法院广场出版社

法院广场出版社
The Court Square Press

Landworks工作室：法院广场新闻大楼建于1900年，是波士顿Fort Point海峡区边缘的一座印刷厂，该地区历史上用于制造和运输。该场地本身是在二十世纪早期的一系列填土作业中修建的，在这些作业中，该航道被改造成了铁路堆场。Court Square Press最初标志着波士顿码头公司仓库开发的最南端，现在是Fort Point海峡激活计划的南锚，该计划是波士顿重建局的一项开放空间总体规划。
Landworks Studio: The Court Square Press building was built in 1900 as a printing press on the edge of Boston’s Fort Point Channel district, an area historically used for manufacturing and shipping. The site itself was created during a series of early twentieth century fill operations in which the channel was transformed into rail yards. Originally marking the southernmost reaches of the Boston Wharf Company warehouse development, Court Square Press is now the southern anchor of the Fort Point Channel Activation Plan, an open space master plan by the Boston Redevelopment Authority.

The Court Square Press

今天，法院广场新闻大楼坐落在马萨诸塞州南波士顿百老汇T车站附近的一个迅速贵族化的街区。Landworks Studio与John Cunningham Architects合作，负责将19500平方米的工业建筑改造为住宅公寓。以前，周围地区的特点是不透水的沥青停车场、铺满鹅卵石的土地以及废弃铁路和船厂的残余物。该建筑的建筑翻新揭示了剩余空间，并激发了开发商在该建筑六层中央空地内创造城市绿洲的愿景。该空间不仅需要容纳各种规模的集会空间，还必须提供符合ADA的出口通道，并为地面单元提供充足的照明和屏蔽。
Today, the Court Square Press Building stands in a rapidly gentrifying neighborhood near the Broadway T Station in South Boston, Massachusetts. Landworks Studio, in collaboration with John Cunningham Architects, was tasked with transforming the 19,500 m2 industrial building into residential condominiums. Formerly, the surrounding area was characterized by impervious asphalt parking lots, cobble-strewn tracts, and remnants from abandoned railroad and shipping yards. The building’s architectural renovation revealed leftover space and inspired the developer with a vision for creating an urban oasis within the building’s six-story central void. This space not only needed to contain spaces for gatherings of various sizes, but also had to provide an ADA-compliant egress path with adequate lighting and screening for the ground level units.

为了满足这些要求，Landworks Studio将其设计集中在一个概念上，即从零散的视图中可以产生一个具有凝聚力的多用途景观。在这个特殊的案例中，碎片化的景观是15米x 61米庭院的狭窄和深度的产物，再加上厚砖混结构的小穿孔窗户限制了进入空间的视觉通道。由于空间的狭窄和高度的极限，花园被想象成一个垂直的过滤器。由于每个住宅都提供了独特的庭院景观，因此路径、长凳和植物的不同形状体现了碎片化，从每个窗户创造出独特的场景。在空间内，经过仔细校准的材料调色板培养了视觉和空间多样性，以与庭院的巨大围墙竞争。庭院包含有机到惰性成分、粗糙到精细的纹理以及从明暗到暗的价值观，庭院由明亮的元素、起伏的地面、浮动的甲板和综合的植物组成，这些植物与花园的每一层相结合，为游客创造独特的时刻。这些离散的景观元素内在地结合成一个充满活力的花园，当一个人在空间中移动时，其零散的景观形成一个统一的整体。
In response to these requirements, Landworks Studio centered its design on the notion that a cohesive, multipurpose landscape can emerge from fragmented views. In this particular case, the fragmented view is a product of the narrowness and deepness that characterize the 15 m x 61 m courtyard, in combination with the limited visual access into the space that results from the thick brick-and-mortar structure’s small punched windows. Because of the narrowness of the space and the extremity of its height, the garden was envisioned as a vertical filter. Since each of the residences offers a distinct view of the courtyard, the variable figuration of path, benches, and plantings embody fragmentation to create a unique scene from each window. Within the space, a carefully calibrated material palette cultivates visual and spatial diversity to compete with the enormity of the courtyard’s enclosure. Encompassing organic to inert ingredients, coarse to fine textures, and light to dark values, the courtyard is populated by lighted elements, undulating ground planes, a floating deck, and integrated plantings that engage each layer of the garden and create unique moments for visitors. These discrete landscape elements coalesce viscerally into a dynamic garden whose fragmented views emerge into a unified whole as one moves through the space.

庭院设计的剧烈变化也有利于为底层住宅提供一定程度的隐私。而在较低的水平，使用密集的地面覆盖物，如百合花和边缘盾蕨、发光的长凳和地形起伏，会产生变化和交替，这些材料的密度和层次也限制了庭院中的人们与底层单元的距离，并模糊了庭院中各个单元之间的视野——这一特征只会随着竹子的成熟而增加。从上面看，密集、不对称的层给每个单元的所有者一种感觉，即他正在审视自己的私人花园，从而微妙地提高了物业价值，有助于提高场所感，并进一步提升了大型城市景观中半公共室外空间的无缝价值。
The intense variability of the courtyard’s design also has the benefit of providing a measure of privacy to the ground floor residences. While at lower levels, the use of dense ground covers such as Lilyturf and Marginal Shield Fern, lighted benches, and topographic undulation creates variation and alternation, the density and layering of these materials also limits how close people in the courtyard can come to the ground floor units and obscures the view from unit to unit across the courtyard—a feature that will only increase as the bamboo matures. When seen from above, the dense, asymmetrical layers give each unit’s owner the sense that he is looking over his own private garden—thus subtly enhancing property value, contributing to a greater sense of place, and furthering the seamless value of semi-public outdoor spaces within a larger urban landscape.

