Publi-City – Tongzhou SINLOON Canal Creative District, China by officePROJECT

感谢 普罗建筑 将以下内容授权gooood发行。更多关于他们：officePROJECT on gooood
Appreciation towards officePROJECT for providing the following description:

▼视频：戏剧城市，Dramatic City – Video ©朱雨蒙@coppakstudio

引子 – 从胡同到大院儿，历史空间的再审视
Introduction – From Hutong to Courtyard, a Re-examination of Historical Spaces

北京，这个典型的中国北方城市里，“大院儿”承载着大量北京人的情感记忆。比如部队大院，机关大院，工厂大院等等。我们总说，原来北京的孩子分成“胡同的孩子”和“大院儿的孩子”，这种文化空间性的对峙，形成了那个年代这个城市的戏剧性的张力。

今天我们要特意聊起这个话题，是因为最近这些年的城市更新浪潮中，已经涌现出了很多对于“胡同”生活的新的空间创新案例，但是对于“大院儿”，这种更加具有鲜明年代性的“城市历史文化空间”，如何改造与开发？我们却缺乏相应的研究与指导。

我从小就在北京的一所部委高校的大院里长大，那时候我就在设想，这些神秘的高墙对面的世界是怎么样的。当我们长大，“大院儿”已经慢慢被城市所包围和吞噬。如果我们能够再次通过设计去影响这个城市，那么除了设计，回到人本身，我们更希望引入这样一种社会性的思考，即从“大院儿”这种普遍性的城市空间现象的兴起与转化中，我们如何再次发现人与城市之间的那种密切又戏剧的关系？

Beijing is a typical city in North China, where there are many “big courtyard” (similar to community, but more independent and specific) carring the emotional memories of many local people. Such as big courtyards for military officers, big courtyards for civil servants , big courtyards for factory workers and so on. We always say that the children in Beijing are divided into “children growing up in the Hutong” and “children growing up in the big courtyard”. This confrontation of cultural space formed the dramatic tension of Beijing

Today we talk about this topic specifically cause people have converted “Hutong” successfully. But how to convert and develop the big courtyards, which are full of history and culture , is a big challenge. We lack corresponding research and guidance.

I grew up in a big courtyard of ministries and commissions in Beijing. When I was a kid , I had wondered what the world was like out of the courtyard. When we grew up, more and more “big courtyards” have disappeared. If we can influence the city through design again, in addition to design, returning to human being, we hope to rediscover the close and dramatic relationship between people and the city.

▼北京一些大院的现状，Current status of Beijing’s institutional units ©普罗建筑

限制与巨大的机遇 – 在通州CBD打开一座尘封30年的大院儿
Restrictions and great opportunities – opening a 30 years old compound in Tongzhou CBD

项目基地位于通州北关。通州这片土地是一个已具有多年的高速城市化印记，但是又保留着郊区低密度城市肌理的典型化地区。基地位于人工开挖用来泄洪的减河与主运河的交汇点，在大运河上形成了一个岛屿的形态，而运河本身周边也就此形成了减河公园等自然休闲的场所。围着基地周边，是一些建成十几年的低密度住宅小区、北工大的通州校园，以及由此而形成的沿街商业。总体来说，这里既有复杂的社会体系层次，又有着独特，独立的自然气息环抱周围。

The project is based in North gate, Tongzhou. Tongzhou is a typically urbanized, yet low density area suburban texture. The site is located at the confluence of two canals, creating an island, and the canal itself is surrounded by natural recreational areas such as the River Minus Park. Surrounding the base are a number of low-density housing estates , the Tongzhou campus of Beijing University of Technology, and the resulting street-level businesses. Overall, this area not only has the complex social system,but also has the unique, independent natural atmosphere surrounding it.

