設(shè)計(jì)單位? 灰空間建筑事務(wù)所

項(xiàng)目地點(diǎn)? 上海長寧

建成時(shí)間? 2024年12月

建筑面積? 54平方米

本文文字由設(shè)計(jì)單位提供。

上海愚園路旮旯三寶陶藝工作室項(xiàng)目是幾個(gè)建筑師的“旮旯計(jì)劃”的第二個(gè)落成的小房子，其與第一個(gè)成果已經(jīng)相隔3年。這期間也經(jīng)歷了疫情后期以及房地產(chǎn)行業(yè)形勢的持續(xù)走弱，建筑師同時(shí)面臨著許多新的需要處理的問題。和李見深國際陶藝工作室團(tuán)隊(duì)的合作則為這第二個(gè)小房子的運(yùn)營內(nèi)容提供了起點(diǎn)和支點(diǎn)。這篇文章會(huì)逐步將項(xiàng)目的思考和建造的過程進(jìn)行展示。

The Yuyuan Road Hongye Garden Ceramic Art Studio project in Shanghai is the second completed small house in a series of "Nooks and Corners" plans by several architects, with a three-year gap since the first result. During this period, the project encountered the later stages of the COVID-19 pandemic and the continued decline of the real estate sector, while the architects also faced numerous new issues that needed to be addressed. The collaboration with international ceramic artist Li Jianshen’s team provided a foundation for the operational content of this second small house. This article will gradually showcase the thinking and construction process behind the project.

市井氛圍的延續(xù)

Continuation of the Alley Atmosphere

上海的愚園路在近幾年成為了現(xiàn)象級(jí)的網(wǎng)紅打卡目的地，這一方面依賴于愚園路兩側(cè)良好的建筑品質(zhì)以及市井氣息，另一方面政府也在適度引導(dǎo)新的產(chǎn)業(yè)經(jīng)濟(jì)入駐。以宏業(yè)花園為例，靠弄堂口100米內(nèi)的弄堂西側(cè)為舊時(shí)的學(xué)校和廠房，3年前在創(chuàng)邑的統(tǒng)一管理下改造成為充滿活力的創(chuàng)意辦公和社區(qū)公共空間；弄堂東側(cè)為花園洋房及居民自建房，建造歷史從解放前持續(xù)到20世紀(jì)80年代，現(xiàn)在逐漸形成民宅和工作室、零售等功能交融的場所。

In recent years, Yuyuan Road in Shanghai has become a phenomenon-level hotspot for online check-ins. This is partly due to the good quality of buildings on both sides of the street and the lingering alley culture, while the government has also been guiding new industries to settle in. Taking Hongye Garden as an example, the west side of the alley 100 meters from the entrance used to house old schools and factories, which were renovated three years ago under the unified management of Chuangyi to create a vibrant creative office and community public space. The east side of the alley contains self-built residential houses, with a history of construction stretching back to the pre-liberation period and continuing into the 1980s. Today, it has gradually evolved into a place where residential areas, studios, and retail functions blend together.

第一次看場地時(shí)，建筑師就被項(xiàng)目周邊類似村落的豐富界面和似乎停留在上個(gè)世紀(jì)的人際交往方式所打動(dòng)。因此在宏業(yè)花園這樣一個(gè)充滿市井氣息的弄堂里面，期待這個(gè)小空間能延續(xù)街道氛圍，甚至能創(chuàng)造更多讓人們?cè)诖讼嘤鼋涣鞯臋C(jī)會(huì)。

When the architects first visited the site, they were struck by the rich, village-like interfaces surrounding the project and the lingering sense of old-world manners and customs that seemed to belong to the previous century. Therefore, in a lively alley like Yuyuan Road in Shanghai’s Hongye Garden, we hoped to preserve the existing atmosphere in this small space, and even create more opportunities for people to meet and interact.

上海小街道的市井氛圍很多時(shí)候來自于建筑被使用者逐步疊加的改造，其最終形成的模糊的界面可以創(chuàng)造更多意外的驚喜。因此空間界面的形式和材料成為建筑師最開始設(shè)計(jì)的起點(diǎn)。

The lively atmosphere of Shanghai’s small streets often comes from the gradual, additive transformations made by the building’s users. The resulting blurred interfaces can create more unexpected surprises. Therefore, the form and materials of the spatial interface became the starting point for the architects' design.

