3#/8# Exhibition Gallery Regeneration, China by Atelier Z+

To promote community communication and revitalize publicity through spatial intervention

Project Specs

Design:
Location:
Materials:

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Appreciation towards Atelier Z+ for providing the following description:

 

非城非村、兼城兼村 | Neither City Nor Village, As City As Village

3#/8#展馆改造是今年深圳双年展盐田分展场: 村市(是)厨房的建筑参展项目。本届深双以“城中村”这一城乡冲突与融合的产物作为展场。在自上而下的城市化和自下而上的自我演进的交叠之中,“城中村”成为一种既非城也非村,既是城也是村的另类空间。这种杂糅的空间给不同的社群提供了相对便捷、低廉的生活空间和服务设施。

3#/8# exhibition hall transformation is the architecture exhibition project of BI-CITY BIENNALE OF URBANISM\ARCHITECTURE (SHENZHEN) Yantian Sub-Venue: Village as Kitchen in this year. This year’s BI-CITY BIENNALE OF URBANISM\ARCHITECTURE regards Urban Village, the outcome of conflict and integration of urban and rural, as the venue. In the overlapping of urbanization from top to bottom and self-development from bottom to top, Urban Village becomes an unusual space, neither city nor village, as city and as village. This mixed space provides the more convenient, cheaper living space and service facilities for different communities.

▼3#展馆鸟瞰,aerial view of 3# exhibition hall

我们的工作在“村市(是)厨房”的展览主题下以现象观察和介入实践的方式在盐田大梅沙村开展。这个主题把食物、烹调这些家庭日常活动,引向社群交流、融合的公共活动。在传统岭南文化中,宗族群体内共享的烹饪和饮食活动是社群公共性的载体,尤其在各种节日、婚丧嫁娶之时更为常见。而今天的大梅沙村聚集了各种本地和外来社群,社交网络之间存在着一定的隔阂。我们希望通过空间实践来推动多社群交流、重塑公共性。

Focusing on Village as Kitchen, our work is carried out in Dameisha Village, Yantian District with a method of phenomenon observation and space intervention. This theme brings daily household activities such as food and cooking to public activities and communications among communities. In traditional culture of Canton, cooking and diet activities shared in clan communities are always the carrier of communities’ publicity. They are especially more common during festivals, weddings and funerals. However, various local and outsider communities gather in Dameisha Village today, and there is certain estrangement in their social network. So we hope to promote community communication, revitalize publicity through our space practice.

▼8#展馆鸟瞰,aerial view of 8# exhibition hall

 

事件空间、日常空间 | Event Space, Daily Space

因此在设计之初,有一些问题是我们尤为关心的:艺术家、建筑师在展期的城中村里植入一种临时的空间现象的同时,如何为城中村的社区更新、邻里互动、社群融合带来长久的影响?建筑师在创造事件性空间的同时,如何让它同时成为展后可持续的村民日常生活空间?一个空间实践能否在事件性和日常性这两个语境中都有可能性?基于对以上问题的思考,我们在有限的资源条件下,对大梅沙村两个特征化的民宅空间进行了再梳理、再组织,把艺术空间和日常空间整合在一起。将建造行为和这个地方相关联,让建筑嵌入它所处的时空脉络之中。在展览闭幕之后,如果这些空间还能够在长效的运作,村民的日常生活也能激发出一种公共性,就将会是一个良性的过程。

At the beginning of design, we take a particular interest in the following aspects. While artists, architects implant a temporary space phenomenon in Urban Village during exhibition period, we suggest that it should also bring a long-lasting influence on community renovation, neighborhood interaction and community integration. When we create event space, we are trying to make it both the sustainable daily life space for villagers after exhibition. We hope our space practice could be possible in both event and daily contexts. Based on the question mentioned above, with limited resource, we organize two characteristic private house spaces in Dameisha Village and integrate art space with daily space. We associate construction behavior with the place, so that the construction can be embedded in its space-time vein. When the exhibition comes to an end, if these spaces can still operate in a long term, the publicity can also be arisen by villagers’ daily life, which will be a benign process.

