建筑設(shè)計(jì)：原地建筑

Architects: Origin Architect

北京膠印廠改造
——77文化創(chuàng)意園區(qū)，北京，中國(guó)Reformation of Beijing Offset Printing Factory: 77 Cultural and Creative Park,Beijing, China, 2014

建筑設(shè)計(jì)：原地建筑

Architects: Origin Architect

1 夜景/Night view

緣起

不同于798那些德國(guó)精英血統(tǒng)的雄偉工廠，蝸居在美術(shù)館后街的北京膠印廠更像是個(gè)工業(yè)化的四合院，帶著北京胡同的市井氣息。幾棟不同歷史的工業(yè)樓房分別建于1960、1970、1990年代，除了層高稍高并無特別，但四面圍合之間，曾經(jīng)有過幽靜的院落?？上v經(jīng)半個(gè)世紀(jì)的風(fēng)雨之后，原有產(chǎn)業(yè)陸續(xù)衰落停產(chǎn)，廠區(qū)也日益破敗面目全非。管線老化裸露，閑置廠房被雜亂分割、零散出租，無序的加建使整個(gè)廠區(qū)擁塞填堵，變成了名副其實(shí)的大雜院。這次結(jié)合戲劇文化功能置換的整體改造行動(dòng)，期望為衰敗的城市肌體注入新的生機(jī)。尊重特有的院落歷史情感，延展豐富的工業(yè)文化厚度，喚醒、激發(fā)內(nèi)在的活力，成為改造策略的切入點(diǎn)。

手術(shù)

行動(dòng)首先從針對(duì)性的局部切除入手，對(duì)導(dǎo)致整體淤塞的增生部分進(jìn)行清理：東側(cè)清除臨時(shí)性私搭亂建，將雜亂的停車移出，留出安靜的前院；西端拆除粘連在兩座主體結(jié)構(gòu)之間的簡(jiǎn)陋鐵皮房，形成后院；進(jìn)一步清理兩側(cè)部分被堵死的胡同，貫通前后聯(lián)系，讓多層次的院落空間和街巷重見天日。

激活/生長(zhǎng)/立體街巷

一條獨(dú)特的空間穿行體系，突破原始結(jié)構(gòu)的束縛，引導(dǎo)原本傳統(tǒng)的院落街巷線索自由、立體地流動(dòng)生長(zhǎng)。有時(shí)從地面庭院縱向迂回攀爬直上屋頂花園；有時(shí)以空中飛廊從一片屋面橫向跳躍到另一片屋面；也有時(shí)果斷切入室內(nèi)或者地下，將陽光、空氣和清新的自然引入內(nèi)部空間。不再有枯燥單一的必經(jīng)之路，交通動(dòng)線演變成自由隨意的三維游園小徑，帶動(dòng)風(fēng)景、室內(nèi)外空間的互動(dòng)。

廠區(qū)里原本無法到達(dá)、各自孤立的消極屋面，被游廊全面喚醒，演變?yōu)楦叩湾e(cuò)落漂浮空中的花園。每個(gè)花園的高度、景觀體驗(yàn)、到達(dá)方式各不相同，是立體街巷中的流動(dòng)風(fēng)景。隨處可見的空中花園彌補(bǔ)了地面空間的不足，為每個(gè)內(nèi)部單元都帶來了親近自然的機(jī)會(huì)，更創(chuàng)造了放松邂逅的交流場(chǎng)所，成為激發(fā)創(chuàng)新靈感的源泉。僵化呆滯的空間狀態(tài)被破解之后，共同生長(zhǎng)出多樣性的豐富環(huán)境聚落，是最適合文化創(chuàng)意生態(tài)發(fā)展的土壤。