新增的材料和空間界面不需要將既有的環(huán)境完全掩蓋，而是與其共存形成模糊而融合的新場景。建筑師擔(dān)心改造后的房子在街道上顯得格格不入，希望不論在何種視角下，這個(gè)小房子都是長在這個(gè)場地中的。接手項(xiàng)目前的原建筑立面上貼了面磚后又敷以藍(lán)色涂料，它雖小卻有記憶點(diǎn)，而其他相鄰建筑被統(tǒng)一刷上了米黃色質(zhì)感涂料。與其他朋友談起這個(gè)房子時(shí)建筑師都用“那個(gè)藍(lán)房子”來指代，因此同時(shí)不希望在改造后這個(gè)房子失去了所有特征。

The newly added materials and spatial interfaces don’t need to completely obscure the existing environment, but rather coexist with it to form a blurred and integrated new scene. We were concerned that the renovated house might appear out of place on the street, so we wanted the small house to seem as though it had naturally grown out of the site, no matter the perspective. Before the architects took over, the original building’s fa?ade had been tiled with ceramic bricks and coated in blue paint, which, though small, had a memorable character. The surrounding buildings were all uniformly painted in a beige, textured coating. When talking about the house with others, we referred to it as "the blue house." We didn’t want the renovation to erase all of its distinct features.

底部的紅色手工陶磚及上部的灰綠色膜材，都是在回應(yīng)場地已有的配色和虛掩地遮蓋了一點(diǎn)立面上路過的凌亂的電線，同時(shí)又希望在這個(gè)弄堂里形成新的記憶點(diǎn)。灰綠色的膜材采用了鋼索懸掛的方式，簡單的構(gòu)造節(jié)點(diǎn)也為未來替換為海報(bào)提供了便利。

The newly added materials and spatial interfaces don’t need to completely obscure the existing environment, but rather coexist with it to form a blurred and integrated new scene. We were concerned that the renovated house might appear out of place on the street, so we wanted the small house to seem as though it had naturally grown out of the site, no matter the perspective. Before the architects took over, the original building’s fa?ade had been tiled with ceramic bricks and coated in blue paint, which, though small, had a memorable character. The surrounding buildings were all uniformly painted in a beige, textured coating. When talking about the house with others, we referred to it as "the blue house." We didn’t want the renovation to erase all of its distinct features.

外立面陶磚體量向內(nèi)延伸形成完整的底層空間的基座。其上方則是由陽光板包裹的微尺度的中庭。在中庭挑高空間里，各標(biāo)高的活動(dòng)空間與視線通廊在這里交錯(cuò)，為使用者的偶遇或一瞥創(chuàng)造機(jī)會(huì)。

The ceramic brick volume of the exterior fa?ade extends inward, forming a complete base for the ground-level space. Above it, there is a micro-scale atrium enclosed by polycarbonate panels. Within the atrium’s high-ceilinged space, the different levels of activity areas and sightlines intersect, creating opportunities for users to unexpectedly meet or catch a glimpse of each other.

設(shè)計(jì)建造過程中的精確與模糊

Precision and Ambiguity in the Design and Construction Process

既有建筑面積很小，平面是略不規(guī)則的矩形，尺寸約3.3米（面寬）×7.2米（進(jìn)深）。原建筑共計(jì)兩層，總高度也受限，除坡頂區(qū)外的板底高度僅有5.4米。因上世紀(jì)80年代的原始建造者并非專業(yè)施工隊(duì)，內(nèi)部結(jié)構(gòu)相對(duì)混亂：磚墻、混凝土柱、木梁及木樓板均是受力構(gòu)件。其中木梁與木樓板因腐朽已不再適合繼續(xù)受力需拆除，因此建筑師得以在去除木樓板后的空間內(nèi)規(guī)劃新的功能，包括陶藝工作室所需的展陳空間、休閑空間、睡眠空間，以及服務(wù)空間。

The existing building has a very small floor area, with an irregular rectangular layout measuring approximately 3.3m (width) by 7.2m (depth). The original building consists of two floors, with its total height also limited. The ceiling height, except in the sloped roof area, is only 5.4m. Since the original builders in the 1980s were not professional contractors, the interior structure was relatively chaotic: brick walls, concrete columns, wooden beams, and wooden floors all acted as load-bearing elements. The wooden beams and floors, having decayed, were no longer suitable for carrying weight and needed to be removed. This allowed the architects to plan new functions within the space after the removal of the wooden floors, including exhibition spaces, leisure areas, sleeping spaces, and service areas for the ceramic art studio.

