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休斯頓被稱為“河口之城”，城市由大片翠綠的地塊分隔開來，頻發(fā)的洪災(zāi)阻礙了這些土地的開發(fā)。城市中心位于布法羅河與白橡樹河兩條河道的交匯處，在其北端，核心區(qū)域跨越布法羅河道，由20世紀(jì)70年代至80年代建成的辦公樓、充滿活力的劇院區(qū)以及主要的市政機(jī)構(gòu)組成。在休斯頓大中央車站的舊址上，坐落著一座混凝土倉庫辦公樓，面積達(dá)50萬平方英尺。

改造前?? OMA

這里曾是美國郵局（USPS）在休斯頓的主要中心，建筑由知名的休斯頓太空巨蛋體育場的建筑師Wilson, Morris, Crain & Anderson在1962年打造。當(dāng)66000名觀眾在體育場觀看9名運(yùn)動員的棒球運(yùn)動時，2000名郵件分揀員正奮戰(zhàn)在芭芭拉喬丹郵局，只有少數(shù)人在他們上方的“觀測通道”中穿行。

Photography by Marco Cappelletti

美國郵局在2015年關(guān)閉了該設(shè)施，隨后這里由美籍臺裔開發(fā)商Frank Liu收購。其他競標(biāo)者都毫無懸念地迅速將這里視作具有開發(fā)潛力的空地，而Liu和他的兒子則計劃將倉庫保留并重新詮釋。建筑的尺度和堅固性蘊(yùn)含著開發(fā)潛力，同時也帶來了問題和矛盾。如何保護(hù)該建筑，并避免其工業(yè)特征喧賓奪主？如何在不拆除的前提下，打破建筑與周邊環(huán)境的壁壘式關(guān)系？當(dāng)這些元素恰好將建筑與休斯頓市中心剝離開時，要如何保留原有的尺度和氛圍？如何對其中未經(jīng)劃分的體量進(jìn)行布局使用，而避免出現(xiàn)閉路迷宮？

Photography by Sean Fleming

建筑師采用了大量保護(hù)與干預(yù)相平衡的設(shè)計手法來解題。為了將這片16英畝的場地融入市中心的城市肌理，而非從中分離，設(shè)計專注于場地南側(cè)的連接設(shè)施。仿佛農(nóng)民耕作，建筑師在混凝土的土壤中犁出一系列橫向通道，并為每一條通道切割出室內(nèi)空間。這些切口將自然光線引至深色樓板，并與建筑的三層樓面交匯：首層為商業(yè)空間、二層是寬敞辦公空間，頂部為6英畝的屋頂公園；同時打造出三個不同的項目區(qū)域：文化零售區(qū)、食品市場以及協(xié)作辦公區(qū)。

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??OMA

三處區(qū)域的中庭分別被命名為X、O和Z。每個中庭的巨大樓梯引導(dǎo)訪客至屋頂景觀區(qū)，將遠(yuǎn)處的視野帶回城市中心。這些樓梯的結(jié)構(gòu)和材料獨具特色，致力于鼓勵人們進(jìn)行互動。重復(fù)、交錯或擴(kuò)展的樓梯，形成通向屋頂?shù)穆窂胶团既诲忮说目臻g，每一處都將人們聚集在一起。

Photography by Leonid Furmansky

Photography by Leonid Furmansky

在倉庫的東翼開辟出的第四個空間中植入了713音樂廳，這是一處可容納5500人的文化綜合體。場地以平坦的大型綜合性空間為特色，像靈活的舞蹈廳懸掛著分層座位看臺。平坦的地面為諸多活動提供了無限可能。看臺提供了較為傳統(tǒng)的座位和遮蔽空間，人們可以像學(xué)生一樣在看臺下閑逛，聚集在遠(yuǎn)離表演的地方。

Photography by Leonid Furmansky

Photography by Leonid Furmansky

Photography by Leonid Furmansky

713音樂廳與其他區(qū)域一樣，需要從原倉庫中分隔出一處空間。主建筑的三處中庭引入了自然采光，這處場地的切口在綜合大廳上方提供了一處95英尺的無柱空間跨度。新的屋頂支撐起一座都市農(nóng)場以及一處用于額外大型表演的區(qū)域、一處遮陰花園、休閑區(qū)和兩座用餐涼亭，為休斯頓市中心提供了一座17萬平方英尺的新公共空間集合。這座建筑既是門戶也是目的地，不僅成為了通向城中新公共空間的紐帶，也是與基礎(chǔ)設(shè)施、商業(yè)抱負(fù)和自然活力并行的優(yōu)美風(fēng)景。

Photography by Scott Shigley

Photography by Scott Shigley

Photography by Sean Fleming

Houston, called the “Bayou City,” is cut through with verdant swaths of land made resistant to development by their propensity to flood. Its downtown sits where two of these bayous, the Buffalo and the White Oak, cross. At the northern end of downtown— across the Buffalo Bayou from the core of 1970s and 1980s office towers, the vibrant theater district, and major civic institutions—a 500,000-square-foot concrete warehouse and office building sits on the site of what was once Houston’s Grand Central Station.