▼与“运河商务区”遥相而对的“运河创意区” ©普罗建筑
The “Canal Creative District” as opposed to the “Canal Business District”

我们的基地前身——菲美特金属制造厂位于这样一个高度优越的地理节点上，它与一河之隔的通州运河CBD遥相对望，一片片高楼拔地而起。但是我们的基地却可望而不易达，被小区紧紧地包裹在其中。当我们第一次到达这个厂区的时候，我们就被它那种尘封的大院气质所吸引，那些80年代风格的砖房，那些高耸的行道树，那些巨大空旷却保留完好的车间无不诉说着对上个时代的深深缅怀。

业主只给了我们两条设计原则。一，由于产权的限制要求，所有的建筑改造都要严格按照原有旧建筑的轮廓线来设计，位置不允许变动。二，将这里改造成为一个高端独特的办公园区。除了这两条简单明确的设计原则之外，剩下大量的设计内容留白给了我们。这给予了我们巨大的设计自由度去打造一个我们心目中理想的微缩“普罗城市”。

▼菲美特金属厂原始“大院儿” ©普罗建筑
The original “compound” of the Fermet metal works

Our base formerly known as Fimet Metal Fabrication is located at this geographical point that it looks out across the river from the Tongzhou Canal CBD. But our bases are less accessible,submerged in a residential area. When we first arrived at the site, we were attracted by its ancient atmosphere, the 80s-style brick buildings, the towering trees and the huge, empty but well-preserved workshops, all of which spoke of a deep remembrance of a bygone era.

The owner gave us only two design principles. Firstly, due to the restrictions of the property rights , all building renovations had to follow the outline of the original old building and no changes in location were allowed. Secondly, the site need to be transformed into a high-end and unique office park. Apart from these two clear design principles, the rest of the design was left to us. This gave us a great deal of design freedom to create the miniature ‘Puro City’ that we wanted to create.

▼与运河商务区相遥望的运河创意区 ©夏至
The Canal Creative District, looking out over the Canal Business District

城市之桥 – 打开园区公共性的重要内核
City Bridge – an important core to open the public of the park

城市到底是什么？如果说，城市是表达一种状态，一种混杂、多元、交叠、激发的状态。那么在城市更新中，我们就应该去贯彻，和坚决的执行呈现这种城市精神的核心状态。

What is a city? If the city is an expression of a state,which mixed hybrid, multivariate, overlapping, excited. Then in urban regeneration we should resolutely implement the core state of this urban spirit.

▼城市之桥-连接城市领域与自然领域 ©普罗建筑
Urban Bridges – connecting urban space with natural space

新的办公园区虽然不能物理性的取消掉围墙和大门，但如果我们能将园区不再视为一块独立的场地，而是将其视为由人工城市（住宅小区）向自然的城市（运河岸）所过渡的一个中间区域，那么它就能被更好的识别为城市中不可或缺的部分，从而将这一块缺失的拼图填补进城市完整的肌理中，再次抵达精神上的公共性。

The new office park cannot remove the walls and gates.If we can regard the park as an intermediate area from the residential area to the riverbank , rather than an independent site , then it can be better identified as an integral part of the city, thus mending the urban fabric.Finally reach the spiritual publicity.

▼“城市之桥”- 概念，City Bridge Concept ©普罗建筑

▼“城市之桥”，City Bridge ©夏至

▼城市之桥在建筑中穿梭，The City Bridge weaves through the buildings ©夏至

▼城市之桥将人们聚集，The City Bridge brings people together ©夏至

▼城市之桥模拟城市不同层次的沟通体验，City Bridge simulates the communication experience of different levels of the city ©夏至

▼城市之桥–活动的创造地，Bridges to the City – The place where activities are created ©夏至

▼空中之桥，Bridge in the Air ©夏至

▼活力之桥，Bridges of Dynamism ©夏至

▼城市之桥从建筑与树林中穿过，The City Bridge passes through the buildings and trees ©常可

通过设计一座贯穿园区的城市之桥，将园区靠近住宅小区的入口与运河岸边的入口直接相连，这座桥就会被识别为城市的公共体系。由此也带来的效应是，整个园区反而成为桥的背景内容，成为城市中自然与人工的过渡空间，一处自然而然的不突兀的城市场所，自然的消解了由封闭性所带来的排他性的负面效果。而桥本身则是园区内外人员所关注的景观艺术品。这种双向的识别，创造了有趣的二元关系。通过这种策略化与轻量化的局部景观设计介入，一个动作达成我们期望实现之前所不具有的城市性，实现真正意义的城市更新。

By designing an urban bridge through the park and connecting the entrance to the park near the residential area with the entrance on the canal bank, the bridge is recognized as a public system of the city. The effect of this is that the whole park becomes a background to the bridge, a transitional space between the natural and the artificial in the city.The park become a natural urban place that naturally dispels the negative effect of closure. The bridge itself becomes a work of landscape art. This two-way identification creates an interesting relationship. Through this strategic and lightweight landscape intervention, an action achieves what we expect to achieve the urbanity that it didn’t have before, and achieves the true meaning of urban renewal.

