美国雅各布贾维茨联邦大厦广场

发布于：2023-05-21 22:09:44

Jacob javits federal building square

位置：美国

分类：广场

内容：实景照片

图片：10张

雅各布贾维茨联邦大厦广场位于曼哈顿，在Worth和Lafayette大街交汇处。这个安静的广场曾经引起了人们对于公共雕塑和艺术家对于他们作品的把握的巨大争议。

景观建筑师在广场上设计了四个半掩埋着的正弦曲线型植物床。而这些植物床边上是一些大理石长凳，有的呈圆碟形，有的则是矩形。东北角的道路中间则有一个喷泉。尽管由花岗岩和玻璃建造而成的联邦大楼不和谐地笼罩着广场，广场地面却给人一种亲密的感觉。玉兰树起了很大作用。

要将一个公共广场设计建造在一个既不是公园又不是街道的地方确实十分困难。Martha 提出的“提升城市生活品质”的理念是上世纪60至70年代景观设计的“救星”。 Van Valkenburgh说到：“尽管我们的设计在空间和材料方面与之并不相似。Martha对于住所设计的观点和在景观中创造热情的设计理念却深深地影响着我们的设计。我觉得我们的作品是对她的设计理念的拓展。”

译者: 柒柒

Sitting in Michael Van Valkenburgh Associates' (MVVA) Jacob K. Javits Federal Building Plaza in downtown Manhattan, at Worth and Lafayette streets, you could forget that a former iteration of the quiet plaza sparked one of the most outsized controversies about public sculpture and artists' control over the fate of their work.

The landscape architect organized the plaza with four mounded, sinusoidal plant beds. The organic forms embrace buttery marble benches—some discs, others rectangular slabs. A fountain emerges from the pavement on the northeast corner. Though the granite and glass Federal Building—with a jarring design by Alfred Easton Poor, Kahn & Jacobs, and Eggers & Higgins—looms over the plaza, the scale on the ground is intimate. Saucer magnolia trees do much of that work. “We thought that the grayness of the site in the winter should end in the spring with some fantastic explosion of blooms,” says Van Valkenburgh. The cobbles, patterned to be a “jazzy riff” on the woven checkerboard facade of the Federal Building, also help soften the space. “It's sort of like the facade reflected in water,” he says.

Public plazas are difficult to design and program—in-between spaces that are neither park nor street. Van Valkenburgh says that the plaza's previous incarnations reflect “an evolving idea of life in cities and urbanity.” Tilted Arc exemplified the 1960s and '70s idea of sculpture as landscape's salvation. The plaza's transformation continues with MVVA's scheme. “Although our designs are not very similar in a spatial or material sense, Martha's thinking about habitation and the need to create a sense of welcome definitely influenced our approach,” he says. “In this way, I feel like our work is an extension of what she was doing.”