拆除木梁、木樓板以及墻體原飾面層后，原有的建筑尺寸才得以最終顯露出來。而拆除原有梁板的建筑在結(jié)構(gòu)安全性上已出現(xiàn)問題，因此快速調(diào)整方案后，建造的第一步便是加固。新增的鋼框架與整體外墻內(nèi)側(cè)新增的鋼筋網(wǎng)混凝土加固層修正了原來混亂的結(jié)構(gòu)系統(tǒng)。為增加穩(wěn)定性且保證大部分的梁柱截面控制在60×60毫米，盡量不擠占已非常狹窄的室內(nèi)空間，結(jié)構(gòu)師在鋼架的局部增加了斜撐，這些斜撐也為未來空間設(shè)計(jì)提供了新的趣味。

Only after the removal of the wooden beams, wooden floors, and the original surface finishes of the walls did the true dimensions of the existing building emerge. However, the removal of the original beams and floors led to structural safety concerns. After quickly adjusting the plan, the first step in construction was to reinforce the structure. The newly added steel frame and the reinforced concrete layer with a steel mesh on the inside of the external walls corrected the previous chaotic structural system. To increase stability and ensure that most of the beam and column cross-sections stayed within 60x60mm—avoiding further encroachment on the already narrow interior space—the structural engineer added diagonal braces to certain parts of the steel frame. These braces also contributed a new sense of interest to the future spatial design.

建筑三面均與其他民宅相鄰，出于施工期間的安全性考慮，以及滿足城市管理者的相關(guān)規(guī)定，建筑外部的幾處洞口及局部出現(xiàn)的幾處混凝土樓板均未作調(diào)整。其中需要精確處理其同內(nèi)部空間關(guān)系的主要有：建筑入口、二層陽臺(tái)、頂部高窗，以及露臺(tái)通道口，這些空間都與實(shí)際使用關(guān)系密切，其余窗洞的尺寸和位置均可以模糊處理，僅作為采光通風(fēng)的洞口。通過精確定義以上幾個(gè)空間的尺寸，建筑的內(nèi)部空間系統(tǒng)就基本成型了。

The building is adjacent to other residential houses on three sides. Due to safety concerns during construction and in accordance with urban management regulations, several openings on the exterior and a few sections of concrete floors were not altered. The primary areas that required precise handling in relation to the interior space were the building’s entrance, the second-floor balcony, the high windows at the top, and the terrace passage. These spaces are closely related to actual usage, while the dimensions and positions of the other window openings were treated ambiguously, serving solely as openings for light and ventilation. By accurately defining the dimensions of these key spaces, the internal spatial system of the building was essentially shaped.

臨弄堂的建筑入口與北側(cè)的廚房操作臺(tái)、其上方的休閑陽臺(tái)，以及上露臺(tái)的樓梯區(qū)域是最早被確定的空間，因原建筑的入口和其上方的一小塊需保留的混凝土樓板以及露臺(tái)混凝土樓板開口的尺寸限制了建筑調(diào)整的可能性。遠(yuǎn)離弄堂的另一側(cè)則布置了會(huì)客區(qū)、工作區(qū)及睡眠區(qū)，兩側(cè)功能通過穿越陽光板中庭的小橋相連。

The building entrance facing the alley, along with the kitchen countertop on the north side, the leisure balcony above it, and the staircase area leading to the upper terrace, were the first spaces to be determined. The original entrance, a small section of concrete floor above it that needed to be preserved, and the size limitations of the terrace's concrete floor opening restricted the possibilities for modifying the building. On the opposite side, far from the alley, the visitor area, work area, and sleeping area were arranged, with the two sides connected by a small bridge crossing the polycarbonate atrium.

除以上臨建筑邊界的空間之外，剩余空間被定義為一個(gè)挑高的四處開洞的中庭空間。因中庭空間的邊界被其他空間所限制，且沒有具體功能，因此其尺度其實(shí)具有一定的容錯(cuò)性。設(shè)計(jì)師在此處以陽光板包裹中庭，希望由其他空間射入的光在中庭形成朦朧的效果。

Aside from the spaces along the building’s boundaries, the remaining area is defined as a high-ceilinged atrium with openings on all four sides. Since the boundaries of the atrium are constrained by other spaces and it does not have a specific function, its dimensions actually allow for some flexibility. The designer chose to wrap the atrium with polycarbonate panels, hoping that the light entering from other spaces would create a soft, diffused effect within the atrium.

