犹他州自然历史博物馆丨美国盐湖城丨Design Workshop,Inc.

项目概述

PROJECT STATEMENT

犹他州自然历史博物馆介绍并呈现了非凡的自然景观，同时带来独特的古生物发现、罕见的宝石和矿物、传承至今的史前文物以及原住民所讲述的一系列故事。在搭建自然与文化间桥梁的同时，博物馆本身便是一次对土地的抽象延伸与转化：岩石、矿物与植被定义了其场地的景观表达。

由于藏品和研究活动的增多，博物馆开始着手建立一座融合当代建筑、土地管理和展品交流的新地标，以吸引 21 世纪游客的关注与共鸣。在与建筑师的合作下，景观设计团队成功打造出了这座能够彰显博物馆使命的园地——它将通过科学探究、教育宣传、多文化体验以及人类参与来凸显自然世界。数字地型模型的使用让陡峭的地形得以向所有用户开放，同时消解了干预与保护之间的界限。可持续的设计元素包括雨水回收、可渗透地表以及本地植物种植，它们共同塑造出能够模仿并恢复环境和场地自然条件的景观。

▲融合文化与自然的场所：犹他州自然历史博物馆通过科学探究、教育宣传、多文化体验以及人类参与来凸显自然世界。为了回应这一使命，博物馆园地以一种透明且抽象的方式延展至周围的自然景观。A Place of Culture and Nature. The Natural History Museum of Utah illuminates the natural world through scientific inquiry, educational outreach, mutual cultural experience, and human engagement. True to its mission, the museum and grounds provide a transparent and abstract extension of the surrounding landscape. ©Design Workshop, Inc.

项目说明

PROJECT NARRATIVE

历史和机遇

犹他州自然历史博物馆最初位于犹他大学的 George Thomas 大楼，于 1969 年向公众开放。半个世纪过去，博物馆的藏品已增加至 160 多万件。越来越多的研究活动和对存放空间的迫切需求促使博物馆官方启动了建造新园地的计划，以期能够更好地讲述犹他州独特的自然与文化历史。

为了达到以上预期，博物馆选择了位于盐湖城山麓的一处 17 英亩（约 68797 平方米）的地块，主要考虑到其能够提供适宜的地质、生态和文化景观带剖面。新博物馆将沿着北美西部大盆地中的古老湖泊“博纳维尔湖”建造——这里是有着百年历史的甘伯尔橡树林与沙棘灌木群落之间的过渡地带，属于犹他大学的研究园区，并且毗邻红峰花园和植物园。

虽然这是一处未经开发的场地，但它依然没能避免人类活动的侵扰。在 20 世纪初期，这里被军队用作射击场。后来，60 英尺长的输送管道将其一分为二。如今，博纳维尔的湖岸小径重新追溯了管道经过的路线以及海洋的历史水线，为户外爱好者提供了一个受欢迎的休闲目的地。在这样的环境下，博物馆与自然和人造场景之间的视觉和体验联系将带来丰富的教育和探索机会。

挑战与应对

鉴于博物馆位于城市和乡村土地的交界，因此不论是从政治还是环保的角度来看，争取公众的支持都成为了一项重要的任务。为了应对这一挑战，多学科的团队制定了一套最优的实践方案，以反映博物馆机构的完善性与可信度。该方案的内容包括：对建筑、景观和展览的整体构想；对本地野生动物走廊和栖息地的保护与管理；对多种不同社区的教育；以及提供示范性的可持续设计。

景观设计团队选择以分层且无缝的方式来彰显场地作为自然与文化景观交界的重要地位，从而将其影响力拓展至建筑之外。“改善区域”（Enhancement Zone）的关注点是在建筑周围创造出理想的微气候；“恢复区域”（Rehabilitation Zone）旨在恢复生态功能，为人与野生动物保留开放的空间连接；“保护区域”（Conservation Zone）则是为了对动植物和自然生境的保护工作进行管理。

此外，围绕着多种尺度的自然系统研究和论证，该项目通过“连接”、“变化”和“多样性”三种理论方法对博物馆的场地设计和讲解内容进行了组织和评估。仿生学的概念被用于塑造可持续的设计方案，使上述三种理论方法得以在场地现有的特征条件下完成物理和视觉上的具体化表达。

