3Deluxe事务所将考纳斯历史建筑群旁边的一个闲置空间改造为新的公共设施。在这里，人们可以休闲地在阳光下喝杯咖啡，或进行户外活动，孩子们也可以在这里戏水、滑冰……新的广场为城市注入了新的活力，同时满足了年轻一代人的交流需求。

建筑和立面 | The buildings and façades

建筑团队试图创建一场令人兴奋的“合奏”，通过不同类型的建筑来诠释城市经历过的不同时期。广场转角处的建筑致敬了立陶宛的装饰艺术风潮。圆润而有机的玻璃幕墙搭配着具有延伸感的外墙，以优雅、简洁而流畅的造型在广场上展示出迷人的特质。

位于中央的新体量反映了城市的包豪斯传统，同时与当代设计形成清晰的关联——这也是对1960年代初期盛行的国际风格的一种回应。重新设计的外立面拥有明显的立体设计语言以及清晰的线条，体现了世纪中期现代主义对波罗的海地区产生的美学影响。

广场 | The square

为了改造这一历史悠久的广场，3deluxe提出设置2个不同的层级，将整个场地的表面变成一个由明确线条构成的网络。第一个层级是线性的，它构成了具有历史特征的背景，其设计主要依附于既有的视觉和运动轴线。另一个层级是有机且流动的，呼应了人群自然的移动方式。这样的结构不仅塑造了路径，还自然地生成了一系列功能各异的岛屿：日光浴草坪、滑冰公园、秩序井然的组合式喷泉以及用于举办活动的现代化场地。

另外一个新增的部分位于转角建筑对面，是一个现代化的露天剧场，在有需要时，其正前方可以配备巨大的LED屏幕供路人观看。

此外，广场上还加入了多种可移动的元素，包括可以由公众自行种植的园景亭子、餐车、移动座椅和临时舞台等。新的广场将城市中的人们聚集在一起，为他们创造了新的活动机会和更有质量的生活。

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Technical sheet
Title of project: V-Plaza – Urban Development
Discipline: Rebirth Project – Urban Development
Developer: SBA Group
Location: Vienybės aikštė, 44029, Kaunas
Start of planning: first quarter of 2015
Construction period: November 2017 – March 2020
Completion: May 2020
Plaza: 15 400 m2
Parking: 15 826 m2
Buildings: 16 862 m2
Cost: 40 Million Euro
photo credit：Norbert Tukaj

hyperlane超线公园项目考虑到了所有用户的使用舒适性，安全性，可达性和空间尺度，以及能够为社区居民的带来真正的价值，致力于为城市环境做出贡献。

它代表了中国发展行业的一种领先思维和新意识，即不以商业销售为核心，始终坚持以人为本，才能够带来长期，可持续的商业上的成功。那种没有树木和树荫，只是为了实现商业立面开阔视线的大型空旷广场设计的日子已经一去不复返了。同时同时，得益于该项目客户，建筑师和景观设计师之间的通力合作与投入，这样一个极具吸引力的城市社交环境应运而出，为人们提供了一个充满意义，体验感和趣味感的公共空间。

高车道旨在为城市环境做出有意义的贡献，并考虑到人类的舒适度，安全性，可及性，规模和方案，这些方案可以为所有年龄段和地位的人们带来真正的价值。

hyperlane代表着中国发展行业的领先思维和新意识，他们理解以人为本，而不是销售，反过来可以带来长期的持续商业成功。形成没有树木和阴影的鲜明空旷广场的日子已经一去不复返了，以实现不受阻碍的外墙景观。客户，建筑师和景观设计师的共同思考和承诺导致创造了一个引人入胜的，面向社会的城市环境，提供了意义，经验和欢乐时光。

城市灵感空间

作为整个hyperlane超线公园项目的一期建成展示区域，景观设计以社交为导向，打造吸引人流聚集的口袋空间。以“社区和联系”这一简单理念为驱动，运用大胆和充满活力的设计映射出超线公园前卫，充满艺术及创意活力的项目特质。

城市画廊是超车道项目的第一阶段，也是面向社会的，供社区聚在一起的小地方。Hyperlane城市社交廊由“社区与联系”的简单概念定义，是一个大胆，朝气蓬勃，面向年轻人的身份认同点，反映了该地区的艺术和创意文化。

为了充分体现“社区”的理念，我们以充满趣味的变化丰富的圆形作为点阵衍生出各种多功能空间以及种植与水景等特色景观元素。圆形要素的设计系统地实现了景观的灵活性以及各元素统一性之间的平衡，同时在空间有限的场地种打造出开合有致，空间多样的体验场所：地面的静态镜面水景可以迎宾地毯一般，实现到达广场的仪式感，掩映在植物中间的社交口袋为展示区的融合提供半私密空间，也为活动策划提供了基本的功能空间。

都市广场

作为展示区整个前场空间，都市广场由包含花卉植物和多方位灵动的休闲坐阶组成，水景与树阵一起，构成了城市主干道与场地的过渡，同时为到达空间提供了视觉连接。

海滨长廊由连接人行道的种植园主和多向社交座椅组成，这些社交座椅结合在一起作为边缘和缓冲，覆盖了树丛中的主要道路。

流动的水池，充满趣味的边界处理，灯光和纹理的对比以及植物空间，为前场空间和后面演艺舞台之间提供了戏剧化的场地衔接。各个年龄段的人都可以在水边玩耍或在树荫下的座位休憩憩乘凉。

“水毯”旨在实现视觉连接，同时营造出一种互动且令人着迷的到达感。浅水，嬉戏的边缘，灯光展示，纹理对比和种植相结合，提供了在城市长廊和表演厅之间的视觉和物理戏剧体验和旅程。所有年龄段的人都可以在水边玩耍或在树荫下的座位节点上放松身心的地方。

树形间特色定制化灯光的设计，给白天和黑夜的体验带来有趣的独特的气质。嵌入式的双层照明细节，确保了视觉控制的质量以及突出的夜间镜面水景边界清晰的边线。

我们开发了许多定制照明功能，这些功能可为白天和黑夜的体验带来独特的品质。

演艺空间表演艺廊

演艺空间被设计为可以定制时尚走秀分级台的弹性空间，与室内设计相辅相成，鼓励各种即兴表演，艺术展览，文创集会和露天剧场等户外活动。

表演画廊被设计为可策展的都市秀场，是一个充满活力的外部空间，与室内计划结合使用可鼓励即兴表演，艺术展览，文化聚会和露天剧院。

24小时社交台地

在场地东侧的雕塑感露台，为观众提供了树荫下的聚会交谈和观看演出的机会。露台边缘的灯光透过穿孔映射在地面，创造了独特充满活力的夜晚，为人群提供24小时全索引，安全的多维度聚集空间。

东面是雕塑露台平台，其定向旨在使围观者聚集在树荫下观看表演或聚会和连接。穿孔钢的照明和边缘显示营造出独特而充满活力的夜间氛围和效果，提供安全，光线充足的24小时空间。让社区在周围和周围聚集。

传递信息的树

我们试图寻找一种具有标志意义的树种来表达这个项目的特质，它必须是本土的且与场地自然环境有强烈的关联的树种。最终我们找到了成都乃至整个四川特有的桢楠，同时也是一种由于居住地破坏而被记录在册的濒临灭绝的物种，给了我们一个很好的契机去展示这一濒临灭绝的物种对于城市环境质量改善方面的重要作用。桢楠的树冠形态令人惊叹，作为常绿大乔木落叶极少，是种植在水边的理想树种之一，最高可以长到30多米，浓密的树冠可以在高温的夏季为人们提供遮阳空间。

商业地产新逻辑

hyperlane超线公园在中国地产行业引领了一种全新的商业发展思维-即商业项目的成功与否不再以短期商业收益为评估标准，而更加切实可行地通过对社会和环境的体系，功能规划，体验的认识和打造，为城市社区和人群带来丰富的价值，深远的效益和积极的影响。

hyperlane超线公园以一种提升社区价值和生活体验的商业实践新玩法，建成后将成为一个全栖，多元，开放，前沿的城市灵感空间，也是未来成都新潮文化的策源地，时尚消费的目标地。