▼城市之桥连接美术馆，City Bridge Link Gallery ©夏至

▼城市之桥连接美术馆，City Bridge Link Gallery ©孙海霆

由戏剧性的“单体设计”汇聚成“城市场景办公集合体”的反向规划
Reverse planning from dramatic “monolithic design” to an “Office aggregation of urban scenes.”

在如今如火如荼的城市更新浪潮中，当下非常流行一种改造手法，那就是快速粗暴的统一建筑风格：比如常见的红砖怀旧风，水泥工业风等等，通过某种统一的气氛，快速达成并建立秩序并形成视觉优先的网红效应。但是我们认为，真正的城市应该是多元和混杂的，它是在不同时期不断生长与叠加出来的历史沉淀的表达。尤其是面对这些已经具有原始规划逻辑的大院改造时，如果我们一元化抹平处理，可能会损失大量的改造体本身的自发独特活力与多元性的想象。

In today’s wave of urban renewal , one of the most popular renovation techniques is unifying architectural style quickly and rudely,such as the red brick nostalgia, concrete industrial style,and so on. But we believe that the real city should be diverse and mixed.It is the expression of historical precipitation which is constantly superimposed in different periods. Especially when dealing with these compounds,if we deal with these issues singularly, we might lose its own vitality and our imagination.

▼城市场景办公集合体，Urban Scene Office Collection ©普罗建筑

带着这个思考，我们尝试着抛开传统的自上而下的整体规划方式，而是反向从每座单体或组团入手，对每个功能区予最适合的设计，最后，再自然地汇聚成一个新的独特园区。基于这样的理念，我们策划了不同的办公模块体系，我们因此也给这些丰富多彩的办公模式起了不同的名字，从“错院&插座家”，“仓·谷·庭”，“没有大门的美术馆”，“阶梯总部”等等，通过这些自然的并不过分强调统一的集合，一个丰富多元城市场景化办公集合的新整体，逐步模拟出一副真实城市生活的长卷。

With this thinking , we tried to abandon the traditional top-down overall planning, started from each individual or group in reverse, and gave the most suitable design for each functional area. Finally, we converged them into a unique park naturally . Based on this concept,we gave different names to these colorful office models, such as “Scattered Courtyard & Socket Home”,”Store·Valley·Court”,”An Art Gallery without a Gate” ,”Step Headquarters”and so on.Through these natural assemblages, the whole office space of urbanization is formed, gradually simulating real urban life.

▼戏剧性的多元城市，A dramatic and diverse city ©普罗建筑

中心区 “仓.谷.庭”设计——从废弃生产车间成为具有集体认同感的办公仓体
Central District “Store.Valley. Court” design – From disused workshop to popular office

▼办公仓体由原始厂房建筑改造加建而成 ©普罗建筑
The office barn was built as an addition to the original factory building

▼办公仓体的横切面，Office barn section ©普罗建筑

在整个多元化的园区建筑中，中心区肩负着容纳大量办公面积的重任，但我们期望的花园式办公与原有的生产车间却有着物理和情感上的不匹配，所以我们对B区的主要策略是消隐。我们不希望再去凸显原有厂房的高大、冰冷的工业感，而是试图给予它们一种平稳，细腻的温暖感。

通过覆盖一种统一而又有变化的陶制立面，使得立面充满质感变化的同时，又足够消隐后退，不给人带来不必要的压抑感。由于使用了整体陶质的包裹，也让每个建筑体都能呈现出很好的完整形体感，就像一个个现代仓谷，矗立在整个园区的中央，为整个园区奠定高雅稳重的基调。他们有底蕴有温度，不再被历史遗物这样的烙印所累。通过立面陶板与陶棍的细腻纹理设计，我们希望人们能舒服的接纳这些仿佛来自未来的办公仓体的当代建构美学。

