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BIM建筑|青微舍新作：東通菜園藝術空間，工業遺產改造

發布于：2024-10-28 14:00:21

首頁/技術分享/建筑賞析

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網友投稿

設計單位? 青微舍工作室

項目地址? 湖北武漢

建成時間? 2024年9月

建筑面積? 700平方米

本文文字由設計單位提供。

漢陽造

Arsenal

廠房的所在地，為清末張之洞創辦的漢陽兵工廠原址，現“漢陽造”文化創意園第17號廠房。

The plant is located at the site of the Hanyang Arsenal founded by Zhang Zhidong in the late Qing Dynasty, and is now the No.17 factory of the "Hanyangzao" Cultural and Creative Park.

通過翻看歷史地圖，我們可以發現廠房一直處在兵工廠范圍的西南角：1899年（光緒二十五年），依托兩江交匯的南岸嘴，西兵工廠、東鐵廠的格局初見端倪；1930-1939年，兵工廠的規模逐漸擴大，來自大冶的鐵礦、萍鄉的煤礦，經長江從南岸嘴各碼頭上岸，經由鐵路穿過兵工廠，再一路向西；1949年，渡江戰役前，南岸的兵工廠被拆除一空；1951年起，鸚鵡磁帶廠依托原址的西南角始建，并逐步填滿整個南岸嘴西側；2012年起，工廠全部搬離，殘存的廠房被陸續出租，另做它用。

Looking at the historical map, we can see that our site has always been in the southwest corner of the arsenal range: In 1899, relying on the intersection of the two rivers, the pattern of the arsenal began to emerge; From 1930 to 1939, the scale of the arsenal gradually expanded; In 1949, before the “Battle of Crossing the Yangtze River”, the arsenal was dismantled; Since 1951, the parrot tape factory was built on the southwest corner of the original site, and gradually filled the entire area; Since 2012, all the factories have been moved away, and the remaining factories have been rented out successively for other uses.

17號廠房的上一任業主是個婚紗攝影師，建筑里外都被刷得通體潔白。我們通過不斷地拆除、沖洗、打磨、填補……一點點地將其還原成最初的樣貌：紅磚墻體+木屋架，在此基礎上開始植入新的功能。

The previous owner of No.17 factory was a wedding photographer, which painted the entire building white inside and out. Through continuous demolition, washing, polishing, and filling... we gradually restored it to its original appearance: red brick walls + wooden roof structure. On this basis, new functions began to be integrated.

夾縫

Narrow Gap

歷經園區多輪的修修補補，17號廠房所處的位置已經變得非常閉塞，被陸續加建的廠房、宿舍樓、倉庫緊緊包圍。唯一的出入口只剩下朝西的山墻，躲在兩棟房子的夾縫與茂密的樹叢后。

After multiple rounds of expansion of the park, the location of the No. 17 factory building has become very secluded, surrounded by successively added factories, dormitories, and warehouses. The only entrance is now only the west gable, hidden behind the gap between two houses and dense trees.

為了從鄰居們的擠壓中突圍，我們把針對正立面及其前場的設計操作，控制在中軸線上的一個極小的區域內，在躲開鄰居干擾的同時，也將效果盡可能地推向極致：門洞是一條寬為600毫米的縫，從上到下貫穿立面，再轉折為一條等寬的路徑，貫穿前場，畫出一條一人寬、20米長的線。這意味著，所有的訪客必須排好先后，依次登上步道，在雜亂的周遭環境中，帶著些許儀式感與敬畏心地魚貫而入。

To break free from the pressure of the neighbors, we confined the design operations for the front facade and its forecourt to a very small area on the central axis, avoiding interference from neighbors while also pushing the effect to the extreme: the gateway is a 600mm wide slit, running from top to bottom through the facade, then turning into a 600mm wide path, cutting through the forecourt, drawing a line 20 meters long and one person wide. This means that all visitors must queue up, one by one, to climb the path, entering with a sense of ritual and reverence amidst the chaotic surroundings.

原立面上的扶壁柱在新門洞的兩側對稱而立，與之等寬。我們在柱腳各放置了一個板凳，像衛兵一樣，拱衛著長長的中軸線。

The original buttress columns on the facade stand symmetrically on both sides of the new gateway, also 600mm wide. We placed a bench at the base of each column, like guards,? guarding the long central axis.

