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上海愚园路旮旯三宝陶艺工作室项目是几个建筑师的“旮旯计划”的第二个落成的小房子，其与第一个成果已经相隔3年。这期间也经历了新冠疫情后期以及房地产行业形势的持续走弱，建筑师同时面临着许多新的需要处理的问题。和李见深国际陶艺工作室团队的合作则为这第二个小房子的运营内容提供了起点和支点。这篇文章会逐步将这个思考和建造的过程进行展示。

The Yuyuan Road Hongye Garden Ceramic Art Studio project in Shanghai is the second completed small house in a series of “Nooks and Corners” plans by several architects, with a three-year gap since the first result. During this period, the project encountered the later stages of the COVID-19 pandemic and the continued decline of the real estate sector, while the architects also faced numerous new issues that needed to be addressed. The collaboration with international ceramic artist Li Jianshen’s team provided a foundation for the operational content of this second small house. This article will gradually showcase the thinking and construction process behind the project.

▼底层会客空间，Scene of sitting area © 存在建筑

市井氛围的延续
Continuation of the Alley Atmosphere

上海的愚园路在近几年成为了现象级的网红打卡目的地，这一方面依赖于愚园路两侧良好的建筑品质以及市井气息，另一方面政府也在适度的引导新的产业经济入驻。以宏业花园为例，靠弄堂口100米内的弄堂西侧为旧时的学校和厂房，3年前在创邑的统一管理下改造成为充满活力的创意办公和社区公共空间；弄堂东侧为花园洋房及居民自建房，建造历史从解放前持续到20世纪80年代，现在逐渐形成民宅和工作室、零售等功能交融的场所。

▼宏业花园总平面图（1947年&2024年），Historical Map © 灰空间

In recent years, Yuyuan Road in Shanghai has become a phenomenon-level hotspot for online check-ins. This is partly due to the good quality of buildings on both sides of the street and the lingering alley culture, while the government has also been guiding new industries to settle in. Taking Hongye Garden as an example, the west side of the alley 100 meters from the entrance used to house old schools and factories, which were renovated three years ago under the unified management of Chuangyi to create a vibrant creative office and community public space. The east side of the alley contains self-built residential houses, with a history of construction stretching back to the pre-liberation period and continuing into the 1980s. Today, it has gradually evolved into a place where residential areas, studios, and retail functions blend together.

▼项目改造前照片，Photo before renovation © 刘漠烟

第一次看场地时，建筑师就被项目周边类似村落的丰富界面和似乎停留在上个世纪的人际交往方式所打动，因此在宏业花园这样一个充满市井气息的弄堂里面，期待这个小空间能延续街道氛围，甚至能创造更多让人们在此相遇交流的机会。

When the architects first visited the site, they were struck by the rich, village-like interfaces surrounding the project and the lingering sense of old-world manners and customs that seemed to belong to the previous century. Therefore, in a lively alley like Yuyuan Road in Shanghai’s Hongye Garden, we hoped to preserve the existing atmosphere in this small space, and even create more opportunities for people to meet and interact.

▼项目北侧建筑照片，Photo of the lane © 刘漠烟

上海小街道的市井氛围很多时候来自于建筑被使用者逐步叠加的改造，其最终形成的模糊的界面可以创造更多意外的惊喜。因此空间界面的形式和材料成为建筑师最开始设计的起点。

The lively atmosphere of Shanghai’s small streets often comes from the gradual, additive transformations made by the building’s users. The resulting blurred interfaces can create more unexpected surprises. Therefore, the form and materials of the spatial interface became the starting point for the architects’ design.

▼项目改造过程，Process of renovation © 刘漠烟

新增的材料和空间界面不需要将既有的环境完全掩盖，而是与其共存形成模糊而融合的新场景。建筑师担心改造后的房子在街道上显得格格不入，希望不论在何种视角下，这个小房子都是长在这个场地中的。接手项目前的原建筑立面上贴了面砖后又敷以蓝色涂料，它虽小却有记忆点，而其他相邻建筑被统一刷上了米黄色质感涂料。与其他朋友谈起这个房子时建筑师都用“那个蓝房子”来指代，因此同时不希望在改造后这个房子失去了所有特征。

The newly added materials and spatial interfaces don’t need to completely obscure the existing environment, but rather coexist with it to form a blurred and integrated new scene. We were concerned that the renovated house might appear out of place on the street, so we wanted the small house to seem as though it had naturally grown out of the site, no matter the perspective. Before the architects took over, the original building’s façade had been tiled with ceramic bricks and coated in blue paint, which, though small, had a memorable character. The surrounding buildings were all uniformly painted in a beige, textured coating. When talking about the house with others, we referred to it as “the blue house.” We didn’t want the renovation to erase all of its distinct features.

▼建筑沿街面，Facade © 存在建筑

底部的红色手工陶砖及上部的灰绿色膜材都是在回应场地已有的配色和虚掩的遮盖了一点立面上路过的凌乱的电线，同时又希望在这个弄堂里形成新的记忆点。灰绿色的膜材采用了钢索悬挂的方式，简单的构造节点也为未来替换为海报提供了便利。

The newly added materials and spatial interfaces don’t need to completely obscure the existing environment, but rather coexist with it to form a blurred and integrated new scene. We were concerned that the renovated house might appear out of place on the street, so we wanted the small house to seem as though it had naturally grown out of the site, no matter the perspective. Before the architects took over, the original building’s façade had been tiled with ceramic bricks and coated in blue paint, which, though small, had a memorable character. The surrounding buildings were all uniformly painted in a beige, textured coating. When talking about the house with others, we referred to it as “the blue house.” We didn’t want the renovation to erase all of its distinct features.

