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1、设计简洁与城市综合沃克艺术中心雕塑花园，明尼阿波利斯如果清楚已成为 FAIA 爱德华?拉华比?巴尔内斯的设计方法的代名词, 他关于明尼阿波利斯雕塑花园的计划也证明是一个显著地综合体。巴恩斯的设计吸引着包含现代雕塑能够和他具有强大的古典烘托的花园的计划比赛的沃克艺术中心在内的信封空间。这个 7.5 英亩雕塑花园只是这个国家最大的城市雕塑中心中的一个。沃克艺术中心、明尼阿波利斯公园和娱乐板的联合项目也将以在位于地面并由巴尔内斯的拍档阿利斯特 ?贝文顿设计的新圣人和约翰Cowles 学院进行的年度园艺展示为特色。雕塑花园是由景观设计师昆内尔罗斯柴尔德公司的员工彼得罗斯柴尔德和巴尔内斯公司联合设计的。
2、在许多方面， 沃克艺术中心发现他自己是个先锋角色。在马丁弗里德曼的领导下，程序方面已经作为当代艺术中最先进发展的研究的领导中心建立起了国家声誉。物理方面， 博物馆将住宅背景延伸到西边，和格斯里剧院分享着他的地理位置和中央大厅。然而在东边，他面对着的16 条高速公路将他从明尼阿波利斯开始切断。但是沃克似乎又将负债转为有利条件的诀窍。巴恩斯难忘的 1971年的设计和凯姆登垂垂直进展的画廊, 是受物理约束困难的地点所需要的。他的计划也反映了费里德曼对当代雕塑的浓厚兴趣。为了替大型工程提供更多的空间, 巴尔内斯将屋顶设为雕塑阶地 , 继续将螺旋队伍由室内转到室外。1984年他除了沃克通过地下穴居来延长
3、央螺旋 , 在基地建设的周围创造更多的雕塑梯田。不是建立另一个明尼阿波利斯人行天桥来加入他们两个, 沃克委任艺术家希玛阿摩亚尼来设计一个人行横道。他375英尺长的人行桥横跨打哈欠高速公路和一个倒峡谷双链的拱门 , 漆成淡蓝色和黄色。明尼阿波利斯作为一个当地礼仪的公园和湖泊的项链是无可比拟, 艾琳希克松惠特尼桥在这个链上再次将雕塑公园作为一个链接结合在一起。事实上, 就像有个人穿过这座桥、这个雕塑花园被视为一个为了沃克和格里斯剧院的复合体的盛大的新前景。这个花园计划作为雕塑的背景是经典的简单、对称和宽敞。中间部分是建立四个大小相等场地的一个横轴。这些对南边的沃克和格里斯剧院和北边开放的、长方形草
4、地而言都是平衡地。轴线是两边是菩提树的压紧的碎石灰岩小路。长, 畅通无阻的远景是色剂的签名，使场地夸张的规模统一。东西部地区的小路在西边音乐学院被终止。因为区块的孤立 , 对巴尔内斯而言一个强大的总设计图对联合花园与街对面的博物馆和剧院是必需的这一点是很明显的。依照巴尔内斯的叙述， 正式的花园计划从需要一些铆钉轴的大堂开始并没有多少是起源于对对称性的渴望。所以强烈的南北轴线垂直画到沃克格里斯街区。“一旦你有了一个像那样的支座, 你会发现你自己深入到整个轴向计划系统。并且我觉得一个牢固轴线和十字线条之间的强烈联系是需要的。”雕塑花园的中心计划是四个100平方英尺草坪庭院 , 每一个都是由包含树木
5、的有夹壁的石头槽建造的。 这些植物任然是不成熟的， 但在几年时间里将被夹在类似酥盒的树篱里面 , 就像传统的欧式园林花坛。巴尔内斯强调植物的迁入和强大的树叶建筑形式被充分实现是需要花时间的。他预计这个花园在成熟过程中将在一个神秘的地方，荫凉和浪漫。欧洲的园林花坛经常是完全与世隔绝的, 包含装饰性的植物和被花园外面赞赏的模式。巴尔内斯用略过来代替创造未装饰户外美术馆。用这种方法, 沃克最名师资料总结 - - -精品资料欢迎下载 - - - - - - - - - - - - - - - - - - 名师精心整理 - - - - - - - 第 1 页，共 6 页 - - - - - - - -
6、- 小的建筑延伸进了花园。 沃克计划的类推是在场地的包含雕塑设计观点的树篱中继续精心设计的空缺 , 而影响并不像巴尔内斯的对宽阔门口的摆放在沃克的美术馆给下一层一瞥中那样。 注意故意打破巴尔内斯产生的其他的明尼阿波利斯公园的Olmsed 自然主义风格 , 佛雷德里曼描述了他们一个“博物馆性格”的雕塑花园共同目标 : “有一个户外的博物馆 , 也有一个内部的博物馆。”为了提供这个强大的知识框架, 彼得洛希尔选定了树木如需要寄给他们修剪的 Glenleven 小叶子菩提树。罗斯切尔德和同伴克劳迪娅桑顿得到不少于875棵金钟柏 ,200 棵黑山云杉和 70棵菩提树。 对景观建筑师规定的制约因素是该园
7、不能展示花，不能有与雕塑争艳的东西。实现庭院的梯田需要位置的广泛的分级, 并逐步走向北方。花岗岩槽明确定义了级别。用于花园的楼梯和花盆种植的沃克的屋顶平台用同样的花岗岩铺成。和主流的欧洲的园林特征形成对照，罗斯柴尔德在新英格兰低石墙发现了灵感。一个分裂的石头乡村的效果吸引了他，就像他解说的， 当时的想法是使它们看起来像那种在新英格兰的农民可能铺成的墙的效果来软化墙壁的效果。有裂缝效果的墙壁和土地一起能自我支撑因为地面冻结和融化自然的运动。在花园的北边尽头长方形草地由双排的黑山云杉树规定。场地的重点是一个庞大的喷泉雕塑名为勺桥与樱桃。放置着一条细长的河, 雕塑在意大利花园中扮演着传统风格的角色
8、, 。对巴尔内斯而言 , 然而, 放在末端景象的核心理念比一些反映了天空事物略好一些 ?”他说。巴恩斯的搭档阿利斯泰尔贝文顿的音乐学院是一个强大的, 但非常精致的建筑。他最明显的景观石在夜里, 因为他轻柔的发光的透明的体积超越了花园。从交叉支撑的 6英寸直径的结构钢管焊接形成框架力量的朴素高雅的结果。这个简单的结构奠定了传统的光铝和透明的玻璃温室皮肤。对称性的花园的计划是在中央音乐学院任教的重申对低,110 英尺长的侧的翅膀 , 旁边一个 62英尺高的中央凉亭。虽然长屋是熟悉的温室形式， 亭子在纯几何中是一项运用, 由元素 Barnesian主要形式构成。该建筑物的精致的外表掩盖了一个80英尺
9、长的桩重的混凝土地基系统, 一切都是一个不稳定地点的需要。 土地是前湖床 , 而且图层面板将在压力下受压缩小, 并且桩已被压低到基岩。 贝文顿指出 , 更多的建筑的重量实际上是地下比以上多。基础的巨大费用使早期更多的昂贵方案黯然失色。事实证明，谦虚是美德的最终方案。一个早期方案具有纯粹的侧壁上升到一个旋律的棚屋顶似乎过于巨大，为人们种植在外面。减少最终的展馆设计和其侧翼的低檐上质量保持在一个舒适的人性尺度。贝文顿说: “我们用一个传统形式的玻璃窗 , 而且宁愿适应我们已经得到的房子。”一些小的细节如水平关节研磨温室肌肤透出建筑的魅力和防止他变成仅仅是一个寒冷、高科技的笼子里。 在明尼阿波利斯的
10、冬天赞赏的特征是穿过建筑的保持游客从花园西部的停车场到沃克个格里斯小路温暖的内部通道。至于他们为学院的瑞吉花园的设计，迈克尔凡瓦肯伯格回忆说，他和巴巴拉所罗门共享的“重复的元素，一路下来的长屋”，并当作一个经停地点的中央场地的想法。 这些重复的平面元素的侧面与轴相接，并继续从北入口到南边房子底部。在南部的房子里，凡瓦肯伯格用一系列的窗帘划分了室内，完成了微妙装饰。所罗门在北翼的四个修剪拱门放大到室外园林的建筑风格的正式联系。伴随着长屋的是强烈芳香的白色栀子花集结病床和艳橙鸟的天堂。最非传统的玻璃围墙 , 高大的房子是相反的所罗门调用设置“的经典棕榈名师资料总结 - - -精品资料欢迎下载 -
11、- - - - - - - - - - - - - - - - - 名师精心整理 - - - - - - - 第 2 页，共 6 页 - - - - - - - - - 苑” 。手掌包围的平静的池睡莲包围树可能是一个场景从19世纪的冬季花园。然而， 19世纪的玻璃房子曾吹嘘弗兰克盖里的站玻璃鱼为核心吗？带有一笼子的棕榈树树干和棱柱形的玻璃房子的半透明雕塑闪闪发光。所罗门评论说: “自然与艺术之间的分界线是无形的” 总结这个设计不仅仅是音乐学院还是与雕塑花园结合的一个整体。Design clarity and urban synthesis The Walker Art Center sculp
