武漢良友紅坊文化藝術(shù)社區(qū)景觀改造 | UAO瑞拓設(shè)計

^{▲一期改造后的中心區(qū)域 ?趙奕龍}

^{▲原場地中心區(qū)域 ?UAO}

1. 何去何從 

武漢良友紅坊文化藝術(shù)社區(qū)前身是1960年代的老廠房，1990年代又被作為建材市場使用。城市化的進(jìn)程使得這個位于漢口三環(huán)線內(nèi)的廠區(qū)逐步被邊緣化：雜草叢生，建筑破舊，排水不暢等等問題困擾著這個原來的城市“棕地”，也使得這個節(jié)點如同一塊城市傷疤，亟需一場在地“手術(shù)”。但我們究竟是采取完全推倒一鍵重來的置換式“大手術(shù)“，還是如同一些老街改造美圖秀秀式的“磨皮術(shù)”？這兩種模式，是當(dāng)下城市更新改造狀態(tài)下急功近利的慣用手段。

^{The predecessor of Wuhan Liangyou Red Town Cultural Art Community was an old factory building in the 1960s, and it was used as a material market in the 1990s. The process of urbanization has gradually marginalized this factory area within the third ring road of Hankou. Over grown with weeds, dilapidated buildings, drainage system blocked and other problems turned this place into  original urban "brownfield", and it also makes this node looks like an urban scar, which is in urgent need of a "surgery"; however, whether we are adopting a method that completely overthrows and rebuilds or "dermabrasion" like some old street reconstruction-style ? These two models are common used methods for quick success and quick profit in the current state of urban renewal and transformation.}

^{▲原場地周邊環(huán)境 ?UAO}

2018年，上海紅坊集團(tuán)接手這個廠區(qū)的運營，立志將之改造為文化創(chuàng)意企業(yè)的辦公園區(qū)。UAO受紅坊委托，對園區(qū)的景觀及核心建筑ADC藝術(shù)設(shè)計中心進(jìn)行改造設(shè)計。

^{In 2018, Shanghai Hongfang Group took over this area and determined to transform it into an office park for cultural and creative place. UAO was commissioned by Hongfang to renovate the park's landscape design and core building ADC Art Design Center.}

^{▲改造后的園區(qū)景觀 ?趙奕龍}

^{▲ADC藝術(shù)設(shè)計中心 ?趙奕龍}

2. 親與疏 

我?guī)ьI(lǐng)團(tuán)隊第一次看現(xiàn)場的時候，場地原有的法國梧桐，紅磚廠房、坡屋頂紅瓦屋面，內(nèi)部松木桁架，園區(qū)里具有典型80年代的庭院設(shè)施（蘑菇形狀的混凝土亭子，水池里的白鰭豚雕塑）、高聳的紅磚煙囪、水塔等都給人留下了深刻的印象。這些在70-80年代“單位大院“里日常的物件或構(gòu)筑物，突然出現(xiàn)在現(xiàn)代化大都市的核心區(qū)域內(nèi)，莫名就產(chǎn)生了一種距離感，同時又帶給UAO的70-80后的設(shè)計師一種“親切感”：回到自己小時候那種單位大院里生活的一種親切感。

^{When I led my team to see the site for the first time, the original red brick factory building, sloping red tile roof, internal pine truss, and typical garden facilities of the 1980s (the concrete pavilion in the shape of mushroom, dolphin sculptures in the pool), the towering red brick chimneys and water towers also impressed me. These objects were popular in "unit compound" in the 1970s and 1980s. When it appeared in the core area of a modern metropolis, it creating a sense of distance inexplicably, and at the same time it brought UAO's post-70s-80s designer’s kind of “familiarity ": remind us of the “unit compound” life.}

