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Qom Central Building of Construction Engineering Organization 位置：伊朗 分类：办公建筑 内容：设计方案 图片：23张 
建筑设计：Partar建筑工作室
建筑面积：614平方米
这是由Partar建筑工作室设计的建筑工程库姆中央大厦。设计始于一个核心问题：探讨可行性和不可行性，构思一种独特的最适合以色列传统建筑空间特性的设计方案。Partar的设计过程基于这个挑战，最终给出了一个有趣的提案，利用波斯艺术和装饰的现象学理解，与传统的波斯建筑工艺，建立建筑艺术和建设技术之间的桥梁。
建筑团队透露，传统建筑结构很少在历史作品中以物理形式完全展现，为了传达其重要性，基于当地炎热干燥的气候,他们决定建设庞大的体量。该项目以开孔来展示建筑的结构，如同身体的肋骨。这种设计方法运用于Bazzar（市场）、Chaarsogh （市场之间）、Timcheh(当地市场)和Gonbadkhaneh （主要的穹顶大厅），体现了典型的波斯空间设置。
波斯建筑被定义为对niyaresh的理解，或者是“对结构的建筑认知”。对于Partar来说，传统拱形图饰和造型的纯形式应用在现代是一种过时的方法，亟待改进。传统建筑中，弓形和半圆仅用于解决两个柱子的跨度，它们不是天然的象征性形状。因此，niyaresh图案和波斯美学不应该被解读为纯形式应用，而是应被看作是融入了当代波斯建筑的结构方法。
该项目的建筑结构包括用一整块混凝土膜组合的混凝土和四个空间框架，以及在西北和东南方向起支撑作用的两面混凝土墙。成套的四个空间框架，转移了对板层的受力，像四个巨大的装饰支柱。而预应力混凝土板则被用来实现楼层的轻薄。
译者： 芳馨·薇瑷
The design for the Qom Central Building of Construction Engineering Organization byPartar Architecture Studio began with “a key question that discussed the feasibility and impossibility of imagining a unique design which best suits the spatial quality of traditional Iranian architecture.” Partar’s design process was based on this challenge, and has led to an interesting proposal that attempts to bridge the art of architecture and the technology of construction using an understanding of the phenomenological aspects of Persian art and ornament, coupled with traditional Persian building techniques.
According to the architects, in order “to convey the significance of traditional architectural structures which are hardly exposed physically in historical works, [they] decided to propose a building as a massive volume due to the hot and dry climate of the region.” This enormous volumetric space “offers apertures which display the structure of the building, just like the ribs of a body.” This method of design represent the settings of typical Persian spaces experienced in the Bazzar (the market), the Chaarsogh (where markets meet), theTimcheh (local market) and the Gonbadkhaneh (main domed hall).
Persian architecture is defined by an understanding of niyaresh, or the “architectural perception of structure.” For Partar, “formic use of traditional arcades and shapes in the contemporary world is an outdated approach which needs to be revised. Arched and vaulted shapes in traditional architecture were only structural solutions for spanning the distance between two pillars – they were not a natural symbolic shape.” Consequently, niyaresh patterns and Persian aesthetics should not be interpreted in a formic approach, but a structural approach which incorporates contemporary Persian architecture.
The building’s structure is “a combination of concrete and four space frames with a holistic concrete membrane” with two “concrete walls located in the north west and south east corners of the building acting as bracing.” “The quadruplet space frames transfer the enormous weight of slabs like four huge columns which also serve as ornaments.” Finally, “pre-stressed concrete slabs are exploited to achieve thinness for the floors.” 
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