通用設(shè)計(jì)榮譽(yù)獎(jiǎng)Perez Art Museum Miami Resiliency by Design by ArquitectonicaGEO

1、2015 ASLA 通用設(shè)計(jì)榮譽(yù)獎(jiǎng) : Perez Art Museum Miami: Resiliency by Design by ArquitectonicaGEO邁阿密佩雷斯藝術(shù)博物館景觀：設(shè)計(jì)塑造彈性“景觀將覆蓋相當(dāng)面積的表面，在熱帶環(huán)境中提供人與自然有趣的互動(dòng)。未來(lái)10年，它將是一件非常獨(dú)特的作品。”2015年評(píng)審委員會(huì) ”The landscape will cover a lot of the surface, with an interesting interplay between man and nature in a tropical environment. It w

2、ill be a very different project in 10 years.” 2015 Awards Jury 項(xiàng)目陳述 PROJECT STATEMENT邁阿密佩雷斯藝術(shù)博物館、雕塑公園和重新恢復(fù)的植被群落共同打造了一個(gè)解決海平面上升威脅、具有應(yīng)變能力和彈性的尖端案例。博物館位于大西洋沿岸，模糊了建筑與景觀的界限，重新定義了公園和博物館的“職能”。景觀設(shè)計(jì)師通過(guò)燈光、陰影、空氣、水、植被和建筑結(jié)構(gòu)塑造了非凡的協(xié)同效果，推動(dòng)了面對(duì)充滿(mǎn)不確定性的未來(lái)而進(jìn)行的設(shè)計(jì)實(shí)踐。將博物館的體量在風(fēng)暴異常水位最低要求之上提升10英尺，以一種前所未見(jiàn)的設(shè)計(jì)方式將停車(chē)、植被層和灌溉儲(chǔ)水系統(tǒng)

3、整合在博物館的下方。車(chē)庫(kù)、道路和雨水花園使用創(chuàng)新型透水地面，收集雨水，并將其分散至地下，減少局部的洪水，使其流瀉到比斯坎灣，大大降低了基礎(chǔ)設(shè)施的支出。景觀設(shè)計(jì)師設(shè)計(jì)的廣泛的、以本土亞熱帶植物為主的植被適應(yīng)于非常惡劣的自然條件，沿著海灣形成延展的本土化的棲息地。The Perez Art Museum Miami, Sculpture Park and restored plant communities, establish a cutting-edge example of adaptive and resilient design that addresses the global thr

4、eat of sea level rise. Located at the edge of the Atlantic, the Museum blurs the line between architecture and landscape, redefining the “mission” of parks and museums. Extraordinary synergy is achieved between light, shade, air, water, vegetation and structure, advancing the practice of designing f

5、or an uncertain future.Elevating the Museum 10 feet above storm surge requirements allowed parking below the Museum in an unprecedented design that integrates parking, planting beds, irrigation and storm surge storage. The innovative porous-floored garage, paths and rain gardens capture water, funne

6、ling it into the ground, reducing local flooding and runoff into Biscayne Bay, significantly reducing infrastructure expenditures.An extensive, primarily-native subtropical plant palette is designed to adjust to exceptionally harsh conditions and extend the native habitat along the Bay. PAMM位于比斯坎灣附近

7、的博物館公園內(nèi)。與西側(cè)的科學(xué)博物館共用雨水管理設(shè)施和交通設(shè)施，包括迂回植被覆蓋的滲水盆地和透水性良好的混凝土廣場(chǎng)及公共汽車(chē)站點(diǎn)。The PAMM sits closest to Biscayne Bay, within Museum Park. The Science Museum to the west shares storm water management and circulation facilities, including the planted infiltration basin in the round-a-bout, and the pervious concrete