▼中心区办公仓体，Central Office Warehouse ©夏至

▼办公仓体-带有工业化历史隐喻的未来感建筑
Office Barn – a futuristic building with a history of industrialization ©夏至

▼陶板与陶棍在立面上的连续性对于形式与遮阳的考虑 ©夏至
Considerations of form and shading with regard to the continuity of the terracotta panels and sticks on the facade

▼办公仓体立面定制化陶板与灯具一体化设计 ©夏至
Integration of customized ceramic plate and lamps in the design of office barn facade

▼仓体之间的连桥，Connecting bridge between barn bars ©夏至

Throughout the campus buildings, we have adopted a fading strategy for Area B because the central area needs to have a volume of offices, but we expect the offices to be garden-like rather than boring workshops.Instead of accentuating the cold industrial feel of the industrial building, we have given it a sense of intimacy. The facade is not only varied but not overwhelming, by covering it with a harmonious and different ceramic panel.Thanks to the use of this material, each building is given a perfect sense of form, like a modern barn, standing in the centre of the park.With this subtle design, we hope that people will embrace the constructed aesthetics of these futuristic office warehouses.

▼仓体剖面细节，Detailed section ©普罗建筑

▼办公之仓构造设计图解，Illustration of the construction of the office barn ©普罗建筑

办公仓体立面分为三段式。第一段是与街道相接触的部分，它使用黄色陶棍格栅，中段为玻璃窗，上段为灰色陶板。三段式的设计极大的消解了大体量对于园区街道的压抑感，将建筑控制在怡人的尺度。建筑上层陶板通过四种不同定制单元以及三种灰色的组合，形成复杂但统一的肌理。通过在每块陶板上定制隐藏式灯槽，使灯光设计与材料设计一体化，形成高级且有韵味的泄光仓体效果。每当周围的树影打在立面上时，立面都呈现出一种独特的细腻的像素质感。

The office barn facade is divided into three sections.The first section is connected to the street, which uses a yellow ceramic stick grille, with glass windows in the middle section and gray ceramic panels in the upper section. This design keeps the building at a reasonable scale and dissolves the oppressiveness of large buildings on the street.The upper terracotta slab is a complex but unified texture created by the combination of four different bespoke units and three shades of gray. The light design is integrated into the material design by means of customized hidden light slots in each panel, creating a high level and rhythmic light drainage bin effect. Whenever the surrounding tree shadows hit the facade, the facade presents a unique and delicate pixel texture.

▼立面陶板的机理作为承接自然树影的“绘图板” ©常可
The mechanism of facade ceramic board is used as “drawing board” to carry on the natural tree shadow

▼仓体的转角设计，Corner design of the barns ©常可

▼办公仓体内庭院，Courtyard within the office barn ©夏至

▼办公仓体内庭院与景观连桥，Courtyard and landscaped bridge within the office barn ©夏至

▼根据行人视线进行疏密节奏变化的陶棍 ©夏至
Pottery sticks that change according to the sight of pedestrians

▼通往上层办公区的独立廊道，Separate corridor leading to the upper office area ©夏至

▼廊道与仓体所形成的的“庭”，The “court” formed by the corridor and the barn ©常可

在中心区的主体建筑之间，还有历史遗留的过渡空间的处理问题，我们既要维持他们的原始外轮廓，同时又要解决突出的建筑侧面长进深的采光问题，于是我们设计了仓谷中的“堤岸之谷”。这些山谷般的立体街区提供了不同层面上的私密户外平台，人们可以在繁忙的工作间隙走到露台上散心，同时与不同层面上的人进行交流。通过设计，将原有建筑中最不利的位置打造成最活跃的区域，极大的增加了园区的文化价值与生活体验。

Between the main buildings in the central area, there was many problems of dealing with the transitional space. We should not only maintain their original outline, but also solve the lighting problem of long and deep sides of the building. So we designed the embankment in the barn.The valley-like neighbourhood offers multiple levels of intimate terraces where people can walk on the terraces and communicate with each other at the same time. In this way, the worst areas of the building are turned into the most active areas, increasing the experience of the park greatly .

