建筑设计：DnA建筑设计事务所

Architect: DnA_ Design and Architecture

1 改造后外景/Exterior view after renovation

白塔寺胡同美术馆位于北京市西城区白塔寺文化保护区内，临近鲁迅博物馆。白塔寺是始建于元朝的藏传佛教寺庙，高50m的白色曲线塔体既是城市里的地标体量，又融入周围的胡同体系与传统街区环境，成为了北京历史文化和现代城市生活的有机部分。

该地区内的居住建筑除了胡同里的传统四合院，还存在为数不少的两层的水泥楼房，这些是从1980、1990年代开始，当地居民需要更大生活空间时，推翻四合院而建的现代住宅。这种建筑类型在胡同体系中提供了一种比传统四合院更大空间尺度的可能性。

白塔寺街区并非只有单一的胡同四合院类型，而是在不同历史时期，在原有的肌理上不断产生新的建筑类型，逐渐融合参与，构成白塔寺特有的整体系统。胡同美术馆也是这个系统再生计划的一部分：原建筑功能以居住为主，改造后将在胡同街区里植入公共功能，包括公共展厅和驻留艺术工作室等，为白塔寺带来新的社区空间和文化交流。

空间调整

在保留原建筑主要结构的基础上，将其划分为南侧艺术家生活区和北侧公共展区两个部分：在南侧起居部分，以置入功能盒子的方式，形成一层的书房、餐厨、沙龙空间和二层的卧室，满足居住的需求；北侧是开放的公共展厅，楼板打通，结合二层工作室空间高度起落，提供胡同街区里难得的大尺度室内空间。

建筑布局根据场地肌理和环境，结合胡同路径和邻居家的大树，分别在东北角和西南角植入两个角院，提供室内采光的同时重新引入“院”的概念。

室内空间，保留大片墙面的完整性，以部分楼板角楼倒圆角切开的动作留出边角缝隙，使光线渗入，地面处理与之呼应，成为竖向拉伸的自然角落。庭院与天窗的弧线，构成建筑室内外的连贯空间。

建筑表达

这个改造项目试图以建筑表达进一步阐述白塔寺的深厚历史和独特人文。建筑外立面延续街区整体的灰度，室内白色墙面在满足展览和生活功能外，也和片段式的弧形语言以及光影效果一起，共同建构了空间里的白塔印象：白塔寺是这个街区的主导体量元素，然而受胡同尺度以及方向的影响，在这个胡同片区中行走时，白塔寺的呈现是时隐时现、断断续续的，带来片断式碎片化的记忆和印象。带有植物棚架的屋顶花园，不仅是室内空间格局调整的延伸，更提供了胡同里难得的大面积屋顶活动平台以及豁然开朗的视野，回归到胡同生机勃勃的生活氛围。胡同美术馆于2018年冬天建成，至今已陆续举办数个小型展览和社区活动。这个美术馆是整个白塔寺再生计划中的一次积极尝试，希望给胡同社区生活带来新的可能性。

2 改造后外景/Exterior view after renovation

3 屋顶花园/Roof garden

4 改造后内景/Interior views after renovation

4 改造后内景/Interior views after renovation

6 改造后首层平面/Ground floor plan after renovation

7 改造后二层平面/First floor plan after renovation

8 改造后剖面/Sections after renovation

9 改造后剖面/Sections after renovation

Over 700 hundreds years ago, a 50 metres-tall enormous white Pagoda with its Nepal Buddhist temple - Baitasi - was built in ancient Beijing. Ever since then this temple and pagoda have merged into the surrounding hutongs and courtyards living with religious ceremonies and activities and eventually became part of the historical context for contemporary Beijing.

This giant white volume brings dynamic magnetism into the typical hutong fabric and courtyard life and is the most important context in our design for converting a 2-storeyed cement residential building into a hutong gallery in the Baitasi area.

Most of the cement residential buildings in this area were built after 1980s, when some local residents tore down courtyards to larger living area and a modern lifestyle. Cement block buildings have become a common typology with a larger scale than courtyards in hutong fabric. A conversion from residential into a public programme including a gallery and three artist residencies will host community exhibitions and facilitate artists living and working in Baitasi hutong area, introduce new elements to integrate with local community, and bring in a new transforming process into the region.