12、ture garden, Minneapolis If clarity has become a byword for the design approach of Edward Larrabee Barnes, FAIA, (1) his plan for the new Minneapolis Sculpture Garden also represents a notable synthesis. (2) Barnes s design draws the envelopes of space within the Walker Art Center outside, where mod
13、ern sculpture can play against the strong classical foil of his garden plan. The 7.5-acre sculpture garden is one of the largest urban sculpture centers in the nation. A joint project of the Walker Art Center and the Minneapolis Park and Recreation Board, it will also feature year-round horticultura
14、l displays in the new Sage and John Cowles Conservatory, located on the grounds and designed by Barnes s partner, Alistair Bevington. The sculpture garden was designed by the Barnes firm in association with landscape architect Peter Rothschild of Quennell Rothschild Associates. In many ways, the Wal
15、ker Art Center finds itself at the vanguard. Programmatically, under the leadership of Martin Friedman, it has established a national reputation as a leading center for the study of the most avant-garde developments in contemporary art. Physically, the museum nestles comfortably against a residentia
16、l backdrop to the west, sharing its site and a central lobby with the Guthrie Theater. Yet to the east it confronts 16 lanes of high-speed freeway traffic that sever it from downtown Minneapolis. But the Walker seems to have a knack for turning liabilities into assets. Barness memorable 1971 design,
17、 with its vertical progression of boxlike galleries, was necessitated by the many physical constraints of a difficult site. His plan also reflected Friedman s strong interest in contemporary sculpture. To provide more space for large works, Barnes designed the rooftops as sculpture terraces, continu
18、ing the helical procession from indoors to outdoors. His 1984 addition to the Walker extended its central helix by burrowing underground, creating more sculpture terraces around the base of the building. Rather than building yet another Minneapolis skybridge to join the two, the Walker commissioned
19、artist Siah Armajani to design a pedestrian crossing. His 375-foot-long footbridge spans the yawning freeway chasm with an inverted pair of catenary arches, painted pale blue and yellow. Minneapoliss necklace of parks and lakes is unparalleled as a local amenity, and the Irene Hixon Whitney Bridge r
20、e-integrates the sculpture park as a link in this chain. Indeed, as one crosses over the bridge, the sculpture garden is seen as a grand new foreground for the Walker and Guthrie Theater complex. The garden plan is classically simple, symmetrical, and commodious as a setting for sculpture. The centr
21、al part is a cross-axis that establishes four equal courts. 名师资料总结 - - -精品资料欢迎下载 - - - - - - - - - - - - - - - - - - 名师精心整理 - - - - - - - 第 3 页，共 6 页 - - - - - - - - - These are balanced to the south by the blocks of the Walker and the Guthrie Theater and to the north by an open, rectangular meadow.
22、 The axes are wide all es of compacted crushed limestone, lined with linden trees. Long, unimpeded vistas are the signature of the design, unifying the heroic scale of the site. The east-west alle is terminated on the west by the new conservatory. Because of the blocks isolation, it was obvious to B
23、arnes that a strong site plan was needed to unite the garden with the museum and theater across the street. The formal garden plan resulted not so much from a desire for symmetry as from, as Barnes relates, the need for “something to rivet the axis of the lobby.” So the strong north-south axis was d
