One Santa Fe housing in Los Angeles by Michael Maltzan

由专筑网孙云鹏，刘庆新编译

加利福尼亚州曾经例证过自由城市风格，根本性转变正在该州的两个主要城市中心内发生。变革的力量来自新一代城市居民，他们身份不同；来自不同社区，但同样拥有责任感。这些变化的影响，因两个城市的不同而不同，就像评论家最近深刻总结的那样：“旧金山是在乌托邦的路上出了错，而洛杉矶是在反乌托邦的路上看见了希望。”虽然旧金山的发展已经含糊地与高科技繁荣和有关社会不平等交织在一起，洛杉矶也可能会朝着另类替代不断发展。这些事态发展值得关注，甚至比上世纪60年代的汽车为主的郊区更多，该城市目前的发展思路很可能成为全球其他发展中地区的模范。

洛杉矶连续十年被认为是熵领域的化外之地。这是一个垫子城市，这里遮阳伞和挡风玻璃共存，但互不干涉，就像是Robert Altman在Shortcuts里描绘的那样清晰。城市地狱式地的繁华流连在众多科幻电影中表现出来。就像在电影“银翼杀手”（1982年）所描绘的，多年来，这些城镇的黑暗和闹鬼的现象是一个 idée fixe短片。来到2014年，Spike Jonze的魔幻现实主义给我们带来了一个全新的洛杉矶的未来。在她的电影中，主角Theodore Twombly爱上了声音非常诱人的OS。在影片里，洛杉矶市中心的未来是干净的、密集的、舒适的。通过她的摄影师Hoyte Van Hoytema，Jonze希望不久的将来洛杉矶会变成这样——一个“可感知和愉悦的世界：一个反乌托邦的未来”。

Fundamental transformations are taking place within the two main urban centres of California, the state that exemplified a previous model of laissez-faire sub-urbanity. The force of change is a new generation of urban dwellers that bring a different set of values around identity, community and responsibility. The effect of these changes seems to differ between the two cities, as a forum commenter recently pointedly summarised: ‘San Francisco is a utopia gone wrong, while Los Angeles is a dystopia gone right.’ While SF’s development has become dubiously intertwined with the tech boom and its relating social disparities, LA is possibly evolving towards a more enmeshed alternative. These developments deserve attention, as even more than the car-oriented suburb of the ’60s, this current idea of the city might well become the model for other developing regions around the globe.
Los Angeles for decades was understood as an entropic field of enclaves. A mat-city where sunshades and windshields allowed for a coexistence of minimal interaction, as depicted so cleverly in Robert Altman’s Shortcuts (1993). The city’s downtown frequents as hell-on-earth in numerous sci-fi movies. For years, the dark and haunted vision of this part of town, as depicted in Blade Runner (1982), was an idée fixe. Come 2014, Spike Jonze’s magical realism brings us a radically new notion of what LA’s future might look like. In Her, the movie in which protagonist Theodore Twombly falls in love with an OS with an exceptionally seductive voice, the future of downtown LA is clean, dense and comfortable. According to Her cinematographer Hoyte Van Hoytema, Jonze wanted an LA set in the not-so-distant future – a ‘world that was tactile and pleasant: the very opposite of a dystopian future’.

Floor plans /平面图

洛杉矶建筑师Michael Maltzan已经考虑不久将来的洛杉矶有一段时间了，在2011年他的书No More Play中写到： “这个城市正处在一个已经拥有很多开发方式的时刻，这个时刻创造了城市的核心发展方向——一个城市如果只是一味地扩张自己的领土，这样的发展是站不住脚的。如此一来一种巨大的压力会被无形地带进来施加在这座城市上，并正在创造一种非常激烈的方式覆盖整座城市。“这带来了一些问题，其他的城市以及越老越传统的城市，可能已经把过去像交通、规模和密度作为重要的城市问题来处理。Maltzan一直最感兴趣的是，“试图想象你如何处理这些问题，用他们具体到处理洛杉矶问题的方式。我不认为它确实有助于所有试图从其他建立或拥有自己的身份，自己的个性，自己的精神”的文化更传统的城市。

