水电站美术馆 | 工业遗迹变艺术空间

2020/04/17 11:05:00

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场地航拍

图 2018.12 |

Site Drone View

业主提供

水电站美术馆，地处北京的密云水库，原有建筑是一座废弃已久的水电站，实际是一间不足100平米的文革时期的平房。

建筑师的设计任务把这个小院子改造成一座美术馆，包括陈列三件雕塑展品的永久

展厅，文化沙龙，餐饮，及微型酒店。

Built during the

Cultural Revolution

(1950-1960) the hydroelectric Power station provided electricity for the surrounding farming communities.

waa was tasked in adapting this industrial building and designing the surrounding masterplan scheme with a programme of permanent Gallery to exhibit three main programs. A salon, restaurant and hotel functions.

场地航拍

图 2018.12 |

Site Drone View

业主提供

现存建筑的

体

块是

无法满

足

新功能所需的

使用面积的要求，于是我们把平面反转，原来的室内部分变成了室外,原来的室外院落变成了室内。

Unfortunately the existing area of the power station was insufficient to function in its new incarnation and required greater area. The plan was reversed, flipped Inside out so the surrounding site was to be made interna

l, to maximize 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 perimeters of previous homes and courtyards.

场地航拍

图 2018.06

Site Drone View

业主提供

原来的水电站，保留了废弃的设施，墙体和门窗，只去掉了水泥的平顶，变成了美术馆的室外中心庭院。

原来的院落，加上了新的顶盖，变成了美术馆的一层展厅。

The Old PowerStation’s roof was removed and this now became a focal central courtyard from which all massing orientates towards. A prominent Site specific 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.

场地航拍

图

2018.06

Site Drone View

业主提供

现场混合着不同年代遗留下来的痕迹，工业时期的机械零件，村居使用时的毛石，粘土以及邻近山脚的片石，和小院里原本用来生活使用的砖房混杂在一起。

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.

工地照片 2018.06 |

Site Visit

美术馆入口 2018.12

Gallery Entry

水库的大坝与水电站连接的通过一段

1100

米长的露天

水渠，我们选择将美术馆的辐射范围延展到水渠，观展的主入口设在大坝的渠口，水渠里布置了给艺术家做装置艺术的点位，参观者需要步行

多分钟穿过整条水渠才能进入美术馆的内部。

t 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 procession route to the building. Visitors enter at the tip of the dam a kilometre away echoing the historical flow of water. A series of site specific 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.

酒店 20

18.12

Hotel

业主提供

尺度和

外型轮廓上延续了周边建筑的基调，新建的外立面使用半透明的聚酯纤维板，用这种新材料的柔和虚对话现场保留

下来的石头，旧砖和水泥的硬和实，目的是想探讨新与旧之间的平衡

与相对关系。

We chose to use semi-translucent polycarbonate as it’s soft, light and surreal optical effects, balance the rock, brick and concrete whose 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. Creating a balance in the degree of change and the awareness of reading time selectively through modern materials.

阳光板幕墙

18.12

Polycarbonate Cladding

业主提供

我们谨慎的布局了九间客房，尽量的延续周边村居的房屋轮廓和体量关系，并且将其布置在末端尽量的靠近山体，用山体的体量和透视的关系来弱化这一新建有可能对周边现存场景的影响。

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 minimize the visual obstruction for the village.

酒店 2018.12

Hotel

业主提供

场地航拍图 2018.12

Site Drone View

业主提供

这条水渠是水电站曾经的“生命力”的历史线索，也是开启它新的使命的主要路径。

新旧的关系在交错混合中重新组合并且寻找适合的定位。

With such rich context it was easy to mark Time through existing layers and traces of past expansions and slap dash fixes.

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. Creating a balance in the degree of chan

ge and the awareness of reading time selectively through modern materials.