西岸艺术中心，上海，中国

建筑设计：大舍建筑设计事务所

Architects: Atelier Deshaus

西岸艺术中心，上海，中国

建筑设计：大舍建筑设计事务所

Architects: Atelier Deshaus

1外景/Exterior view

西岸艺术中心是由上海飞机制造厂冲压车间的厂房改造而成，是个长达120m、两跨宽度分别为24m和30m、高度15m的巨大厂房，这个巨大的单个空间，给人强烈的安全感和自由感，这在通常的民用建筑尺度下是非常少见的，所以维持这个空间的完整性与尺度感有着特殊的意义。

因为西侧城市道路的原因，厂房西段有4跨被拆除，在恢复抗震柱的同时，设计采用的菱形网状的钢结构网格加强了建筑的侧向稳定性，建筑也借机向城市呈现一定的开放性，西侧是从地铁方向人流到达的方向，一个新的立面，特别是傍晚灯光亮起时如灯笼般的空透，使这个旧有的厂房建立了和周边正在更新重建的城市间的关联。

出于功能的考虑，24m跨这一部分的厂房内设置了夹层，分别通过阶梯看台和一个折行坡道与30m跨的厂房空间形成了闭合的观展流线，于是，一个从夹层高处望向东侧黄浦江的视线需求出现了。厂房东侧的山墙被部分打开，并采用了新的混凝土构架和旧有的抗震柱以及圈梁连结为新的格构，弯折的坡道配合着不同高度、不同方向的视线，联系着龙腾大道和黄浦江的方向，这里，是太阳升起的方向。而完整保留了原有尺度的30m跨的大空间，在朝向城市这一侧，菱形的网格后，每每有红日西沉，这一空间因为落日的风景而强化了与场所的关系。

建筑的东侧和南侧，新增加了钢结构的门廊，为西岸艺术博览会以及其他展览活动提供了必要的辅助设施，并兼顾了来自东西两个方向人流的入口引导。

项目信息/Credits and Data

设计团队/Design Team: 柳亦春，陈屹峰，王龙海，伍正辉，王伟实/LIU Yichun， CHEN Yifeng， WANG Longhai，WU Zhenghui， WANG Weishi

结构与机电工程师/Structural & Electrical Engineers:同济大学建筑设计研究院（集团）有限公司/Tongji Architectural Design （Group） Co.， Ltd.

建筑面积/Floor Area: 10，800m2

基地面积/Site Area: 18，000m2

主要材料/Materials: 混凝土，钢材，玻璃/concrete， steel，glass

造价/Cost: ¥58，000，000

设计时间/Design period: 2014.03-2014.07

建成时间/Completion: 2014.09

2.3模型/Models

4轴测/Axonometric（图纸制作：致正建筑工作室）

1　该项目及周边区域此前面临的突出问题是什么？

该项目周边均为城市发展中的政府存量土地，除了边上西岸集团的办公楼之外，都是待开发的空地，沿着黄浦江，城市的更新由北向南逐渐延展到这个地方。而这个上海飞机制造厂的大厂房一直被闲置在那里，到未来这个地块拍卖开发，期间尚有5～10年的时间，而这个厂房是拆是留也颇有争议。周边道路已经造好，但是环境荒凉，没有人气。

2　采用了哪些方法解决或改善这些问题？

建筑师在与西岸集团进行项目合作时注意到这个空置的大厂房，建议不如想办法先用起来，在一次聊天中，萌发了配合刚刚造好的西岸保税品仓库改造为国际性的艺术博览会的场地，第一届西岸艺博会在10个月内开幕，随后的各种展览、演艺活动不断，与附近的龙美术馆、余德耀美术馆共同构建了西岸的艺术走廊。

3　在设计与实施过程中最大的困难是什么？如何应对？

最大的困难是时间短，从设计到改造建成启用，总共5个月的时间。在有限的时间内，采用切实可行的设计思路，巧用既有的空间，以最小的改动获取使用上的便利与空间上的效果。

4　通过此项设计，该地区的空间品质获得了怎样的提升？

通过此项设计，原本闲置的资源被有效利用，城市荒废的空间重新具有了活力，随着展览活动的不断增加，边上又增建了临时性的西岸艺术与设计示范区，更多的仓库厂房被整理利用，城市环境得到极大的改善，去年以“城市更新”为主题的上海城市空间艺术季的主展场就设在了这里。

5　使用者的反馈是怎样的？

第一次西岸艺术博览会开幕后不久，上海市政府就将这座大厂房列为上海市优秀历史建筑。工业建筑的价值被公众进一步认识。

The West Bund Art Center is housed in the press shop of the former Shanghai Aircraft Manufacturing Factory. The single enormous space， measuring 120m in length and 15m in height， with two spans of 24m and 30m respectively， conveys a strong sense of security and liberty that is rarely seen in the common scale of civil buildings. Therefore， it is of special interest to maintain its spatial integrity and sense of scale.