场地

场地墙川音一带原本规划为停车场的废弃围合空间，环境和社会效益为零。挡墙的存在并存在学生生活区与校园在空间和功能上完全隔离开来，仅留有少量缩破旧的小巷允许进出。

然而正是这些狭窄老旧的小巷，成为了人流聚集的生活商业街，年轻人在里面进行涂鸦艺术创作，这些都成为了我们挖掘场地潜在的艺术创造力和商业活力的线索。

愿景连通愿景

我们的愿景是建立一个充满活力的绿意兼具的多层线性社交商业公园，呼应川音文化艺术高地用户特质，将这条2.4公里的开放式慢行系统天空花园变成打通川音校园及周边社区以及新都东站交通枢纽的连接-实现高线公园形态，城市空间，商业空间三者的有机融合，为景观都市主义实践带来新的契机。

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业主：成都新鼎置业有限公司
景观设计：ASPECT Studios
景观设计主创：Stephen Buckle，ASPECT Studios工作室总监
团队成员：罗彦，许宁吟，Alex Cunanan de Dios，周沫，底帆
建筑设计：Aedas
建筑设计主创：温子先博士，Aedas全球设计董事
照明设计：BPI照明设计
施工图设计单位：黑白之间景观
施工单位：成都建工一建
摄影师：鲁冰
效果图：ASPECT Studios，Aedas
时间：2020

SWA Group：SWA对埃尔帕索市中心商业区的历史聚集地-圣哈辛托广场重新进行了改造，创造了一个最先进的城市开放空间，同时有效地保护和歌颂了当地的历史和文化。该项目是社区密集发展的结果，涉及到大量的用户。积极的规划、环境和经济的可持续性，以及伟大的设计，已经成为促进人们对城市开放空间类型重新产生兴趣和投资的实际标准。

公园的规划是最主要的优先事项，社区同样希望保留其历史特征。因此，SWA将现有的正式轴线路径与非正式路径和桥梁整合在一起，引导公园用户到达各种活动区域，比如乒乓球、象棋和洗脸池(当地最喜欢的类似于马蹄铁但有水的地方)、儿童防溅区和放置了彩色座位的咖啡馆。在公园的中心，设计师们修复了路易斯·希门尼斯(Luis Jimenez)心爱的洛斯拉格托斯(Los Lagortos)雕塑，向45年前生活在广场上的短吻鳄致敬。他们与Lake Flato事务所一起，创造了一个金属结构来保护雕塑免受太阳直射，同时也为活动提供了一个遮阳区域。

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Location：El Paso, Texas, United States
Client：City of El Paso, Texas; Mills Plaza Properties LP
Scope：Urban Design, Planning, Landscape Architecture
Size：1.73 acres

由ASPECT Studios设计的悉尼达令广场公共空间现已建成开放。项目由Lendlease（联实集团）开发打造，将住宅、商业、零售功能和社区设施聚集在一起，共同围绕成为一个全新的公共空间。

达令广场由原来的悉尼娱乐中心和停车场改造而来，坐落于焕然一新的达令港生活区南面。Lendlease看到了该场地的巨大潜力，于2014年底为这块公共广场和相邻的巷道举办了概念设计竞赛。ASPECT Studios的方案设计最终斩获第一名，并获得随后Lendlease的委托，进行达令广场公共空间的景观设计深化工作。

设计提出了对场地空间升级，和城市连接的再次融合，并与之前的景观和地标协调一致，以公共广场为焦点，打造了一个行人友好型的，由城市街区、巷道和20米宽的林荫步道组成的强大路网。改造后的达令广场呈现了一种融合了景观、建筑、艺术、饮食和文化的城市形态，场地服务于周边约4200名居民、2500名上班族、60多家零售和餐饮店，并且源源不断吸引着各地游客和其他当地居民。

达令广场被切分为尺度更小但仍互相连接的一系列空间，使其能够满足各种商业活动和社区集会的同时，保持人性化尺度的日常使用需求。主要包括以下几个部分:

地标建筑
The Exchange

The Exchange是一座约7层高的零售商业综合社区，这栋充满现代感和设计感的建筑业态包罗万象：其中有三层作为商业零售和高端餐饮店，澳大利亚联邦银行承租两层作为幼托中心，另外两层将作为最先进的悉尼市图书馆。

竞赛之初，业主Lendlease曾提出，希望项目主体地标建筑The Exchange能给人带来兼具多元社区和公共使用的功能。ASPECT Studios提议，将建筑形式设计为圆形，即告别传统的前后门概念，打破建筑与公共空间的边界。这一具有设计互动意义的提议成为了后来隈研吾事务所进行建筑设计的一个基础理念。受到悉尼郊区绿树成荫的景观的启发，隈研吾将自然力量与建筑主体融为一体成为一个强有力的符号。镂空螺旋上升的建筑立面由20公里长的有机木材包裹，并在体块和功能上自然延伸到公共空间，与周边区域完美融合成为达令广场的中心和目的地。

前广场
The Square

硬质铺装的前广场可以灵活满足晚上和周末的临时性商业活动的需求。由四个边界提升至建筑标高而来的轮廓于无形中定义出一个休憩空间。

线性亭廊及林荫大道
The Canopy Edge & The Boulevard

ASPECT Studios在广场西侧设计了一个带有遮蓬的休憩外廊。在为广场创造关键视觉落差的同时，也为人们提供了遮荫和放松的场所。除此之外，遮蓬还创造了从建筑到广场的视觉联系，强调了两者之间原本模糊的边界连接。林荫大道提供了色彩丰富的植被以及宽敞的座位供人们休憩。

阳光草坪与林下广场
The Lawn & The Grove

阳光草坪与前广场空间相连，宜人的尺度设计和恰如其分的绿植布局使其成为了居民日常进行野餐、午饭及遛狗的好去处。位于草坪南侧的林下广场可以在炎热的夏季成为乘凉地点，在冬季的时候阳光穿过树枝可以晒太阳。点缀其中的可移动家具为人们提供了一个包容的空间，聚集和交流的社交空间。

Steam Mill步巷及Little Hay街道
Laneways: Steam Mill Lane and Little Hay Street

ASPECT Studios与Lendlease、Leon Paroissien 一起联合为巷道的公共艺术和照明的设计提供了指导方向。最终，Steam Mill 步巷选择了艺术家Peta Kruger的方案、Little Hay 街区中选方案为艺术家Brendan Van Hek的设计——两条风格不同但熙熙攘攘的巷道，将人流吸引至达令广场的中心。独特的照明艺术装置在巷道上方创造了愉快的氛围，除了导视作用外，还激活了夜间场地活力。

达令广场除了为公众提供了绿色空间外，也已成为人们日常生活和公共活动的绝佳去处。ASPECT Studios运用承上启下的设计语言，从定植的桉树到本土栽植的设计，为所有年龄层提供了一个多功能的活力城市空间，深受居民、白领和游客的喜爱。

整个悉尼达令广场除了目前已建成的The Exchange之外，还将包括三个新的住宅开发项目、两个新的学生公寓大楼，每个建筑都将有活跃的、零售导向型的公共空间。

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Project Name: Darling Square
Location: Sydney, Australia
Client: Lendlease
Design Team
Revised Master Plan: ASPECT Studios
Lead Public Realm: ASPECT Studios
The Exchange Architects: Kengo Kuma and Associate
Engineers: Arcadis
Lighting Artist for Steam Mill Lane: Peta Kruger
Lighting Artist for Little Hay Street: Brendan Van Hek
Photography: Brett Boardman
Text: ASPECT Studios

“Bentway项目重新塑造了多伦多Gardiner高速公路下方的空间，将城市中最不受欢迎的场所之一转变为全新的共享公共空间，捕捉并展现了城市的精神与灵魂。用于支撑高架桥的混凝土立柱被塑造为一系列户外空间、步道和服务于社区及创新活动的场所。该项目旨在带来连续而多元的体验，其设计过程得到了七个社区的积极参与和协助，从而在宏大的尺度下实现了高度的功能性和适应性。创新的雨水管理方法还保证了这一全新的公共空间将促进城市环境和市民生活的改善。”
– 2019年评审委员会

项目概述
PROJECT STATEMENT

Bentway项目重新构想了多伦多20世纪的交通规划，将一个分裂的区域转变为新型的共享公共空间，凸显了城市的灵魂与精神。在密度迅速提高的城市中重新定义公共空间，这需要设计者具有足够的智慧和大胆的创新精神。Bentway项目塑造了一处占地7英亩的开创性的城市景观，旨在鼓励创意性的表达并建立新的公共空间体验。

设计概念的出发点在于既有的结构本身。高速公路的混凝土承重柱（bents）帮助塑造了一系列“市民空间”，这些空间既可以单独使用，也可以作为一个整体服务于各类节日与活动。桥下空间被重新塑造为符合都市尺度的公共设施；公共空间和步道将公路周围的七个街区缝合在一起，不仅拓展了通往约克堡国家历史遗产地和中央滨海区等核心区域的路径，还为人口不断增加的多伦多市带来了新的集会场地。

