© Fangfang Tian

(3)田芳芳

架构师提供的文本描述。回顾一下，现代美术馆的设计是一项冒险的努力。

Text description provided by the architects. In retrospect, the design of the Modern Art Gallery is a risky endeavor.

工业文明是上海自身现代化发展的重要组成部分。随着后工业时代城市功能的更新，许多工业建筑面临着以某种方式被拆除或改造的命运，成为一个有意义的课题。

Industrial civilization acts as a vital part of Shanghai’s own modernity development. With the renewal of urban functions in the post-industrial age, many industrial buildings are facing the destiny of being demolished or transformed in some way, which becomes a meaningful topic.

 © Fangfang Tian

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在上海，由于工厂的搬迁，有无数的工业建筑成为临时的废墟，其中一些可能会被保留下来，但大部分将被一座新的建筑或公共绿地所取代。然而，随着2017年黄浦江下游开放空间的推广，黄浦江两岸的人们已经意识到保留更多工业建筑的空间和文化价值。

In Shanghai, there are countless industrial buildings being temporary ruins due to the relocation of factories, some of them may be kept, but most will be replaced by a new building or public green space. However, with the promotion of the 2017 Open Space leading down Huangpu River program, people on both sides of the Huangpu river have realized the space and culture value of retaining more industrial buildings.

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2015年前开始的老白都煤仓改造面临着拆除的命运。幸运的是，2015年第一届上海城市空间艺术节在这里设置了一个案例研究子展览空间，主题是由其策展人吕峰和刘宜春作为工业建筑的改造和再利用。

The Laobaidu coal bunker transformation, which began before 2015, was faced with the fate of demolition. Fortunately, in 2015, the first session of Shanghai Urban Spatial Art Festival set here a case study sub-exhibition space which theme was set by its curator, Lu Feng and Yichun Liu as the transformation and reuse of industrial buildings.

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他们利用图像、声音和舞蹈艺术，在部分拆除的煤仓废墟中举办了一场艺术与建筑相结合的空间展览，唤起人们对工业建筑价值的认识，以及将煤仓改造成公共文化空间的意义。

By using images, sounds and dancing art, they performed a space exhibition of the combination of art and architecture called ‘Reload’ in the partly dismantled coal bunker ruins which evoked people’s realization of the value of industrial architecture and the meaning of turning the coal bunker into public culture space.

从此，煤仓的业主及其未来的画廊党意识到工业建筑外观与展示空间相结合的可能性和力量，欣然接受了保留地堡主体空间和结构的改造原则，并将其命名为“现代艺术画廊”。

Since then, the property owner of the coal bunker and its future gallery party sensed the possibility and strength of the combination of crude industrial architecture façade and exhibit space, willingly accepted the transformation principle of keeping the main space and structure of the bunker, and named it ‘Modern Art gallery’.

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然而，展览馆的空间需求远远大于现有的煤仓。为了更好地组织空间，最大限度地减少对现有掩体结构的破坏，在设计中采用了悬吊结构，利用屋顶拆除后留下的上部框架柱支撑一套巨型桁架，然后逐层下垂。

However, the spatial demand for exhibition in the gallery is much greater than that of existing coal bunker. In order to organize better the space and minimize the damage to the existing bunker structure, the suspension structure is adopted in the design, using the top frame column left after the roof demolition to support a set of huge trusses and then to hang down layer by layer.

悬挂式侧板的一侧受上部悬挂结构的竖向应力作用，另一侧作为垂直支撑与原沙坑结构连接。因此，地堡结构展示空间的流通组织得很好，通过这些水平线，原本封闭的仓库与黄浦江景观之间建立了一度缺失的公共联系。

One side of the hanging lateral slab is under the vertical stress from the upper suspension structure and the other side is connected to the original bunker structure as the vertical support. Thus, the circulation of the bunker structure exhibition space is well-organized, and, via those horizontal lines, the once-absent public connection is built up between the originally enclosed warehouse and the view of Huangpu River.

 © Fangfang Tian

(3)田芳芳

稍微交错的侧板既是空间，又是景观，似乎暗示着黄浦江的流动性特征。而v形编织的细长立式臂架为现代美术馆提供了一种特殊的形式语言，使其与现有的上到顶钢桁架楼梯通道形式具有很好的协调性。

The slightly staggered lateral slabs are both space and landscapes, as if they imply the liquidity characteristics of the Huangpu River. And the v-shaped weaved slim vertical boom provide the Modern Art gallery a particular form language, and made it a very good coordination with the existing up-to-top steel truss stair channel forms.

