厂屋 PLANT HOUSE

项目地址

北京,中国


项目状态

已完成


项目周期

2015年6月 - 2015年9月


建筑面积

2000平米


Location

Beijing, China 


Status

Complete


Duration

June 2015 - September 2015


Gross Area

2000 m²

这是一个兼具办公、研发及展示功能的空间,业主从事视力产品的研发和展示工作,处在创业阶段,预算有限,但希望创造与其产品对应的工业、简洁、冷静的实验氛围。设计伊始,现状空间被很多颜色和材质所占据,混乱的局面已经掩盖了空间的态度和本质。鉴于业主的产品特点及要求,空间设计致力于反映物质原先的本质以及不同材料之间的关系。


这种探究,极似上世纪亚洲艺术与设计体系中的“物派(Mono-ha:强调物质巨大的存在感,使创造活动成为可能,在真实的世界中提示材料本身的存在,并鲜明地呈现。同时期,西方现代艺术家和建筑师则转向极简主义(Minimalism,尤其在现代展示、办公空间中:放弃主观、生命而来的材质,调和出冷静、客观、审视的气质,常用钢铁、镜面、水泥、石板等提炼、组合成的工业材料。有趣的是,这种设计空间气质常被创业者所采用,著名例子有:比尔.休利特(Bill Hewlett)和戴维.帕卡德(David Packard)在车间中建立惠普公司:“这个房间朴素到没有任何颜色;冷静到没有生命的材质,镜面板引入外部光线;材料干净到没有任何吸附力,金属板即抹即清;金属网被固定在墙上,悬挂任何工具及工作表...”这样的情景也出现在乔布斯(Steve Jobs)的创业车间中。


亚洲物派进行着物质表达和关系的探索,西方研究空间所承载的精神属性。埃德蒙.菲尔普斯(Edmund Phelps)在《大繁荣》(Mass Flourishing)书中提到现代创业依赖的激励文化:社会的巨大活力使创业者从小在车间中就被培养出相应的生活态度和信仰,这也使他们容易被这样的机遇和空间吸引:在有限的、物化的空间与条件下,新奇的激动、神秘的诱惑、障碍的挑战,是创业者从物象中获得的新风景和启发。这正是业主想要的。


据此,我对现状空间中不必要的墙体进行了删减,形成更为开放、大面积的空间,在必要的位置悬挂隔板墙或设置推拉墙,增设磨砂玻璃、半透射金属帘以及镜面板等轻型材质。这些材质,既利于快速和高质量地完成加工和施工,也为固化的空间注入实验性格的兴奋剂。由于功能的需要,在大空间的中部,围合出第二重的矩形交流空间。其墙板、门板的装配与开闭形式均为简易的悬挂式和推拉式,只与顶部发生连接和装配,将地面完全解放的同时(地面用透明环氧树脂封盖、打磨,线槽上盖铝板),也推动使用者进入一种轻微不适的状态,使空间随时进入生动的运动情景,获得情绪张力。独立办公室的外墙整体被分解为大小不同、相互错落的小面积矩形平面(可做多台投影的背景墙),环境渲染灯光从板间的缝隙中散发,降解了大面积的墙体尺度。隐喻世界影像从不同角度投射至视网膜上,形成不同成像效果的经典视觉原理。展示区由金属网围合,参观者透过金属网与工作人员即时交流。用钢丝捆绑成粗线状的艺术装置设置其视线高度上,漆为黑色,吸收周边光线。三维空间降解为墙板与网状的二维平面,并在此视线高度上凝结与集结。站在黑色钢丝旁边,可以瞥见空间维度的全部。


现状顶部的管线与线路错综复杂,为了获得完整的形象,主管线区顶部吊置细丝金属网,隔离开管线空间和使用空间,保持竖向视觉的高度、整洁度和轻盈感。照明灯均固定于金属网吊顶上,形成仅占3厘米高的夹层。交通空间上的直线顶灯,引导人群贯穿、流动于办公室内。矩形框灯在大空间中限定了灯下的接待及展示区域。顶部空间颇费周章,金属网、照明层、条形灯、设备管线互相交错、相互贴紧,在平面及高度两个维度中均形成有机整体,最大化使用现状顶部现存的空余,让给使用空间。整个过程,类似大尺寸的精密机械产品研发,对空间的资源进行了最大程度的节省。


空间中抹去不属于物质本身的颜色,在石膏板和金属网白色、灰色的背景主色的基础上,引入金、银镜面板,与冷暖光线形成关联。镜面板设置于空间对景、转折位置以及中间矩形工作间的立面上,反射周边光线与影像,提升繁荣感受和体验。通过精心设计镜面板尺寸与反光度,顺利表达物(存在,existence场(空间,space观者(意识, consciousness之间的关系,它是人群与室内环境的中介。室内事物通过相互依存而获得其应有的位置。设计中不界定物,但根据其应有的存在而获得最佳状态。 通过金、银色的现实镜面板,来往的人群从中审视别人,也审视自己,在观看或工作的同时,回到物化现实,与存在相遇或与存在对峙。


这虽然是一个从事商业经济活动的空间,但设计努力挖掘、发挥亚洲文化重视的感性材料及其紧密组合的可能性,同时发挥西方文化中“车间”空间的最大魅力。



This is a space with multiple functions of office, research, and exhibition, and the owner is engaged in the vision care products area. To start a new venture with a limited budget, he attempted to create a space with an industrial, simple and calm experimental atmosphere corresponding to his products. Initially, the whole space was decorated with many colors and materials, while such chaotic representation covered the essence and attitude of people towards space. Considering the characteristics and requirements of these products, the mission of design was to reflect the original nature of materials and the relationship between different materials.


