業(yè)主：嘉里地產(chǎn)

項(xiàng)目規(guī)模/高度：36萬(wàn)平方米/260米

類(lèi)型：市政+文化、酒店、綜合用途、辦公、商業(yè)

合作設(shè)計(jì)單位：Wong & Ouyang（合作建筑設(shè)計(jì)顧問(wèn)）、Benoy（商業(yè)設(shè)計(jì)顧問(wèn)）、Hirsch/Bedner （室內(nèi)設(shè)計(jì)單位）

攝影：Shen Zhonghai (p43, 44, 45), Tim Franco (p44)

Client: Kerry Properties

Size / Height: 360,000 SM / 260 M

Program: Civic + Cultural, Hospitality, Mixed-Use, Office, Retail

Team: Wong & Ouyang (Associate Architect), Benoy (Retail Consultant),Hirsch/Bedner (Interior Designer)

Photography: Shen Zhonghai (p43, 44, 45), Tim Franco (p44)

在上海靜安區(qū)密集的城市肌理中，這個(gè)綜合用途項(xiàng)目使用了富于變化的鋁網(wǎng)格，形成一個(gè)精巧的的外立面，并將復(fù)雜的玻璃、金屬和石材飾面整合成統(tǒng)一的詞匯。

本項(xiàng)目位于南京西路，與城市豐富的城市文脈相融合?；貎?nèi)包含一座保存完好的房子，毛澤東主席曾于20世紀(jì)20年代居住在這里；這鼓勵(lì)設(shè)計(jì)團(tuán)隊(duì)采用細(xì)致的體量策略，打造與獨(dú)棟歷史建筑相協(xié)調(diào)的滲透型體量。KPF隨后設(shè)計(jì)出一個(gè)網(wǎng)格系統(tǒng)，一些鋁元素直接貼覆在玻璃幕墻上，一些則漂浮于玻璃幕墻上方。體量大小和網(wǎng)格類(lèi)型相結(jié)合，加上三種玻璃顏色，構(gòu)成了充滿(mǎn)活力的建筑語(yǔ)言，體現(xiàn)了城市街道的體驗(yàn)。例如，最高的體量采用最精細(xì)的網(wǎng)格和最輕的玻璃，而最矮的體量則采用浮動(dòng)的金屬網(wǎng)格和最暗的玻璃。當(dāng)采用石灰華或赤陶土?xí)r，網(wǎng)格呈現(xiàn)出內(nèi)凹的細(xì)節(jié)表達(dá)。這些細(xì)節(jié)變化也展示了靜安嘉里中心的功能變化，確保任一組成片段均包含了全部細(xì)節(jié)和肌理。

所有這些立面元素都投射在屋頂線(xiàn)上，形成了戲劇性的、雕塑般的皇冠，在夜空中像燈籠一樣閃光。其他重要的元素則縫合了這種城市肌理，比如，與周?chē)腥顺叨冉⑦B續(xù)性的露天走道，以及一系列與建筑群的標(biāo)志性特征相呼應(yīng)的花園。

Within the dense grain of Shanghai’s Jing An District, this mixed-use project employs varying grids of aIuminum that form an articuIated exoskeIeton and estabIish a unified vocabuIary across the compIex’s gIass, metaI, and stone finishes.

Establishing its presence on the Nanjing Xi Lu, the development integrates with the rich urban context of the city. Its site contains a preserved house where Mao Zedong lived in the 1920s,which encouraged the design team to devise a careful massing strategy of individual, permeable volumes that aligned with the historic fabric. KPF then formulated a system of grid families, with some aluminium elements affixed directly to their glass curtain walls and some floating just above.The combination of massing sizes and grid types, joined by three glass colors, comprises a vibrant architectural language that embodies the city street experience. For example, the tallest volumes boast the finest grid and lightest glass, while the shortest volumes display floating metal grids and the darkest glass. When travertine or terracotta is introduced, the grid assumes a negative expression. These scalar changes also denote program variations within Jing An Kerry Centre,ensuring that any compositional shot comprises the full range of details and textures.

All together, these facade elements project above the roof lines, forming dramatic, sculptural crowns illuminated as lanterns in the evening sky. Other crucial elements sew this urban fabric, such as open-air walkways that evoke a sense of continuity with the surrounding pedestrian scale and a range of gardens that echoes the signature character of the complex.