8、plaza and bus drop-off. Photo Credit: ArquitectonicaGEO ©項(xiàng)目說(shuō)明 PROJECT NARRATIVE基地描述邁阿密佩雷斯藝術(shù)博物館（PAMM）位于大西洋和大沼澤地荒野之間的脆弱地帶，佛羅里達(dá)州的邁阿密是國(guó)際化高密度的大城市，經(jīng)常作為海平面上升導(dǎo)致的“零地帶”而被提及。開(kāi)放于2013年面積達(dá)200,000平米英尺的博物館距離比斯坎海灣只有75英尺，館內(nèi)收藏著著名的美洲藝術(shù)作品。寬闊的平臺(tái)和高高的遮陽(yáng)格柵向建筑物的外緣延展出去，增加了博物館室外展覽和集會(huì)的空間。這一地點(diǎn)從19世紀(jì)末期一片水汪汪的長(zhǎng)滿(mǎn)紅樹(shù)林和泰來(lái)藻的荒地，

9、轉(zhuǎn)變成被挖開(kāi)的深水區(qū)及一系列失敗的建造在垃圾填埋場(chǎng)上的海岸公園。PAMM位于離海邊很近的博物館公園內(nèi)，這座新近規(guī)劃完成的公園面積為8.5英畝，由兩座博物館組成。PAMM的景觀面積約4.5英畝，包括車(chē)庫(kù)、室外平臺(tái)和周邊的綠化。穿過(guò)海灣至東側(cè)，向博物館遠(yuǎn)遠(yuǎn)望去，那里有一片獨(dú)特的房屋建筑群，立在沒(méi)入沙洲的樁柱上。西側(cè)，大沼澤地荒野為觀測(cè)多種微氣候提供了不可多得的條件，在那里，隨著僅僅幾英寸的水面高度的變化，環(huán)境也變換多端，或茂盛或衰退。這種豐富的、野生的、不可預(yù)測(cè)的自然條件，為PAMM的建筑和景觀設(shè)計(jì)貢獻(xiàn)了靈感，為解決海平面上升這一全球性威脅，設(shè)計(jì)師們提出了杰出的具有應(yīng)變能力和彈性的設(shè)計(jì)案例。該項(xiàng)目

10、的工作范圍包括設(shè)計(jì)水平景觀及對(duì)80根懸吊柱體的綠化進(jìn)行協(xié)助設(shè)計(jì)。其目的是沿著海濱打造一個(gè)美麗而平靜的場(chǎng)所，讓人們探索藝術(shù)、自然和手工藝。通過(guò)提供各種各樣的環(huán)境服務(wù)，同時(shí)限制對(duì)寶貴資源的過(guò)分利用，PAMM將對(duì)自然的侵損降至最低。可持續(xù)性元素該方案運(yùn)用一個(gè)復(fù)雜的方式來(lái)管理理水、車(chē)輛和生態(tài)系統(tǒng)，無(wú)論在愿景還是實(shí)施方面，它是名副其實(shí)的跨學(xué)科團(tuán)隊(duì)驅(qū)動(dòng)下的可持續(xù)設(shè)計(jì)的典范。雨水、海水、冷凝水的管理是關(guān)聯(lián)到幾乎所有其他方面的關(guān)鍵性因素。空調(diào)和灌溉由建筑自身為平臺(tái)提供陰涼的遮陽(yáng)格柵和漏斗形的海水和雨水儲(chǔ)排系統(tǒng)來(lái)提供，為游客和植物提供舒適的亞熱帶室外環(huán)境。由于靠近比斯坎灣，藝術(shù)博物館建在高于洪水和颶風(fēng)異常水位最

11、低要求10英尺的平面上，如此一來(lái)停車(chē)場(chǎng)可以被設(shè)置在博物館的下方。這一安排促成了一項(xiàng)前所未見(jiàn)的設(shè)計(jì)，即將停車(chē)、將灌溉系統(tǒng)隱藏在下方的植被層、臨時(shí)性的儲(chǔ)排水設(shè)施和蓄水補(bǔ)給層整合在一處。車(chē)庫(kù)、道路和雨水花園使用創(chuàng)新型透水地面，能收集雨水，將其分散至地下。如此一來(lái)減少了局部的洪水，使其流瀉到比斯坎灣，大大降低了基礎(chǔ)設(shè)施的支出。設(shè)計(jì)和施工團(tuán)隊(duì)的通力合作和對(duì)細(xì)節(jié)的關(guān)注使得多維度的可持續(xù)舉措能夠協(xié)同工作。這一項(xiàng)目最近獲得了LEED金級(jí)認(rèn)證，景觀設(shè)計(jì)可謂功不可沒(méi)。設(shè)計(jì)方案PAMM的建筑設(shè)計(jì)表現(xiàn)混凝土的原始質(zhì)感，為與幾何形的建筑形體形成對(duì)照，并對(duì)其進(jìn)行補(bǔ)充，景觀設(shè)計(jì)師選用原生的植物來(lái)展示景觀的原始性。南佛羅里達(dá)

