Expansion of the Waterhouse, Shanghai by Sunyat Architecture

Landscaping: a beginning of urban re-growing

Project Specs

Location:

感谢 三益建筑设计有限公司 予 gooood 分享以下内容。更多关于:Sunyat Architecture on gooood
Appreciation towards SUNYAT ARCHITECTURE for providing the following description:

上海工业遗产、上世纪三十年代建筑、网红酒店、服务设施… …这些词都是老码头水舍的标签。如果要给水舍加上新规划、新定位、新公共空间,这些新标签该如何与旧标签相处?6月,水舍酒店暂停营业,也迎来了新改造。三益设计对锅炉房进行微改造,小尺度的改变将成为水舍的新开端,探索新社会语境中的设计方法。

▼视频,video ©三益建筑

▼项目概览,project preview ©刘松恺

 

01.
社会造景:在景观社会中“反叛”
Social landscaping: “Rebellion” in the landscape society

在中国城市化进程中,大规模大尺度地建造呈现出一种新社会关系的“景观”。若干个“景观”堆积,则反向强化快速建造的社会关系,即法国情景主义者居伊·德波(Guy Debord)定义的景观社会:这里的景观并非“landscape”,而是为了图像化(网红)生成的景观“spectacle”,是一种表象的“景观”,而以物和人为本体的“造景”。

Large Scale Landscape constructions that embody a new form of social environment have been the norm during Chinese urban development.

The accumulation of massive urban landscapes will inversely strengthen the rapidly constructed social relations. French situationist Guy Debord has defined landscape as “The spectacle is not a collection of images, but a social relation among people, mediated by images. It is a “landscape” of representation, and a “landscape” based on objects and people.

▼“水舍”外观,Waterhouse exterior view ©刘松恺

上海水舍微更新,是水舍更新计划的一部分。

水舍位于上海南外滩老码头新规划区内,原有的三层建筑是上世纪三十年代的日本武装总部,十年前增加第四层改造为精品设计酒店。改造保留了原有的混凝土肌理,增加了耐候钢结构,使用特色表皮材料,与黄埔江的船舶形成工业空间的连结,是中国城市化过程的一个回忆。

今年六月,水舍停业并将停车场规划为城市公共绿地,这一功能的改变让工业时代的厂房和老码头现代发展有了“社会造景”的契机。

▼场地鸟瞰,site aerial view ©刘松恺

▼街道视角,view from the street ©刘松恺

The expansion of Water House is part of the lager initiative of the renovation project.

The Waterhouse is located in the new planning zone of the wharf on the South Bund in Shanghai. The original three-story building was the headquarters of the Imperial Japanese armed force in the 1930s. 10 years ago, a fourth floor was added and the entire building was transformed into a boutique hotel. The hotel retains its original concrete texture and weather-resistant steel structure was added on the fourth floor. The skin of the metal decking forms a connection between the ships on the Huangpu River and the hotel. The Waterhouse is a capsule of the memory of Chinese Urbanization.

In June of this year, The parking lot is planned as an urban green space. This functional change allows industrial era factory to transform into part of the “social landscape” opportunity.

▼水舍微更新前场地情况,the original site ©刘松恺

▼位于上海南外滩老码头区域的水舍锅炉房,the Waterhouse is located in the new planning zone of the wharf on the South Bund in Shanghai ©三益建筑

本次三益对水舍锅炉房进行改造,营造一个“Mini Stage”,是水舍与未来公共绿地的过渡,也是“社会造景”的引言。建筑师从批判性的立场、观点和方法,将过往的“社会景观”转变为“社会造景”。

A “Mini Stage” is created in the boiler room, which acts as a transition between the Waterhouse and the future public green space, introducing “social landscape”.

▼改造后的水舍锅炉房,the Waterhouse after renovation ©刘松恺

 

02.
场地造景:在封闭城市中“流动”
Scenery of the site: “flowing” in a closed city

场地是造景的第一对象。原本的景观社会沉浸于工业遗产营造的浪漫中,以一种图像化的手法强化场所感,失去了时间变化的规律。

水舍的锅炉房位于建筑的一侧,即相接又不相连,所以在改造过程中,我们不刻意去追求材质和形态的延续,将图像式的展示转向功能化的使用,形成一种关于流动和封闭的策略。

The boiler room of the Waterhouse is adjacent to one side of the main building, but not connected. Therefore, during the renovation process, we did not deliberately pursue the continuation of material and form. The functional use is added to the building instead of being a still object, establishing a form of flow and enclosure.

