斯諾赫塔事務所發(fā)布了他們的細節(jié)競爭條目的前海灣，一個新的里程碑深圳。比賽沒有選出總冠軍，Sn?hetta 與藤本壯介的浮塔設計并列第二。Sn?hetta 的方案名為“Lunar”，其靈感來自于數(shù)據(jù)概念以及地標應該屬于某個時間還是某個地點的問題。

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對于該方案的設計，Sn?hetta 反思了地標的核心作用，詢問這樣的結構是否應該體現(xiàn)它所在的土地，或者它建造的時代。“地標是其背景的產(chǎn)物，是其時代技術的體現(xiàn)，”該團隊說?！暗貥藰酥局耐恋?，也標志著它的時代?！?/span>

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團隊借鑒埃菲爾鐵塔和中世紀大教堂等歷史先例，指出地標應該反映當時的技術。正如埃菲爾鐵塔通過鋼結構的創(chuàng)新使用成為法國工業(yè)實力的象征一樣，設計團隊試圖將類似的思維過程帶到數(shù)據(jù)時代的深圳。

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Sn?hetta 的概念基于深圳的開拓性特征，這座城市在歷史上一直被用作中國與更廣闊世界之間的主要接口。反思深圳的航海歷史和技術未來，設計團隊將“月球”視為“一艘向世界傳輸數(shù)據(jù)、為世界傳輸數(shù)據(jù)的船只的殘余”。

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引用中古僧人永嘉真覺的一句名言：“一月多水；所有的水月都反映了一個月亮，”該團隊表示，“大灣區(qū)乃至全國的數(shù)據(jù)都會通過一個月亮——月球來反映?！?/span>

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在功能上，Sn?hetta 的設計將凹形公共舞臺向海濱傾斜，周圍環(huán)繞著浮動走道和咖啡館庭院。在地標與深圳海洋博物館和輪渡碼頭之間，有一片廣闊的綠地，設有人工濕地露臺、紅樹林公園和觀鳥臺。

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Sn?hetta 的設計與我們上個月報道的藤本壯介的天空島塔一起獲得了第二名。藤本的提議高達 268 米（879 英尺），由 99 座獨立的塔樓組成，看起來像一個面向海濱的建筑。

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這兩家知名公司最近還加入了許多其他公司，公布了深圳的擬議開發(fā)項目。5 月，MVRDV 的可持續(xù)綜合用途深圳露臺 開工建設，? SANAA 公布 了深圳海事博物館的圖片，? Grimshaw 公布了他們? 為深圳國際機場和交通樞紐設計的以芒果樹為靈感的設計。

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扎哈·哈迪德建筑事務所 還公布了中國大都市最近的兩個項目：他們? 在深圳灣超級總部基地贏得競賽的 C 座，以及他們的 深圳科技館。同時，該團隊最近入選深圳自然博物館的設計 ；包括 3XN、? B+H和竹博設計。?

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英文版

Sn?hetta has released details of their competition entry for a new landmark at Qianhai Bay, Shenzhen. No overall winner was chosen for the competition, with Sn?hetta sharing second place with Sou Fujimoto’s floating tower design. Sn?hetta’s scheme, titled “Lunar,” is inspired by the concept of data, and the question of whether a landmark should belong to a time or a place.

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For the scheme’s design, Sn?hetta reflected on the core role of a landmark, asking if such a structure should embody the land in which it sits, or the era in which it was built. “A landmark is a product of its context, a manifestation of the technology of its time,” says the team. “A landmark marks its land, and also marks its era.”

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Evoking historical precedents such as the Eiffel Tower and Medieval cathedrals, the team notes that a landmark should reflect the technology of its time. Just as the Eiffel Tower became a symbol of France’s industrial prowess through an innovative use of steel construction, the design team sought to bring a similar thought process to Shenzhen in the era of data.

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Sn?hetta based their concept on the pioneering character of Shenzhen, a city which has historically been used as a primary interface between China and the wider world. Reflecting on both the maritime past and technological future of Shenzhen, the design team sees “Lunar” as “the remnants of a vessel that transmits data to the world, for the world.”

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Referencing a quote from the medieval monk Yongjia Zhenjue that “One moon is reflected in many waters; all the water-moons reflect the one moon,” the team say that “The data of the Greater Bay Area and even the whole country will be reflected through the one moon – lunar.”

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Functionally, Sn?hetta’s design sees the concave public arena tilting towards the waterfront, surrounded by a floating walkway and a café courtyard. Between the landmark and Shenzhen’s Ocean Museum and Ferry Terminal, a vast parkland features a constructed wetland terrace, a mangrove park, and a bird watching platform.

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Sn?hetta’s design was awarded second place alongside Sou Fujimoto’s Sky Island tower, which we reported on last month. Reaching 268 meters (879 feet) in height, Fujimoto’s proposal consists of 99 individual towers grouped to appear as one structure looking onto the waterfront.

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The two high-profile firms have been joined by many others recently unveiling proposed developments in Shenzhen. In May, MVRDV’s sustainable, mixed-use Shenzhen Terraces began construction, SANAA unveiled images of their Shenzhen Maritime Museum, and Grimshaw unveiled their mango tree-inspired design for Shenzhen’s international airport and transport hub.

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Zaha Hadid Architects have also unveiled two recent projects for the Chinese megacity: their competition-winning Tower C at the Shenzhen Bay Super Headquarters Base, and their Shenzhen Science and Technology Museum. Meanwhile, the team was recently selected for the design of Shenzhen’s Natural History Museum; comprising 3XN, B+H, and Zhubo Design.?

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