廠房大院的這種距離感與親切感，成為這一次景觀改造的構(gòu)思出發(fā)點——也回答了文章開頭，我們既不能采用置換式的大手術(shù)，也不能采用磨皮式的美容術(shù)——我們采用的是保留親切感的距離感：讓來到這個文化園區(qū)的人感覺到：仿佛回到自己的小時候，細(xì)看之下卻是置于當(dāng)代藝術(shù)的環(huán)境之中；這種對比產(chǎn)生的距離，以及因此延續(xù)的廠區(qū)文脈，能給目前轟轟烈烈的城市更新提供一種新的方式——我調(diào)侃稱之為：“滋補(bǔ)煥新術(shù)”。

^{This sense of distance and familiarity of the factory compound became the starting point for the conception of this landscape transformation—and also answered the beginning of the article. We can neither use replacement nor “beauty surgery” .we would like to make people who come to this place feel if they are returning to their childhood, but under closer inspection they recognized it is truly a contemporary art environment; the distance produced by this contrast, And the continued cultural heritage of the factory area can provide a new way for the current vigorous urban renewal, we call it: "Nourishing and Renewing Technique".}

3. 原廠地數(shù)據(jù) 

廠區(qū)的總體布局，是典型的行列式廠房布局，但各個廠房又是不同年代的建設(shè)產(chǎn)物：有60年代紅磚、單層木桁架和瓦屋頂?shù)膹S房；有80年代多層磚混結(jié)構(gòu)、水磨石外表面的廠房；還有1990年代瓷磚或小馬賽克外表的樓房；更有后來各個租戶自己發(fā)揮加建的臨時建筑。這些單層或多層建筑，被棋盤式的道路劃分成一塊塊面積相對均衡的區(qū)域。

雖然場地密度大體均質(zhì)，但也在兩塊區(qū)域出現(xiàn)了比較大的空地：一塊是進(jìn)主門后，由原有小游園和大車停車場組合成的中心廣場區(qū)域；一塊是在場地東北側(cè)原“板栗倉庫“門前的卸貨區(qū)域。后來的調(diào)查發(fā)現(xiàn)，中心廣場區(qū)域，承載了場地原有停大卡車的功能，空間較大，基礎(chǔ)混凝土厚重；而板栗倉庫門前區(qū)域，因其下是一個地下冷藏庫，所以地上就在后來的”私自加建“過程中幸存下來。

^{The overall layout of the factory area is a typical row-type factory layout, but each factory building is constructed in different eras: there are red bricks, single-story wood truss and tile roofs in the 1960s; there are multi-layer brick-concrete structures and terrazzo in the 1980s; factory buildings with tiles or small mosaics in the 1990s, and temporary buildings built by the tenants themselves. These single-story or multi-story buildings are divided into blocks of relatively large areas by checkerboard shape roads.}

^{Although the density of the site is generally homogeneous, there is also a relatively large open space in two areas of the site: one is the central square area formed by the original small amusement park and the large car parking lot after entering the main entrance, and the other is the unloading area in front of the original "chestnut warehouse" on the northeast side of the site. Later，we found that the central square area carried the function of parking large trucks , with heavy concrete foundation and large space; and the area in front of the chestnut warehouse , Because it was an underground cold storage, so the site survived.}

^{▲改造前的廠區(qū)原貌 ?UAO}

板栗倉庫建筑因為是冷庫，具有和廠區(qū)其他建筑完全不同的特質(zhì)：包裹著灰色水洗石的外立面封閉而厚重，主立面電梯機(jī)房的實體墻面，正對著主入口的軸線。

^{Because the chestnut warehouse is a cold storage, it has completely different characteristics from other buildings in the factory area. The facade covered with gray washed stone and the solid wall of the elevator machine room on the main facade faces the axis of the main entrance.} 

^{▲原兩塊比較大的空地 ?UAO}

^?趙奕龍

4. 設(shè)計就是這樣，反反復(fù)復(fù)找到出口

我自然地構(gòu)思了一條從主入口到老板栗倉庫主墻面的軸線，這條軸線串起了主入口和兩塊主要的空地。因為是一條斜向軸線，也把中心廣場區(qū)域劃分成了兩塊三角形的場地：位于三角形北側(cè)，是原有的花園，填掉花園小池塘，保留高大的原生植物后，改造為一個生態(tài)停車場。

