Renewal-Zone：Herzog & de Meuron作品︱布鲁克林艺术发电厂
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作为一家非营利性生产设施，艺术发电厂位于纽约布鲁克林的戈瓦纳斯和雷德胡克，致力于为艺术类的创作和就业搭建一个有力的平台。这一更新开发项目由170,000 平方英尺的车间组成，用于制造木材、金属、陶瓷、纺织品和印刷制品。这片被污染的场地上的废弃建筑，被改造成为艺术家、制造商和其他工人的中心，场地的工业遗产也随之延续到新的世纪。项目将拥有115年悠久历史的发电厂重新打造为现代化的生产设施，旨在保持布鲁克林作为历史工业区的制造传统。通过保留、恢复和重建原电站的基本结构，项目突显了建筑的工业特征及其与城市肌理的直接关系。
Photography: Albert Vecerka/ESTO
项目傍依戈瓦努斯运河，坐落于西侧的雷德胡克、Carroll Gardens社区及东侧Park Slope社区间的一处天然低处。1904年，由托马斯·爱德华·默里 (Thomas Edward Murray) 设计的布鲁克林快速交通发电站在这里竣工，服务于布鲁克林不断扩大的交通系统。发电站于20世纪50年代结束运转，一半建筑（锅炉房）被拆除，仅留下涡轮大厅。20世纪末，余下的建筑成为当地涂鸦艺术家的目的地，并获得了“蝙蝠洞”的别称。随后在2010年，戈瓦纳斯运河被美国环境保护署指定为超级基金场地，将其列为待修复地。在施工之前，纽约州棕地清理计划解决了场地的污染问题。2016年4月，在对场地概念设计等内容进行初步评选后，Herzog & de Meuron受到委托成为项目的设计顾问。
Photography: Albert Vecerka/ESTO
项目所在社区遍布储藏棚、仓库和多功能商业建筑，正在迅速地高档化。既有建筑是自戈瓦努斯运河边缘向西退界，北至第一街，南至第二街，东至第三大道沿线的大型仓储建筑。涡轮机大厅的体量及其相对较高的地势在视觉上赋予其社区中的突出地位。
场地的工业景观及历史在设计方案中发挥着关键作用，通过恢复历史悠久的锅炉房的体量并重建其与原涡轮大厅的关系予以重新诠释。保留后的涡轮大厅进行了策略性修复和加固处理，历史性构成则被整合到新的制造设施中。
Photography: Albert Vecerka/ESTO
依托现有的历史基底，恢复后的锅炉房最大程度上减少了现场的进一步挖掘。混凝土立面与涡轮大厅的砖石外立面互相呼应，并为扩建提供了简约耐用的围护结构。混凝土柱板构成了内部的裸露结构，为车间的使用提供了灵活的空间。在涡轮大厅，历史悠久的穿孔开口被整合到锅炉房的围护结构中，两座建筑的开口都以新的窗体来呈现。
Photography: Albert Vecerka/ESTO
多个领域的生产车间呈竖向分布，这在工业类项目中并不常见，因此装载区域的设计需要进行清晰的高度计算和最优的路径规划。对排放标准较为严格的金属车间和木材车间位于底层，印刷、纺织和陶瓷车间被设置在锅炉房上方的楼层。通过与多位专家协商完善，并遵循生产卫生的最优做法，建筑需排放大量的空气，以确保制造过程中产生的污染物不会危害到内部的工作环境。为了实现这一目标，所有车间共用一个大型的垂直服务墙，其中集合了竖向循环结构、楼梯电梯以及卫生间管道设备。在既有建筑和新建筑之间，这些垂直元素的整合进一步加强了两座建筑的水平结构的稳定性，并为锅炉房中剩余区域的布局提供了必要的灵活性。屋顶上两个大型的舱壁体量诠释了机械、电气、管道和消防系统在工业空间中的主要地位，并让人联想起锅炉房建筑中历史悠久的烟囱。项目的弹性设计也得到彰显，考虑到未来可能发生的洪水和海平面的上升，建筑物的底部未安装任何设备。
Photography: Albert Vecerka/ESTO
在项目西侧沿戈瓦努斯运河处，前广场提供了灵活户外办公空间、储存空间以及材料运输的装载区域。在项目的东边，邻近公共交通系统通道处，涡轮大厅的砖石围护结构上新的开口成为了主要的公共入口。进入建筑后，访者会看到混凝土拱顶、砖砌槽和琉璃瓦等历史元素，以及残留的涂鸦和新的建筑元素。巨大的混凝土剪力墙在入口大厅之外形成了一个垂直空间，金属楼梯将人们的注意力引至上方的大厅，这里也是建筑中主要的公共设施。在涡轮大厅，建筑的整个上层空间均保留了历史建筑的原始构成。翻新后的钢桁架裸露在人们头顶，为展览和活动提供了多功能空间。作为建筑内公共功能和车间功能的交汇处，附近的双层通高空间在锅炉房中提供了额外空间，方便展览、活动、舞台和集会的开展。
Photography: Albert Vecerka/ESTO
Powerhouse Arts is a not-for-profit manufacturing facility based in Gowanus and Red Hook, Brooklyn, New York, established to create a robust platform for art production and employment in the arts. Consisting of 170,000 square feet of workshop space for fabrication in wood, metal, ceramics, textile and print, the redevelopment project transforms an existing, derelict structure on a contaminated site into a hub for artists, fabricators and other workers and ensures that the industrial legacy of the site will extend into the next century. Reimagining a 115-year-old power plant as a modern production facility, the project aims to maintain a manufacturing presence in a historically industrial part of Brooklyn. By preserving, restoring, and reconstructing essential elements of the original power station, the project strengthens the building's industrial character and its relationship to the immediate urban context.
