Architects: AntiStatics Architecture
Area: 12000 m²
Year: 2020
Photographs: Zhi Xia
Manufacturers: 广东蒲公英新型材料有限公司
Lead Architects:Martin Miller, Mo Zheng, Yasser Hafizs
Design Team:Theodorius E. D. Santoso, Christopher Beckett, Annie Liu, Arthur Yang, Ao Li, Xue Han
Contractor:Shenzhen Ju Hao Engineer
Façade Fabricator:Shenzhou Chang Tian Construction
Client:Valley Elite Group
City:Beijing
Country:China
建築師：AntiStatics架構
面積：12000平方米
年：2020
攝影：夏志
製造商：廣東蒲公英新型材料有限公司
首席建築師：馬丁·米勒，莫錚，亞瑟·哈菲茲
設計團隊：Theodorius E. D. Santoso，Christopher Beckett，Annie Liu，Arthur Yang，Ao Li，Xu Han
承包單位：深圳巨昊工程師
外牆製造商：神州長田建築
客戶：谷精英集團
城市：北京
國家：中國
Inspired by the textiles and patterns of the fashion industry, the Beijing Fashion-Factory rejuvenates a former industrial site into a diverse collection of creative workspaces. The interwoven nature of the fabric is leveraged as a design driver defining the various interior and exterior spaces, their connectivity, and separation. The design utilizes and borrows several techniques from the fashion designer’s palette, including draping, stitching, printing, and weaving. Theoretically, these processes tie back to the early conceptualization of architecture by theorist Gottfried Semper, who traced the etymology of the word wall back to its origins of textile and fabric, where divisions of spaces were not defined simply by brick and stone, and contemporarily concrete, glass and steel, but rather encompassed the draping of fabric as enclosure and later the application of textiles and patterns in the form of tapestries, incorporating both thermal performances as well as aesthetic and ornamental features.
受到時裝業的紡織品和圖案的啟發，北京時裝廠將昔日的工業基地振興為多元化的創意工作空間。織物的交織性質被用作定義各種內部和外部空間，它們的連接性和分離性的設計驅動力。該設計利用並藉鑑了時裝設計師的調色板中的幾種技術，包括懸垂，縫合，印刷和編織。從理論上講，這些過程與理論家戈特弗里德·森珀（Gottfried Semper）對建築的早期概念化有關，後者將詞牆的詞源追溯到其紡織品和織物的起源，在這裡，空間的劃分並非簡單地由磚和石來定義，而是當代的，玻璃和鋼，而是涵蓋了將織物垂懸起來作為圍牆，以及後來以掛毯形式應用紡織品和圖案，同時兼顧了熱性能以及美學和裝飾性特徵。
Taking advantage of the existing industrial infrastructure, many of the remnant artifacts on site were used within the generous outdoor courtyard spaces creating collective gathering through recycling and reuse. Additionally, the interior renovations of the existing buildings took into account the historic impact of pandemics like COVID, orienting each unit’s interior to a private individual entry space. With the spacious courtyards presenting shared space for collective gathering in the age of social distancing, the elimination of any interior collective spaces reduces the potential spread of viral contagions between offices and studios. Particular care was taken to ensure that, while small interior groups may form within offices and studios, HVAC systems are exclusive to those spaces, preventing cross-contamination between companies.
利用現有的工業基礎設施，現場的許多殘留文物被用於寬敞的戶外庭院空間中，通過回收和再利用進行集體收集。 此外，現有建築物的內部裝修考慮到了流行病（例如COVID）的歷史影響，將每個單元的內部空間定向為私人的單獨進入空間。 寬敞的院落在社會疏遠的時代為集體聚會提供了共享空間，消除任何內部集體空間都可以減少辦公室和工作室之間病毒傳播的潛在擴散。 採取了特別謹慎的措施，以確保儘管在辦公室和工作室中可能會形成小型內部團隊，但HVAC系統是這些空間專用的，從而防止了公司之間的交叉污染。
The Fashion Factory B courtyard has the most “fashionably experimental” moment and design. This courtyard, in its given context already established and feeling like a distinct and unique environment from the expansive entry courtyard. Playing with the idea of the stitch at the macroscale as an architectural language, space is interconnected through a large-scale graphic of the microscale stitch. The simple deployment of the line and arch creates continuous linearity throughout the space, sewing together the façade of one building, through the plane of the courtyard into the façade of the other building. These simple and repetitive moves develop a strong rhythm and gesture to space, allowing the eye to trace from landscape to façade and back, while also leveraging a simple kit of parts for ease of fabrication and construction.
