建筑設(shè)計：同濟(jì)大學(xué)建筑設(shè)計研究院（集團(tuán)）有限公司原作設(shè)計工作室

原作設(shè)計工作室，上海，中國

建筑設(shè)計：同濟(jì)大學(xué)建筑設(shè)計研究院（集團(tuán)）有限公司原作設(shè)計工作室

1 從窄巷看隅中院木屋架/Timber roof truss, view from narrow lane

昆明路640號，有著70多年歷史的原上海鞋釘廠廠區(qū)，安靜地藏匿于北外灘的混雜市井之中。對于這樣一個有著強(qiáng)烈原生感的場所，建立在價值評價基礎(chǔ)上的策略選擇和改造設(shè)計顯然過于模式化了。于是，明確的整合意圖開始消散，對場所的應(yīng)答呈現(xiàn)為一種克制而持續(xù)的介入方式。

作為過程方式的介入

既有場所經(jīng)歷了復(fù)雜的演變過程后，呈現(xiàn)出多種異質(zhì)片段并存的局面。這迫使我們嘗試采取一種不同以往的思維方式：放棄將新老融合于單一理念的企圖，轉(zhuǎn)而從局部元素及其相互關(guān)系出發(fā)，建立一種錨固與游離并存的新關(guān)系。

改造中設(shè)置了3個帶狀空間，分別穿插在新老廠房之間，一方面如同木結(jié)構(gòu)中的榫卯，在原本簡單并存的片段之間建立起一種錨固關(guān)系；另一方面，又以直觀的材料語言，提示出新元素與老建筑之間的游離關(guān)系。這種關(guān)系使得新介入的部分與原有的各部分一樣，作為差異化的片段和場所連續(xù)演變過程的一個階段而存在。

這種錨固與游離并存的關(guān)系，在不同片段的邊界得到強(qiáng)化。對新廠房部分的改造并非將這一高大空間生硬地分為兩層，而是在新老廠房交接處保留了一跨通高空間。老廠房舒朗的水平延伸感與新廠房挺拔的縱向發(fā)展趨勢在這個狹長高聳的緩沖空間中呈現(xiàn)、相遇，表現(xiàn)出巨大的空間張力和微妙的對峙關(guān)系。

在這樣的關(guān)系中，各種新功能一方面作為局部元素分別介入到不同的歷史片段中，并確定自身獨(dú)特的位置。另一方面，在模糊不清的交界領(lǐng)域，既定功能又在日常使用中不斷地得到拓展，持續(xù)地豐富著歷史的內(nèi)涵。設(shè)計之初的模型區(qū)如今不時成為內(nèi)部會議、節(jié)日聚餐的場所，而穿插在新老廠房之間的休閑區(qū)也不斷在大型聚會、餐飲休憩、模型制作和臨時討論空間之間變換角色。

作為異化方式的介入

從工業(yè)廠房到新工作室，要求將部分室內(nèi)空間外化以提供光線和空氣，同時將部分室外空間內(nèi)化以優(yōu)化室內(nèi)空間秩序。然而，徹底的外化和內(nèi)化，將不可避免的使老建筑原本的狀態(tài)和后續(xù)介入的因素變得難以區(qū)分。初到場地，既存的兩個院子中殘留的屋架所暗示的未完成狀態(tài)，為我們提示出保證后續(xù)介入過程清晰的可讀性的有效途徑。

2 原作工作室新址/New workplace of Origin Design Studio

項(xiàng)目信息/Credits and Data

主創(chuàng)建筑師/Principal Architects: 張姿，章明/ZHANG Zi, ZHANG Ming

設(shè)計團(tuán)隊(duì)/Design Team: Original Design Studio

項(xiàng)目位置/Location: 上海市昆明路640號D幢/Building D,No.640, Kunming Road, Shanghai

設(shè)計時間/Design Period: 2013.08

竣工時間/Completion: 2013.11

No. 640 Kunming Road, former location of Shanghai Hobnail Plant with a history of more than 70 years, quietly hides in the hybrid marketplace on the north side of the Bund. For such a place with a strong sense of proto-genesis, the strategy choice and renovation approach based on evaluation are obviously stereotypical. So the explicit integration intentions begin to disappear and a responsive approach to the site emerges as a restrained and sustained way of intervention.

