卜石艺术馆,上海市徐汇区,上海的袁烽创盟国际公司_辛大业

数字几何的内化空间建造

项目名称：卜石艺术馆
项目地点：上海市徐汇区
建筑面积：约1000平方米
设计/竣工时间：2012/2013
业主：卜石艺术馆
建筑师：袁烽 / 创盟国际
设计团队：韩力，何福孜
摄影：夏至

卜石艺术馆位于上海徐汇的城市高密度复合区域中，由办公空间改建而成。我们的设
计构思试图在不破坏原有建筑外部结构的前提下，将原本单一的办公空间打造成一个
集合展览、会所、办公等多功能的艺术交流展示空间。面对建筑这一内部功能的置
换，我们首先打散了整个建筑空间的叙事逻辑来模糊其使用界面，并将数字几何的概
念引入建筑内部，通过从动线折叠到空间折叠，来完成对于空间逻辑的重塑。

多层次的内容通过面向庭院的中央交通空间而得以组织，老建筑原有的单调线性平层
模式被一个重新置入的非线性空间所重塑。艺术馆中简单的竖向和横向交通动线在这
个空间中交会而彼此影响，相互之间边界的模糊带来了空间的折叠与揉和。连续一体
的几何相位的切换带来的同时是人运动体验的重新定义，倾斜与平衡，连续与边界，
对空间的体验转化为几何性的探讨，复杂的几何关系逻辑打破了传统点线面的层级关
系，但又不是一种简单的失控的随意化处理：踏步、门洞、扶手、板梁，这些可识别
的建筑构件彼此之间构成了微妙而又合理的对位关系，每一个可感知的线条都在空间
中有其逻辑意义上的必然性。而扭转的曲面又将这样的一种必然性弱化，使得参与者
始终在一种“必然/偶然”的中间状态，在一种多元矛盾中感受着体验的趣味。

折叠的动线与旋转而上的形体为艺术馆的底层留出了一个面向庭院的入口大厅，大厅
前方是卜石艺术馆的常规作品展厅，由位于展厅入口旁的楼梯拾级而上是VIP展览空
间，曲面墙体将展厅分成了若干个微空间，也定义了观展的流线，展品被散落地嵌在
了这些流线形的墙体中，在若隐若现之间出现的休憩交流空间满足了VIP展览的功能
需求。展览空间的对面则是与二层室外露台连通的茶室。

数字化建造的手段贯穿整个设计。非线性的度量和几何分解成为建造内容的核心所
在，计算机中抽象的多向度曲面被分解为可控制的CNC可加工片段，而立体的拼接则
通过精确的定位加以控制。曲面化的造型在符合其几何规律的前提下被转化为线性的
加工逻辑。传统二维图纸无法实现的空间表达转化为建造逻辑的表达，整个过程使得
设计思路被从始到终的加以贯彻，而这种数字化放样与CNC加工结合的模式也大大降
低了建造的成本，提高了设计完成的质量和速度。

在这个项目中，光作为游离于几何和建造以外的第三要素，配合折叠的不规则的空间
模块和流线型展厅设计，增加了空间的纬度体验。

Computational Approach to the Fabrication of Geometrical Space

Project Name: Jade Museum
Location: Xuhui District, Shanghai
Area: approx1000㎡
Design/Completion: 2012/2013
Client: Jade Museum
Architect: Philip F. Yuan / Archi-Union Architects
Design Team: Alex Han, Fuzi He
Photography: Xia Zhi

Located in the high-density Xuhui District, in downtown Shanghai, Jade Museum is a
renovation from an office building. For this project we were commissioned to convert
the noncomplex office space into a multi-functional communication art museum on the
premise of keeping the original building structure. Faced with the change in the use of
the building, we first deconstruct the straightforward logic of the space and blur the
functions’ interface. We implement the tools of digital design early in the conceptual
phase, to help us rebuild the logic of space and translate the folding of the circulation
flows into a folding of space itself.

