鞍山·钢美术馆

公司：	SSAD建筑事务所	类型：	建筑 \| 景观 \| 室内
地区：	中国	标签：	艺术中心

△ 建筑外观

主创设计师梁晨：“城市发展更新应强调城市记忆和底蕴，树立文化自信，给公众带来更多的城市归属感。芬兰国宝级建筑师Alvar Aalto说过,建筑是缩小的城市,城市是放大的建筑。因此对于建筑如何再生、激活、赋予新的生命，这关乎城市未来。我们称之为“重塑建筑的权利”。

Liang Chen, the chief designer: “The urban development and renewal should emphasize the memories and heritage of the city, establish cultural self-confidence, and bring more sense of urban belonging to the public. Alvar Aalto, a Finnish renowned architect as a national treasure, said that architecture is a scale of the city, and a city is an amplified architecture. So for how architecture regenerates, activates, gives new life, it is linked with the future of the city. We call it "the right to reinvent architecture.”

△ 项目视频

由梁晨、王世学带领的SSAD建筑事务所设计的建筑改造项目“钢美术馆”已于2022年1月建成，并已投入使用。项目位于鞍山市湖营街3号，原为鞍钢党校俱乐部礼堂，该建筑于1983年11月动工建设，1985年10月竣工并投入使用，内设有730个座位，项目占地约2400㎡，总建筑面积为1050㎡，改造后建筑面积为2130㎡，建筑整体用红砖打造，内部设有展览空间、艺术家工作室、设计工作室、咖啡厅、餐厅等多功能业态。作为鞍山第一座关注当代艺术生态的美术馆，钢美术馆肩负着城市艺术地标，文化共享平台的双重使命。

The architectural renovation project “Steel Art Museum” designed by SSAD Studio led by Liang Chen and Wang Shixue has been completed and put into use in January 2022. The project is located at No. 3 Huying Street, Anshan City, Liaoning Province. It was originally the auditorium of the Ansteel Party School Club. This building was constructed starting from November 1983 and was completed and put into operation in October 1985. It has 730 seats and covers an area of about 2,400 square meters. The total construction area is 1,050 square meters, and the renovated building area is 2,130 square meters. The whole building is made of red bricks. There are exhibition spaces, artist studios, design studios, café bars, restaurants and other multi-functional formats inside. As the first art museum in Anshan City that focuses on the ecology of contemporary art, Steel Art Museum shoulders the dual mission of both an urban art landmark and a cultural sharing platform.

△ 80年代鞍钢党校俱乐部礼堂原貌

“围城效应”下的建筑实践 Architectural practice under the “siege effect”

在轻材料、软文化横流的今天，散发着煤炭气味的硬核钢铁叙事总能引发大众对魔幻主义故事的想象，然而怀旧情结的郁结带来的却是“围城效应”，本土文化的自我消解和新兴文化的冲击失效，简单说就是，旧的走得快，新的进不来。而此次改造在各种主义价值痉挛，传统激活策略孱弱无力的背景下，重新质疑了建筑在普遍社会下呈现的急速异化和世俗化后的谄媚现象，希望在实体创造的基础上，完成对当代性、建筑本体性、城市激活等若干命题在文本上的反思与探讨，从而形成对空间、场域、决策的多维度解读和尝试。

In today's era of prevailing light materials and soft culture, the hard-core steel narrative that exudes the smell of coal can always trigger the public's imagination of magical stories. However, the stagnation of nostalgic complex brings about the “siege effect”, the self-dissolution of local culture occurs and the impact of the emerging culture fails. To put it simply, the old has gone away swiftly and the new has failed to fill in. In the context of the spasm of various ideological values and the weakness of traditional activation strategies, this renovation questioned again the rapid alienation of architecture and the flattery after secularization in the general society. It is expected to complete the reflection and discussion of several propositions in the text form such as contemporaneity, architectural ontology, and urban activation on the basis of physical creation so as to form a multi-dimensional interpretation and attempt of space, field, and decision-making.

