从废弃用房到艺术中心 | 广州·后山当代艺术中心

从废弃用房到艺术中心 From abandoned room to art center 后山当代艺术中心是由政府、社会共建的艺术家工作室，是研究艺术及美学的特色创新空间，是一个不以营利为目的、为社会服务并向公众开放的文化艺术中心。

从废弃用房到艺术中心

From abandoned room to art center

后山当代艺术中心是由政府、社会共建的艺术家工作室，是研究艺术及美学的特色创新空间，是一个不以营利为目的、为社会服务并向公众开放的文化艺术中心。

Houshan Contemporary Art Center is an artist studio jointly built by the government and the community, a unique and innovative space for the study of art and aesthetics, and a cultural and art center that is not for profit, serves the community and is open to the public.

项目原始建筑位于高塘石公园东北边的缓坡上，坐南朝北，由一栋废弃的二层砖混结构公园管理用房及一间附属厨房功能的一层建筑改建而成，建筑面积为448.5平方，场地面积为616.2平方。后山当代艺术中心就基于这样的背景孕育而生。

The original building is located on a gentle slope in the northeast of Gaotang Shi Park, facing north and south, converted from an abandoned two-story brick and concrete park management building and a one-story building with kitchen function. The building area is 448.5 square meters and the site area is 616.2 square meters. Houshan Contemporary Art Center was born out of this environmental background.

荒野公园 | Wilderness Park

▲公园现状

高塘石公园，广州天河区东北部一座极不起眼的小公园。公园紧邻市区，交通方便，但环境野趣黯然，与其说是一座公园，不如说是一片极具人文气息的荒郊竹海。现有公园内基本保持原有野生状态，既有原始生长的过百年樟树、高耸挺拔的粉单竹，又有明代达官古墓、古代年代不详巨石刻字. . 城市的快速发展，使曾经的荒郊转为市区，野林变为公园。

Gaotang Shi Park is a small, unassuming park in the northeastern part of Guangzhou's Tianhe District. The park is close to the city and easily accessible, but the wilderness is so bleak that it is more of a humanistic suburban bamboo sea than a park. The existing park basically maintains the original wild state, both the original growth of more than a hundred years camphor trees, towering pink single bamboo, but also the Ming dynasty tomb of an ancient official, ancient age unknown boulder inscriptions... The rapid development of the city has turned the once deserted suburb into an urban area, and the wild forest into a park.

场地 | Location

初踏入这片小山野时，心中会油然而生地冒出这样的词语：纯净、自然、像诗一样.. 在来到道路泥泞、杂草丛生、破败不堪的建筑场地时，眼前一切的破败反而让人感受到另一种的生机黯然与自然生息。“由外而内”，这是在考察场地后的第一个关键词。好的场地会诉说——场地有什么？可以是什么？它想要成为什么？这些问题或许是孤立的，但它可以是建筑生长的起点。

When you first step into this small mountain wilderness, words like: pure, natural, poem-like... When you come to the building site with muddy roads, overgrown weeds, and dilapidated buildings, the decay in front of you makes you feel a different kind of vitality and natural life. "From the outside in" is the first key word after inspecting the site. A good site will say - what is there in the site? What can it be? What does it want to be? These questions may be isolated, but it can be the starting point for architectural growth.

▲建筑与周边环境原貌

▲建筑室内原貌

由外而内 | From the outside in

如何在满足建筑基本功能的前提下最大程度激发建筑与自然的“对话”成为建筑设计的关键。取景、借景、截景，让外的自然精彩浓缩在景框中，同时也让小风景窥出大天地。选择让建筑里的人看见什么风景，多大的风景，成为空间游走与建筑形体的重要依据。窗户，既是建筑物的眼睛，也是由外而内，与自然“对话”、传递信息与精神的媒介。

How to maximize the "dialogue" between architecture and nature while satisfying the basic functions of the building becomes the key to architectural design.The view, the borrowed view, and the intercepted view allow the natural splendor outside to be concentrated in the view frame, and at the same time let the small scenery peep out of the big world. The choice of what and how big the view is for the people in the building becomes an important basis for the space wandering and the shape of the building.The windows are the eyes of the building, but also the medium of "dialogue" with nature from outside to inside, transmitting information and spirit.