叙事原则

经过严格的场地调研，团队确立了四项原则来为设计方案提供指导：

1. 通过对自然特征的隐喻或抽象化提取来凝聚艺术与科学，提供多种类型的阐释机会，积极吸引游客、艺术家和科学家。

2. 自然与人造元素并重，强调它们由外到内的相似性和差异性。

3. 色彩、纹理和形式，作为美与变化过程的最真实的表达，应当以一种不易觉察而又复杂精妙的方式得到凸显。

4. 强调自然的多样性，为环境健康与可持续发展教育创造更多机会。

受到场地周边环境的启发，景观设计团队尝试将博物馆完全置于其自然和文化环境中，使其有机会为阐释、教育、管理和思考提供多种类型的场景。

融合艺术与科学

景观设计成功地消解了建筑与自然环境之间的界限，通过植入一系列人工台地，在尽可能减少对邻近景观破坏的前提下，使博物馆的体量沿着山麓轮廓延伸而上。经过一系列的数字地形建模工作，博物馆的场地得以与既有景观无缝衔接，具有明显改变的地貌集中在建筑附近，远处的地形则更加自然地与既有环境和本地植物融为一体。在充分掌握了如何以抽象方式塑造土地并满足其用户的需要之后，景观团队成功地向我们展示了让设计与环境紧密接合的方法。

可持续发展

博物馆科学家通过研究历史了解了场地自然环境的模式和发展过程，并坚信这些知识能够为做出影响未来的明智决定提供基础。可持续发展是整个工作框架的内在组成部分。凭借 LEED 的金奖认证，博物馆为此树立了榜样。

在雨水管理方面，设计团队部署了一系列低影响的开发策略，防止水流流向城市区域的地下雨水排放系统。相应地，雨水被引入两个容量为 10000 加仑的地下蓄水池，用于整个场地的灌溉；停车场以可渗透的混凝土铺设；地下渗透池为地下蓄水层提供补充。

能源战略旨在减少场地的消耗足迹。博物馆拥有犹他州规模最大的太阳能电池板装置之一；轻型混凝土路面和绿色屋顶能够降低温度，改善周围环境和空气的质量；符合暗天空（Dark Sky）标准的照明方案最大程度地降低了博物馆对附近敏感生境的光污染影响。

从当地获取的材料旨在支持区域与地方经济、减少碳足迹并加深场地叙事的内涵。石笼墙是由挖掘过程中收集到的碎红砂岩建造而成；材料的颜色与形式均与瓦萨奇山脉的地质特征相融合。为了恢复生物多样性，项目团队还在动工前收集了现场的植物种子，并在施工后将其重新引入当地植物生境，其中也包括在邻近土地上发现的其他物种。

以教育连接人类影响

作为培养科学素养的中心，博物馆在科学界与大众之间建立起一座桥梁。景观设计师的职责是通过营造贴近自然世界的体验来有效地促进知识的传递，并让参观者能够为未来做出更具远见卓识的决定。

被称作“Land Terrace”的户外平台从博物馆的室内展廊延伸出来，可用作户外教学空间。在平台后方，远处的山脉清晰地映在建筑的玻璃幕墙中，一系列本地巨石巧妙地展现了分布在犹他州各地景观的火成岩、沉积岩和变质岩。附加的阶梯展示空间、非正式的圆形露天剧场以及讲解展板共同向观众介绍了犹他州的原住民和本土文化。考虑到当地社区对于自由访问邻近开放空间的愿望，项目团队重新设计了步道系统，创造性地将其沿着既有的管道路线布局，从而将博物馆的游览线与数英里长的探索及休闲路径联系起来。

若要成功地将建筑及其功能空间融入既有景观，同时确保对环境的干扰最小，就需要对当地的生态环境有更加深入的认知，并且尽可能地以兼顾艺术和科学的方式来区分人工和自然环境，以此来阐释和凸显犹他州独一无二的美。零星残留的甘伯尔橡树群被重新融入到扩展后的种植方案中，突出了本地植物群落的重要生态功能，并展示了种植景观与自然景观的交界面。另一个重要的事实是，通过缓和土地坡度和种植植物，该地 90%受到干扰的土地均重新恢复到了天然的状态。

▲城市与辽阔土地的交界面：博物馆的体量从盐湖城的山麓一路向上延展，为游客赋予从抵达场地时便开始的沉浸式体验。造型独特的本地甘伯橡树和以地质为设计灵感的围护墙巧妙地解决了场地坡度带来的难题。At the Interface of Urban and Magnificent Open Lands. Rising from the foothills above Salt Lake City, the Museum’s immersive experience begins upon arrival. A crafted approach, defined by sculptural stands of native Gambel oak and geologically-inspired retaining walls, artfully negotiates challenging slope conditions.© Brandon Huttenlocher/Design Workshop, Inc.

