Modern Art Museum and its ancillary facilities by Atelier Deshaus + Tongji Architectural Design (Group) Co., Ltd.

Rebirth from Relics

Project Specs

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非常感谢大舍建筑 + 同济大学建筑设计研究院 予gooood分享以下内容。更多关于他们: Atelier Deshaus on goooodTJAD on gooood
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回想艺仓美术馆的设计,也算得是一次冒险的尝试。

In retrospect, the design of Modern art gallery is a risky endeavor.

▼远视图,view from distance

工业文明是上海城市发展自身现代性的重要部分。随着后工业时代的城市功能的更新,诸多的工业建筑,作为上海城市发展史的重要部分,拆除还是改造以及如何改造,是一个有意义的话题。在上海,有无数的工业建筑因为工厂的搬迁而成为临时的废墟,它们有的会保留,大多数则会被拆除,并在原址建设新楼,或者公共绿地。不过在黄浦江的两岸,随着2017年浦江公共空间贯通计划的推进,人们已经意识到将更多工业建筑保留的空间与文化价值。

Industrial civilization acts as a vital part of Shanghai’s own modernity development. With the renewal of urban functions in the post-industrial age, many industrial buildings are facing the destiny of being demolished or transformed in some way, which becomes a meaningful topic. In Shanghai, there are countless industrial buildings being temporary ruins due to the relocation of factories, some of them may be kept, but most will be replaced by a new building or public green space. However, with the promotion of the 2017 Open Space leading down Huangpu River program, people on both sides of the Huangpu river have realized the space and culture value of retaining more industrial buildings.

▼丰富的景观环境,the landscape

老白渡煤仓改造早于2015年前即已开始,当时面临过险些被拆除的命运,好在2015年第一届上海城市空间艺术季在这里安插了一个案例展的分展场,策展人冯路和柳亦春将工业建筑的改造再利用作为主题,在原本被部分拆除的煤仓废墟中,借助于影像、声音和舞蹈,举办了一次题为“重新装载”的艺术与建筑相结合的空间展览,让人们能设身处地地意识到工业建筑的价值,以及将煤仓变身为公共文化空间的意义。煤仓的物业持有者及其未来美术馆的进驻方在这次废墟中的展览看到了工业建筑粗砺的表面与展览空间相结合的可能性与力量,欣然接受了基于保留主要煤仓空间及其结构的改造原则,不仅把原来的画廊升级为美术馆,更是直接将美术馆命名为“艺仓”美术馆。

The Laobaidu coal bunker transformation, which began before 2015, was faced with the fate of demolition. Fortunately, in 2015, the first session of Shanghai Urban Spatial Art Festival set here a case study sub-exhibition space which theme was set by its curator, Lu Feng and Yichun Liu as the transformation and reuse of industrial buildings. By using images, sounds and dancing art, they performed a space exhibition of the combination of art and architecture called ‘Reload’ in the partly dismantled coal bunker ruins which evoked people’s realization of the value of industrial architecture and the meaning of turning the coal bunker into public culture space. Since then, the property owner of the coal bunker and its future gallery party sensed the possibility and strength of the combination of crude industrial architecture façade and exhibit space, willingly accepted the transformation principle of keeping the main space and structure of the bunker, and named it ‘Modern Art gallery’.

▼美术馆外貌,exterior view of the museum

然而升级后的艺仓美术馆对于展览空间面积的需求远大于现有煤仓空间面积,为更好地组织空间,并极小地破坏现有煤仓结构,设计采用了悬吊结构,利用已经被拆除屋顶后留下的顶层框架柱,支撑一组巨型桁架,然后利用这个桁架层层下挂,下挂的横向楼板一侧竖向受力为上部悬吊,一侧与原煤仓结构相连作为竖向支撑,这样既完成了煤仓仓体作为展览空间的流线组织,也以水平的线条构建了原本封闭的仓储建筑所缺乏的与黄浦江景观之间的公共性连接。略微错动的横向层板既作为空间也作为景观,仿佛暗示了黄浦江的流动性特征。而呈V字形编织的纤细的竖向吊杆也赋予了改造后的艺仓美术馆以特别的形式语言,它与既有的直上顶层的钢桁架楼梯通道的外观形式也取得很好的协调。

