Doozy Access 艺术空间改造丨中国上海丨泛式建筑事务所

Doozy Access 艺术空间最近委托我们做了一个位于上海龙吴路的仓库美术馆改造，同时很实验性的在施工的过程中邀请了艺术家团体马丁戈雅生意（Martin Goya Business）进行了Doozy Access 的艺术展首秀。此项目为一个500平米的工业厂房改造,如同大部分讲究空间效率的厂房建筑，这个曾经的玻璃加工厂建筑及结构也遵循了这种跟经济效益相匹配的尺度和节奏。纵然，这种绝对的秩序和节奏也有其一定的工业美感，但是在这个项目中，我们试图要局部性的扰乱这种节奏，让其变得片段，不联系，不自然且怪异。

▼改造后人视角，perspective view ©刘松恺

We were commissioned by Doozy Access gallery to reshape an industry warehouse located next to Longwu Road in Shanghai. At the same time artist group Martin Goya Business was invited during the renovation to experimentally curate a first art show in the construction site. This is a warehouse renovation project with an area of 500 square meters. The existing warehouse used to be a glass production factory with two massive concrete beam rows sitting along the building internally. Similar to most of the factories pursuing spatial efficiency and economy, the facade of the building reflects its internal rhythm by repeating window frames in each bay. In this project, however, we attempt to disturb such rhythm by weaving completely different spatial language into it and make the facade fragmentally, incompletely and bizarrely.

▼厂区顶视图，top view ©刘松恺

▼鸟瞰图，bird view ©刘松恺

在整个项目中，我们通过强行插入三个与主体建筑的语言不一致的空间构件，从而扰乱原有规整的建筑立面。三个构件本身的语言也有意不统一，而是与内部巨大的展厅（舞台）及黑色帘幕在空间叙事上联系起来。

Three spatial objects are designed to insert into the existing facade. We deliberately make the language of these objects inconsistent but spatially connected in narrative with the internal stage (exhibition hall) and ‘black curtain’ . 

▼插入三个新的空间体量，new volumes inserted ©泛式建筑事务所

类似老式照相机，一块帘幕中伸出一个镜头，将访客与摄影区幕后空间联系在一起，从而完成一次德加式的幕后窥视。

Similar to the antique camera, the object has a lens popped out from a black curtain to spatially connect visitors and internal ‘backstage’. 

▼猪嘴镜头装置，object of snout lens©刘松恺

▼猪嘴镜头装置近照，object of snout lens©刘松恺

二号构件作为一号镜头概念的延伸，将窥视的透视路径实体化和体量化，在经过堆叠扭曲后穿插进南面外墙。从而作为外来语言强行扰乱了既有窗体结构所统治的墙面秩序，同时完成了仓库内外空间的桥接。

Following the lens concept of the first object, we attempt to solidize the invisible volumes of peeping perspective paths towards the internal stage (exhibition hall) and insert these materialized volumes into the existing wall as foreign language to disturb the original rigid facade.

▼长立面，long elevation ©刘松恺

▼透视路径装置，object of materialized perspective paths ©刘松恺

▼透视路径装置局部，object of materialized perspective paths ©刘松恺

终于来到了建筑的正门。我们抛弃了原有的入口门洞，却保留了其外在形式作为原有建筑的遗留语言，来对抗我们设计的入口堆体装置。窥视的口，就是入口这扇组成堆体装置的300 mm厚的墙门。通过这个低矮洞穴般的入口，建筑内高挑的主体空间戏剧般的暴露在访客眼前。

Finally the main entrance. We seal the original gate but preserve its frame and spatial depth, therefore to create the contrast against the position of our designed entrance object. Passing the cave-like low ceiling hole, the internal grand space reveals. 

▼正门立面，偏轴的堆体，off-axis stacked volume ©刘松恺

建筑内部的巨大空间根据功能需求被想象成了演出剧场，有台前，有幕后。台前成为了艺术策展区，幕后成为了专业摄影办公区。

The grand hall space is imagined as a performance theater, the front stage is the exhibition hall, whereas the office and photography space becomes the backstage, in between the black curtain is the division.

▼看向入口，view of the entrance ©刘松恺

▼从室内看透视路径装置，view of object of materialized perspective paths from interior space ©刘松恺

在原先的设计中，我们设计了一块五彩斑斓的黑色帷幕。每块黑色布料带着其独特的质感，强度和颜色与其他黑色随机构成了整个巨大帷幕。而半露出来的旋转钢楼梯则暗示了幕后的某种空间构成，需由访客想象。但在搭完悬挂幕布的钢架之后，我们放弃了悬挂帷幕的想法，钢架搭建所形成的弧线已足够强烈的暗示了前后台的关系，而因为这个骨架的存在，使得空间使用上的灵活性和临时性被激发，这比单纯的帷幕遮盖更加丰富和深刻。

Originally a colourful black curtain was designed to be made of various fragments of black fabric materials and textures such as cotton cloth, PVC cloth etc. But the idea of fabric curtain was suspended when the curtain structure was erected. The structure with the curving edges is strong enough to imply the relationship between front and back spaces. Meanwhile, the existence of the structure triggers the provisionality and flexibility of space use, which is much more meaningful compared to merely curtain division.

▼黑色帷幕的骨架，skeleton of the curtain ©刘松恺

▼看向白色墙体，view of the white wall ©刘松恺

室内的拍摄是在一场艺术展结束之后，我们通过照片有意记录下现场遗留下来的物品在空间中的痕迹，这是对“日常”的反思，也是对过于精致化的反抗。

The interior photography took place after an art exhibition. We deliberately recorded the trace of space use by not removing any existing items as a confrontational gesture against over refinement and pretentious magazine photos.

▼对日常的反思，the trace of space ©刘松恺

在施工中期，艺术团体马丁戈雅生意（Martin Goya Business）在这个未完成的建筑内部进行了一次实验性的艺术实践，整个建筑内部作为一个立体画布被涂鸦布满。并将一只巨型的充气猫塞进内部巨型空间中，从而呈现出强烈迷幻的异次元气氛。在外墙冷峻简化的体量对比下，犹如两个平行宇宙。当这个艺术实践展览结束之后，白色乳胶漆将覆盖所有涂鸦，整个建筑内部恢复白盒子的状态。从而，我们把整个施工，涂鸦到白漆覆盖过程变成了一个完整的行为艺术实践。

 During the construction, Martin Goya Business (artist group) conducted an experimental art practice by painting graffiti on the entire internal incomplete surface (wall, floor, column etc) with graffiti. After the exhibition all graffiti was washed out completely and all surfaces were painted back to the white. The entire process became an extraordinary performance art.

▼马丁戈雅生意的艺术装置，Martin Goya Business’s art installation ©王莽源 

▼马丁戈雅生意墙壁涂鸦，graffiti of Martin Goya Business ©王莽源

▼马丁戈雅生意展览的内和外，in and out of Martin Goya Business’s art show ©翁非凡

▼正轴测，parallel view ©泛式建筑事务所

▼平面图，plans ©泛式建筑事务所

项目名称: Doozy Access 艺术空间 项目类型：建筑改造 项目地点：上海闵行区 设计单位：泛式建筑事务所（far workshop) 主创建筑师: 王莽源 设计团队完整名单：吴吟韵，杨洋，陈麒羽 业主：Doozy Access 设计时间：2020 建筑面积（平方米）：500 摄影师：刘松恺，王莽源，潘耀楠，翁非凡

▼项目更多图片