· ©Chaos.Z `满京华美术馆的前身是宏华印染厂的装备车间，美术馆设计的概念起源于对废弃建筑空间叙事的重构。新的建筑结构是完全独立存在并植入原有的旧车间内部基地，旧车间被看做一个大尺度的开放的混凝土罩处理，从而针对工业遗址建立起新的多层次的空间、时间逻辑。From the architect. Formerly the packing workshop of Honghua Dying Factory, MJH Gallery was conceptualized from (re-)structuring the spatial narratives of this vacant building. The new architectonics was independently implanted onto the original inner ground of the old workshop, which was regarded as a large open concrete pavilion, in order to build the new multi-layered spatial/time logic into the industrial relic.
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©Chaos.Z
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`满京华美术馆的前身是宏华印染厂的装备车间，美术馆设计的概念起源于对废弃建筑空间叙事的重构。新的建筑结构是完全独立存在并植入原有的旧车间内部基地，旧车间被看做一个大尺度的开放的混凝土罩处理，从而针对工业遗址建立起新的多层次的空间、时间逻辑。
From the architect. Formerly the packing workshop of Honghua Dying Factory, MJH Gallery was conceptualized from (re-)structuring the spatial narratives of this vacant building. The new architectonics was independently implanted onto the original inner ground of the old workshop, which was regarded as a large open concrete pavilion, in order to build the new multi-layered spatial/time logic into the industrial relic.
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© Chaos.Z
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美术馆的内部核心空间，也就是主要的展览厅，是一个悬浮在旧建筑中心的一个黑色钢铁盒子，旧建筑特殊的双层屋顶的天窗也给予展览空间柔和的漫射顶光。封闭的展览盒子通过两个半透明的展厅与地面层相连接。这几个完全独立的功能块，一方面支撑起悬挑提高的主要展厅，另一方面也定义了如入口空间、观众厅、艺术品商店和可自由划分的多功能空间等空间和其功能。建筑底层对于原有厂房底层的各个方向都是开放的，对于周围的自然景观也呈现开放的态势。
The inner core space of the gallery, the main exhibition hall, is lifted up in a black steel box in the center of the old building, under its special double-roof skylight, which gives gentle diffused top-light to the exhibition space. The enclosed exhibition box connects to the ground floor via two semi-glass halls. Several free-standing functional blocks, on the one hand, support the elevated mail hall, and on the other, define the ground space and functions that contain an entry show room, an auditorium, an art shop and related divide-able multifunctional spaces. The ground floor is open in all direction to the original ground of the factory, as well as to the surrounding natural landscape.
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© Chaos.Z
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美术馆的主要入口插入了一个半开放的T形的混凝土盒子，并利用了车间南面山墙上的原有入口，并改造了工厂废弃的过滤池形成一个景观池。系列景观墙、人行与车行坡道依造地势而起，连接了美术馆的主要入口和与城郊公路联通的略低的广场。从广场到美术馆的景观路径穿插着自然、人工、工业与后工业等多种景观，在这里，人们能够体验并记住基地的完整的历史时间轴。
The main entrance of the gallery, with a half-open T-shape concrete box plugged-in, uses the original entrance on the south gable of the workshop, confronting a landscape pool that converted from the abandoned filtering basin of the factory. A sequence of landscaping walls, pedestrian and vehicle ramps cultivated from the topography were designed to link the gallery’s main entrance to the lower plaza that connects the suburban road. This landscape path from the plaza to the gallery detours between nature and artefacts, industrial and post-industrial landscape, through which, one could experience and memorize the whole time line of the site’s history.
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建筑师：源计划建筑师事务所
项目地点：中国广东深圳
主持建筑师：何健翔 蒋滢
设计团队：董京宇、Thomas ODORICO、陈晓琳, 冯桂雄
面积： 2800.0 平方米
年份：2014年
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Architects: O-office Architects
Location: Shenzhen, Guangdong, China
Architect In Charge: Jianxiang HE, Ying JIANG
Design Team: Jingyu DONG, Thomas ODORICO, xiaolin CHEN, Guixiong Feng
Area: 2800.0 sqm
Year: 2014
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