▼办公仓体中的堤岸之谷，The valley of the embankment in the office barn ©夏至

▼堤岸之谷所提供的私密与公共露台，Private and public terraces in the Valley of the Embankment ©夏至

▼堤岸之谷的多层交通联系，Traffic links of the Valley of the Embankment ©常可

▼堤岸之谷的内部，The interior of the Valley ©常可

内部核心空间“裹之庭”设计——办公仓体内部的发动机
Design of the core space, the “Court of Wraps” – the engine inside the office barn

“裹之庭”作为整个园区的展示及销售办公场所，我们对其进行了详细的室内设计。通过一条白色的曲形墙面在空间中进行不断的包裹，使展示空间与办公空间做了一个很好的分离与融合。同时，裹之庭在未来将作为园区的公共交流平台，其中庭以及报告厅可以承办入住企业的各种活动，成为园区的发动机。同时“裹之庭”也是 “仓.谷.庭”整个中心区这种高大复式空间所带来的独特空间体验的进一步延伸强化设计。

▼“裹之庭”门厅图解，Diagram of “Court of Wraps”lobby ©普罗建筑

As the showcase and sales office for the whole campus, we have developed a detailed interior design for the “Court of Wraps”. A white curved wall wraps around the space, separating and integrating the exhibition space in the office space. At the same time,it will be served as a public communication platform for the park in the future, with its atrium and lecture hall hosting various events for the resident companies. “Wrapped Garden” is also a further enhanced design of”Store.Valley.Court”.This tall duplex space of the whole central area offers a type of spatial experience.

▼“裹之庭”展示区，The Court of Wraps exhibition area ©常可

▼“裹之庭”门厅，”Court of Wraps”lobby ©常可

▼“裹之庭”展示区，”Court of Wraps”Display area ©常可

▼“裹之庭”楼梯，”Court of Wraps”stairs ©常可

连接不同区的“桥之院”院落景观设计——交流之桥与乐趣之港
“Bridge of Courts” Landscape Design – A Bridge of Communication and a Harbour of Fun

通过城市之桥的介入，园区内部的庭院被其彻底激活，原本被建筑围合的消极空间成为了园区的中心景观。城市之桥在庭院中盘旋而上，从一层的草地最终穿过B区建筑的二层直达美术馆。在内院形成了一个巨大的S形，并围合出一个小型的喷泉广场。地面起伏的山丘与空中悬浮穿梭的浮桥共同形成一个围合式的活动空间。这里地面上与桥上的人挥手相望，互动，游戏，仿佛这里不再是一个办公园区，而是一个游乐场。连续的坡道使人们不自觉地走到空中，在建筑旁边擦肩而过，仿佛漫步在云端。

Through the intervention of the urban bridge, the courtyard within the park is completely activated and the negative space becomes the central landscape of the park. The urban bridge circles up through the courtyard, from the grass at ground floor level and eventually through the first floor of the B area to the gallery. A large S-shape is formed in the inner courtyard and encloses a small fountain square. The undulating ground and aerial bridges together form an enclosed activity space.People move between the two spaces as if it were no longer an office park, but a park. People walk unconsciously on the connecting bridge, passing buildings as if they were walking on clouds.

▼城市之桥将原本封闭的院落划分为动态的区域 ©夏至
The City Bridge divides the enclosed courtyard into dynamic areas.