Los Angeles architect Michael Maltzan has been contemplating the not-so-distant future of LA for a while, leading in 2011 to his book No More Play. ‘The city is at a moment where much of the way that it has been developed in the past, which has created both the physical and psychological identity for the city – a city that just continued to push the boundaries outward and sprawl into the periphery – that data equation is probably untenable at this point. There is an extraordinary pressure back in and onto the city that is creating a kind of overwriting of the city in a very intense way.’ This brings up a number of questions that other cities, older more traditional cities, probably have dealt with in the past, things like transport, and certainly scale and density as important urban questions. What Maltzan has been most interested in, ‘is trying to imagine how you deal with those questions, but deal with them in a way that is inspired by and specific to Los Angeles. I don’t think it really helps at all to try to import models from other established or more traditional cities into a culture that has its own identity, its own character, its own spirit’.

这些发展值得关注，因为这一城市的当前理念很可能会成为全球其他发展中国家的模式。

这种精神正日益出现在Maltzan自己的作品设计中。他的线条形式大胆，直率。他的作品以白色为主，经过精确的倒角和锐利的面形，获得在阳光之州的阴影表达。更特别的是他给予在所有的松动和不可预测性的日常的现实中的拥抱。这种与真实的互动，也是安哥诺同胞和前雇主弗兰克•盖里的主要关系，他们帮助Maltzan在洛杉矶市中心添加两个不到一英里之遥的显著项目。

This spirit is increasingly emerging in Maltzan’s own work. His lines and forms are daring and bold. His predominantly white massings, shaped through hard chamfers and sharp facets, gain their expression in the dark shadows of the Sunshine State. More particular is his embrace of the raw and given – the reality of the everyday in all its looseness and unpredictability. This engagement with the real, which was also crucial for fellow Angeleno and former employer, Frank Gehry, is helping Maltzan now add two significant projects to LA evolving downtown less than a mile apart.

贫民窟无疑刺激上述反乌托邦式的国家。在AR 2013年9月，Niall McLaughlin描述了美国约50个市中心无家可归的人的数量。他说“这些顽固的残酷条件是惊人的”。McLaughlin引入了Maltzan工作室专为贫民窟房屋信托设计的三个住宅项目。这个非盈利性组织开发的高水平的永久保障性住房，帮助这个群体找到了自己的家。最后的三个系列，星公寓项目于去年完成，它是由一个混乱的零售业建筑转变为六层、95000平方英尺的混合用途的项目。它可为无家可归者提供102间公寓，还有社会服务设施，娱乐设施和零售区。

Maltzan将预制模块堆叠在新建筑处，从现有建筑的屋顶上悬垂出很大部分。在结构和屋顶之间的空间创建一个新的15,220平方英尺的、带花园露台和一个慢跑跑道。旁边一个公用厨房，作为艺术和实践设计的休息室，为以前无家可归的人提供的暂时休息空间。 Maltzan说道，“就像在城市中的星星一样，我试图想象洛杉矶未来是一个什么样超密度的样子？我试图在大街上混合使用地面和房屋的上层之间创建一个被抬高的、超致密建筑，和一种新型的半公共空间。这一空间作为一种在新的地平面上超密度范围内创造的开放空间。”