項(xiàng)目信息/Credits and Data

項(xiàng)目地點(diǎn)/Project Location: 北京東城區(qū)美術(shù)館后街/

Backstreet of Art Gallery, Dongcheng District, Beijing

主持建筑師/Architect in Charge : 李冀/LI Ji

設(shè)計(jì)成員/Design Team: 張慧，廉輝，王靜/ZHANG Hui,

LIAN Hui, WANG Jing

設(shè)計(jì)時(shí)間/Design Time: 2013

施工時(shí)間/Construction Time: 2013-2014

面積/Area: 13,000m2

材料/Material: 耐候鋼板/Corten Steel

攝影/Photos: 夏至/XIA Zhi

2 區(qū)位圖/Location plan

文化回歸

多數(shù)廠房建于1970年代初期，墻體歷經(jīng)多次臨時(shí)性的美化涂抹，已層層遮蓋不見真容。如今通過一層層打磨，小心翼翼揭去裝飾性覆層，讓掩埋的歷史真相重見天日。文革時(shí)期的磚墻裸露出來，質(zhì)地不均、施工粗放，但直率地傳遞著那個(gè)特殊時(shí)代的氣息與記憶。老古董雖不甚完美，卻勝過贗品偽飾的光鮮，擁有屬于自己的尊嚴(yán)。

舊墻之上一系列的新增介入動(dòng)作，都被刻意清晰地暴露在人們視線中，不假掩藏。因改造時(shí)的各自工藝不同，洞口有些有著刀具銳利的切痕，有的則殘留敲鑿的印跡、處于殘缺與未完成狀態(tài)。帶著磨痕的不同年代老磚墻、緊貼澆注的加固混凝土墻、嵌入的鋼梁、簡(jiǎn)約干凈的玻璃，不同時(shí)代的工藝與材料界限分明地錨固在一起。如同鋦瓷的鋼釘，新與舊共同訴說歲月的變遷。

有悖于當(dāng)前日趨精細(xì)的建筑方向，改造中采用了低精細(xì)度的材料、工藝和更直接的建造方法。鋼材采用原始形狀、規(guī)格，去除沒必要的加工和裝飾，以使每塊材料的完整與獨(dú)立性得到尊重。連接構(gòu)造也盡量簡(jiǎn)單直接，試圖展現(xiàn)出力量與本質(zhì)的美。耐候鋼板隨著時(shí)間自然地斑駁銹蝕，與周圍老磚墻默默對(duì)話。新建筑物已經(jīng)開始融入到整體歷史氛圍中去，并使廠區(qū)深沉的工業(yè)氣質(zhì)得以進(jìn)一步凝聚強(qiáng)化。

無所不在的劇場(chǎng)

如果說游廊體系是園區(qū)的動(dòng)脈，那么倉庫劇場(chǎng)就是園區(qū)里的心臟、活力與魅力的源泉。劇場(chǎng)在危房拆除后的原址新建而成，采用工業(yè)倉庫式的建筑結(jié)構(gòu)、厚重工字鋼柱列和銹蝕耐候鋼面板，時(shí)尚鮮活的戲劇場(chǎng)景與倉庫厚重工業(yè)空間之間對(duì)比鮮明。而當(dāng)夜幕降臨或震撼一幕開啟，倉庫劇場(chǎng)朝向庭院的墻面將徐徐懸起，內(nèi)部燈光人氣噴涌而出，戲劇與文化生活不再受限于一個(gè)固定空間，活力滲透到園區(qū)每個(gè)角落。前院成為沒有邊界的露天劇場(chǎng)，巷道成為串場(chǎng)通道，屋頂和游廊變身為空中舞臺(tái)和看臺(tái)，老磚房上挑出的露臺(tái)成為包廂……演員與觀眾的界限消除了，文化與生活的隔閡消失了。整個(gè)園區(qū)成為無所不在的開放劇場(chǎng)，進(jìn)而與更廣泛的城市生活融為一體。