▼悬浮的城市之桥，The suspended city bridge ©夏至

▼城市之桥创造出人与人动态的互动关系，Urban Bridges creates dynamic human interactions ©夏至

▼城市之桥进入建筑，City Bridge into the building ©夏至

▼城市之桥，City Bridge ©夏至

▼桥之院之中的喷泉广场，The fountain square in the middle of the bridge courtyard ©孙海霆

“借院&插座家”设计——错动与插接的“不完整的房子”
“Borrowing Yard & Socket Home” Design-“Incomplete House” of Dislocation and Insertion

园区北区原本是一组并排的带院子的老旧平房，原来连续的坐北朝南的平房+院子，这种陈旧的模式，很难再创造出更丰富的空间层次和使用感受。于是我们在保留原有建筑位置的前提下，对院子的布局进行了大胆的重新划分，我们让每个院子都跟上一个相邻的院子借一个角，使每个院子从原来的前房+后院变成1前院，2中房，3后院三个层次。让一排呆板的平房在不改变房子与院子之间物理格局的情况下，神奇的变成前庭后院的嵌套双院格局。同时为了呼应这种院子的错动，把房子也进行了和院子一样的细微错动，让设计语言更为统一，可再生的设计概念也低调的植入其中。

▼借院鸟瞰图，Aerial view of the “borrowed courtyard” ©夏至

▼借院生成图解，Diagram of Borrowed Yard generation ©普罗建筑

▼借院&插座家平面图，Borrowed Yard & Socket Home Floor Plan ©普罗建筑

The northern part of the park was originally a group of old bungalows with a courtyard.The outdated pattern made it difficult to create a more spacious level and feel. So we have redrawn the layout of the courtyard while retaining the original location of the building.By having each courtyard share a corner with an adjacent courtyard, the structure of each courtyard is changed and an additional level is added.Turning an inherently stagnant building into a nested double courtyard pattern without changing the layout. At the same time, we have given the building and the courtyard the same subtle dislocated, making the design language more unified and allowing the concept of renewable to be embedded in it.

▼连续的借院，Continuous Borrowed Yard ©孙海霆

智利建筑师阿拉维纳曾设计过“一半的房子”，通过留给每户自己所能改造的另一半的空白空间，每一户家庭都有了适合自己的个性化改造机会。通过设计上的不完整，反而最终打造出设计者与使用者所共同创造出的完整的家。这个智利的社会实验住宅案例给我们很多启发和思考。当下中国城市更新与产业办公的个性化与快速迭代需求，其实与之是异曲同工的。

Chilean architect Aravena once designed “half house”. The owners are left with the opportunity to personalize the other half of the house.Incomplete designs create a complete home,a complete image created by designers and users. This case gives us some thoughts.At present, the personalized and fast iterative needs of urban renewal and industrial office in China are similar.

▼阿拉维纳设计的“一半的房子”，“Half of the House” by Aravena

我们把一个个完型的房子切割出一系列的豁口，使其具有不完整的形态暗示，未来业主可以根据自己喜好去加建或者重新定义房、院的关系。形态上的不完整，就像一个插座，一种基础设施，等待着不同的客户插入不同的新结构，最终形成适应使用者的个性形态，成为功能上完整的房子。一两年后随着租客的变化，又可以插入新的插销，形成生生不息的变化。

▼插座家设计图解，Socket home design illustration ©普罗建筑

We cut a series of notches in the finished houses. The future owners can add or redefine the relationship between the house and the hospital according to their own preferences.It is like a socket waiting to be inserted into a different new structure to become a complete building. As the owners change, the inserts change, resulting in a changing building

“借院&插座家”的表皮我们采用了水泥压力板干挂的非标构造方式。通过将这种平价的工业化基材处理成一种彰显独特性和精密性的外饰面材料，带来了材料感使用前和使用后的强烈的感官反差。通过内置式的隐藏天沟设计，保持了檐口饰面转角的完整体块形态塑造。

For the skin of “Borrowed Yard & Socket Home” we have adopted the non-standard construction method of dry hanging cement pressure plates. By treating it in this way, a new type of finish material is created, bringing a contrasting look and feel to the before and after, and giving us a valuable additional experience with the material.

