如果要确定北码头设计的具体起点，它可能是弗拉·卡纳瓦莱 (Fra Carnavale) 的“理想城市的形象”(1484)，或者可能是威尼斯大运河上的 Ca' Loredan……
If one was to identify a specific starting point for the design of North Dock, it may have been Fra Carnavale’s ‘Image of The Ideal City (1484), or perhaps it was the Ca’ Loredan on the Grand Canal, Venice…
该项目面向利菲河，毗邻东线桥，是连接北区和南区的主要干线，该项目希望按照欧洲伟大的河滨建筑的传统，提供一个单一的建筑形式，与城市这一部分普遍存在的短暂的发展形成对比。在完成为商业办公市场提供大型无柱楼板的任务的同时，该项目提供了一个强大的存在，将自己嵌入到城市中。
Facing onto the Liffey and adjacent to the East-Link bridge, the primary arterial route connecting Northside to South, the project looks to provide a singular, monolithic architectural form in the tradition of great European riverfront buildings as a contrast to the more ephemeral developments ubiquitous in this part of the city. While fulfilling its brief to provide large column-free floor plates for the commercial office market the project offers a robust presence that embeds itself into the city.
该项目的特点来自于它的质量和材料，由深层预制混凝土柱子和横梁组成的分层和调节的不对称组成，与青铜板的内表面一起提供节奏和规模，是一个连贯的建筑整体。河边体量的表达是由这种逻辑定义的，即预制混凝土框架保持了窗框、通风百叶窗和窗台板的小规模。
The character of the project is derived from its mass and materiality generated by a layered and modulated asymmetrical composition of deep, precast concrete columns and transoms against an inner surface of bronze panels that together provide rhythm and scale, a coherent architectural whole. The expression of the key river-front volume is defined by this logic whereby the precast concrete frame holds the minor scale of the window frame, ventilation shutter, and spandrel panel.
考虑到码头经常处于恶劣的环境中，底层宽大的双高拱廊为行人提供了宽敞的、有遮挡的活动空间。柱廊的 "巨大秩序 "为河流提供了一个适当的规模，并为路人提供了视觉上的兴趣。柱廊的末端是一个带有玻璃角窗和青铜入口屏风的艺术画廊，而一楼的开口让东边的光线进入柱廊的高处。
In recognition of the oft harsh environment of the quays, a generous double-height arcade on the ground floor provides generous, sheltered space for pedestrians to circulate. The ‘giant order’ of the colonnade provides an appropriate scale to the river and gives visual interest to passers-by. The colonnade is terminated by an art gallery with a glazed corner window and bronze entrance screen while an opening at the first-floor level allows light from the east to enter the colonnade at a high level.
立面通过改变竖框和水平带的间距来调节。1.5米中心的密集竖框表达了柱廊上方的地板。这种节奏在上层改为3米宽。
The fa?ade is modulated through changes in the spacing of mullions and horizontal banding. A dense rhythm of mullions at 1.5-meter centers expresses the floor above the colonnade. This rhythm is changed to a 3-meter bay width on upper floors.
此外，通过改变拱肩板的放置，水平带的间距已经增加，这在七楼和八楼尤为明显。在八楼，通过将栏杆纳入屋顶露台，进一步增加了水平间距。立面的这种不对称性有助于为北墙大道创造一个齐平、细长、开放的角落条件，在那里，上层的混凝土框架作为一个没有开窗内表面的元素暴露出来。
Furthermore, by varying the placing of spandrel panels, the spacing of the horizontal banding has been increased, which is particularly apparent on the seventh and eighth floors. On the eighth floor, the horizontal spacing is further increased by incorporating the balustrading into the roof terrace. This asymmetry of the fa?ade facilitates the creation of a flush, slender, open corner condition to North Wall Avenue where the concrete frame of the upper floors is exposed as an element free of the inner surface of fenestration.
在办公室类型的限制下，该项目旨在为北华尔街大道沿线街道上的行人创造一种生动而多样的体验。在人行道层实现了调制的立面处理，柱廊、店面、屏幕和“凸窗”为街道增添了活力。一个街角的咖啡馆最终通向一个风景优美的庭院——城市中的一片荒野。
Within the constraints of the office typology, the project looks to create an animated and varied experience for pedestrians at street level along North Wall Avenue. A modulated fa?ade treatment at pavement level is achieved where colonnade, shop front, screen, and ‘bay windows’ give animation to the street. A corner café leads finally to a landscaped courtyard - a fragment of wilderness in the city.
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