However, the spatial demand for exhibition in the gallery is much greater than that of existing coal bunker. In order to organize better the space and minimize the damage to the existing bunker structure, the suspension structure is adopted in the design, using the top frame column left after the roof demolition to support a set of huge trusses and then to hang down layer by layer. One side of the hanging lateral slab is under the vertical stress from the upper suspension structure and the other side is connected to the original bunker structure as the vertical support. Thus, the circulation of the bunker structure exhibition space is well-organized, and, via those horizontal lines, the once-absent public connection is built up between the originally enclosed warehouse and the view of Huangpu River. The slightly staggered lateral slabs are both space and landscapes, as if they imply the liquidity characteristics of the Huangpu River. And the v-shaped weaved slim vertical boom provide the Modern Art gallery a particular form language, and made it a very good coordination with the existing up-to-top steel truss stair channel forms.

▼除屋顶后留下的顶层框架柱支撑一组巨型桁架,然后利用这个桁架层层下挂
using the top frame column left after the roof demolition to support a set of huge trusses and then to hang down layer by layer

▼略微错动的横向层板既作为空间也作为景观,the slightly staggered lateral slabs are both space and landscapes

▼V字形编织的纤细的竖向吊杆赋予了艺仓美术馆特别的形式语言,v-shaped weaved slim vertical boom provide the Modern Art gallery a particular form language

煤仓并非孤立的构筑物,它原本和北侧不远处的长长的高架运煤通道是一个生产整体。作为浦江贯通中的老白渡绿地景观空间,煤仓和高架廊道的更新如何成为新的滨江绿地公园的一部分是一个更重要的话题和起点。如何将既有的工业构筑物有效保留,既呈现它作为工业文明遗存物的历史价值,又赋予新的公共性及其服务功能,是设计必须解决的任务。高架廊道也采用了悬吊钢结构系统,这个钢结构利用原有的混凝土框架支撑,既做为原有结构的加固和高处步行道的次级结构,又作为高架步道下点缀的玻璃服务空间顶盖的悬吊结构,这样这些玻璃体不再需要竖向支撑,在这种纤细轻巧的结构和原本粗粝的饱经沧桑的混凝土结构间呈现时间张力的同时,也获得了极好的视觉通透性,极大地保证了景观层面的空间感。

The coal bunker is not an isolated structure, but a production entity with the long elevated coal flowing channel not far away in the north. As the Laobaidu green space landscape area in the Huangpu River leading down project, the coal bunker and the elevated corridor offer us a more important topic and starting point of how to make sure their renewal being part of the new riverside green park. And the task we must solve is how to presenting its historical value as the remnants of the industrial culture and giving it new publicity and serve function while effectively keeping the existing industrial buildings. Also, the steel suspension structure system, which used in the high walkway, is supported by the original concrete framework and works as the reinforcement of the old structure, the high walkway’s secondary structure and meanwhile the suspension structure of glass service space roof below the high walkway. Therefore, the glass structures no longer need vertical support and while the slight structure and the original rough concrete structure presenting the time tension it can achieve great visual transparency and extremely ensure the spatial feeling on the landscape level.

▼廊道单体,the elevated corridor

▼高架廊道也采用了悬吊钢结构系统,the steel suspension structure system is used in the high walkway

作为老白渡景观绿地的一部分,整个煤仓和高架廊道在满足新的文化服务功能、构建新旧关系并置的同时,如何建立浦江贯通中一处重要的公共空间节点,是设计更为潜在的任务。高架的步道、步道下的玻璃体艺术与服务空间、上下的楼梯、从一方水池上蜿蜒而过的折形坡道、直上三层的钢桁架大楼梯、在大楼梯中途偏折的连接艺仓美术馆二层平台的天桥、美术馆在闭馆后仍能抵达并穿越的各层观景平台与咖啡吧、穿过美术馆后南侧的折返坡道与公共厕所,都在构建独特的属于老白渡这个工业煤炭渡口区域城市更新后的公共性与新的文化形象。它将公共的美术馆功能与原有的工业遗构有效结合,在满足美术馆内部功能的同时,又赋予公共空间以极大的自由度,这也为美术馆在新时期的运营带了新的可能性。

