能让生活更美好的十字路口

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BIG(bjarke ingels group)的丹麦建筑师将携手瑞典的NOD景观公司进行改造SLUSSEN十字路口的计划。但该项目并不是这么简单的建立一个桥梁，而是为了适应slussen所有的骑自行车者，司机和行人以及住房的地铁，火车和船的连接线。建筑师需要找到一个统一的结构，可以容纳所有的这些设施。所以他们采用了一个分层的办法,尽管在如此繁重的交通下，新slussen将房子休息区，并建立一个公共空间的最上层水平。各级通过连接升下降坡道，使人们能够在一个水平之间自由流动。

City officials here have yet to announce the winning design for the Slussen project, which aims to replace a tangle of traffic circles, bridges, underpasses and boat locks in the heart of this city. But they have already done us a major public service.

The five proposals in the competition, on view at Stockholm.se/slussen, offer a snapshot of contemporary urban planning ideas. They include a breathtaking design by Jean Nouvel, a head-scratching proposal by Norman Foster and some intriguing work by younger talents who are still mostly unknown internationally.

But the competition's greatest value is as a measure of just how far many European governments have come in addressing failed urban policies of the past. The designs all seek to breathe new life into the dead zones created unwittingly by Modernist and postwar planners.

Built in the mid-1930s, Slussen is a prime candidate for a re-examination of large-scale Modernist planning. Designed to link two sides of the historic city, its concrete entry ramps curl around a cylindrical office building before stretching over an underground bus terminal and the massive locks that regulate boat traffic between Lake Malaren and the Baltic Sea.

In some ways the weaving of a mind-numbing range of transportation systems into a single integrated network made the project a tour de force. But the structure began to deteriorate decades ago, partly because of the poor quality of its concrete construction. Most planners regard it as a lesson in everything that was wrong with orthodox Modernism: endless swaths of barren concrete plazas and dank underpasses that seemed to invite midday muggings.

The competition encourages us to ponder those values with a fresh, unbiased eye. The most intriguing of the five designs can be separated more or less into two categories: those that try to bring clarity and order to the jumbled traffic systems, and those that seek to draw the bustling energy of the old city across the site.

Mr. Nouvel's entry tries to harness that energy. He begins by rerouting the bulk of car traffic to the west, forging a more direct connection between southern Stockholm and the central business district. An immense public park laid over this freeway would offer stunning views of Lake Malaren.

The existing bridge is transformed into a contemporary Ponte Vecchio, a pedestrian alleyway of shops and restaurants that links the two sides of the city. A series of layered roof structures replicate the density and complexity of the urban tissue on either side; terraces present spectacular watery vistas. The design reflects a conviction that the collision of ideas, even more than architectural forms, gives cities their civilizing power.

The most impetuous challenger to Mr. Nouvel's proposal, from BIG, a young, still relatively unknown firm in Copenhagen, treats emptiness as a virtue rather than a vice. Like Mr. Nouvel, these architects reroute the majority of car traffic to the west. A new pedestrian plaza is then draped over the network of locks and walkways like a soft crumpled blanket. A series of incisions are cut into this surface, and the concrete fabric peels back to make room for retail space underneath. The surfaces of these giant flaps become public bleachers where pedestrians can sit and look out at the sea.