项目说明
PROJECT NARRATIVE

如何在密度不断增大的城市中构建公共空间已成为了现今时代的议题。人们越来越意识到，可利用的空间已经所剩无几，因而不得不以新的方式来改变既有的空间。该项目将我们的注意力集中于改变功能单一的既有设施并建立新的公共体验：完成一次充满力量的“重生”。

戏剧性的场地，带来独特且持续发展的功能空间

Bentway项目重新构想了多伦多20世纪的交通规划，将一个分裂的区域转变为新型的共享公共空间，凸显了城市的灵魂与精神。项目塑造了一处占地7英亩的开创性的城市景观，旨在鼓励创意性的表达并建立新的公共空间体验。具体的做法是要寻找到能够在场地中蓬勃发展的新功能形态，使其适应场地独特的空间环境、微气候、文化、历史和社区环境，并且在城市中保持独一无二和不可替代的特征。项目的推进还涉及到与全市范围的社区和用户群体进行广泛的公共咨询，从而为实际的设计和规划方法提供有用的信息，使以上这些构想得以顺利实现。

Bentway项目兼具了寻常与不寻常的特征，为公众生活提供了一个持续发展的新平台。设计团队于2015年11月公布了主要的设计概念，随后开展了为期两年的社区参与计划，旨在让公共空间设计和社区规划充分融合。计划对普通市民和来自体育、休闲、艺术、文化和娱乐等不同领域的团体及组织代表提出了以下问题：“什么样的事只可能在这里发生？”，并通过社交媒体、官方网站、公众会议、现场参观、名称竞选等各类特别的活动来鼓励公众参与，旨在为新空间赋予高度的灵活性和功能性，使其能够承载和容纳多伦多人的创意与文化。

市民空间

该项目将7个街区缝合在一起，不仅拓展了通往约克堡国家历史遗产地和中央滨海区等核心区域的路径，还为人口不断增加的多伦多市带来了新的集会场地。设计概念的出发点在于既有的结构本身。高速公路的混凝土承重柱（bents）帮助塑造了一系列“市民空间”，这些空间既可以单独使用，也可以作为一个整体服务于各类节日与活动。高速公路下方的空间（有些狭小，有些则可高达15米）被重新塑造为符合都市尺度的公共设施，承重柱为电缆、能源和照明线路提供了结构支撑，以保证从日常公共生活到大型社区和城市集会的使用需要。

高速公路下方的空间被转变为连续、灵活且平坦的空间，将公共和私人用地结合在一起，并通过新的步道使步行交通变得更加便捷，同时使雨水和流失的土壤得以回收和重新利用，从而构建出与历史海岸线相似的地形景观。项目在材料的使用上也十分巧妙，并且以最轻的介入实现了最大的成效：铺地系统将重点集中在材料的循环利用上，其中包括大量从Leslie Street Spit回收的建造废料（Leslie Street Spit是一个垃圾填埋湖，在过去的50年间，这里汇集了多伦多大多数的建造和拆建废料）。混凝土立柱上的数字原本是修建时所做的标记，在该项目中被涂上了反光漆，以重新发挥寻路系统的功能。每种材料都反应出了场所精神，传达出多伦多丰富的建筑历史。

Bentway的四季文化

220米的冬季冰道是该项目第一阶段最具标志性的部分。这条冰道随着海岸线的轮廓延伸，在夏季成为一条经过儿童戏水公园的小路，为原本被遗忘的城市地带重新赋予意义和体验。多伦多人的生活节奏会随着不同季节发生很大的变化，因此这条冰道很好地适应了冬夏两季的需求，同时有效地利用了Gardiner公路的桥下空间，能够抵御多伦多北部的严寒气候。

Strachan Gate包括一个高度灵活的露天剧场及阳台，这里设有黄色雪松木板构成的看台座位，以及一系列可转动的背景墙，可以阻挡来自附近公路的噪音。公共空间配备了洗手间和绿色空间，用于服务下方的表演人员。紧邻露天剧场的是完全使用现场材料填充的倾斜草坪，可以在举办大型表演和活动时扩大座位容量。位于约克堡游客中心前方的是一个72米长的、铺设着雪松木的“码头”空间，作为另一个活动场地。与之相邻的是由本地植物构成的“液态景观”，以及用于处理径流的雨水花园。

缓解高速公路对水文的影响

Bentway项目采用了轻影响力的雨水管理方法，将自然的渗流过程在景观中展示出来，而非借助管道输送地下水，从而减缓了城市下水道系统的压力。雨水系统能够收集来自高速公路的雨水并使其保留在现场以促进过滤和渗透。Gardiner高速路的排水通过一系列生态湿地、地下储水设施和渗透渠得到拦截，在降低径流速度的同时使雨水融入自然环境。景观中的植物选择了耐寒耐盐的品种，能够吸收径流中的盐分和污染物，从而在高速公路的环境中生存下来。整个Bentway地区还引入了大量的被动式景观带和渗水铺地，以进一步减缓径流并促进渗透。

自然且持续地发展

该项目的另一个独特之处在于，它通过让公众积极参与到公共空间的设计和塑造中来，为多伦多建立了一种新型的合作模式：项目的赞助者首先提出一个概念化的框架，而在具体的实施和社区构建方面则是完全开放的。Bentway区域还成立了独立的理事会，为多伦多高质量公共场所的规划、运营和维护提供了全新的模式。2018年1月，作为项目第一阶段的冰道正式向公众开放，在周末期间吸引了2万名游客。2018年8月，第二个开放的Strachan Gate启动了一系列全市规模的表演和活动。

随着后期工程的推进，该项目将在未来不断向市民开放。2019年，位于一期工程东侧的Bentway步行道和自行车道在Gardiner高速路下方和约克堡大道上方接连建成，将一系列私有（但向公众开放的）地块串联起来。新颖的桥梁设计采用了由玻璃纤维进行密封的胶合木系统，能够借助高速公路结构的多余承载力，通过从既有柱子上拆下的摩擦力铆合扣件使桥梁悬挂在Gardiner高速路下方。冰道部分还将继续扩大以形成约1公里长的循环冰场，同时将约克堡游客中心和约克堡图书馆连接起来，为加拿大最大城市的中心区带来规模最大、体验最独特的滑冰胜地。

Bentway项目是新型公共空间的一部分，精巧的构思和设计使其能够随着场地环境持续生长，而非就此完结。这些功能灵活的空间会以自然的方式不断发展并且保持开放，为公众留出参与的空间，从而让每个人都能在不断演进的城市景观中留下自己的痕迹。

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2018年，ADEPT和Topotek1完成了对丹麦历史名城奥本罗的城市街道改造，为团队在2014年赢得的富有远见的城市总体规划和根据当地条件改造设计的公共空间之间建立了紧密的联系。经过这次有趣的设计和对传统材料的新运用后，奥本罗展现了它崭新的城市面貌。

通过这次大规模的改造，奥本罗的历史中心以更加连贯的街道网络和个性鲜明的广场重新焕发生机。从富有远见的规划到细致的铺装，每一处设计无不彰显对城市的深刻理解，从而直接将城市隐藏的潜力转化为更具连续性、更吸引人的公共空间。

这次的改造设计在历史中心的特色、规模和空间体验的基础上，为街道和广场增添了新的现代特色，其中为支持城市中各种形式的公共生活而设计的街道铺装和城市家具进一步加强了这种现代特征。

定制的黄棕色瓷砖和鹅卵石之间的有趣对比，给人一种微妙的城市体验，同时也使整个改造区域的城市地面更具识别性。街道交通的唯一分隔来自所用的材料变化，而且街道铺装的图案和材料都旨在鼓励人们在改造区域放慢前行速度。

总之，无论是在宏观还是微观建立明显联系，该项目都旨在为历史名城中心创建一个完整且强有力的身份特色，但设计同时也允许微观的局部条件创造特色的单个个体公共空间。

Aabenraa-Historic-City Siteplan

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项目名称：历史名城奥本罗街道改造
项目周期：2015- 2018年
设计团队：ADEPT, Topotek1, Atkins
项目地点：丹麦 奥本罗
面积：16500平方米
客户：奥本罗直辖市
图片版权：Hanns Joosten

Form non-space to a timeless pocket square

Sct Olai went from being a non-space to providing Roskilde with a calm and timeless urban space. Here, the subtle use of new and re-used materials of high quality gives identity and atmosphere to the quiet square and passage that runs parallel to the busy pedestrian street.

