2017 ASLA GENERAL DESIGN AWARD OF HONOR: Windhover Contemplative Center by Andrea Cochran Landscape Architecture

Seamless fit of the indoor and outdoor space

Project Specs

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“这是我最喜欢的项目之一。它显示出了室内、外空间之间的相互制约关系。并契合的如此天衣无缝”。
— ASLA评奖委员会

“One of my favorites. It showed such restraint in the indoor/outdoor relationship. It was seamless”.
— 2017 Awards Jury

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Windhover Contemplative Center by Andrea Cochran Landscape Architecture,
Appreciation towards ASLA for providing the following description:

项目概述
PROJECT STATEMENT

Windhover沉思中心以艺术家Nathan Oliveira的绘画命名,在忙碌的斯坦福大学校园,它不仅是艺术画廊,也是精神的庇护所和可以沉思的花园。该馆以Oliveirade的艺术作品为载体,为学生及教师员工提供了一个可以缓解压力并重新集中精神的场所。该中心的整体设计以毗邻的橡树林为独特背景,并营造出了一系列可供体验的空间,让参观者能从中够感受到Oliveira的绘画与自然的共鸣。建筑和景观相辅相成的设计手法渗透到了该设计的方方面面,从精心设计的入口序列,到内外空间的相互渗透,再到建筑材料的使用,光影间的互动,无不透露着设计师的用心考量。Windhover代表了机构性场所设计的一种新风格,它为使用者提供了一个集艺术欣赏和培养个人幸福感于一身的绿色庇护所。

The Windhover Contemplative Center, named for a series of paintings by artist Nathan Oliveira, simultaneously functions as an art gallery, spiritual sanctuary, and contemplative garden on the busy Stanford Campus.  Using Oliveira’s art as a vehicle for personal renewal, the center provides a place for students, faculty, and staff to decompress and re-center themselves.  The integrated design capitalizes on the building’s unique context — adjacent to an existing oak woodland – to provide a series of spaces that allow visitors to experience Oliveira’s paintings in concert with an inspiring natural setting.  A collaborative approach to building and landscape shaped nearly every aspect of the design, from the carefully choreographed entry sequence; to the visual and physical permeability between the interior and exterior spaces; to the interplay between the building materials, light, and shadow.  Windhover represents a new typology for institutional design, offering a lush, green sanctuary for viewing art and fostering personal well-being.

▲WINDHOVER沉思中心场地平面 WINDHOVER CONTEMPLATIVE CENTER SITE PLAN

 

项目说明
PROJECT NARRATIVE

Windhover 沉思中心是由一个停车场改造而成的,四周环绕着橡树,内部设有一个4000平方英尺的艺术画廊,以及一系列静谧的户外空间,用来展示Nathan Oliveira的作品。 Nathan Oliveira是位艺术家,也是斯坦福大学的教授,于2011年去世,艺术中心为实现他的梦想,用这片沉思空间展示他因受诗歌和斯坦福周围的风景启发而创作的作品。

Windhover沉思中心占地一英亩,连接着校园内使用率很高的一条自行车道和一个大型宿舍。而沉思中心经过精心设计的入口序列构成了忙碌的校园和教堂般画廊之间具备多重体验的过渡空间。进入中心前,访客需要穿过一条被银杏林包围的碎石路,以及一丛高大的竹墙,暗示着外部世界的干扰将被隔绝在外。而在建筑内部也融入了很多室外元素,意在营造静谧的沉思气氛。而且宽大的玻璃窗和垂直的框架让人也仿若置身室外。在建筑后面设置了一个由夯土墙围合的静水池,一面由锈钢板条组合成的幕墙,并种植了一些竹子用来屏蔽周干扰,以将访客的注意力集中到这片刻的宁静中。建筑的中心是一个具有禅宗风格的庭院,身处其中既可以仰望天空,欣赏周边的橡树林,也可以瞥到远处树林中沉思迷宫的景观。