▼夜景,night view

 

一次介入、一个断面 | One Intervention, One Section

我们希望当下的工作能够直接切入政治经济、社会人文、地理空间等方面综合的历史断面中,从中找出历史、现在和未来的关系,探讨一种平衡事件性和日常性的可能。

We hope that our current work is able to get straight into the comprehensive history section of political economy, social humanity, geographical space and other aspects, where the relationship between history, present and future can be found, and the possibility to balance event and daily space can be discussed.

▼展馆位置示意,location

 

 

3# 婴戏屋
3# Children’s Playing House

婴戏屋是一栋始建于七十年代的客家老宅。改造后由艺术展览空间和日常化的儿童参与空间构成,两种空间呈现为层叠并置的关系。观众经过公共庭院,通过室外楼梯到达二层平台,再从室外走廊进入二层儿童体验空间,此为日常性空间序列。而展览所代表的事件性空间则位于一层室内。于此同时,日常体验空间也可与事件活动相结合。

Children’s playing house is a Hakka old house first built in the 1970s. After transformation, the house consists of art exhibition space and children participation space, these two spaces show stack-up and concatenation relationship. The daily space sequence is made up of public courtyard, outdoor stairs, second floor platform and children participation space. The event space represented by exhibition is located in the room on the first floor. At the same time, daily experience space can also be combined with event activities.

▼3#婴戏屋轴测图,axon of Children’s Playing House

我们的改造首先拆除原有非承重墙体,清理出基本的空间结构,保留并进行了一些梳理。恢复了建筑底层和庭院间的原有门廊。为了强化门廊、院子、楼梯的公共性,加建了一个轻型的木格构花架,其上可攀缘植物,可用于儿童攀爬、游客座榻,同时也作为大庭院的分隔,和隔壁庭院能共通也有限定。

In the process of transformation, we dismantle the original non-bearing walls at first and reveal the basic space structures, some of which are reserved and teased. The original porch between ground floor and courtyard is reconstructed. In order to strengthen the publicity of porch, yard and stairs, a lightweight pergola of wood grid structure is designed additionally, plants can be planted on it, and it can be used as children climbing frame, visitors’ seat, as well as a separation of the large courtyard. It is connected with next courtyard and there is also some limitation. 

▼为强化公共性,原建筑加建了一个轻型的木格构花架,in order to strengthen the publicity of porch, yard and stairs, a lightweight pergola of wood grid structure was added

▼屋顶平台,roof terrace

▼细部,detail

   

老宅底层空间相对封闭低矮,我们置入了一系列连续的原型空间序列。六个双坡顶两两垂直,两道三角形隔墙把空间进一步单元化,也对展品进行了部分隐藏,引起观众一窥究竟的好奇心。二层空间檐口低矮、向内渐高,屋顶保留了露明的梁架和瓦。室内地坪和一层屋顶相呼应设置局部的起伏。在最早的方案中,我们在两个开间之间打开了一个拱形门洞,插入了一个儿童活动的“屋中屋”空间。最终由于成本所限,通过隔墙上的原有门洞搭建了一个向内收束的半透明“屋中屋”。

The old house’s ground space is relatively closed and low, and we imbed a series of continuous prototype spatial sequence into it. There are six double-slope ceilings,every two of them meet at right angles. The space is further unitized by two triangle partition walls which make the exhibits partially hidden, giving rise to the visitors’ curiosity. The cornice of second-floor space is low and getting increasingly higher inwards. Exposed beam frames and tiles are reserved for roof. The indoor floor and the first-floor roof act in cooperation with each other. They are designed as partly ups and downs. In the earliest scheme, we intended to open an arch through two bays and design a house in house space for children. Finally, due to the limited costs, a collected inwards semitransparent house in house is built through the original door on the partition wall.  

