藝術棚，紐約，美國

（尚晉 譯）

1 藝術棚、哈德遜廣場15號與高線公園/View of The Shed, 15 Hudson Yards and The High Line（攝影/Photo: Iwan Baan, 供圖/Courtesy of The Shed）

項目概述

藝術棚是一家面向所有觀眾、跨越所有領域進行原創藝術品委托、創作和展示的非盈利文化組織。大棚的布隆伯格大廈是由Diller Scofidio + Renfro建筑事務所主創、羅克韋爾集團協作設計的18,500m2的創新性建筑。它能通過變形實現藝術家最宏大的創意。它8層的基底建筑有兩層展廳空間：多用途的格里芬劇場和蒂施天窗館。后者有一個排練空間、供當地藝術家使用的創意實驗室，以及由天窗采光的活動空間。麥考特廳是一個用于大型演出、裝置和活動的標志性空間。它是在大棚的可伸縮外殼在基底建筑上展開，并沿軌道滑至相鄰的廣場時形成的。

主要特色

藝術棚的開放基礎設施對于未知的未來保持著靈活性，并能應對規模、媒介、技術和藝術家不斷發展的需求等諸多變化。

（1）第30街上的門廳

藝術棚的主入口位于西30街北側，它743m2的門廳伏在高線公園之下。門廳有一個酒吧（大棚的錫德里克酒吧）、商店（大棚的麥克納利·杰克遜書店）及售票區。街道層上有帶兩個完整貨車泊位的裝卸區和一部大型貨梯，這里也通到東邊的第30街。

（2）夾層

從藝術棚北側的入口可以很方便地到達第34街-哈德遜廣場地鐵站。那里有一個衣帽寄存間，并通向門廳。

（3）麥考特廳和廣場（二層）

在需要的情況下，可伸縮的外殼能從收起的姿態展開，罩住基底建筑，并沿軌道滑至相鄰的廣場。

麥考特廳：當可移動的外殼從基底建筑展開時就形成了麥考特廳，一個1600m2的控光、控聲、控溫的大型演出、裝置和活動空間。麥考特廳能為觀眾提供約1250個座位，或站下超過2000人；基底建筑的兩個相鄰展廳的靈活疊置空間可將容量擴充到最多3000人。外殼的整個天花板能作為可上人的戲臺，并且到處有索具和結構保障。北側和東側可開啟的大型門可使麥考特廳成為一座露天場館。麥考特廳還能與旁邊二層上的展廳組合起來，形成近2715m2的連續空間。

大廣場：當可移動的外殼收到基底建筑上時，1860m2的大廣場將成為一個露天公共空間，并可以用于戶外活動；東立面可以作為投影的背景，并有聲光支持。由藝術家勞倫斯·韋納創作的大型現場作品嵌在大廣場之中，作為外殼收到建筑的固定部位時可供人行走的戶外空間，或是在外殼伸到東邊時麥考特廳的基底。這個1860m2的作品題為 《在它自己面前》，并用約3.66m高的字母寫出。這個大廣場配有用于戶外活動的分布式電源。超大作品可用貨車從哈德遜廣場大道直接運到大廣場，裝進基底建筑或展開的外殼里。

（4）二層展廳和四層展廳

藝術棚在基底建筑的二層和四層上有兩個寬大、靈活、無柱的展廳。這總面積超過2340m2的空間具有博物館的水平，天花板在6m高處。可動的東側墻能將展廳與麥考特廳連接起來，滿足空間或座位的需求。

（5）肯尼思·格里芬劇場（六層）

這個1080m2的隔音黑盒子空間可以作為一個500座的大劇場使用，或分成兩個小劇場同時舉辦活動。劇場直通大型貨梯，便于裝卸作品。

（6）利齊·蒂施與喬納森·蒂施天窗館和蒂施實驗室（八層）

八層有一個供當地藝術家使用的160m2創意實驗室、一個305m2的排練空間，和一個880m2的可變多功能活動空間。

（7）后臺（首層及以下）

藝術棚的后臺空間位于赫德森廣場15號西側住宅樓（Diller Scofidio + Renfro建筑事務所為建筑主創，羅克韋爾集團為建筑室內主創）的首層及以下，包括辦公室、機械室、更衣室和倉庫。這就使藝術棚的基底建筑主體成為可用于藝術的空間。

