皮博迪露台是一个典型的例子，二十世纪的一个项目，被建筑界作为一个进步的现代理想的典范，但受到邻居和一般公众成员的批评，因为没有吸引力，冷酷和气势。这个项目和其他类似的项目突出了建筑知识分子与他们所建社区之间的脱节。(鼓掌)

Peabody Terrace is a prototypical example of a twentieth-century project heralded by the architectural community as an exemplar of progressive modern ideals, but lambasted by neighbors and members of the general public for being unattractive, cold and imposing. This project and others like it highlight the disconnect that can occur between the architectural intelligentsia and the communities in which they build.  

皮博迪露台位于河滨附近，距离哈佛广场仅需10分钟的步行路程。除了Sert在哈佛的其他项目，如霍利约克中心和科学中心，新的已婚学生住房被设想为校园更大总体规划的一部分。周边有三层楼高，有五层楼高，七层楼高，通往内部。这种较低的质量组成由三座22层的塔楼组成。高度的分级与相邻的低层住宅环境有关，同时也提供了大学对住房需求所需的更大密度。

Peabody Terrace is located within a 10 minute walk from Harvard Square, in the neighborhood of Riverside. Along with Sert’s other projects at Harvard such as the Holyoke Center and the Science Center, the new married-student housing was conceived as part of a larger masterplan for the campus. Three-story volumes at the perimeter step up to five and seven stories towards the interior. This lower composition of masses is punctuated by three 22 story towers. The gradation in height relates to the adjacent low-rise residential context while also providing the greater density required by the university’s demand for housing.

 © Flickr user aidaneus

Flickr用户aidaneus

细长的住宅栏杆将场地分成一系列共用的庭院。现有的汽车街道被改建成行人路，该地点打算向邻近社区开放。面对查尔斯河的一系列四合院和三面开放空间，呼应了哈佛大学主要校园和河流房屋上的开放空间。尽管塞尔特有意提及校园外部空间的类型，但他脱离了以前占主导地位的格鲁吉亚建筑语言。

Slender housing bars divide the site into a series of shared courtyards. The existing automotive streets were converted to pedestrian paths and the site was intended to be porous to the neighboring community. The series of quadrangles and three-sided open space facing the Charles River echo the procession of open spaces found on of Harvard’s main campus and river houses. Although Sert intentionally referenced the type of exterior spaces found on campus, he broke away from the previously dominant Georgian architectural language.

 © David Kurtis www.davidkurtis.com

c.David Kurtis www.davidkurtis.com

塞尔特出生于巴塞罗那，20世纪20年代末开始了他的建筑生涯，当时包豪斯人的地位越来越高。在欧洲，他为勒柯布西耶工作，1947年至56年担任CIAM总裁.作为政治流亡者移居美国后，塞尔特曾在城市规划协会为南美洲的城市规划项目工作，1953年至1969年任哈佛设计研究生院院长。

Born in Barcelona, Sert started his architectural career in the late 1920s, as the Bauhaus was gaining prominence. In Europe, he worked for Le Corbusier and served as president of CIAM from 1947-56. After moving to the US as a political exile, Sert worked for Town Planning Associates on urban planning projects for South America and was Dean of Harvard’s Graduate School of Design from 1953 to 1969.

塞特认为建筑具有社会使命，他推广了“建筑师应该把城市看作一个整体，而不仅仅是个别建筑”的态度。(1)在哈佛，他发起了有史以来第一个美国城市设计学位项目。此外，他还委托勒柯布西耶设计视觉艺术木匠中心，这是瑞士建筑师在美国的唯一项目。

Sert believed architecture had a social mission and he popularized the attitude that “architects should be thinking about the city as a whole and not only about individual buildings.” (1) At Harvard, he initiated the first ever American degree program in urban design. Additionally, he commissioned Le Corbusier to design the Carpenter Center for the Visual Arts, the Swiss architect's only project in the US.

低层建筑和塔楼都是由三层楼组成的集合，内部由楼梯连接.在勒柯布西耶的Unite d‘居所中使用的跳跃式电梯通常每三层就停一次。较高的塔楼与四楼和六楼较低的建筑物相连。一个由混凝土柱和平板楼板组成的规则网格垂直叠加，每个住宅层只有7‘-6英寸的天花板高度。

Low-rise buildings and towers alike are aggregations of three story modules internally connected by a stair. A skip-stop elevator, the system used in Le Corbusier’s Unite d’ Habitation, typically stops at every third floor. Higher towers are connected to the lower buildings on the fourth and sixth floor. A regular grid of concrete columns and flat slab floor plates stack vertically, with only 7’-6” ceiling heights at each residential level.

