Renewal-Zone：从百余年前开始讲述，低技法的适应性减碳改造︱波伏瓦路98-100

2023-09-06 15:58 作者:REARD锐地星设计 0人读过 | 我要投稿

波伏瓦路98-100是Henley Halebrown在既有建筑的适应性再利用方面的又一力作，项目平衡了保护、表现、重塑或激活的需求，诠释出业已存在的建筑的历史价值或年代品质特性。

项目将一座19世纪中叶的工业排屋，打造成工作室办公空间，服务于哈克尼保护区德波伏瓦镇新兴的创意行业。伦敦的这一区域多为与98-100项目同属Benyon Estate的住宅区，附近的300处房产在过去200多年来归属于该发展商。因此，Henley Halebrown的设计侧重于项目的社交属性，保证建筑在改造后不仅作为工作空间使用，还是人们轻松相聚、了解彼此的地方。例如，公共区域和户外共享空间方便人们聚集，丰富的户外动线也提升了空间的自然通风和健康舒适度。

这一改造项目保留了砖砌、木材、铸铁和现浇混凝土结构中的大部分构造，避免了新的隐含碳排放，体现出Henley Halebrown对基于工艺的低技法建筑技术的关注。如同原来的百年历史结构，所有新增部分都经过精简且坚固耐用，几乎无需维护，是建筑传统的持久品质在当代建筑中的传承。项目与当今市场中主流的商业办公建筑形成了鲜明对比，后者往往封闭且外表光滑，运营成本更高且对环境有一定的挑战。相反，98-100颂扬了建筑的持久和可持续的品质。

由于一个多世纪以来不断的扩建和改建，直到近期波伏瓦路98-100号安静的砖质外墙下还隐藏着杂乱的建筑。在这种背景下，项目对空间进行重塑并重新梳理内外动线，打造了一个由工作室空间构成的小型办公园区。设计营造出两排连锁庭院：前院、顶盖通道、庭院与街道区别开来，逐步将使用者重新引至由原有的粉红色弗莱顿砖砌成的墙壁和粉红色哑光混凝土地面组成的更安静的户外“房间”中。

两栋建筑中都植入了新的楼梯，一座是 “建造”，位于100 号的另一座则是一次精心的“破坏”，灵感源于艺术家戈登·马塔-克拉克 (Gordon Matta-Clark) 的“无政府主义建筑”和早期对环境的关注。原有的木质楼层被一系列切口贯穿，钢制楼梯悬挂于在方向各异的凹凸空间弧线之中。每条弧线均与曲线切线上的钢梁交错。当人们的视线转向上方，每根托梁、地板和木梁以及每一阶楼梯踏板的负空间均清晰可见。所有饰面均为浅色调，以烘托自然光线渗透至此营造出的明暗光影。与这个“被破坏”但具有绘画风格的楼梯相比，98号建筑的混凝土楼梯则“建造”于一座小型的新砖木结构中。在被保留的立面后方，新的楼梯、电梯、厨房和卫生间为修复后的前后方建筑提供服务。翼板被铸成半拱形，嫁接提供支撑。新的落地点仍位于原处。在楼梯后方，工作室由顶部点亮的三层体量所连接，每一层都设有混凝土的悬挑空间，顶部由轻型木构架所围合。

进入较大的庭院，平衡在单行钢柱上的凉廊新增了法式窗户，扩展了上方楼层的水平动线，并为室内外空间打造了一个宜人的门厅，提供了一条往返屋顶的替代路线。在其下方，另一个混凝土拱门由一根圆形混凝土柱抬升，隐藏起一段较低的楼梯。凉廊的平面布局如同竞技场，半圆形尾端伸入上方的空间，两个庭院在此交汇。

两座建筑都增加了新的楼层。位于98号的是一座新的玻璃钢木结构建筑，预制的白色混凝土凉廊为其阻挡西晒的影响。后方，原有的现浇混凝土结构和钢桁架得到了保留和翻新，并对采光和保温性能进行了优化。在100号建筑的屋顶上，一座新的廊架构成了细长的南向城市庭院。木质结构是内庭周围相对排列的空间的特色，而在户外这些重复的体量则覆盖着黑色的 EPDM橡胶材料。

98-100 De Beauvoir Road continues the practice's work in the adaptive reuse of existing buildings, likening the historic or age-value qualities of pre-existing structures to "objets trouvés" by balancing the need to conserve, express, reinvent or revive what is already there.

