Little Island is a public park that shelters three new performance venues on the Hudson River. Designed as a haven for people and wildlife, it is a green oasis, held above the water by sculptural planters, and located just a short walk across a gangplank from Manhattan’s Lower West Side.
小岛是一个公共公园，在哈德逊河上设有三个新的表演场地。它被设计为人类和野生动物的避风港，是一片绿洲，由雕塑般的种植者展示在水面之上，距离曼哈顿下西区的跳板仅几步之遥。
Heatherwick Studio was initially invited by philanthropist Barry Diller and the Hudson River Park Trust to create a pavilion for a new pier off the southwest of Manhattan. Instead of designing a decorative object to sit in the Hudson River Park, the design team saw an opportunity to rethink what a pier could be. The starting point was not the structure, but the experience for visitors: the excitement of being over the water, the feeling of leaving the city behind and being immersed in greenery – inspired by Central Park, where it’s possible to forget that you are in the midst of the most densely populated city in the United States.
Heatherwick Studio 最初应慈善家Barry Diller和哈德逊河公园信托基金的邀请，为曼哈顿西南部的新码头建造了一个展馆。设计团队没有为哈德逊河公园设计一个装饰物，而是看到了重新思考码头可能是什么的机会。出发点不是结构，而是游客的体验：在水上的兴奋，离开城市并沉浸在绿色植物中的感觉——灵感中央公园，在那里你可能会忘记你在位于美国人口最稠密的城市中心。
Piers were traditionally flat to allow boats to dock, but did they have to be? In contrast to the flat streets of Manhattan, the design team wanted to create a new topography for the city, which could rise up to shape a variety of spaces. The first iteration was a curled leaf form floating on the water, its veins rising like ribs at the edges to shelter the space from the wind. The idea of raising the park on its foundations came from the existing wooden piles in the water, remnants of the many piers that used to extend from the shoreline of Manhattan. Beneath the visible tips of the wood, the piles have become an important habitat for marine life and are a protected breeding ground for fish.
码头传统上是平的，可以让船只停靠，但它们必须是平的吗？与曼哈顿平坦的街道相比，设计团队希望为城市创造一种新的地形，可以塑造出各种空间。第一次迭代是漂浮在水面上的卷曲叶子形状，它的叶脉像边缘的肋骨一样上升，以保护空间免受风的侵袭。在其地基上建造公园的想法水中现有的木桩，这是过去从曼哈顿海岸线延伸出来的许多码头的残余物。在可见的木头下，木桩已成为海洋生物的重要栖息地，也是受保护的鱼类繁殖地。
Heatherwick Studio envisaged the pier as a complete experience; a single, cohesive object, rather than unrelated elements stuck together. New piles would be necessary to support any type of pier. Instead of sticks holding up a deck, the piles become the deck – they extend into planters that join together to create the park’s surface. The height of the piles varies to create the park’s contours: the corner of the pier is lifted to allow sunlight to reach the marine habitat, and the edge falls to define hills, viewpoints and to carve out a natural amphitheatre for performances. In this way, the pier and its supporting structure are one.
Heatherwick Studio 将码头设想为一种完整的体验；一个单一的、有凝聚力的对象，而不是粘在一起的无关元素。需要新的桩来支撑任何类型的码头。木桩不是支撑甲板，而是成为甲板——它们延伸到花盆中，连接在一起形成公园的表面。桩的高度各不相同，以创造公园的轮廓：码头的一角被抬高，让阳光照射到海洋栖息地，边缘下降以界定山丘、观景点，并为表演开辟出一个天然的圆形剧场。这样，桥墩与其支撑结构合二为一。
The planters or ‘pots’ are filled with more than a hundred different species of indigenous trees and plants, which encourage biodiversity and are able to thrive in New York’s climate – each corner of the island represents a different microclimate. To determine the pots’ form, the design team looked to nature and the mosaic of ice that forms around the wooden piles when the river freezes.
花盆或“盆”种满了 100 多种不同种类的本土树木和植物，它们促进了生物多样性并能够在纽约的气候中茁壮成长——岛上的每个角落都代表着不同的小气候。为了确定花盆的形状，设计团队参考了大自然和河流结冰时在木桩周围形成的冰马赛克。
The studio reinterpreted this in a tessellated pattern that appears organic but uses repeated elements that could be standardised for fabrication. Care was taken to vary the angle and repetition of pots at the perimeter, where they were most visible. To give the structural concrete a smooth, tactile quality, Heatherwick Studio worked closely with a local fabricator. The precast components were transported by boats and assembled on site, minimising disruption to the city.
工作室以一种看似有机的镶嵌图案重新诠释了这一点，但使用了可以标准化制造的重复元素。小心地在周边改变盆的角度和重复，在那里它们最明显。为了使结构混凝土具有光滑的触感，Heatherwick Studio 与当地的制造商密切合作。预制构件由船只运输并在现场组装，最大限度地减少对城市的干扰。
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