Before, it was a parking lot on the backside of the shopping street, a non-space that you would just pass by. Now, it is an important link of ‘Kulturstrøget’, a network of cultural institutions, and the square functions as entrance to Roskilde Art Museum. The transformation is part of the city’s strategy to create more variation in the city center by designing spaces that highlight the cultural institutions and urban spaces that are without commercial character. As such, Sct Olai provides a break from the shopping street and room for reflection and conversation.

With only a few elements in high-quality materials

The square consists of only a few elements – a granite pavement, granite slabs for accessibility, a brick wall, a small stream in cast iron and the sculpture ‘Ragnarok’ by the Danish artist Bjørn Nørgaard.
All the materials used are long-lasting. The chosen materials blend in with and complement the surroundings. With a repurposed granite stone as the main element, the granite stones were originally part of the pavement around Roskilde Cathedral. The water canal in cast iron highlights the tactility of the rough granite, setting a new contemporary frame.

A brick wall creates a new facade

The square was missing a façade to the east, so we introduced a brick wall that separates the parking from the square. The dark brick was chosen for its color and high tactility, and every other row of bricks are brought forward to create visual interest. The terrain slopes from Algade towards the museum and the wall having the same top level from start to finish allows it to function as a 50 cm seating wall at its lowest point. The direction of the wall is broken along its course, to form a series of seating niches with benches orientated towards the afternoon sun.

The trickling sound of water

A small stream flows from a water feature at Algade in a cast-iron canal. The water runs across the square and ends around the sculpture in front of the museum. The flat steps of the canal create a trickling sound and draw your attention to the water, thus underlining the quiet character of the square as opposed to the busy Algade. Placing the water feature close to Algade invites shoppers and passers-by towards the square and the museum.

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Office: MASU Planning
Office role: Main consultant
Website: www.masuplanning.com
Location: Roskilde, Denmark
Design year: 2013
Year of construction: 2015
Area: 1,200 m2
Budget: 3,000,000 DKR / 401.871 EUR
Client: Roskilde Municipality
Image credits: Kirstine Autzen

On the concrete slab without memory of the esplanade, the contextual and sensitive approach is conducive to rebuilding a story thanks to a rhetoric appropriate to the new reconstituted universes of the project. The evocative power of the project thus refers to situations experienced or places known by fans or enthusiasts of the mountain environment summer or winter – city dwellers, tourists or alpine skiers.

In the North, the triangle of the vegetable esplanade. The flat situation and the vocabulary of development refer to the geography of “limestone plateau” like the fabulous lapiaz of Parmelan.

On the southern edge of the Upper slab, the large central rectangle of the urban terrace, becomes the “beating heart” of the project. Its perched position visually open to the horizons, on the Semnoz mountain and on the Bornes massif, refers to the ambiances (or atmosphere) of the terraces of high altitude restaurants so popular with skiers on sunny days.

The third space establishes the link between the high slab and low slab. It is a garden of roses, which leans on the box of the carpark to better erase it. The urban inclusion of the garden in the slope is not without reminding the geographical situation of the “slope” characteristic of the mountain relief.

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Short office name: Agence APS
Role of the office in the project: landscape designers
Website: www.agenceaps.com
Project location: Annecy, France
Design year: 2010
Year Built: 2011
Client: City of Annecy
Surface: 3400 m²
Budget : 1.000.000 EUR (pre-tax)

借助地理优势，中国深圳沙井在过去二三十年蓬勃发展了低端制造产业。大量工厂的建设吞噬原有优美的湿地和农田。这些低端制造产业衍生的工厂园区粗暴迅猛地在城市边缘无序扩张。工厂园区和外部的城市空间都形成消极的场所。近几年，基地所在的工业园区的周边建设了许多住宅和配套的学校。此项目希望通过绿色人文空间的重塑，为园区工作的人、周边的居民、学校里老师学生、以及种植爱好者提供一个有活力的公共活动交流的场所。同时，通过组织各类体验式活动，沙井传统的种植文化以新的方式传承下去并成为社区营造的媒介。

在原有的园区整体布局中，内庭院的西侧是一个室外停车场。为了改善庭院的空间效果和保留停车功能的需求，停车场的上方增添了景观大平台。通过台阶的设置，大平台成为内庭院空间的延续，从而形成不同标高的公共空间体系，而台阶也成为内庭院举办户外活动时的观众座椅。平台上布满了错落有致的混凝土种植槽，不同喜好的人栽种不一样的农作物和灌木花草，形成有趣生动的景观。平台上的大洞口为下面的停车场提供良好的采光，而洞口中间的香樟大树也为停车空间提供绿意。

此外，清水混凝土材质的种植体验馆坐落在大平台的东北角，它为种植爱好者提供学习交流的场所。一层作为公共功能包含了展示、交流和讲座的功能，二层则是种植操作空间和培训功能。两层高的植物绿墙展示着各式各样的植物，小小的两层通高空间成为亲密而有互动的交流学习场所。内部悬空的楼梯与悬挂着的楼板让这小巧的建筑显得灵巧。同时，建筑内不同标高的两个入口使大平台、室内空间和内庭院三者之间建立更紧密的联系。

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项目名称：种植平台和体验馆
设计方：墨照建筑设计事务所
公司网站：http://www.mozhao.com.cn/
联系邮箱：media@mozhao.com.cn
项目设计 & 完成年份：2016/2018
主持建筑师：曾冠生
建筑设计团队： 罗文国 沈家源 张凡 | 朱彦伦 洪凤莲 陈勋
景观设计团队： 罗文国 沈家源 | 洪凤莲 陈勋
室内设计团队： 罗文国 麦梓韵 | 朱彦伦
项目地址：深圳市宝安区全至科技创新园
建筑面积：2080㎡
摄影：张超
业主：深圳市佳领域实业有限公司
主要材料： 钢、樟子松木地板、清水混凝土

位于粤港澳大湾区核心地带的宝安中心区四季公园，是一个由景观基建驱动更新的公园项目，总占地面积约43,000平米，原先是被预留为高架路匝道。伴随着周边的交通完善和城市发展，设计将它重新定位为一个通往宝安中心区和前海片区的门户公园。

设计采用了宝安之眼的概念，用一个“环”将被道路分割成为四个街角绿地的地块视觉上成为一个整体，运用波浪铺装、艺术雕塑、弧形看台等元素，将这个环变得丰富，为行人提供停留和望远的视线。在设计过程中遭遇了200年一遇的山竹台风，大量的乔木被吹倒。设计围绕遗留下来的乔木进行了精心的测绘，围绕了它们优化了景观的细节设计，如调整园路避让乔木，结合乔木打造地形草坡和树池坐凳等。

设计依据场地属性，分为了四个片区：文化一方，创新一方，乐活一方，艺术一方。

文化一方由露天剧场、3层弧形坐墙、跳泉台阶及主题花林草坡组成。大草坪为宝安中心区的周边居民提供了多元活动的场所，已经记录到的包括音乐表演、放风筝、户外写生、露营等户外活动。坐墙和大台阶的多适应性设计，提供了嬉戏休息的可能性，也是傍晚观看城市盛景的重要场所。

创新一方由四季之门、椭圆形音乐旱泉广场和地形草坡组成。象征一年四季，安居乐业的四季之门艺术品雕塑是城市一道靓丽的风景线，夏日雾森降温，夜间位于顶部内侧的星光灯点亮雕塑，与音乐旱泉一同为城市注入活力。

乐活一方由一条约200米长的林下环形慢跑道，和其间的家庭亲子活动场组成。慢跑道的选线避开了飓风后保留的乔木，以及采用多种活动设施的儿童活动场地，弥补了周边的老社区设施的不足。

四季公园采用整体的设计语言将其打造成为一个门户公园，同时为周边社区提供多元的活动目的地。四季公园的改造建设见证了深圳的道路基建，在原有保障车行通畅的功能之外，逐渐展开完整街道、景观生态和多元活动的发展新形态。

