陶溪川片區(qū)保護與整治詳細規(guī)劃，江西，中國

1 陶瓷工業(yè)博物館北立面/Northern fa?ade of the museum （攝影/Photo: 姚力/YAO Li）

景德鎮(zhèn)是世界陶瓷產(chǎn)業(yè)的代表城市。經(jīng)過1000余年的陶瓷生產(chǎn)，至今仍保留著豐富的古代和現(xiàn)代工業(yè)遺跡。從2012年開始，在長期系統(tǒng)研究的基礎上，景德鎮(zhèn)開始嘗試將舊工廠的改造作為老城復興的帶動點。而針對陶溪川片區(qū)這一具有歷史意義和優(yōu)越地理位置的區(qū)域的保護與整治詳細規(guī)劃，成為這一歷史事件中的引擎項目。

所涉地點最初是宇宙瓷廠，始建于1950年代初期，并于1990年代末關閉。它是景德鎮(zhèn)最大的瓷器工廠之一，生產(chǎn)日常生活用瓷器產(chǎn)品。該工廠利用各種形式的燃煤、燃油和燃氣技術窯爐，從技術上為現(xiàn)代中國瓷器生產(chǎn)的發(fā)展提供了證明。

陶瓷工業(yè)博物館和美術館被規(guī)劃為該項目的引爆點。這兩座建筑通過保留原始的建筑形式和結構喚起人們的記憶。廢棄的磚塊被仔細地篩選并重新使用于建筑物的外墻和柱子。舊窯爐保存在經(jīng)過翻新的建筑物中，而新的商店則被引入兩側，以在南北向的街道上創(chuàng)造更多活躍的日常活動。從技術上看，為了滿足規(guī)范要求，電梯的玻璃幕墻旨在最大程度地減少新結構對歷史建筑的影響，使新結構與舊結構形成鮮明對比。園區(qū)內其他建筑物也注入了新的用途，例如工作室和畫廊。

整個景觀區(qū)向公眾和周圍社區(qū)開放。在博物館和畫廊之間建立的大面積水景，不僅形成了舊建筑和煙囪倒影的超現(xiàn)實形象，還可以幫助在炎熱的夏天為該場所降溫。

在項目中采用了D（設計）I（投資）B（建造）O（運營）的設計方法，以確保政府、業(yè)主、設計師和社區(qū)密切參與整個過程。該項目吸引了藝術家、工匠，尤其是來自國內外的年輕一代，以及以瓷器藝術和文化產(chǎn)業(yè)為中心的巨大商業(yè)組合，已成為城市振興以及瓷器藝術和手工藝的新驅動力，也在服務業(yè)中為當?shù)厝藙?chuàng)造了大量就業(yè)機會?！?/p>

2 陶瓷工業(yè)博物館和美術館間的水景/Water feature between the museum and the gallery（攝影/Photo: 姚力/YAO Li）

Jingdezhen is a representative city of the world ceramic industry. After a thousand years of the ceramic productions, there remained abundant industrial relics both of ancient and modern. From 2012 onwards, based on a long-time and systematic research, Jingdezhen has begun transforming the old factories into the cutting-edge cultural innovation industries and vibrant urban precinct. TAOXICHUAN Porcelain District, for its historical significance and the premium location, is the engine project.

The site engaged was originally Yuzhou porcelain factory, first founded in the early 1950s and closed in the late 1990s. It was one of the biggest porcelain factories in Jingdezhen, manufacturing porcelain products for daily life. With various forms of kilns of coal-burning, oil-burning, and gas-burning technologies, the factory provides the testimony of the development of porcelain production in modern China in technical terms.

The Ceramic Industry Museum and Gallery were programmed as the tipping point of the project. These two buildings evoke people's memory by retaining the original architectural forms and structures. Wasted bricks were carefully reused to build the exterior walls and columns of the buildings. The old kilns are preserved in the renovated buildings while new shops are introduced into two sides of them to create more active fa?ades along both northsouth running streets and to enable daily activities. Technically, to meet the specifications, a glass fa?ade of the lift is designed to minimise the impact of the new structure which sharply contrasts the new with the old. Other buildings are also adapted to the new uses such as studios and galleries.

The whole landscaped areas are open to the public and the surrounding communities. A large area of water feature was created between the museum and gallery. It not only forms a surreal image of the reflection of the old building and chimney but also helps to cool down the place in the hot summer.

3 保留下來的大樹維持了場所感/Big trees have been kept to maintain the sense of place（攝影/Photo: 張杰/ZHANG Jie）

D (Design) I (Investment) B (Built) O (Operation) methods have been applied in the project to make sure that the government, the owners, the designers, and the communities involved closely in the whole process.