How to create an important public space nod in the Huangpu river leading down programme while the entire coal bunker and the high walkway as part of the Laobaidu green space landscape is satisfying new culture service function and achieving the balance between old and new space relationship is a more potential task during the design. The highway pavement, the glass art and service space below the walkway, the stairs, the serpentine zigzag ramp above the pond, the huge up-to-three floor steel truss stairs, the deflecting overbridge connects to the second floor platform of the gallery, the café that links to each floor‘s sightseeing platform even after the opening time of the gallery, the turn-round ramp across the southern part of the gallery and the public toilets, are all forming publicity and new culture symbol that only belongs to Laobaidu, this industrial coal ferry after its renewal. It effectively combines the public function of gallery and the original industrial ruins, and provides extremely high flexibility to the public space while fulfills the interior function request of the gallery, which brings new possibilities to the gallery’s new age operation.

▼构件丰富的公共活动空间,create a diversity of the public activities

▼新旧结构的结合,the combination of the old and the new structure

▼良好的廊道观景,the views from the corridor to the city

人们在沿江平台经过时,可以看到原状保留的煤仓漏斗,进入美术馆内部,除了期待在里面正在发生的精彩展览之外,不断进入人们视野的旧时煤仓的结构也同时作为另一种永不落幕的展览,作为艺仓美术馆的空间内核,向人们讲述这个地点曾经的历史故事。最重要的,这些曾经的废墟是作为一种“活物”而不是“死物”被留存在新的生命体内。

From the exterior, people can see the original state of the coal bunker’s funnel when they pass along the river, and in the interior, in addition to the brilliant exhibition is holding inside, the old coal structure that constantly into people’s vision is also the other kind of show that never ends. It works as the space core of the Modern Art gallery and tells people the stories of this place.

▼美术馆内可以看到原状保留的煤仓漏斗,people can see the original state of the coal bunker’s funnel

▼美术馆内部,interior view

▼楼梯间,staircase

▼建筑与景观,the museum and the landscape

▼夜景,night view

▼一层平面图,the first floor plan

▼二层平面图,the second floor

 

▼三层平面,the third floor

▼三层夹层平面图,the mezzanine above the third floor

▼四层平面,the forth floor

▼五层平面,the fifth floor

▼顶层平面,top floor

▼剖面,section

项目名称:艺仓美术馆(原老白渡煤仓改造)
项目地点:上海浦东老白渡滨江,潍坊路和浦电路之间
设计单位:大舍建筑设计事务所、同济大学建筑设计研究院(集团)有限公司
设计团队:柳亦春、陈屹峰、王伟实、沈雯、陈昊、王龙海、陈晓艺、丁洁如、周梦蝶
建设单位:上海浦东滨江开发建设投资有限公司
施工单位:中国建筑第八工程局有限公司
建筑面积:约9180 M2
设计时间:2016.2-2016.10
建成时间:2016.12
摄影:田方方(除注明外)
Project Name: Modern Art Museum (Laobaidu coal bunker transformation)
Location: Waterfront of Laobaidu Wharf, Pudong, Shanghai (Weifang Rd., Pudian Rd.)
Architect: Atelier Deshaus, Tongji Architectural Design (Group) Co., Ltd.
Design Team: Liu Yichun, Chen Yifeng, Wang Weishi, Shen Wen, Chen Hao, Wang Longhai, Chen Xiaoyi, Ding Jieru, Zhou Mengdie
Client: Shanghai Pudong Waterfront Development and Construction Investments Co., Ltd.
Construction: China Construction Eighth Engineering Division Co., Ltd.
Floor Area: around 9180 m2
Design Period: 2016.2-2016.10
Completion: 2016.12
Photographs: Tian Fangfang

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