建筑設(shè)計(jì)：斯蒂文霍爾建筑師事務(wù)所

皇后區(qū)獵人角社區(qū)圖書(shū)館位于東河沿岸的重要地段，占地約2044m2，背后是一棟棟拔地而起的高層公寓樓。作為公共建筑和市民公園，圖書(shū)館為長(zhǎng)島市河濱地區(qū)提供了面向社區(qū)的公共空間。

近來(lái)，公共圖書(shū)館和本就短缺的社交空間愈有并入高檔住宅樓的趨勢(shì)，獨(dú)自矗立的獵人角圖書(shū)館是對(duì)這一趨勢(shì)的抵制。在約2973m2的場(chǎng)地上，建筑占地面積極少，意圖在最大限度為當(dāng)?shù)厣鐓^(qū)提供綠地空間的同時(shí)，使之成為充滿活力的河濱市民公園不可或缺的組成部分。

垂直結(jié)構(gòu)以全新的方式重構(gòu)了傳統(tǒng)圖書(shū)館的空間模式，從而營(yíng)造出從閱覽區(qū)到活動(dòng)區(qū)等多種不同空間。除作為立面之外，鋁涂層混凝土外殼還取代幕墻和柱子作為建筑的承重結(jié)構(gòu)。立面上有鏤空開(kāi)口，在展示室內(nèi)人群活動(dòng)的同時(shí)，勾勒出曼哈頓天際線的廣闊視野。

從東立面的窗口可以看出，圖書(shū)館分為兒童區(qū)、青少年區(qū)和成人區(qū)。每個(gè)區(qū)域各有一個(gè)立面窗口與之對(duì)應(yīng)，但空間整體是流動(dòng)的。室內(nèi)空間面向社區(qū)開(kāi)放，并用暖色的竹子營(yíng)造出對(duì)各個(gè)年齡段的人都具有吸引力的社交空間。此外，透過(guò)各面的玻璃窗，自然光的射入更為室內(nèi)空間增添了幾分生機(jī)與活力。

沿開(kāi)放樓梯向上，與書(shū)架毗鄰處布置有數(shù)字工作站，由此實(shí)現(xiàn)了電子書(shū)和紙質(zhì)書(shū)的結(jié)合。藏書(shū)空間之下的底層禮堂為公眾會(huì)議和活動(dòng)提供了空間。各夾層之間有樓梯相連，以此聯(lián)系不同閱覽區(qū)。在樓梯盡端，設(shè)有屋頂閱覽平臺(tái)。極目遠(yuǎn)眺，城市及東河景觀盡收眼底。

為使建筑節(jié)能高效，且盡可能多地為場(chǎng)地留出公共綠地空間，建筑平面布局緊湊，但剖面上是開(kāi)放且流動(dòng)的。在圖書(shū)館東入口處，建筑師還設(shè)計(jì)了一個(gè)閱覽花園?；▓@與低矮的公園辦公亭毗鄰，連接處植以銀杏。

晚間，河濱的獵人角圖書(shū)館光彩奪目，與百事可樂(lè)廣告牌、廢棄龍門(mén)架上的“長(zhǎng)島”標(biāo)志一道，成為這一新興社區(qū)空間的燈塔。（王惠 譯）

1 鳥(niǎo)瞰/Aerial view

Located on a prominent site along the East River, against the backdrop of rapidly built skyscraper condominiums, the 2044 m2(22,000-square-foot) Queens Public Library at Hunters Point stands as a public building and public park, bringing community-devoted space to the Long Island City waterfront.

Resisting recent trends of incorporating public libraries and much-needed social space within high-end residential towers, the Hunters Point Library stands independently, rising with a minimal footprint on its 2973 m2(32,000-squarefoot) site to offer maximum surrounding green space to the local community and becoming an integrated part of the vibrant public park that lines the river's edge.

The vertical structure reimagines the traditional library model, providing diversity of spaces from intimate reading areas to active gathering spaces.The building's aluminium-painted concrete shell is not just a fa?ade but a load-bearing structure, which omits curtain walls and columns. Sculpted cuts are carved out of the fa?ade, showing the movement of people within and framing expansive views of the Manhattan skyline.

