業(yè)主：Hines, SL Green

規(guī)模/高度：16.26萬(wàn)平方米/421米（預(yù)計(jì)高度）

類型：辦公、交通

合作設(shè)計(jì)單位：Studio Christine Jetten（設(shè)計(jì)顧問(wèn)）

攝影：Raimund Koch (p19), Martin Tang (p19)

Client: Hines, SL Green

Size / Height: 162,600 SM / 421 M (projected height)

Program: Office, Transportation

Team: Studio Christine Jetten (Design Consultant)

Photography: Raimund Koch (p19), Martin Tang (p19)

該超高層塔樓的凹槽狀陶土層間結(jié)構(gòu)與附近標(biāo)志性的中央車站瓷磚立面交相呼應(yīng)。

作為定義城市天際線的三座尖塔之一，范德比爾特大道一號(hào)塔樓沿用了克萊斯勒大廈和帝國(guó)大廈等紐約市著名建筑的分層語(yǔ)言。在建筑底部運(yùn)用一系列斜角切割組織通往中央車站的視野，露出了范德比爾特大道拐角處車站華麗的屋檐，改變了近一個(gè)世紀(jì)以來(lái)一直被遮擋的視野。為了與鄰近、歷史悠久的車站建筑色調(diào)相呼應(yīng)，范德比爾特大道一號(hào)的設(shè)計(jì)團(tuán)隊(duì)針對(duì)大堂天花和層間結(jié)構(gòu)選用了陶土 ，一種類似于中央車站磚石結(jié)構(gòu)的天然材料。

在五年的時(shí)間里，設(shè)計(jì)團(tuán)隊(duì)與Studio Christine Jetten密切合作，創(chuàng)造了一種與周邊環(huán)境相協(xié)調(diào)并且具有現(xiàn)代感的釉面。作為一種活性材料，不同批次的陶土具有差異，這對(duì)確定范德比爾特大道一號(hào)的合適飾面提出了重大挑戰(zhàn)。塔樓中可以接受多少種不同的色調(diào)需要平衡設(shè)計(jì)團(tuán)隊(duì)和項(xiàng)目利益相關(guān)各方的觀點(diǎn)。這就需要針對(duì)多種形狀和釉面建造一系列視覺(jué)樣板，并在真實(shí)環(huán)境中進(jìn)行現(xiàn)場(chǎng)測(cè)試，以找到與車站大廳和曼哈頓其他歷史悠久建筑暖色調(diào)相呼應(yīng)的設(shè)計(jì)。由于陶土材料的重量和易碎性，將陶土用作建筑材料帶來(lái)了巨大挑戰(zhàn)。為了緩解這些問(wèn)題，項(xiàng)目團(tuán)隊(duì)格外注意懸掛面板的牢固性并設(shè)計(jì)了一個(gè)保護(hù)性金屬框架，將每塊面板包裹起來(lái)，以防止在施工過(guò)程中發(fā)生損壞。

范德比爾特大道一號(hào)整座大樓通高采用陶土面板，外形呈柔和的凹勺輪廓，并呈現(xiàn)出珍珠般具有光澤的色調(diào)。整體視覺(jué)上具有高度的一致性，范德比爾特大道一號(hào)將成為紐約市的新地標(biāo)。

The supertall tower’s fluted terracotta spandrels echo the tiles of its iconic landmarked neighbor, Grand Central Terminal.

Following the layered architectural language of neighboring New York City icons, One Vanderbilt will join the Chrysler Building and Empire State Building as one of three point towers to define the city’s renowned skyline. At its base, a series of angled cuts organize a visual procession to neighboring Grand Central Terminal, revealing the Vanderbilt Avenue corner of the terminal’s magnificent cornice – a view that has been obstructed for nearly a century. In acknowledgement of the building’s historic neighbor, the One Vanderbilt design team chose terracotta – a natural material akin to Grand Central’s masonry construction– for the building’s lobby ceiling and spandrels, echoing the color palette of the nearby station.

Over the course of five years, the design team collaborated closely with Studio Christine Jetten to create a glaze that is contextual in nature yet modern enough to stand on its own. As a live material, terracotta exhibits variations in each batch, posing a significant challenge in determining an appropriate finish for its use on One Vanderbilt. A balance had to be struck between how much variety of tone was acceptable to include on the building, taking into account the views of the design team and project stakeholders. This required a series of mockups, field tested in real world conditions, which combined a number of shapes and glazes to create a design sympathetic to the warm tones of the train hall and other historic Manhattan buildings. Working with terracotta as an architectural material also posed challenges due to its weight and fragility. To mitigate these concerns, the team took extra care to securely hang the panels and developed a protective metal frame which carefully encloses each panel in order to prevent damage during construction.

Upon completion, One Vanderbilt’s terracotta panels, rising the full height of the supertall building, will be shaped as gentle scoops and rendered in a luminescent pearl tone. Taken as a whole, they present a visual uniformity that will establish One Vanderbilt as a new landmark in New York City.

80m