Different layers of functions are organized around the main circulation space, facing the
central courtyard. The simple single-layer mode was redefined with the introduction of a
non-linear space. The simple vertical and horizontal circulation movements influence
each other in the inserted space, the blur of the interface and boundaries make the
space fold and integrated. The circulation flow adapts itself to this incision in the body
of space. The antithesis between sloping and balance, continuity and boundary turns
the simple coexistence of elements into a discussion of geometry. The complex logic of
the staircase form breaks the traditional two dimensional layer relations, but it’s not an
arbitrary treatment out of control: steps, door openings, handrails, beams and roof are
distinguished components of the building structure that have a delicate and reasonable
interconnecting relation. Every perceived line has its logical necessity; but the curving
surface softens this logic, it gives the visitor a feeling between rationale and
randomness, creates an exciting spatial feeling at the edge of conflicting ideas.

The folding of circulation lines and the twisted form of the inserted space create an
entrance on the first floor, which faces the central courtyard. The permanent exhibition
hall is located in front of the entrance. Via the stairs near the exhibition hall, one
reaches the VIP exhibition space. The curving walls divide space into several micro
spaces and also guide the visitors’ flow. The artworks are placed into the curving walls.
Resting and communication space peer from behind these walls. In front of the VIP
exhibition space is the teahouse, which is connected to the outdoors terrace.

Digital fabrication, as a methodology, is implemented throughout the design and
construction process. Non-linear form and geometrical decomposition lie in the core of
fabrication. The abstract multi-dimensional surface generated by the computer is
decomposed into workable and controllable CNC panels; their exact position controls
the 3D assembly. The curving form is transferred into linear machine logic closely
following the geometrical principles. The three-dimensional space that the traditional
two-dimensional drawings cannot express is eloquently expressed through the
fabrication logic. This combination of digital lofting and CNC fabrication reduced the
construction budget and at the same time improved construction quality and speed
without compromising the design integrity.

In addition to geometry and fabrication, light, as a third key-element in design
coordinates with the folding, irregular spatial module and the flowing exhibition hall
design to enhance this multi-dimensional experience.

1.对于这栋建筑的改造设计，有哪些挑战吗?
Can you tell me any particular challenges you encountered with the renovation of the
old building?

首先，建筑是一个生命的过程，改造是在续写建筑的生命。这栋房子最早是一个幼儿
园，后来被改造成一个建筑事务所，这次是它的第三次生命过程。所以，我更愿意把
这次经历看作是和这个房子一起享受生命意义的过程。改造书写的是关于它未来的历
史（history of future)。在此过程中，生命的痕迹才是最有意义的美学。

然后，过程中面对的挑战是，如何在未来博物馆空间的“漫游”体验和原有“Boring"的办
公空间之间找到平衡。我们大胆的将博物馆“行为过程”（behavior performance）操作
成一个找形的工具，并将其翻译成折叠的、不确定的空间体验过程。“暧昧”的边
界、“不确定”的选择与“犹豫”的进入，都发生在一个投影面积只有50平方米的公共空间
当中，设计试图通过最小的空间介入，重新定义属于下一个生命周期的性格特质。

当然，作为建筑师，如何解决结构问题是最大的难题。事实上，在外立面几乎未被改
变的情况下，设计将一栋建筑分离成两个，再通过公共空间将其缝合起来。立面结构
的加固、保护，以及新结构体系的介入称为形式背后非常有趣的内在逻辑。

The practice of architecture resembles the cycle of life, and similarly, renovation is the
continuous writing for architecture. The building used to be a kindergarten and then
renovated by a design firm into their office building. It was an honor to design its life’s
third period. So, I prefer to see this renovation experience as a process of sharing the
building’s life. To renovate means to write the scenario for the future of the building and
of its tenants. In this process, the aesthetic value of the building can be found in the
traces this leaves in space and time. The most challenging thing for our approach was
to realize a wandering experience within the limits of the original plain and
straightforward office space. We use the visitor’s ‘behavior performance’ as a tool to
drive the form finding and help us translate simple space into folding and generate an
uncertain spatial experience. The ‘blur’ of the boundary, the ‘uncertainty’ of choice and
the ‘hesitation’ of entering all take place in the 50㎡of the building’s public space; and
they are the traits that eloquently shape the character of the building for the third period
in its life.