Intervention with Space Transit

3 軸測/Isometric drawing

Having gone through a complex process of transformation, the site displays a coexistence of multiple heterogeneous fragments. This forced us to try a different way of thinking: we gave up the attempt to combine the old and new into a single concept; instead, we established a new relation of coexistence between anchorage and dissociation based on local elements and their mutual relationship.

During the renovation, three strip-shaped spaces are designed to be individually inserted between the old and new buildings. On the one hand, like the mortise and tenon of the wood structure, they establish an anchoring relationship between the plainly juxtaposing fragments, while on the other hand reveal the dissociated relationship between the new elements and the old buildings. this relationship makes the newly intervened parts function like the original ones as one of the stages of the continuous evolution of differentiated segments and places.

The coexistence between anchoring and dissociating are strengthened at various segment boundaries. Rather than bluntly divide the high, large space into two levels, the renovation of the new factory building keeps a bay of full-height space at the junction between the old and new structures. the horizontal extension of the old factory building meets with the vertical stretch of the new building in the narrow towering buffer space, showing immense spatial tension and subtle confrontation.

在“去頂成院”的過程中，我們僅僅移除了屋面系統(tǒng)，而保留了木桁架和檁條，形成的院子因而呈現(xiàn)出一種疏離的過程狀態(tài)。這種看似未完成的結(jié)果與一般意義上的內(nèi)外概念之間形成了微妙差異，場所演變留下的印記在此得到強(qiáng)烈的表達(dá)。

類似的，門廊處的室外空間內(nèi)化同樣遵循了異化的方式，老廠房粗獷的青磚外墻及依附其上的室外管道，甚至原本位于新老廠房夾縫中的燃?xì)饨涌诙贾苯映尸F(xiàn)在改造后的室內(nèi)空間中，提示出此處作為外部空間的記憶。

這種微妙的異化方式，伴隨著日常生活的實(shí)際需求，越來越多地滲透到空間的每一個角落。使用者用熱鍍鋅水管定制了燈具，用玻璃鋼格柵組裝了長凳，用蜂窩紙板建造了貓舍，用建筑鋼筋制作了模型架，用冰箱貼創(chuàng)作了動畫。所有熟悉的事物經(jīng)由異化的解讀，獲得了全新的意義。

作為有限方式的介入

有70多年歷史的老廠房無疑具有較高的歷史、文化和社會價值，基本維持了建成之初狀態(tài)的木屋架尤為突出。對于這樣一座廢棄的舊建筑而言，剝離浮土、現(xiàn)其本尊要比賦以其新的建筑美學(xué)價值來得更有意義。這決定了改造應(yīng)該充分尊重并強(qiáng)化老建筑的原真性，以一種低限度的方式進(jìn)行。

老廠房的屋架系統(tǒng)作為其最具特征的部分，改造中對此只做最低限度的維護(hù)，修復(fù)脫落的榫口，對部分明顯腐朽、狀態(tài)不佳的構(gòu)件進(jìn)行加固，同時去除木屋架表面的浮塵和受火碳化表層，展現(xiàn)出木材的本色和質(zhì)地。

同樣，殘存的老磚墻突出的價值促使我們對其采取了最謹(jǐn)慎的保護(hù)性改造策略，小心清除表層浮土，不露痕跡地加固松動的部分，除此之外，連同磚縫間的植物一起完整地保存下來。

而今，在每個陽光明媚的下午，小院長桌上飽滿的多肉植物，草叢灌木間追逐的小貓小狗，遒勁枝干上結(jié)出的鮮艷果實(shí)，與70年前的匠人在磚墻上留下的磚窯窯印近在咫尺，鮮活與古舊的碰撞呈現(xiàn)出戲劇化的效果。歷史如同一個安詳?shù)睦先?，靜靜地看著年輕的花樣年華。