歷史圖片 ??OMA

歷史圖片 ? OMA

Formerly Houston’s main center for the United States Postal Service (USPS), the building was built in 1962 by Wilson, Morris, Crain & Anderson, the architects of the Astrodome. While the Astrodome housed nine men playing a ballgame watched over by 66,000 spectators, the Barbara Jordan Post Office housed 2,000 mail sorters watched over by a handful of men walking through “spy tunnels” above them.

原貌?? OMA

When the USPS closed the facility in 2015, it was purchased by a local Taiwanese-American developer, Frank Liu. Other bidders had all immediately and unquestionably considered the site a potential tabula rasa, but Liu and his sons planned to keep and reimagine the warehouse. The building’s scale and solidity offered potential, but also posed questions and contradictions. How can we preserve it but avoid fetishizing its “industrial” character? How can we break its fortress-like relationship with its context without dismantling the building? How can we preserve its scale and aura when those qualities are precisely the elements that disaffect the building from downtown Houston? How do we tame the undifferentiated field of columns within it without creating a maze of dead-ends?

Photography by Marco Cappelletti

Photography by Marco Cappelletti

Our approach balanced wholesale preservation with surgical interventions. To integrate the 16-acre site into the fabric of the downtown without dividing it, we focused on a series of connections from the south. Like farmers working on concrete soil, we raked a series of horizontal thoroughfares into and through it. Along each line we cut an interior void. The cuts bring light into the deep floorplates and intersect the building’s three levels: a commercial ground plane; a second level of expansive offices; and a 6-acre rooftop park above. They also establish three bands across as zones for different programs—cultural and retail, food market, and collaborative workspace.

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? OMA

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Within the bands are three atriums—named X, O, and Z— each of which contains a monumental staircase that leads visitors up to the roof-scape and vistas back to downtown. The stairs are distinct in character, structure, and material, but all are designed to encourage interaction. Their paths are doubled, intertwined, and expanded to provide not just trajectories up to the roof but places for accidental encounter—each is an instrument to bring people together.

Photography by Leonid Furmansky

Photography by Leonid Furmansky

On the eastern wing of the warehouse we carved out a fourth void to insert the 713 Music Hall, the 5,500-capacity music venue and cultural anchor of the complex. The venue features a large, flat general assembly like those of more nimble dance halls, with a tribune of tiered seating hanging over it. The flat floor allows for limitless arrangements. The tribune provides more traditional seating and a sheltered space where visitors can gather away from the performance, like students hanging out under the bleachers.

Photography by Steve Hyde

Like other areas of POST Houston, the 713 Music Hall required cutting a void into the existing warehouse. While the three atriums in the main building were introduced to bring in light, the cut for the venue allows for a 95-foot column-free span over the general assembly. Its new roof supports a “Texas-sized” urban farm that, together with an additional zone for large performance, a shaded garden, recreation areas, and two restaurant pavilions, will assemble 170,000 square feet of new public realm for downtown Houston. The building is as much a gateway as a destination. It is a link to a new public space within the city and dramatic view out over its juxtapositions—of infrastructure, business ambition, and natural vitality.

Photography by Scott Shigley

Photography by Scott Shigley

Project:?Transformation of former post office warehouse facility into a new mixed-use building

Client:?Lovett Commercial

Status:?Under Construction

Site:?16-acre site in downtown Houston, Texas, USA

Program:?Mixed-use

Partner-in-Charge:?Jason Long

Project Architects:?Salome Nikuradze, Yusef Ali Dennis

Team:?Daniel Kendra, Chris Yoon, Laylee Salek, Wesley Leforce, Ekaterina Nuzhdina, Simina Marin, Vincent Parlatore, Vincenzo Damato

Partner-in-Charge:?Jason Long

Project Architects:?Salome Nikuradze

Team:?Daniel Kendra, Anders Grinde, Alireza Shojakhani, Sachio Sampaio Badham, Vincenzo Damato, Stephen Steckel

Executive Architect:?Powers Brown Architects

Structural Engineer:?IMEG Corp?

Executive Architect (Food Hall):?Lucid?

MEP:?DBR Engineering Consultants?

Landscape Architect:?Hoerr Schaudt??

Lighting:?DotDash

Historic Advisor:?MacRostic

Visual Identity, Graphics, Wayfinding, Signage:?MTWTF with Formation

General Contractor:?Harvey Builders

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