建筑設(shè)計(jì)：未覺(jué)建筑

在廢墟上重建

水電站美術(shù)館，地處北京密云水庫(kù)，原有建筑是一座廢棄已久的水電站，實(shí)際是一間不足100m2的1960-1970年代的平房。建筑師的設(shè)計(jì)任務(wù)是把這個(gè)小院子改造成一座美術(shù)館，包括陳列3件雕塑展品的永久展廳、文化沙龍、餐飲空間及微型酒店。

水庫(kù)的大壩與水電站通過(guò)一段1100m長(zhǎng)的露天水渠連接，設(shè)計(jì)師選擇將美術(shù)館的輻射范圍延展到水渠，觀展的主入口設(shè)在大壩的渠口，水渠里布置了給藝術(shù)家做藝術(shù)裝置的點(diǎn)位，參觀者需要步行20多分鐘穿過(guò)整條水渠才能進(jìn)入美術(shù)館的內(nèi)部。順著曾經(jīng)水流的方向，穿過(guò)各個(gè)年代遺留的痕跡，緩慢地進(jìn)入水電站的地下機(jī)房，也就進(jìn)入了美術(shù)館的中心庭院。這條水渠是水電站“生命力”的歷史線索，也是開(kāi)啟它新使命的主要路徑。

柔和的新建

現(xiàn)場(chǎng)遺留著不同年代的痕跡，工業(yè)時(shí)期的機(jī)械零件，村居使用的毛石、粘土以及鄰近山腳的片石，與小院里原本生活用的磚房混雜在一起。紅磚、灰磚，甚至十幾年前的瓷磚穿插在一個(gè)場(chǎng)景里，極具時(shí)間性。然而我們并不希望只是簡(jiǎn)單地重塑或是整理這些年代留下的碎片，因?yàn)樾陆ㄖ墓δ苄枨鬅o(wú)法在舊建筑中得到滿(mǎn)足，所以它的目的不應(yīng)該是被用來(lái)縫補(bǔ)缺失了的舊樣貌，而應(yīng)是在尊重周邊環(huán)境的尺度和關(guān)系的基礎(chǔ)上,創(chuàng)作出更適合這個(gè)新場(chǎng)景的建筑。

在尺度和外型輪廓上延續(xù)了周邊建筑的基調(diào)，新建的外立面使用半透明的聚酯纖維板，新建的建筑體無(wú)論由內(nèi)向外、還是由外向內(nèi)都透出漫反射的柔光。用這種新材料的柔與虛對(duì)話現(xiàn)場(chǎng)保留下來(lái)的石頭、舊磚和水泥的硬與實(shí)，目的是想探討新與舊之間的平衡與相對(duì)關(guān)系。

內(nèi)和外

遺憾的是現(xiàn)存建筑的體塊無(wú)法滿(mǎn)足新功能所需的使用面積的要求，于是我們把平面反轉(zhuǎn)，原來(lái)的室內(nèi)部分變成了室外，原來(lái)的室外院落變成了室內(nèi)。原有的水電站，保留了廢棄的設(shè)施、墻體和門(mén)窗，只去掉了水泥平頂，變成了美術(shù)館的室外中心庭院。原有的院落加上了新的頂蓋，變成了美術(shù)館的一層展廳。沿著外部道路的方向水平布局了一個(gè)長(zhǎng)條的展廳，輕柔地“浮”在舊院墻的上端，一條透明玻璃幕墻連接新建筑與舊墻，在視覺(jué)上可以脫開(kāi)新舊的交接，為的是減弱新的體量對(duì)現(xiàn)狀可能有的視覺(jué)壓力。

依托于原始水電站的門(mén)衛(wèi)用房，我們謹(jǐn)慎地布置了9間客房，盡量延續(xù)周邊村居的房屋輪廓和體量關(guān)系，并且將其布置在末端盡量靠近山體，用山體的體量和透視關(guān)系來(lái)弱化有可能對(duì)周邊現(xiàn)存場(chǎng)景的影響。原始門(mén)衛(wèi)用房的小院被保留下來(lái)。一個(gè)新建的鋼樓梯利用水渠與機(jī)房交接的空間設(shè)置，成為客房的入口，利用樓梯的架空，水渠里收集的山泉、雨水通過(guò)新建的水系緩慢地流向美術(shù)館的新入口。水渠的新舊關(guān)系在交錯(cuò)混合中重新組合并且尋找適合的定位。

1 動(dòng)線分析/Traffic fiow analysis

2 場(chǎng)地拆除信息/Site removal information

3 鳥(niǎo)瞰/Aerial view rendering

Built on the Ruins

Tourism in the rural countryside has seen an upturn within China in recent years, with many of the younger demographic finding this a popular alternative to international trips. This has led to a boom in boutique hotel industry implanted in villages, with high demand for an authentic experience. The power station complex was considered an ideal location to renovate due to its proximity to the great wall and natural scenic beauty.

Built during the 1950s-1960s the hydroelectric power station provided electricity for the surrounding farming communities. Water for the hydroelectric station was funnelled from a small man made dam, 1 km upstream along an aqueduct which hugs the mountain ridge. A turbine hall is housed in the basement of a single industrial brick control station and accessible through a single set of stairs. The site was a mixture of the remnants from the recent past. Dormant Industrial machinery,walls of mud brick concrete and rubble, vegetation,previous excavations of mountain faces. The site encompassed homes from the village some inhabited others in a state of dereliction.

Inside Out

waa was tasked in adapting this industrial building and designing the surrounding masterplan scheme with a programme of permanent Gallery to exhibit three main programmes: a salon, a restaurant and a hotel. It was decided to draw out and stretch the time to enter the main cluster. To impart this previously hidden process we engaged visitors to walk the aqueduct, and form a processional route to the building. Visitors enter at the tip of the dam one kilometre away echoing to the historical route of water. A series of site speci fic arts interventions where planned to be curated along this route, and we hoped the experience brings awareness to traces of recent industry and awareness of power generation process.

Unfortunately the existing area of the power station was insufficient to function in its new incarnation and required greater area. The plan was reversed, fiipped inside out so the surrounding site was to be made internal, to maximise the available area of the yard into a ground floor which encompasses a multifunction salon and offices. Memories of the past where enshrined through keeping selected machinery, retaining walls windows from demolished buildings, and perimetres of previous homes and courtyards.The old power station's roof was removed and this now became a focal central courtyard from which all massing orientates towards. A prominent Site speci fic sculpture was commissioned to occupy the centre of this courtyard and access was maintained to the turbine room below, beneath the sculpture.The courtyard can be viewed from the accessible roof. It allows views down to the courtyard, and acts as access to a long linear permanent gallery space, balanced parallel to the road. Sitting parallel to the site constructed in poly carbonate this acts as a beacon in the surrounding valley. Adjacent to the gallery we carefully arranged a cluster of 9 hotel rooms to fit the scale of the existing village context addressing the inner courtyard. These push back to minimise the visual obstruction for the village.Access is granted to the aqueduct from an additional courtyard housing a staircase for roof access. The water path once destined for the turbine has been detached, it spews water into a central pool, a fitting symbolic gesture to the past.

Within such rich context it was easy to mark time through existing layers and traces of past expansions and slap dash fixes. We chose to use semi-translucent polycarbonate, it provides soft internal light and surreal optical effects help to balance a lightness of touch against the rock, brick and concrete whose rough hard remnants dot the site. This new layer for future was not a case of replicating a local vernacular more a sequence of revealing archeological portions of this context in careful order. The design aims to create a balance between change and the awareness of reading time selectively through modern materials.

10 餐廳庭院/Restaurant courtyard