南区“阶梯总部”设计 — 错层创造出的贯通日光共享空间
South “Stepped Headquarters” design – The shared space created by staggered floors

“阶梯总部”是园区中唯一的一栋独立办公空间，尤为独特，为原有停车棚原位置翻建而成。由于原有建筑进深很大，如果将其划分为办公空间，传统的做法是在其中间挖出一个院子，以保证办公空间内部的采光要求。但做成院子虽然可以是一种解决方案，但是却会因为在中间挖院子损失大量的办公面积，损失后的面积一下子让灵活性大幅降低，同时中心的院落也让这栋建筑的态度趋于内向，这使得业主与我们共同为其设立的独栋总部办公定位大打折扣。同时，中间做成院子对原有建筑的轮廓形式有了大幅的改动，在审批上也面临一定的风险。针对这两点，我们采用了一种通过剖面设计来解决难题的方式。

“Steps HQ” is the only stand-alone office building.It is unique in that it is a renovation of the original parking garage.The original building is very deep.If dig out a yard in the middle, much office space would be lost. It also makes the building character more introverted.This method makes the positioning discount that we set up a single family headquarters office for it.At the same time, the approval also faces certain risks,case t.he courtyard in the middle has greatly changed the outline of the original building.In view of these two points,We have adopted a way to solve the problem through section design.

通过将原有方形建筑划分成几个部分并进行阶梯状错层处理，我们可以在建筑的屋顶和一层楼板打开侧向的高窗，使建筑室内在不挖院子的情况下，得到满足要求的室内光线。同时，这种阶梯状的设计形成了不同标高贯通式的办公空间，加上建筑四面完全通透的玻璃幕墙设计，使得“阶梯总部”成为空间类型上充满活力与公共性的开放办公空间。

The original building is divided into sections and staggered, with high lateral windows opening in the roof and ground floor slabs of the building to allow for interior light. At the same time, office spaces of different heights are created, and the permeable glass curtain wall around the building makes the “Stepped Headquarters” a dynamic office space.

▼阶梯总部内部施工现场照片-层层跌落的联通空间 ©常可
Construction site photos of the interior of the Steps headquarters – a connected space with falling layers

南区“没有大门的美术馆”设计 — 一处不设限的“街道式”运河美术馆
“An art gallery without a gate”, South Zone – an unrestricted ‘street-style’ canal museum

利用园区西边原有工人宿舍及食堂，我们改造了一个街道式的美术馆-运河美术馆。因为美术馆作为两条过道的交叉点，成为一个通道式的艺术空间。这两条过道一条是城市之桥，从园区大门一直延伸到美术馆并能走到运河边的通道，另一条是连接阶梯总部前广场与美术馆前艺术广场的通道，这成为了美术馆的户外大堂。所以，美术馆不再是传统的一个艺术品，而是作为园区的交通枢纽，一种基础设施存在，艺术被融入了生活本身，艺术参与了生活，参与了城市。更多运河美术馆介绍，见如下链接

Using the existing workers’ dormitory and canteen in the west of the campus, we have converted a street-style art gallery – the Canal Art Gallery.As the museum is the intersection of two corridors, it becomes a passage art space. One of the two corridors is an urban bridge, extending from the entrance of the park to the end of the museum, and the other linking the square in front of the Steps headquarters with the art square of the museum.This place becomes the lobby of the museum. The museum is no longer a work of art, but rather serves as a transport hub and an infrastructure. Art is integrated into life and permeates the city. For more information about canal Art Museum, see the following link.

普罗城市 — 普适与包罗共存的戏剧性城市
Publi- City – a dramatic city where the universal and the inclusive coexist

城市更新是一项系统性工程，需要社会各层面共同作用，而现实中大部分更新项目往往是开发商业主针对一个封闭独立的地块的单方面推动。那么面对这个现实，设计师是简单遵从甲方的开发思路，还是从城市责任感出发，帮助甲方与城市这两者合谋出更大的共有价值？这是我们必须思考的问题。

Urban regeneration is a systemic project that requires the collaboration of all levels of society.
In reality, most of the renewal projects are often unilaterally driven by developers and owners for a closed and independent site. In the face of this reality, In the face of this reality, does the designer simply follow the development ideas of Party A, or start from the sense of responsibility of the city, and help Party A and the city conspire for greater common value? This is the question we must consider.

