Signal 媒體中心/內德雷文化區，奧斯陸，挪威

建筑設計：空間組事務所

Signal 媒體中心/內德雷文化區，奧斯陸，挪威

建筑設計：空間組事務所

2012年，空間組事務所完成了這座由建筑師奧韋·埃克曼和埃納爾·史密斯設計、建于1896年-1899年間的前工業建筑的改造工程。這片毗鄰阿克斯河的地區由于在1858年經歷的爆炸性發展，曾被人們稱為“Ny York”（紐約）。如今，它則成為了一個朝向藝術、建筑和設計轉型的地區。

Signal 媒體中心

Signal媒體中心坐落于奧斯陸的阿克斯河畔。原有的工業建筑歷史悠久且經歷了多種功能的轉變，從紡織廠到辦公室和活動中心。部分建筑在1980年代遭受火災摧毀。項目在保留歷史遺留的前提下，在老建筑的外殼內插入了一座全新的建筑。兩者相互聯系，卻有著明確的建筑界定。

Signal媒體中心包含了數個電影制作公司，它們均位于同一個大型的玻璃屋頂之下。功能組織圍繞著一個通過玻璃屋頂將光照帶入建筑深處的中庭，同時也圍繞著采光條件的不同分配各種功能房間：電影院位于地下層，編輯室、演播室等位于首層，辦公室位于上層，那里有更多的日光照進室內。不同功能在材料處理上也有所不同。

地下室的空間圍繞一個包含了電影院的大黑盒子組織。在首層，兩個木表皮的盒子承載演播室和編輯室的功能，同時利用原有立面與盒子之間的空隙產生了公共空間。盒子也作為中庭的吸音體。上層盡可能的開放和透明，創造出不同租戶間不經意的視覺聯系，鼓勵交流與合作。

建筑中的活動圍繞著公共中庭：門廳，會議空間，咖啡廳，垂直花園和交通空間。交通空間的設計旨在將用戶與其空間體驗的互動最大化。

建筑在平面和剖面的設計上均作為一個巨大的開放空間。方案考慮到對能源和通風的有效利用，降低消耗并將對于那些很難融入歷史建筑的通風技術設備的需求最小化。

OCA

我們的目標是展現一種空間，在此可以產生而非僅僅表現藝術的語匯。經過多年的使用，空間被再現，材料被強調，并且一種新的元素—— 一個花旗松木板做的大型樓梯——被引入。樓梯作為一個禮堂，在OCA辦公室和項目空間中起到了過渡作用。它將空間劃分為3個區域：提供演講和放映空間的房間 ，一個閱讀室和挪威藝術家圖書館，以及周邊的展覽空間。項目包括OCA管理辦公室、OCA住宅項目的藝術家工作室和一個450m2的項目空間。

幼兒園

作為內德雷5-7號項目的一部分，空間組事務所也為“紐約文化幼兒園”完成了設計。這是一個專為孩子們探索和使用的空間。它的尺度被刻意地控制在壓縮和開放的序列空間里。大而開放的房間創造出一種構架，隨著水平和垂直線條的變化，還有一些提供給小團體和秘密游戲的私密房間，它們為兒童的尺度量身定做。幼兒園的4部分圍繞在一個巨大的樓梯周圍，可分別供音樂聚會、戲劇、電影以及跳舞和玩耍使用。房間后部的一面巨大弧形墻容納了所有的技術設備。它由不銹鋼制作，映射出觀眾扭曲的形象，像是游樂園中的哈哈鏡。□ （肖曉雪 譯）

In 2012 Space Group completed the refurbishment of the former industrial building designed by architects Ove Ekman and Einar Smith and erected from 1896 to 1899. This area along the Akers River was historically referred to as Ny York (New York) due to its explosive development in 1858. Today the area reflects a transformation towards a district focused on art, architecture and design.

Signal Mediahus

Signal Mediahus sits next to the Aker River in Oslo. The original industrial building has a rich history of uses, from textile industry to offices and events. Part of the building burned down in the 1980s. The project inserts a completely new architecture inside the shell of the old while preserving the historic. The two correlates while both being clearly architecturally defned.

The Signal Mediahus hosts several film production companies under one large glass roof. The program is organized around a main void that brings light from a glass roof into the deep section of the building. The program is also organized around the availability of light: cinema rooms in the basement, edition rooms, studios and ofces in the ground foor and ofces on the upper foors, where more daylight penetrates the building. Different programs receive diferent material treatments.

The space in the basement is organized around a big black box that contains the cinemas. On the ground floor, two wooden cladded boxes hosts the studios and edition rooms, while generating common spaces in the gap between the existing fa?ade and the boxes. The boxes also serve as acoustic absorbent for the Atrium. The upper foors are as open and transparent as possible, creating promiscuous visual connection between different tenants, encouraging exchange and collaboration.

The life of the building is around the common Atrium: a lounge, meeting spaces, café, a vertical garden and a centrifugal circulation. The circulation is designed to maximize the interaction between the users and the experience of the space.

