倫納德大街56號(hào)公寓大廈

該項(xiàng)目的構(gòu)想是獨(dú)立體塊的堆疊。每個(gè)建筑是獨(dú)立的，可以從整體中辨別出來(lái)的。對(duì)當(dāng)?shù)亟Y(jié)構(gòu)方式的研究使用不同的樓板創(chuàng)造轉(zhuǎn)角，懸臂和陽(yáng)臺(tái)成為可能——所有能夠提供獨(dú)立且多樣的居住條件的策略都是受歡迎的。在塔樓的底部，堆疊的體塊對(duì)街道上的尺度和具體的當(dāng)?shù)貤l件做出回應(yīng)，而頂部錯(cuò)落變化，波動(dòng)著與天空融為一體。

為了打破高層建筑重復(fù)和無(wú)特征的趨勢(shì)，倫納德街56號(hào)公寓大廈從內(nèi)向外發(fā)展出來(lái)。該項(xiàng)目從單獨(dú)的房間開(kāi)始，將它們視為“像素”，逐層分組在一起。 這些像素聚集在一起，直接顯示了體量并且塑造了塔樓的外形。 這些像素的內(nèi)部體驗(yàn)就像進(jìn)入一系列大的凸窗。

“像素化”房間的策略也貫穿于剖面，創(chuàng)造了大量的露臺(tái)和陽(yáng)臺(tái)。 在避免直接俯看鄰近的公寓的同時(shí)，這些戶外空間提供了建筑物中人與人之間（也許是陌生人）的間接視覺(jué)聯(lián)系。 這些天空中的房子聚集在一起，形成了一個(gè)有凝聚力的層疊關(guān)系，一個(gè)垂直的社區(qū)，有點(diǎn)類似于紐約的街區(qū)，他們具有相似的接近度且又保持隱私。

任何一座塔樓的頂端都是其最明顯的元素，同樣的，倫納德街56號(hào)公寓大廈的頂部是該項(xiàng)目中最具表現(xiàn)力的部分。 這種表現(xiàn)力直接由室內(nèi)空間的需求驅(qū)動(dòng)，包括十個(gè)有著寬敞的戶外空間和起居區(qū)的大型頂層公寓。 這些大型的空間原件作為大尺度體塊在室外顯現(xiàn)。根據(jù)內(nèi)部配置懸臂和移位，捕獲特定視圖的愿景，最終形成了頂部雕塑感的表現(xiàn)力。

同時(shí)，塔樓回應(yīng)了特里貝克地區(qū)的特色。 這是紐約的一部分，其特點(diǎn)是寬泛的建筑尺度——從小型聯(lián)排別墅到大型工業(yè)區(qū)和市中心無(wú)處不在的高層建筑。 通過(guò)將各種尺寸的“像素”組合在一起，包括大廳，停車甲板和住房配套設(shè)施，該塔樓反映并融合了每一個(gè)相鄰建筑的規(guī)模。

綜合這些不同的策略——從由內(nèi)向外、回應(yīng)當(dāng)?shù)氐某叨龋⒆畲笙薅鹊匕l(fā)揮當(dāng)?shù)厥┕は到y(tǒng)的潛力考慮——產(chǎn)生了145套公寓中只有五套是重復(fù)的大樓。 此外，沒(méi)有兩塊樓板是相同的，給那些將在這個(gè)項(xiàng)目中生活的人一個(gè)獨(dú)特的家，享受在堆疊的體塊中個(gè)人的瞬間。

The project is conceived as a stack of individual houses， where each house is unique and identifiable within the overall stack. A careful investigation of local construction methods revealed the possibility of shifting and varying floor-slabs to create corners， cantilevers and balconies – all welcome strategies for providing individual and different conditions in each apartment. At the base of the tower， the stack reacts to the scale and specific local conditions on the street， while the top staggers and undulates to merge with the sky. In-between， the staggering and variation in the middle-levels is more controlled and subtle， like in a column shaft.

To break-up the tendency towards repetition and anonymity in high-rise buildings， 56 Leonard Street was developed from the inside-out. The project began with individual rooms， treating them as “pixels” grouped together on a floor-by-floor basis. These pixels come together to directly inform the volume and to shape the outside of the tower. From the interior the experience of these pixels is like stepping into a series of large bay-windows.

The strategy of ‘pixelating’ rooms also happens in section， creating a large number of terraces and projecting balconies. While careful to avoid directly overlooking a neighbouring apartment， these outdoor spaces provide indirect visual links between people – maybe strangers – who share the building. Aggregated together， these houses-in-the-sky， form a cohesive stack， a vertical neighbourhood， somewhat akin to New York’s specific neighbourhoods with their distinctive mix of proximity and privacy in equal measure.

The top of any tower is its most visible element and， in keeping with this， the top of 56 Leonard Street is the most expressive part of the project. This expressiveness is driven directly by the requirements of the interior， consisting of ten large-scale penthouses with expansive outdoor spaces and spacious living areas. These large program components register on the exterior as large-scale blocks， cantilevering and shifting according to internal configurations and the desire to capture specific views， which ultimately results in the sculptural expression of the top.

Together these different strategies – considering the tower from the inside-out， responding to local scales， and maximizing the potential of local construction systems – produce a building where only five out of the 145 apartments are repeated. Furthermore， no two floor plates are the same， giving those who will live in this project their own unique home characterized by distinct moments of individuality within the overall stack.