入口

入口是不同空間之間引導(dǎo)、聯(lián)系、調(diào)節(jié)的關(guān)鍵性節(jié)點(diǎn)。如果說日本茶室刻意壓低尺度的入口，是以對(duì)通行的阻礙和壓迫來形成儀式性提示，那么三峽大壩氣勢(shì)恢宏的泄洪入口及噴礴而出的泄洪景象，則訴說了兩側(cè)空間沖破壓抑阻隔、走向連通匯聚的強(qiáng)烈渴望。77劇場(chǎng)的大門入口則明顯與后者同類。這里沒有固守傳統(tǒng)建筑設(shè)計(jì)領(lǐng)域中廣獲認(rèn)可的設(shè)計(jì)手段，而希望調(diào)動(dòng)當(dāng)代工業(yè)所具備的能力與潛力，對(duì)常規(guī)建造形成沖擊，并給以重新定義。它不像通常入口那樣附加一系列新增的局部處理，只是粗暴地直接從建筑體上切開一整面墻來達(dá)到目的。傳統(tǒng)入口的門、墻、雨蓬等多種要素被精簡(jiǎn)整合成為一個(gè)元素，甚至是一個(gè)機(jī)械，并以一種動(dòng)態(tài)的方式得以同時(shí)實(shí)現(xiàn)。由于門扇的尺度以及獨(dú)特開合方式，它的變化過程和結(jié)果給雙側(cè)空間帶來巨大的擾動(dòng)，直接觸動(dòng)人們對(duì)空間變化的感受。機(jī)械建構(gòu)和張拉的細(xì)節(jié)都以一種直接性的粗獷方式暴露著，傳遞出對(duì)原初力量的崇拜。功能性的連通與調(diào)節(jié)行為自身成為了一種行為藝術(shù)，劇場(chǎng)因而帶有了藝術(shù)裝置的含義?！?/p>

3 內(nèi)院效果圖/Rendering of the courtyard

4 立體流線/3D circulation

5外景/Exterior views

6 外景/Exterior views

Origin

Different from the grand factories of elite German descent in 798, Beijing Offset Printing Factory,nestling in the backstreet of Art Gallery, is more like an industrialised courtyard with a scent of civil life in Beijing's alleyways (hutongs). Built in the 1960s, 1970s and 1990s respectively, the industrial buildings have different histories. They look nothing special except the higher storey height. But once upon a time, there was a secluded yard boxed in the enclosures. Unfortunately during a half century of trials and hardships, the original industries declined and shut down one after another; the factories were also dilapidated day by day almost beyond all recognition. The pipe lines are now aging and bare; the idle workshops are separated and rented out casually. The unordered addition jams the whole factory area and makes it a genuine warren. The integral reformation combining drama culture and functional replacement is in the hope of bringing a new vitality to the waste urban body.

Respecting for the speci fi c historical emotions of the courtyard, the hitting-point of the transformation strategy is to extend the accumulation of various industrial cultures, awakening and arousing its inner vitality.

Operation

Starting with targeted local excision, the added part which causes the overall blocking will be cleared:in the east, eliminate the unauthorised temporary buildings and remove the disorder parking to make room for a quiet front yard; in the west, demolish the crude tin room attached between the two major structures to form a backyard; further clean up the blocked Hutongs on both sides and link them up from back to front, thus a multi-layered courtyard space and alleys will be brought to light again.

Activation/Development/3-D Streets

Breaking through the shackles of original structures, a unique space traveling system is leading the free and stereoscopic fl owing growth of the initial traditional yards and alleys: some climb up circuitously from the ground courtyard to the roof garden; some fly crosswise from one house to another to form an air corridor; some directly break into the room or underground and bring the sunshine, the air and the refreshing nature inside. There will not be only route any more. Traきc moving lines will evolve into irregular three-dimensional garden trails, which brought along interaction between indoor and outdoor space and scenery.

The unreachable and isolated inactive roofs in the factory are totally activated by the verandas and becoming well-proportioned fl oating hanging gardens.The different heights, landscape experiences and arrival patterns of each garden form a fl ow of scenery in the stereoscopic alleys. Making up the shortfall of the limited ground space, the hanging gardens everywhere provide opportunity of closing to the nature for every internal unit. Moreover, the communication place for relax and encounter will bring creative inspirations.After breaking down the rigid space, the diversity of environmental settlement will grow into the most suitable place for the ecological development with cultural creativity.

Cultural Recurrence

Most of the plants were initiated in the early 1970s. After repeated temporary renewal paintings,the true features of the walls had been covered layer upon layer. Now being polished layer by layer, the decorative cover is carefully removed. そus the buried historical truth is able to come to light again. Built in the Cultural Revolution period, the brick walls are now exposed with their uneven texture and coarse construction. Meanwhile the flavour and memory of the special times are transmitted frankly. Although not very perfect, the antiques have it all over the fake decorated forgeries and deserve respects for their dignity.

