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1 / 10 study model: 4th floor 研究模型:4樓

gyt gallery | 觀音堂藝術中心

Year | 年份: 2012
Location | 地點: Beijing, China | 中國,北京
Status | 狀態: CD completed | 施工圖完成

Type | 類型: architecture | 建筑
Program | 功能: mixed use | 綜合體
Size | 規模: 20,000 sqm | 20,000 平米
Client | 業主: guan yintang investment cooperation | 北京朝陽王四營農工商總公司

Team | 團隊: Chen Chen (陳忱), Federico Ruberto, Nicola Saladino, Liu Dong (劉動)
2 / 10 concept model: detail 概念模型:細部

This project was commissioned by the cultural development company of Wang Si Ying village, located on the South-East boundary of Beijing. In the last 10 years the area has undergone a radical transformation, from agricultural land to urban outskirt, attracting the interest of several type of financial investors and speculators. The site stands at the side of an important motorway that brings an impressive amount of cars into Beijing. The immediate context is characterized by a typical sub-urban undifferentiated pattern of mega-blocks, in which the only recognizable presence is the clustered space of a golf-club.

3 / 10 concept model: detail 概念模型:細部

Due to the local presence of several art galleries, the neighborhood is trying to brand itself as a center for cultural production and our project is meant to become its new entrance gate. The 20.000sqm block will host a commercial ground floor (mainly focused on art-related products), two floors of offices and art studios, and galleries in the last floor.

4 / 10 concept model 概念模型

Our intervention tries to soberly resolve the client's will to create an iconic (though low-budget) building, avoiding pretentious and unjustifiable moves. Having to deal with the scarcity of money and time availability for its construction, we started the design from the simplest structural system of a box, articulating the facade and the interior spaces through processes of stratification and excavation.

客戶要求建成一座低造價的地標性建筑,我們因而努力避免一切不必要的、做作的設計動作。面對緊張的資金和有限的工期,我們決定從一個方盒子開始,通過增加層次與挖空的方式,形成生動豐富的建筑形態和室內空間。 10.jpg
5 / 10 concept plan 概念平面圖

From the exterior, the mass of the building gradually loses its monumental integrity and the Euclidean volume gradually evolves into a permeable envelope, with big perforations on the facades and the roof, in which the internal programmatic organization plays a substantial compositional role. The rhythm of the external concrete blades loses its objective integrity becoming part of the street-scape, echoing and playing with the dynamism of the highway.

從外表看建筑的形體逐漸淡化其巨大的尺度和絕對的完整性,通過立面和頂面上的體形減法得到的灰空間將其歐幾里得式形體漸漸演變成一個通透的體量,這些灰空間和內部的功能布局息息相關。表皮混凝土板的節奏韻律則是對高架路上高速車流的回應。 11.jpg
6 / 10 axonometry: detail of the courtyards 軸測圖:庭院細部

Whilst establishing subtle links with the adjacent urban fabric and connecting with the existing system of pedestrian networks, the building produces a multiplicity of internal spaces. The programs and floors are arranged and “eroded” with different rates of porosity, creating interesting and unexpected combinations of solid-void masses and allowing moments of spatial looseness in an otherwise rigid and constricted 10 x 10m structural grid.

在與鄰接的城市肌理和現有的步行網絡系統建立微妙連接的同時,建筑的內部空間也產生了多樣性變化。功能與樓層被布局和“侵蝕”成不同程度的通透空間,造成了一種獨特的、意料之外的虛實互文的效果,使僵硬呆板的空間得到一種前所未有的釋放,這一切又完全是在一個10x10m柱網這一最簡單經濟的結構體系中實現的。 09_v3.jpg
7 / 10 general axonometry and transversal section 軸測圖總覽與橫向剖面

The use of glazed surfaces and the dynamic sequence of courtyards (with various degrees of permeability to the outside) creates and ambiguous atmosphere where there is no clear separation or obvious distinction between open and close, interior and exterior, leading to multiple ways of moving, looking, inhabiting the space.

玻璃表面的使用和錯動的天井利用空間不同的通透性營造出一種曖昧的氣氛,開放與封閉、室內及室外的界限開始變得模糊,。人們可以隨意地在空間其中行走、駐足觀賞,享受空間所帶來的豐富體驗。 06.jpg
8 / 10 main exhibition space and internal courtyard 主展覽空間與內部庭院 08.jpg
9 / 10 interior view from the top floor 頂層室內空間視角 07.jpg
10 / 10 view from the adjacent highway 公路視角的項目外觀
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