白塔寺胡同美術(shù)館，北京，中國(guó)

建筑設(shè)計(jì)：DnA建筑設(shè)計(jì)事務(wù)所

Architect: DnA_ Design and Architecture

1 改造后外景/Exterior view after renovation

白塔寺胡同美術(shù)館位于北京市西城區(qū)白塔寺文化保護(hù)區(qū)內(nèi)，臨近魯迅博物館。白塔寺是始建于元朝的藏傳佛教寺廟，高50m的白色曲線塔體既是城市里的地標(biāo)體量，又融入周圍的胡同體系與傳統(tǒng)街區(qū)環(huán)境，成為了北京歷史文化和現(xiàn)代城市生活的有機(jī)部分。

該地區(qū)內(nèi)的居住建筑除了胡同里的傳統(tǒng)四合院，還存在為數(shù)不少的兩層的水泥樓房，這些是從1980、1990年代開始，當(dāng)?shù)鼐用裥枰笊羁臻g時(shí)，推翻四合院而建的現(xiàn)代住宅。這種建筑類型在胡同體系中提供了一種比傳統(tǒng)四合院更大空間尺度的可能性。

白塔寺街區(qū)并非只有單一的胡同四合院類型，而是在不同歷史時(shí)期，在原有的肌理上不斷產(chǎn)生新的建筑類型，逐漸融合參與，構(gòu)成白塔寺特有的整體系統(tǒng)。胡同美術(shù)館也是這個(gè)系統(tǒng)再生計(jì)劃的一部分：原建筑功能以居住為主，改造后將在胡同街區(qū)里植入公共功能，包括公共展廳和駐留藝術(shù)工作室等，為白塔寺帶來新的社區(qū)空間和文化交流。

空間調(diào)整

在保留原建筑主要結(jié)構(gòu)的基礎(chǔ)上，將其劃分為南側(cè)藝術(shù)家生活區(qū)和北側(cè)公共展區(qū)兩個(gè)部分：在南側(cè)起居部分，以置入功能盒子的方式，形成一層的書房、餐廚、沙龍空間和二層的臥室，滿足居住的需求；北側(cè)是開放的公共展廳，樓板打通，結(jié)合二層工作室空間高度起落，提供胡同街區(qū)里難得的大尺度室內(nèi)空間。

建筑布局根據(jù)場(chǎng)地肌理和環(huán)境，結(jié)合胡同路徑和鄰居家的大樹，分別在東北角和西南角植入兩個(gè)角院，提供室內(nèi)采光的同時(shí)重新引入“院”的概念。

室內(nèi)空間，保留大片墻面的完整性，以部分樓板角樓倒圓角切開的動(dòng)作留出邊角縫隙，使光線滲入，地面處理與之呼應(yīng)，成為豎向拉伸的自然角落。庭院與天窗的弧線，構(gòu)成建筑室內(nèi)外的連貫空間。

建筑表達(dá)

這個(gè)改造項(xiàng)目試圖以建筑表達(dá)進(jìn)一步闡述白塔寺的深厚歷史和獨(dú)特人文。建筑外立面延續(xù)街區(qū)整體的灰度，室內(nèi)白色墻面在滿足展覽和生活功能外，也和片段式的弧形語言以及光影效果一起，共同建構(gòu)了空間里的白塔印象：白塔寺是這個(gè)街區(qū)的主導(dǎo)體量元素，然而受胡同尺度以及方向的影響，在這個(gè)胡同片區(qū)中行走時(shí)，白塔寺的呈現(xiàn)是時(shí)隱時(shí)現(xiàn)、斷斷續(xù)續(xù)的，帶來片斷式碎片化的記憶和印象。帶有植物棚架的屋頂花園，不僅是室內(nèi)空間格局調(diào)整的延伸，更提供了胡同里難得的大面積屋頂活動(dòng)平臺(tái)以及豁然開朗的視野，回歸到胡同生機(jī)勃勃的生活氛圍。胡同美術(shù)館于2018年冬天建成，至今已陸續(xù)舉辦數(shù)個(gè)小型展覽和社區(qū)活動(dòng)。這個(gè)美術(shù)館是整個(gè)白塔寺再生計(jì)劃中的一次積極嘗試，希望給胡同社區(qū)生活帶來新的可能性。

2 改造后外景/Exterior view after renovation

3 屋頂花園/Roof garden

4 改造后內(nèi)景/Interior views after renovation

4 改造后內(nèi)景/Interior views after renovation

6 改造后首層平面/Ground floor plan after renovation

7 改造后二層平面/First floor plan after renovation

8 改造后剖面/Sections after renovation

9 改造后剖面/Sections after renovation

Over 700 hundreds years ago, a 50 metres-tall enormous white Pagoda with its Nepal Buddhist temple - Baitasi - was built in ancient Beijing. Ever since then this temple and pagoda have merged into the surrounding hutongs and courtyards living with religious ceremonies and activities and eventually became part of the historical context for contemporary Beijing.

This giant white volume brings dynamic magnetism into the typical hutong fabric and courtyard life and is the most important context in our design for converting a 2-storeyed cement residential building into a hutong gallery in the Baitasi area.

Most of the cement residential buildings in this area were built after 1980s, when some local residents tore down courtyards to larger living area and a modern lifestyle. Cement block buildings have become a common typology with a larger scale than courtyards in hutong fabric. A conversion from residential into a public programme including a gallery and three artist residencies will host community exhibitions and facilitate artists living and working in Baitasi hutong area, introduce new elements to integrate with local community, and bring in a new transforming process into the region.