24、rawn perpendicular to the Walker-Guthrie blocks. “Once you have a line like that, you find yourself into the whole system of axial planning. And I felt the need of a strong axis and a strong connection to cross on that line.”The heart of the sculpture garden plan is the four 100-foot-square grass co
25、urtyards, each framed by double-walled stone planters containing trees. These plantings are still immature but in a few years time will be clipped to resemble the crisp box hedges that outline traditional European parterre gardens. Barnes stresses that it will take time for the plantings to “settle
26、in” and for the powerful architectural form of the foliage to be fully realized. He anticipates that the garden will, in maturity, be a mysterious place, shadowy and romantic. European parterre gardens were often completely enclosed, containing decorative plantings and patterns to be admired from ou
27、tside the garden. Barnes instead created unembellished outdoor galleries to walk through. In this way, the minimal architecture of the Walker extends itself into the garden. The analogy to the Walker design is continued in the carefully planned openings in the courts hedges to frame views of sculptu
28、res within, an effect not unlike Barness placement of wide doorways between the Walkers galleries to give glimpses of the next floor. Noting the deliberate break Barnes made with the Olmsed-style naturalism of other Minneapolis parks, Friedman describes their shared goal of a “museum character ” for
29、 the sculpture garden: “There is an outside museum as well as an inside museum.” (3)To provide this strong architectonic framework, Peter Rothschild selected trees such as the Glenleven Littleleaf linden, which would lend them to pruning. Rothschild and associate Claudia Thornton obtained no fewer t
30、han 875 arborvitae, 200 Black Hills spruce trees, and 70 linden trees. A constraint on the landscape architects was the stipulation that the garden have no floral displays, nothing to compete with the sculpture. Extensive grading of the site was required to achieve the terracing of the courts, which
31、 step down to the north. The granite planters sharply define the grade. The same granite that paved the Walkers roof terraces is used for the gardens stairs and planter walls. In contrast to the predominantly European character of the garden, Rothschild found inspiration for the low stone walls in N
32、ew England. The rustic effect of a split-faced stone appealed to him, as he explains, the idea was to soften the effect of the walls by making them seem more like the kind of walls that a farmer in New England might have laid. The battered walls are self-supporting and lay with soil, allowing for na
33、tural movement as the ground freezes and thaws. 名师资料总结 - - -精品资料欢迎下载 - - - - - - - - - - - - - - - - - - 名师精心整理 - - - - - - - 第 4 页，共 6 页 - - - - - - - - - The rectangu lar meadow at the gardens north end is defined by double rows of Black Hills spruce trees. The focal point of this court is a colos
34、sal fountain sculpture, titled Spoonbridge and Cherry. Sited over an elongated pond, the sculpture processes the role of the traditional style in Italian gardens. For Barnes, however,“ a key idea you put at the end of the vista any better than something that reflects the sky?” he says.Barness partne