▼室内地坪和一层屋顶相呼应设置局部的起伏,the indoor floor and the first-floor roof were designed as partly ups and downs

▼展厅内部,exhibition hall

▼向内收束的半透明“屋中屋”, a semitransparent “house in house”

▼3#展馆场地平面图,site plan of 3#

▼首层平面图,plan level 1

▼二层平面图,plan level 2

▼东立面图,east elevation

▼北立面图,north elevation

▼南立面图,south elevation

▼西立面图,west elevation

▼剖面图,section

 

 

8# 暮望屋
8# The Older’s Overlooking House

暮望屋是一栋始建于八十年代的村宅。改造后由艺术展览空间和日常的村社公共空间构成,两种空间呈现为包围和被包围的关系。观众经过公共庭院,通过室外楼梯到达二层居中开间的茶室和南侧的休憩台阶,再走向屋顶平台和台阶剧场,此为日常性的公共空间序列。而一层的展览空间和二层的艺术家工作室则作为事件性空间,包裹着公共空间。

The older’s overlooking house is originally built in the 1980s. After transformation, the house consists of art exhibition space and daily village community public space; two spaces show the relationship of surrounding and being surrounded. The daily space sequence is made up of public courtyard, outdoor stairs, tea room on the second floor and stair theater on the roof deck. An exhibition space on the first floor and an artist studio on the second floor are event space, surrounding the public space.

▼8#暮望屋轴测图,axon of The Older’s Overlooking House

我们在尊重老宅主体结构的基础上对空间进行再组织,将一层破碎狭小的出租屋空间整合为几个连续的展览单元。修复脱落的马赛克瓷砖、剥离出夯土墙的材料肌理,把新的建筑空间和老的历史遗存不分主次的并置、叠合。为了营造室内的光线氛围,在一、二层屋顶平台设置了高侧天窗,并利用屋顶起坡形成休憩台阶和剧场,这些日常空间也可与事件活动相结合。在最早的方案里,一二层居中开间设置了连贯的垂直向公共空间,直通屋顶天台。最终由于加固成本和技术所限,仅在二层设置上屋顶台阶。站在暮望屋天台向北望,由近至远可见大梅沙村落、旅游度假区和起伏的远山,复杂的城市肌理在眼前依次展开。

On the basis of respecting the old house’s major structure, we reorganize the space. We integrate several small rooms which used to be rented separately into continuous exhibition units on the first floor. Also, the deciduous mosaic tiles are repaired, material texture of rammed earth wall is stripped, so that the new architecture space and the old historical remains are collocated, overlapped without priority order. In order to create indoor light atmosphere, high skylights are installed in the roof deck on the first and second floor, and the roof slopes serve as rest steps and theater. These daily spaces can also be combined with event activities. In our earliest scheme, continuous and vertical public space is designed for the middle bay on the first and second floor, directly connecting to the rooftop. Finally, due to limited reinforcing cost, roof steps are only constructed on the second floor. Standing on the rooftop and looking to the north, visitors can see Dameisha villages, resort area and fluctuant distant mountains from near to far side, complex city texture will unfolded before your eyes.

▼8#暮望屋外观,exterior view

▼屋顶平台设置了高侧天窗,high skylights are installed in the roof deck

▼利用屋顶起坡形成休憩台阶和剧场,the roof slopes serve as rest steps and theater

▼细部,detail

▼屋顶平台,roof terrace

▼天窗营造了室内的光线氛围,the skylight creates indoor light atmosphere

▼室内楼梯,indoor staircase

▼二层用作艺术家工作室,artist studio on level 2

 

一种平衡、一个起点 | A Balance, A Starting Point

展览开幕后,随着艺术展览、公众活动、工作室等内容的快速植入,我们观察到一些空间现象被激发。政府、业主、建筑师、艺术家、运营方等各主体在跨界合作的同时,产生了对空间权力的激烈博弈。在此背景下,我们认为不同空间类型和诉求叠加形成的非均质空间模型存在着更多的可能性,能够尝试回答事件和日常、短期和长效的关系问题。在此平台上的权力博弈也有更多的机会得到一种动态平衡。非均质的空间策略是一个触媒、一个起点。我们期待通过空间去引领和触发一些公共性的现象和活动;期待看到随着政府的延续指引和业主的积极反馈,大梅沙村的社区更新、社群共生持续发生。

