水電站美術館，北京，中國

建筑設計：未覺建筑

在廢墟上重建

水電站美術館，地處北京密云水庫，原有建筑是一座廢棄已久的水電站，實際是一間不足100m2的1960-1970年代的平房。建筑師的設計任務是把這個小院子改造成一座美術館，包括陳列3件雕塑展品的永久展廳、文化沙龍、餐飲空間及微型酒店。

水庫的大壩與水電站通過一段1100m長的露天水渠連接，設計師選擇將美術館的輻射范圍延展到水渠，觀展的主入口設在大壩的渠口，水渠里布置了給藝術家做藝術裝置的點位，參觀者需要步行20多分鐘穿過整條水渠才能進入美術館的內部。順著曾經水流的方向，穿過各個年代遺留的痕跡，緩慢地進入水電站的地下機房，也就進入了美術館的中心庭院。這條水渠是水電站“生命力”的歷史線索，也是開啟它新使命的主要路徑。

柔和的新建

現場遺留著不同年代的痕跡，工業時期的機械零件，村居使用的毛石、粘土以及鄰近山腳的片石，與小院里原本生活用的磚房混雜在一起。紅磚、灰磚，甚至十幾年前的瓷磚穿插在一個場景里，極具時間性。然而我們并不希望只是簡單地重塑或是整理這些年代留下的碎片，因為新建筑的功能需求無法在舊建筑中得到滿足，所以它的目的不應該是被用來縫補缺失了的舊樣貌，而應是在尊重周邊環境的尺度和關系的基礎上,創作出更適合這個新場景的建筑。

在尺度和外型輪廓上延續了周邊建筑的基調，新建的外立面使用半透明的聚酯纖維板，新建的建筑體無論由內向外、還是由外向內都透出漫反射的柔光。用這種新材料的柔與虛對話現場保留下來的石頭、舊磚和水泥的硬與實，目的是想探討新與舊之間的平衡與相對關系。

內和外

遺憾的是現存建筑的體塊無法滿足新功能所需的使用面積的要求，于是我們把平面反轉，原來的室內部分變成了室外，原來的室外院落變成了室內。原有的水電站，保留了廢棄的設施、墻體和門窗，只去掉了水泥平頂，變成了美術館的室外中心庭院。原有的院落加上了新的頂蓋，變成了美術館的一層展廳。沿著外部道路的方向水平布局了一個長條的展廳，輕柔地“浮”在舊院墻的上端，一條透明玻璃幕墻連接新建筑與舊墻，在視覺上可以脫開新舊的交接，為的是減弱新的體量對現狀可能有的視覺壓力。

依托于原始水電站的門衛用房，我們謹慎地布置了9間客房，盡量延續周邊村居的房屋輪廓和體量關系，并且將其布置在末端盡量靠近山體，用山體的體量和透視關系來弱化有可能對周邊現存場景的影響。原始門衛用房的小院被保留下來。一個新建的鋼樓梯利用水渠與機房交接的空間設置，成為客房的入口，利用樓梯的架空，水渠里收集的山泉、雨水通過新建的水系緩慢地流向美術館的新入口。水渠的新舊關系在交錯混合中重新組合并且尋找適合的定位。

1 動線分析/Traffic fiow analysis

2 場地拆除信息/Site removal information

3 鳥瞰/Aerial view rendering

Built on the Ruins

Tourism in the rural countryside has seen an upturn within China in recent years, with many of the younger demographic finding this a popular alternative to international trips. This has led to a boom in boutique hotel industry implanted in villages, with high demand for an authentic experience. The power station complex was considered an ideal location to renovate due to its proximity to the great wall and natural scenic beauty.

Built during the 1950s-1960s the hydroelectric power station provided electricity for the surrounding farming communities. Water for the hydroelectric station was funnelled from a small man made dam, 1 km upstream along an aqueduct which hugs the mountain ridge. A turbine hall is housed in the basement of a single industrial brick control station and accessible through a single set of stairs. The site was a mixture of the remnants from the recent past. Dormant Industrial machinery,walls of mud brick concrete and rubble, vegetation,previous excavations of mountain faces. The site encompassed homes from the village some inhabited others in a state of dereliction.

Inside Out

waa was tasked in adapting this industrial building and designing the surrounding masterplan scheme with a programme of permanent Gallery to exhibit three main programmes: a salon, a restaurant and a hotel. It was decided to draw out and stretch the time to enter the main cluster. To impart this previously hidden process we engaged visitors to walk the aqueduct, and form a processional route to the building. Visitors enter at the tip of the dam one kilometre away echoing to the historical route of water. A series of site speci fic arts interventions where planned to be curated along this route, and we hoped the experience brings awareness to traces of recent industry and awareness of power generation process.

Unfortunately the existing area of the power station was insufficient to function in its new incarnation and required greater area. The plan was reversed, fiipped inside out so the surrounding site was to be made internal, to maximise the available area of the yard into a ground floor which encompasses a multifunction salon and offices. Memories of the past where enshrined through keeping selected machinery, retaining walls windows from demolished buildings, and perimetres of previous homes and courtyards.The old power station's roof was removed and this now became a focal central courtyard from which all massing orientates towards. A prominent Site speci fic sculpture was commissioned to occupy the centre of this courtyard and access was maintained to the turbine room below, beneath the sculpture.The courtyard can be viewed from the accessible roof. It allows views down to the courtyard, and acts as access to a long linear permanent gallery space, balanced parallel to the road. Sitting parallel to the site constructed in poly carbonate this acts as a beacon in the surrounding valley. Adjacent to the gallery we carefully arranged a cluster of 9 hotel rooms to fit the scale of the existing village context addressing the inner courtyard. These push back to minimise the visual obstruction for the village.Access is granted to the aqueduct from an additional courtyard housing a staircase for roof access. The water path once destined for the turbine has been detached, it spews water into a central pool, a fitting symbolic gesture to the past.

Within such rich context it was easy to mark time through existing layers and traces of past expansions and slap dash fixes. We chose to use semi-translucent polycarbonate, it provides soft internal light and surreal optical effects help to balance a lightness of touch against the rock, brick and concrete whose rough hard remnants dot the site. This new layer for future was not a case of replicating a local vernacular more a sequence of revealing archeological portions of this context in careful order. The design aims to create a balance between change and the awareness of reading time selectively through modern materials.

10 餐廳庭院/Restaurant courtyard