天安1000 trees，上海 | Heatherwick Studio

the first phase of the ‘tian’an 1000 trees’ mixed-used development is now complete and open to the public in shanghai. designed by heatherwick studio, the architecture takes the form of two tree-covered mountains, featuring up to 1,000 structural columns and more than 70 plant species. emerging as large planters, each column holds a cluster of trees that are kept lush by an integrated and automated watering system. The grand opening was officiated on december 22 along the suzhou creek, during which the hanging trees illuminated like a thousand lights.

“天安1000   trees”综合开发项目的一期工程现已在上海完成并向公众开放。该建筑由 heatherwick 工作室设计，采用两座树木覆盖的山脉的形式，拥有多达 1,000 根结构柱和 70 多种植物。作为大型花盆出现，每根柱子都有一簇树木，这些树木通过集成的自动浇灌系统保持茂盛的生长。 12月22日，苏州河沿岸举行了盛大的开幕式，期间悬空的树木如千盏灯。

Split across two sites beside the city's M50 arts district, 1,000 Trees will comprise two mountain-like peaks that contain a mix of retail, offices, eateries, event venues and galleries. As its name suggests, 1,000 Trees is distinguished by hundreds of plants that emerge from its staggered, pixellated surface. The trees are housed in giant planters that sit on top of structural concrete columns placed across the mountain.

1000 Trees 跨越城市 M50 艺术区旁边的两个地点，将包括两座山形建筑，其中包含零售、办公、餐饮、活动场所和画廊。顾名思义，1,000 Trees 以从交错的像素化表面出现的数百种植物而著称。这些树被安置在巨大的花盆里，花盆坐落在横跨山形建筑的结构混凝土柱的顶部。

"We chose to express the structure and develop a strong identity to the columns as we knew they would be present in all the programmatic uses of the building," said Heatherwick Studio's partner Lisa Finlay. "We see the planters as natural extensions of the columns, almost like a shoot that has worked its way through three levels of car park, eight levels of retail, and then up and out to the roofscape to blossom."

Heatherwick Studio 的合作伙伴 Lisa Finlay 说：“我们选择表达结构并为柱子发展出强烈的个性，因为我们知道它们将出现在建筑物的所有程序化用途中。” “我们将花盆视为柱子的自然延伸，几乎就像一株植物，它穿过三层停车场、八层零售店，然后向上延伸到屋顶景观，开花结果。”

Each planter is complete with a handmade-like finish, which the studio designed "to achieve a rich and interesting texture" from both a distance and up close. "As a studio we are really interested in materiality and a lot of research went into the planters themselves so that they would serve as structure but also have an architectural identity throughout the building, and give interest at human scale," Finlay explained. "The solution we came up with was an undulating ripple design where convex curves merge into the concave ones, creating a surface that changes and appears randomised, although it is actually repeated throughout."

每个花盆都配有手工制作的饰面，工作室的设计目的是“从远处和近处获得丰富而有趣的纹理”。 “作为一个工作室，我们真的对物质性很感兴趣，并且对花盆本身进行了大量研究，以便它们既可以作为结构，又可以在整个建筑中具有建筑特征，并在人性化尺度上产生兴趣，” Finlay 解释说。 “我们提出的解决方案是一种起伏的波纹设计，其中凸曲线与凹曲线合并，形成一个变化的表面，看起来是随机的，尽管它实际上在整个过程中都是重复的。”

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