原題目：魔鬼魚(yú)的悠游時(shí)光——深圳寶安國(guó)際機(jī)場(chǎng)3號(hào)航站樓

　　項(xiàng)目名稱(chēng)：深圳寶安國(guó)際機(jī)場(chǎng)3號(hào)航站樓照明設(shè)計(jì)

　　建筑單位：Studio Fuksas

　　照明設(shè)計(jì)單位：Speirs + Major Associates, Edinburgh, London

　　主設(shè)計(jì)師：Keith Bradshaw

　　項(xiàng)目地點(diǎn)：中國(guó)廣東深圳

　　項(xiàng)目面積：500,000平方米

　　完工時(shí)間：2013年

　　攝影：Speirs+Major，Lenardo Finotti

　　Project Name: Shenzhen Baoan International Airport

　　Architect: Studio Fuksas

　　Lighting Design: Speirs + Major Associates, Edinburgh, London

　　Principal Designer: Keith Bradshaw

　　Site Location: Shenzhen, Guangdong Province, China

　　Dimensions: 500,000sqm

　　Completion time: 2013

　　Photography:Speirs+Major，Lenardo Finotti

　　飛翔吧!魔鬼魚(yú)

　　Just fly, Manta Ray!

　　2013年投入使用的深圳寶安機(jī)場(chǎng)3航站樓由意大利著名設(shè)計(jì)機(jī)構(gòu)Fuksas操刀設(shè)計(jì)，內(nèi)外雙層蜂窩結(jié)構(gòu)，頂棚遍布六邊形的天窗，通體透白。航站樓的整體結(jié)構(gòu)可以看作一條大約1.5公里長(zhǎng)的隧道，外形看上去如同一座被風(fēng)吹出來(lái)的有機(jī)雕塑。表面輪廓并不是平滑的，而是高低起伏，展現(xiàn)出飛翔在空中應(yīng)有的姿態(tài)。大廳是機(jī)場(chǎng)的關(guān)鍵區(qū)域，共有三個(gè)樓層，分別為出港區(qū)、進(jìn)港區(qū)和服務(wù)區(qū)。

　　The Terminal 3 of Shenzhen Bao’an international airport came into service in 2013 was design by Studio Fuksas, a famous design studio in Italy. The all-white structure has a roof covered by thousands of hexagonal shaped skylights, with the internal and external double “skin” honeycomb motif. 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 profile of the roofing is characterized by variations in height, making a flying pose. 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.

　　建筑師最早的設(shè)計(jì)概念讓人聯(lián)想到深海蝠鲼，也即是我們?cè)诤Ｑ箴^看到的“魔鬼魚(yú)”的形象，這種魚(yú)擁有三角形胸鰭，張開(kāi)時(shí)如飛翔的翅膀，而實(shí)際上它也真的可以飛躍出水面。經(jīng)過(guò)一系列的設(shè)計(jì)修改，慢慢演化成一只“飛鳥(niǎo)”，或者說(shuō)會(huì)飛的魔鬼魚(yú)，象征著美妙航程的開(kāi)始。

　　The original concept of the plan for Terminal 3 of Shenzhen Bao’an international airport evokes the image of a manta ray, a fish we can see from the aquarium, whose triangular pectoral fin swings like wings. In fact, it can leap out of the water. Undergoes variations, it turns into a “bird”, or a volant manta ray, to celebrate the emotion and fantasy of a flight.

　　整體照明思路

　　Lighting Design Concept

　　為了配合建筑外形的創(chuàng)新性，航站樓的室內(nèi)燈光設(shè)計(jì)也是煞費(fèi)苦心，對(duì)往來(lái)旅客感官感受的研究可謂深刻。移動(dòng)與暫停的良好平衡，快速高效的處理能力，最小的步行距離，以及清晰的方向指引，都是構(gòu)成舒適候乘體驗(yàn)的基本要素。由于機(jī)場(chǎng)是24小時(shí)不間斷運(yùn)營(yíng)，照明設(shè)計(jì)需要充分考慮這些要素，并且平衡好自然光與人工光的關(guān)系以求達(dá)到最好的效果。

　　The lighting design of the interior is as carefully considered as the exterior is innovative, reflecting a deep understanding of what the travelers want and how they feel. The balance of movement and pause, speedy processing times, minimal walking distances and clear orientation are all essential elements to a successful and enjoyable passenger experience. With the airport constantly in operation, the design of the lighting required consideration of all these elements over a complete 24-hour cycle, balancing the natural and artificial lighting conditions to best effect.

　　照明設(shè)計(jì)的初始階段，設(shè)計(jì)師就已經(jīng)對(duì)自然光和人工光各自的效果進(jìn)行了仔細(xì)的研究，以平衡不同光線(xiàn)在全天所有時(shí)段的視覺(jué)效果和能耗問(wèn)題。深圳所處的維度較低，全年的自然光線(xiàn)的照射量比較固定，但不同季節(jié)的空氣濕度也會(huì)影響光線(xiàn)的質(zhì)量。因此，T3航站樓的日光傳感器打破了既定的時(shí)間程式，照明選擇更加智能、合理。

　　At the earliest stages of the lighting design process the impression created by natural and artificial lighting was carefully considered, balancing the image and energy use at all times of the day. The latitude of Shenzhen means that the natural light circle is quite consistent throughout the year, but the quality of the light changes with the humidity of the seasons. In this case, daylight sensors override timed programs to select the most suitable lighting “l(fā)ook”.