作為進(jìn)化方式的介入

建筑師對老建筑改造的興趣，或多或少出于對既有模式的刻意規(guī)避。而老建筑改造所面臨的復(fù)雜多樣的具體情況帶來的極大的偶然性，以及改造前后建筑類型的差異可能帶來的“扭轉(zhuǎn)性啟發(fā)與可能向度” 使得遠(yuǎn)離模式的可能性大大增加。

老廠房中，7榀舊木桁架連續(xù)展開，形成一個不間斷的序列感極強(qiáng)的開放空間，傳遞出一個訊息：不應(yīng)該再以簡單的功能的名義重新界定和劃分空間，而是讓各種功能分別以局部元素的方式介入，在場所中并置并存，并行交疊，在相互的關(guān)系中呈現(xiàn)自身最豐富的意義。

這種我們稱為“彌散”的狀態(tài)很好地維持了老廠房空間原有的開放性和不間斷的序列感，并使新的空間遠(yuǎn)離模式的誘導(dǎo)，為其提供了適應(yīng)多樣化事件的可能性。（文：章明，王維一）

4 辦公區(qū)全景/Panoramic view of working space

5 體塊的穿插與錨固/Intersection and anchoring

6 隅中院/Yuzhong courtyard

7 從模型區(qū)看辦公區(qū)/View from model area

8 休閑區(qū)的鋼板與屋架/Steel plate and roof truss of leisure area

9 入口窄巷/Narrow lane at the entrance

10 保留的木屋架/Timber roof truss

11 3號院/Courtyard No.3

In such a relationship, various new functions are involved as local elements in different historic fragments and each has its unique position defined. On the other hand, in the field of blurred borders, the existing functions are constantly expanded in daily use and contribute to the enrichment and continuation of historical connotations. the modeldisplaying area at the early stage of the project has now become a convenient place for studio meetings and holiday gatherings, while the leisure areas interspersed between the old and new plants also change roles between spaces for large gathering, refreshing, model making and temporary discussion.

Intervention with Alienation

From the industrial plant to the new studio, it was necessary to open up some interior space to provide lights and air, while enclosing part of the exterior space to optimize spatial orders of the interior. However, thorough externalization and internalization of the space would inevitably make it difficult to distinguish the original appearance of the old buildings from subsequently intervened elements. When we first arrived at the site, the incomplete state suggested by the remaining truss of the two original courtyards offered us effective clues to guarantee the legibility of subsequent intervention.

In eliminating the roofs to create a courtyard, we simply removed the covering elements but preserved the wood truss and purlin, so that the courtyard presented a halfway state with a sense of alienation. A subtle difference is created between such seemingly unfinished outcomes and the accepted ideas about the interior and the exterior, thus conveying a strong impression of the site in transformation.

In a similar vein, the internalization of the exterior space at the porch also follows the approach of alienation. The old factory building’s rough brick wall and attached outdoor pipes, even the gas interface in the crevice between old and new structures, are directly presented in the renovated interior space as a reminder of the memory of exterior space.

this subtle alienation, together with the actual needs of daily life, increasingly penetrates every corner of the space. The users had lamps made to order using hot galvanized pipes, assembled benches with glass fiber-reinforced plastic grilling, built cattery with honeycomb paperboard, made model frame with construction rebar, and created animation work with fridge magnets. All the familiar things have obtained new significance through an alienating interpretation.

Intervention with Limited Restoration

The old factory building, with a history of more than 70 years, undoubtedly has considerable historical, cultural and social values, especially the wooden roof structure which maintains its original state at the time of completion. For a derelict old building like this, wiping off its dust to expose its original appearance is far more meaningful than assigning it new architectural aesthetic value. It dictates that renovation should be kept to the minimum extent to fully respect and strengthen the authenticity of the old building.

The roof structure is the most characteristic part of the old building, for which only the minimum maintenance was done during the renovation, such as repairing fall-off tenons, reinforcing badly decayed components and removing the dust and the fired-carbonized coat on the wood frame surface to show the authentic timber color and texture.

Similarly, the prominent value of the remaining old brick walls prompts us to take the most discreet strategy of protective renovation: surface dust is carefully removed, loose parts are consolidated without a trace, even the plants are left growing out of the brickwork joints.