Under the hutong preservation regulations,the building volume will remain intact, the original structure and layout will be reorganised to fit in new programmes that include a double height gallery facing north, a salon and office on ground level and artist rooms above. In order to achieve sufficient light quality, a system of vertical voids is inserted into this dense block. Two corner yards are brought back for light and air, open to the sky and neighbour's tree canopy, as well as reintroducing traditional the courtyard context. Skylights peeling off from the roof or floor corners are another light strategy. Both corner yards and skylights are articulated with curve segments, indicating a continuous circulation. This is also a reflection of the experience when walking in the Baitasi hutong area. The visual of the pagoda is cut on and off by hutong scale and orientation. The curve fragments of form and light in this white interior bring the memory of pagoda into the dark grey cement block.The rooftop is open up as a public platform with a plant pavilion configured from vertical voids.The articulation of the plant pavilion will add in another layer into hutong skyline of cables and tree canopies.

10 改造前外景/Exterior views before renovation

11 改造前外景/Exterior views before renovation

The building is a connection of historical context with future programmes and will provide new possibilities into the hutong community life.

项目信息/Credits and Data

项目名称/Project Name: 胡同美术馆/Hutong Art Gallery

地点/Location: 宫门口四条32号/NO.32 Gongmenkou Sitiao项目功能/Program: 艺术家住宅/艺术展览/Artist's Residence/Art Exhibition

业主/Client: 北京华融金盈投资发展有限公司/Beijing Hua rong Jinying Investment Development Co.,Ltd.

主持建筑师/Principle Architect: 徐甜甜/XU Tiantian

设计团队/Design Team: 徐甜甜，陈英男，鲁勇，岳泽兴，钱麟童/XU Tiantian, CHEN Yingnan, LU Yong ,YUE Zexing, QIAN Lintong

结构设计/Construction Design: 中国建筑科学研究院/China Academy of Building Research

室内设计/Interior Design: 北京DnA建筑设计事务所/DnA_ Design and Architecture

照明设计/Lighting Design: 清华大学建筑学院张昕工作室/ZHANG Xin Studio, Architecture Department of Tsinghua University

建筑面积/Gross Floor Area: 236.50m2（改造后/After）/236.50m2, 306.72m2（改造前/Before）

占地面积/Building Foot Print: 158.65m2

设计时间/Design Period: 2015.11-2015.12

施工时间/Construction Period: 2016.03-2017.12

摄影/Photos: 夏至/XIA Zhi

评论

程晓青：走入白塔寺胡同美术馆，很难想象出这原本是一座简陋破败的二层小楼，与其说这里是艺术品的展场，还不如说建筑本身就是由设计师所创作的一件艺术品。方案中所用到的手法极其简洁，纯净的界面营造了令人心静如水的室内空间，温暖的光线从楼板的圆形或弧形缝隙洒下，碎片化的影彼此交织着，呈现出令人遐想万千的胡同光影意境。

Comments

CHENG Xiaoqing: Walking into the Baitasi Hutong Gallery, it is hard to imagine that it is used to be a shabby and dilapidated two-story building. Instead of an exhibition of works of art, the building itself is a work of art created by the designer. The design method applied in the project is extremely simple,and thus the pure interface creates an interior space that makes visitors calm as water. The warm light falls from the circular or arc-shaped gaps of the floor, and the fragmented shadows interweave with each other,presenting people's daydream of a myriad of light and shadow artistic conception in hutong. (Translated by PANG Lingbo)

张昕楠：白塔寺胡同美术馆可以被看作是一个“非典型”的院落改造项目。在这个白塔寺文化保护区内两层的水泥楼房的改造设计中，结合展览、居住机能和空间尺度协调加入的两处角院，给予了室内迎接光的机会，也使“院”的空间形式得以复生。圆弧成为了设计中的形式原型，它一方面打破了空间限定的边界、增强着空间渗透的心理暗示，另一方面也成为了引入光线和自然要素的柔和过渡。

ZHANG Xinnan: Baitasi Hutong Gallery can be regarded as a "non-typical" courtyard renovation project. In this reform design of a two-story cement building within Baitasi Cultural Conservation Area, the two corner courtyards that are added in combination with the exhibition and residential functions and the adjustment of spatial scale provide a chance of daylight to the interior space, and also recover the spatial form of "yard". Arc becomes the prototype shape in the design. On one hand, it breaks the boundary of spatial limitation and enhances the psychological implication of space penetration, on the other hand, it forms the gentle transition for daylight and natural elements introduction. (Translated by QIAN Fang)