印度尼西亞萬隆市民廣場(chǎng)景觀設(shè)計(jì) | SHAU

萬隆市民廣場(chǎng)（Alun Alun Cicendo）位于印尼西爪哇省萬隆市Aruna路，該街區(qū)是著名的鐵匠作坊聚集區(qū)。項(xiàng)目要求將該地塊改造為復(fù)合功能的公園，并將部分現(xiàn)存的臨街鐵匠作坊遷入公園內(nèi)，為街道騰出空間。公園內(nèi)需設(shè)有體育設(shè)施、中央廣場(chǎng)、藝術(shù)展亭、展覽館以及藝術(shù)家活動(dòng)空間等。除此之外，SHAU還添加了枯山水花園和一個(gè)與水池相連的峽谷區(qū)域。

^{SHAU was assigned by former Mayor of Bandung and current governor of the province West Java, Ridwan Kamil to design Alun-alun Cicendo in Bandung next to Jalan Aruna, an area which is known for its blacksmith workshops. The brief defined a multifunctional park where parts of the existing blacksmith workshops will be relocated from the street front into the park thus freeing the adjacent street. Further SHAU was asked to include sports facilities, a central square, art kiosks, a pavilion and allocate spaces for local artists. SHAU then included additional features like a dry garden and a canyon ending in a water feature.} 

^{▲萬隆市民廣場(chǎng)區(qū)位圖 ?SHAU}

^{▲場(chǎng)地全貌 ?Mulkisalman}

^{▲峽谷的盡頭是可戲水的水池 ?Sonny Sanjaya}

SHAU沒有將場(chǎng)地割裂為不同的功能區(qū)，而是決定讓不同區(qū)域以漸變的方式相互融合。設(shè)計(jì)利用耐候鋼帶形成階梯式丘陵地形來組織不同功能區(qū)的人流，它的形式與萬隆周圍的景觀融為一體，同時(shí)鋼材料恰到好處地呼應(yīng)了街區(qū)的鐵匠文化。

^{Rather than working with distinct areas allocated to the functions, SHAU decided to opt for a solution where areas start to blend into each other in a more gradual way. For that the concept of rusty steel ribbons was introduced which organizes the flow of visitors around these functions in form of a topography of stepped hills, lending its form to the surrounding landscape of Bandung as well as relating the main material namely steel to the direct neighborhood.} 

^{▲概念設(shè)計(jì)：復(fù)合功能空間，而不是互相割裂的多功能空間 ?SHAU}

^{▲鳥瞰圖 ?SHAU}

^{▲耐候鋼帶呼應(yīng)當(dāng)?shù)氐蔫F匠文化  ?Sonny Sanjaya}

設(shè)計(jì)利用樓梯和可坐式臺(tái)階等形式構(gòu)建出階梯式地形，形成休息和活動(dòng)的空間，激勵(lì)游客探索和利用公園內(nèi)不同的場(chǎng)地空間。 幾個(gè)抬高的臺(tái)地成為六位當(dāng)?shù)厮囆g(shù)家放置和展示他們鋼雕作品的平臺(tái)，它們宛如博物館中展覽物的基座。

^{With the introduction of the stepped topography in form of stairs and seating stairs SHAU creates spaces of rest and movement with the intention to animate the visitors to explore and take different vantage points along the park. The tops of the hills serve as platforms for six local artists to place and display their steel sculptures like pedestals in museums.} 

^{▲從外向內(nèi)看，廣場(chǎng)猶如藝術(shù)品的背景。而在廣場(chǎng)內(nèi)部，臺(tái)地形成了遮蔭空間。?SHAU}

^{?Sonny Sanjaya}

^{?Sonny Sanjaya}

^{▲臺(tái)地成為展示藝術(shù)家雕塑作品的基座 ?Sonny Sanjaya}

鐵匠作坊的屋頂被設(shè)計(jì)成甲板的形式，人們?cè)谶@個(gè)較為安靜的區(qū)域能俯瞰整個(gè)公園。部分甲板區(qū)域鋪設(shè)鋼格板，樹木可以穿過它的縫隙生長(zhǎng)，同時(shí)這也為上方的甲板和下方鐵匠工坊區(qū)的通道之間建立了視覺聯(lián)系，并降低了日曬。

^{The area above the blacksmith kiosks is materialized in form of a deck intended to be a quieter area overlooking the whole park. The deck is made partly from steel grating and voids for trees piercing through, establishing a visual connection between deck above and steel workshop alley beneath but also bringing daylight down.} 

^?Mulkisalman

^?Mulkisalman

^{▲鐵匠作坊區(qū)的屋頂如同一個(gè)甲板，人們可以在這里俯瞰廣場(chǎng)全貌 ?Sonny Sanjaya}

主廣場(chǎng)一側(cè)的鋼制展亭棱角分明、十分尖銳，與塑造地形的圓潤(rùn)流暢的鋼帶形成了鮮明對(duì)比。 突出的尖角像楔子一樣插向廣場(chǎng)主要入口，將游客向不同的方向分流，而另一側(cè)則向主廣場(chǎng)開放。從立面來看，亭子分為兩個(gè)區(qū)域，一個(gè)是供游客就坐、步行和觀賞的樓梯，另一個(gè)則是下方用于臨時(shí)展示藝術(shù)品的區(qū)域。這座三維的、由耐候鋼制成的之字形展亭成為了廣場(chǎng)的中心，在公園的外部也可以觀賞它雕塑一般的形態(tài)。展亭下方的開放空間由垂直的橡膠繩圍合，宛如一座無形的立面。游客若想進(jìn)入這個(gè)空間必須用力打開橡膠繩，使進(jìn)入此處成為了有意識(shí)的活動(dòng)。

^{Adjacent the main square a steel pavilion was placed. The geometry is angular and pointy and stands in opposition to the more rounded and fluid forms of the topography’s steel ribbons. Here, the pointy side is oriented like a wedge towards the main entrance of Alun-alun bifurcating the flow of visitors into different directions and being open on the other side towards the main square. In elevation the pavilion is designed to have two main areas, again a stair for seating, walking and viewing and an area underneath for displaying art temporarily. The result is a 3-dimensional, rusty steel zig zag which serves as central point of the park being also visible from outside the park and becomes a sculpture itself. The open space underneath the pavilion is framed with vertical rubber strings which serve as an almost non-material fa?ade between two outdoor environments, making the stepping inside a conscious act of crossing a threshold by having to force the rubber strings open.} 

^{?Sonny Sanjaya}

^{?Sonny Sanjaya}

?Sonny Sanjaya

^{▲展亭下方的開放空間由垂直的橡膠繩圍合 ?SHAU}

人們可以從臺(tái)階和其他坡道從任何地方進(jìn)入公園。通過整合不同的活動(dòng)、建立可達(dá)性好的無障礙環(huán)境、促進(jìn)游客流動(dòng)、激發(fā)好奇心、引入連貫的材料主題以及將公園和涼亭雕塑化等方式，SHAU希望將廣場(chǎng)打造為一個(gè)連續(xù)性的藝術(shù)綜合體。

^{The whole park is accessible at any point for everybody via additional ramps not only stairs. By integrating different programs, establishing accessibility, animating visitors to move, stimulating curiosity, introducing a coherent material theme and sculpting the park and pavilion, SHAU hopes to establish a consistent Gesamtkunstwerk (synthesis of the arts).}  

^{?Sonny Sanjaya}

^?Mulkisalman

項(xiàng)目圖紙

^{▲鋪裝材料 ?SHAU}

^{▲剖面圖 ?SHAU}

^{▲場(chǎng)地平面圖 ?SHAU}

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