藝倉美術(shù)館及其長廊，上海，中國

建筑設(shè)計(jì)：大舍建筑設(shè)計(jì)事務(wù)所

藝倉美術(shù)館的舊址是黃浦江浦東一側(cè)的老白渡碼頭，也是個煤炭裝卸碼頭。藝倉美術(shù)館的設(shè)計(jì)工作一方面搶救了險些被拆除的工業(yè)遺構(gòu)，另一方面也讓一座美術(shù)館出現(xiàn)在了本不可能出現(xiàn)的地方。

工業(yè)文明是上海城市發(fā)展自身現(xiàn)代性的重要部分。隨著后工業(yè)時代的城市功能的更新，諸多已經(jīng)從城市的生產(chǎn)活動中退場的工業(yè)建筑，作為上海城市發(fā)展史的重要部分，是拆除還是改造以及如何改造，是一個有意義的話題。在上海，有無數(shù)的工業(yè)建筑因?yàn)楣S的搬遷而成為臨時的廢墟，它們有的會保留，大多數(shù)則會被拆除，并在原址建設(shè)新樓，或者變?yōu)楣簿G地。不過在黃浦江的兩岸，隨著2017年浦江兩岸公共空間貫通計(jì)劃的推進(jìn)，人們已經(jīng)意識到將更多工業(yè)建筑保留的空間及其文化價值。

1 從美術(shù)館望向長廊/View from the museum towards the walkway

老白渡煤倉改造于2015年前即已開始，當(dāng)時面臨過險些被拆除的命運(yùn)。恰好在它被拆除的過程中，2015年第一屆上海城市空間藝術(shù)季在這里安排了一個案例展的分展場，策展人馮路和柳亦春以工業(yè)建筑的改造與再利用作為主題，在原本被部分拆除的煤倉廢墟中，借助于影像、聲音和舞蹈，舉辦了一次題為“重新裝載”的藝術(shù)與建筑相結(jié)合的空間展覽，讓人們能設(shè)身處地地意識到工業(yè)建筑的價值，以及將煤倉變身為公共文化空間的意義。煤倉的物業(yè)持有者及其未來美術(shù)館的進(jìn)駐方在這次廢墟中的展覽中看到了工業(yè)建筑粗礪的表面與展覽空間相結(jié)合的可能性與既有空間的力量，欣然接受了基于保留主要煤倉空間及其結(jié)構(gòu)的改造原則，不僅把原來的畫廊升級為美術(shù)館，更是直接將美術(shù)館命名為“藝倉美術(shù)館”。

然而升級后的藝倉美術(shù)館對于展覽空間面積的需求遠(yuǎn)大于現(xiàn)有煤倉的空間面積，為更好地組織空間，并盡可能減小對現(xiàn)有煤倉結(jié)構(gòu)的破壞，設(shè)計(jì)采用了懸吊結(jié)構(gòu)，利用已經(jīng)被拆除屋頂后留下的頂層框架柱支撐一組巨型桁架，并層層下掛，在完成空間拓展和流線組織的同時也構(gòu)建了原本封閉的倉儲建筑所缺乏的與黃浦江景觀之間的公共性連接。

建筑首層是有著8個煤倉漏斗天花的多功能大廳，舊有的結(jié)構(gòu)直接暴露在室內(nèi)，與室外精致的陽極氧化鋁板的外立面形成了鮮明的對比。二層是低矮的由煤料斗的斜面間隔的多媒體展廳。三層是美術(shù)館的主展廳，它利用原來儲煤的8個方形煤斗，相互打通形成了獨(dú)一無二的帶著原本粗糲質(zhì)感的混凝土墻體展廳。四層則又是一個高大空間的展覽廳，原本斜向運(yùn)煤的通道被改造為鋼結(jié)構(gòu)大樓梯可以由室外直達(dá)這一層，從而也為美術(shù)館的多種運(yùn)營和展覽方式提供了多重的人行流線。