馬頭

Horse Head

雖然建筑的外立面收縮得只剩下一條縫，但建筑里的內容：當代藝術，仍以一種沖突的方式，從夾縫中噴涌而出。

Although the exterior of the building has shrunk to just a slit, the content inside—contemporary art—still bursts out from the crevice in a conflicting manner.

伸到外面來的，是我們從眾多館藏中挑選的一尊馬頭雕塑，由紅磚與水泥鑄造而成。它在質地上與建筑融為一體，在形式上又讓抽象的前場空間變得具體、生動。馬頭立于一根L型大梁之首，大梁懸挑出立面3米，以門過梁為支點，被純鋼板打造的“重量級”前臺從另一端拉住。

Which comes out is a sculpture of a horse's head, cast in red brick and cement, selected from all the collections. Materially, it blends in with the architecture; Physically, it makes the abstract front space become concrete and vivid. The horse head stands at the head of an L-shaped girder that overhangs the facade for 3 meters, with the lintel of the door as the fulcrum, and is pulled from the other end by a "heavy" reception made of pure steel plate.

馬頭與L型大梁，作為建筑立面上的視覺焦點，懸于3.3米——一個在感官上似乎觸手可及的高度，調整了整個前場空間的高寬比與人們的注意力落點。

The horse head and L-shaped girders, as visual focal points on the building facade, hang at a height of 3.3m. It is a height that seems palpable in the senses, adjusting the aspect ratio and attention of the entire forecourt space.

展架

Display Rack

作為一個當代藝術空間，其藏品在類型與尺寸上都是千奇百怪的：上墻的畫與照片、上桌的工藝品、放在地上的雕塑、掛在天上的裝置、需要屏幕才能呈現的影像……而且業主的藏品數量遠遠超出該空間的承載極限，需要周期性地輪展，幾乎不會有固定展品。

As a contemporary art space, its collections are diverse in type and size: paintings and photographs on the wall, crafts on the table; sculptures on the earth, installations in the sky; and images that require a screen... Moreover, the number of the owner's collection far exceeds the carrying limit of the space, so it needs periodic rotation exhibitions, without any fixed exhibits.

因此，除了懸在前院里的“馬頭”，我們無法為任何一件藝術品量身定制“展位”，這里需要的是一套可適應各種變化的“展架系統”。根據廠房的柱間距及展品尺寸，我們確立了1450毫米×2650毫米的基本模數，兩個一組形成一個“展架單元”。它們可以附在墻面上，也可以90度開啟成隔間，或對折縮短長度，還能組裝成可移動的展臺與長桌，來應對不斷變化的展陳主題和需求。

Therefore, apart from the horse head hanging in the front yard, we cannot tailor-made "display stands" for any single artwork. What is needed here is a "display system" that can adapt to various changes. According to the column spacing of the workshop and the size of the exhibits, we have established the basic modulus of 1450mm×2650mm, each two of them is combined to form a "display unit". To respond to the ever-changing exhibition themes and needs, they can be attached to walls, or opened at 90 degrees to form a compartment, or fold in half to shorten the length, or assembled into movable stands and long tables.

行車

Travelling Crane

廠房有兩套相互獨立的結構體系，這是很多工業建筑都會有的典型空間語言：一套是建筑的，支撐屋頂的磚柱；一套是工業生產的，支撐行車軌道的牛腿柱。然而，廠房數度易主，整個行車系統已不見蹤跡，牛腿柱也年久失修、殘破不堪。我們在每根牛腿柱上增加了抱箍作為結構加固，并以此為核心恢復了整個工業生產體系：抱箍一方面用來連接展架的轉軸，一方面也用來支撐新的行車軌道。

The plant has two sets of independent structural systems, which is a typical spatial language of many industrial buildings: one is for architecture, the brick columns that support the roof; one is for industrial production, the cement columns that supports the crane track. However, the workshop has changed owners several times, the entire travelling crane system has disappeared, and the columns has fallen into disrepair and decay. We restored the entire industrial production system by adding hoops to each columns as structural reinforcement: on the one hand, the hoops are used to connect the rotating shaft of the display racks, on the other hand, they are used to support the new crane track.

裝上電機后，閃著燈的行車在廠房內前后開動，起到劃分展區的作用。更加重要的是，該項目作為工業遺產改造，我們希望它在保存物質空間環境的同時，還能依稀按著當年的工業生產邏輯運轉起來。

After the motor is installed, the crane with flashing lights moves back and forth in the factory, which plays the role of dividing the exhibition area. More importantly, as an industrial heritage renovation, we hope that while preserving its physical space environment, it can still function according to the logic of industrial production from those days.