The programme's separation into children's area, teen area and adult area can be read in the sculpted cuts of the east fa?ade of the building, one fa?ade opening for each area; yet the programmatic divisions are fluid. Inside, warm bamboo creates an inviting social space, open to the community and offering engaging spaces for all ages. Natural light enters through the large windows from all sides,animating the space.

The digital and the book are merged through the bookshelves and adjacent digital workstations that flow upward along a series of open stairs. A groundlevel auditorium under the main section provides public meeting and events space. The stairs switch back from mezzanine to mezzanine, connecting reading areas and concluding in a rooftop reading terrace with views of the city and the river.

While the plan is compact, the building section of the new library is open and flowing to allow for the most energy-efficient design and the greatest amount of public green space on the site. On the east entrance side, the library faces a reading garden bordered by a low park office pavilion with a bosque of ginkgo trees.

At night the glowing presence of the Hunters Point Library along the waterfront joins the Pepsi sign and the "Long Island" sign at the old Gantry to become a beacon for this new community place.

項(xiàng)目信息/Credits and Data

客戶/Client: 皇后區(qū)公共圖書(shū)館，紐約市設(shè)計(jì)和建設(shè)部/Queens Public Library, New York City Department of Design and Construction

建筑設(shè)計(jì)/Architects: Steven Holl, Chris McVoy, Olaf Schmidt, Filipe Taboada, Suk Lee, Bell Ying Yi Cai, Rychiee Espinosa, JongSeo Lee, Maki Matsubayashi, Michael Rusch,Dominik Sigg, Yasmin Vobis, Jeanne Wellinger (Steven Holl Architects)

景觀設(shè)計(jì)/Landscape Architects: Michael Van Valkenburgh and Associates

結(jié)構(gòu)工程/Structural Engineers: Silman

機(jī)電工程/MEP Engineers: ICOR Associates

照明設(shè)計(jì)/Lighting Design: L'Observatoire International綠建顧問(wèn)/LEED Consultant: ADS Engineers

土木工程/Civil Engineers: Langan Engineering & Environmental Services

消防技術(shù)顧問(wèn)/Fire Technical Consultant: Rolf Jensen & Assoc.成本估算/Cost Estimator: Davis Langdon

規(guī)格定制/Speci fications: Construction Speci fications Inc.氣候工程/Climate Engineers: Transsolar

建筑面積/Building Area: 2044 m2(22,000 ft2)

建筑結(jié)構(gòu)/Structure: 現(xiàn)澆混凝土外層，鋼架混凝土地板/Cast in place concrete shell with steel framed floors,concrete on metal deck

施工時(shí)間/Construction Period: 2015.05-2019.09

水彩繪制/Watercolours: Courtesy of Steven Holl

攝影/Photos: Iwan Baan

2 外景/Exterior view

3 夜景/Night view

Q: 獵人角社區(qū)圖書(shū)館不僅僅是圖書(shū)館，你們是如何在這個(gè)建筑中拓展“圖書(shū)館”的概念的？

A: 我們的想法是把建筑的所有功能都?jí)嚎s到一個(gè)非常簡(jiǎn)單的體量里面，把周圍的景觀全部釋放出來(lái)，為東邊的住宅區(qū)創(chuàng)造一個(gè)公共廣場(chǎng)，同時(shí)也形成西邊的州立公園龍門(mén)廣場(chǎng)的一個(gè)端點(diǎn)。所以這是一個(gè)關(guān)于“壓縮”項(xiàng)目，也是一個(gè)關(guān)于景觀和公共空間塑造的項(xiàng)目。

項(xiàng)目的場(chǎng)地不是很大，大約3000m2，而建筑面積約為2000m2。對(duì)于這個(gè)比較小的場(chǎng)地而言，項(xiàng)目的容積率是很大的。但是，通過(guò)功能的垂直堆疊和相互交錯(cuò)，我們能夠盡可能地提供最大的室外公共空間。在建筑內(nèi)部，不同功能之間雖然相互堆疊、交錯(cuò)、混合，它們之間有相對(duì)明確的分區(qū)，同時(shí)又能讓人們能夠有所選擇地從一個(gè)功能區(qū)進(jìn)入另一個(gè)功能區(qū)。所以建筑中的功能是流動(dòng)的，有時(shí)逐次排布，有時(shí)又相互交錯(cuò)。