At 98-100 this entailed the remodelling of a mid-Nineteenth Century industrial terrace into studio workspaces for emerging creative industries working from De Beauvoir Town, a Conservation Area in Hackney. This part of London is a predominantly residential area and part of the Benyon Estate which - in addition to 98-100 - has over 200 years owned some 300 properties in the neighbourhood. For this very reason, Henley Halebrown has emphasised the sociality of the architecture at 98-100 ensuring that the remodelled buildings are more than just a space to work but also one where people can readily meet and get to know one another. For example, the communal areas and the shared external spaces are conducive to bringing people together. This also applies to the generous external circulation of the scheme promoting wellbeing and natural ventilation.

This retrofit project also exemplifies Henley Halebrown's interest in craft-based, low-tech building techniques. It retains much of the fabric and embodied energy in the brickwork, timber, cast iron and in-situ concrete frame. Like the original 100-year-old fabric, everything new is pared down and robust, so it may endure with little maintenance while illustrating how the lasting qualities of building traditions can be transferred to contemporary architecture. 98–100 is in deliberate contrast to the hermetic and slick commercial office architecture that dominates the market and is often costly and environmentally challenging to operate. In its place 98–100 celebrates the timeless and sustainable qualities of architecture.

Until recently the calm brick facades of 98-100 De Beauvoir Road concealed a morass of building, the result of more than a century of accretions and alterations. In this context our project reshapes space and rewires the circulation both inside and out to create a small campus of studio workspaces. The design establishes a pair of interlocking courtyards removed from the street by a sequence – forecourt, covered passage, courtyard – that reorientates occupants to these quieter outdoor "rooms" lined by walls of original pink fletton brickwork, and floors laid with a matt of brushed pink concrete.

In each of the two buildings a new staircase has been made, one a construction, the other in 100, a careful destruction that takes its cue from the "Anarchitecture" of the artist Gordon Matta-Clark and an early concern for the environment. A series of cuts were made through the original timber floors. Into these variously orientated concave and convex arcs of space, steel staircases have been suspended. Each arc is trimmed by a steel beam on the tangent to the curve. Looking up, every joist, floorboard and nogging is visible, as is the negative space of each stair tread. Every surface is a pale hue emphasising the chiaroscuro effect of skylight permeating down through the section. By contrast to this "destructed" but painterly stair, the one in 98 is concrete and "constructed" within a small new brick and timber structure. Behind a retained façade the new stair, lift, kitchens and WCs serve the restored front and rear buildings. Flights are cast as half-arches, bearing one upon another. New landings are in-situ. Behind the staircase, the studios are linked by a top-lit 3-storey volume and, at each level, a cantilevered concrete gallery, with, overhead, a balloon frame of timber, enclosing these spaces.

Into the larger court, a loggia balanced on a single line of steel columns coupled with new French windows extending the horizontal circulation on the upper floors, establishes a habitable threshold between inside and out and an alternative route to and from the roof. Hovering beneath this, raised on a single circular concrete column, is another concrete arch concealing one of the lower stair flights. The plan of the loggia is like that of a hippodrome, the semi-circular ends of which project into the void above, where the two courts meet.

Finally, a new storey has been added to both. At 98, a new glazed steel and timber structure is protected from the low sun to the west by a precast white concrete loggia. To the rear, the existing in-situ concrete structure and steel trusses were preserved and refurbished and glazing optimised for daylight and thermal performance. On the roof of 100, a new pavilion frames a narrow court facing south and the city. Inside, the enfilade of spaces around the court are characterised by their expressed timber structure and, outside, these repeating volumes are wrapped in black EPDM rubber.