项目背景

Background

2017 年 7 月 8 日，“鼓浪屿：国际历史社区”被列入世界遗产名录，成为中国第 52 项世界遗产项目。申遗的成功标志着鼓浪屿更加开放，从空间属性上不再只是厦门的，而是世界的；在时间属性上不再只是过去的，而是未来的。而申遗的成功，也使鼓浪屿更难改变，它的物理架构必须凝固在被法律定义的某一状态上。这种流动的时空和固化的建筑的矛盾只有靠这个地理和物理空间上发生的内容来调和，这使当代艺术的介入成为刚需。

On July 8, 2017, “Kulangsu: Historic International Settlement” was added to the World Heritage Site list, becoming the 52nd World Heritage Project in China.

The success of applying for such designation signifies how Kulangsu became more open and that its spatial attributes belong not only to Xiamen but also the world; in terms of time, it not only belongs to the past, but to the future as well.

In a way, this designation also makes it more difficult to change Kulangsu, for its physical structure must conform to a state defined by laws.

The contradiction between the flow of time and the solidified architecture can only be reconciled by what takes place on its geographical and physical space—making the intervention of contemporary art a necessity.

▼整体鸟瞰，Overall aerial view

在这种时空压缩的背景下，“鼓浪屿当代艺术中心”闪亮登场。它的舞台是个天然的艺术社区：在鼓浪屿西侧远离旅游核心区的海边，坐落着岛上面积最大的公共机构，暨创办于 1952 年的鹭潮美术学校，1958 年更名为厦门工艺美术学校，1960 年更名为厦门工艺美术学院，1963 年更名为福建工艺美术学校，1989 年升级为福州大学工艺美术系，1993 年成立福州大学工艺美术学院，2000 年正式并入福州大学。她是培养一代又一代福建知名艺术家的母校，也随着学子们的事业成功而名扬天下。近年来，学校的教学功能已彻底退场，留下 50 亩空间和 2.2 万平方米的建筑面积，作为鼓浪屿最大的集中管理物业，期待着用更丰富多彩的艺术生产与再生产的内容来华丽转身。

2017 年 10 月，国企联发集团和福州大学签约，接手校园项目改造，将之塑造为新型艺术园区，激活相对封闭的岛屿西部资源，利用后发优势，把申遗成功后的鼓浪屿推向一个新的高度。

2020 年 12 月，凤凰卫视领客文化与联发集团开始合作启动区项目，共同打造“鼓浪屿当代艺术中心”（以下简称 KCCA），带来丰富多元的国际艺术展览、公共艺术计划、跨界艺术展示。随即 URBANUS 都市实践应邀参加 KCCA 的设计工作。

Against a backdrop of space-time compression, Kulangsu Contemporary Art Center (hereinafter KCCA) made its debut. Its stage is a natural art community: on the west side of Kulangsu Island and away from the tourists, it sits in the largest public institution on the island. This institution was founded in 1952 as Luchao Art School; renamed multiple times as Xiamen Arts and Crafts School in 1958, Xiamen Arts and Crafts College in 1960, and Fujian Arts and Crafts School in 1963; it was upgraded to the Arts and Crafts Department of Fuzhou University in 1989; and established later as the Arts and Crafts College of Fuzhou University in 1993. The institution was then formally incorporated into Fuzhou University in 2000. Today, the school is the alma mater responsible for cultivating generations of famous artists from Fujian and has become famous around the world thanks to the success of its students’ careers. The teaching function of the school, however, has been completely disbanded in recent years, leaving 50 mu of empty land and a building of 22,000 square meters. As the largest centrally managed property in Kulangsu, it awaits artistic productions and colorful reproductions to bring about a magnificent transformation.

In October 2017, the state-owned Lianfa Group signed a contract with Fuzhou University to take over the campus renovation and turn it into a new type of arts park. By activating the relatively-closed resources on the island’s west and taking advantage of late development, it is possible for Kulangsu to reach new heights after its successful World Heritage designation.

In December 2020, Phoenix Satellite TV Linke Culture and Lianfa Group began their cooperation to jointly build KCCA, bringing a rich variety of international art exhibitions, public art planning, and cross-disciplinary exhibitions. URBANUS was then invited to help with the KCCA design work.