^{I naturally conceived an axis from the main entrance to the main wall of the old chestnut warehouse. This axis strung the main entrance and two main open spaces. Because it is an oblique axis, it also divides the central square area into two. A triangular site: Located on the north side of the triangle, it is the original garden. After filling the small garden pond and retaining the tall native plants, it was transformed into an ecological parking lot.}

^{▲入口生態(tài)停車場 ?趙奕龍}

斜軸線3米寬，用紅磚鋪筑。起點位于大門處，紅磚疊砌的三角形景墻背后覆土，形成了對入口停車場的遮擋。終點直達(dá)板栗廠庫的門前大草坪，中間橫穿一個建筑。

^{The oblique axis is 3 meters wide and paved with red bricks; the starting point is at the gate, and the back of the triangular landscape wall of red bricks is covered with soil, forming a shelter for the entrance parking lot. The end goes straight to the large lawn in front of the chestnut factory warehouse. A building crosses in the middle.}

^{▲良友紅坊入口 ?趙奕龍}

^{▲紅磚鋪筑的3m寬斜軸線 ?趙奕龍}

^{▲三角形景墻 ?趙奕龍}

而斜軸線南側(cè)三角形用地的方案歷程，并不是一蹴而就——因為每個設(shè)計師都會克制不住自己內(nèi)心要“強(qiáng)加給予場地設(shè)計“的沖動。在最開始的方案中，南側(cè)這個三角形被設(shè)計成無邊界水池，希望能夠在場地中間，看到周邊老建筑的倒影。

^{The plan of the triangular land on the south side of the oblique axis does not directly reach the ideal state—because every designer cannot restrain his inner impulse to “impose the site design”. In the original plan, the triangular site on the south side was designed as a borderless pool, hoping to see the reflection of the surrounding old buildings in the middle of the site.}

^{▲設(shè)計過程手稿 ?李濤}

^{▲原無邊界水池方案平面圖 ?UAO}

但這個方案其實是以設(shè)計師自我為中心的“倒影式“秀場設(shè)計。我總覺得不那么合適，但說實話，又舍不得這種作秀。

在隨后的破拆廠區(qū)混凝土廣場改為綠化的過程中，挖掘機(jī)鏗鏘有力的聲音，棱角分明地碎混凝土塊，給了我另外一個靈感：把原來停重型卡車的厚重混凝土整體保留下來！但是如何保留，才能讓觀者知道這個“保留”的設(shè)計意圖？

^{But this scheme is actually a "reflection-style" show design centered on the designer's self. I always feel that it is not so appropriate, but to be honest: I am not willing to be a show;}

^{In the subsequent process of changing the concrete square in the demolished factory area to greening, the sonorous sound of the excavator and the sharply broken concrete blocks gave me another inspiration: that is to keep the heavy concrete that originally parked the heavy truck. , But how to retain so that the viewer can know the design intent of this "retention"?}

^{▲切割混泥土 ?UAO}

中心廣場方案的優(yōu)化，隨著紅坊甲方把位于上海的“花草亭“搬到武漢再建，也逐漸清晰起來。

^{The optimization of the central square plan gradually became clear as the Red Square Party A moved the "Hua Cao Ting" in Shanghai to Wuhan and rebuilt it.}