　　技術(shù)的應(yīng)用、各項(xiàng)數(shù)據(jù)的測(cè)定以及堅(jiān)定有力的設(shè)計(jì)原則和設(shè)計(jì)過(guò)程是設(shè)計(jì)師所必須要考慮的。在整個(gè)項(xiàng)目過(guò)程中，照明設(shè)計(jì)師與建筑師以及當(dāng)?shù)氐氖┕り?duì)保持緊密合作，溝通、完善各個(gè)細(xì)節(jié)，追求照明設(shè)計(jì)與建筑完美融合。3號(hào)航站樓已被公認(rèn)為一個(gè)建筑奇觀，且其照明設(shè)計(jì)也在候乘體驗(yàn)上完美契合了建筑的功能和審美需求。

　　Throughout the project, lighting designers maintained close coordination with the design architect and local delivery teams to develop the details, and to finally achieve a lighting that is fully integrated into the architecture. The T3 certainly ticks the box marked spectacular, while its lighting design also fully fulfils its functional and aesthetic brief to support the passenger experience.

　　雕刻浮游時(shí)光

　　Enjoy the Leisurely Time

　　機(jī)場(chǎng)航站樓大多面積龐大，結(jié)構(gòu)較為復(fù)雜。為了幫助旅客更好地辨識(shí)方向，增加空間的可讀性，設(shè)計(jì)師用高強(qiáng)度的光重點(diǎn)刻畫(huà)主要的方向標(biāo)識(shí)，以及旅客可能停留的地方比如大門(mén)、公共設(shè)施等。候乘區(qū)域則采用更為柔和的光線(xiàn)處理，衛(wèi)生間的燈光設(shè)計(jì)更是給旅客帶來(lái)了奢華的體驗(yàn)，營(yíng)造出整體舒適、親民的候乘和休憩氛圍。

　　Most of terminal are designed into large scale and complicated structure. In order to aid wayfinding and improve legibility of the space, key orientation features, and place where people make stops on their journeys such as the gates and furniture are highlighted with intensities of light. Softer lighting treatments are used at waiting zones, and a luxury experience in the WCs adds comfort to the passenger experience and creates calm spaces to rest on the journey through the airport.

　　在大廳上方屋頂?shù)碾p層表皮的空隙之間安裝燈具，投射出細(xì)碎的燈光，創(chuàng)造出“紙燈籠”的效果，正好與波浪形的建筑形態(tài)融合，在夜間可以同時(shí)提升空間的視覺(jué)高度和寬度。白天，自然光線(xiàn)通過(guò)大廳棚頂?shù)奶齑罢丈溥M(jìn)來(lái)，營(yíng)造出豐富多變的光線(xiàn)層次，與人工照明相互呼應(yīng)，完成了航站樓從白天到黑夜的完美轉(zhuǎn)換。

　　Break up light is created from fixtures concealed in the roof void in line with the undulations in the form. The void is internally lit creating a ‘paper lantern effect’ that both lifts and frames the space at night. In the daytime, the beauty of the variable light levels created on the concourse by the natural light from the skylights has been deliberately echoed in the design of the artificial lighting, smoothing the day to night transition.

　　3號(hào)航站樓的地標(biāo)性特質(zhì)要求燈光在入夜之后要塑造其強(qiáng)烈的個(gè)性和氣質(zhì)。配合建筑師的“魔鬼魚(yú)”外形的設(shè)計(jì)構(gòu)想，在停機(jī)坪的水平位置和建筑的底層，使用了飽滿(mǎn)的暗調(diào)藍(lán)綠色投射燈光，形成建筑漂浮在湖中的視錯(cuò)覺(jué)。這種藍(lán)綠色燈光還被應(yīng)用到登機(jī)橋上，構(gòu)成了飛機(jī)與航站樓之間可視化的緊密聯(lián)系。

　　The iconic nature of the building demanded lighting that would contribute to a strong identity after dark. Considering the “Manta Ray” analogy in the architect’s original concept, lighting designers proposed a saturated wash of pale cyan light at apron level and under the building to create the sensation that the building was floating on a lagoon. The cyan wash is also used on the air bridges, to form a homogeneous visual link between the plane and the terminal.

　　機(jī)場(chǎng)似乎總是繁忙，旅客大多行色匆匆，但在起飛之前或落地以后，你可以看到，航站樓就在那里，不緊不慢。哪怕半夜你坐在飛機(jī)上，疲憊不已，透過(guò)窗子看見(jiàn)悠然浮游的魔鬼魚(yú)，也許也能感受到片刻的安寧。

　　The airport seems to be busy all the time, with travelers who are in a rush. Though before taking off and after landing, you can see the TERMINAL always there for you, without even a move. Someday you might exhaustedly sit in a plane in the midnight, seeing the leisurely floating “Manta Ray” through the windows, wish you enjoy the moment of quiet and peace.