12、州蔥郁的熱帶樹(shù)木、灌木、地表和藤本植物在水平地面層上，同更正式、且經(jīng)過(guò)藝術(shù)設(shè)計(jì)的從上方懸吊下來(lái)被植被覆蓋的柱體形成鮮明的對(duì)照。景觀的物質(zhì)性被解構(gòu)，用以展示大地最基本的形態(tài)，其中也包括停車(chē)場(chǎng)和小路上的碎石。碎石鋪就的停車(chē)場(chǎng)有兩方面的功能。從車(chē)輛駛?cè)氲哪且豢蹋槭穆曇艉图±肀砻饕幌盗胸S富的體驗(yàn)即將到來(lái)。同時(shí)，這樣的表面還被設(shè)計(jì)用來(lái)減緩和過(guò)濾雨水，促進(jìn)滲水和補(bǔ)給，并確保風(fēng)暴過(guò)后能快速恢復(fù)，這一獨(dú)特的建造方式需要來(lái)自城市方面的特別許可。設(shè)計(jì)師用預(yù)制混凝土帶來(lái)限定停車(chē)的空間，同時(shí)在電梯附近設(shè)置了可達(dá)的混凝土停車(chē)區(qū)。穿梭在植被間的碎石小路連接起兩座博物館、公園和邁阿密的海濱長(zhǎng)廊。簡(jiǎn)單的材質(zhì)的組合（混凝土

13、、碎石和叢生的植被）用以在各個(gè)空間及其凌亂邊界實(shí)現(xiàn)無(wú)縫流暢的切換，且隨著時(shí)間的推演，使其逐漸變得模糊并最終融為一體。這種靈活的設(shè)計(jì)方案對(duì)業(yè)主來(lái)說(shuō)非常有價(jià)值，因?yàn)樗沟檬彝庹褂[的輪換更為容易，且能預(yù)防周期性的洪水，并在過(guò)后能快速地恢復(fù)過(guò)來(lái)。原本受限頗多的懸掛花園的設(shè)計(jì)概念得到拓展，包括使用智能水系統(tǒng)和對(duì)動(dòng)物更友好的本土植被體系，二者與雨水收集和空間冷凝水灌溉系統(tǒng)恰好能結(jié)合起來(lái)。大型的灌溉容器被隱藏在植被覆蓋著的護(hù)坡下，護(hù)坡周邊是停車(chē)場(chǎng)。十棵大型的樹(shù)木被保存下來(lái)，如今成為雕塑公園中的聚焦點(diǎn)。新物種根據(jù)于其在全光照和全陰影，以及南佛羅里達(dá)州交替性的海水淹沒(méi)、高鹽度的風(fēng)、干旱以及過(guò)度降水等嚴(yán)酷氣候條件

14、下的存活能力來(lái)進(jìn)行選擇。博物館種滿(mǎn)植物的室外平臺(tái)和周邊景觀作為永久和臨時(shí)性藝術(shù)展的背景而存在。地面層和平臺(tái)上的景觀使用自然主義的種植風(fēng)格。植被的質(zhì)感漸次過(guò)渡，從建筑外模仿原生棲息地的南佛羅里達(dá)亞熱帶本土植被，到建筑附近混合型的熱帶植物，最后到位于停車(chē)場(chǎng)和博物館平臺(tái)上更精雕細(xì)琢的充滿(mǎn)異域風(fēng)情的泛熱帶植被。精心設(shè)計(jì)的景觀序列始于博物館車(chē)道，后者通向地下停車(chē)場(chǎng)，在那里，意想不到地布置著讓人驚艷的植物景觀。序列一直延續(xù)到地上，包括80根被植被包覆著懸吊下來(lái)的柱體，蔥郁的平臺(tái)，和雕塑花園中不斷變換著的景觀。基于上方南北走向的格柵，為了確定最佳的種植區(qū)域，設(shè)計(jì)師進(jìn)行了復(fù)雜的復(fù)合型陰影研究。研究的變量包括：