技術特點：可移動外殼

藝術棚37m高的可移動外殼由外露鋼斜肋構架制成，外包一種半透明的高強度輕質鐵氟龍聚合物（乙烯-四氟乙烯，ETFE）襯墊。這種材料具有保溫玻璃的熱性能，而重量小得多。藝術棚的ETFE板是有史以來最大的一種，局部長度可達21m。藝術棚的設計注重能耗，在廣場建筑內采用輻射供暖系統和可變的強制冷暖風系統，以最大效率為外殼里的使用部分服務。建筑設計達到LEED銀牌認證，并高出紐約能耗規范25%。這一規范是市有土地上或有市資金支持的全部新建筑必須達到的。雖然這個外殼有約56,633.6m3的室內空間，只有下部的30%需要溫度控制。大廣場有輻射供暖地面板。

移動要素

藝術棚的移動系統是從高線公園和西城調車場的工業歷史中受到啟發的。以貨運碼頭和鐵路系統中常見的門式起重機為基礎，這個移動系統包含了基底建筑上的滑車，以及在2層（大廣場層）的一組83m長的軌道上滑行的負重輪。

負重輪：可移動的外殼立在6個大負重輪組合體上——4個為單軸，2個為雙軸。這些負重輪直徑約1.8m，由硬化鍛鋼制成。外殼的重量分布在各負重輪上，每個都在約一雙手大小的表面上承載著超過450t的重量。

發動機：滑車架在基底建筑的屋頂上，為齒條齒輪式系統。它有12個15馬力的發動機，總功率達180馬力（作為對比，豐田普銳斯轎車為134馬力）。外殼展開需要5分鐘，時速峰值約0.4km/h。該系統由安全的無線遙控和備用硬件控制操作。□

（尚晉 譯）

4 歸位示意/Nested diagram

5 展開示意/Deployed diagram（4.5制圖/Drawings: Diller Scofidio + Renfro）

Project description

The Shed is a nonprofit cultural organisation that commissions, develops, and presents original works of art, across all disciplines, for all audiences. The Shed's Bloomberg Building - an innovative 18,500m2 structure designed by Diller Scofidio + Renfro, Lead Architect, and Rockwell Group, Collaborating Architect - can physically transform to support artists' most ambitious ideas. Its eightlevel base building includes two levels of gallery space; the versatile Griffin Theatre; and The Tisch Skylights, which comprise a rehearsal space, a creative lab for local artists, and an evenly skylit space. The McCourt, an iconic space for large-scale performances, installations, and events, is formed when The Shed's telescoping outer shell is deployed from over the base building and glides along rails onto the adjoining plaza.

Major features

The Shed's open infrastructure can be permanently flexible for an unknowable future and responsive to variability in scale, media, technology, and the evolving needs of artists.

30th Street Lobby

The main entrance to The Shed is on the north side of West 30th Street via an lobby of 743m2, nestled under the High Line. The Lobby features a bar (Cedric's at The Shed), a shop (McNally Jackson at The Shed), and ticketing area. Loading docks with two full truck berths and a large freight elevator are located on street level, accessible from 30th Street to the east.

Mezzanine Level

The entrance on the north side of The Shed provides convenient access to the 34th Street-Hudson Yards subway station. It features a coat check and provides access to The Lobby.

The McCourt and Plaza (Level 2)

When needed, the telescoping shell can deploy from its nested position over the base building and glide along rails onto the adjoining plaza.

