“這是我最喜歡的項目之一。它顯示出了室內(nèi)、外空間之間的相互制約關系。并契合的如此天衣無縫”。
— ASLA評獎委員會

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

來自ASLA對gooood的分享。更多Andrea Cochran Landscape Architecture on gooood,
Windhover Contemplative Center by Andrea Cochran Landscape Architecture,
Appreciation towards ASLA for providing the following description:

項目概述
PROJECT STATEMENT

Windhover沉思中心以藝術家Nathan Oliveira的繪畫命名，在忙碌的斯坦福大學校園，它不僅是藝術畫廊，也是精神的庇護所和可以沉思的花園。該館以Oliveirade的藝術作品為載體，為學生及教師員工提供了一個可以緩解壓力并重新集中精神的場所。該中心的整體設計以毗鄰的橡樹林為獨特背景，并營造出了一系列可供體驗的空間，讓參觀者能從中夠感受到Oliveira的繪畫與自然的共鳴。建筑和景觀相輔相成的設計手法滲透到了該設計的方方面面，從精心設計的入口序列，到內(nèi)外空間的相互滲透，再到建筑材料的使用，光影間的互動，無不透露著設計師的用心考量。Windhover代表了機構(gòu)性場所設計的一種新風格，它為使用者提供了一個集藝術欣賞和培養(yǎng)個人幸福感于一身的綠色庇護所。

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沉思中心場地平面 WINDHOVER CONTEMPLATIVE CENTER SITE PLAN

項目說明
PROJECT NARRATIVE

Windhover 沉思中心是由一個停車場改造而成的，四周環(huán)繞著橡樹，內(nèi)部設有一個4000平方英尺的藝術畫廊，以及一系列靜謐的戶外空間，用來展示Nathan Oliveira的作品。 Nathan Oliveira是位藝術家，也是斯坦福大學的教授，于2011年去世，藝術中心為實現(xiàn)他的夢想，用這片沉思空間展示他因受詩歌和斯坦福周圍的風景啟發(fā)而創(chuàng)作的作品。

Windhover沉思中心占地一英畝，連接著校園內(nèi)使用率很高的一條自行車道和一個大型宿舍。而沉思中心經(jīng)過精心設計的入口序列構(gòu)成了忙碌的校園和教堂般畫廊之間具備多重體驗的過渡空間。進入中心前，訪客需要穿過一條被銀杏林包圍的碎石路，以及一叢高大的竹墻，暗示著外部世界的干擾將被隔絕在外。而在建筑內(nèi)部也融入了很多室外元素，意在營造靜謐的沉思氣氛。而且寬大的玻璃窗和垂直的框架讓人也仿若置身室外。在建筑后面設置了一個由夯土墻圍合的靜水池，一面由銹鋼板條組合成的幕墻，并種植了一些竹子用來屏蔽周干擾，以將訪客的注意力集中到這片刻的寧靜中。建筑的中心是一個具有禪宗風格的庭院，身處其中既可以仰望天空，欣賞周邊的橡樹林，也可以瞥到遠處樹林中沉思迷宮的景觀。

協(xié)作的設計手法
從一開始，建筑師和景觀設計師便將建筑和景觀設想為一個整合，而且這個概念滲透到了該項目的每個角落，甚至對建筑的選址都是經(jīng)過雙方仔細考量的。而對于訪客，設計的巧妙玄機從建筑入口的地面上就能發(fā)現(xiàn)。當游客步行邁過街道和建筑間的門檻時，一種神圣的空間感就會油然而生，并且會感覺到建筑與景觀之間的配合是如此的協(xié)調(diào)一致。例如，場地縱向上四英尺的高差，以緩坡的形式隨著細長的線性建筑而被消化，在場地的另一端消失。 而這個微妙的高差變化雖然只是一個簡單的設計手法，卻也構(gòu)成了深入沉思和體驗的一部分。

除了建筑師和景觀設計師之間存在著這種默契配合外，該設計還包含了一些其它形式的合作。整個過程中，設計團隊與斯坦福大學宗教生活方面的院長以及學生緊密交流，將他們的對該中心的想法融入到了設計中。他們還與藝術家Nathan Oliveira的家人交談，參觀了他的工作室，深入了解其生前情況，以確保新建筑能合理地表達本人的意志。

此外，實現(xiàn)該項目還需要與校內(nèi)的一些顧問密切合作。景觀設計師在整個項目中與斯坦福大學的樹木學專家進行了溝通，以確保場地內(nèi)樹木的健康，并受到合理的保護。另外，景觀設計師還與建筑師一起將現(xiàn)有樹木的枝干引入到了建筑物懸空的開口處，以增強自然與建筑融合的氛圍。而且，該設計團隊還與校園項目經(jīng)理合作，從校園“骨院”（一個放置了以前的建筑項目剩余石塊的場地）中挑選了的石塊作為雕塑元素。

具體設計
在斯坦福大學校園完成這個項目，過程中暴露出了許多挑戰(zhàn)。首先，要想制造出私密感，需要在相鄰的街道，自行車道和宿舍等空間中挑選出不易被注意到的地方。設計團隊通過使用滲透性設計平衡隱蔽性和安全性的問題，意在營造出一種帶有滲透性的圍合感，使用具有屏障性且稀松的植物建立開放性和可見性，以保證在一天的任何時候都能讓人感覺安全。其次，考慮到校園住宿的特點，設計團隊認為保持該景觀庭院在晚上開放非常重要。即便建筑關閉了，學生也應該可以到中心庭院內(nèi)去繪畫，或是享受冥想空間和自然環(huán)境。