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项目名称：宝安中心区四季公园
设计方: 译地事务所
公司网站：www.elandscript.com
联系邮箱：contact@elandscript.com
设计：2018年
建成：2019年
主创设计师：张谦，唐筱璐
设计团队：张蓝兮，范武峻，张盼盼，章雁，潘旭，吴承阳，陈震宇，王怡，刘启文，吴芷莹，廖文剑
项目地址：深圳市宝安区
建筑面积：43000平米
摄影版权：译地事务所, Vorrarit Anantsorrarak
景观概念至扩初设计：译地事务所有限公司
景观施工图设计：广东省建筑设计研究院 + 深圳市澳亚琞景景观设计
道路设计：深圳市城市交通规划设计研究中心
给排水设计：深圳市市政设计院
四季之门艺术品概念设计：UAP + eLandscript Studio
四季之门艺术品深化及加工：UAP
景观硬景施工单位：深圳建艺集团
景观绿化施工单位：深圳国艺园林
业主单位：深圳市宝安交通运输局，华润（深圳）有限公司
儿童活动设施: Kompan(康潘)

“艺术在这里不是目的，而是一种生活方式。除了艺术，我们还必须再去做点其他更有意义的事情”

场地

项目位于广州南沙亭角地区，北靠大山乸自然山体，南临蕉门水道，周边是荒置的农田及河对岸的采沙场，堤坝外侧是以滨水灌木带和石头组成的浅水生境。场地与外界几乎没有相连的道路，农田地里零落的几处小房子，周边人烟罕至，人们对这里的印象是偏僻荒废不安全的郊野。

这次的设计希望通过大地艺术触媒的方式，整合政府公共资源，借助地产商资金的力量，带动周边人们参与进来，激发场地的活力和引起人们的共鸣，构建出一种新的社会网络，改变人们对这里的印象，释放出场地最大的公共利益。

思考

前期设计介入阶段我们思考了许多问题，例如：是否真的有人愿意使用一个与附近社区并不相邻的公园？堤坝内侧公园与堤坝外侧河岸关系？堤坝的交通体系与外部道路体系的关连？公园的植物系统与雨洪管理策略？如何兼容场地人们不同的功能使用诉求？如何重新建立堤坝与市政路之间3.5米的U型下凹绿地的交通和视线体系？如何重建人们对场所未来发展的信心？我们带着一系列问题开展了这次的设计工作，以一种综合性的设计方法整合场地复杂的城市、环境、文化及社会性问题。

我们希望天空是蓝色的，大地是绿色的，溪流是清澈的……所以我们在入口做了一条白色的“小溪”，希望给人们创造出一种清新的感觉。沿着小溪进去是两侧高大的朴树和远处的荔枝树林，一切都非常的静谧。起伏的地形模糊了空间的边界，时上时下时缓时急，时内时外时开时合，整个场地创造了非常有趣的体验。

堤坝是一种权力和力量的象征，它可以切割河床及一切的动植物自然栖息地。堤坝同时是一种守护的象征，它保护了人们免受洪水的伤害。所以在这里我们希望传递出事物的对立性和共融性，用镜面不锈钢材料做一条圆形的“堤坝”，一半真实的自然，一半镜子里的自然。圆形没有起点和终点，一切都虚实圆融于自然中。

在没有建立堤坝以前，堤坝内侧是河床的一部分，常年的江河冲刷留下丰富的水纹肌理，这些凹凸变化的河床肌理，为水生动植物提供了很好的庇护。我们延续河床的肌理，用大地艺术的手法塑造了丰富的地形变化，起伏的地形很好的解决了U型下凹绿地与外部的视线和交通关系，并且创造了很特别的场地和空间行走体验，人在场地活动就像鱼类很自由的在他们的河床栖息。

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项目名称：海上明月 LUNA SEA
设计方：BOX盒子实践景观事务所 BOX-STUDIO（原：BOX 博克斯林景观事务所）
公司网站：http://www.blg-studio.com/
联系邮箱：1425811521@qq.com
项目设计 & 完成年份：2018.10
Concept Design | 主案设计：Phoenix  纪凤涛  Wilson  刘样多  Kun  赖志昆  | BOX Studio  盒子实践
Cooperative Design | 协作设计：Tony 骆涛  Mark 林俊健  Ting 陈洁婷 | BOX Studio  盒子实践
Construction Design | 技术深化设计：Tao 李海滔 Yun 钟秀云 De 高建德 Yu 罗瑜 Adela 林思娴 | BOX Studio  盒子实践
项目地址：广州南沙
景观设计面积：38000平方米
摄影版权：Ben / 罗志宗   Chao Zhang / 张超
Architectural Design | 建筑设计单位：
建筑方案：Mix Design Associates / 迈思建筑设计
建筑施工图：Guangzhou HanHua Architects+Engineers / 广州瀚华建筑设计有限公司
Interior  Design | 室内设计单位：IAPA设计顾问有限公司
客户：万科
品牌：三种植物：凤凰木 朴树 龙眼  三种材料：镜面不锈钢 银色铝板 烧面芝麻灰

Flowstate是一个3000多平方米的城市更新项目，它模糊了建筑与景观、剧院与公共空间的边界。通过邀标竞赛，Stukel Stone作为首席顾问将South Bank年代久远的Arbour View咖啡馆区域改造为一个充满活力、能够使用3-5年的露天展馆及创意空间。新区域由三种体验区构成，包括草地休闲区、沉浸式数字装置和充满活力的表演馆，配备有剧院幕布、技术照明设施和音响设备。

设计任务是什么

South Bank公司推进的这一富有远见的项目，是一个激活公共空间的新机制，促使人们讨论一个城市应该是什么样子。South Bank Corporation主席Catherin Bull AM博士说：“在世界各地，领先的公共区域正在不断演变，South Bank Corporation的职责是监督、调整和改造South Bank，让它在公共和商业层面保持相关性、可取性和令人兴奋之处。

关键性挑战是什么

项目的关键挑战是在非常低的预算下进行如此大范围区域的改造，并且要在规定工期内完成，为向公众开放做好准备。场地原有用途与规划的新用途形成了很大的反差，设计策略需要从根本上重新考虑整个场地的规划和流线。

解决方案是什么

设计策略是为观众和表演者之间的联系创造多样的机会，包括正式的、非正式的或偶然的。建筑师对现有场地层级进行细致地操作，激活一系列空间供观众坐、站、聚集，让表演者控制人们的注意力以及充分利用视线。区域充满活力与创意的品质还尚未完全发掘出来，建筑师希望表演者、艺术家和观众将以更令人惊讶和意想不到的方式利用场地。

使用主要产品

Walkway使用GratEX I系列38mm的标准微型孔距金属网，由Treadwell公司提供。材料表面防滑，呈褚黄色，通常用于工业领域和建筑物维护通道区域。Beacon金属网采用‘SUN20’2mm厚铝板， 孔洞为120x34mm，由Locker Group提供。这一材料能够在支撑结构之间达到600mm跨度、沿同一方向弯曲，同时作为展馆微型百叶窗为内部遮阳。

业主是谁，他们的有趣之处是什么

South Bank Corporation开发了Brisbane区域内沿着Brisbane河畔的城市空间，获得了许多奖项。他们持续性地对区域及事项活动进行日常管理和推广。项目是一个充满雄心和创造力的城市实验，揭示了未来的发展方向。

项目有何独特之处

自2011年获奖的River Quay项目后，这是South Bank公园地带进行的第一个如此重要的再开发项目，为区域中心内创造性城市循环利用提供了切实有力的典范。项目于2018年2月揭幕，为期一年的多样艺术项目为市民提供免费的创意体验，为整个South Bank地区充满活力的文化探索与交流做出了贡献。

可持续发展的特点是什么

作为城市循环利用的项目具有内在可持续性。建筑师保留公共空间和现有结构并按新用途进行改造，降低拆除量和减少使用额外的建造材料。

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Details
Project size: 1270 m2
Site size: 3000 m2
Project Budget: $1268000
Completion date: 2018
Building levels: 1
Project team: Stukel Architecture（leader design）

The public square establishes a new type of space for Melbourne, creating a studied mix of the ‘urban park’ and ‘civic square’ typologies. In part shaded by a tall grove of advanced Cook Pines, and surrounded by inclined grass planes, the space is intended to work in many modes, creating spaces that work day‐to‐day for individuals, and which are capable of being programmed in many ways for events of many different sizes. There are about ten spaces of differing scale edging the main square, each with subtle, diverse character and detailing designed to sustain different forms of day to day use and for events. The ecumenical centre is left unencumbered, but able to shade by a grid of 19 large scale red umbrellas for summer.

Sustainability is focused on long‐life, low energy material which don’t need a lot of maintenance. The main body of the square is paved in granite, designed to stand the test of time. Other materials are also designed for longevity, including bluestone, inlays of patterned brick, and limited use of insitu concrete. Recycled timber is used where people sit, and to create the large scale seating platform edging the smaller plaza space addressing Lonsdale Street.