协作的设计手法
从一开始,建筑师和景观设计师便将建筑和景观设想为一个整合,而且这个概念渗透到了该项目的每个角落,甚至对建筑的选址都是经过双方仔细考量的。而对于访客,设计的巧妙玄机从建筑入口的地面上就能发现。当游客步行迈过街道和建筑间的门槛时,一种神圣的空间感就会油然而生,并且会感觉到建筑与景观之间的配合是如此的协调一致。例如,场地纵向上四英尺的高差,以缓坡的形式随着细长的线性建筑而被消化,在场地的另一端消失。 而这个微妙的高差变化虽然只是一个简单的设计手法,却也构成了深入沉思和体验的一部分。

除了建筑师和景观设计师之间存在着这种默契配合外,该设计还包含了一些其它形式的合作。整个过程中,设计团队与斯坦福大学宗教生活方面的院长以及学生紧密交流,将他们的对该中心的想法融入到了设计中。他们还与艺术家Nathan Oliveira的家人交谈,参观了他的工作室,深入了解其生前情况,以确保新建筑能合理地表达本人的意志。

此外,实现该项目还需要与校内的一些顾问密切合作。景观设计师在整个项目中与斯坦福大学的树木学专家进行了沟通,以确保场地内树木的健康,并受到合理的保护。另外,景观设计师还与建筑师一起将现有树木的枝干引入到了建筑物悬空的开口处,以增强自然与建筑融合的氛围。而且,该设计团队还与校园项目经理合作,从校园“骨院”(一个放置了以前的建筑项目剩余石块的场地)中挑选了的石块作为雕塑元素。

具体设计
在斯坦福大学校园完成这个项目,过程中暴露出了许多挑战。首先,要想制造出私密感,需要在相邻的街道,自行车道和宿舍等空间中挑选出不易被注意到的地方。设计团队通过使用渗透性设计平衡隐蔽性和安全性的问题,意在营造出一种带有渗透性的围合感,使用具有屏障性且稀松的植物建立开放性和可见性,以保证在一天的任何时候都能让人感觉安全。其次,考虑到校园住宿的特点,设计团队认为保持该景观庭院在晚上开放非常重要。即便建筑关闭了,学生也应该可以到中心庭院内去绘画,或是享受冥想空间和自然环境。

该场地独特的生态环境对项目也有很大影响。毗邻的橡树林是蝾螈栖息地,在施工过程中受到了仔细的保护。此外,场地内还包含了一些本地橡树,加利福尼亚胡椒树和校园内仅有的一个桧树。项目团队一直围绕着敏感的生态系统进行设计并选择建筑材料。可持续的原则也影响着该项目的种植设计,包括选用了耐旱和低维护的植物品种。

该项目中使用的创新材料也使其更加贴合自然,这也是该项目着力进行整体设计的初衷。 夯土墙,腐蚀钢板,石头,水,砾石和腐蚀的花岗岩使游客置身于一个质感丰富的环境中。这些材料放大了短暂的感官体验,吸引游客能够更加敏感地注意到脚下石块的嘎吱声,微风吹拂下的水面运动,以及光影在墙壁表面上的韵律。

而设计团队为该项目设想的简洁构造效果需要周密的细节和高水平的工艺来完成,紧张的时间和预算让实现该目标变得复杂很多。为了利用有限的资源打造高水准的品质空间,景观设计师运用创新策略保持了设计的完整性。例如从校园的“骨场”(一个放置了以前的建筑项目剩余石块的场地)收集雕塑原料,设计并自行浇筑庭院内的静水池,并且,在没有喷泉顾问的情况下,景观设计师与施工方合作完成了静水池的机械系统。而成品的高品质完全倚赖团队精致的细节处理和严谨的监工。。

一个新范例
该项目代表了机构类场所设计的一个新类型,即以营造供人反思和冥想个人幸福感的场所为设计初衷,结合艺术创作与自然元素来塑造一个精神庇护所。 Windhover为斯坦福大学校园提供了一个与众不同的地方,使学生可以在这里放下日常学业的重担,恢复内心的平静。反过来,重新注入精力,创造力和激情。

 

 

▲从一开始,建筑师和景观设计设想的建筑和景观便紧密结合,from the outset, the architect and landscape architect envisioned the structure and landscape as fully integrated.

 

▲藏匿于忙碌的校园中的Windhover沉思中心,为忙碌的斯坦福大学学生提供一个静谧的喘息场所,tucked into the busy campus, the Windhover Contemplative Center offers a tranquil respite for busy Stanford University students.