該場地獨特的生態(tài)環(huán)境對項目也有很大影響。毗鄰的橡樹林是蠑螈棲息地，在施工過程中受到了仔細的保護。此外，場地內(nèi)還包含了一些本地橡樹，加利福尼亞胡椒樹和校園內(nèi)僅有的一個檜樹。項目團隊一直圍繞著敏感的生態(tài)系統(tǒng)進行設計并選擇建筑材料?？沙掷m(xù)的原則也影響著該項目的種植設計，包括選用了耐旱和低維護的植物品種。

該項目中使用的創(chuàng)新材料也使其更加貼合自然，這也是該項目著力進行整體設計的初衷。 夯土墻，腐蝕鋼板，石頭，水，礫石和腐蝕的花崗巖使游客置身于一個質(zhì)感豐富的環(huán)境中。這些材料放大了短暫的感官體驗，吸引游客能夠更加敏感地注意到腳下石塊的嘎吱聲，微風吹拂下的水面運動，以及光影在墻壁表面上的韻律。

而設計團隊為該項目設想的簡潔構(gòu)造效果需要周密的細節(jié)和高水平的工藝來完成，緊張的時間和預算讓實現(xiàn)該目標變得復雜很多。為了利用有限的資源打造高水準的品質(zhì)空間，景觀設計師運用創(chuàng)新策略保持了設計的完整性。例如從校園的“骨場”（一個放置了以前的建筑項目剩余石塊的場地）收集雕塑原料，設計并自行澆筑庭院內(nèi)的靜水池，并且，在沒有噴泉顧問的情況下，景觀設計師與施工方合作完成了靜水池的機械系統(tǒng)。而成品的高品質(zhì)完全倚賴團隊精致的細節(jié)處理和嚴謹?shù)谋O(jiān)工。。

一個新范例
該項目代表了機構(gòu)類場所設計的一個新類型，即以營造供人反思和冥想個人幸福感的場所為設計初衷，結(jié)合藝術創(chuàng)作與自然元素來塑造一個精神庇護所。 Windhover為斯坦福大學校園提供了一個與眾不同的地方，使學生可以在這里放下日常學業(yè)的重擔，恢復內(nèi)心的平靜。反過來，重新注入精力，創(chuàng)造力和激情。

▲從一開始，建筑師和景觀設計設想的建筑和景觀便緊密結(jié)合，from the outset, the architect and landscape architect envisioned the structure and landscape as fully integrated.

▲藏匿于忙碌的校園中的Windhover沉思中心，為忙碌的斯坦福大學學生提供一個靜謐的喘息場所，tucked into the busy campus, the Windhover Contemplative Center offers a tranquil respite for busy Stanford University students.

▲一條碎石路引導訪客穿過銀杏林，在進入沉思中心前擺脫掉外部世界的嘈雜，a crushed stone path leads visitors through a grove of ginkgo trees, allowing them to shed the outside world before entering the center. 

▲通過精心的細節(jié)處理和材料選擇，景觀設計師力求達到室內(nèi)外空間的融合，through careful detailing and material selection, the landcape architect ensured the exterior thresholds merge with the interior spaces.

▲一個室內(nèi)、外的無縫連接試圖使訪客能夠體驗到Oliveira的作品與沉思景觀之間的聯(lián)系，a seamless connection between inside and outside allows visitors to experience Oliveira’s art in concert with the meditative landscape.

▲靜水池聯(lián)系著建筑，景觀，土地和天空，a reflecting pool unites building and landscape, earth and sky.

▲夯土墻表面和水面捕捉著空間中光影變化，planar surfaces of rammed earth and water capture light and shadow as they move through the space.

▲該項目代表了機構(gòu)性景觀設計的新類型，其設計以反思和冥想維持個人幸福感的普遍需要為前提，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.

▲該中心的外部空間在一天中的任何時候都可以進入，即使中心的畫廊已經(jīng)關閉，也確保訪客可以享受其庭院帶來的寧謐，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.

▲學生和訪客可以享受自己動手營造空間的樂趣，特別是在開放的日式禪院中，students and guests enjoy making the space their own, especially in the open-air Japanese inspired zen garden.

▲這里的迷宮是Chartes大教堂內(nèi)迷宮的復制品。學生可以在其中行走以擺脫日常生活的壓力，the labyrinth is a replica of the Chartes Catherdral original.  Students walk the space to shed the stress of everyday life.

▲針對該項目，景觀設計師咨詢了斯坦福大學的樹木學專家以確保場地內(nèi)的樹木的健康，并得到合理的保護。另外，景觀設計師還與建筑師合作，將現(xiàn)有樹木的枝干引入到了建筑內(nèi)的開放空間，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.

▲毗鄰的橡樹林被認為是蠑螈的棲息地，因此在施工過程中受到了悉心的保護。該場內(nèi)陸還包含幾棵本地橡樹和校園內(nèi)唯一的檜樹，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

More：Andrea Cochran Landscape Architecture; Andrea Cochran Landscape Architecture on gooood