▼改造后美院前区鸟瞰，Aerial view after renovation

项目挑战

Challenges

鼓浪屿申遗成功后，改造设计趋之若鹜，条件却又异常苛刻，根据《厦门经济特区鼓浪屿历史风貌建筑保护条例》，“不得变动建筑原有的外貌、基本平面布局和有特色的室内装修；建筑内部其他部分允许作适当的变动”。这种条件促使建筑师要有更高明的顶层设计和底层逻辑，最大化利用不可再生的空间资源，利用空间的巧妙梳理来升级迭代既有的物业。

使用方初始选择园区前广场右侧的原教学楼作为 KCCA 展厅。这虽然是个开门见山的合适选择，在校园由外到里改造的时空顺序上也合理，但似乎还不足以发挥这个艺术机构对整个园区和片区所要承担的催化剂作用。

经过现场调研，建筑师意识到要从鼓浪屿整体的物业特征出发来为 KCCA 找到最适合的家。显然，针对几乎都是小尺度的既有房子，大空间是最佳的选项，而在入口广场再往里走的大礼堂正是这样的选项。这是一个在鼓浪屿算是“超大”的建筑，上层是大礼堂，下层是食堂，可能除了鼓浪屿音乐厅之外，再也不可能在岛上找到这样的单一空间了。它坐落于校园边界，外面是通往内厝澳码头的康泰路，还有同步升级园区和社区的区位优势。因此，建筑师将之作为 KCCA 场所的建议也马上得到甲方的认同。

改造后的建筑将下层多柱的原食堂改为美术馆，上层起坡的礼堂改为以平地为主的多功能空间。同时，把这个主体建筑前后的一些房子纳入到 KCCA 的体系，打造一个有别于一般艺术馆的空间序列。

After Kulangsu’s World Heritage designation, its reconstruction has been a topic of great debate since its guidelines are extremely restricted according to the Regulations of Xiamen Special Economic Zone on the Protection of Kulangsu’s Historic Buildings. The regulations state that “the original appearance, plan layout, and distinctive interior decoration of the building shall not be altered; other parts of the building are allowed to make appropriate changes accordingly.” This condition urges architects to employ sophisticated and logical design, maximize non-renewable spatial resources, and upgrade existing properties through the ingenious sorting of space.

The user initially selected the original teaching building on the right side of the park’s entrance square as KCCA’s exhibition hall. Although it seemed like an apparent choice in terms of its own spatial sequence and the campus’ renovation sequence from the outside-in, it as an art organization alone is not sufficient to serve as a catalyst for the entire park and beyond. After an on-site investigation, the architect recognized the need to find the most suitable home for KCCA based on the overall property characteristics of Kulangsu. Obviously, a large space is the best option for almost all existing small-scale houses, and the auditorium near the back of the entrance square—a “super large” building on Kulangsu Island—offered just such an option. While the upper floor houses the auditorium itself, the lower floor served as the cafeteria. Other than the island’s concert hall, a singular space with such potential would be impossible to find elsewhere on the island.

▼一层平面图，First Floor Plan

设计定位

Conception

这样的选址面临着另一个挑战：主体空间位于校园腹部，改造难度在于如何形成一个有趣的空间序列，把人流从前广场引导而来，把现有校园零散、不统一的部件，组成一个有机的体系，串联梳理出完整的空间叙事。

这个叙事在两个方面展开：一方面变成源头活水，让游客在园区里的动线流动起来，形成内循环；另一方面利用边界区位，把外部的区域动线活络起来，形成外循环。这种把小项目往区域环境放大的设计立足点，也是 URBANUS 都市实践最基本的解题方式。

设计策略：

1. 整体上还是个一气呵成的格式塔体系；

2. 每个段落都有各自的主题，使不同环节之间的转换有新的精彩；

3. 因地制宜，用抽象和具象的方式显影出前人埋伏在此地的场所精神；

4. 润物细无声，在不经意之中默默完成极简的改造；

5. 用叠加的历史显示出时间和空间的魅力，并让后续的使用方可以在这个基础上继续叠加新未来。

This new site selection brought about another challenge: situated in the campus’ belly, the difficulty lies in how to form an intriguing spatial sequence that can guide visitors from the entrance square inward; using scattered components of the existing campus, an organic circulation can help formulate a full spatial narrative. This narrative unfolds in two aspects. On the one hand, it should become the fountainhead where tourists flow into the park and creates an internal cycle. On the other hand, the site’s boundary ought to activate external areas to form an external cycle. This strategy of expanding projects beyond its own scale is not only this project’s essence, it is also URBANUS’s most fundamental solution.

This required a unique yet harmonious strategy for distributing space with the following rules:

1. Overall, it is one holistic, gestalt system.

2. Each section has its own theme, made spectacular by the transition in-between.

3. Tailored to local conditions; unearth the place’s spirit intended by its predecessors via abstract and literal means.

4. Silently conveyed, the design should inadvertently complete the minimalist transformation.

5. The project exhibits the beauty of space and time by multiplying history of the site, and allows users to continue applying new opportunities in future upon it.

▼复杂的空间体系，Axon