△ 改造前建筑鸟瞰

△ 改造后建筑鸟瞰

美术馆作为城市开发的”弱势工具” The art museum as “vulnerable tools” for urban development

项目的开篇始于项目相关者与SSAD建筑事务所对于命名、选址等前期定位所产生的异议，前者对于美术馆当代性的理解通常偏向于崭新的潮流，同时又习惯赘述过多前后缀以明晰化其从属关系或符号化其权威属性；美术馆也多被视为开发区的吉祥物或城市士绅化的武器，然而却似乎外星怪物般，不知如何处置, 大多被“弃置”于待开发荒野，另外作为被凝视的对象，又竭尽全力斩断其与历史文脉的联络，沦为城市开发的工具。

The beginning of the project begins with the disagreement between the project stakeholders and SSAD Studio on the naming, site selection and other preliminary positioning. The former usually biases understanding of the contemporaneity of art museums towards new trends, and simultaneously is accustomed to repeat too many prefixes and suffixes to clarify their affiliation or to symbolize their authoritative attributes. The art museums are often regarded as mascots of development zones or weapons for urban gentrification, but seem like alien monsters, and the people have no idea about how to deal with them, and most of them are “abandoned” in the wilderness to be developed. In addition to being the object of staring, the art museums are cut off the connection with the historical context and become a tool for urban development.

△ 改造后建筑鸟瞰局部

美术馆的在地性表达 The local expression of the art museum

SSAD建筑事务所则期待由其具体属性的模糊化处理所带来的包容性与延展性。单字“钢”既明确又暧昧，从实体出发反而可以引人联想到地域的历史文脉、公共空间的氛围营造、艺术策展的风格趋向等美术馆的抽象品质。而关于选址，设计团队则抛弃了城市边缘依山傍水的广阔视野，将目光投向位于工业城市核心内部，即被80年代国有“老公房”所包围的鞍钢党校俱乐部礼堂，在当时集体主义盛行、城市被工厂吞噬的工业时代背景下，俱乐部礼堂的公共娱乐属性为整个灰蒙蒙的底色抹了一笔艳丽，而此次改造则继承了其开放空间的传统，在有效保留原有工业构筑的基础上，呈现其作为工业文明遗存的历史价值，并将展示、艺术工作室、咖啡厅等多功能复合形成新的公共空间的表达，强调公众使用及“人”与“美术馆”身份的建构，以打开落寞城市重新焕发生机的可能性。

SSAD Studio expects the inclusivity and extensibility brought by the fuzzification of its specific attributes. The single word "Steel" is both clear and ambiguous. Starting from the entity, it can be reminiscent of the abstract quality of the art museum such as the historical context of the region, the atmosphere of public space, and the style trend of art curating. As for the site selection, the design team abandoned the broad vision of the city's edge surrounded by mountains and rivers, and set its sights on the interior of the industrial city, i.e, the auditorium of Ansteel Party School Club surrounded by state-owned "old public houses" in the 1980s. Against the background of the industrial age where the collectivism prevailed and the city was devoured by factories, the public entertainment property of the club auditorium added a splendid touch to the gray background, and this renovation inherits the tradition of its open space. On the basis of effectively retaining the original industrial structure, it presents its historical value as a relic of industrial civilization, and combines multiple functions such as exhibition, art studio, and coffee bar to form a new expression of public space and emphasizes the design of public use and the identity of "people" and "art museum" to open up the possibility of revitalizing the lonely city.

△ 改造后建筑鸟瞰

△ 建筑外观

美术馆的城市表情 The urban expression of the art museum

对来到一个陌生的公共空间或城市的访客来说，现代主义使得美术馆成为模糊性的城市地标，而给予这一团迷雾以图像的首先是建筑的立面，SSAD建筑事务所保留了原有八十年代的现代主义建筑形态，在原建筑结构基础上使用代表老工业基地气息的红砖和耐候钢作为建筑地域元素，运用当代设计逻辑在建筑表皮上使用的“漏”、“平”、“突”的特点，赋予建筑独有气质，打造工业氛围浓厚的艺术发源地。

For visitors who come to an unfamiliar public space or city, modernism makes the art museum an ambiguous urban landmark, and the first thing that gives this ambiguity an clear picture is the building’s facade. SSAD Studio has preserved the original modernist architectural form in the 1980s. On the basis of the original building structure, the red bricks and weathering steel representing the atmosphere of the old industrial base are used as architectural regional elements, and the characteristic of “hollow”, “flat” and “protruding” elements on the building skin by adopting contemporary design logic endows the building with a unique temperament and creates an artistic birthplace with a strong industrial atmosphere.

