In the West, mountains are culturally conceived as prominent platforms where to execute and offer sacrifices to the deities who dwell in the heavens. On the contrary, in the Chinese culture mountains have soul themselves. For China, mountains are not a medium for rituals, but sacred environments of primary importance, which reproduce structure of the cosmos and establish a relation of man and landscape based on mutual interdependence, rather than the one of geometrical domination which is more common in the occidental tradition.
The site of the project is very rich in water, but it topography is very flat. Inspired in the cultural reference explained before, our objective is to provide Qingpu for a new landscape, two systems of artificial mountains, which would become the main iconographic reference in the territory. Our bridges have to save a 50 m wide canal sided by two roads of 21 meters width. Given the scale of the structure, we propose the arch + cable suspension arch as the most suitable solution. In order to simulate the mountains, we decided to rotate the planes of the arches, so it is possible to have a view of their curved profiles from any angle.
Taking advantage of the angle formed by the river and roads with the axis of the bridges, we designed the arches jumping from side to side of the deck. Since their heights are proportional to their spans (50, 70, and 90m), the arches don’t touch each other. The stiffeners thus rotate and generate a series of virtual surfaces of double curvature, which emphasize the dynamism of the structure’s inner space.
More in detail, it is crucial to control the continuity of the arches at the ground level, and the connections with the deck. Because the parabolas are both tangent and intersecting the road depending on their location, the cables vary the location of their anchoring points, sometimes aligned, sometimes set back in relation to the edge of the deck. This effect also accentuates the asymmetry of the bridge, and makes the road to appear more slender, weightless.
Like in jazz, where musicians sophistically improvise over an underlying pattern, the sun plays the strings of this white orchestra of light, and transforms the strict rhythm of the structure into a melody of infinite and surprising affects.
In parallel, the “balanced asymmetry” of the project resembles the profile of the chain of DNA. This is an excellent metaphor of the vitality of the new city
Pedro Pablo Arroyo Alba
Director
CA-DESIGN. Architecture and Urban Planning
在西方，高山被想象为向天神祭祀的平台。然而在中国，山有其灵。对中国而言，山岭较之作为接近天神的阶石，更是的沟通、调解和谐而独立的人与自然的容器。这一思想不同于传统西方具有强烈规则控制的思考方式。
场地上，相比丰富的水纹，两岸地貌显得过于平淡。联想到上文所述山灵的寓意，我们希望在此为青浦城勾勒一道新的景观—两列连绵起伏的山脉。以21m宽的路面一跃过50m宽的河道，同时呼应连绵远山的意境，我们认为几组交叉拱梁的结构形式是尚佳之选。如此也更营造出了“横看成林侧成峰”的视觉景象。
为了呼应并强化路面与河道之间夹角的动态关系，拱梁从桥的一侧跃到另一侧，变化的跨径同时引发了拱高如山脉般的起伏。连接两拱之间风撑形成螺旋双曲面，为桥面空间注入了美妙的动态与活力。
深入到构造节点，最严峻之处在于两拱脚着地处的节点以及拱梁与桥板侧面相切处的节点。由于拱梁与桥板之间有相切，或者相交两种关系，导致所有拉索与桥面锚接点也分为人道内侧与桥板外侧两组。时进时退的拉索为桥内空间演绎了脉脉的音律；为桥外立面素描了忽明忽暗的优雅体态。
在音律中，作曲家通过音符表达情感。在这里，当阳光透过白色的结构，有光与影组成的“管弦乐队”营造出动人氛围。
此外，“非对称的平衡”作为方案主体之一同时呼应了DNA双螺旋结构，以此象征着青浦新城无限的生机。
白德龙
建筑及规划设计总监
文筑国际