An area called Skid Row has certainly fuelled aforementioned notions of dystopia. In AR September 2013, Niall McLaughlin describes the approximately 50 downtown blocks with one of the highest concentrations of homeless people in the US. ‘The intractable persistence of this blighted condition is astonishing,’ he states. McLaughlin introduces three housing projects Maltzan’s studio designed for the Skid Row Housing Trust. This for-profit organisation develops permanent supportive housing with a high level of architectural ambition, helping this population in need transition back into a home. The last of a series of three, The Star Apartments was completed last year through the daring transformation of a once nondescript retail building into a six-storey, 95,000-square-foot mixed-use project. It accommodates 102 apartments for the formerly homeless, plus social services, recreational facilities and retail.
Maltzan stacked prefabricated modules over a newly constructed ground that dramatically cantilevers over the existing building’s roof. The space between the structure and the roof creates a new 15,220-square-foot terrace with gardens and a jogging track, alongside a communal kitchen, lounge and rooms for art and exercise, offering the formerly homeless an alternative ground. Maltzan: ‘With Star being right in the middle of the city, one of the things that I was actively trying to imagine was what would a kind of hyper-density look like in Los Angeles? I was trying to create that extremely intense, super dense housing block that gets lifted up, and a new type of semi-public space gets created in this layer in between the mixed-use ground floor on the street and the upper level of the housing, as a new kind of ground plane to invent open space within this super density.’

在Maltzan的星级公寓，新建筑从现有建筑的屋顶上悬垂出很大部分。圣达菲（2004-14）从另一个不同的角度来提出这一新的现实。起先，研究生和本科生的住房作为一个投机性的建议，服务南加州大学附近的校区以及位于街对面的前货运仓库的SCIArc建筑学校，巨大的438个单位租房项目建立在一个32英亩土地上，其中四英亩用于铁路车厢的维持和存储。第一、第四桥街道和对等的毗邻洛杉矶河的Metrolink地铁服务轨道以细长的形式沿着圣达菲大道延伸。在510000平方英尺的空间容纳在以前的工业区范围内德纲领性汞合金住宅、零售和现场工作空间。该建筑的四分之一长度呼应强大、线性形式的周边区域基础设施。 Maltzan通过将公寓设置在三层楼高的混凝土停车库的双走廊处一个开放的广场酒吧里，来放大建筑的长度。这就要求Maltzan巧妙地给建筑个性化结构。其简单的形式呈现不仅是该综合体对效率和运动的映射，而且，在更为字面意义确实读到一些基础设施建设。它形成进入到建筑物的凸起部分的桥以及提供行人通道的直接连接。

One Santa Fe (2004-14) pushes this new reality from another and very different angle. Originally a speculative proposal for graduate and undergraduate housing, serving the nearby campus of USC as well as SCIArc, an architectural school located in a former freight depot across the street, the colossal 438-unit rental project is built on a four-acre portion of a 32-acre plot previously used for the maintenance and storage of rail carriages. The elongated property stretches along Santa Fe Avenue, is bracketed by the First and Fourth Streets bridges and backs up against the Metrolink service tracks adjacent to the Los Angeles River. The 510,000-square-feet massing accommodates a programmatic amalgam of residential, retail and live-work spaces within the formerly industrial neighbourhood context. The building’s quarter-mile length echoes the strong, linear forms of the surrounding regional infrastructure. Maltzan amplifies this length by placing the apartments in a bar along a double-loaded corridor that floats above a three-storey concrete parking garage, over an open plaza, to land towards the south on a strip of commercial units. This requires structural heroics that Maltzan deftly uses to give the building its character. But not only in its formal presence does the complex allude to expressions of speed and motion. Also in a more literal sense does the building read as a piece of infrastructure. It forms connections to the bridges and offers pedestrian access directly into the raised portions of the building.