This kind of exploration is very similar to the "Mono-ha" of the Asian Art and design system in the last century -- it accentuates the enormous sense of the existence of materials, makes creative activities possible, indicates the existence of materials in the real world, and presents them. At the same time, western modern artists and architects turned to "Minimalism", especially in the modern exhibition and office space -- to give up the materials from subjective life and harmonize the sense of calmness, objectivity, and scrutiny. Industrial materials extracted and combined from steel, mirror, cement and stone plate were often used. Interestingly, the way of designing such a space is often adopted by entrepreneurs, like Bill Hewlett and David Packard founded HP in their workshop, “The room was so simple and cool even with no color or lively material, while the mirror panel introduced external light; the material was so clean with no adsorption, and the metal plate stayed stainless after it was wiped; the metal mesh was fixed on the wall, hanging any tools and worksheets... " This kind of scene also appeared in the workshop of Steve jobs. 


The "Mono-ha" in Asia is exploring material expression and relationship, while western research focuses on and the spiritual attribute of space. Edmund Phelps mentions incentive culture of modern entrepreneurship in his book Mass Flouring, “the great vitality of society enables entrepreneurs to cultivate their beliefs and attitude towards life from early childhood in the workshop, which also makes them easily attracted by such opportunities and spaces --with the condition of limited and materialized space, novel excitement, mysterious temptation and the challenge of obstacles act as the new sceneries and inspirations that entrepreneurs get from the images. " This is exactly what the owner wanted.


Hence, the current unnecessary walls were eliminated to frame a space with a more open large area. The hanging partition walls or sliding walls were installed, and light materials like frosted glass, semi-transparent metal curtain and mirror panel were also added to the necessary positions. Not only did these materials rapidly facilitate high-quality processing and construction, but they also infuse the experimental character stimulant into the solidified space. Taking into consideration the need for function, the second rectangular communication space was enclosed in the middle of the large space. The hanging and sliding assembly wall panel and door panel that only connect and assemble with the top completely liberate the ground (the ground was covered and polished with transparent epoxy resin, and the trough was covered with an aluminum plate), and promote the users to enter into an environment with a slight discomfort, where the space could get into entering a vivid dynamic situation at any time with emotional tension. The external wall of the independent office was divided into small scattered rectangular planes (which can be used as backdrops for multiple projections) of different sizes, while the rendering light would emit from the gap between the boards, separating the large-scale wall into pieces. Metaphorical images are projected into sight from different angles, forming the classical visual principles of different imaging effects. The exhibition area is surrounded by metal mesh, through which visitors can communicate with the staff in real-time. With the painted black absorbing the surrounding light, the artistic device bound with steel wire into a thick line is harmonious with sight. The three-dimensional space is degraded into a two-dimensional plane of wallboard and mesh, condensing and aggregating at this height. Standing beside the black steel wire, guests can see the whole space dimensions.


To obtain a complete image to deal with the intricated arrangements of pipelines, fine wire metal mesh is hung on the top of the mainline area to separate the pipeline space and user’s space, and at the same time, maintain the height, tidiness, and lightness of the vertical vision. All lamps are fixed on the metal mesh ceiling to form an interlayer that is only 3 cm high. The linear ceiling lights in the traffic space guide the guests to shuttle back and forth in the office. The rectangular frame lamp in the large space limits the reception and display area under the lamp. The top space is quite complicated where the metal mesh, lighting layer, bar-shaped lamp, equipment, and pipeline stagger on and close to each other, forming an organic whole in the two dimensions of plane and elevation, so as to maximize the use of existing top space and give way to the user’s space. Similar to the development of large-scale precision machinery products, space resources are saved to the greatest extent.


The color that does not belong to the substance itself is erased in the space. As white and gray act as the background color of the gypsum board and metal mesh, the gold and silver mirror panels are introduced to form a connection with the cold and warm light. The mirror panel is installed on the opposite scenery, turning position and the facade of the middle rectangular workshop, reflecting the surrounding light and image while enhancing the sense of prosperity from experience. By elaborately designing the size and reflectivity of the mirror panel, the relationship among "existence", "space" and "consciousness" can be expressed smoothly, which serves as the media between guests and the indoor environment. Things indoor get their proper position through interdependence. There is no accurate definition in the design, instead, the best form is obtained according to its existence. Through the golden and silver mirror panel, the lingering guests look around at others as well as themselves. While watching or working, they return to the materialized reality, in hoping to meet or confront with the existence.


Though this is a space dedicated to business and economic activities, the design strives to explore and give full play to the perceptual materials valued by Asian culture and the possibility of their close combination, and at the same time, to the greatest charm of "workshop" space in western culture.

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