原建筑外輪廓并不是精確的矩形，最大偏差有200毫米，施工過程中所有的誤差均被留在了建筑的盡端，以保證其他部分尺寸的精確性。新增的鋼框架系統(tǒng)也將原有非正交的系統(tǒng)精確化。

The original building's outer outline is not an exact rectangle, with a maximum deviation of 200mm. During construction, all the errors were left at the building’s extremities to ensure the accuracy of the dimensions in the rest of the structure. The newly added steel frame system also refined the original non-orthogonal system.

事實(shí)上，很多展陳空間的搭建也是在建造過程中逐步成型的。如為了給厚度100毫米的陽光板做收邊，設(shè)計(jì)師選用了200毫米寬的金屬條，剩余的寬度正好作為窄邊的陶藝展示平臺(tái)。施工邊角料的玻璃鋼格柵及樺木多層板則有一部分制成的外部座椅，另一部分在空間中搭建了局部的展架。這些模糊而冗余的空間和建筑材料，最終成為定義清晰的展陳空間，也有賴于藝術(shù)家與建筑師在策展前期的緊密配合。

In fact, many of the exhibition spaces were gradually formed during the construction process. For instance, to finish the edges of the 100mm-thick polycarbonate panels, the designer selected 200mm-wide metal strips, and the remaining width was just right for a narrow ceramic art display platform. Some of the leftover fiberglass grating and birch plywood from the construction were used to make external seating, while the rest was used to build partial display racks within the space. These blurred and redundant spaces and building materials ultimately became clearly defined exhibition spaces, thanks in part to the close collaboration between the artist and the architect during the curatorial process.

后記

Afterword

愚園路宏業(yè)花園藝術(shù)工作室作為城市旮旯計(jì)劃的第二個(gè)落成項(xiàng)目，建筑師繼續(xù)關(guān)注城市空間里原本未得到充分重視的小角落，希望通過建筑改造提升空間品質(zhì)，以局部激活城市空間。在這個(gè)項(xiàng)目中，建筑師積極尋求與藝術(shù)家合作植入運(yùn)營內(nèi)容，希望能從更多元的視角對(duì)城市空間活力做出點(diǎn)貢獻(xiàn)。

The Yuyuan Road Hongye Garden Art Studio, as the second completed project of the Urban Nooks and Corners Plan, continues the architects' focus on the small, often overlooked corners of urban spaces. The goal is to enhance the quality of these spaces through architectural renovation and to activate urban areas in a more localized manner. In this project, the architects actively sought collaboration with artists and integrated operational content, hoping to make a contribution to the vitality of urban spaces from a broader perspective.

完整項(xiàng)目信息

項(xiàng)目名稱：愚園路“城市旮旯”空間改造

項(xiàng)目類型：建筑/室內(nèi)

項(xiàng)目地點(diǎn)：上海市愚園路宏業(yè)花園

策劃人：李見深國際陶藝工作室、灰空間建筑事務(wù)所、宋佳威

設(shè)計(jì)單位：灰空間建筑事務(wù)所

主持建筑師：劉漠煙、蘇鵬

設(shè)計(jì)團(tuán)隊(duì)：琚安琪、李園園、雁森、馬玥揚(yáng)、張逸君（實(shí)習(xí)）、劉俊豪（實(shí)習(xí)）

設(shè)計(jì)時(shí)間：2023年6月—2024年6月

建設(shè)時(shí)間：2023年10月—2024年12月

占地面積：27平方米

建筑面積：54平方米

結(jié)構(gòu)顧問：iStructure結(jié)構(gòu)事務(wù)所

施工：上海煜榫裝飾工程有限公司

材料：樺木多層板、法拉利膜、陽光板、玻璃鋼格柵

攝影：存在建筑-建筑攝影、顏翹楚、劉漠煙

版權(quán)聲明：本文由灰空間建筑事務(wù)所授權(quán)發(fā)布。歡迎轉(zhuǎn)發(fā)，禁止以有方編輯版本轉(zhuǎn)載。
投稿郵箱：media@archiposition.com