The McCourt: When the movable shell is deployed from the base building it creates The McCourt, a 1600m2, light-, sound-, and temperaturecontrolled space for large-scale performances, installations, and events. The McCourt can accommodate an audience of approximately 1250 seated and more than 2000 standing; flexible overlapped space in the two adjoining galleries of the base building allows for an expanded audience of up to 3000. The shell’s entire ceiling operates as an occupiable theatrical deck with rigging and structural capacity throughout. Large operable doors on its north and east sides allow The McCourt to function as an open-air pavilion. The McCourt can be combined with the adjacent gallery on Level 2 to create a nearly 2715m2 contiguous space.

The Plaza: When the movable shell is nested over the base building, the 1860m2 Plaza will be open public space that also can be used for outdoor programming; the eastern fa?ade can serve as a backdrop for projection with lighting and sound support. A large-scale, site-specific work by artist Lawrence Weiner is embedded in The Plaza, serving as a walkable outdoor area when the shell is nested over the fixed part of the building, or as the base of The McCourt when the shell is extended to the east. The 1860m2 work is titled IN FRONT OF ITSELF and features the phrase in 3.6-metre-high letters. The Plaza is equipped with a distributed power supply for outdoor functions. Oversize deliveries can be brought by truck up Hudson Yards Boulevard and loaded directly onto The Plaza and into the base building or the shell when deployed.

Level 2 Gallery and Level 4 Gallery

The Shed features two expansive and flexible, column-free galleries on Levels 2 and 4 of the base building, totaling more than 2340m2 of museumquality space with 6-metre-high ceilings. Operable east-side walls can conjoin the galleries with The McCourt to accommodate space or seating needs.

The Kenneth C. Griffin Theatre (Level 6)

An 1080m2, sound-isolated black box space can be used as a single large theatre with 500 seats or subdivided into two smaller theatres that can host concurrent events. Direct access to the large freight elevators allows for easy production load-in/load-out.

The Lizzie and Jonathan Tisch Skylights and The Tisch Lab (Level 8)

Level 8 features a 160m2 creative lab for local artists, a 305m2 rehearsal space, and a 880m2 flexible, multipurpose event space.

Back-of-House (Level 1 and lower levels)

The Shed's back-of-house spaces, which include offices, mechanical spaces, dressing rooms, and storage, are located on Level 1 and the lower levels of the residential tower to the west, 15 Hudson Yards (designed by Diller Scofidio + Renfro, Lead Architect, and Rockwell Group, Lead Interior Architect). This allows the bulk of The Shed's base building to be devoted to programmable space for art.

Technical features: Movable shell

The Shed's 37-metre-high movable shell is made of an exposed steel diagrid frame, clad in translucent cushions of a strong and lightweight Teflon- based polymer, called ethylene tetrafluoroethylene (ETFE). This material has the thermal properties of insulating glass at a fraction of the weight. The Shed's ETFE panels are some of the largest ever produced, measuring almost 21 m in length in some areas. The Shed has an energy-conscious design using a radiant heating system within the plaza construction and a variable forced air heating and cooling system serving the occupied portions of the shell for maximum efficiency. The building is designed to achieve LEED Silver certification and to exceed New York's energy codes by 25%, which is required of all new buildings on city-owned land or using city-provided funds. Despite the shell's 56633.6-cubic-metre interior, only the lower 30% will need to be temperature controlled. The Plaza has a radiant-heat floor plate.

6.7 鋼架/Steel

8 滑動架/Bogie（6-8攝影/Photos: Iwan Baan, 供圖/Courtesy of Diller Scofidio + Renfro）

Kinetic elements

The Shed's kinetic system is inspired by the industrial past of the High Line and the West Side Rail Yard. Based on gantry cranes commonly found in shipping ports and railway systems, the kinetic system comprises a sled drive on top of the base building and bogie wheels guided along a pair of 83-metre-long rails on Level 2 (Plaza Level).

Bogie Wheels: The movable shell rests on six large bogie wheel assemblies-four single-axle and two double-axle bogies. The bogie wheels measure 1.8 metres in diametre and are made of hardened forged steel. The weight of the shell is spread across the bogies, each of which carries more than one million pounds on a surface area approximately the size of a pair of human hands.