▲无缝衔接的教学性景观：景观设计团队选择以分层且无缝的方式来彰显场地作为自然与文化景观交界的重要地位。向周边环境延伸的“改善区域”、“恢复区域”和“保护区域”旨在将博物馆的影响力拓展至建筑之外。

A Seamless, Educational Landscape. The landscape architect chose to celebrate the confluence of the site’s natural and cultural landscape in a layered and seamless application in which zones of influence—Enhancement, Rehabilitation, and Conservation—extend outward from the building footprint.

© Brandon Huttenlocher/Design Workshop, Inc.

▲从场地中汲取灵感：自然与人造元素并重，强调它们由外到内的相似性和差异性。色彩、纹理和形式作为美与变化过程的最真实的表达而得到凸显。自然的多样性能够促进可持续发展。

Inspired by Place. Natural and man-made forms are juxtaposed, emphasizing their physical and visceral similarities and differences. Color, texture, and form—the most genuine expressions of beauty and process—are celebrated, while natural diversity fosters sustainability.

© Brandon Huttenlocher/Design Workshop, Inc.

▲重建与恢复：作为探索和游乐路径的起点，场地中重新设计的步道系统充分考虑了当地社区对于自由访问邻近开放空间的愿望。重要的是，通过缓和土地坡度和种植植物，该地 90%受到干扰的土地均重新恢复到了天然的状态。

Recreation and Restoration. As a launchpad for exploration and recreation, the design respects the community’s desire to access the vast amounts of adjacent open space. Of significance, 90% of the site’s disturbed area was restored to a natural state through grading and revegetation.

© Jeff Goldberg /Esto

▲入口下沉区域：景观设计师利用地貌来隐喻土地与场地的抽象性。具有明显改变的地貌集中在建筑附近，参考了遍布犹他州的峡谷风貌，以此来达到一种谨慎却又可感知的阐释目的。The Entry Descent. The Landscape Architect utilized landform to metaphorically abstract the land and site. With more dramatic landforms concentrated near the building that references the canyons found throughout Utah – a deliberate and perceivable interpretation is realized.© Brandon Huttenlocher/Design Workshop, Inc.

▲彰显犹他州的美景。博物馆及其场地位于盆地与山脉的边缘，因此它与广阔的盐碱地、侵蚀峡谷以及高耸的山脉都建立了视觉和感知上的连接。Celebrating Utah. Located at the edge of the Basin and Range province, the Museum and its site offer visual and cognitive connections to the vast expanse of salt flats, eroded canyons, and towering mountain ranges.© Brandon Huttenlocher/Design Workshop, Inc.

▲名为“Land Terrace”的户外平台从博物馆的室内展廊延伸出来，可用作户外教学空间。在平台后方，远处的山脉清晰地映在建筑的玻璃幕墙中，一系列本地巨石巧妙地展现了分布在犹他州各地景观的火成岩、沉积岩和变质岩。“Land Terrace”是 The Land Terrace. Extending from an interior gallery, the terrace displays indigenous monolithic boulders from each of the rock classifications – igneous, sedimentary, and metamorphic – and serves as an outdoor classroom, literally and figuratively reflecting the mountain setting through the architecture’s glassy façade.©D.A. Horchner/Design Workshop, Inc.

▲作为培养科学素养的中心，博物馆在科学界与大众之间建立起一座桥梁。各种各样的教学场景被融入到场地之中，例如图片中带有讲解图例的耐候钢展板。

Bridging Human Impact through Education. The Museum is a center for science literacy. Learning opportunities, such as these etched corten steel interpretive panels, are embedded throughout the site.

©D.A. Horchner/Design Workshop, Inc.

▲引入新视角：四季变化成为了博物馆体验的核心。在落雪的映衬下，场地中的原生巨石显现出更加明显的雕塑般的品质。Encourage New Perspectives. Seasonal change is central to the experience. The sculptural qualities inherent in this collection of native monolithic boulders is enhanced under a dusting of snow.© Brandon Huttenlocher/Design Workshop, Inc.