Structure, of course, posed certain difficulties to the project. Essentially, we divide the
building into two parts and then use the inserted public space to re-connect them. That
way, we can keep the original facade but elaborate the interior and create a more
engaging space. The logic in the overall treatment is based on reinforcement and
protection of the façade structure while inserting the new structural system.

2. 你们认为旧建筑有什么值得保留的地方吗？
Were there any successful aspects of the architecture you wanted to keep?

我们的设计保持的是原有建筑与花园的对景与关联，所以，这个房子的现场体验，远
远好过照片。原有建筑环境格局的最大价值，新的场所感（sense of place)其实是建
立在原来基础上的一种升级。

From the very beginning we were very keen on maintaining the relationship between
the central courtyard and the original building. I am afraid the photos you see here do
not do justice to the whole site experience, which is rich and intense. What we wanted
for this project, and I think we were quite successful, was to upgrade the sense of place
and create a new link with the environment.

3. 在你们的“五维茶室”项目中，你们也把楼梯扭了一下。你们从上次的设计中有什么
启发吗？抑或这是你们再一次的尝试？
You have twisted your staircase in the Tea House project. Were there any lessons you
learnt from last time? Or did you try to do something similar again?

我们的实践是建立在研究的基础上的。茶室（tea house）是我们探索空间几何与环境
共生的开始。这次试图建立一种“行为过程“（behavior performance）、”数字几
何“（computation geometry）以及“场所特质“（sense of place）之间的对话与重叠。
Jade Museum应该可以说是茶室（Tea House）的升级版（update version）。这种研
究与实践我们毫无疑问地会坚持下去。

Our applied practice is based on our research. The Tea House coincides with the
beginning of that research and it had to do with finding the harmony between spatial
geometry and environment. For the Jade Museum project, we wanted to create a
dialogue between ‘behavior performance’ and the sense of place through the means of
computational geometry. The Jade Museum is an updated version of the Tea House, in
the sense that our research has led the steps of our practical applications further. We
will continue to combine practice with research upon that same architectural path we
have taken so far.

4. 你们是怎么看待这栋建筑对于艺术品的展示功能的？你们认为最成功的地方在哪
里？
How do you think the building works as for displaying art and which parts do you think
are most successful?

建筑与展品之间是共生的关系。玉石的雕刻讲求的是巧夺天工的意蕴与意境。作为中
国当代玉石雕刻的内涵，关注的是“当代性”与玉石”材料性“之间的一种对话。玉石的气
韵与连绵、至简而大象无形的内在精神，正是业主选择我们设计建筑的原因。我们的
建筑空间正是通过混凝土的朴素材料探索建筑几何空间的本源（fundamental)意义。
非线性的折叠与不确定的关系建立的空间逻辑正是我们的空间哲学与玉石雕刻之间的
桥梁。而这个桥梁的融通正是“当代性”意义所在。

The aim was not simply to create a coexisting association between the building and the
displayed art works, but through architecture to develop a symbiotic relationship; a
bond that would exaggerate the experience already created by such a sensitive yet
intense form of art like sculpture. The work of the artist, transforms Jade, a material with
a rich meaning in the history of China into sophisticated forms that have rhythm and
reveal the material’s internal spirit. Similarly, with our intervention to the building’s
space, we try, through the simplicity of concrete, to unveil the fundamental principles of
spatial geometry. The non-linear folding and the uncertainty in wandering through the
soft forms create a vivid dialogue with the jade sculptures. This tension between the two
highlights the properties of the exhibits and enhances the visitor’s experience.