可以说，新潞运河创意园是普罗建筑在一系列城市更新项目后的一个阶段性思考总结。通过架构一种普适性的连接，使改造区域与城市更加融合，创造群体上的开放性与公民性。同时，在具体的改造形式上，通过自发性、多元性的原则，在区域规划设计的层面上创造一种包罗的城市状态，使改造的部分与真正自发形成的城市能够进行衔接，也就是从群体秩序上的公共性来到个体体验的公共性。这种普适与包罗，即是“普罗”的核心思想。

同时，这个项目说明了，在城市更新的开发中，当建筑师可以从策划，规划，建筑，室内，景观，灯光，建构检测等进行全方位统一化的设计，就能够完整贯彻与实施出最理想化的概念。

It can be said that the new Canal Creative Park is a Summary of stage thinking after a series of urban renewal projects by Puro Architecture.By structuring a universal connection, the renovated area is made more integrated with the city, creating openness and citizenship on the group. At the same time, through the principle of spontaneity and pluralism in the specific form of transformation, an inclusive urban state is created at the level of regional planning and design, so that the transformed part can be connected to the truly spontaneous formation of the city, that is, from the communality of the group order to the communality of the individual experience. This universality and inclusiveness is the core idea of “universality”.

The project also demonstrates that in an urban regeneration development, the architects can implement and execute the ideal concept when they are able to unify all aspects of the design from planning, programming, architecture, interior, landscape, lighting and building inspection.

通过对菲美特金属厂的整体规划改造，我们不仅得到了新潞运河文创园这样一种新物种创意办公园区。更重要的是，原来尘封的大院儿经由我们的改造，它能够与地产开发相融合，最终真正与城市保持开放，协调的同步发展，尤其是在北京这样的大型城市。我想，在副中心的大规模建设中，我们不但需要“运河商务区”, 我们可能更需要的是“运河创意区”。

通过这次实践，既解决改造项目本身需要的功能和使用需求，又能对城市更新这个命题进行直接的回应与对话，把开发的妥协、未来变化的无序、城市层面上的设计愿景都融为一种积极的设计应对，我们愿称其为一种直接的诗意。

Through the overall planning and transformation of the site, we have created a new style of office park like the Canal Cultural and Creative Park.What’s more,the old compound has been transformed so that it can be integrated with the property development and ultimately live in harmony with the city. I think in the large-scale construction of the sub center like Tongzhou, we need not only a “canal business area”, but also a “creative area”.

This practice meets the function and use requirements of the project itself, and provides a direct response and dialogue to the proposition of urban renewal.Meanwhile, This practice blend the compromises of development, the disorder of future change, and the design vision on an urban level into a positive design response. In this sense, we would like to call it a direct poetry.

项目地点：北京市通州区
项目性质：办公创意园区/产业园区/美术馆
设计周期: 2018.3-2018.10
建造周期：2018.6-2019.11
总用地面积：31384㎡
总建筑面积：33128㎡
业主单位：通州新潞文创园
规划-建筑设计：普罗建筑 officePROJECT
室内-景观-灯光设计：普罗建筑 officePROJECT
主持设计师：常可、李汶翰
设计团队：姜宏辉、张昊、赵建伟、冯攀遨、林旺铭、袁博、陈斌斌、陈纪元、魏斌（驻场）、焦可晴（实习）、谢嘉钰（实习）、王佳桐（实习）、扈诗雨（实习）、吴香丹（实习）
视频影像：朱雨蒙@coppakstudio
建筑摄影：夏至，孙海霆，常可

Location: Tongzhou District, Beijing
Use:Office Creative District/Industrial Park/Art Museum
Design period: 2018.3-2018.10
Construction period: 2018.6-2019.11
Total land area：31384 ㎡
Gross floor area：33128㎡
Owners: SINLOON Cultural and Creative Park in Tongzhou
Planning -Architectural design team:officePROJECT
Interior-Landscape-Lighting design team:officePROJECT
Team Leaders: Chang Ke, Li Wenhan
Design Team: Jiang Honghui,Zhang Hao, Zhao Jianwei, Feng Panao,Lin Wangming,Yuan Bo,ChenBinBin,ChenJiyuan,WeiBin(Resident Designer),Jiao Keqing(trainee),Xie Jiayu(trainee),Wang Jiatong(trainee),Hu Shiyu(trainee),Wu Xiangdan(trainee)
Cameraman:Zhu Yumeng@coppakstudio
Photographer: Xia Zhi,Sun Haiting,Chang Ke