15、一天中的時(shí)間、一年中的日期、植物的類(lèi)型、土壤厚度的可用性以及從通過(guò)上方畫(huà)廊窗口向下看時(shí)的視線(xiàn)通廊。地下景觀塑造了令人驚奇的環(huán)境，陽(yáng)光通過(guò)臺(tái)階間和平臺(tái)上的縫隙流瀉進(jìn)來(lái)，水漏過(guò)平臺(tái)落下來(lái)形成雨幕或者連綿不絕地滴滴答答。種植在停車(chē)場(chǎng)上的樹(shù)木，穿過(guò)平臺(tái)，將博物館一層的游客籠罩在樹(shù)冠之下。廣泛的植物組合充分利用了南佛羅里達(dá)州過(guò)渡帶的特點(diǎn)，美國(guó)南部溫帶氣候和加勒比熱帶氣候在這里交疊，為設(shè)計(jì)師提供了多種多樣的合適的物種。64,033種植物有策略性地?cái)[放組合在一起，用以構(gòu)成景觀、固定斜坡和吸收多余的水分。此外，景觀被打造成為具有彈性和生物多樣性的棲息地而非植物展示園區(qū)。耐寒、耐鹽的椰子樹(shù)沿著海灣形成第一道綠色

16、的屏障。沼澤低處的Fakahatchee草和落羽杉構(gòu)成了耐澇的雨水花園。沙丘上的海灘牽牛逐漸過(guò)渡為離海岸較遠(yuǎn)的高地上的熱帶硬木。架空的城市輕軌從基地的邊緣穿過(guò)，提供了一個(gè)鳥(niǎo)瞰棲息地的視角。景觀和建筑設(shè)計(jì)基于透氣、透光、透水和生態(tài)功能等概念，非常具有靈活性。這種靈活性為水、植物、路徑和動(dòng)物的遷移提供了條件。該項(xiàng)目展示出即便是在城市環(huán)境下，棲息地的再生和荒野的開(kāi)墾仍然是可能的。事實(shí)上，在未來(lái)的幾十年，開(kāi)墾荒野將成為景觀設(shè)計(jì)師重要的工具，面對(duì)瞬息萬(wàn)變的自然，我們要做有彈性的設(shè)計(jì)。 高密度的邁阿密市區(qū)橫跨大西洋和大沼澤地荒野之間的脆弱地帶。面對(duì)海平面上升帶來(lái)的不確定的因素，PAMM提供了一個(gè)重要的具有

17、彈性的設(shè)計(jì)模型。Densely urban Miami straddles a fragile line between the harsh wilderness of the Atlantic Ocean and the Everglades. PAMM provides a critical model for designing for resiliency in the face of an uncertain future, where sea level rise looms large. Photo Credit: ArquitectonicaGEO ©

18、60;     （左）沿著海灣，耐風(fēng)、耐鹽的椰子樹(shù)構(gòu)成了第一道植被防線(xiàn)。重新得到恢復(fù)的沼澤形成蔓延海岸的棲息地，從低處耐澇的雨水花園植物到高處離岸較遠(yuǎn)的熱帶硬木，棲息地內(nèi)聚集了多個(gè)物種。（右）鐵路藤是典型的生長(zhǎng)于南佛羅里達(dá)州沙丘上的物種，它與建筑硬朗的邊緣形成鮮明的對(duì)比，同時(shí)為當(dāng)?shù)氐囊吧鷦?dòng)物提供了一塊原生的棲息地，向公眾展示著寶貴的原生態(tài)系統(tǒng)。(left)Wind and salt-resistant coconut palms form the first line of vegetation along the Bay. The recreated nativ

19、e hammock expands habitat and includes lowland rain garden plants tolerant of saltwater inundation, ranging to upland hardwood hammock plants farther from the Bay.(right)Classic South Florida dune plantings of railroad vine and grasses provide an attractive contrast to the hard edges of the building