Photography: Albert Vecerka/ESTO
The project is situated along the Gowanus Canal, a natural low point between the neighborhoods of Red Hook and Carroll Gardens to the west and Park Slope to the east. In 1904, the Brooklyn Rapid Transit Power Station, designed by Thomas Edward Murray, was completed on the site to serve the expanding transit system of Brooklyn.
Decommissioned in the 1950s, half of the original structure – the Boiler House – was demolished, leaving the Turbine Hall to stand by itself. In the late twentieth century, the remaining structure became a destination for local graffiti artists, and it earned the nickname of "The Batcave." Subsequently, the Gowanus Canal was designated a Superfund site in 2010 by the United States Environmental Protection Agency, identifying it as a candidate for remediation. Prior to the start of construction, the site contamination was resolved through completion of the New York State Brownfield Cleanup Program. In April 2016 – after an initial selection process that included a concept design for the site – Herzog & de Meuron was appointed as design consultant for the project.
Photography: Albert Vecerka/ESTO
A mix of storage sheds, warehouses, and mixed-use, commercial buildings, the neighborhood is rapidly gentrifying. The existing building is set back from the edge of the Gowanus Canal to the west and bound at the north by First Street, at the south by Second Street, and at the east by a large storage building along Third Avenue. The scale of the Turbine Hall and its location atop relatively high ground give it a visual prominence in the neighborhood.
The industrial landscape and history of the site play a pivotal role in the design proposal. It reinterprets the historic Boiler House by reinstating its mass and re-establishing its relationship with the existing Turbine Hall. The Turbine Hall is preserved – stabilized and strategically repaired – and its historical layers are integrated into the new manufacturing facility.
The reinstated Boiler House bears on the existing, historic foundations, minimizing further site excavations. Its concrete façade responds to the existing masonry shell of the Turbine Hall and provides a durable and straightforward envelope for the addition. The exposed structure at the interior, comprising concrete columns and slabs, provides flexible spaces for workshop use. The historic, punched openings of the Turbine Hall are incorporated into the Boiler House envelope, and the openings of both buildings are filled with new windows.
Photography: Albert Vecerka/ESTO
Atypically for an industrial project, the respective fabrication shops are stacked vertically with the disciplines requiring the most clear height and best access to the loading areas – that is, the metal and wood workshops – located on the ground floor, while the disciplines with the most stringent exhaust requirements – print, textile and ceramics – are located at the top floors of the Boiler House. Adhering to the best practices of industrial hygiene (refined through consultation with several specialists), a large amount of air is exhausted from the building to ensure contaminates from the manufacturing processes do not adversely affect the interior work environment. To that end, the workshops share a common, large vertical service wall that also contains the vertical circulation elements, stairs and elevators, as well as the restroom plumbing stack. The consolidation of these vertical elements between the existing and the new building provides additional lateral, structural stability for both buildings and creates the flexibility required for workshop programming within the remainder of the Boiler House floor slab. Two large bulkhead volumes at the roof express the primacy of the mechanical, electrical, plumbing, and fire protection systems in the project and recall the historic smokestacks of the original Boiler House building. They also illustrate the resiliency of the facility, as no equipment has been installed at the base of the building given the potential for flooding and sea level rise in the future.
Photography: Albert Vecerka/ESTO
To the west of the project along the Gowanus Canal, a forecourt provides flexible outdoor work and storage space as well as loading for material deliveries. To the east of the project, closer to the approach to the site from public transit, a new opening into the masonry envelope of the Turbine Hall serves as the primary public entrance. Upon entering the building, the visitor is confronted with the juxtaposition of historic details – concrete vaults, brick chases, and glazed tilework – residual graffiti and the new architectural elements. A large, concrete shear wall forms a vertical space beyond the entrance lobby and a metal stair draws attention upward to the grand hall, the main public feature within the building. The entire upper level of the Turbine Hall building preserves the original spatial composition of the historic structure, exposing the refurbished, steel trusses overhead, and providing a multifunctional space for exhibitions and events. An adjacent, double-height volume in the Boiler House serves as the intersection of the public and workshop functions in the building, providing additional room for exhibitions, events, staging, and assembly.
Photography: Albert Vecerka/ESTO
Project Official Name: Powerhouse Arts
Location: 322 Third Avenue Brooklyn, New York, USA
Project Phases
Concept Study Jan 2016 - Nov 2016
Schematic Design Nov 2016 - Jun 2017
Design Development Jun 2017 - Feb 2018
Construction Documents Mar 2018 - Dec 2018
Construction Administration Jan 2019 - Mar 2022
Milestones
Construction Start 27 Dec 2018
Topping Out 21 Apr 2020
Permit: Foundation & Partial Alt 1 Permit 09 Jan 2019
Client: Powerhouse Arts, Brooklyn, New York, USA
Client Representative: Colliers International, New York, New York, USA
Herzog & de Meuron
Partners: Jacques Herzog, Pierre de Meuron, Ascan Mergenthaler (Partner in Charge)
Project Team: Philip Schmerbeck (Associate, Project Director), Jack Brough (Project Manager, SD - CA), Raha Talebi (Project Manager, Competition - Pre-SD)
Farhad Ahmad, Bruno de Almeida Martins, Iwona Boguslawska, Christopher Cornecelli, Lasse Deichmann, Muriz Djurdjevic, Nazli Ergani, Florian Frank, Fabiola Guzman-Rivera, Josh Helin, Magnus Overby, Pedro Peña Jurado, Martin Jonathan Raub, Rebecca Roberts, Emma Thomas, Pimchanok Wangveeramit, Samuels Zeif
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