△ 建筑表皮局部

△ 建筑表皮细部

△ 建筑外观

△ 建筑外观局部

市井间的舞台式入口 The stage entrance among the residences

基地深处居民住宅区，周围的市井气为美术馆天然搭建了多场景切换的奇妙剧场，参观者从西侧的巨型钢质拱门进入室内，仿若穿过雅典神庙的废墟或是登上灯光投射的舞台，从关注他人到在意被他人关注，主客体的瞬间转化伴随着生活化街景与仪式空间的相互过渡，空间交响乐的前奏已然响起。

Deep in the residential area of the base, the surrounding residential atmosphere has naturally built a wonderful theater for the art museum to switch between multiple scenes. Visitors enter the museum from the giant steel arch on the west side, as if passing through the ruins of the Athenian temple or stepping on the projecting lights on the stage. From paying close attention to others to caring about being noticed by others, the instantaneous transformation of subject and object is accompanied by the mutual transition of life-style streetscape and ritual space, and the prelude to the spatial symphony has already sounded.

△ 建筑主入口

△ 主入口局部

△ 楼梯结构分析/Stair structure analysis

双旋楼梯的“视觉暂留” “Persistence of vision” of the double spiral staircase

通过主入口可以看到一个富有装置意味的双旋楼梯，作为室内空间的核心，它是链接两层展厅空间的通道，不仅满足了动线的功能需求，还具有戏剧性的雕塑感，既是空间，也是景观。双旋楼梯始于两个入口，逐渐旋转延伸并在二层释放为单个出口，步履速率的不同使得漫步于两者间的视线不断重叠、交错、互望，而由于身体持续的旋转领先于视线的及时更新，导致视觉逻辑产生暂时性的迷惑，形成了三维空间上动态的“视觉暂留”效果，因此在垂直方向形成了随机式的看与被看的互动式空间体验。

Through the main entrance, a double spiral staircase is presented with rich installation meaning. As the core of the interior space, it is the passage linking the two-story exhibition hall space. It not only meets the functional requirements of the moving line, but also has a dramatic sense of sculpture. It is both a space and landscape. The double-spiral staircase starts from two entrances, gradually rotates, extends and releases into a single exit on the second floor. The difference in walking speed makes the sight lines between the two entrances overlap, stagger, and look at each other continuously, and the consecutive rotation of the body is ahead of the timely update of the sight line, which causes temporary confusion in the visual logic and forms a dynamic “visual persistence” effect in the three-dimensional space, and it thus forms a random interactive space experience of seeing and being seen in the vertical direction.

△ 楼梯结构细部/Stair structure details

△ 一层展厅

建筑本体性的悲剧式反击 A tragic counterattack of architectural ontology

现代主义的不断“侵蚀”加速了建筑本体的异化，而关于楼梯的“传说”也逐渐被遗忘，古典主义曾将楼梯作为空间舞台在图纸上反复描摹，而曾经的现代主义也把其作为空间要素比肩楼板、柱子。然而建筑的商品化却带来对空间利用率的狂热追逐，使其逐渐埋没于建筑的一隅或作为消防楼梯成为应付规范的教条式角色，忽视其作为空间元素成为空间主角的可能性。此次改造将楼梯作为空间“绝对的主人公”，赋予其“英雄主义色彩”，取消其他墙壁、柱子等对空间的划分占有，让其在舞台正中央扭转身姿，拔剑起舞，宣告主权。

The continuous “erosion” of modernism has accelerated the alienation of the architecture noumenon, and the “legend” about the stairs has gradually been forgotten. Classicism once used the stairs as a space stage to repeatedly describe on the drawings, and the former modernism also used it as a space element, comparable to the floorslab and the column. However, the commercialization of architecture has brought about the fanatical pursuit of space utilization, which makes gradually buried in a corner of the building or as a fire stair to become a dogmatic role in coping with norms and ignores the possibility of it becoming the protagonist of space as a space element. In this renovation, the staircase is regarded as the “absolute protagonist” of the space, which entitles it to be a "heroic color" and cancels the division and occupation of the space by other walls and pillars so as to allow it to reverse its posture in the center of the stage, play a sword-dance, and declare its sovereignty.