 © Fangfang Tian

(3)田芳芳

煤仓不是一个孤立的结构，而是一个生产实体，在北方附近有长长的高架煤流道。作为黄浦江引水工程中的老白渡绿地景观区，煤仓和高架廊道为我们提供了一个更重要的课题和出发点，如何确保它们的更新成为新的滨江绿地公园的一部分。如何在有效保留现有工业建筑的同时，展现其作为工业文化遗存的历史价值，赋予其新的宣传功能和服务功能，是我们必须解决的问题。

The coal bunker is not an isolated structure, but a production entity with the long elevated coal flowing channel not far away in the north. As the Laobaidu green space landscape area in the Huangpu River leading down project, the coal bunker and the elevated corridor offer us a more important topic and starting point of how to make sure their renewal being part of the new riverside green park. And the task we must solve is how to presenting its historical value as the remnants of the industrial culture and giving it new publicity and serve function while effectively keeping the existing industrial buildings.

 © Fangfang Tian

(3)田芳芳

同时，采用原混凝土框架支撑钢悬挂结构体系，对旧结构、高架桥二级结构进行加固，同时在高架桥下采用玻璃维修空间屋面吊装结构。因此，玻璃结构不再需要垂直支撑，轻的结构和原始的粗糙混凝土结构呈现时间张力，可以达到很大的视觉透明性，极大地保证了景观层面的空间感。

Also, the steel suspension structure system, which used in the high walkway, is supported by the original concrete framework and works as the reinforcement of the old structure, the high walkway’s secondary structure and meanwhile the suspension structure of glass service space roof below the high walkway. Therefore, the glass structures no longer need vertical support and while the slight structure and the original rough concrete structure presenting the time tension it can achieve great visual transparency and extremely ensure the spatial feeling on the landscape level.

如何在黄浦江引水工程中创造一个重要的公共空间节点，而整个煤仓和高架道作为老白都绿地景观的一部分，是满足新文化服务功能的，实现新旧空间关系的平衡是设计过程中一项更有潜力的任务。

How to create an important public space nod in the Huangpu river leading down programme while the entire coal bunker and the high walkway as part of the Laobaidu green space landscape is satisfying new culture service function and achieving the balance between old and new space relationship is a more potential task during the design.

 © Fangfang Tian

(3)田芳芳

高速公路路面，人行道下面的玻璃艺术和服务空间，楼梯，池塘上方蜿蜒曲折的斜坡，巨大的上到三层的钢桁架楼梯，偏转的天桥连接到画廊的二楼平台，连到每层楼的观光平台的咖啡馆，甚至在画廊开业后也是如此，穿过画廊南端的拐弯坡道和公厕，都在形成宣传和新文化的象征，只属于老白渡，这是一艘经过更新后的工业煤轮渡。

The highway pavement, the glass art and service space below the walkway, the stairs, the serpentine zigzag ramp above the pond, the huge up-to-three floor steel truss stairs, the deflecting overbridge connects to the second floor platform of the gallery, the café that links to each floor‘s sightseeing platform even after the opening time of the gallery, the turn-round ramp across the southern part of the gallery and the public toilets, are all forming publicity and new culture symbol that only belongs to Laobaidu, this industrial coal ferry after its renewal.

它有效地结合了画廊的公共功能和原有的工业废墟，为公共空间提供了极高的灵活性，同时满足了画廊的内部功能要求，为画廊的新时代运作带来了新的可能性。

It effectively combines the public function of gallery and the original industrial ruins, and provides extremely high flexibility to the public space while fulfills the interior function request of the gallery, which brings new possibilities to the gallery’s new age operation.

 © Fangfang Tian

(3)田芳芳

从外表上看，人们在沿河经过时，可以看到煤仓漏斗的原始状态，而在内部，除了在里面举行精彩的展览外，不断进入人们视野的旧煤体结构也是另一种永无止境的展示。

From the exterior, people can see the original state of the coal bunker’s funnel when they pass along the river, and in the interior, in addition to the brilliant exhibition is holding inside, the old coal structure that constantly into people’s vision is also the other kind of show that never ends.

它作为现代艺术画廊的空间核心，向人们讲述这个地方的故事。

It works as the space core of the Modern Art gallery and tells people the stories of this place.

 © Fangfang Tian

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Architects Atelier Deshaus

Location Zhangyang Rd, LuJiaZui, Pudong Xinqu, Shanghai, China

Design Team Yichun Liu, Yifeng Chen, Weishi Wang, Wen Shen, Chen Hao, Longhai Wang, Xiaoyi Chen, Jieru Ding, Mengdie Zhou

LDI Tongji Architectural Design and Research Institute

Area 9180.0 m2

Project Year 2016

Photographs Fangfang Tian

Category Refurbishment