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意大利L.B. Alberti廣場規劃改造景觀設計 | Archiplan Studio

經典案例 2020-11-20 來源：gooood

項目名稱：

意大利L.B. Alberti廣場規劃改造景觀設計
項目地點：

意大利
設計公司：

Archiplan Studio
建成時間：

2020.8

據史料記載，如今我們所看到的L.B. Alberti廣場是于20世紀初規劃完成的，在那之前，這里并不是公共廣場，而是作為教堂的庭院或修道院的回廊使用。在1935年繪制的地圖上，L.B. Alberti廣場呈規整的矩形。在最近一次的城市更新中，通過拆除周邊的建筑物，使廣場在西北方向上得到了延伸，從而重新定義了城市公共空間。

^{A historical reading tells us how Piazza Leon Battista Alberti was defined in its current configuration only at the beginning of the 20th century. Before that period it was never a square; the open space was used as a courtyard or a monastic cloister. The latest demolitions that have taken place have defined the urban void by deforming the space towards the northwest by removing the regularity of the shape of the square as it appears in the maps of 1935.}

^{▲廣場概覽，overall of the project ? Giuseppe Gradella}

教堂以往的改造設計都忽略了建筑與城市公共空間的關系。因此，項目的核心旨在，通過廣場改造使教堂與周邊城市空間形成統一的整體，此外，事務所還將為項目打造一套兼顧可讀性與指向性的標識，展示出原場地的悠久歷史，保留其豐富的符號學意義，用精湛的設計語言定義出當下 L.B. Alberti廣場的鮮明特征。為了紀念學者與建筑師Leon Battista Alberti，Archiplan Studio將巴西利卡式 (Basilica)教堂的次入口空間作為整個廣場的中心。白色的鵝卵石與雨花石混合鋪制的廣場與教堂入口前的地面形成分層，清晰地定義出紀念空間。

^{The project for the construction of the temple has never been accompanied by a design that could define a precise relationship with the urban space. The new arrangement of the floors aims to make the perception of space unitary, while maintaining the possibility of reading the different functions and the different signs and meanings that have settled over time; aspects that jointly define the precise character of the place today. The part in front of the side entrance of the basilica constitutes the central space of the square which celebrates Leon Battista Alberti, scholar and architect, and is hierarchical by introducing a mixture of white pebbles to the river pebbles that pave the whole square, which define the monumental space.}

^{▲教堂的次入口空間作為整個廣場的中心，the side entrance of the basilica constitutes the central space of the square ? Giuseppe Gradella}

^{▲白色的鵝卵石與雨花石混合鋪制的廣場，mixture of white pebbles to the river pebbles that pave the whole square ? Giuseppe Gradella}

項目材料與規劃形式上的選擇極為考究，旨在使廣場上的不同元素之間達成平衡，營造統一和諧的整體氛圍。白色的石板鋪設在修道院原有的回廊區域，這種設置，使人們清晰地辨別出回廊的周長與結構，聯想到場地悠久的歷史。

^{The formal choices underlie an almost archaeological approach with the intention of keeping in balance the signs that define the different characters of the places in the overall composition. The area on which the cloister once stood will still be identifiable in its geometric structure thanks to the use of white stone slabs that define the perimeter of the porticoed cloister.}

^{▲白色的石板鋪設在修道院原有的回廊區域，the cloister once stood will still be identifiable in its geometric structure in white stone slabs ? Giuseppe Gradella}

^{▲石板形成清晰的邊界，stone slabs make clear boundaries? Giuseppe Gradella}

在教堂華麗的阿爾伯蒂式(Albertian)立面的對面，佇立著一架青銅結構的長凳。長凳上擺放有一系列石制構件，包括帶有教堂平面的石板，供視覺障礙人士閱讀的盲文浮雕說明，一些在該巴西利卡式教堂改造中替換下來的石材樣本，以及一塊刻有銘文的石板。這些元素使人聯想到教堂地窖中保管的圣器，彰顯出祭禮建筑的起源。此外，青銅結構的另一端還形成一段帶有垂直靠背的座椅，并提供了一些基本游客信息。

^{On the opposite side of the Albertian fa?ade there is a contemplative seat made with a bronze structure, on which there are: the stone cube that houses the bas-relief that reproduces the structure of the Albertian front for use by the visually impaired, some stone finds from the basilica’s factory worthy of enhancement, an engraved slab that recalls the custody of the Sacred Vessels in the crypt of the temple, origin of the construction of the cult building, a seat accompanied by a vertical structure that allows to provide basic tourist information.}

^{▲青銅結構長凳裝置概覽，contemplative seat made with a bronze structure ? Giuseppe Gradella}

^{▲由座椅一側看教堂，viewing L.B. Alberti by the seat side ? Giuseppe Gradella}

^{▲青銅結構的另一端還形成一段帶有垂直靠背的座椅，a seat accompanied by a vertical structure ? Giuseppe Gradella}

^{▲教堂改造中替換下來的石材樣本，some stone finds from the basilica’s factory worthy of enhancement ? Giuseppe Gradella}

^{▲長凳細部，detail of the contemplative seat ? Giuseppe Gradella}

為使主要紀念空間與商業空間形成明顯的分區，場地周邊的地面上設有一系列帶有浮雕的大塊地磚，地磚上以線條的形式抽象出 L.B. Alberti教堂的形象，起到了分界的效果。這一設置與這座歷史名城的寶石傳統息息相關，可以視作曼圖亞典型的建筑特色之一，由貝爾塔尼宮的正立面和圣瑪利亞教堂的墓地便可看出。

^{To separate the main places of the monumental space and the areas destined for commercial activities, a threshold was provided consisting of some engraved plates celebrating the intellectual figure of Leon Battista Alberti placed on the ground. This choice is linked to the lapidary tradition of the historic city which in Mantua has numerous and extraordinary examples; above all the front of the Bertani house and the churchyard of Santa Maria della Carità.}

^{▲帶有浮雕的大塊地磚以線條的形式抽象出 L.B. Alberti教堂的形象，engraved plates celebrating the intellectual figure of Leon Battista Alberti ? Giuseppe Gradella}

^{▲教堂平面與盲文細部，the bas-relief that reproduces the structure of the Albertian front for use by the visually impaired ? Giuseppe Gradella}

設計師在場地的西側設置了一排樹木，為廣場規劃出規則而清晰的邊界。此外，設計師還將綠化元素與長椅等服務功能引入項目，在場地的北側邊緣形成一個綠樹成蔭的休憩空間，為人們提供了一個日常休閑與商業活動過后的放松場所。

^{The intention is to give the square a regular shape by specifying the edge placed to the west, by creating a small row of trees. In order to define the lower edge of the square which is currently fringed, a tree-lined space is introduced with seats dedicated to the rest of the people, while the portion of the square adjacent to the vegetation system is simply intended for daily and commercial activities.}