35、r Alistair Bevingtons conservatory is a strong, yet exceptionally delicate, building. (4) The most striking view of it is by night, as its softly glowing transparent volumes rise above the garden. Its spare elegance results from the strength of its cross-braced welded frame formed of six-inch-diamet
36、er structural steel tubing. Over this simple structure is laid a traditional light aluminum and clear glass greenhouse skin. The symmetry of the garden plan is reiterated in the conservatorys pair of low, 110-foot-long side wings that flank a 62-foot-high central pavilion. While the long houses are
37、familiar greenhouse forms, the pavilion is an exercise in pure geometry, composed of elemental Barnesian prime forms. The buildings delicate appearance belies a heavy concrete foundation system with 80-foot-long piles, all necessitated by an unstable site. The land was a former lake bed, and, as the
38、 under-lying layers would compress under pressure, piles had to be driven down to bedrock. Bevington notes that much more of the buildings weight is actually below ground than above. The enormous expense of the foundation eclipsed earlier and more costly schemes for the greenhouse design. As it turn
39、ed out, modesty is the virtue of the final plan. One early scheme featuring sheer side walls rising up into a counterpoint of shed roofs appeared too monumental, for both people outside and plantings within. The reduced upper mass of the final pavilion design and the low eaves of its side wings keep
40、 it at a comfortably human scale. Bevington says, “We used a traditional form of glazing, and that rather conditioned the kind of house we got.” Small details such as the lapped horizontal joints of the greenhouse skin give the building its charm and prevent it from being merely a cold, high-tech ca
41、ge. (5) A feature appreciated in the Minneapolis winter is an interior walkway through the building that keeps visitors warm on their way from a parking area west of the garden up to the Walker-Guthrie lobby. Regarding their design for the conservatory s Regis Gardens, Michael Van Valkenburgh recall
42、s that he and Babara Solomon shared the idea of “repeating an element all the way down the long houses” and treating the central court as a stopping place. These repeated planar elements flank the through-axis that continues from the north entrance to the end of the south house. In the south house,
43、Van Valkenburgh divided the interior with a series of hanging scrims that support a delicate tracery of clinging vines. Solomons four topiary archways in the north wing amplify the formal link to the architectural character of the outdoor garden. Within the long houses are massed beds of intensely a
44、romatic white gardenias and brilliant orange bird-of-paradise. The most nontraditional of the glass enclosures, the tall house is conversely the setting for what Solomon calls “the classic palm court.” The tranquil pool with water lilies encircled by palms could be a scene from a 19th-century winter
45、 garden. Yet what 名师资料总结 - - -精品资料欢迎下载 - - - - - - - - - - - - - - - - - - 名师精心整理 - - - - - - - 第 5 页，共 6 页 - - - - - - - - - 19th-century glass house ever boasted Frank Gehrys Standing Glass Fish as centerpiece? The translucent sculpture shimmers within a cage of palm tree trunks and the prismatic glass house. Solomons comment that “the division between nature and art is invisible” sums up the design not only of the conservatory but of the sculpture garden as a whole. 名师资料总结 - - -精品资料欢迎下载 - - - - - - - - - - - - - - - - - - 名师精心整理 - - - - - - - 第 6 页，共 6 页 - - - - - - - - -