 

▲一条碎石路引导访客穿过银杏林,在进入沉思中心前摆脱掉外部世界的嘈杂,a crushed stone path leads visitors through a grove of ginkgo trees, allowing them to shed the outside world before entering the center. 

 

▲通过精心的细节处理和材料选择,景观设计师力求达到室内外空间的融合,through careful detailing and material selection, the landcape architect ensured the exterior thresholds merge with the interior spaces.

 

▲一个室内、外的无缝连接试图使访客能够体验到Oliveira的作品与沉思景观之间的联系,a seamless connection between inside and outside allows visitors to experience Oliveira’s art in concert with the meditative landscape.

 

▲静水池联系着建筑,景观,土地和天空,a reflecting pool unites building and landscape, earth and sky.

 

▲夯土墙表面和水面捕捉着空间中光影变化,planar surfaces of rammed earth and water capture light and shadow as they move through the space.

 

▲该项目代表了机构性景观设计的新类型,其设计以反思和冥想维持个人幸福感的普遍需要为前提,the project represents a new typology in institutional design, founded on the premise that there is a universal need for reflection and quiet contemplation to sustain personal well-being.

 

▲该中心的外部空间在一天中的任何时候都可以进入,即使中心的画廊已经关闭,也确保访客可以享受其庭院带来的宁谧,the exterior spaces are accessible at any time of day, allowing visitors to reap the benefits of the center even when the gallery is closed.

 

▲学生和访客可以享受自己动手营造空间的乐趣,特别是在开放的日式禅院中,students and guests enjoy making the space their own, especially in the open-air Japanese inspired zen garden.

 

▲这里的迷宫是Chartes大教堂内迷宫的复制品。学生可以在其中行走以摆脱日常生活的压力,the labyrinth is a replica of the Chartes Catherdral original.  Students walk the space to shed the stress of everyday life.

 

▲针对该项目,景观设计师咨询了斯坦福大学的树木学专家以确保场地内的树木的健康,并得到合理的保护。另外,景观设计师还与建筑师合作,将现有树木的枝干引入到了建筑内的开放空间,the landscape architects consulted with Stanford’s arborist throughout the project to ensure the health and protection of the site’s trees, and, together with the architects, to incorporate the limbs of an existing tree into an opening in the building overhang.

 

▲毗邻的橡树林被认为是蝾螈的栖息地,因此在施工过程中受到了悉心的保护。该场内地还包含几棵本地橡树和校园内唯一的桧树,the oak woodland adjacent to the site, designated as a salamander habitat, was carefully protected throughout construction. The site contains several native oaks and the university’s only Chinaberry tree.

 

PROJECT NARRATIVE

Set within an existing oak woodland on the site of a former parking lot, the Windhover Contemplative Center is comprised of a 4,000-square-foot art gallery and a series of tranquil outdoor spaces dedicated to exhibiting Nathan Oliveira’s work as a vehicle for personal renewal.  While the artist and Stanford professor passed away in 2011, the center realizes his dream that his paintings, inspired by poetry and the landscapes around Stanford, be displayed in a dedicated, contemplative space immersed in nature.

The long, narrow building, on a one-acre site, is bounded by a major campus thoroughfare, a heavily used bike path, and a large dormitory. The carefully choreographed entry sequence provides an experientially rich transition between the bustling campus and the chapel-like gallery: a crushed stone path leads visitors through a grove of ginkgo trees and past a tall wall of bamboo, allowing them to shed the outside world before entering the center.  Within the building, the interior spaces merge with a series of outdoor rooms intended for quiet contemplation.  Wide panes of glass and vertical fins frame views back out to the woodland and courtyards. At the rear of the building, a still reflecting pool defined by a rammed earth wall, a weathered steel screen, and a stand of bamboo are designed to quiet surrounding distractions and turn visitors’ focus towards the ephemera around them.  At the core of the building, a Zen-inspired courtyard opens to both the sky above and the adjacent oak woodland, offering views of a meditative labyrinth nestled among the trees beyond.