舊有結(jié)構(gòu)并未暴露在外，而是深藏在看上去是一個嶄新建筑的核心之中。

美術(shù)館北側(cè)的高架運(yùn)煤廊道長約250m，改造前只留下一排排平行陣列的混凝土排架，間隔有一些垂直方向的橫梁連接。作為老白渡景觀綠地的一部分，整個煤倉和高架廊道在滿足新的文化服務(wù)功能、構(gòu)建新舊關(guān)系并置的同時，如何建立浦江貫通中一處重要的公共空間節(jié)點(diǎn)，是設(shè)計(jì)更為潛在的任務(wù)。高架的步道、步道下的玻璃體藝術(shù)與服務(wù)空間、上下的樓梯、從一方水池上蜿蜒而過的折形坡道、直上三層的鋼桁架大樓梯、在大樓梯中途偏折的連接藝倉美術(shù)館二層平臺的天橋、美術(shù)館在閉館后仍能抵達(dá)并穿越的各層觀景平臺與咖啡吧、穿過美術(shù)館后南側(cè)的折返坡道與公共廁所，這些都在構(gòu)建獨(dú)特的屬于老白渡這個工業(yè)煤炭渡口區(qū)域城市更新后的公共性與新的空間文化形象。它將公共美術(shù)館的功能與原有的工業(yè)遺構(gòu)有效結(jié)合，在滿足美術(shù)館內(nèi)部功能的同時，又賦予公共空間以極大的自由度，這也為美術(shù)館在新時期的運(yùn)營帶來新的可能性。

長廊的設(shè)計(jì)采用了張弦梁加懸吊鋼結(jié)構(gòu)系統(tǒng)，與表面已經(jīng)有一定的風(fēng)化腐蝕的混凝土排架結(jié)構(gòu)相結(jié)合，形成了一個新的整體結(jié)構(gòu)，但是又保持了各自的視覺完整性。它既承擔(dān)了上部廊道的地面結(jié)構(gòu)，也向下掛著玻璃盒體商店的屋頂部分，這既使商店的盒體建筑從構(gòu)架中游離出來，又仍然是結(jié)構(gòu)整體的一部分。這種做法并沒有刻意去強(qiáng)調(diào)既有的結(jié)構(gòu)體，而是使已然廢墟般的結(jié)構(gòu)再次融入新的建造，它使曾經(jīng)的工業(yè)碎片悄然進(jìn)入了上海的日常生活環(huán)境。

Shanghai Modern Art Museum is located on the former Laobaidu Wharf, as a previous coal-loading wharf, along the east side of the Huangpu River.The design, on the one hand, preserved the almost demolished industrial structures, while allowing a museum to occur where it could not have been possible.

Industrial civilisation acts as a vital part of Shanghai's own modernity development. With the renewal of urban functions in the post-industrial age, many industrial buildings are facing the destiny of being demolished or transformed in some way,which becomes a meaningful topic. In Shanghai,there are countless industrial buildings being temporary ruins due to the relocation of factories,some of them may be kept, but most will be replaced by a new building or public green space. However,with the promotion of the 2017 Open Space leading down Huangpu River programme, people on both sides of the Huangpu river have realised the space and culture value of retaining more industrial buildings.

The Laobaidu coal bunker transformation,which began before 2015, was faced with the fate of demolition. Fortunately, in 2015, the first session of Shanghai Urban Spatial Art Festival set here a case study sub-exhibition space which theme was set by its curators, FENG Lu and LIU Yichun as the transformation and reuse of industrial buildings.By using images, sounds and dancing art, they performed a space exhibition of the combination of art and architecture called "Reload" in the partly dismantled coal bunker ruins which evoked people's realisation of the value of industrial architecture and the meaning of turning the coal bunker into public culture space. Since then, the property owner of the coal bunker and its future gallery party sensed the possibility and strength of the combination of crude industrial architecture fa?ade and exhibit space,willingly accepted the transformation principle of keeping the main space and structure of the bunker,and named it "Modern Art Gallery".

However, the spatial demand for exhibition in the gallery is much greater than that of existing coal bunker. To better organise the museum and minimise damage to the building, a large set of trusses have been suspended from the top frame columns, which remain after the roof was removed. Layering the trusses downward,the floor slabs were connected to the suspended hooks on one side and to the original structure of the coal bunker on the other side. It reintegrated the horizons of the Huangpu River landscape and gave a new sense of openness to the previously closed-off warehouse.

