建筑，一幢屋顶带有锯齿形的天窗，另一幢屋顶是由弓弦支撑，基本上保持原样。增加了入口坡道和步行道、出口楼梯。内部有一间大堂、四个宽敞的开间、两个会议中心、多个大型开放式工作空间和20个私人办公室，其中大部分位于新建的二楼。

这两幢建筑室内用途不一样，外部装饰也不尽相同。带弓弦形梁屋顶的棚屋将用于制作间，外部装有光滑搭接的水泥面板。锯齿棚将用于后期制作中心，装饰有波纹水泥板。由于内部的运作，除了沿入口坡道的玻璃、行政办公室外，大楼内几乎没有窗户。

最典型的概念对象是室外圆形剧场，开始的设想是将爱乐乐团的场地插入到带弓弦形梁屋顶建筑的西北角，悬挑在通往大厅和入口坡道的过道上。天台伞是一个表演场地，其坡度由两个原桁架的弯曲顶弦决定，这两个桁架以前支撑着弓弦屋顶，现在从那里拆了出来，上下颠倒后重新用于支撑天台伞的碗型阀座结构。通过修改其结构，这些桁架延伸到了过道处，以支撑悬臂式结构。弓形屋顶的边缘是一根直径14英寸的弯曲钢管，该钢管也用作新“天台伞”的周界切割。管子的自由端——一个从北面伸出，一个从西面伸出，由新的钢桁架支撑，钢桁架的底部呈弧形，配有倒置的重新使用的木制弓弦，这种性状以往并未使用过。阶梯状座位从楼顶边缘向下排布到悬臂边缘，悬臂上有一个小的指挥台。与演奏家就座区相邻的是一个不规则形状的吹制灰泥屋顶，既包围了碗状结构下面的新的会议，又为音乐表演提供了必要的起伏表面。

十七块面板都是独一无二的，相邻边缘的匹配有助于面板的重叠，并由两个不锈钢z形夹支撑，连接到每个重叠面板边缘的管道上。弯曲玻璃伞面的施工是第一次弯曲的夹层玻璃制造和安装成功的工程。

可以从二楼的台面或从下面一楼的楼梯进入天台伞。伞的正下方是一个25英尺高的多媒体会议玻璃房。

Two adjoining warehouses in Culver City, constructed in the 1940’s, were re-designed as a performance and recording venue for an experimental performance series called the Green Umbrella, which has been produced for more than ten years by the Los Angeles Philharmonic Orchestra.The Philharmonic ultimately decided to remain in downtown Los Angeles, and the orchestra program was changed to accommodate office, production,and post production facilities for a graphics and on-line media design firm.The outdoor performance venue, the roof-top “umbrella”, originally designed for to accommodate thirty performing musicians, was retained in the second scheme.The plan is to use the umbrella sporadically for outdoor, performance related events.

The block-like volumes of the existing buildings on the site, one with a saw-tooth sky lit roof, the other with a bow-string supported roof, remain essentially as they were.An entry ramp and walk, and exit stairs are added.The interiors include a lobby, four avid bays, two conference centers, large open work spaces, and twenty private offices, most of which are located on a newly constructed second floor.

The two building exteriors are differentiated both by interior use, and by exterior finishes.The shed with the bowstring roof, to be used for production space, is finished on the outside with smooth, lapped, cement board panels.The saw tooth shed, to be used for postproduction facilities, is finished with corrugated cement board panels.As a consequence of the operational purposes inside, there are few windows in the building, with the exception of the glazed, executive office spaces along the entry ramp.

The defining conceptual object is an outdoor amphitheatre - the originally intended Philharmonic Orchestra venue - inserted into the north-west corner of the existing bow string building, and cantilevering over the entry ramp and walkway to the lobby.The“umbrella” is a performance arena, the slope of which is determined by the curving top chords of two original trusses, once supporting the bowstring roof, now salvaged from the corner demolition, and reused up-side-down to define the bowl seating profile.With steel amendments, these trusses extend over the entry walk to support the cantilevered seating.A fourteen inch diameter curving steel pipe marks the existing roof edge of the bowstring structure, and the perimeter cut for the new “umbrella”.The free ends of that pipe projecting, one from the north elevation, one from the west, are, supported by a new steel truss with a curved bottom, configured with the inverted, reused wood bow-strings as precedents for the shape.The terraced seating steps down the bowl from the edge at the building roof-top to the edge of the cantilever, where a small conductor’s podium is situated.Adjacent to the performers’seating area, within the ring, is an irregularly shaped, blown plaster roof that both encloses a new conference space below the bowl, and provides the requisite undulating acoustic surface for music performance on the roof-top theatre.

构思草图 Sketch

平面图 Plan

Seventeen slumped, laminated, over-lapping glass panels,supported on a frame of steel pipes, provide a double curving, transparent canopy over the musicians’ seating.Each of the seventeen panels is unique, with matching adjacent edges facilitating the panel overlap, and supported by two stainless steel z-clips attached to the pipes at each overlapping panel edge.The construction of the bent glass umbrella roof is the first time curving, laminated glass has been successfully engineered, fabricated, and installed.

Access to the “umbrella” is from a second floor deck, or a stair from the first floor below.Directly under the umbrella is a twenty-five foot high, glass enclosed, multi-media equipped conference space.