Under the hutong preservation regulations,the building volume will remain intact, the original structure and layout will be reorganised to fit in new programmes that include a double height gallery facing north, a salon and office on ground level and artist rooms above. In order to achieve sufficient light quality, a system of vertical voids is inserted into this dense block. Two corner yards are brought back for light and air, open to the sky and neighbour's tree canopy, as well as reintroducing traditional the courtyard context. Skylights peeling off from the roof or floor corners are another light strategy. Both corner yards and skylights are articulated with curve segments, indicating a continuous circulation. This is also a reflection of the experience when walking in the Baitasi hutong area. The visual of the pagoda is cut on and off by hutong scale and orientation. The curve fragments of form and light in this white interior bring the memory of pagoda into the dark grey cement block.The rooftop is open up as a public platform with a plant pavilion configured from vertical voids.The articulation of the plant pavilion will add in another layer into hutong skyline of cables and tree canopies.

10 改造前外景/Exterior views before renovation

11 改造前外景/Exterior views before renovation

The building is a connection of historical context with future programmes and will provide new possibilities into the hutong community life.

項(xiàng)目信息/Credits and Data

項(xiàng)目名稱/Project Name: 胡同美術(shù)館/Hutong Art Gallery

地點(diǎn)/Location: 宮門口四條32號(hào)/NO.32 Gongmenkou Sitiao項(xiàng)目功能/Program: 藝術(shù)家住宅/藝術(shù)展覽/Artist's Residence/Art Exhibition

業(yè)主/Client: 北京華融金盈投資發(fā)展有限公司/Beijing Hua rong Jinying Investment Development Co.,Ltd.

主持建筑師/Principle Architect: 徐甜甜/XU Tiantian

設(shè)計(jì)團(tuán)隊(duì)/Design Team: 徐甜甜，陳英男，魯勇，岳澤興，錢麟童/XU Tiantian, CHEN Yingnan, LU Yong ,YUE Zexing, QIAN Lintong

結(jié)構(gòu)設(shè)計(jì)/Construction Design: 中國(guó)建筑科學(xué)研究院/China Academy of Building Research

室內(nèi)設(shè)計(jì)/Interior Design: 北京DnA建筑設(shè)計(jì)事務(wù)所/DnA_ Design and Architecture

照明設(shè)計(jì)/Lighting Design: 清華大學(xué)建筑學(xué)院張昕工作室/ZHANG Xin Studio, Architecture Department of Tsinghua University

建筑面積/Gross Floor Area: 236.50m2（改造后/After）/236.50m2, 306.72m2（改造前/Before）

占地面積/Building Foot Print: 158.65m2

設(shè)計(jì)時(shí)間/Design Period: 2015.11-2015.12

施工時(shí)間/Construction Period: 2016.03-2017.12

攝影/Photos: 夏至/XIA Zhi

評(píng)論

程曉青：走入白塔寺胡同美術(shù)館，很難想象出這原本是一座簡(jiǎn)陋破敗的二層小樓，與其說這里是藝術(shù)品的展場(chǎng)，還不如說建筑本身就是由設(shè)計(jì)師所創(chuàng)作的一件藝術(shù)品。方案中所用到的手法極其簡(jiǎn)潔，純凈的界面營(yíng)造了令人心靜如水的室內(nèi)空間，溫暖的光線從樓板的圓形或弧形縫隙灑下，碎片化的影彼此交織著，呈現(xiàn)出令人遐想萬千的胡同光影意境。

Comments

CHENG Xiaoqing: Walking into the Baitasi Hutong Gallery, it is hard to imagine that it is used to be a shabby and dilapidated two-story building. Instead of an exhibition of works of art, the building itself is a work of art created by the designer. The design method applied in the project is extremely simple,and thus the pure interface creates an interior space that makes visitors calm as water. The warm light falls from the circular or arc-shaped gaps of the floor, and the fragmented shadows interweave with each other,presenting people's daydream of a myriad of light and shadow artistic conception in hutong. (Translated by PANG Lingbo)

張昕楠：白塔寺胡同美術(shù)館可以被看作是一個(gè)“非典型”的院落改造項(xiàng)目。在這個(gè)白塔寺文化保護(hù)區(qū)內(nèi)兩層的水泥樓房的改造設(shè)計(jì)中，結(jié)合展覽、居住機(jī)能和空間尺度協(xié)調(diào)加入的兩處角院，給予了室內(nèi)迎接光的機(jī)會(huì)，也使“院”的空間形式得以復(fù)生。圓弧成為了設(shè)計(jì)中的形式原型，它一方面打破了空間限定的邊界、增強(qiáng)著空間滲透的心理暗示，另一方面也成為了引入光線和自然要素的柔和過渡。

ZHANG Xinnan: Baitasi Hutong Gallery can be regarded as a "non-typical" courtyard renovation project. In this reform design of a two-story cement building within Baitasi Cultural Conservation Area, the two corner courtyards that are added in combination with the exhibition and residential functions and the adjustment of spatial scale provide a chance of daylight to the interior space, and also recover the spatial form of "yard". Arc becomes the prototype shape in the design. On one hand, it breaks the boundary of spatial limitation and enhances the psychological implication of space penetration, on the other hand, it forms the gentle transition for daylight and natural elements introduction. (Translated by QIAN Fang)