▼水舍与既有建筑,Waterhouse and the existing building ©刘松恺

微改造位于建筑的端头,是街道的行走方向,随着人流导向自然而然形成流动的轴线,将工业场地氛围“流动”过渡到公共开放的场地氛围中。所以与原建筑相接的立面,形成封闭底层,延续封闭感,但同时微改造的高度远低于建筑高度,封闭感也在持续减弱,人群和状态继续“流动”,到达微改造的另一侧,一个开放的并且设有接纳性座位的空间,封闭感全部“流走”,有序的流动生成过渡性的场地造景。

The micro-renovation is located at the corner of the hotel towards the street. The flow direction of people naturally forms a route that transits from industrial space to the green space. A facade is established between the original building is formed to extend the sense of closure. The ceiling height of the micro-renovation is much lower than that of the building. The sense of closure continues to weaken. The crowd continue to “flow” and reach the other side of the renovation. The exterior offers generous seating space and generates a transition to the site landscape.

▼微改造的高度远低于建筑高度,the ceiling height of the micro-renovation is much lower than that of the building ©刘松恺

在材料的选择上,建筑师从周边环境中提取出折叠铝板、水泥材质和色彩元素,将过往的时间以材料的形式凝固。新老材料的直接对比,加大过去和现在之间的距离感,反衬出场地之间的时间流动,历史成为一个背景化的封闭场所。

▼材质提取研究,material study ©三益建筑

Texture wise, folded aluminum panels, cement textures and colors are extracted from the surrounding environment. the past is solidified in the form of materials. The direct contrast between new and old materials increases the sense of distance between the past and the present, reflecting the flow of time between the sites, and history becomes the background of this particular historical context.

▼新老材料的直接对比,the direct contrast between new and old materials  ©刘松恺

▼立面细节,facade details ©刘松恺

▼折叠铝板, folded aluminum panels  ©曹大卫

 

03.
空间造景:在符号城市中“运动”
Space landscaping: “movement” in the symbolic city

当空间赋予功能后,将不再是以图像符号为本体的景观社会。

在面向城市公园开放的场地中,增加文旅展示窗,立面嵌入一体化的现代造型雨棚、灯光及休憩座椅,强化流动后的开放互动性,建立一种新的观景方式。建筑中的小公共空间与场地中大公共绿地空间对接,将曾经被同化的图像转变为沉浸式体验之中。

▼文旅展示窗,the display window ©刘松恺

When space is given functions, it will no longer be a landscape with merely imagary symbols.

A display window is implemented facing the city park, the facade is embedded with a canopy, lights and seatings which amplified the flow of airiness of the space and encourage interaction. The small public space in the building is connected to the large public park, integrating two independent images into an immersive experience.

▼展示窗和剖面图,display window & section ©曹大卫 ©三益建筑

▼立面嵌入一体化的现代造型雨棚、灯光及休憩座椅,the facade is embedded with a canopy, lights and seatings ©刘松恺

当微空间和观众介入到空间造景中,水舍将会增加新的篇章,一个脱离原有景观社会的新故事,形成一条新的时间轴,成为城市重新生长迭代的开端,也是外滩故事中的一部分。

The Waterhouse design embraces both its space and audience, which brings a new dimension and meaning to its original establishment landscape as a site. It marks the start of timeline that evolves in the already established urbanization and grows into part of the history of the Bund.

▼水舍锅炉房带来的无限可能,the infinite possibilities brought by the Waterhouse ©三益建筑

▼夜景,night view ©刘松恺

这正好应了当代艺术家倪卫华的那句话,“我们经历的当下都是未来的历史”。我们邀请倪老师在水舍的墙体上创作新一期“追痕”,由不同年龄、性别和职业的人书写,不断的延续、覆盖和更新,如同水舍和微改造以及城市的关系,希望可以引起“景观社会”和“社会造景”的思考。

In response to the words of the contemporary artist Ni Weihua, “The present we experience is the history of the future”, we invited Mr Ni to create a new issue of “Tracks” on the wall of the Waterhouse. The work showcases the diversity of creation such as ages, genders and occupations, which captures the continuous extending, developing an re-inventing process echoing thoughts on landscape and the society interactions.