△ 一层展厅

△ 楼梯细部

原生结构的朴素表达 Naive expression of native structure

对于原有建筑，SSAD 建筑事务所选择朴实暴露原有的桁架结构，桁架结构附有的工业属性给予空间尺度以合理性，而视觉上平滑的线性钢结构与粗砾的红砖墙面呈现独特的空间张力，保留历史原貌的同时为整体视觉效果加噪，成为空间直观体验的一部分，并以“遗迹”之姿介入空间，激发参观者对于工业遗产的集体记忆和归属感。

For the original building, SSAD Studio chose to simply expose the original truss structure. The industrial properties attached to the truss structure give rationality to the spatial scale, while the visually smooth linear steel structure and the rough red brick wall present a unique space tension. While preserving the original historical appearance, it adds noise to the overall visual effect, becoming part of the intuitive experience of the space, and intervening in the space as a “relic” to stimulate the visitors’ collective memories and sense of belonging to the industrial heritage.

△ 二层展厅

△ 通道分析图

△ 内部通道

△ 工作室入口局部

△ 工作室局部

△ 工作室区域分析图

△ 工作室

△ 家居细部

△ 工作室局部

△ 餐厅区域分析

△ 美术馆咖啡厅

△ 美术馆咖啡厅局部

△ 美术馆餐厅走廊

景观视野的多维展开 Multidimensional expansion of landscape vision

建筑南侧是一个独立庭院，SSAD 建筑事务所保留了原有的庭院大树，打通墙院，用耐候板以45度角的方式进行排列，形成百叶窗效果。在临街上能透过大树看到若隐若现的建筑。庭院景观运用静水设计，在静水景观中倒映着建筑与树的关系，视野缓缓展开，整个画面形成立体多维的空间意象呈现在我们眼前。设计团队考虑到北方气候特点，在冬季，静水池内侧变成由片岩堆叠的池底，形成旱地景观。

On the south side of the building lies an independent courtyard. SSAD Studio preserved the existing trees in the courtyard, opened up the courtyard walls, and arranged weathering boards at a 45-degree angle to form a shutter effect. On the street, the looming building can be seen through the tall trees. The courtyard landscape is designed with still water, and the relationship between the building and the trees is reflected in the still water landscape. With the slow unfolding of the field of vision, the entire picture forms a multi-dimensional spatial image presented in front of our eyes. The design team took into account the characteristics of the northern climate. In winter, the inner side of the still water pool becomes a pool bottom stacked with schists, forming a dryland landscape.

△ 庭院景观

△ 庭院围墙细部

△ 庭院景观局部

主创设计师梁晨：对于城市建设来说，不是推倒重建，而是要赋予这座城市的“再生”性。对于“再生”这个词我是很喜欢的，他具有生命力，具有生命力的事物我还是充满着好奇心的。70-90年代的建筑在不久的将来都会变成我们的历史建筑，这些承载着一座城市记忆的建筑，可能在功能业态上已被当下的城市发展所淘汰，但并不代表记忆理所当然的抹去，我们应该给予保护。虽说“一代人终将老去，但总有人正在年轻”，这就是传承。谁也不会一出生就是祖宗辈的，祖宗也需要一代一代的后辈来完善补充，成为真正意义的文化传承与积淀。

Liang Chen, the chief designer: for urban construction, it is not to tear down and rebuild, but to give the city a “regeneration”. I like the word “regeneration” very much. It has vitality, and I am still full of curiosity about things with vitality. The buildings in the 1970s and 1990s will become our historical buildings in the near future. These buildings carrying the memory of a city may have been eliminated by the current urban development in terms of function and format, but it does not mean that the erasing of the memories should be taken for granted, and we should protect them in good conditions. Although it is said that “a generation will eventually grow old, but there will always be people who are young”, this is inheritance. No one is born as ancestors, and ancestors also need generations of descendants to improve and supplement, and become a real cultural heritage and accumulation.