▲由内而外开口

“窗户是一座建筑物的关键与灵魂。”

——阿尔瓦罗·西扎

"The window is the key and soul of a building."

--Alvaro Siza

生长的建筑 | Growing Architecture

生长需要空间，同时也需要时间；它是动态的，同时又是生命的。项目在规划、建造与加建时就以环境干预最小化、绿色保护优先为原则，一草一木皆为空间设计的重点与起点。在不破坏周边任何大树的原则上尽量妥协建筑的张力与表现力，使建筑由外而内生长，在场地变化中获得形式。

Growth requires space and time; it is dynamic and alive at the same time. The project was planned, built and added with the principle of minimizing environmental intervention and prioritizing green protection. Every plant and tree is the focus and starting point of the space design. The tension and expression of the building is compromised as much as possible without destroying any of the surrounding trees. The building grows from the outside to the inside, gaining form through the changes in the site.

▲建筑生长过程

长于自然、融于自然。

The building grows in nature and blends with nature.

边界的消隐 | Fading of boundaries

消隐不只是消失, 而是让建筑与环境融合, 强调建筑的在地感，让建筑延续自然、融入场地。建筑边界上是在原有建筑框架的基础上，结合场地地形与资源进行思考，在建构意识上有意识削弱建筑的自我中心性与存在感，让边界模糊、融入环境。

Fading is not just disappearing, but integrating the building with the environment, emphasizing the sense of place of the building, allowing the building to continue the nature and integrate into the site.The boundary of the building is based on the original architectural framework, combined with the topography and resources of the site, and consciously weakened the self-centeredness and existence of the building in terms of constructive consciousness, so that the boundary is blurred and integrated into the environment.

▲建造后现状

▲建筑与周边环境现状

▲建筑外边界

建筑形体上，基地原有环境的原生态与野生性是自然赠与的难得礼物，越自然原始的环境条件，就越需要有与之相融的建筑形式。“虚”与“隐”无疑是对于这片自然环境的回应。白色、直线、几何方体，这是此次建筑最直接的构建元素。同时，借助外部空间植物形态的退让关系，通过比例、尺度及光影捕捉使简约的建筑体产生层次感与静谧感。

In terms of architectural form, the original ecology and wildness of the original environment is a rare gift from nature, and the more natural and primitive the environmental conditions are, the more necessary it is to have architectural forms that are compatible with them. "Void" and "hidden" are undoubtedly the response to this natural environment. White, straight lines and geometric squares are the most direct building elements of this building. At the same time, with the retreating relationship of plant forms in the external space, the minimalist building body is made to produce a sense of hierarchy and tranquility through proportion, scale and light capture.

▲建筑细节

内空间上，通过强化内外空间的沟通与渗透，让人感觉室内外空间的一体化。比如立面上利用不同层次的开口方式，将建筑外部的阳光、温度、风景等引入室内，使人在潜意识中模糊展馆内外空间的界线。在竖向的内部空间规划上，主展馆一层展厅为纯白色空间、二层展厅为纯黑色空间，在考虑消隐“墙”的边界与隔离感的同时，也使馆内展品更具焦点性与沉浸感。

In the inner space, by strengthening the communication and penetration between the inner and outer space, the integration of indoor and outdoor space is felt. For example, the elevation uses different levels of openings to bring the sunlight, temperature and scenery from the outside of the building into the interior, so that people subconsciously blur the boundary between the interior and exterior spaces of the pavilion. In terms of vertical interior space planning, the second floor of the main exhibition hall is pure white space and the second floor is pure black space, considering the boundary and isolation of the "wall", and at the same time making the exhibits inside the exhibition more focused and immersive.

▲一层展厅空间效果

▲一层展厅窗户光影效果

▲二层空间效果

▲功能空间效果

光与影 | Light and Shadow

光与影既构成了空间的明与暗，同时也表现着空间, 并创造着空间。光使展馆空间产生一种灵动、不可确定的性格，一种在行经空间时短暂的、即时性的时光体验。

Light and shadow constitute the light and darkness of the space, but also express and create the space. Light gives the space of the pavilion a dynamic and indefinable character, a kind of transient and instantaneous time experience when walking through the space.