Fashion Factory B庭院擁有最“時尚實驗”的時刻和設計。 在給定的背景下，這個庭院已經建立起來，感覺就像是寬敞的入口庭院的獨特環境。 從宏觀角度將針跡作為一種建築語言來玩，通過微型針蹟的大型圖形將空間相互聯繫。 線和拱的簡單部署在整個空間中創造了連續的線性度，將一棟建築的立面縫合在一起，穿過庭院的平面進入另一棟建築的立面。 這些簡單而重複的動作形成了強烈的節奏感和對空間的姿態，使眼睛可以從風景，立面和背面追溯，同時還利用簡單的零件套件簡化了製造和構造。
The use of the industrial expanded steel mesh grants a feeling of softness to the otherwise hard geometries of the classic architectural formations. Reading differently between night and day, the mesh reads as a solid and continuous form during the day, creating regional definitions and subdivisions, while at night, the backlit mesh glows as a continuously stitched line through the courtyard and upwards towards the sky. This reinvention of the space as a twisting linear stitch further enhances the space as one for exhibition in particular the linear fashion show. The arch and turn of the geometry further reference the turn of the fashion model at the end of the runway, in this way, the building becomes a definer and reference to the behaviors within and without.
使用工業膨脹鋼絲網可以使經典建築結構的其他硬幾何形狀具有柔軟感。 白天和黑夜之間的讀取方式不同，網格在白天以實心和連續的形式讀取，從而創建區域定義和細分，而在晚上，背光網格以連續縫合的線發光，穿過庭院並向上向天空發光。 將空間重新設計為加撚的線性針腳，進一步增強了空間，特別是用於線性時裝秀，作為展示空間。 幾何形狀的弧線和轉彎進一步參考了跑道盡頭的時裝模特的轉彎，這樣，建築物成為了定義者，並引用了內部和外部的行為。
The interior spaces of the Beijing Fashion-Factory offer a variety of options for private workspace as well as reprogrammable public facilities. The interior spaces were realigned and transformed to orient their primary entries to the central outdoor courtyard space. The private office and studio space are adaptable to user groups of varying sizes and functions, with large height spaces the areas are able to be split into two or three stories, as well as maintaining strong inspiring double-height areas within a single space. Also, the units are given unique and individual access, providing the opportunity to not only present one’s company logo and graphics on the respective façade but further preventing interior intermingling of visitors and users on the site in response to the recent pandemics of COVID. This utilization of the outdoor space as primary collective circulation creates a healthier and safer workspace. Each unit has its own HVAC system further isolating individuals within their interior workspaces while connecting people through the generous and shared outdoor courtyard space.
北京時裝廠的內部空間為私人工作空間以及可重新編程的公共設施提供了多種選擇。內部空間經過重新佈置和改造，將其主要入口對準中央室外庭院空間。私人辦公室和工作室空間可適應不同大小和功能的用戶群，具有較大的高度空間，這些區域可分為兩層或三層，並在單個空間內保持令人鼓舞的雙高度區域。此外，這些單元還獲得了獨特的個性化訪問權限，不僅有機會在各自的立面上展示公司的徽標和圖形，而且還可以防止訪問者和用戶在內部因最近發生的COVID大流行而內部混雜。通過將室外空間用作主要的集體流通，可以創建一個更健康，更安全的工作空間。每個單元都有自己的HVAC系統，進一步將個人隔離在其內部工作空間中，同時通過寬敞且共享的室外庭院空間將人們聯繫起來。
The public spaces of the site offer further amenities to both on-site users as well as outside parties. Featuring theater and screening spaces, auditorium, fashion runways, art galleries, and music venues, the site is adaptable to both large- and small-scale events. These programs occupy a wide range of spaces through the site. Beijing Fashion-Factory is entirely capable of handling a wide range of public programs and events, this will not only serve to enhance the experience and profile of those working on the site but additionally bring outside parties to space along with the general public invited to attend. In this way, the park operates as an attraction point within the city, not simply a destination for work, but rather a cultural destination expressive of the immense creativity and production of the city.
站點的公共空間為站點用戶以及外部用戶提供了更多的便利。 該場所具有劇院和放映空間，禮堂，時尚跑道，美術館和音樂場所，可適應大型和小型活動。 這些程序在整個站點中佔據著廣泛的空間。 北京時裝廠完全有能力處理各種公共節目和活動，這不僅可以增強現場工作人員的經驗和形象，而且可以將外界與邀請的公眾一起帶入太空 。 這樣，公園就成為城市內的一個吸引點，不僅是工作的目的地，而且是表達城市無限創造力和生產力的文化目的地。
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