20、, and offer yet another native habitat to support local wildlife, illustrating our valuable ecosystems to the public. Photo Credit: ArquitectonicaGEO ©  穿梭在原生植被間的碎石小路連接起博物館、公園和海濱長(zhǎng)廊。伴隨著雕塑公園內(nèi)藝術(shù)作品的輪換和自然事件的發(fā)生，幾個(gè)空間的邊界將逐漸消失，為游客營(yíng)造沉浸式的游覽體驗(yàn)。Stabilized gravel paths throughout the native plantin

21、gs provide accessible connections between the Museums, park, and waterfront promenade. Edges are intended to blur over time in response to disturbance from sculpture rotation or natural events, allowing an immersive experience for visitors. Photo Credit: ArquitectonicaGEO ©  

22、60; （左）圖為博物館入口層的平臺(tái)，大面積遮陽(yáng)板下種植著蔥郁的耐陰植物。花園的灌溉用水來(lái)自空調(diào)冷凝水和收集的雨水。所種植物對(duì)空氣鹽度有較高的耐受力。（右）博物館入口平臺(tái)上茂盛的植物為藝術(shù)展覽、課堂、就餐、游輪觀賞提供了獨(dú)特的背景。平臺(tái)上以及懸吊下來(lái)的植物是多種泛熱帶物種的混合，包括耐鹽性的加勒比熱帶物種和佛羅里達(dá)本地亞熱帶的物種。(left)View toward the museum at entry level deck with lush, shade tolerant material located below the generous shade slats. Gardens a

23、re watered with recycled A/C condensate and captured rainwater. Plants were chosen for their high tolerance to salt air. (right)Lush plantings on the Museum deck form a unique setting for art displays, classes, dining and cruise ship watching. Deck and hanging plants are a vast mix of pan-tropical p

24、lants that include salt-tolerant Caribbean tropical and Florida subtropical natives. Photo Credit: ArquitectonicaGEO ©  基于上方格柵的方向性，為了確定最佳的種植區(qū)域，設(shè)計(jì)師進(jìn)行了復(fù)雜的復(fù)合型陰影研究。研究的變量包括：一天中的時(shí)間、一年中的日期、植物的類(lèi)型、土壤厚度的可用性以及從通過(guò)上方畫(huà)廊窗口向下看時(shí)的視線(xiàn)通廊。Complex composite shadow studies were conducted to determine optimal

25、 planting zones based on orientation of the overhead trellis. Variables included: time of day, calendar date, type of plants, soil depth availability and view corridors from upper gallery windows. Photo Credit: ArquitectonicaGEO ©  停車(chē)層的大臺(tái)階以一種不尋常但又非常實(shí)用的、本地化的方式展示植被，在游客從停車(chē)場(chǎng)前往博物館入口平臺(tái)的過(guò)程中，

26、為他們提供獨(dú)特的景觀。The grand staircase from the parking level showcases plants in unusual, normally utilitarian locales, providing a glimpse of the unusual landscapes to come as visitors ascend from the parking garage to the Museum entry deck. Photo Credit: ArquitectonicaGEO ©    （

27、左）在博物館上方的格柵之下，蔥郁的植被占據(jù)了三個(gè)層次：地面停車(chē)層，博物館入口平臺(tái)和自上懸掛下來(lái)的空中花園。跟周邊的棲息地和雕塑花園加在一起，總的景觀面積接近4.5英畝。（ 右）該圖展示出博物館下方獨(dú)特的停車(chē)設(shè)計(jì)。架空的博物館體量保護(hù)藝術(shù)品不受風(fēng)暴潮的影響，并將停車(chē)和儲(chǔ)排水設(shè)施安置在體量的下方。護(hù)坡將灌溉系統(tǒng)的水箱隱藏起來(lái)。(left)Within the Museums overhead trellis, lush plantings occupy three levels: ground/parking level, Museum entrance deck, and the hanging

28、 gardens. With the surrounding habitat and sculpture gardens, the total landscaped area is approximately 4.5 acres. (right)This view shows the unique arrangement of parking below the museum. Elevating the museum protects art from storm surge, and allows for the combined services of parking and deten

