场所感与公共性：民生码头八万吨筒仓改造 / 大舍建筑设计事务所

原源 | 2018.01.16 19:00

大舍

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八万吨筒仓是民生码头中最具震撼力的工业遗产，虽然建成时间只有短短的22年，却作为不会再出现的建筑空间类型而具有历史遗产的保护价值。按照艺术史学家阿罗伊斯·李格尔（AloisRiegl）的分类法，它属于“非有意创造的纪念物（UngewollteDenkmal）”。作为曾经的生产建筑，其原本的生产功能在城市的发展进程中逐渐退去，留下的空却建构物已如废墟般存在，这时，曾在这个空间中发生过的劳作不再是关注的焦点，反而是作为废墟的筒仓在建造时其建造逻辑因为背后的工业生产的工具理性而突然成为城市中的野性力量，令人赞叹不已。

The 80,000-ton silo warehouse is the most powerful industrial heritage on Minsheng Wharf. Although having existed for only 22 years, it possesses great conservation value in its extinct architectural typology. According to classification method of Alois Riegl - the Austrian art historian, the silo is something of “unintentional monument (Ungewollte Denkmal).” The previous productive building, while its function in production fading away in the process of urban renewal, has stood as urban relic with the skeleton. The labor once happened in the space has no longer been the focus, but the unexpected wild force in urban context, brought about by the instrumental rationality reflected in the construction logics of industrial production, that stuns.

改造性再利用：找寻工业遗产的恰当用途

对待工业遗产，“更新”的观念与“原真性”保护修缮理念似乎永远存在某种矛盾，而事实上，“原真性”在建筑脱离其原本的时代和社会背景的条件下也是不可再现的——工业遗产的修缮和保护应在延续和保护其历史价值和文化意义的基础上，在新的时代和社会背景中获得新的价值和意义。

There are always certain conflicts between the concept of “renewal” and the conservation principle of maintaining “originality”. In effect, the originality is irretraceable without original time and social background. The renovation and conservation of industrial heritage should be based on reserving and continuing its historic value and cultural meanings, and be given new connotations in new era.

由国际古迹遗址理事会（ICOMOS）澳大利亚国家委员会制定的《巴拉宪章》为文物建筑寻找“改造性再利用”（Adaptive Reuse）的方式越来越受到重视，并在工业遗产保护项目上加以推广。“‘改造性再利用’的关键在于为某一建筑遗产找到恰当的用途，这些用途使该场所的重要性得以最大限度地保存和再现，将对重要结构的改变降到最低限度，并使这种改变可以得到复原”。《巴拉宪章》定义的“改造性再利用”是指对某一场所进行调整使其容纳新的功能，这种做法因没有从实质上削弱场所的文化意义而受到鼓励推广，“寻找恰当的用途”应当成为工业建筑改造的非常重要的前置条件。

The “Adaptive Reuse” of historic buildings proposed by ICOMOS’ The Burra Charter has received greater attention these days and has been promoted in industrial heritage conservation projects. The key in “adaptive reuse” is to “identify a use or combination of uses or constraints on uses that retain the cultural significance of the place. New use of a place should involve minimal change to significant fabric and use…” The “adaptive reuse” defined in the Burra Charter, for its objective of adjusting a place to accommodate new program that does not impair the cultural meaning, is encouraged. “Identification of appropriate use” should be an important prerequisite for transformations of industrial buildings.

last2 暮色中的民生码头大舍建筑设计事务所 — 江景与改造后外观 ©大舍建筑设计事务所

外挂扶梯：建立新时期的时间性与场所感

上海城市空间艺术季主展馆——八万吨筒仓——便是在“改造性再利用”原则下进行的一次空间再利用的积极尝试。以艺术展览为主要功能的城市公共文化空间，是八万吨筒仓寻得的合适功能，它能最大程度地贴合现有筒仓建筑相对封闭的空间状态。

The 80,000-ton silo warehouse, serving as the main exhibition space for 2017 SUSAS, is an active attempt of spatial reuse with the guidance of “adaptive reuse” principle. Public cultural space, for art exhibitions mainly, is a suitable use identified for the silo that accords with its relatively closed spatial image.

连接顶层的螺旋坡道大舍建筑设计事务所 — 连接顶层的螺旋坡道 ©大舍建筑设计事务所

本次艺术季主展馆主要使用筒仓建筑的底层和顶层。由于筒仓建筑高达48米，要将底层和顶层空间整合为同时使用的展览空间，必须组织好顺畅的展览流线，并处理好必要的消防疏散等设施。本次展览流线组织的一个最重要改造动作，是通过外挂一组自动扶梯，将三层的人流直接引至顶层展厅。由是，人们在参展的同时也能欣赏到北侧黄浦江以及整个民生码头的壮丽景观。除了悬浮在筒仓外的外挂扶梯，筒仓本身几乎不做任何改动，极大程度上保留了筒仓的原本风貌，又呈现出“重新利用”所注入的新能量。

The art season this time mainly uses the ground and top floors of the silos. With the height of 48 meters, a nice flow of circulation must be organized so as to integrate these two spaces. The strongest move there is a series of hanging escalators that introduces the people from three different levels directly to the top exhibition hall. Besides the exhibitions, visitors could also enjoy the spectacular views of the north Huangpu River and the entire Minsheng Wharf. The silos per se almost left untouched; thus, a juxtaposition of the new energies instilled and the original façade could be sensed.

云梯内望黄浦江大舍建筑设计事务所副本 — “云梯”内望黄浦江 ©大舍建筑设计事务所

这个改造动作直面筒仓改造的主要矛盾：原本封闭的仓储建筑转化为公共文化空间时，如何获得必要的开放性？如何建立新时期中的时间性与场所感？这组外挂扶梯重新定义了八万吨筒仓的位置：通过引入浦江景色去揭示它坐落在黄浦江边这一事实，并将滨江公共空间带入这座建筑。建筑的公共性由此获得，一种新的时间也被铭刻在旧有的时间上。

Such a move cuts straight into the major conflict faced with silo transformation: how to acquire certain openness when enclosed warehouse is made a public cultural space, and how to establish new senses of time and site? These hanging-escalators undoubtedly resituate the 80,000-ton silos; by introducing the view of Huangpu River, its waterfront position is highlighted and thus the architectural publicness emphasized. The new time is inscribed into the old time.

在时间性后云梯的落日大舍建筑设计事务所 — “云梯”内的落日 ©大舍建筑设计事务所

艺术家展望受邀于外挂扶梯底部进行合作创作，拥有独特拓片肌理的反射不锈钢板作为扶梯的底面装饰，倒映着民生码头周遭的景象，外挂扶梯的巨大体量也因此变得轻盈。

For the bottom plate of the hanging escalator, we collaborated with the artist Zhan Wang to create décor of his signature rugged texture out of reflective stainless steel. It reflects the surrounding context and, in a manner, makes the huge hanging volume lighter.

与艺术家展望合作的云梯底板大舍建筑设计事务所 — 与艺术家展望合作的云梯底板 © 大舍建筑设计事务所

未来，当从江边直上筒仓三层的粮食传送带被改造为自动人行坡道，一个可以从江边直上至筒仓顶层的公共空间得以生成。这一公共空间将成为浦东滨江贯通和民生码头空间更新项目之间的重要纽带，新的公共性得以建立。

In the future, after the grain carrier connecting the riverside and the third floor of silo warehouse gets transformed into automatic pedestrian ramp, a continuous public space will be formed, from waterfront to the top of silo warehouse, as an important bond of East Bund waterfront connection and Minsheng Wharf urban renewal project, and hence new public character be built up.