The main square drains to water the Cook Pines, which are planted in large tree pits designed to collect stormwater and to promote and prolong tree growth in this wholly artificial former building site. Other plantings are chosen for resilience and for drought tolerance.

The social life of the square is the primary driver of sustainable design for this community. The square offers a great many seating and other opportunities for active inhabitation. This seems to have been accepted almost immediately with local people and serves the many cultures already using the square, who value the opportunity to sit in larger groups, and to socialize in truly urban ways which reflect the origins of ancient cultures of many lands who have come to Dandenong. Sustainable design often focuses on raw technical criteria, but here the square functions to evidence Dandenong’s commitment to cultural diversity and a welcoming spirit that is the hallmark of Australian public life. Here everyone can have a fair go, and the square creates a unique civic tableau that has already become a vibrant and colourful heart at the centre of the Dandenong community experience.

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Project name: Dandenong Civic Square
Architect’ Firm: Rush Wright Associates Pty Ltd
Website: www.rushwright.com
Lead Architects: Rush Wright Associates Pty Ltd
Project location: Walker Street (between Thomas and Lonsdale Street), Dandenong
Completion Year: 2013
Gross Built Area (square meters or square foot): 2270.0 sqm

Photo credits: Michael Wright/ Chris Erskine/Peter Bennetts

Other participants:
Client: City of Greater Dandenong
Lead Consultant and Architect: Lyons
Builder: Watpac
Civil and Structural Engineer: Bonacci Group
Services, ESD and Lighting: AECOM
Environmental Graphics: Material Thinking – Paul Carter, Edmund Carter
Building Surveyor: PLP Building Surveyors & Consultants
Quantity Surveyor: Slattery Australia
Key client project directors: Bruce Rendall, Darren Rogers
Landscape contractor: Living Landscapes
Trees: Trees Impact

Vessel is a new type of public landmark – a 16-storey circular climbing frame, with 2,465 steps, 80 landings and views across the Hudson River and Manhattan. It is the central feature of the main public square in the Hudson Yards development, one of the largest real estate projects in American history, which is transforming a former rail yard in Manhattan’s Upper West Side into a completely new neighbourhood, with more than five acres of new public spaces and gardens.

Heatherwick Studio was asked to design a centrepiece for Hudson Yards, something that would welcome visitors into the heart of the district and create a new place to meet in Manhattan. Part of the challenge was to create something memorable that would not be overwhelmed by the surrounding cluster of towers, or the scale of the new public space above the train platform. Exploring different possibilities, the team started to narrow the parameters: it should be a memorable single object, not a series of objects dispersed throughout the space; rather than an inert, static sculpture, it should be a social encounter, which encourages activity and participation – it should be fun.

By opening up voids between the steps to create a three- dimensional lattice, the public square could be stretched upwards, creating more than a mile of routes that could be explored in different ways. To create the continuous geometric pattern of the stepwell, with 154 interconnecting flights of stairs, the object had to be self-supporting – a discreet structural solution was required, which did not need additional columns and beams. This was resolved by inserting a steel spine between each pair of staircases, creating a natural division between ‘up’ and ‘down’. The raw welded steel of this structure is exposed to give the object clarity and integrity, and the underside of the staircases is clad in a deep copper-toned metal, setting them apart from the surrounding architecture.

Every element of the Vessel is bespoke, from the joints to the handrails. The 75 huge steel components were produced in Venice by specialist fabricator Cimolai, before being brought from Italy in six shipments, carried across the Hudson River by barge, and assembled on site in a process that took three years. Yet despite the size of the Vessel, it has been designed at a human scale, to be climbed, explored and enjoyed by New Yorkers and visitors – a simple structure, animated by people and the reflections of the square beneath.

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Architects：Heatherwick Studio

Location：Hudson Yards, New York, NY 10001, United States

Category：Landmarks & Monuments

Design Director：Thomas Heatherwick

Group Leader：Stuart Wood

Project Leader：Laurence Dudeney

Project Team：Charlotte Bovis, Einar Blixhavn, Antoine van Erp, Felipe Escudero, Thomas Farmer, Steven Howson, Jessica In, Nilufer Kocabas, Panagiota Kotsovinou, Barbara Lavickova, Alexander Laing, Elli Liverakou, Pippa Murphy, Luke Plumbley, Ivan Ucros Polley, Daniel Portilla, Jeff Powers, Matthew Pratt, Peter Romvári, Ville Saarikoski, Takashi Tsurumaki

Area：2210.0 m2

Project Year：2019

“一个及其精准、清晰和有趣的方案，立足于谨慎细致的研究。”
-2018年评审委员会

项目陈述

杜克大学的校园生活在景观设计的作用下发生了惊人的变化。在2007年至2017年之间，景观设计公司Reed Hilderbrand联合8家建筑事务所完成了5个独立的项目，将不同的功能空间、基础设施、历史广场以及校园路径转变为了一个统一而连贯的区域，展示了其卓越的设计领导力和对环境背景的敏感性。基于对历史文脉和设计意图的细致解读，景观设计团队将原本由Olmsted兄弟设计的具有标志性的西广场进行了更新，在为其赋予当代用途的同时，还凭借整体性的园林设计方法，使原先的树木和草坪恢复生机，并得以长期地生长和延续下去。为了将未充分利用的广场和与之相邻的繁忙的服务区域整合为一个充满活力的校园中心，景观团队试图以校园本身的材料特性和类型学为依据，围绕着社区的建立和学生的参与来塑造当代化且能够彰显场地特质的景观环境。在过去的十年中，这些举措和努力最终使一个生机勃勃的、网络化的校园得以实现，为历史景观和当代功能的共存提供了肥沃的土壤。

项目说明

这5个项目将杜克大学最重要的景观——哥特式的Abele广场（其中包括标志性的杜克教堂、图书馆、学生食堂、行政中心、教室以及宿舍楼）与学校内最先进和最具适应性的建筑空间统一起来，以最大程度地满足多元化的校园生活。这些空间各自发挥着特定的功能，为西校区的核心地带赋予了新的活力。更新后的景观不仅展现了生气勃勃的大学氛围，还围绕着当代学习和生活的互联性，使校园获得了良性的重塑。

标志性广场的更新

学校的西广场是由Olmsted兄弟和Horace Trumbauer Architects的Julian Abele于1920年代共同设计。宽阔的道路和被高大的橡树环绕着的中央草坪共同为广场赋予了尺度感和厚重感。广场的边界种植着大面积的绿植，平衡了周围哥特式建筑复杂精致的外观。虽然广场在近一个世纪以来都是校园中最重要的聚会和日常活动场所，但由于长时间的过度使用以及维护保养的缺乏，广场景观的美观度和质量都有着明显的下降。

项目团队与学校的景观设计师合作制定了整体性的翻新计划，旨在调整空间的功能性并加强园艺方面的管理。方案在校园中置入了一系列新的空间，用于使用频率较高的小型活动，同时重新分配了大型活动区域，以保证中央草坪的恢复。广场的主路径通过多孔的花岗岩鹅卵石进行了加宽，可以容纳更多在课间穿行的学生，避免草坪的边缘遭到践踏。地表之下的土壤也得到了强化，能够为标志性的橡树群带来更多养分，提高渗透和补给率，并且使中央草坪能够抵挡住大型活动带来的压力。

自行车停放处、集会空间和入口等功能空间被巧妙地设置在广场周边的绿植区域之间，能够在激活空间的同时与整体空间结构保持协调。团队还鼓励大学设立有机景观维护制度，通过建立土壤生物学和结构来提高土壤的恢复力，从而可以随着时间的推移来逐步减少在景观维护上的投入。

景观设计师在维持既有结构和空间层次的基础上使广场的功能产生了变化，使其能够适应学生的生活方式和当代校园的功能需要。在该项目完成后，杜克大学将这座广场重新命名为Abele，致敬了美国早期著名的非裔建筑师Julian Abele。

为当代校园生活而设计

穿过以哥特式拱门为边界的Abele广场，便进入了一系列多层次的校园公共空间。一条狭窄的桥梁连接了广场和非正式的聚会、餐饮、学习以及活动空间。公共空间可以被看做是一个连续的景观，涵盖了更新后的食堂、新的活动中心以及学生健康中心。此外，原先杂乱无章的服务区被重新规划为一个高效的多车道装卸区，规整地隐藏在扩建后的广场下方，为学生活动腾出了更多空间，同时保证了行人区域的舒适和安全。