 Module axon and sections

模块轴突和截面

除了497个住房单元外，综合大楼还包括一个操场、铺好的屋顶露台、三个托儿所、一家药店、两个带起居室的洗衣房、一个带厨房的大型会议室、两个研讨会室、地下室和地下储存设施，以及一个352辆汽车的车库。该地块占地5.9英亩，提供四套紧凑的公寓：415平方英尺的效率，487平方英尺的一居室，766平方英尺的两间卧室，以及960平方英尺的三间卧室。

In addition to the 497 housing units, the complex contained a playground, paved roof terraces, three nurseries, a drugstore, two laundromats with sitting rooms, coin operated laundry rooms, a large meeting room with a kitchen, two seminar rooms, basement and ground floor storage facilities, and a garage for 352 cars. The site covers 5.9 acres and provides four compact apartment sizes: 415 square foot efficiencies, 487 square foot one-bedrooms, 766 square foot two-bedrooms, and 960 square foot three bedrooms. 

 © Alexandru Culiuc

c.Alexandru Culiuc

单位计划是精简和紧凑的。跳停电梯系统允许不位于走廊地板上的任何单元跨越整个楼板的深度，提供交叉通风和透视图。家具，如一张桌子，在深窗口良好地创造毗邻一个衣柜，是紧密结合的建筑。

Unit plans are streamlined and compact. The skip-stop elevator system allows any unit not located on a corridor floor to span the entire depth of the floor plate, providing cross ventilation and through-views.  Furniture, such as a desk in the deep window well created adjacent to a closet, is closely integrated with the architecture.

皮博迪露台的外墙反映了塞特的愿望：“把地中海的色彩和生命带给北欧的白色立体派建筑”。(2)剪力墙主要是空白的，是用浇铸的混凝土建造的。其他墙壁包括预制混凝土和玻璃。

The façade of Peabody Terrace reflects Sert’s desire to “bring the color and life of the Mediterranean to the white cubist architecture of northern Europe.” (2) Shear walls are mainly blank and constructed out of cast-in-place concrete. Other walls consist of precast concrete and glazing.

 © Michelle Miller

(米歇尔·米勒)

在厚重的混凝土墙面上，一个交错的阳台电枢提供了外部居住空间，并反映了室内单元方案的变化。明亮的白色和百叶窗的变化给高地带来了光明和活力。可操作的通风面板，毗邻窗户的鲜红色和绿色，加上鲜艳的色彩。

Layered on top of the weighty concrete walls, a light armature of balconies in a staggered pattern provide exterior living space and reflect the variation of interior unit plans. The bright white color and shifting of louvers bring lightness and dynamism to the elevations. Operable ventilation panels adjacent to windows in bright red and green add splashes of vibrant color.

 © Flickr user eileansiar

Flickr用户eileansia

建筑评论家罗伯特·坎贝尔(Robert Campbell)指出，“皮博迪露台是一座建筑师喜爱的建筑，几乎所有人都不喜欢它。”(3)塞尔特、杰克逊和格劳利获得了著名的哈勒斯顿帕克奖章(Harleston Parker Medal)，分别来自BSA和AIA的金奖，以及该项目的设计和建造。在项目完成时，建筑出版物中的评论一般都是积极的，重点是该设计偏离了当代现代住房项目。“进步建筑”1964年的一篇文章认为，皮博迪平台创造了“高效可行的室内布置，活跃的外部空间序列，以及从低到高、从旧到新结构的流畅连续性”。(4)30年后的1994年，同样的出版物在一篇题为“昨天的范式”的文章中指出，今天的问题是，这个项目已经成为“哈佛的尴尬，也是那些找不到更好的地方生活的研究生的最后手段。”

Architectural critic Robert Campbell observed that “Peabody Terrace is a building beloved by architects and disliked by almost everyone else.” (3)  Sert, Jackson and Grouley received the prestigious Harleston Parker Medal from the BSA and the Gold Medal of the AIA and for the design and construction of the project. Reviews in architectural publications at the time of the project’s completion were generally positive and focused on the design's departure from contemporary modern housing projects.  A 1964 article in Progressive Architecture credited Peabody Terrace with creating  “an efficiently workable interior arrangement, a lively sequence of exterior spaces, and a fluent continuity from low to high, and from old to new structures.” (4)  Thirty years later in 1994, the same publication noted in an article entitled “Yesterday’s Paradigm, Today’s Problem” that the project had become “an embarrassment to Harvard, and the last resort of graduate students who couldn’t find a better place to live.” (5) 