29、tion/infiltration facilities. The berms conceal cisterns for the irrigation system. Photo Credit: ArquitectonicaGEO ©  植被的灌溉使用儲(chǔ)存的雨水和空調(diào)冷凝水。晨光透過(guò)臺(tái)階間的高差和平臺(tái)上的縫隙流瀉下來(lái)。The parking garage drive aisle utilizes plants that thrive in low light conditions to provide ambiance in surprising location

30、s. Supplemental irrigation is provided from stored storm water and A/C condensate. Morning light streams through stair risers and gaps in decking. Photo Credit: ArquitectonicaGEO ©  碎石停車(chē)場(chǎng)的表面用于減緩和過(guò)濾上方平臺(tái)的雨水，或暫時(shí)性地儲(chǔ)存風(fēng)暴時(shí)涌上來(lái)的潮水，促進(jìn)滲透和補(bǔ)給，確保風(fēng)暴過(guò)后能快速地恢復(fù)如初。The gravel parking garage surface is des

31、igned to slow and filter stormwater running through the deck above, or temporarily hold storm surge water, encouraging infiltration and recharge, and maintaining the ability to quickly recover after storm events. Photo Credit: ArquitectonicaGEO ©     （左）多層次的景觀是一個(gè)動(dòng)態(tài)的、五彩繽紛的、藝術(shù)

32、性的綠色基礎(chǔ)設(shè)施。水平和垂直方向上的景觀元素讓建筑，乃至碎石和混凝土停車(chē)場(chǎng)更加具有吸引力。（ 右）從博物館入口平臺(tái)看向比斯坎灣和Bicentennial公園。懸掛下來(lái)的花園和平臺(tái)植被由更加多彩且具有異地風(fēng)情的植物構(gòu)成，向外慢慢過(guò)渡至排布更加自然的原生植被。(left)The multi-level landscape is a dynamic, profusion of color, art and green infrastructure. The horizontal and vertical landscape elements complement the architecture,

33、even to the gravel and concrete parking surface. Diagonal connections between the planted columns add hurricane stability.(right)View from the Museum level deck and plantings, towards Biscayne Bay and Bicentennial Park. The hanging gardens and deck level plantings are composed of more colorful and e

34、xotic plants, while plantings trend toward natural arrangements of native plants extending outward. Photo Credit: ArquitectonicaGEO ©  花園是一個(gè)展示雕塑的場(chǎng)所，燈光將建筑、植被和藝術(shù)作品照亮。博物館同相鄰的公園和海濱走廊無(wú)縫融合在一起，為未來(lái)海濱的開(kāi)發(fā)提供模型。The garden serves as a sculpture setting, with lighting designed to highlight the buil

35、ding, vegetation and art pieces. The Museum grounds blend seamlessly with the adjacent park and waterfront promenade to serve as a model for future coastal development. Photo Credit: ArquitectonicaGEO © Site DescriptionThe Perez Art Museum Miami (PAMM) rests on a fragile line between

36、the Atlantic Ocean and the densely urban Global City of Miami, Florida, frequently referred to as “ground zero” for sea level rise. Open since 2013, the 200,000-square-foot museum sits only 75 feet from Biscayne Bay, housing an acclaimed collection of art of the Americas. Wide decks and tall trellis

37、ed shade structures extend far past the edges of the building, increasing the Museums exterior display and gathering areas.The site has transitioned from a watery mangrove and turtle grass wilderness in the late 1800s, to a dredged deep water port, to a succession of failed waterfront parks over lan

38、dfill. PAMM lies closest to the water in an 8.5 acre two-museum complex within the newly re-imagined Museum Park. PAMMs landscape is approximately 4.5 acres, including garage, deck and surrounding plantings.Across the Bay to the East, within distant view of the Museum, lies a unique community of ren

39、egade houses on stilts over submerged sandbars.To the West, the Everglades wilderness offers remarkable insights into the various microcosms that thrive or decline based on shifts in water elevation measured in mere inches. This rich, wild and unpredictable setting provides inspiration for both arch