On the old walls, a series of interventions are exposed deliberately without any dissimulation in people's sight. Being renovated with different techniques, some holes have sharp cutting marks and others are rough and unfinished with the remaining trail of chisels. Distinctive elements are combined together: old brick walls made in different time periods with scrapes and marks, reinforced concrete walls processed by clinging and casting, embedded steel beams, simple and clean glasses, all these crafts and materials of different eras, etc. Just like the steel nails used in staple china art, the new and old are combined to manifest the change of times.

Contrary to the current architectural concept which is becoming finer day by day, materials and techniques with low precision and more direct construction methods are adopted during the renovation. Preserving the original shape and specification of steels, removing all unnecessary processes and decorations, the integrity and independence of every piece of material can be protected. The joint constructions are made as simple and direct as possible to reveal the beauty of power and essence. The weathering steel, naturally mottled and rusted as time goes on, is now talking with the surrounding old brick walls in a whisper.The new buildings become integrated with the overall historical atmosphere. Therefore the deep industrial temperament of the factory can be further strengthened with its cohesive power.

Omnipresent Theatre

If the veranda system can be considered as the artery of the garden, then the warehouse theatre is the garden's heart, the fountain of vitality and charm. The theatre is newly constructed on the former address of dilapidated buildings. Adopting the architectural structure of industrial warehouse, massive I-column steel and Corten steel panel, the massive industrial space of the warehouse strongly contrasts the fashion and living drama scenes.When the night falls, when a shocking scene opens, the warehouse theatre walls toward the courtyard will be hung up slowly with the internal lightening and popularity gushed out. The drama and cultural life are no longer limited in a fi xed space. Vitality is spreading everywhere in the garden. The front yard becomes an outdoor theatre without boundary; the alleys become joint channels; the roofs and verandas are changed to air stages and stands;the terraces on the old brick houses become boxes…The gap between actors and audiences is eliminated; the estrangement between culture and life is vanishing. The whole garden becomes an open theatre omnipresent for the public and integrated with the comprehensive city life.

Entrance

The entrance is the key junction that guides,connects and regulates different spaces. If the intentionally lowered entrance of Japanese teahouse is to form a ritual indication by obstructing and constricting the way, then the magnificent flood entrance of the Three Gorges Dam and majestic view of pouring fl ood, is expressing the strong desire of the space on both sides breaking through the suppressing barrier and connecting together. The entrance gate to the 77 Theatre is obviously the same as the latter. The design does not restrict itself to the methods widely recognised in the field of traditional architectural design, but was hoping to mobilise the capabilities and potentials of contemporary industry, to impact and rede fi ne the conventional construction. It does not add a series of new local treatments like in usual entrances,but abruptly cuts a whole wall directly from the building to achieve its purpose. Door, wall, awning, and other elements of the traditional entrance are simpli fi ed and integrated as one element, or even a machine, and can be achieved in a dynamic way at the same time. Due to the scale of the door and its unique way of opening and closing, its changing processes and results bring great turbulence to the space on both sides, and directly excite people's feeling for the spatial change. The details of mechanical construction and tension are exposed in a direct and rough way, expressing the worship for original forces. Functional connectivity and regulation themselves became a kind of behaviour art, and thus the theatre received the meaning of artistic devices.□

7 原始平面/Original plan

8 首層平面/Ground fl oor plan

9 屋頂平面/Roof plan

10 外景/Exterior views

評(píng)論

何可人：北京膠印廠改造后稱為77文創(chuàng)園，是美術(shù)館后街一抹亮色，都市實(shí)踐工作室就在此處辦公。這個(gè)項(xiàng)目最大的亮點(diǎn)是對(duì)城市環(huán)境肌理的尊重，從朝向東邊的街道轉(zhuǎn)角只是一個(gè)低調(diào)的開口，僅僅立了塊牌子，沒有所謂的大門，圍欄、車擋和保安等不近人情的“控制性的標(biāo)配”，代表了一種都市開放性空間的態(tài)度。內(nèi)部以劇場(chǎng)為中心，圍繞著周圍廠房改造的辦公樓形成幾個(gè)安靜的庭院；充分利用高低錯(cuò)落的樓層，用各種廊道將屋頂相連。在這里工作的人，甚至周圍的人也可以舒適地穿過這些庭院到南邊和北邊的出入口，有時(shí)間的話也可以到樓頂上看看一些機(jī)構(gòu)在此處的都市種植實(shí)驗(yàn)田。銹鋼板為主的材料運(yùn)用體現(xiàn)了曾經(jīng)的工業(yè)特質(zhì)，保留的煙囪成為整個(gè)園區(qū)的垂直元素，和水平布置的樓層和連接屋頂?shù)睦鹊罉?gòu)成平衡。