布鲁纳/科特于1996年完成的翻修处理了许多问题，同时保持了塞特设计的所有主要原则基本不变。改进措施包括修复浇铸混凝土、全面更换窗户、扩大厨房、审查无障碍环境以及对所有关键建筑系统进行升级。进步建筑评论说，由于翻修，“皮博迪露台在历史上的地位以及它在哈佛大学的功能都可能得到修复。”(5)2013年，公共空间得到了翻新，美化了的露台也得到了彻底的改造。

Renovations completed in 1996 by Bruner/Cott addressed a number of issues while keeping all major tenets of Sert’s design largely intact. Improvements included repairs to cast in place concrete, total replacement of windows, expanded kitchens, an accessibility review, and upgrades to all critical building systems. Progressive Architecture commented that because of the renovations, "Peabody Terrace may now be rehabilitated in terms of its place in history, as well as its function at Harvard." (5) In 2013, common spaces were renovated and the landscaped terrace received a complete overhaul.

 © David Kurtis www.davidkurtis.com

c.David Kurtis www.davidkurtis.com

 View from an apartment balcony. Image © Alexandru Culiuc

从公寓阳台观看。图片：Alexandru Culiuc

更多关于塞特在剑桥的工作，请参阅这篇关于现在被摧毁的马丁路德金小学的文章。

For more on Sert's work in Cambridge, see this article on the now demolished Martin Luther King Elementary School.

(1)坎贝尔，罗伯特，在电影“J.L.塞特/一个游牧的梦想”。

(1) Campbell, Robert, in the film “J.L. Sert/A Nomadic Dream.”

(2)坎贝尔，罗伯特，在电影“J.L.塞特/一个游牧的梦想”。

(2) Campbell, Robert, in the film “J.L. Sert/A Nomadic Dream.”

(3)Campbell，Robert，“为什么我们其他人不喜欢建筑师喜欢的建筑？”，“美国艺术与科学学院公报”(2004年夏季)：22。

(3) Campbell, Robert, “Why Don’t the Rest of Us Like the Buildings the Architects Like?”, Bulletin of the American Academy of Arts and Sciences (Summer 2004): 22.

(4)“哈佛大学新婚学生宿舍”。进步建筑45，122-[133]。

(4) "Harvard's new married student housing." Progressive Architecture 45, 122-[133].

(5)狄克逊，约翰·莫里斯。1994年。“昨天的范式，今天的问题。”渐进式建筑75，6：100-107.

(5) Dixon, John Morris. 1994. "Yesterday's paradigm, today's problem." Progressive Architecture 75, no. 6: 100-107.

科特李。2003年。“为什么建筑师喜欢皮博迪露台”波士顿建筑，6号，4:20-25号。

Cott, Lee. 2003. "Why architects love Peabody Terrace." Architecture Boston, 6, no. 4: 20-25.

戈德哈根莎拉·威廉姆斯。2005年。“在Josep Luis Sert的Peabody露台的地方生产。”哈佛设计杂志第22号

Goldhagen, Sarah Williams. 2005. "The production of locality in Josep Luis Sert's Peabody terrace." Harvard Design Magazine no. 22

“哈佛大学新婚学生宿舍”渐进式建筑45，122-[133]

"Harvard's new married student housing." Progressive Architecture 45, 122-[133]

J·L·塞特/游牧梦想.http://www.jlsertfilm.com

J.L. Sert/A Nomadic Dream.  http://www.jlsertfilm.com

麦克马纳斯，奥提尔。2003年。“为什么公众(仍然)讨厌皮博迪露台。”波士顿建筑，6号，4:26-28号。

McManus, Otile. 2003. "Why the public (still) hates Peabody Terrace." Architecture Boston, 6, no. 4: 26-28.

建筑师Sert，Jackson

Architects Sert, Jackson & Gourley Location Peabody Terrace Category Dorms Associate Architect Joseph Zalewski Job Captain William Lindemulder and Robert Kramer Landscape Architect Sasaki, Walker & Associates Structural Engineers Nichols, Norton & Zaldastani Mechanical and Electrical Engineers Sidney J Greenleaf & Associates General Contractor Vappi & Company, Inc. Initial Project Cost $8.5 million in 1964 Renovation Project Cost $22 million in 1996 Area 0.0 ft2 Project Year 1964 Photographs Jannis Werner, Alexandru Culiuc, Flickr user aidaneus, Flickr user eileansiar, Michelle Miller, David Kurtis www.davidkurtis.com