Motors: The sled drive, housed on the roof of the base building, is a rack-and-pinion system with twelve 15-horsepower motors, totaling 180 horsepower (for comparison, a Toyota Prius develops 134 horsepower). The deployment of the shell takes five minutes at a peak speed of 0.4km per hour. The system is run by a secure wireless remote and back-up hardware controls.□

9 分解軸測/Exploded axonometric drawing

10 玻璃與聚氟乙烯膜/Glass and ETFE（9.10制圖/Drawings: Diller Scofidio + Renfro）

11 經過門廳的剖面/Section through lobby

12 展開天窗的剖面/Section of deployed skylight

13 可移動棚軸測/Axonometric of the shed

14 藝術棚固定架構軸測/Axonometric of The Shed fixed building

15 歸位剖面/Nested section

16 展開剖面/Deployed section

17 坐席剖面/Seating section

18 站席剖面/Standing section

19 從高線公園看向藝術棚的夜景/Evening view of The Shed from the High Line（攝影/Photo: Iwan Baan, 供圖/Courtesy of The Shed）

項目信息/Credits and Data

地點/Location: 545 West 30th Street, between 10th and 11th Avenues, on Manhattan's west side

業主/Owner: 藝術棚是一個獨立的非營利文化組織/The

Shed is an independent, nonprofit cultural organisation

業主代表/Owner's Representative: Levien & Company主持建筑師/Lead Architects: Diller Scofidio + Renfro合作建筑師/Collaborating Architects: Rockwell Group

施工經理/Construction Manager: Sciame Construction, LLC結構設計、立面工程與動力工程服務/Structural Design, Fa?ade Engineering and Kinetic Engineering Services: Thornton Tomasetti

水暖電與消防安全顧問/MEP and Fire Protection Consultant: Jaros, Baum & Bolles (JB&B)

動力系統顧問/Kinetic Systems Consultant: Hardesty and Hanover

能源模型顧問/Energy Modeling Consultant: Vidaris

照明顧問/Lighting Consultant: Tillotson Design Associates

聲學與視聽顧問/Acoustics, Audio, Visual Consultant: Akustiks

劇場顧問/Theatre Consultant: Fisher Dachs

鋼結構制造商/Structural Steel Fabricator: Cimolai聚氟乙烯膜制造商/ETFE Fabricator: Vector Foiltec

編碼顧問/Code Consultants: Code Consultants, Inc.

垂直交通顧問/Vertical Transport Consultants: Van Deusen & Associates

安保顧問/Security Consultants: Ducibella Venter & Santore

視覺設計和尋路設計/Graphic Design and Wayfinding: Other Means

立面養護/Fa?ade Maintenance: Entek Engineering

防水/Waterproofing: James R. Gainfort AIA Consulting Architects PC

設計說明/Specifications: Construction Specifications Inc.

建筑材料/Building Materials: 主要材料是結構鋼、聚氟乙烯膜、中空玻璃、鋼筋混凝土/The primary materials are structural steel, ETFE, insulated glass, reinforced concrete

建筑面積/Floor Area: 18,500m2

施工造價/Construction Hard Costs: 4.04億美元/404M USD

竣工時間/Completion Time: 2019

20 從高線公園看向藝術棚/View of The Shed from the High Line（攝影/Photo: Iwan Baan, 供圖/Courtesy of The Shed）

評論

曹嘉明：該項目在高密度的城區當中營造了一個開放的可收縮變化的空間裝置來滿足不同天氣和不同活動的需求。該項目不僅有引人注目的白色的外衣、奇特的外形，而且改善了哈德遜廣場的空間結構，營造了一種更親切的人文關懷的設施和環境，激發了哈德遜廣場的活力點。