▼“追痕”活动现场视频,Tracking Traces art creating video ©三益建筑

 

追痕
“Tracking Traces”

《追痕》是艺术家倪卫华创造并发起,由跨地域、跨年龄、跨职业的各路人士广泛参与的观念艺术活动。《追痕》运用反衬填色描绘方式,以城市边缘工厂、住宅废墟墙壁为画布,用黑白反差将墙体痕迹的对比度拉到最大,赋予它们仪式感。2018年起,户外系列作品《追痕》聚焦并探讨社会景观和时代痛点,成为“艺术介入社会”又一引人注目的案例。

▼《追痕》,Tracking Traces

“Tracking Traces” is a conceptual art initiated by artist Ni Weihua, which is widely participated by people from all kinds of life across regions, ages, and occupations. “Tracking Traces” uses contraction of the colour-filling on the urban fringe factories and residential ruined walls as canvases, using black and white contrast to maximize the contrast of the wall traces, giving them a sense of ritual. Since 2018, the outdoor series “Tracking Traces” focuses on and explores the social landscape and the pain points of the times, and has become another eye-catching case of “art intervention in society”.

▼从水舍望向墙体,view from the Waterhouse ©刘松恺

▼《追痕》与场地环境,”Tracking Traces” embedded in the context of the site ©刘松恺

深处于“景观社会”中,我们很难避开图像设置的陷阱中,但也是因为处于这样的环境中,我们才产生一种反思的思考方式,将刻板的逻辑线条逆向行走,也许不会立竿见影,但可以从小装置微改造处理。水舍微改造,是历史到当代的过渡,也是封闭到开放的过渡,更是是建筑师从“景观”到“造景”的思维过渡。

Deep in the “landscape society”, The micro-renovation of the Waterhouse is a transition from history to contemporary, a transition from closed to open, and a transition from “landscape” to “landscape” for architects.

▼水舍,the Waterhouse ©刘松恺

 ©Mark Justin Shen

▼平面图,plan ©三益建筑

▼正立面图,main elevation ©三益建筑

▼侧立面图,side elevation ©三益建筑

– 特别鸣谢 –

艺术家倪卫华
及参与水舍“追痕”艺术项目的所有志愿者

项目名称:上海老码头微更新项目
项目地址:上海市黄浦区毛家园路
建设单位:上海创邑实业有限公司
基地面积:180㎡
建筑面积:70㎡
设计时间:2019.10-2020.04
建造时间:2020.01-2020.07
方案及施工图设计:上海三益建筑设计有限公司

项目团队
主创建筑师:贾正阳、王莹
方案:游登阳、吕家俊、曹大卫、冯若倩、于佳玉、高伯豪、王俊、蒙明慧、陈炜彬
建筑:焦峰
结构:陈思强
机电:薛靖轶、张施皓

施工单位:上海宏阳建设工程有限公司
建筑摄影:刘松恺、曹大卫、Mark Justin Shen

Project Name: Expansion of the Waterhouse, Shanghai
Architecture Firm: Sunyat
Completion Year: 2020
Gross Built Area: 70 m2
Project location: Shanghai
Lead Architects: Zhengyang Jia, Ying Wang

Media Provider
Photo credits: Songkai Liu, Dawei Cao, Mark Justin Shen

Additional Credits
Design Team:
Lead Architects: Zhengyang Jia, Ying Wang
Architects: Dengyang You, Jiajun Lv, Dawei Cao, Ruoqian Feng, Jiayu Yu, Bohao Gao, Jun Wang, Minghui Meng, Weibin Chen
Construction Architects: Feng Jiao
Structure: Siqiang Chen
Mechatronics Engineering: Jingyi Xue, Shihao Zhang
Clients: Shanghai Chuangyi Industrial Co., Ltd
Constructor: Shanghai Hongyang Construction Engineering Co., Ltd

More: 三益建筑设计有限公司。更多关于:Sunyat Architecture on gooood

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