^{▲藝術(shù)景觀構(gòu)筑物《花草亭》 ?趙奕龍}

花草亭是明星建筑師柳亦春和知名藝術(shù)家展望合作的一個藝術(shù)景觀構(gòu)筑物。幾片寓意為“太湖石”的不銹鋼薄板，支撐著耐候鋼板的屋頂，屋頂上覆土種植了花草；其構(gòu)思巧妙之處在于不銹鋼薄板與屋頂?shù)倪B接若有若無。而屋頂耐候鋼板的通過反梁的設(shè)計，使得懸挑出去的耐候鋼板的輕巧又與屋頂厚重的覆土產(chǎn)生了不安穩(wěn)的對比。所有的設(shè)計，用工業(yè)感和植物來對比和共生；用設(shè)計上的技巧，形成輕、薄的既視感，來“嘲笑”地球重力的小兒科。

我們用什么樣的場地，才能來承載這個“舉重若輕”的藝術(shù)景觀力學(xué)構(gòu)筑物？

新的設(shè)計，從花草亭支撐鋼板的形狀開始，將之拓?fù)涞降孛?，把不?guī)則的切割手法運用到地面混凝土上。這種切割手法，也自然地回答了前面的問題，讓觀者一下明白了混凝土是保留自原場地。

^{Huacao Pavilion is an artistic landscape structure in collaboration with star architect Liu Yichun and well-known artist Zhan Wang. Several stainless steel sheets meaning "Taihu Stone" support the weather-resistant steel roof, and the roof is covered with soil and planted with flowers and plants; the ingenious idea lies in the connection between the stainless steel sheet and the roof. The design of the weather-resistant steel plate on the roof through the reverse beam makes the lightness of the weather-resistant steel cantilevered and the heavy covering of the roof produce an unstable contrast. All designs use industrial sense and plants to contrast and symbiosis; use design techniques to form a light and thin sense of sight, to "ridicule" the pediatrics of the earth's gravity.}

^{What kind of venue can we use to carry this "heavy weight" artistic landscape mechanics structure?}

^{The new design starts from the shape of the supporting steel plate of the flower and grass pavilion, topological it to the ground, and applies the irregular cutting technique to the concrete on the ground; this cutting technique also naturally answers the previous question and brings the viewer I understood that this concrete was kept from the original site.}

^{▲不規(guī)則切割的地面 ?趙奕龍}

不規(guī)則切割后寬窄不一的縫隙，回填土后種植草皮，自然延伸了花草亭的設(shè)計手法，也讓花草亭感覺像就是存在于場地很多年的一件“亦新亦舊”的藝術(shù)品。

^{The gaps of different widths and narrows after irregular cutting, backfilling and planting of sod naturally extend the design of the flower pavilion, and also make the flower pavilion feel like a "new and old" art that has existed in the site for many years Product.}

花草亭的對位，除了處于廣場的中心，它與UAO設(shè)計的園區(qū)的核心建筑ADC藝術(shù)設(shè)計中心的A字入口處于一條軸線上，ADC的中央光軸，也與花草亭的中心對上，這也體現(xiàn)了建筑景觀室內(nèi)一體化設(shè)計的優(yōu)勢。

^{The alignment of the Huacao Pavilion, in addition to being in the center of the square, is on the same axis as the A-shaped entrance of the ADC Art Design Center, the core building of the UAO-designed park. The central optical axis of ADC is also opposite to the center of the Huacao Pavilion. It also reflects the advantages of integrated interior design of architectural landscape.}

5. 關(guān)于場地舊物

親切感的營造，原場地的舊物保留、利用、改造，功不可沒。

首先是保留：保留了紅磚煙囪、水塔、老的木桁架和瓦屋面；具有年代感的雕塑小品，如蘑菇亭、白鰭豚雕塑。

^{The creation of intimacy is indispensable to the use, preservation and transformation of old objects on the site;}

^{The first is to preserve: preserve the red brick chimneys, water towers, old wooden trusses and tiled roofs, preserve chronological sculptures, such as mushroom pavilions and baiji sculptures.}