3 可穿越的公共空間/Permeable public space

4 原有排架/Existing frame structures

5 原有煤倉/Existing coal hoppers

On the ground level, there is a multi-functional hall where eight coal hoppers are exposed as ceiling. A Sharp contrast is made between the exposed old structure in the interior and the delicate exterior fa?ade of anodised aluminum cladding. A multi-media exhibition hall sits on the second floor, which occupies the interval space in between the coal hoppers. On the third floor, the original walls separating the eight coal hoppers were removed in order to make a main exhibition hall, which is characterised with a unique quality of spatial roughness between concrete walls. On the fourth floor, there is another full-height exhibition hall which is accessible from the exterior through a grand steel stairway transformed from the former coal loading channel, thus providing an alternative circulation for diverse modes of organisation and exhibition for the museum. The preserved structure is not seen from the outside. It is concealed at the core of a seemingly new architecture.

The elevated coal loading channel of Laobaidu Coal Bunkers covers a length of about 250 metres. Before renovation, there was only a row of parallel concrete stubs connected by perpendicular beams at intervals.The newly built walkway serves as an extension to the Modern Art Museum as well as part of the reconstructed public waterfront space along Huangpu River. The upper level of the elevated walkway is used for pedestrians, and the lower level is occupied by art shops and diverse cafés, which both contribute to the public waterfront space. More possible modes of operating the Museum are thus made.

The elevated walkway utilises a structural system combining a beam string and suspended steel structure to combine with the concrete stubs that undergo certain corrosions and weathering on the surface. A new structural entity is achieved by the integration of these two parts, which respectively preserve their own character in appearance. This structural entity, supporting the above-ground part of the elevated walkway as well as suspending the roof part of the glass-made shops, separates the box shape of these shops from the concrete frame while still makes it as part of the entire structure.Instead of underlining the existing structures on the site, this design method is inclined to integrate the ruined structure into new construction. In this way,remaining industrial fragments are reintroduced smoothly into the everyday living environment of Shanghai.

項(xiàng)目信息/Credits and Data

地點(diǎn)/Location: 中國上海浦東老白渡濱江/Waterfront of Laobaidu Wharf, Pudong, Shanghai, China

客戶/Client: 上海浦東濱江開發(fā)建設(shè)投資有限公司/Shanghai Pudong Waterfront Development and Construction Investments Co., Ltd.

設(shè)計(jì)單位/Architects: 大舍建筑設(shè)計(jì)事務(wù)所/Atelier Deshaus

設(shè)計(jì)團(tuán)隊(duì)/Design Team: 柳亦春，陳屹峰，王偉實(shí)，沈雯，陳昊，王龍海，陳曉藝，丁潔如，周夢蝶/LIU Yichun, CHEN Yifeng, WANG Weishi, SHEN Wen, CHEN Hao,WANG Longhai, CHAN Hiongai, DING Jieru, ZHOU Mengdie合作/Collaborators: 同濟(jì)大學(xué)建筑設(shè)計(jì)研究院（集團(tuán)）有限公司/Tongji Architectural Design (Group) Co., Ltd.

建筑面積/Floor Area: 9180 m2

設(shè)計(jì)時間/Design Period: 2016.02-2016.10

竣工時間/Completion Time: 2016.12

攝影/Photos: 田方方/TIAN Fangfang

7 濱江的步道/The riverfront walkway

8 懸吊的玻璃盒子作為商業(yè)空間/Suspended glass boxes as retail space

9 煤倉下主展廳/The main hall under the coal hoppers

10 首層平面/Ground floor plan

11 剖面/Section

評委評語

克里斯汀·菲萊斯：一個部分損毀、部分保留的煤倉被改造成了一座優(yōu)雅的美術(shù)館。通過走廊、樓梯和平臺，原來的工業(yè)環(huán)境轉(zhuǎn)變?yōu)楣部臻g，這里有高品質(zhì)的地景，美麗的江景，令人流連忘返。不同層面的懸臂和壁龕獨(dú)立于建筑之外，使博物館成為了無論是對游客還是對非游客而言都非?？犊某鞘协h(huán)境的饋贈，并且激發(fā)了城市活力。（錢芳 譯）

Jury Statement

Kristin Feireiss: A partly destroyed, partly maintained coal bunker has elegantly been converted into an art museum. Through walkways, staircases and platforms the transformation of the industry area turns it into a public space with landscape qualities, a beautiful view to the water as well as rich possibilities of staying. The cantilevers and niches on different levels make the museum - independently of the building - a generous contribution to the urban context for visitors and nonvisitors, revitalising the city.

12 高架步道/The elevated walkway