Q: 建筑內(nèi)部包含了密集的開(kāi)放和圍合空間，你們是如何處理流線、會(huì)議空間、休閑空間和沉思空間的？

A: 這是我們事務(wù)所的一個(gè)絕妙想法：把交通空間向外推到立面，并據(jù)此對(duì)立面進(jìn)行鏤刻。你可以從立面上看到這種動(dòng)態(tài)感。因此，交通空間位于建筑的邊緣，而功能空間被置于中心。斯蒂文·霍爾在方案早期就明確了這樣一個(gè)清晰的定義。在他很早的一張草圖中，就把交通空間放在建筑的外圍，從而將樓層的大部分空間留給各種功能活動(dòng)。因此圖書(shū)館中不會(huì)出現(xiàn)太多封閉的小空間，大部分空間都是開(kāi)放的，用于閱讀和學(xué)習(xí)。圖書(shū)館里只有一個(gè)禮堂，它比較像一個(gè)會(huì)議室，位于圖書(shū)館成人閱讀區(qū)大臺(tái)階的最低幾步臺(tái)階之下。那就算是整個(gè)建筑中唯一一個(gè)比較封閉的空間了，但它也是與中庭相連的。禮堂空間的有趣之處在于，它就像是成人閱讀空間的反面，因?yàn)樗『镁驮跇前逯隆？梢哉f(shuō)它是閱讀空間的“負(fù)形”。我覺(jué)得這一點(diǎn)非常巧妙。

Q: 這樣一個(gè)小尺度的圖書(shū)館坐落在巨大尺度的高層公寓之中，建筑和環(huán)境的關(guān)系是怎樣的？

A: 我覺(jué)得霍爾在周圍環(huán)境中找到的靈感在于，在被高大的住宅群包圍的環(huán)境中，圖書(shū)館應(yīng)該成為一個(gè)在公共空間中提供公共功能的范例。我認(rèn)為圖書(shū)館的形式本身就是標(biāo)志性的。建筑的立面語(yǔ)言及鋁制表皮令它極具標(biāo)志性，建筑不需要很大也能很容易被看到。標(biāo)志性建筑不一定要體量很大。另一個(gè)有意思的事情是，當(dāng)你觀察長(zhǎng)島一側(cè)的東河河岸時(shí)，會(huì)發(fā)現(xiàn)幾個(gè)地標(biāo)。有趣的是，其中一個(gè)地標(biāo)是一個(gè)百事可樂(lè)的廣告牌，而它正是紐約的象征。那個(gè)廣告牌一直在那里，或許我可以查查它立在那里多久了，我想可能已經(jīng)好幾十年了。那個(gè)廣告牌就是一個(gè)長(zhǎng)島河岸上的另一個(gè)重要元素，它并不大，卻極具標(biāo)志性。

Q: 我們都知道空間性是斯蒂文·霍爾關(guān)注的焦點(diǎn)，在這個(gè)項(xiàng)目中對(duì)空間的實(shí)驗(yàn)性體現(xiàn)在哪里？哪些因素決定了空間的品質(zhì)？

A: 這類較小的項(xiàng)目讓我們公司，尤其是斯蒂文·霍爾有機(jī)會(huì)真正設(shè)計(jì)出空間的品質(zhì)和體驗(yàn)。我認(rèn)為對(duì)品質(zhì)與體驗(yàn)的考量在這個(gè)項(xiàng)目中是至關(guān)重要的，因?yàn)檎麄€(gè)建筑都是關(guān)于功能之間的融合，人們?cè)诮ㄖ腥绾我苿?dòng)、向上行走，建筑與周圍環(huán)境的關(guān)系，以及建筑與河對(duì)岸的曼哈頓“立面”的關(guān)系。我們?cè)诩~約的辦公室里做了幾個(gè)比例模型，來(lái)幫助我們理解內(nèi)部空間的關(guān)系，空間之中的流線，以及建筑外立面上對(duì)景曼哈頓的幾個(gè)開(kāi)口的幾何形式。這個(gè)項(xiàng)目算是一個(gè)教科書(shū)式的案例，我們可以真正地深入研究所有的細(xì)節(jié)。

