章堰文化馆
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章堰村位于上海市西郊崇固镇，是上海古老文化的发源地，代表了浮泉山文化。这座古村有着千年历史，建于唐宋时期的水边。当时，张燕村非常繁荣。包括张杰、苏轼、任仁发、米芾等几位著名文人都曾来访并写下了他们的经历。
近几十年来，村庄的人口结构发生了巨大变化，年轻人口急剧减少，这导致了原始村庄的恶化。该镇包括清朝、民国时期的房屋，以及建国后修建的两层或三层房屋。作为新的城郊发展政策的一部分，张燕村，像中国许多其他村庄和小镇一样，已经开始了翻新和复兴。
“保护、成长和扩张”是我们对中国张燕村及其他类似村庄进行翻新和修复的策略。它不旨在主导和重建，也不是简单修复老建筑。相反，它努力跟随历史的发展和背景，将当代的需求和意识融入村庄，重新组织布局，规划商业生态，并在新旧之间创建对话。
保护: 老建筑体现了古村庄的历史和文化。它们必须得到保留，并通过加固和保护来改善。
成长: 对于内部空间已经无法使用的破旧建筑，“清理”破损部分可以有效保留功能完好的部分。新的建筑可以自然地生长在其背景中，因此“新”和“旧”可以共存。
繁殖: 新建筑代表了一个新时代，具体来说是新的功能。博物馆设有几座当代建筑，建在场地上的空地上。
文化博物馆的场地代表了村庄建筑的系谱。它包括村史馆 “清朝古董”、张家大院 “一座破败的晚清时期的房屋”和一个开放空间。相邻的建筑是上世纪80年代的两层或三层建筑，以及一个宗教地标，供奉当地神灵的庙宇。
针对这些情况，文化博物馆的展厅由三个具有独特特点的空间组成，其中包括一个水庭院。
由于张家大院的严重损坏，只有外墙得以保留，内部建造了“当代”展厅。新的展厅采用传统中庭的类型学，配有向内倾斜的屋顶，但也保持了30厘米的偏移以尊重旧建筑。
相比之下，村史馆保存得更好。它的内部木质承重结构得到了修复，隔墙被拆除，原始中庭得以保留。该馆设有第二个以“传统”为主题的展览空间。我们将地板改造为阳极氧化铝板，以抵御潮湿，保持与之前展厅的材料和空间一致性。它还可以通过照明来扩大空间的氛围。墙壁、天花板和中庭都得以保留。
在研究村史馆时，我们发现在其北部曾经有过另一座建筑。因此，第三个“未来”展览厅是从原始场地的更新中建造的。再次使用阳极氧化铝，这次用于地板和天花板，其一致性为前两个展览提供了未来感，为前两个展厅提供了动态的对应。
第三展厅外的区域保持为空地。保留了场地上的古树和竹子，水庭院和休闲区为村民提供了休息和社交空间。所有新建筑都是白色混凝土，以响应相邻墙壁的浅灰色。
Zhang Yan Village is located in Chonggu Town, in the western suburbs of Shanghai. It is the birthplace of Shanghai’s ancient culture and representative of Fuquan Mountain culture. With a thousand-year history, this ancient village was built near the water from the Tang and Song Dynasties. At that time, Zhang Yan was very prosperous. Several distinguished writers, including Zhang Jie, Su Shi, Ren Renfa, Mi Fu, have visited and written about their experiences.
In recent decades, the demographics of the village have changed dramatically, with a rapidly declining young population, which has had as a result the deterioration of the original village. The town includes houses from the Qing Dynasty, of the Republic of China, and two- or three-story houses built after the founding of the People’s Republic of China. As part of a new sub-urban development policy, Zhang Yan Village, like many other villages and towns in China, has embraced renovation and revival.
“Preservation, Growth, and Expansion” is our strategy for the renovation and rehabilitation of Zhang Yan Village and other similar villages in China. It does not aim to dominate and reconstruct, nor to repair the old as old. Rather, it strives to follow the development and context of history, to put contemporary needs and consciousness into the village, to reorganize the layout, program the commercial ecology, and to create a dialogue between the new and the old.
Preservation: Old buildings embody the history and culture of the ancient village. They must remain and be improved by means of reinforcement and preservation.
Growth: For the dilapidated buildings whose interior space is no longer available, “cleaning up” the broken parts effectively retain the functional ones. Growing naturally out of its context, the “new” can therefore coexist with the “old.”
Reproduction: The new buildings represent a new era and, specifically, new functions. The museum features several contemporary buildings, constructed on the vacant parts of the site.
The site of Cultural museum is representative of the genealogy of the village’s buildings. It encompasses the Village History Hall (antique of Qing Dynasty), the Zhang Family’s House (a dilapidated late Qing Dynasty house), and an open space. The neighboring buildings are two- or three-story constructions from the 1980s, as well as a religious landmark, a temple to worship the local deity.
Responding to these conditions, exhibition halls of the Cultural Museum consists of three spaces of unique characteristic with a water patio.
Due to the serious deterioration of the Zhang Family’s house, only the exterior wall was able to be preserved, inside which the “Contemporary” exhibition hall is built. While adopting the traditional typology of an atrium accompanied by inward sloping roofs, the new exhibition hall also maintains an offset of 30cm to show respect toward the old construction.
In comparison, the Village History Hall was better preserved. Its internal wooden load-bearing structure was repaired, partition walls were removed, and the original atrium was preserved. The Hall houses a second exhibition space with a theme of “Tradition.” We renovated the floor with anodized aluminum plates to resist humidity, keeping material and therefore spatial consistency with the previous exhibition hall. It also to lights up and expands the space atmospherically. The walls, the ceiling and the atrium are all preserved.
During our research into the Village History Hall, we found that there had historically been another building to its north. Therefore, the third, “Future” exhibition hall is built from the renewal of the original site. Anodized aluminum is used again, this time on both the floor and the ceiling, whose uniformity brings a sense of future, a dynamic counterpart for the previous two exhibitions.
The area outside of the third exhibition hall is kept as open space. With the old tree and bamboos on the site preserved, a water patio and leisure zone offer a resting and social space for villagers.All the new constructions are white concrete to respond to the painted light grey of the neighboring walls.
CREDITS
Architecture/ Interior / landscape Design: Horizontal Design Chief Creative Design Director: Ju Bin Chief Architect: Zhou Zhimin, He Bin Architectural Design Team: Zhang Jia, Deng Shuyu, Song Wenyu, Hu yao, Huang Ping, Xu Weiwei Site Architect: Zhang Jia, Interior Design Team: Wei Jinjing, Sheng Lingxiang, Luo Vanyu, Yang Yixi, Cen Yuhua, Nie Hongming, Hu Kai, Wu Hongzhan, Ye Sufei