^{▲紅磚的保留利用 ?趙奕龍}

其次是利用再造：蘑菇亭植入了霓虹燈管，白鰭豚雕塑重新安置在集裝箱里，用樹脂補(bǔ)齊白鰭豚雕塑殘缺掉的部分，一件件兼具歷史感和時代感的新作品就誕生了。包括場地拆下來的紅磚，重新組合成廠區(qū)內(nèi)的花壇、樹池、景墻、以及鋪地。也因為把中心廣場周邊區(qū)域劃分成了步行區(qū)域，原來破損的機(jī)動車道不再使用，混凝土路面分隔縫歷經(jīng)風(fēng)雨已裂痕累累。我們用切割機(jī)將裂縫切開，重新鋪上紅磚，形成了一種材質(zhì)保留和對比的親切感。

^{Secondly, using reconstruction, the mushroom pavilion was implanted with neon tubes, the baiji sculpture was relocated in the container, and the missing part of the baiji sculpture was filled with resin. A new work with a sense of history and time was born; including The red bricks removed from the site are recombined into flower beds, scenery walls, and paving in the factory area; also because the area around the central square is divided into pedestrian areas, the original damaged motor vehicle lanes are no longer used, and the concrete pavement is separated by joints. After wind and rain, there are already many cracks. We cut the cracks with a cutting machine and re-layed the red bricks, forming a kind of intimacy of material retention and contrast.}

^{▲利用再造的白鰭豚雕塑 ?趙奕龍}

^{▲紅磚重新組合的花壇 ?趙奕龍}

^{▲紅磚重新組合的樹池 ?趙奕龍}

^{▲紅磚鋪地 ?趙奕龍}

當(dāng)然也少不了保留墻面的歷史標(biāo)語之類的舉措，但這種表面式的手法，在“舊物再造“這種更高一級的表達(dá)方式面前，轟然碎成了渣。

^{The preservation of old objects, of course, is indispensable to the preservation of historical slogans on the walls, but this superficial approach, in front of a higher level of expression of "reusing old objects", crashed into dregs.}

6. 場所精神 

項目于2019年底基本建成后，紅坊甲方不斷從上海搬運來更多的室外藝術(shù)作品，慢慢將整個園區(qū)勾勒成了處處都是藝術(shù)品的狀態(tài)，也進(jìn)一步加深了感知上的距離感。

^{After the project was basically completed at the end of 2019, Red Square Party A continued to carry more outdoor art works from Shanghai, and gradually filled the entire park into a state of art everywhere, which further deepened the perception. Sense of distance.}

“這種充分發(fā)掘場地的特性、對場地有限度的更新改造，對舊有材料的適當(dāng)重復(fù)利用、其實是針對原有場地特質(zhì)的‘場所精神再造’，親切感與距離感同在。我想我們?yōu)槔瞎I(yè)遺產(chǎn)的更新改造提供了一條更適合的道路?！?/p>

^{"This kind of fully exploring the characteristics of the site, the limited renewal and reconstruction of the site, and the proper reuse of old materials are actually the "spiritual reconstruction" of the original site characteristics. The sense of distance and at the same time. I think we provides a more suitable path for the renewal and transformation of the old industrial heritage."}

——李濤 LI Tao

^?趙奕龍

^{▲中心廣場平面圖 ?UAO}

項目基本信息

_{項目名稱：武漢良友紅坊文化藝術(shù)社區(qū)景觀改造}

_{項目位置：江岸區(qū)丹水池漢黃路32號，武漢}

_{主創(chuàng)設(shè)計師：李濤}

_{參與設(shè)計師：胡炳盛、鄒月琴、童亭、孔繁一、董昊}

_{攝影：此間建筑攝影-趙奕龍}

_{業(yè)主：武漢市良友紅坊文化產(chǎn)業(yè)發(fā)展有限公司}

_{中文：李濤、陳舒婷}

_{版權(quán)聲明：本文版權(quán)歸原作者所有，請勿以景觀中國編輯版本轉(zhuǎn)載。如有侵犯您的權(quán)益請及時聯(lián)系，我們將第一時間刪除。}

_{投稿郵箱：contact@landscape.cn}