Q: 項(xiàng)目建成后收獲了哪些令你驚訝或印象深刻的評(píng)價(jià)嗎？使用者的反饋是否達(dá)到了你們的預(yù)期？

A: 我主要通過(guò)媒體，以及我們團(tuán)隊(duì)成員的口中聽(tīng)到一些外界的評(píng)價(jià)。我個(gè)人的感受是，在進(jìn)去之前，沒(méi)有人真正知道建筑的內(nèi)部是什么樣的。所有人都從外面看這座建筑，但大家并不知道進(jìn)去之后是什么感受。光從外面看，很難知道這樣一個(gè)看起來(lái)十分簡(jiǎn)潔的形式的內(nèi)部竟然包含了非常流動(dòng)、有趣的空間。所以我覺(jué)得很多人進(jìn)入圖書(shū)館，并在里面行走的時(shí)候，都會(huì)有點(diǎn)“哇”的感覺(jué)。這就是人們使用一座建筑的高光點(diǎn)。（母卓爾 譯）

8 水彩/Watercolours

9 水彩/Watercolours

10 水彩/Watercolours

Q: Hunters Point Library is about much more than books. What was your "extended library" concept for the building?

A: The idea was to compress the actual building, all the functions, inside a very simple volume, and free up all the landscape around it in order to provide a public plaza to the residential community to the east, but also providing an end to the Gantry Park of the Garden State Park on the west side. So it's a project about compression. And it's a project about landscape and public space formation.

The site is not very big. It's about 3000 square metres. And the project size is about 2000 square metres. You could say it's a very large FAR for that smaller site. But the idea of stacking the functions together vertically and also interlocking them side by side makes sure that we had the greatest public space formation outside. Now inside the building, having these functions that are stacking,interlocking, and mixing, allowed for both clear separation of functions, but also people to go from one to the other in a way that we can relate one or another. So it's fluid. One function follows or falls into the other function.

Q: The inner building contains a dense program of open spaces and niches. How did you deal with allowing both for circulation, meetings, retreat and contemplation?

A: That was a brilliant design of our office in a way that pushed the circulation towards the fa?ade.That's how the fa?ade is sort of carved. You see the movement of it. So the circulation is on the edges,and the programme functions are in the centre. So that was a very clear definition that Steven decided from very early on. His one of the first sketches wanted to put the circulation on the outer side of the building, freeing out the entire floor plate mostly for these spaces to work together. Now there are not too many small, enclosed spaces. Most of them are open spaces for reading and for study. There's only one auditorium which is sort of a meeting room auditorium which actually happens underneath one of the very first steps of the adults' section of the library. So that is the only space that is somewhat enclosed, but it's also connected to the atrium. The interesting thing about that space is that it's sort of the negative of the adults' reading area because it happens right under the slab. It's a counter-volume of the space. It's pretty clever I thought.

Q: The small scale of the library stands out in the middle of giant high-rises. How does the architecture relate to the context?

A: I think Steven found inspiration in the context by being an example of public function in a public space against these large, tall residential communities.And I think the form itself is so iconic. The fa?ade language, the silver coating of it is so iconic that you don't need to be large to be seen. You don't need to be large to be iconic. The interesting thing also,if you look at that side of the East River, along the Long Island City, there are a few landmarks there. I mean you may find it funny, but there's a Pepsi Cola sign which is emblematic of New York. It's always been there. I can probably research how long it's been there. It's been there for decades. This became sort of another element of the coast of Long Island City that became very emblematic without being very large.

Q: As known, spatiality is usually what Mr. Steven Holl concerns the most. In this project, how will you de fine its experiment of space? What plays the important role in maintaining the spatial quality?