▲艺术与科学的融合：为了适应场地 180 英尺的海拔变化，景观设计师利用数字地形模型，通过开发一系列人工台地来模糊建筑和自然环境之间的界限。这些台地沿着现有的山麓轮廓逐步上升。Merging Art and Science. To navigate the site’s 180 feet of elevation change, the landscape architect utilized digital terrain modeling, blurring the boundaries between built and natural environment through the development of a series of constructed terraces that step up the existing foothill contours.© Design Workshop, Inc.

▲地质起源。视觉线索提取并传达了塑造犹他州独特景观的自然过程。石笼网墙由挖掘过程中获得的碎红砂岩建造，展现了瓦萨奇山脉中发现的地垒和地堑，亦或是山谷和山脉的构造地质现象。© Brandon Huttenlocher/Design Workshop, Inc.

▲地域表达。为了帮助定义景观语言，景观设计师从犹他州艺术家 LeConte Stewart 对当地环境的描绘中寻找灵感，并借助仿生学得出了周边土地矩阵中既存的空间模式和界限。Regional Expression. To help define the language of the landscape, the landscape architect looked to Utah artist LeConte Stewart’s paintings of the region for inspiration. Existing spatial patterns and definition in the matrix of surrounding lands were derived utilizing biomimicry.©LeConte Stewart Website

▲恢复的景观：为了恢复生物多样性，项目团队还在动工前收集了现场的植物种子，并在施工后将其重新引入当地植物生境，其中也包括在邻近土地上发现的其他物种。A Restored Landscape. Prior to construction, the team gathered seeds from the site, reintroducing them later with additional species harvested on adjacent lands to restore and enhance biological diversity.©Brandon Huttenlocher/Design Workshop, Inc. (Left, Right), © Jeff Goldberg /Esto (Middle)

▲公共价值：作为犹他州最受欢迎的目的地之一，博物馆及其下辖土地每年接待来超过 30 万名游客和 4 万名学生。博物馆从历史、环境和文化层面共同激发了人们对西部山区的卓绝风景的欣赏。Public Value. Acknowledged as one of Utah’s most visited destinations, the Museum and its grounds welcome over 300,000 guests and 40,000 students annually from around the world. Historically, environmentally, and culturally relevant, the institution inspires appreciation for the extraordinary Intermountain West.© Brandon Huttenlocher/Design Workshop, Inc.

PROJECT NARRATIVE

HISTORY AND OPPORTUNITY

The Natural History Museum of Utah opened its doors to the public in the George Thomas Building at the University of Utah in 1969. A half-century later, the museum’s collection had grown to more than 1.6 million objects. Increased research initiatives and a pressing need for additional storage led museum officials to launch a campaign to build a campus that would tell the story of the state’s distinctive natural and cultural history.

Critical to the institution’s ability to fulfill its mission was the selection of a 17-acre parcel, located in the foothills above Salt Lake City, that offered an appropriate cross-section of geological, ecological, and cultural landscape zones. Here, the Museum would rest along the historic shoreline of Lake Bonneville, an ancient paleolake in the Great Basin of western North America, at the transition between century-old stands of Gambel oak and sagebrush shrubland plant communities, and within the University’s Research Park, adjacent to the Red Butte Garden and Arboretum.

While the site was free of development, it had not avoided disturbance. In the early 20th century, soldiers used it as a firing range. Later, a sixty-foot pipeline easement bifurcated the site. Today, the Bonneville Shoreline Trail traces this easement and the sea’s historic water line, offering a popular recreational destination for outdoor enthusiasts. From this setting, visual and experiential connections to natural and manmade patterns offer opportunities for education and exploration.

CHALLENGE AND RESPONSE

Garnering public support for the museum’s location at the interface of urban and rural lands represented a politically and environmentally sensitive undertaking. To overcome this challenge, a multi-disciplinary team developed a set of best practices that would reflect the integrity and credibility of the institution. These included a holistic vision for architecture, landscape, and exhibition; protection and stewardship of indigenous wildlife corridors and habitat; education for a diverse community; and the provision of exemplary sustainable design.

The landscape architect chose to celebrate the confluence of the site’s natural and cultural landscape in a layered and seamless application whereby zones of influence extend outward from the building footprint. An Enhancement Zone focuses on the creation of a desirable microclimate around the building; a Rehabilitation Zone restores ecological function and preserves open space connections for humans and wildlife; and a Conservation Zone manages the conservation of plants, animals, and natural habitats.