40、itecture and landscape at PAMM, offering exceptional examples of adaptive and resilient design to address the global threat of sea level rise.The project scope involved designing the horizontal landscape, and assisting on the design of 80 planted, hanging columns. The goal was to provide a beautiful

41、 and serene location along the waterfront to explore art, both natural and manmade. PAMM treads lightly on the environment by providing myriad environmental services, and limiting overuse of precious resources.Sustainability Elements This project takes a complex approach to water, vehicular and

42、 ecosystem management, and is a true example of multidisciplinary team-driven sustainable design, in both vision and implementation.Water management became the key feature that informed almost every other decision, whether from rain, sea or condensate. Air conditioning and irrigation is provided by

43、the building itself through high trellised structures that shade the decks, and funnel sea breezes and water to make the subtropical exterior setting comfortable for people and plants.Because of its direct proximity to Biscayne Bay, the Art Museum was built on stilts 10 feet above minimum flood and

44、hurricane storm surge requirements, allowing the parking garage to be placed below the museum. This arrangement facilitated an unprecedented design that integrates parking and planting beds with irrigation system water and temporary storm surge storage, stormwater infiltration, and aquifer recharge.

45、 The innovative porous-floored parking garage, gravel paths and native plant rain gardens are designed to capture and funnel rain water into the ground. This reduces local flooding and storm water runoff into the Bay, and limited expenditures on stormwater infrastructure.Collaborative efforts by the

46、 design and construction teams, and careful attention to detail allow the multitude of sustainable layers to work in concert. The project recently earned LEED Gold Certification, with the landscape contributing significantly to that designation.Design Program While PAMMs building has been desig

47、ned by the client to express the raw material of concrete, native plants have been chosen to display the raw materials of our landscape as complement and contrast to the geometric architecture. South Floridas lush subtropical trees, shrubs, groundcovers and vines spring from the horizontal ground pl

48、ane in vibrant counterpoint to the more formal, artist-designed hanging planted columns. Landscape materiality is deconstructed to exhibit Earths most basic forms, including gravel in paths and parking garage.The stabilized gravel parking garage was designed with two functions in mind. From the mome

49、nt of entry, the sound and texture of gravel signifies that a rich sequence of experiences is yet to come. The surface is also functionally designed to slow and filter stormwater flow, encouraging infiltration and recharge, and maintaining the ability to quickly recover after storm events, a unique

50、approach requiring special approval from the city. Precast concrete bands define parking spaces, and accessible concrete parking pads are provided near the elevator.Stabilized gravel paths throughout the native plantings provide accessible connections between the two museums, the adjacent park, and

51、Miamis waterfront promenade. The simple palette of materials (concrete, gravel and a profusion of plants) is designed to offer seamless transitions between spaces, with messy edges that blur and meld over time. This flexible design approach is valuable to the client because it allows easy rotation o

52、f exterior displays and anticipates periodic inundation, enabling quick recovery from disturbance.The originally-limited landscape concept of formal hanging gardens was expanded to include the use of water-wise, animal-friendly native plant material, in conjunction with systems that capture rain wat

53、er and A/C condensate for irrigation. Large irrigation cisterns are concealed within the planted berms that surround the parking garage. Ten large trees were preserved, and now serve as focal points and anchors in the Sculpture Garden. New plant material has been chosen based on ability to survive f

54、ull sun or full shade, and the harsh climate of South Florida, which can alternately provide saltwater, heavy salt wind, drought and excessive rain.The Museums planted exterior deck and surrounding landscape serve as a canvas for permanent and rotating art displays. A naturalistic planting style is

55、used throughout the ground level and museum deck level planters. The plant material progresses from South Florida subtropical natives mimicking endemic habitats outside the building, to a mix of tropical plants adjacent to the building, and finally a more constructed, pan-tropical and exotic palette

56、 within the garage and museum deck planters.The choreographed landscape sequence begins on Museum Drive, which leads to the underground parking garage, and a surprising display of plants in unexpected locations. The sequence continues above ground with the spectacle of 80 hanging, planted columns, the lushly-planted deck, and the evolving discoveries within the sculpture garden.Complex composite shadow studies were conducted to determine optimal planting zones based on a North-South orientation of the overhead trellis, in contrast to an East-West orie