After the exhibition opens, with the rapid implantation of art exhibition, public activities, studio and other contents, we observe that some space phenomenon is being stimulated. While government, owners, architects, artists, operators and others cooperate cross boundary, intense game for space power is generated. Under this background, we think the heterogeneous space model formed by overlapping of different space types and demands may present more possibilities. We are trying to answer the questions of relationship between event and daily space, short term and long-lasting function. The power game on this platform is more likely to get a dynamic balance. The heterogeneous space strategy is a contact agent and a starting point. We expect to lead and trigger some public phenomenon and activities through space; also, we expect to witness the continuous happening of community renovation, social symbiosis of Dameisha Village with government’s continuous guidance and owners’ positive feedback.

▼艺术展览和公众活动被植入旧的空间,art exhibitions and public activities were implanted in the old building

▼一层展厅,exhibition hall on level 1

▼8#暮望屋场地平面图,site plan of 8#

▼首层平面图,plan level 1

▼二层平面图,plan level 2

▼东立面图,east elevation

▼北立面图,north elevation

▼南立面图,south elevation

▼西立面图,west elevation

▼剖面图,sections

项目名称:
2017深港城市\建筑双城双年展(深圳)
盐田分展场: 村市(是)厨房 3#/8#展馆改造
建筑师:周蔚 + 张斌 / 致正建筑工作室
主持建筑师:张斌
项目建筑师:李姿娜
设计团队:杨竞、许晔、谢兆荣、梁晓逊、程子昱
建设地点:深圳市盐田区大梅沙村
建设单位:深圳市盐田区建筑工程事务局
施工单位:邯郸市邯一建筑工程有限公司
设计时间:2017.07.31 -2017.09.19
建造时间:2017.09.19 -2017.12.21
占地面积: 3# 98m2 8# 142m2
建筑面积: 3# 168m2 8# 247m2
结构形式:砌体结构
建筑层数:二层
主要用途:展览、艺术工作室、儿童体验、老年茶室
主要用材:橡木指接板、防腐木、实木复合木地板、玻璃马赛克、瓷砖、涂料
工程造价:约200万元人民币
摄影师:CreatAR Images毛盈晨,吕晓斌
视频:CreatAR Images艾清,吕晓斌
Project Name:
2017 BI-CITY (SHENZHEN&HONGKONG) BIENNALE OF URBANISM\ARCHITECTURE
Yantian Sub-Venue: Village as Kitchen, 3#/8# Exhibition Gallery Regeneration
Architects: ZHOU Wei + ZHANG Bin / Atelier Z+
Partner in Charge: ZHANG Bin
Project Architect: LI Zina
Project Team: YANG Jing, XU Ye, XIE Zhaorong, LIANG Xiaoxun, CHENG Ziyu
Location: Dameisha Village, Yantian District, Shenzhen City
Client: Shenzhen Yantian Bureau for Architectural Engineering Affairs
General Constructor: HANDAN HANYI CONSTRUCTION ENGINEERING CO., LTD.
Design Period: Jul. 31, 2017 – Sep. 19, 2017
Construction Period: Sep. 19, 2017 – Dec. 21, 2017
Building Area: 3# 98 m2 8# 142 m2
Gross Floor Area: 3# 168 m2 8# 247 m2
Structure: Masonry structure
Building Storey: 2 floors
Principal Uses: Exhibition, Art studio, Participation space for children, Teahouse for elderly people
Primary Materials: Oak finger joint plate, preservative-treated wood, solid wood composite wood floor, glass mosaic, ceramic tile, coating
Costs: About RMB 2 million
Photographs: CreatAR Images MAO Yingchen, LV Xiaobin
Video: CreatAR Images AI Qing, LV Xiaobin

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