公共空间的中央设有一个以柏树提供荫蔽的集会区域。较为低矮的树木从青石板筑成的平台边显露出来，在突显校园历史的同时强调出食堂和公共空间在平面上的连续性。照明策略也颇为有趣，从上下两个方向点亮了整个空间，使公共区域一整天都充满活力。

一系列架空的平台、阶梯和斜坡走道跨越了三个楼层的高度，使学生们可以从多个层次和方向走进校园建筑，同时将广场与附近的田径运动场、研究生部和被称为“深洞”的原生低地景观连接起来。景观中混合种植着原生植物和归化植物，呼应了杜克大学所在的生态丰富的森林环境，营造出一个不同于传统校园的、有着深度质感的沉浸式花园。

为了使敏感的“深洞”免受来自高地的侵蚀和沉积作用的影响，场地中的降水会通过屋顶和广场的地面汇集起来，接着通过青石地面下方的排水沟被直接引入雨水花园。雨水花园将径流的过程展示出来，带来一定的教学价值，也为广场增添了尺度上的丰富性。流速变慢且经过过滤的雨水最终将汇入地下蓄水池并暂时被储存起来，随着时间的推移，它们将回归到深洞当中，以降低场地的最大流量。

综合性的规划

考虑到这一系列重要的项目均是首次提出，杜克大学召集了8个不同的建筑和规划单位并举办了研讨会，将这几个独立却又相互关联的项目分配给不同的团队。与会人员还包括学校董事会成员、管理人员和教职员工等。景观团队主要关注景观本身在校园中的重要作用，在现代化的校园中，将这些项目统一为一个潜力无穷的核心区域。

景观团队还与学生生活部的工作人员合作，共同制定了户外空间的分配方案，确定了每个区域将为哪些活动提供服务，以及每个区域的适当尺度，从而将各种正式和非正式空间集结为一个网络，不论是个体还是团体，都能在这个网络中找到适合他们的一方天地。

基于研讨会的讨论成果，景观团队制定出了一系列规划策略和空间策略，以同时兼顾该区域的统一性和独特性。这些策略的中心思路是让学生们能够在一个传统和现代特征兼备的优质环境中茁壮成长。

连续性

通过减少对环境的干扰以及消耗量，每个项目都为杜克大学的可持续发展目标作出了贡献。新种植的树木带来了阴凉的走廊，缓和了热岛效应；雨水的管理和控制改善了地下水的补给状况；优质的土壤和灌溉网络减少了饮用水的浪费；新实施的有机管理政策有效降低了景观维护所需要的石油基废料的总量。

景观每个项目的周期和成本有所不同，但它们的共同目的都是建立一个可持续的、互联的、具有主观能动性的校园区域，在展示校园历史的同时对学生的日常和学习生活形成积极的影响。由景观设计公司带领的团队将这些看似截然不同的项目统一为一个连接了新老区域、住宿和教学区域、室内和室外区域以及私人和公共区域的整体。

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This project for the restructuring of Skanderbeg Square is the result of an international architecture competition won by 51N4E in 2008. The competition’s proposal, conceived in collaboration with Albanian artist Anri Sala, reorganizes Tirana’s central square, a vast ex-communist space, in a simple yet radical way. In a complex and dense urban context, on this site that is both the core of the Albanian capital city and a symbol for the whole country, the project installs a generous pedestrian area.

The square presents itself as a void in the chaos of the city, a flat pyramid lined by a densely planted periphery, formed by a collection of old and new public spaces and gardens. The resulting green belt acts as an antechamber negotiating the transition between the congested city and the square. The oppressive monumentality of Communist architecture is counteracted by the ample and low pyramid making up the square: when standing at its tip, the citizens find themselves at par with the authoritarian architecture of the past. They can contemplate the buildings defining Albania’s past, suddenly opened up to new ways of reading, and embrace them as a history on which to build on.

After the start of the works in 2010, and following a change in administration, the implementation of the project was abruptly halted. Yet a new election relaunched the project end of 2015. The evolution of the urban context, as well as a reevaluation of the ambitions of durability, offered an opportunity to refine the proposal while keeping the concept’s essence intact.

The project’s landscaping was studied anew, and turned into a local ecosystem anticipating the creation of a new urban ecology for the city. Local species were chosen to increase the system’s natural resistance by reacting to ongoing climate change. Trees, shrubs and perennials were combined to foster urban biodiversity and control the city center’s microclimate. Albania’s nature’s richness in diverse species and varieties is thus valorized, allowing public space to assume bot recreational and educative functions.

The green belt around the square is made up of 12 gardens, each of them linked to one or more of the public or private institutions lining the square. The spatial organization of these gardens, as well as their technical aspects, were studied in dialogue with all the main actors of the project over the course of several workshops. The result is a set of contextualized interventions, inviting public and semi-public neighboring functions to spread into the exterior space.

In the frame of the readjustment of the project, specific attention was given to mobility questions and investments in the immediate and broader context of the square. An underground parking garage, able to host multiple functions, was developed in collaboration with the city’s mobility services. Similarly, pedestrian and bicycle connections and links to the public transportation network were established.

Finally, local materials were preferred, both for logistic and symbolic reasons, which led to the reactivation of local stone quarries and turned the project also on this level into a revelator of the richness of the Albanian context and stimulation of its production capacity.

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Architects：51N4E

Location：Tirana, Albania

Category：Plaza

Architects in Charge：51N4E

Area：90509.0 m2

Project Year：2017

Photographs：Filip Dujardin, Blerta Kambo

Battery Park is a new 12 000 sqm (1.2 hectares) urban park situated at a key entranceway to one of Africa’s most visited tourist destinations, the V&A Waterfront in Cape Town, South Africa. Developed as the nucleus of a larger urban vision for the district, the site includes a park and piazza that effectively conceal a 1 206-bay parking facility as well as new pedestrian routes to invigorate the precinct with activity. The site is of archaeological importance as it contains the remnants of one of the city’s oldest structures, coastal fortification the Amsterdam Battery. This provided a unique opportunity for architecture and urban design firm dhk – to pay homage to the historic landmark whilst incorporating a parking facility and providing spaces for leisure and recreational activities.

The project forms part of an urban design framework created by dhk for the V&A’s previously underutilized Canal District that facilitates the reconnection of the historical city center and De Waterkant to the V&A. The aim was to create a publicly accessible park which lies at the nexus of a multitude of new pedestrian routes stitching the new district into the surrounding urban fabric and thereby helping to invigorate the area.

The Amsterdam Battery was erected by the Dutch along Cape Town’s coastline in 1784 to defend the city from seaborne and land attacks. In the 1800s the building was used to house prisoners, and was later remodeled and strengthened by the British but eventually abandoned. In 1905 the battery was largely demolished to make way for railway connections to the port, leaving behind only a small portion of its rear curved walls. The historical remnants are now perched eight meters above the new canal running through the site at a lower level.

During construction of Battery Park, archaeological excavations revealed former datums which were used to inform the design. The raised park has been kept at the battery’s original inner courtyard level whilst planted edges above retail units on the piazza represent the estimated natural ground level that fronted the battery. Various architectural and landscaped elements reflect the structure’s original footprint, such as semi-circular curved pathways, concrete additions to the rear ramparts, splayed canal-facing walls and concrete-clad structures – giving visitors an authentic sense of the battery’s former size. An axial visual connection to Cape Town’s Noon Gun on Signal Hill has also been retained, thus preserving the site’s historic sightline.

The requirement to respect the original inner courtyard datum and create a lower-level piazza resulted in an elevated park with views across the V&A and CBD but with the challenge of managing the transition between the two levels. Therefore, a large part of Battery Park’s design concept was manifested in breaking the barrier between the park and piazza and bringing them closer to one another.

As a result, the park level has been designed to gradually lower towards the canal edge providing a closer connection to the piazza, and in turn, the piazza gradually steps down towards the canal. The vision was to create a scale between the two levels and provide visual cues to visitors; offering a glimpse of the park while they meander along the canal edge. This was also achieved by means of various soft and hard landscaping elements such as a grand concrete staircase leading from the piazza to the park, sloping and folding walls, and plants to draw the eye to the park above.

On the elevated park level, visitors can explore landscaped gardens with trees and stone-clad planters, meandering walkways with built-in benches, a concrete skatepark, basketball court, and new pedestrian routes. Throughout the park and piazza cantilevered steel pergolas scale the design and provide much-needed shade. The lower piazza level contains 11 boutique retail units that line the splayed canal-facing walls and form an active eastern edge to the new canal pedestrian route.