Now, every sunny afternoon sees plump succulent plants sitting on the courtyard bench, dogs and cats chasing through grasses and shrubs, vigorous branches bearing colorful fruits, and the brick walls with kiln seals left by craftsmen seven decades ago are right under the nose . the collision between the fresh and the ancient presents a dramatic effect. History, like a serene old man, peacefully watches the youth thriving like blossoms.

Intervention with Evolution

The architect's interest in renovating the old building comes more or less out of a deliberate circumvention of the established modes. The great contingency brought by complex individual situations in the renovation of old buildings, together with the "mind-turning inspiration and potential dimension" concealed in the typological difference between the original and renovated buildings, largely increased the likelihood for the implementation of the circumvention approach.

In the old factory building, seven units of old wood truss unfold continuously to form an uninterrupted sequence of open space, which conveys a clear message: space is no longer to be redefined and delineated in the name of mere functionalism, instead, various functions are to be involved as local elements, juxtaposing and coexisting in-situ, paralleling and overlapping, while each presenting its own rich meaning in the context.

Such mode, which we designate as dispersion, well maintains the sense of spatial openness and continuity of the original factory building, while the enticing circumvention approach to space provides it with new possibilities for adapting to diverse events.

12 展覽與報告區(qū)/Exihibtion area and lecture hall

13 模型區(qū)中的水管燈/Water pipe lamps in the model area

評論

范悅：經(jīng)過嫻熟的雕琢，原作設(shè)計工作室將舊工業(yè)廠房的美學(xué)潛力發(fā)揮到極致。開敞與封閉的原有模式并沒有成為限制其空間創(chuàng)作的桎梏，廠房的結(jié)構(gòu)成為穿梭于室內(nèi)外空間的媒介。巧妙的空間重組為重新認(rèn)識工業(yè)建筑的空間元素提供了獨(dú)特視角。從整體到細(xì)節(jié)，引入的建筑元素與原有的粗獷的工業(yè)氛圍渾然一體，也適時地表達(dá)著出乎意料的創(chuàng)意。

張昕楠：原作設(shè)計工作室的設(shè)計，以節(jié)制的“加”“減”動作達(dá)到了戲劇性設(shè)計效果。在加法的部分，3個帶狀空間介入原有廠房的設(shè)計方式，在獲得合理功能空間同時，形成了空間節(jié)奏的變換；同時，新舊材料表達(dá)出清晰的對峙張力，也完成了曖昧而連續(xù)的空間劃分。在減法的部分，屋頂?shù)木植坎鸪龑?shí)現(xiàn)著新舊空間體系的共生，桁架和工業(yè)遺跡的歷史片段一起，暗示出原有的空間架構(gòu)和曾經(jīng)的真實(shí)。

Comments

14 衛(wèi)生間入口處的標(biāo)識/Signs at the entrance of restroom

FAN Yue: Upon skillful renovation, the Original Design Studio gives full play to the aesthetic potential of the old industrial factory building. The former open and closed mode does not restrict the spatial creation, and the factory building becomes a vehicle that shuttles between the interior and exterior spaces. the ingenious spatial restructuring provides a unique perspective for the recognition of spatial elements of industrial buildings. From the whole to the details, the newly introduced architectural elements form an integral whole with the original rough industrial atmosphere; meanwhile, they also express some unexpected innovations from time to time. ZHANG Xinnan: Original Design Studio adopted With moderate modification strategies of "addition" and "reduction", the Original Design Studio achieves a dramatic visual result. For the "additions", the strategy of inserting strip-shaped spaces into the original factory building shifted the rhythm of space while creating rational functioning space. At the same time, the contrast between the old and new materials conveyed a clear tension of confrontation,, and completed the rather vague and consistent space partition. For the "reductions", the process of removing part of the roof covering for courtyard spaces created a chance for the original space system to co-exist with the new; the old timber trusses, together with the historical fragments of industrial trace, implied the original space constitution and the identity of the site.

Original Design Studio, Shanghai, China, 2013

Architects: Original Design Studio, Tongji Architectural Design (Group) Co., Ltd.