由于花园被概念化为一组支离破碎的视图，因此照明策略应避免任何构图或图形完整性的感觉。这座建筑巨大的砖墙被一个不间断的六层网格窗户穿透，将环境光引入花园。在夜间和黑暗的冬季下午，庭院的照明策略旨在与相邻住宅直接对话：由于庭院的东/西方向，间接阳光从规则化的玻璃图案反射，照亮庭院地板。这些反射的梯形光线暂时显露出花园的轮廓，并清晰地勾勒出人行道交替的木材和金属表面。
Because the garden is conceptualized as a collection of fragmented views, it follows that the lighting strategy should avoid any sense of compositional or figural completeness. The building’s massive brick wall is perforated by an unrelenting six-story grid of windows that introduce ambient light into the garden. At nighttime and on dark winter afternoons, the courtyard’s lighting strategy is intended to be in direct dialogue with the adjacent residences: because of the courtyard’s east/west orientation, indirect sunlight reflects off the regularized glazing pattern and illuminates the courtyard floor. These reflected trapezoids of light temporarily reveal the garden’s contours and articulate the walkway’s alternating wood and metal surface.

庭院的人工照明通过发光的Lexan长椅将光线解读为一个连续的表面，这与道路沿线的木板、钢面板和种植区域形成了鲜明的对比。这些带灯光的长凳，再加上头顶的灯光，也给道路的之字形增添了节奏，它们的图案暗示着花园微妙的竹子图案的电子版本，从而将自然和人工层编织在一起。在其他地方，竹子的主题变得生动起来，黄色的树丛和裸鞘竹子创造了主要的树冠纹理，而黄色的光纤和拉紧的钢缆交织在一起，在竹子的背景和前面的长凳之间提供了视觉连续性。这些光纤线路悬浮在地面和建筑物檐口之间，将彩色光线投射到成熟的竹子树冠上。因此，高层居民虽然无法欣赏地面景观，但仍能体验到灯光、不锈钢电缆和竹枝之间零碎的视觉游戏。白天，有图案的结构网系统和竹子在硬景观上投射出有趣的线条和阴影。到了晚上，竹网结构后退，茂密的灯光在竹林中形成一个漂浮的系统。
The courtyard’s artificial lighting interprets light as a continuous surface—through luminous Lexan benches that bring the wood panels, steel decking and planted areas along the path into stark contrast. These lighted benches, in combination with overhead lighting, also give rhythm to the path’s zigzags, their patterns suggesting an electronic version of the garden’s subtle bamboo motif, thus weaving together natural and artificial layers. Elsewhere, the bamboo motif comes alive, with Yellow Grove and Nude Sheath bamboos creating the primary canopy textures, while an intermingled web of suspended yellow fiber optics and taut steel cables provide visual continuity between the backdrop of bamboo and the foregrounded benches. These fiber optic lines levitate between the ground and the building’s cornice, casting colored light into the maturing bamboo canopy. As a result, residents at the upper levels, while deprived of ground level views, still experience the fragmented visual play between light, stainless steel cables, and bamboo branches. By day, the patterned structural web system and bamboo casts an interesting complex of lines and shadows onto the hardscape. By night, the web-structure recedes and the thicket of lights emerges as a floating system within the grove of bamboo.

从社会角度来看，空间中物体的不对称配置产生了有趣的各种运动和一系列聚集空间。超大和旋转的长凳与建筑围护结构和起伏的地平面形成不对称关系，创造了各种聚集空间。庭院的甲板区域由灯光照射的长凳构成，根据脚下的材料，为不同类型的使用提供了微妙的线索：Ipe木质或铝制甲板。然而，这些空间保持灵活，以适应一天结束后到晚上空间的变化特征，因为不同的邻居和游客占据相同的空间，扩大了社区感。就像篝火旁的露营者一样，人们聚集在点燃的长椅旁交谈、讲故事，并在照亮的竹林中徘徊。
From a social standpoint, the asymmetrical disposition of objects in the space generates an interesting variety of movements and a range of gathering spaces. Oversized and rotated benches create asymmetrical relationships with both the building envelope and the undulating ground plane, creating various gathering spaces. Framed by the lighted benches, the courtyard’s deck areas give subtle cues to different types of usage based on the material underfoot: either Ipe wood or aluminum decking. These spaces remain flexible, however, to accommodate the changing character of the space at the end of the day and into the evening, as various neighbors and visitors occupy the same space, amplifying the sense of community. Much like campers around a bonfire, people gather around the lighted benches to converse, tell stories, and linger in the illuminated bamboo forest.

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奖项：2009年BSLA优秀奖，2006年ASLA卓越设计奖
Landscape Architecture: Landworks Studio
Client: Pappas Enterprises
Status: Completed 2005
Location: South Boston, Massachusetts, USA
Project Size: 350 m2 (3786 ft2)
Architect: John Cunningham Architects, Inc. (Building), Office dA (Lobby)
Awards: 2009 BSLA Merit Award, 2006 ASLA Design Excellence Award