The Vessel by Thomas Heatherwick 托馬斯希瑟威克的船隻

The last time an architect dared plant an icon in a New York plaza that was intended to become a symbol of the city was in 1984, when Robert Venturi, FAIA, John Rauch, FAIA, and Denise Scott Brown, Hon. FAIA, proposed a monumental Big Apple (get it?) for the Times Square development designed by Philip Johnson and John Burgee. Both concepts fell flat; they were never built. Yesterday, however, London architect Thomas Heatherwick instead proposed a pineapple (sort of) for the Big Apple, to be located at the center of Hudson Yards, the vast mixed-use complex being erected over the rail yards just west of Pennsylvania Station.

It’s a topless pineapple, or maybe half a beehive, with a labyrinthine optical illusion of cascading steps at its core, a dead ringer for a mystifying M.C. Escher conundrum of impossible stairs, suitable for climbing, from nowhere to the sky.

上一次建築師敢於在紐約廣場上設計一個旨在成為城市象徵的圖標是1984年,當時羅伯特文丘里,FAIA,John Rauch,FAIA和Denise Scott Brown,Hon。 FAIA為Philip Johnson和John Burgee設計的時代廣場開發提出了一個巨大的大蘋果(得到它?)。 這兩個概念都持平; 他們從未建成。 然而,昨天,倫敦建築師托馬斯·赫瑟威克(Thomas Heatherwick)為大蘋果公司(Big Apple)提出了一種菠蘿(類型),位於哈德遜碼(Hudson Yards)的中心,這是一座巨大的混合用途綜合體,建在賓夕法尼亞車站以西的鐵路站場上。

它是一個裸露的菠蘿,或者可能是半個蜂巢,其核心是一個迷幻的光學錯覺,一個神秘的M.C. 埃舍爾難以置信的樓梯難度,適合攀爬,從無處到天空。

Its architect calls it “the Vessel,” noting that a better name might come along. Regardless of the eventual moniker, the 15-story, $150 million project, which also looks from the outside like a human pyramid of gymnasts that cantilevers wider toward the top (one grasps for metaphors here), will be erected in two years as the centerpiece of a large, landscaped esplanade framed by a double phalanx of office and residential towers leading from 10th Avenue to the Hudson River. Like the centerpiece of Rockefeller Center, a skating rink, the Vessel is an activity zone, which joggers and walkers, New Yorkers and visitors alike, will climb, like Everest, “because it’s there.”

It centers the plaza in an old-fashioned way, like Marcus Aurelius on his horse on the Campidoglio in Rome, set in a ground with spinning ellipses, except that the vessel is a newfangled participatory environment. It’s all frame and steps, like—permit one last comparison, please—a Statue of Liberty but without the drapery.

它的建築師稱之為“船隻”,並指出可能會出現更好的名字。無論最終的綽號如何,這個15層,價值1.5億美元的項目,從外面看起來就像一個人體金字塔的體操運動員,從頂部向上伸展(這裡有一個隱喻),將作為核心在兩年內豎立起來。位於從第10大道到哈德遜河的雙層方形辦公樓和住宅樓的大型景觀濱海大道。就像洛克菲勒中心(Rockefeller Center)的中心部分,一個溜冰場,船隻是一個活動區,慢跑者和步行者,紐約人和遊客都會像珠穆朗瑪峰一樣攀登,“因為它就在那裡”。

它以古老的方式將廣場集中在一起,就像馬庫斯·奧里利烏斯(Marcus Aurelius)在羅馬坎皮多利奧(Campidoglio)的馬上,坐落在一個旋轉橢圓形的地面上,除了這艘船是一個新奇的參與環境。這是所有的框架和步驟,比如 – 允許最後一次比較,請 – 一個自由女神像,但沒有帷幔。

Le tout New York came out for the celebration on a brilliant late-summer morning, to find Anderson Cooper at the mic introducing and then moderating a discussion between the developer, Stephen Ross of the Related Companies, Heatherwick, and the landscape architect, Thomas Woltz of the Charlotte and New York firm Nelson Byrd Woltz, which developed the grounds. Glitterati included the ubiquitous Diane von Furstenberg, and city dignitaries, including about-to-retire Police Commissioner Bill Bratton, and Mayor Bill de Blasio, who invoked his own Italian roots when speaking about piazzas.

It was a morning of suits, except for Heatherwick, 46, every inch the creative in vest, baggy pants, and hair he forgot to comb. The architect explained that as a student in London, he had appropriated and kept a discarded wooden staircase, fascinated by its “unearthed beauty,” and when he visited New York for the commission, he was impressed by the city’s exposed fire stairs. He also discovered a town of amazons and gents who come and go to work in sneakers and suits doing their “fitness thing.” His wooden stairs, Manhattan’s fire stairs, and trim New Yorkers somehow provoked him to think about Indian stepwells with multitudinous staircases leading to sacred waters at the bottom of ancient, deep, below-grade stone constructions.

Le tout New York在一個燦爛的夏末早晨出來慶祝,在麥克風上找到Anderson Cooper介紹然後主持開發者,相關公司的Stephen Ross,Heatherwick和景觀設計師Thomas Woltz之間的討論。夏洛特和紐約公司Nelson Byrd Woltz開發了這個場地。 Glitterati包括無處不在的Diane von Furstenberg和城市政要,包括即將退休的警察局長Bill Bratton和市長Bill de Blasio,他們在談到piazzas時引用了他自己的意大利血統。


Blenderizing it all, Heatherwick came up with the idea of an undulating bronzed-steel and concrete frame with proliferating staircases (154 in total) with stairs (2,500 of them) rising up from the ground to stacked viewing terraces (80 in all). Besides being a lesson in counting, the structure forms a centerpiece not only for the plaza (Steve, meet me inside the Pineapple), but also a focal point for the neighboring High Line, another peripatetic monument that offers unusual and refreshing perspectives on the surrounding city.

Heatherwick想到了一個起伏的古銅色鋼架和混凝土框架,樓梯(共154個),樓梯(其中2,500個)從地面上升到堆疊的觀景台(總共80個)。 除了作為計算課程,這個結構不僅是廣場(史蒂夫,在菠蘿內遇見我)的核心,也是鄰近的高線的焦點,另一個周邊紀念碑為周圍提供了不同尋常的清新視角 市。

The event was closed by a troupe of young Alvin Ailey dancers who used the choreography of everyday New York life—walking down stoops, climbing up subways stairs—to structure a chaotic, angular urban dance that wound its way up a full-size mock-up of two tiers, illustrating how the Vessel will come to life as the armature of New York’s spontaneous urban dance.

Construction on the stairway is already underway in Monfalcone, Italy, famous for its shipyards, and the parts will be sent to New York for an anticipated opening in 2018.

活動由一群年輕的Alvin Ailey舞者關閉,他們使用紐約日常生活的編舞 – 走下樓梯,爬上地鐵樓梯 – 構建一個混亂,棱角分明的城市舞蹈,一個全尺寸的模擬器 – 兩層,說明船如何成為紐約自發城市舞蹈的崛起。


Beguiling, true, but is the project the “plop art” that Heatherwick himself wanted to avoid? Does its unquestionable bulk dominate and kill the surrounding urban space even as it opens up its own bowl of infinity inside? Will it be a novelty that wears thin or eventually endures? Let the controversies begin.

Beguiling,是的,但Heatherwick本人想要避免的項目是“plop art”嗎? 它無可置疑地佔據主導地位並殺死周圍的城市空間,即使它在裡面開闢了自己的無限碗? 它會是一種新奇的東西,穿著薄或最終忍受? 讓爭議開始吧。


FROM:Introducing The Vessel

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