Section AA/AA剖面图

项目的线性形式向南移动，并开始转向，分层去建立视野与洛杉矶河，还有未来的交通节点的明确联系。Maltzan说，“它被看作是一个最终融入到城市中的立体电枢。”穿插在建筑结构中的是建筑物需要的现代福利设施，如游泳池，烧烤甲板和作为导向的体育场馆。

星公寓和一圣达菲是由木头和灰泥以及暴露的混凝土结构和普通水暖设施营造了顶级的节俭营地。建筑师利用当前的经济现实和施工技术来建造这些建筑。作为他们搭档，该项目引起Masato Otaka的Sakaide Artificial Ground 发展的协助（1968年至1986年）。日本Metabolist使用固定的混凝土板和在一系列的预制板房屋的结构设巡回盐工的梁平台，在一个地震不稳定的贫民窟区建立了一个人造数据。下面是由办公室、商店、停车场和行人小巷占据。第二个地块当然不是一个新的架构概念，但与乌托邦或结构主义的前体等相比，Maltzan对新的地块并没有注入了激进的修辞。区域性现实、住房补贴、负担能力比率、区划要求、投资回报率模型、停车场配额等在这个项目区域内，Maltzan创建的两个独特的项目都是令人难忘的。

除此之外，在他们的务实精神和我们时代的包容下，它们形成了一个关于城市如何能够转变的宣言。不像其他城市，洛杉矶的空间实际上是并不珍贵，所以地块加倍并不是为了创造更多;它是采取新的社区或城市内的角色为城市提升的层面的介绍。新公共层出现一个试验场，或前厅，让变幻多样洛杉矶民众逐渐得到与外界和其他重新连接。“我想通过建筑形式的架构有责任地表达，设法指向什么是城市形态？要看起来像什么？城市会是什么样子？这些建筑正在试图做到这一点，“Maltzan说。如果一个“脏”是所在城市的标题，那么魔幻现实主义在不太遥远的将来等待着我们。

As the project’s linear form moves south, it begins to shift, delaminating to create views and ground-level connections across its width for a clear connection to the LA River and future transit nodes. Says Maltzan, ‘It’s seen as a three-dimensional armature that eventually weaves itself into the city.’ Interspersed in this connective network are the contemporary perks these buildings require such as pools, barbecue decks and gyms as points of orientation.
Both The Star Apartments and One Santa Fe are frugal encampments of wood and stucco on top of a new ground with its concrete structures and ordinary plumbing exposed. They are built to current economic realities and construction techniques. In their parti, the projects evoke Masato Otaka’s Sakaide Artificial Ground development (1968-86). This Japanese Metabolist established an artificial datum over a seismically unstable slum area in Sakaide, using a fixed concrete slab and beam platform, which housed itinerant salt workers in a series of prefabricated housing structures on the slab. Underneath was occupied by offices, shops, parking and a network of pedestrian alleys. The second ground certainly is not a new concept in architecture, but other than in its utopian or Structuralist precursors, Maltzan’s new ground is not infused with radical rhetorics. Somewhere within the amalgam of new realities, housing subsidies, affordability ratios, zoning requirements, ROI models, parking quota, etc, Maltzan is able to create two projects that are both unique and memorable.
In addition to that, in their pragmatism and embrace of the currents of our time, they form a ‘casual’ manifesto of how the city could transform. Unlike in other cities, space in LA is actually not yet precious, so doubling the ground is not to create more; it is the introduction of a layer within the city that can take on new community or urban roles. The new public layers appear as a testing ground, or antechamber, allowing the changing and diverse LA populace to gradually get reconnected, to both the outside and to the other. ‘I think architecture through building form has a responsibility to try to point to what urban forms are going to look like and what the city’s going to look like. These buildings are trying to do that,’ says Maltzan. If this is where the city is heading, a ‘dirty’, magical realism awaits us in the not-too-distant future.

建筑设计：Michael Maltzan Architecture
行政建筑师：KTGY Architecture + Planning
结构工程师：Weidlinger Associates
MEP工程师：MEP绿色工程咨询
摄影：Iwan Baan

Architect: Michael Maltzan Architecture
Executive architect: KTGY Architecture + Planning
Structural engineer: Weidlinger Associates
MEP engineer: Green MEP Engineering Consulting
Photographs: Iwan Baan

出处：本文译自www.architectural-review.com/，转载请注明出处。