The project has become a new driving point of urban revitalisation and porcelain art and craftmanship by attracting artists, artisans especially the young generations from the country and abroad, and a tremendous mixture of business, centred by porcelain art and cultural industries. A great number of jobs are created for the local people in the service sectors.□

4 項目基地/Project location

5 總平面/Master plan

項目信息/Credits and Data

地址/Location: 中國江西景德鎮(zhèn)新廠西路251號/251 West Xinchang Road, Jingdezhen, Jiangxi, China

客戶/Client: 景德鎮(zhèn)陶瓷文化旅游發(fā)展有限責任公司/Jingdezhen Ceramic Culture Tourism Group

項目主持/Project Principal: 張杰/ZHANG Jie

主持規(guī)劃師/Chief Planner: 霍曉衛(wèi)，劉巖/HUO Xiaowei, LIU Yan

規(guī)劃師/Planner: 滿新，陳惠安，黃維/MAN Xin, CHEN Huian, HUANG Wei

主持建筑師/Chief Architects: 胡建新，李婷/HU Jianxin, LI Ting

建筑師/Architects: 張冰冰，張潔，陳拓，張曉瑋/ZHANG Bingbing, ZHANG Jie, CHEN Tuo, ZHANG Xiaowei DIBO協(xié)調/DIBO Coordinator: 魏煒嘉/WEI Weijia

公司機構/Institue and Firms: 北京清華同衡規(guī)劃設計研究院有限公司遺產(chǎn)保護與城鄉(xiāng)發(fā)展研究中心，北京華清安地建筑設計有限公司，北京中元工程設計顧問有限公司/Beijing Tsinghua Tongheng Urban Planning & Design Institute, Research Centre for Heritage Conservation and Urban-Rural Development; AN-Design Architects; Beijing Zhongyuan Engineering Design Consultants Limited.

總承建/General Contractor: 綠地集團/Greenland Construction Group

用地面積/Site Area: 112,000m2建筑面積/Floor Area: 141,600m2建設年代/Project Year: 2015攝影/Photos: 姚力/YAO Li (fig.1,2,8,9)，張杰/ZHANG Jie (fig.3)

6 項目軸測/Axonometric of the project

8 美術館北立面/North fa?ade of the gallery（攝影/Photo: 姚 力/YAO Li）

評論

李存東：有歷史紀念意義的工業(yè)遺存是城市寶貴的精神財富，標志性的煙囪和成片的廠房自然成為區(qū)域的地標，使項目具有先天的優(yōu)勢。通過既有建筑改造和利用，以及博物館、畫廊等新城市功能的引入，為廠區(qū)帶來了開放性的改變。新舊材料的對比，映射出不同時代的生活和工作場景。有水的景觀設計，使得新舊建筑得以融合，產(chǎn)生出蒙太奇般的藝術氛圍。張利：工業(yè)改造項目，特別是把工業(yè)遺產(chǎn)改造為城市文化創(chuàng)意街區(qū)的項目，考量的是建筑師的兩個素質：其一，閱讀工業(yè)邏輯線索、想象人性化尺度詮釋的能力；其二，忠于歷史真實、控制自我表現(xiàn)欲望的能力。也就是說，在某種意義上，“非我”是工業(yè)遺產(chǎn)改造項目得以氣韻生動、回味悠長的關鍵。

陶溪川瓷器街區(qū)顯然在“非我”方面提供了一種典范：建筑師利用工廠原有豎向元素——大煙囪的標識性，不加修飾地形成整個項目的空間重心（這遠比不少對各種煙囪的“創(chuàng)造性改造”要令人信服）；建筑師準確地閱讀陶溪川工業(yè)遺產(chǎn)的獨特剖面，自然地植入新的功能單元，在柔化工業(yè)邏輯的垂直向宏偉的同時延續(xù)工業(yè)邏輯的水平向線性；建筑師還毫不猶豫地對整個街區(qū)的立面材料進行“按需調整”，既不迷戀于對腐蝕痕跡的過度審美夸張，又不輕慢于對意外對比的刻意戲劇表達。一切源于歷史，形于需求，成于生活。

Comments

LI Cundong: TAOXICHUAN industrial heritage is seen as a spiritual treasure with unique historical significance of the city. The project site benefits from its existing features - the typical chimney and large scaled factory buildings already stand out as the landmark of the area. Through preserving and renovating the old buildings, introducing museums, art galleries and other urban functions, the design of this project has brought revolutionary opportunities for this area. The architecture explores the contrasting new and old materials, echoing the working and living environment from the different times. The landscape design has introduced the use of water to blur the boundary between the existing and new building, together creating an artistic, montage ambience. (Translated by Jue Chen)ZHANG Li: Industrial heritage revitalisation projects, particularly those transforming factories to creative districts, put architects before two serious tests: (1) How well can an architect read and extract the old industrial logic and interpret them with new and human scale spaces. (2) How well can architect restrain him-or-herself from overtly expressions, and focus on the authentic story of the heritage. In one word, the architect's being "ego-less" is the key element of all successful industrial reuse projects, the reason that these projects become so intimate and inviting.

TAOXICHUAN Porcelain District is certainly such a project. The architect is brilliantly "ego-less" in all his interventions: (1) the direct use of the existing dominant vertical element, namely the chimney, which is conspicuously phallic and monumental, as the primary land mark giver (this is way better than many so-called "creative reuse of chimney" projects elsewhere); (2) the accurate reading of the unique section of the TAOXICHUAN factories, and the fittingin of new programme modules, which softens the scale of the building vertically, but adopts and strengthens the linearity of the building horizontally; (3) the honest replacing of fa?ade materials on the bases of programme inside. No quaint nostalgia on the rusty surfaces. No surprise of deliberate contrasts. Just new (or old) materials reflecting what is happening behind them. Everything in TAOXICHUAN Porcelain District owes its origin in history, gets its form from the modern day programme, and makes its success in real world life.

9 此處已變?yōu)樯鐓^(qū)日常生活的一部分/The place becomes a part of the community's daily life（攝影/Photo: 姚力/YAO Li）