The intention behind the piazza was to activate the canal via a range of water sports and provide a link between the V&A and the CBD – encouraging a pedestrianized environment. Referencing the battery’s original façade, loosely packed stone-filled gabion walls shroud the parking facility and stone-clad planters contain fynbos and water-wise plants. All stone used throughout the park and piazza was excavated from the site during the construction process. These antiquated elements juxtapose contemporary insertions that reference the battery rather than replicate its heritage.

The materials palette includes a selection of hardy materials that suit the robust nature of the park, namely, concrete, stone, and steel. Concrete was chosen as a “material of our time” for new structures as it can be clearly distinguished from historic elements, ensuing little misinterpretation. A precast concrete panel structure dubbed the interpretation pavilion has been built to the estimated height of the battery’s original walls and links the park, piazza and parking facility via internal elevators.

To resemble cannon embrasures, three small openings form part of the structure’s canal-facing wall. Historic cannons from Amsterdam Battery found scattered throughout the V&A by the Cannon Association of South Africa and preserved for the development of the park are now on display inside the interpretation pavilion. The artifacts sit on top of precast concrete plinths, made to resemble old timber cannon carriages, allowing them to protrude through the embrasures and overlook the canal.

Director at dhk and lead architect on the project Pierre Swanepoel says, “The intention was to facilitate a new hub of activity within the V&A district whilst being respectful to the heritage of the Amsterdam Battery, once a place of exclusion and incarceration, but now a public space designed to support and engage the greater Cape Town community”.

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Architects：dhk (Pierre Swanepoel, Martin Lardner-Burke, Theo Gutter)

Location：Battery Park, V & A Waterfront, Cape Town, 8001, South Africa

Category：Park

Project Manager：Igual (Ben Day)

Area：12000.0 m2

Project Year：2018

Photographs：Dave Southwood, Theo Gutter

In 1857 the construction of the first seaside resort on the island of Lido in Venice was opening a stage of splendor for the island when parties, concerts, events were happening. The two major hotels: Grand Hotel des Bains, completed in 1900 and Excelsior Palace Hotel, in 1908 were transforming the island of the Lido in one of the most desired and sought-after seaside resorts in Europe. The Cinema Festival Palace and the Casino Palace were attracting huge numbers of tourists.

With the hit of the economic crises, a period of decline brought the disposal of the Grand Hotel des Bains and a lack of investment both from the private and the public sectors, being the Venice Cinema Festival the only international event which still continues the glories of the past, only once a year. The venues, which still testify the glorious past of the Venetian resort, are the Venice Cinema Festival Palace and the Casino Palace.

C+S designed the new public space sewing together the three elements which create the identity of the site: the historic and listed buildings of the Casino Palace and Venice Cinema Festival Place, connecting them with a white, continuous stone-made public space, which aims to enhance the dimension of the former historic public domain, unifying the two buildings with the park and bringing back the memory of its original design, testimony of the splendour of the Belle Epoque.

The square is heightened from the original level to allow the view of the sea and is entirely designed using the monochrome Apricena stone. The use of a monochrome surface for the whole public space confirms and underlines the strengths of the dimension of the public space, avoiding the fragmentation of the use of different materials.

The design of the materiality of the rolled or sanded pieces of the stone, the water drainage system and the fountain- designed as thin cuts and shadows on the white surface of the stone, the brass or varnished steel railings, the benches in reconstituted natural marble stone, the newly planted and autochthonous maritime pines and the sinuosity of the garden- which is designed as a symbol of a third building which was meant to complete the square but was never built: all these elements are designed as accents in the continuity of the monochrome materiality.

The square, designed to serve the Venice Cinema Festival, is invisibly infrastructure to potentially allow the activation of events during the other months of the year, but especially to give back a free public space to the inhabitants of the Lido island: mums with prams, skaters, kids playing with the water fountain, old people relaxing under the shadow of the trees and watching the sea.

“We are proud to have contributed to give back the citizens a part of the city. We strongly believe in the power of a free, well-designed public domain to be activated by people, their memories, their dreams, and their experiences”- says Carlo Cappai and Maria Alessandra Segantini. Part of the design was also the adaptive reuse of the ground floor of the Palazzo del Casinò, which was designed to recall the former splendor.

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Architects：C+S Architects

Location：Lido di Venezia, Italy

Category：Public Space

Lead Architects：Carlo Cappai, Maria Alessandra Segantini

Area：20100.0 m2

Project Year：2018

The Canal Corridor runs through the heart of the King’s Cross development along the Regent’s Canal. The Canal Corridor is a series of spaces, forming a linear park over 600m long that provides connections to and from the surrounding area.

The waterway played a vital role in shaping the area’s history. Once the tradesman’s entrance to the industries that lined its banks, a new public realm has been delivered making it a place to be enjoyed by everyone. Improving access and re-establishing its importance as a route and a focus for biodiversity was a key goal. The Canal Corridor is part of the wider King’s Cross redevelopment of 67 acres of redundant rail marshalling yards north of King’s Cross and St Pancras Stations.

The King’s Cross masterplan identified two key axis, the first, a north-south central spine extending from St Pancras and King’s Cross Stations in the south, over the Regent’s Canal, through Granary Square to Lewis Cubitt Park and York Way beyond. The second axis is an east-west link along the Regent’s Canal connecting under the railway lines to Camden in the west and to the Maiden Lane Bridge and Islington to the east, forming the Canal Corridor.

The Canal Corridor aims to celebrate the architectural heritage whilst improving access and re-establishing its importance as a route and a focus for biodiversity. The corridor has the most open aspect of anywhere at King’s Cross and its south facing location means that the corridor receives sun throughout the day.

From east to west these spaces are as follows: Wharf Road Gardens – the sinuous landscape with undulating lawns running along the southern side of the Handyside Canopy to York Way. The towpath and Ghat Steps – a new canal path north and south of the canal with seating steps connecting the towpath and Granary Square. Bagleys Walk- the linear landscape running along an existing viaduct structure. Gasholder Park and Gardens – the winding landscape flowing around the Gasholders structures and the more formal landscape within the structure of Gas Holder。

The Canal corridor has been delivered in phases over a number of years with the final piece, the Gasholder Gardens, opening in Autumn 2017.

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Architects：Townshend Landscape Architects

Location：Kings Cross, London, United Kingdom

Category：Park

Other participants：King’s Cross Central Limited Partnership, Bell Phillips Architects, Dan Pearson Studio, Arup (Triplets) and Peter Brett Associates (PBA), Hoare Lea, Peter Brett Associates (PBA) (Arup Triplets), Gardiner & Theobald, Carillion (Triplets and GH8), BAM (Viaduct), BAM Nuttall (Ghat Steps & Granary Square), Kier (Wharf Road), Applied Landscape Design (ALD), Maylim, Willerby Landscapes, Miller Druck, SH Structures, Little Hampton Welding

Area：20900.0 m2

Project Year：2017

Photographs：John Sturrock

Manufacturers：Green Wall

La Place du Village – The archetypical public space of a French small town

Breuil-Bois-Robert is a small town of 800 residents situated in the western countryside of Paris. The community wanted to bring new life to its central square, after the resurgence of young households in the town. The square, named Place des Tilleuls, had to get back to be a Village Square, an intense urban core at the scale of a rural town. After the competition, our primary goal was to minimize the parking surface, limiting it to a peripheral position. Thereafter, it was possible to design a park-square, with the aim to give value to the existing centenary lime trees and to open up the view towards the Vaucouleurs hills. The paths and circulations of the public space will cross the square from side to side, in order to ensure accessibility for disabled people. The structure of pedestrian axes define five main spaces within the square: the forecourt of the town hall, the exterior “parvis” of the church, the playground, the multi-sport field and the esplanade. This open space is especially interesting, due to the many ephemeral activities that take place within (open-air cinema, bowls tournament, concerts). The esplanade is used on daily basis as the main entrance of the local primary school and provides a calm space, where children and parents can take their time in the renewed urban core of Breuil-Bois-Robert.

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Design : Espace Libre
Website: www.espace-libre.fr
Manufacturer of urban equipment: IJSLANDER – BEGA LIGHTING
Tree Nursery: Bruns Pflanzen
Location: Breuil-Bois-Robert – 14, rue de la Libération – France
Design Year: 2012
Year of Construction: 2015
Surface: 6500 m²
Budget: 680 000 euros

Image credits: Julien Falsimagne