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Xiaopu art fair district masterplan
Xiaopu art fair district masterplan
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Other Projects by KNOWSPACE architecture + cities
Xiaopu art fair district masterplan
SIZE
1,000,000 +
The renowned art village
Songzhuang is located close to the 6th ring road of Beijing and is virtually
the largest artist community in China, with more than 5000 artists living and
working in the area. The village is undergoing an ever-growing expansion of its
artist population with an increasing demand for artists' living and working
space.
Only a minority of the
artists is internationally acclaimed, selling work through galleries at very
high prices. The vast majority, in contrast, consists of fairly ordinary
artists that at present do not have sufficient opportunities to offer their
work to potential clients. Hence, the local government decided to provide a
physical space, an indoor and outdoor marketplace for the local artist
community to sell their work, thereby helping them to make a living.
The local villagers'
committee decided to invest in a permanent art exhibition and market hall as
the nucleus for a new village centre and commissioned Erhard An-He Kinzelbach
and his studio KNOWSPACE to design a masterplan for the art fair district and
provide the architectural design for the art fair exhibition hall. In order to
make the new centre a lively and interesting quarter on what is currently a
peripheral and formerly agricultural piece of land and, on the other hand, to
make the project financially feasible, large portions of commercial and gallery
programme and artist studios and houses will accompany the art fair hall. On
approximately 8 hectares of land, around 31.000 m2 of programme are to be
distributed.
The selected site is
characterized by 2 significant constraints. It is divided by a major 50m-wide
road that is stil to be built. In addition, two high-voltage lines in
north-south and east-west directions intersect on site and form two major
unbuildable open space corridors that further aggravate the spatial divide.
VOIDS AS AN OPPORTUNITY: In the design process, the
restrictions set by the high voltage line corridors was understood rather as a
virtue than as an obstacle, in that it naturally guaranteed for large portions
of open public space to be reserved to serve the future developments around the
area. These exclusion corridors can be understood as preserved areas for public
space that precede the development. In addition to providing recreational
quality, this open space also has to perform as a connector between the eastern
and western parts of the site that are separated by the new road as well as by
these corridors at hand. Hence the open space is carefully differentiated and
programmed to complement the adjacent areas: the north-south corridor is mainly
organized by recreational and cultural open space (a recreational park and the
sculpture gardens in adjacency to the studio houses area and the galleries area
respectively); the east-west corridor in contrast is structured and accompanied
by commercial and service space (an open air market space for the art fair or
other similar activities as flea markets etc. and parking facilities in
proximity to the main art fair and exhibition hall).
ICE-RAY PATTERN AS A SPATIAL
ORGANIZATION: The traditional hutong
structure as an infrastructural organization with a clear hierarchy and
sequential access from the street to the alley and finally to the private
courtyard is being hybridized with the traditional ice-ray pattern. This
hybrid's capacity functions not only as a reinterpretation of the specific
hutong organization and geometric adaptation to the givens of the site, it also
proliferates differentiation on three different levels while maintaining
structural and spatial coherence. The local differentiation takes effect on the
following different levels: on the urban level, the ice-ray pattern organizes
circulation hierarchies and parcel subdivision; on the architectural level, it
is informed by programme and with its parametric shape grammar produces
different scales and spatial partition; and finally on a surface level, it
materializes facade subdivision, maximizes interior wall surface for hanging
while providing sufficient indirect lighting. In the latter it also produces
aperture scale variation in relation to programme specific needs.
Songzhuang is located close to the 6th ring road of Beijing and is virtually
the largest artist community in China, with more than 5000 artists living and
working in the area. The village is undergoing an ever-growing expansion of its
artist population with an increasing demand for artists' living and working
space.
Only a minority of the
artists is internationally acclaimed, selling work through galleries at very
high prices. The vast majority, in contrast, consists of fairly ordinary
artists that at present do not have sufficient opportunities to offer their
work to potential clients. Hence, the local government decided to provide a
physical space, an indoor and outdoor marketplace for the local artist
community to sell their work, thereby helping them to make a living.
The local villagers'
committee decided to invest in a permanent art exhibition and market hall as
the nucleus for a new village centre and commissioned Erhard An-He Kinzelbach
and his studio KNOWSPACE to design a masterplan for the art fair district and
provide the architectural design for the art fair exhibition hall. In order to
make the new centre a lively and interesting quarter on what is currently a
peripheral and formerly agricultural piece of land and, on the other hand, to
make the project financially feasible, large portions of commercial and gallery
programme and artist studios and houses will accompany the art fair hall. On
approximately 8 hectares of land, around 31.000 m2 of programme are to be
distributed.
The selected site is
characterized by 2 significant constraints. It is divided by a major 50m-wide
road that is stil to be built. In addition, two high-voltage lines in
north-south and east-west directions intersect on site and form two major
unbuildable open space corridors that further aggravate the spatial divide.
VOIDS AS AN OPPORTUNITY: In the design process, the
restrictions set by the high voltage line corridors was understood rather as a
virtue than as an obstacle, in that it naturally guaranteed for large portions
of open public space to be reserved to serve the future developments around the
area. These exclusion corridors can be understood as preserved areas for public
space that precede the development. In addition to providing recreational
quality, this open space also has to perform as a connector between the eastern
and western parts of the site that are separated by the new road as well as by
these corridors at hand. Hence the open space is carefully differentiated and
programmed to complement the adjacent areas: the north-south corridor is mainly
organized by recreational and cultural open space (a recreational park and the
sculpture gardens in adjacency to the studio houses area and the galleries area
respectively); the east-west corridor in contrast is structured and accompanied
by commercial and service space (an open air market space for the art fair or
other similar activities as flea markets etc. and parking facilities in
proximity to the main art fair and exhibition hall).
ICE-RAY PATTERN AS A SPATIAL
ORGANIZATION: The traditional hutong
structure as an infrastructural organization with a clear hierarchy and
sequential access from the street to the alley and finally to the private
courtyard is being hybridized with the traditional ice-ray pattern. This
hybrid's capacity functions not only as a reinterpretation of the specific
hutong organization and geometric adaptation to the givens of the site, it also
proliferates differentiation on three different levels while maintaining
structural and spatial coherence. The local differentiation takes effect on the
following different levels: on the urban level, the ice-ray pattern organizes
circulation hierarchies and parcel subdivision; on the architectural level, it
is informed by programme and with its parametric shape grammar produces
different scales and spatial partition; and finally on a surface level, it
materializes facade subdivision, maximizes interior wall surface for hanging
while providing sufficient indirect lighting. In the latter it also produces
aperture scale variation in relation to programme specific needs.
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