Additionally, three theoretical approaches—Connection, Change, and Diversity—organize and evaluate site design and interpretive content around research and evidence of natural systems occurring at multiple scales. Biomimicry was utilized to shape sustainable design concepts, resulting in forms that are physical and visual representations of the concepts of connection, change, and diversity that occur within existing site characteristics.

NARRATIVE PRINCIPLES

Rigorous site investigation established four principles to guide idea development.

-Art and science are coalesced through metaphorical or stylized abstractions of natural features, offering varied opportunities for interpretation and actively engaging visitors, artists, and scientists.

– Natural and man-made forms are juxtaposed, emphasizing their physical and visceral similarities and differences.

– Color, texture and form, the most genuine expressions of beauty and process, are celebrated in a subtle but sophisticated manner.

– Natural diversity is encouraged to flourish, promoting opportunities for education in environmental health and sustainability.

Borrowing from the evocative patterns of the adjacent environment, the landscape architect created a design that grounds the Museum in its natural and cultural surroundings, imbuing it with multiple opportunities to build on its setting for interpretation, education, stewardship, and reflection.

MERGING ART AND SCIENCE

The landscape architecture successfully blurs the boundaries between built and natural environment through the development of a series of constructed terraces that step up the existing foothill contours with minimal disruption to the adjacent landscape. Accomplished through a series of digital terrain modeling exercises, the landscape architect seamlessly integrated the existing landscape and museum property, concentrating dramatically altered landforms near the building. Further away, the landform relaxes as it blends into existing contours and native plant masses. In determining how to shape the land in an abstract manner that also meets the needs of its users, the landscape architect successfully demonstrates how the design embraces its context.

SUSTAINABILITY IN ACTION

Museum scientists study the past to understand pattern and process with the belief that knowledge provides a basis for making informed decisions that affect the future. Sustainability is inherently part of this framework. With its LEED Gold Certification, the Museum leads by example.

– Stormwater management measures deploy a collection of low-impact development strategies that prevent flow to the city’s underground storm drain system. Rainwater is directed into a pair of 10,000-gallon underground cisterns that irrigate the entire site; the parking lot is constructed of permeable concrete pavers; and underground infiltration basins recharge groundwater aquifers.

– Responsible energy strategies reduce the site’s consumptive footprint. The Museum houses one of Utah’s largest solar panel installations; the use of light concrete pavement and green roofs lowers temperatures, improving the surrounding environment and air quality; and, dark sky-compliant lighting minimizes light pollution impacts on nearby sensitive habitats.

– Regionally sourced materials invest in regional and local economies, reduce carbon footprint, and deepen the story of place. Gabion retaining walls are constructed of crushed red sandstone stockpiled during excavation; material color and form blends with the geological features of the Wasatch Mountains. To restore biological diversity, the team gathered seeds from the site prior to disturbance, later reintroducing them in a plant matrix that included additional species found on adjacent lands.

BRIDGING HUMAN IMPACT THROUGH EDUCATION

As a center for scientific literacy, the Museum acts as a bridge between the scientific community and the public. The Landscape Architect’s role was to effectively communicate the transfer of knowledge through an experience that embraces the natural world and empowers visitors to make thoughtful decisions for the future.

Extending from an interior gallery, the Land Terrace serves as an outdoor classroom that literally and figuratively reflects its setting. Behind the terrace, distant mountains are visible in the architecture’s glass facade, while an array of indigenous monolithic boulders artfully represent igneous, sedimentary, and metamorphic rock found throughout Utah’s varied landscape. Additional terraced exhibit spaces, informal performance amphitheaters, and interpretive panels introduce Utah’s native peoples and cultures. Respectful of the community’s desire to access the vast amounts of adjacent open space, a redesigned trail system creatively aligns along an existing pipeline easement, connecting Museum visitors with miles of interpretive exploration and recreational opportunities.

Successfully siting the building and its programs into an existing landscape with minimal disturbance required a heightened knowledge of local ecologies and a desire to distinguish the built and natural environment in a manner that artfully and scientifically interprets and celebrates Utah’s distinct beauty. Remnant “patches” of Gambel oak, revealed in land cover patterns were preserved in a series of extended planting designs that highlight the critical ecological function of native plant communities and showcase the interface between cultivated and natural landscapes. Of significance, 90% of the site’s disturbed area was restored to a natural state through grading and revegetation.