Collaborative Design Approach
From the outset, both the architect and landscape architect envisioned the structure and landscape as fully integrated, and this concept shaped nearly every aspect of the project. This process began with careful siting of the building. At the street side where visitors approach the entry, the architecture subtly hovers above the ground. A sense of procession into a sacred space begins the moment the visitor steps past the weathered steel scrim that serves as a threshold between the street and the center.  As the visitor approaches the front door, the architecture and landscape work in harmony to seamlessly negotiate the four-foot grade change that occurs over the length of the site.  The long, linear building changes in concert with the gently sloping topography, nestling into the earth at the opposite end.  The grade change, though subtle, is an essential component to the experience of approaching and receding deeper towards an experience of contemplation and reflection.

In addition to this reciprocity between the architect and landscape architect, a number of other collaborations shaped the design.  Throughout the process, the team worked with Stanford’s Dean of Religious Life as well as students at the university to incorporate their goals for the center into the design.  They also met with the family of artist Nathan Oliveira and spent time at his studio to ensure that the new complex would appropriately honor his legacy.

The practical aspects of realizing the project required working closely with a number of consultants at the university.  The landscape architects consulted with Stanford’s arborist throughout the project to ensure the health and protection of the site’s trees, and — together with the architects — to incorporate the limbs of an existing tree into an opening in the building overhang.  The team also worked with the campus project manager to select salvaged stone pieces for sculptural elements from the campus “bone yard.”

Site-Specific Design
The project’s setting on the busy Stanford campus presented a number of unique challenges.  Providing a sense of privacy required visually screening out the distractions of the adjacent street, bike path, and dormitory.  The design team balanced this imperative with campus safety concerns by implementing strategies that create a feeling of enclosure while maintaining permeability.  Scrims and porous plantings maintain a sense of openness and visibility that ensures that visitors feel safe in the center at any time of day.  Given the residential nature of the campus, it was important to the design team that the landscape courtyards remain accessible at night.  Even when the building is closed, students can view the paintings within the center and reap the benefits of the meditative spaces and natural setting.
The unique ecological context of the site also strongly influenced the project.  The oak woodland adjacent to the site, designated as a salamander habitat, was carefully protected throughout construction.  In addition, the site contains a number of native oaks, California pepper trees, and the university’s only Chinaberry tree; the project team worked to design and site the building elements around this sensitive ecosystem.  Sustainable principles also shaped the project’s planting design, which consists of low water use and low maintenance species.

Materials and Installation
The project’s innovative materials palette reinforces the deep engagement with nature that is integral to the program and overall design concept for the complex.  Rammed earth walls, weathered steel, stone, water, gravel and decomposed granite immerse visitors in a tactile environment.  These materials amplify the experience of ephemeral phenomena, drawing visitors’ attention to the sound of stone crunching underfoot, the movement of the breeze across the water, the play of light and shadow against planar surfaces.

The clean tectonics that the design team envisioned for the project required thoughtful detailing and a high level of craftsmanship, goals complicated by the realities of an aggressive schedule and a tight budget.  Challenged to create a museum-quality space with limited resources, the landscape architects devised innovative approaches to preserving the integrity of the design.  These strategies included sourcing sculptural elements from the university’s “bone yard” (a site with remnant stone pieces from previous construction projects), and detailing the reflecting pool to be cast in one pour — a feat that required careful detailing and oversight to ensure quality control.  Moreover, in the absence of a fountain consultant, the landscape architects worked with the landscape contractor to design-build the mechanical system for the pool.

A New Paradigm
The project represents a new typology in institutional design, founded on the premise that there is a universal need for reflection and quiet contemplation to sustain personal well-being, and that the combination of art and nature can act as a source of spiritual renewal.  Windhover offers the Stanford community a place unlike any other to shed the daily intensity of the academically challenging university environment and replenish their inner spirits—and in turn, their energy, creativity, and passion.

Design Team: Andrea Cochran, FASLA, Megumi Aihara, ASLA, Horng-Sheng Tu, ASLA
Client: Maggie Burgett
Project Manager Architect:idlin Darling Design
Structural/Geotechnical Engineers: Rutherford and Chekene Structural and Geotechnical Engineers
Civil Engineer/MEP: BKF Engineers
General Contractor: SC Builders
Landscape Contractor: Techcon Landscape
Lighting: Auerbach Glasow French Design
Building Fountain Contractor: Monument Pools

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