青鋒：銹蝕的沉重鐵門通過抬升與折疊的方式打開，顯然不是最常規(guī)和便利的開啟方式。懸掛在半空中的鐵板制造出壓迫性的危險(xiǎn)感，幾個(gè)板塊的錯(cuò)動(dòng)拒絕任何的妥協(xié)與模糊。與這種厚重相對(duì)應(yīng)的是提升與折疊機(jī)械的復(fù)雜與完備。復(fù)雜的構(gòu)件能夠多少消除外部觀感的不穩(wěn)定性，而紅色條帶則將力的傳導(dǎo)如教科書般地傳遞給觀眾。如此操作自然不是多此一舉。任何材料都有其特性，原地建筑的這扇大門典型性地體現(xiàn)了鋼鐵這種材質(zhì)的沉重、可靠以及精細(xì)構(gòu)造。這并不是一種簡(jiǎn)單的工業(yè)消耗品，而是另外一個(gè)可以被不斷發(fā)掘的領(lǐng)域。

11剖面/Sections

12 剖面/Sections

Comments

HE Keren: The renovated printing factory called 77 Cultural and Creative Park is an urban highlight behind the National Gallery Building. The well-known Urbanus Architects locates its oきce here. The most celebrated characteristic of this project is its response to the urban pattern. The main entrance located on the east side of the complex is very low-key, with only a direction board. There is no large gate, fences, barricades for cars and guards – the typical "controlled set" commonly seen in Beijing, which represents an open attitude toward urbanism. Within the complex the theatre stands as the dominant feature and formed a series of quiet courtyards by a series of surrounding oきce buildings converted from factories. It takes the advantage of various building heights and connects them with all bridges and stairs. The people who work here or even those passing bys can pass through these courtyards to the two other entrances on the north and south. If you have some time, you can even walk to the roof top to take a look of a few patches of vegetable and herb that some institutes experiment here. The rusted steel panels are used as the main material that represents the industrial characteristic of this site. The tall chimney preserved becomes the vertical element that is in balance with the predominant horizontal fl oor slabs and roof bridges.

QING Feng: Opening a heavy rusted iron gate by raising and folding it is not the most convenient method for an entrance. The iron board created a pressing sense of danger. Compromise and obscurity are both refused by the divergence of separated parts. Corresponding to such heaviness is the complexity of the raising and folding mechanics. It helps to mitigate the insecurity caused by outside view. Like a textbook, the red ribbons indicate the conduction of force directly to the audience. Clearly this is not an unnecessary inconvenience. Each material has its own character. The gate designed by Origin Architect vividly represents the distinction of steel and iron. They are not valueless industrial materials, but a new territory of extraordinary tectonic potentials for contemporary architects.

13 屋頂/Roof

14 細(xì)部剖面/Section detail1-防水層/Waterproof layer2-巖棉夾層/Rock wool between3-4mm耐候鋼板/4mm Corten steel plate4-穿孔吸聲板/Perforated sound-absorbing board5-4mm耐候鋼板/4mm Corten steel plate6-吸音棉/Acoustic wool7-備用門板吊索/The door opening auxiliary sling8-大門滑軌鋼柱/The gate lead rail steel column9-磚/Brick10-H700mm×450mm×18mm×25mm鋼梁/Steel beam H700×450×18×25mm11-HW200mm×200mm×8mm×12mm鋼梁/Steel beam HW200×200×8×12mm12-門啟動(dòng)機(jī)組/The door opened motor group13-吊桿/Boom14-H450mm×450mm×18mm×25mm鋼柱/Steel column H450×450×18×25mm