A: These smaller projects afford us as a firm and Steven in particular the opportunity to really design the quality and the experience of having the space.I think those parameters are critical in this project because all of it is about how functions merge from one to the other, how you move around the building,up in the building, how you relate to the immediate landscape, but also how you relate to the fa?ade,which is Manhattan across the river. There were several scale models that we built in our New York office. To understand the relationship of interior spaces, the circulation within the space itself, but also the geometry of the fa?ade openings that we know were related to Manhattan. That was sort of the textbook example of a project in which we can really get in there and do all the details.

Q: After its completion, is there any comment you received makes you feel surprised or impressive?Does users' feedback meet your expectation?

A: I've heard through the media, and comments from our team members in New York. My personal impression was that nobody really knew what happened inside the building. Everybody saw the building from outside, but nobody knew what it meant to be inside. And how a seemingly simple form can hold very fluid, interesting spaces inside.So I think a lot of people are sort of "Wow" when they get inside and they start moving around the building. That's been the highlight of people using it now.

11 內(nèi)景/Interior view

評(píng)委評(píng)語(yǔ)

謝爾蓋·卓班：這座位于紐約皇后區(qū)的公共圖書(shū)館，設(shè)有兒童、青少年和成人閱讀區(qū)，一個(gè)會(huì)議室和一個(gè)露天劇場(chǎng)。圖書(shū)館坐落在高端住宅塔樓中間，創(chuàng)造了一個(gè)小尺度的雕塑般的構(gòu)筑物，與大尺度的城市之間形成美學(xué)與社會(huì)的反差。在其內(nèi)部，圖書(shū)館緊密地排布著明亮的開(kāi)放空間以及用于沉思的壁龕。室外，圖書(shū)館周圍出現(xiàn)了一個(gè)社區(qū)的聚會(huì)場(chǎng)所。獵人角社區(qū)圖書(shū)館不僅作為對(duì)照為天際線增添了另一個(gè)維度和新的亮點(diǎn)，也為公共生活增添了重要的鄰里功能。（龐凌波 譯）

李存東：這是一個(gè)小型社區(qū)圖書(shū)館，但它在城市中扮演了很重要的角色。內(nèi)部交通組織沿外墻展開(kāi)，使空間具有流動(dòng)性和開(kāi)放性，也使內(nèi)向的建筑功能具有了外向的立面氣質(zhì)，為小型建筑成為城市地標(biāo)提供了可能性。集中緊湊的體量將有限的室外空間最大可能貢獻(xiàn)給社區(qū)，反映出對(duì)周邊景觀和市民活動(dòng)的關(guān)注。從城市層面看，這座小建筑具有獨(dú)特的立面開(kāi)口和白色形態(tài)，在高樓林立的環(huán)境中具有非常清晰的辨識(shí)度，對(duì)濱河公園乃至整體城市風(fēng)貌都具有十分積極的意義。

12 內(nèi)部日景/Interior day views

13 內(nèi)部日景/Interior day views

14 內(nèi)景示意/Watercolour of interior view

15 廣場(chǎng)/Plaza

Jury Statement

Sergei Tchoban: This public library in Queens, New York, features areas for children, teens and adults,a conference room and an outdoor amphitheatre.Set in the middle of high-end residential towers, the library creates a small-scale sculptural structure as an aesthetic and social counterpoint to the largescale city. Inside, the library is densely arranged with bright open spaces as well as niches for contemplation.Outside, around the library a meeting place for the community has emerged. Hunters Point Library adds not only another dimensionality and a new highlight as a contrast to the skyline, but also an important neighbourhood function for public life.

LI Cundong: Although it is a small community library, it plays a very important role in the city. The internal circulation unfolds along the fa?ade, not only giving the space mobility and openness, but also giving the inward-looking function an outwardlooking fa?ade, making the small building possible to become a landmark of the city. The intensive and compact volume contributes the maximum possible amount of outdoor space to the community, re flecting a concern for the surrounding landscape and people's activity. On an urban level, the small building with its distinctive fa?ade openings and white form is very recognisable in its high-rise surroundings and has a very positive impact on the riverfront park and the overall cityscape. (Translated by PANG Lingbo)