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        哈德遜廣場(chǎng)10號(hào)與30號(hào)美國(guó)紐約州紐約市

        2019-01-05 07:51:00MichaelMoran,PamelaPasco,SeanZaccheo
        世界建筑導(dǎo)報(bào) 2018年6期
        關(guān)鍵詞:裙樓哈德遜高線

        業(yè)主:瑞聯(lián)集團(tuán)與牛津地產(chǎn)集團(tuán)

        項(xiàng)目規(guī)模/高度:15.9萬(wàn)平方米/272米(哈德遜廣場(chǎng)10號(hào));26.29萬(wàn)平方米/395米(哈德遜廣場(chǎng)30號(hào))

        類型:總部大廈

        合作設(shè)計(jì)單位:UAP(鋁制造商)

        攝影:Michael Moran (p64, 66, 67), Pamela Pasco (p64),Sean Zaccheo (p64), Martin Tang (p66)

        Client: Related Companies & Oxford Properties

        Size / Height: 159,000 SM / 272 M (10 Hudson Yards);262,915 SM / 395 M (30 Hudson Yards)

        Program: Headquarters

        Team: UAP (Aluminum Fabricator)

        Photography: Michael Moran (p64, 66, 67),Pamela Pasco (p64), Sean Zaccheo (p64), Martin Tang (p66 - axon)

        彩釉玻璃的組合從哈德遜廣場(chǎng)10號(hào)與30號(hào)大樓最高處向下延伸至它們與高線公園的交界處。后者啟發(fā)了我們使用豐富的天然材質(zhì)以便為兩棟大樓打造引人注目的入口。

        10號(hào)樓與30號(hào)樓位于紐約市哈德遜廣場(chǎng)東區(qū),與曼哈頓西區(qū)主流的類型建筑直接相連。設(shè)計(jì)團(tuán)隊(duì)受街區(qū)現(xiàn)狀與未來發(fā)展趨勢(shì)的啟發(fā),采用數(shù)字科技及傳統(tǒng)的制造方法來表現(xiàn)大樓所用材質(zhì)。傳統(tǒng)建筑材料(包括雕刻石材、木材和金屬)在打造引人注目的建筑入口的同時(shí),還保持大樓與城市周邊環(huán)境之間一定程度的親密聯(lián)系。

        哈德遜廣場(chǎng)10號(hào)樓大堂內(nèi)采用鑄鋁,喚起人們有關(guān)高線公園的產(chǎn)業(yè)記憶。KPF與當(dāng)?shù)刂圃旃ぷ魇襏AP合作,通過采用各種模具、飾面處理和澆筑工藝設(shè)計(jì)出五種紋理圖案。這些圖案還用于哈德遜廣場(chǎng)30號(hào)樓鑄銅板中。它們都需要進(jìn)行單獨(dú)的測(cè)試以達(dá)到優(yōu)選顏色及光澤效果。此外,還采用其他材料(譬如石灰華大理石和弧形木板)以為大堂營(yíng)造優(yōu)雅色調(diào)。這些設(shè)計(jì)決策反映了業(yè)主對(duì)哈德遜廣場(chǎng)30號(hào)樓的期望,即各種配套設(shè)施及令人驚嘆的觀景平臺(tái)營(yíng)造的優(yōu)雅的氛圍。一座商業(yè)裙樓坐落在哈德遜廣場(chǎng)10號(hào)樓與30號(hào)樓之間,設(shè)有商店與餐廳。商業(yè)裙樓采用穿孔不銹鋼幕墻外包。這也需要穩(wěn)健的設(shè)計(jì)與制造工藝。KPF設(shè)計(jì)團(tuán)隊(duì)采用Grasshopper腳本,探索建筑表面各種類型的面板切割模式與分布,然后將較大的薄板壓花、打孔、切割成所需面板尺寸,并最后彎曲成堅(jiān)固的形狀以形成扇形輪廓。這種精致程度再次展現(xiàn)哈德遜廣場(chǎng)商店和餐廳致力于打造的設(shè)計(jì)和體驗(yàn)品質(zhì)。由著名美國(guó)藝術(shù)家兼設(shè)計(jì)師James Carpenter安裝的一個(gè)景觀墻與其相得益彰。

        A composition of fritted glass extends from the supertall height of 10 and 30 Hudson Yards down to their juncture with the High Line, the latter inspiring the rich, natural materials of both buildings’ dramatic entrances.

        Anchoring the east side of New York’s Hudson Yards, buildings 10 and 30 link directly to the prevailing typology of Manhattan’s West Side. Inspired by the neighborhood’s context and its future, the design team approached the towers’ material expression through the lenses of digital technology and oldworld fabrication. Traditional building materials including sculpted stone, wood, and metal compose dramatic entrances to the towers while maintaining a level of familiarity with their urban surroundings.The cast aluminum within the lobby of 10 Hudson Yards evokes the High Line’s industrial character.KPF worked with UAP, a local fabrication studio, to devise five textured patterns through varied molds, finishes, and pouring techniques. These patterns were also repurposed for 30 Hudson Yards as cast bronze panels, which required a separate testing process to achieve the preferred color and patina effect. Here other materials, such as travertine marble and curved wood panels, contribute to the lobby’s elegant palettes. These design decisions channel the client’s desire for 30 Hudson Yards to foster a polished atmosphere with amenities and a breathtaking observation deck.

        Between 10 and 30 Hudson Yards a retail podium – The Shops and Restaurants at Hudson Yards –is wrapped in a perforated, stainless steel facade which also required a robust design and fabrication process. The KPF team employed a Grasshopper script, exploring punctuation patterns and the distribution of the panel types across the building’s surface. The larger sheets were then embossed,perforated, cut to their panel sizes, and, finally, bent on a sturdy form to create their scalloped profile.This level of finesse reiterates The Shops and Restaurants at Hudson Yards’ commitment to quality of design and experience, complemented by the installation of a feature wall by celebrated American artist and designer, James Carpenter.

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