張利：這個頗富噱頭的“棚子”設計和與它臨近的“罐子”一樣，是紐約人絞盡了腦汁，試圖在公共文化生活的引領上給世界帶來驚喜的舉措。很顯然，“喜”是不乏的，“驚”到未必，而至于長久看來它能否真正在公眾文化生活中保持熱點的角色，則要看它的造化了。

這是一個用瞬時性來承載文化的例子。雖然在傳統價值觀里文化應是來自長期的積淀，但社交媒體的發達與全球性興致的朝三暮四確實為流行文化提供了瞬時性的合理借口。建筑的手風琴式的結構本身并談不上技術的先進或復雜，但卻恰如其分地實現了與其柔性功能完美契合的可變空間包被，ETFE膜的使用也更多地來自于實際需求而不是美學需要。而建筑的關鍵內容，被“棚子”所覆蓋的可伸縮的空間，其形態完全依賴具體的展演工況而貌似在建筑設計的環節里缺席，但實際上正是這一點缺席使得建筑誠實地服務于它所承載的功能。

藝術棚自它問世以后至今一直屢獲嘉獎，與它所傳遞的一個觀點是分不開的：當一個建筑想積極參與城市的公共生活時，“不設計”比“設計”更重要。

21 于麥考特廳看到的固定架構/The McCourt view of the fixed building

22 《留聲美國》在麥考特廳演出的情形。《留聲美國》是 一個歷時5個夜晚的音樂會系列，與新一代開創性的藝術 家一起慶祝非裔美國音樂帶來的影響，于2019年4月5日 在藝術棚首演。籌辦委員會：史蒂夫·麥奎因（導演）， 昆西·瓊斯（首席音樂顧問），莫林·馬洪（首席學術顧 問）。項目設計：亞當·斯托克豪森和戴維·羅克韋爾（運 行設計師）/Performance view of Soundtrack of America, McCourt. Soundtrack of America, a five-night concert series celebrating the influence of African American music with a new generation of groundbreaking artists, premiered at The Shed on April 5, 2019. Commission credit: Steve McQueen, Director; Quincy Jones, Chief Music Advisor; Maureen Mahon, Chief Academic Advisor. Project Design Credit: Adam Stockhausen and David Rockwell, Production Designers

23 從六層的格里芬劇場看向麥考特廳/View of McCourt from Level 6 Griffin Theatre（攝影/Photo: Timothy Schenck, 供圖/ Courtesy of The Shed）

24 從四層看向正在演出《留聲美國》的麥考特廳（演出詳情 參見圖22圖注）/View from Level 4 to McCourt, performance view of Soundtrack of America (please see full commission credit in Fig.22)（攝影/Photo: Iwan Baan, 供圖/Courtesy of The Shed）

Comments

CAO Jiaming: The Shed project presented an openable and contractible spatial installation in the high density cityscape to accommodate different weather conditions and activities. The building's attractive white enclosure and its unique form, together improved the spatial arrangement of the Hudson Yard. The Shed has also established a more intimate environment with the provision of humane facilities, thereby activating the existing square. (Translated by Jue Chen)ZHANG Li: This witty design has something in common with its neighbouring sibling, the Vessel. Both are anticipated to be welcome surprises showing the world how smart New Yorkers will promote culture in urban life. Welcome? Certainly. Surpirse? Maybe not. Long lasting hot venues of culture? Let's wait and see.

The Shed is a building trying to address culture through temporality. Traditionaly, culture is anything but temporal. It deposits and condenses with the help of time. Today's world is slightly different though. The surge of social media and the global trend of ephemeral topics have given popular culture good reasons to be temporal. The accordion style enveloped of the Shed is certainly not rocket science, but it meets perfectly with the purpose of maximum flexibility. ETFE film is more an outcome of technical needs than asethetic ones. The core part of the building, the flexible space under the Shed, is convincingly NOT designed with its shape and form depending entirely upon real world use scenarios.

The Shed has been praised ever since its completion. This may come partly from the key message it conveys: if a building wants to get seriously engaged with public life, NOT DESIGN sometimes is more important than DESIGN.