Four spans in the west part of the original factory building were demolished to make way for the construction of city roads. While restoring anti-seismic columns， the design adopted a steel framework of diamond-shaped mesh to strengthen lateral stability， by means of which the building also presents certain openness towards the city. people arriving by subway enter the building from its west side， making it necessary to provide a new facade. At nightfall when the lights come on， the old factory is illuminated like a huge lantern， its transparency creating a close contact with surrounding urban areas in regeneration.

Out of functional consideration， a mezzanine is added in the 24m-span part of the factory， which，through a terrace and a ramp respectively， forms an enclosed circulation with the 30m-span space.This results in the need for an eastward view from the height of the mezzanine onto the Huangpu River. The east gable wall of the factory is partially opened to fulfill this requirement， and new concrete framework conjoins existing anti-seismic columns and ring beams to form a new grid structure. As it bends and ascends， the ramp creates various visual connections to Longteng Avenue and Huangpu River， where the sun rises. On the other side in the vast 30m-span space that faces towards the city，the sun sets behind the diamond-shaped mesh， a breathtaking scene that contributes to the enhanced relation between the space and the site.

New steelwork vestibules are added to the east and south sides of the building， providing auxiliary facilities necessary for art fairs and other exhibition activities as well as offering guidance for people entering the building from either side. （Translated by LIU Chen）

5.6外立面/Facades

7轴侧图/Axonometric

8.9内景/Interior views

10首层平面/Floor 0 plan

11二层平面/Floor 1 plan

12剖面/Section

评论

林霄：“求人不如求自己”——当周边的城市还不能提供更新的借力点和现成的资源时，建筑自己就要有成为域内主人的魄力。

废弃厂房的大跨度空间作为博展空间，几乎已经成了一种通行的做法，因其通行，故而可行性和经济效益无需多辨，重要的差别在于采取这一做法时的立场和态度——出于无奈的聊胜于无的废物利用？还是让人眼前一亮的如获至宝的创作激情？

人有精气神，由人营造的场所亦如是一脉相承，充满自信的改造本身，就是新的活力源泉。

范路：“虚实双联”及其反转是西岸艺术中心的重要设计策略。艺术中心由两跨车间厂房改造而成，因此建筑两端山墙的双联形象自然出现。在朝东的双联山墙面上，北侧一联以玻璃为主，而南侧则以实墙为主，形成一种“虚实双联”。但在朝西双联山墙面上，虚实关系反转了过来——北侧一联为整面实墙，南侧全是半透明玻璃。这种反转操作带来了形体认知的错觉，并引发了旋转的空间感。这不仅激活了原本僵硬的形体与空间，更让新增的外部门廊和内部划分轻松自然地融入整体。此外，除了虚实关系的反转，两端山墙的气质也不尽相同。东立面上横平竖直的构件和开窗方式强调了结构和空间的确定性，而西立面上“完整白壁与灯笼表皮”的处理则更注重激发观者的想象世界。

Comments

LIN Xiao： "Relying upon oneself is better than upon others" - when the surrounding environment could hardly provide the pivot for renewal or ready-to-use resources， architecture itself should have the boldness to be the owner of the territory.

It has been a common choice for abandoned factories with large-span space to be used for exhibition. particularly for this reason， there is no need to discuss the feasibility and economic benefit，and what really matters is the standpoint and attitude when making this choice - whether it is a perfunctory waste recycling out of frustration， or a burst of creative passion which is bound to shine as a treasure？

Just as people have spirit， space created by people inherits this trait as well， hence a confident reform could present itself as the source of new vigor.

FAN Lu： "The solid-void diptych" with its inversion is the main design strategy in the West Bund ArtCenter project. Since the art center is a renovation of a factory workshop with spans， the two gables of the building share an image of diptych logically. For the east gable wall， the northern part is mainly formed by glass and the southern part is based on solid wall. But in the design of the west façade， the solidvoid relationship is inversed - the northern part is presented as an entirely solid wall and the southern part is fully covered by translucent glass. Thus the inversion of the material arrangement in two gables brings us a delusion when recognizing the building volumes and a sense of rotation when experiencing the space in or around the building. Furthermore，those two façades are of distinct characters. The rigid orthogonal form of elements and openings on the east façade emphasizes the determinate sense of space and structure， while the "white panel and lantern envelope" on the west façade inspire our imagination of the building.

13.14入口加建楼梯/Newly-built stair near the entrance

15内景/Interior view

West Bund Art Center， Shanghai， China， 2014