The building is designed in both plan and section as one large open space. This architectural solution allows for an efcient use of the energy and ventilation, reducing consumption and minimizing the need for ventilation technical installations that can prove difficult to integrate into historical buildings.

OCA

Our goal was to reveal the space where a discourse on art could be generated rather than represented. After years of exploitation, the space is again visible, the materials accentuated, and one new element is introduced, a large stair of massive wooden planks (Douglas fir). The stair acts as an auditorium and makes the transition between the OCA offices and the project space. The stair organizes the space in 3 zones, providing a room in the room for lectures and screenings, a reading room and Library of Norwegian Artist as well as the surrounding exhibition space. The project includes ofces for the OCA administration, artist studios for OCA's residence program and a 450m2project space.

Kindergarten

As part of the Nedregate 5-7 project, Space Group made the design for the “NY YORK KULTURBARNEHAGE” (New York Culture Kindergarten). The space is built for children’s exploration and use. The scale is deliberately manipulated in a sequence of compressed and open spaces. The big, open room creates a frame where as variations in horizontal and vertical lines, creates intimate rooms for small groups and secret play, which are only available to and dimensioned for children. The kindergarten has four bases organized around a giant staircase for musical gatherings, theater, film, dance and play. In the back of the room lies a big curved wall that contains all technical installations. It's made out of stainless steel and distorts the viewer's image, just like the fun mirrors at the fun fair.□

1 外景/Exterior view

2-4 媒體中心內景/Interior view, Signal Mediahus

5 軸測圖/Axonometric drawing

6 剖面/Section

項目信息/Credits and Data

客戶/Client: Signal Mediahus ANS

項目團隊/Project Team: Adam Kurdahl, Gro Bonesmo, Gary Bates, jose Hernandez, Eric Gerlach, Wenche Andreasen, jens Noach, Anne Wordstrup, Frederik Kjelman, Tim Prins, Grant Cooper

顧問/Consultants: Norconsult, Ramb?ll Norge, Energima, Ingenius Oslo, Franco Bl?chlinger /Metallplan AS, 3D akustikk, Oslo El Prosjektering, F-Holm, Bleed, Sundt & omassen

場地/Site: 舊工廠改造/Transformation old industrial buildings

功能/Program: 辦公室，藝術家工作室，展覽空間，聲像工作室，電影院，幼兒園/Ofces, artist studios, exhibition space, sound and image studios, cinema, kindergarten

建筑面積/Floor Area: 5000m2(appx.)

攝影/Photos: Ivan Brodey (Fig.1, 4, 9), Vegard Kleven (Fig.2, 3), Space Group(Fig.10)

評論

胡恒：但凡大型的統一空間，都是難得之物。這個舊廠房被改造成電影公司，功能轉換得很成功。一片連續大折面屋頂之下，就像是某一電影中的場景——似乎可以容納足夠多的演員和劇情。就不多的幾張照片來看，劇情很文藝。或者說，整個空間像在講述一個故事：在美術館約會、在開敞的辦公室工作、在工作室里加班……場景的重點當然在臺階與樓梯。這3個東西（兩個臺階，一個樓梯），設計者把握得不錯。不是設計上的考究，而是觀念上的重視——將這一元素做好，其實，改建工程就已經大功告成了。

青鋒：將19世紀的工業廠房改造為21世紀的前沿文化設施，這種做法的意圖當然不僅僅是廢物利用。工業品與藝術品的差別不在于形式，而在于人們看待理解的方式。從桁架到拱券，建筑元素在這樣的氛圍中實際上被視為現代藝術觀念中的“現成物”來呈現。因此，它們與刻意設計的加建部分距離越大，那么，現成物的光環也就愈加耀眼。

Comments

HU Heng: A single large interior space is a rare site. This building was successfully transformed from its original industrial use into the home of several media companies. Under its large continuous sawtooth roof, the space resembles a movie set. And, from the few pictures that I have seen, the plot of the flm appears very artistic. The entire space seems to be set up to tell a stories: dating in the museum, working in an open ofce, working overtime in the studios, etc.. But the hero of the flm seems to be the stairs and steps and they steal the scene. These three elements (two steps and one stair) were well designed. In them it is not so much the sophistication of their design, but rather the attention paid to the concept behind them. When elements like these stairs are executed with such attention, the renovation is already successful.

QINGFeng: To turn a 19th century factory building into an innovative 21st century cultural facility requires more than simply making use of obsolete structures. The difference between an industrial work and an art work is not to be found in their forms but rather in the way they are understood. From the trusses arches, the architectural elements of the former factory were regarded as the "found objects" (a term with its own avant-garde art lineage). In such a context, the larger the diference between old and new – between what was and what will be – the stronger the aura of the "found object." The project is made by these objects.

7 首層平面/Floor 0 plan

8 二層平面/Floor 1 plan

9 媒體中心內景/Interior view, Signal Mediahus

Signal Mediahus/Nedregate Culture District, Oslo, Norway, 2012

Architects: Space Group