“盐酸情人”：上海市中心某旧工业厂区改造方案

公司：	3GATTI	类型：	景观
地区：	中国	标签：	旧改项目 \| 商业空间

关注细节、书法、肉体迷恋、自毁——如果把盖天柯（Francesco Gatti）的“in Factory”与彼得•格林纳威（Peter Greenaway）的《枕边禁书》还有中国作家棉棉的《九个目标的欲望》放在一起比较的话，以上词汇便会跃入脑海。一个是为中国特大城市中心一处废弃的工业厂区设计改造方案的意大利建筑师；一个是以受到蛊惑的西方眼睛审视东方文字画符情欲意象的英国电影导演；而另一个是在自己的自传体小说中听着甲壳虫的音乐、读着佛洛伊德的上海女作家。

Attention to detail, calligraphy, an obsession with the body, auto-destruction: these are some of the terms that spring to mind if one compares the “In Factory” of Francesco Gatti, with “The pillow book” by Peter Greenaway and “Nine objects of desire” by the Chinese author Mian Mian. An Italian architect who designs the redevelopment project for an abandoned industrial area in the centre of a Chinese megalopolis, an English film director who studies with his western but bewitched eyes the sensuality of oriental ideograms, and an author from Shanghai who writes autobiographical novels in which the characters listen to The Beatles and read Freud.

他们的共性是：基于对两种与其说是异域不如说是异趣世界的观察所形成的激情描写的能力，以及对细节的执著迷恋。格林纳威用来分割镜头、类推地叠加不同故事的手法，可以在盖天柯的小巷与庭院中找到三维空间层面的再现。“in Factory”中垂直与水平展开的表面，不透明（广告招贴遮盖的作用）、透明（由金属杆件的相互连接形成的“墙体”效果）或是多变（美洲藤随着四季改变外观的结果），但是最重要的是它们对光的反射（例如长凳周围的镜面不锈钢板和“天顶”上的水平反光板）。从而形成了与周遭环境互动的空间，特别是主庭院，对金属的触碰会产生颤动的鸣音，而悬挂于不同高度的挂灯随风摆动着。这个方案对材质与颜色的运用是和谐的。其中采用了许多当地的材料，比如青砖和竹子，但都使用了西方的手法，在纯朴与美学内涵中取得平衡（就像格林纳威镜头下的角色在身上写下汉字字符的手法一样），这将传统与现代、自然与人文、西方意象与东方意象完美地融合在一起

In common, a capacity for intense narration, divided between an observation of a different rather than a foreign world, and a passion for small details. The layers with which Greenaway divides the screen, superimposing different stories analogically, can be found with an added tri-dimensional aspect in the alleys and courtyards of Francesco Gatti. The surfaces in “In Factory” lie vertically and horizontally; they are opaque (the effect of the advertising posters), transparent (the effect of the “walls” created by a succession of metal rods), changeable (the American vine varies its aspect with each season), but above all they reflect the light (like the treated steel of the benches and the horizontal surfaces of the “ceiling”). The result is a space which interacts with the density of the environment, particularly in the main courtyard, where a touch to the rods can generate a vibrating sound, and where the lamps, hanging at different levels, swing with the movement of the wind. The project is finely tuned to the use of materials and colours. It adopts local elements such as bowls and bamboo but using them in a Western way, balanced between naiveté and aesthetic implications (in the same way as the Chinese ideograms painted on the bodies of Greenaway’s characters); it merges the traditional and the contemporary, the nature and the artifice, the western imaginative and the oriental imaginative.

在周围建筑物的较高楼层向下眺望，穿过以钢丝互相交织形成的“虚拟屋顶”，纹理错落的地面上点缀着长凳、水池和绿地，随着观察者在过道上移动，地面的纹理栩栩如生。

From the upper levels of the surrounding buildings, the interweaving of the “virtual ceiling” with its metal rods overlooks the textured flooring, interspersed with benches, water and greenery. The observer, moving along the alleyways, sees the textures come to life.

“in Factory”注定是自毁的，就像棉棉小说中的爱侣一样。作为艺术家集会以及渐渐汇聚此地的文艺精英们手中的一张名片，由于最近在此发生的迁移与工作，破坏与耗损的迹象已经跃然眼前。从城市尺度出发的规划方案是无法保存它的原始目的的：说服顾客迁入为专业功能所恢复的区域。盖天柯考虑到他的方案可能天命无多，他对牢固坚硬的地面所付出的关注远大于由钢丝网构成的昙花一现的虚拟天顶。

The “In Factory” is destined for auto-destruction, as the lovers in the novels of Mian Mian. Envisaged as a visiting card for the community of artists and intellectuals who gradually moved into the area, it is already beginning show signs of being worse for wear on account of the removals and works that have been taking place recently. An enterprise on an urban scale which is incapable of surviving its original intention: to convince new purchasers to move into the areas that have been restored for professional use. Francesco Gatti has taken into consideration the possibility of his project having a short life, giving more importance to the fixed and hard-wearing flooring than to the virtual and ephemeral ceiling, created by the frame of metal cables.

正如爬在钢丝网上的是美洲藤，这个方案交织的文化是很难用语言描述的。关于驻华西人在中国设计的现代中国建筑的文章和文学作品总是肤浅而陈腐的，这是全球化极简效应的结果。

It is difficult to speak about a project that interweaves culture as if it were an American vine climbing up a metal network; the articles and literature about contemporary Chinese architecture designed by Westerners living in China are without depth and banal as a result of the over-simplifying effects of globalization.

或许“in Factory”物质与时间上的暂时性恰好能代表东西文化差异的关系：中国文化发展的速度所产生的罅隙使之与世隔绝，而正是这种罅隙，使这些历来背负厚重文化和历史背景的西方建筑师们的作品得以在中国建造与推翻。

Perhaps the “In Factory”, with its physical and temporal transitoriness, can truly represent a different aspect of this East-West relationship: that the speed with which Chinese culture is metabolizing the gap which separates it from the rest of the world is the same whereby modern works of architecture by Westerners, who are by nature bound to a stratified cultural and historical background, are adopted and recycled in China.

在这种不断变换的光芒中，这具身体（就像格林纳威、棉棉和盖天柯所描述的那样）是唯一赖以生存的工具：无论是用来交流、感受悲欢或观察周围的空间。

In this light of perennial transformation, the body (as described by Greenaway, Mian Mian and Gatti) is the only instrument through which one can survive: whether it is used to communicate, to feel pain or pleasure or to observe the space around it.