▼建筑立面细节，Detail © 存在建筑

外立面陶砖体量向内延申形成完整的底层空间的基座。其上方则是由阳光板包裹的微尺度的中庭。在中庭挑高空间里，各标高的活动空间与视线通廊在这里交错，为使用者的偶遇或一瞥创造机会。

▼弄堂轴侧图，Isometric view of the lane © 灰空间

The ceramic brick volume of the exterior façade extends inward, forming a complete base for the ground-level space. Above it, there is a micro-scale atrium enclosed by polycarbonate panels. Within the atrium’s high-ceilinged space, the different levels of activity areas and sightlines intersect, creating opportunities for users to unexpectedly meet or catch a glimpse of each other.

▼弄堂的市井氛围，Street atmosphere © 存在建筑

▼弄堂的市井氛围，Street atmosphere © 存在建筑

设计建造过程中的精确与模糊
Precision and Ambiguity in the Design and Construction Process

既有建筑面积很小，平面是略不规则的矩形，尺寸约3.3m（面宽）*7.2m（进深）。原建筑共计两层，总高度也受限，除坡顶区外的板底高度仅有5.4m。因上世纪80年代的原始建造者并非专业施工队，内部结构相对混乱：砖墙、混凝土柱、木梁及木楼板均是受力构件。其中木梁与木楼板因腐朽已不再适合继续受力需拆除，因此建筑师得以在去除木楼板后的空间内规划新的功能，包括陶艺工作室所需的展陈空间、休闲空间、睡眠空间以及服务空间。

The existing building has a very small floor area, with an irregular rectangular layout measuring approximately 3.3m (width) by 7.2m (depth). The original building consists of two floors, with its total height also limited. The ceiling height, except in the sloped roof area, is only 5.4m. Since the original builders in the 1980s were not professional contractors, the interior structure was relatively chaotic: brick walls, concrete columns, wooden beams, and wooden floors all acted as load-bearing elements. The wooden beams and floors, having decayed, were no longer suitable for carrying weight and needed to be removed. This allowed the architects to plan new functions within the space after the removal of the wooden floors, including exhibition spaces, leisure areas, sleeping spaces, and service areas for the ceramic art studio.

▼改造前剖透视，Sectional perspective © 灰空间

拆除木梁和木楼板以及墙体原饰面层后原有的建筑尺寸才得以最终显露出来，而拆除原有梁板的建筑在结构安全性上已出现问题，因此快速调整方案后，建造的第一步便是加固。新增的钢框架与整体外墙内侧新增的钢筋网混凝土加固层修正了原来混乱的结构系统，为增加稳定性且保证大部分的梁柱截面控制在60*60mm，尽量不挤占已非常狭窄的室内空间，结构师在钢架的局部增加了斜撑，这些斜撑也为未来空间设计提供了新的趣味。

Only after the removal of the wooden beams, wooden floors, and the original surface finishes of the walls did the true dimensions of the existing building emerge. However, the removal of the original beams and floors led to structural safety concerns. After quickly adjusting the plan, the first step in construction was to reinforce the structure. The newly added steel frame and the reinforced concrete layer with a steel mesh on the inside of the external walls corrected the previous chaotic structural system. To increase stability and ensure that most of the beam and column cross-sections stayed within 60x60mm—avoiding further encroachment on the already narrow interior space—the structural engineer added diagonal braces to certain parts of the steel frame. These braces also contributed a new sense of interest to the future spatial design.

▼钢架施工中及完工照片，The iron structure © 刘漠烟

建筑三面均与其他民宅相邻，出于施工期间的安全性考虑以及满足城市管理者的相关规定，建筑外部的几处洞口及局部出现的几处混凝土楼板均未作调整。其中需要精确处理其同内部空间关系的主要有：建筑入口、二层阳台、顶部高窗，以及露台通道口，这些空间都与实际使用关系密切，其余窗洞的尺寸和位置均可以模糊处理，仅作为采光通风的洞口。通过精确定义以上几个空间的尺寸，建筑的内部空间系统就基本成型了。

The building is adjacent to other residential houses on three sides. Due to safety concerns during construction and in accordance with urban management regulations, several openings on the exterior and a few sections of concrete floors were not altered. The primary areas that required precise handling in relation to the interior space were the building’s entrance, the second-floor balcony, the high windows at the top, and the terrace passage. These spaces are closely related to actual usage, while the dimensions and positions of the other window openings were treated ambiguously, serving solely as openings for light and ventilation. By accurately defining the dimensions of these key spaces, the internal spatial system of the building was essentially shaped.

▼剖轴侧图，Isometric view © 灰空间

临弄堂的建筑入口与北侧的厨房操作台、其上方的休闲阳台以及上露台的楼梯区域是最早被确定的空间，因原建筑的入口和其上方的一小块需保留的混凝土楼板，以及露台混凝土楼板开口的尺寸限制了建筑调整的可能性。远离弄堂的另一侧则布置了会客区、工作区以及睡眠区，两侧功能通过穿越阳光板中庭的小桥相连。

The building entrance facing the alley, along with the kitchen countertop on the north side, the leisure balcony above it, and the staircase area leading to the upper terrace, were the first spaces to be determined. The original entrance, a small section of concrete floor above it that needed to be preserved, and the size limitations of the terrace’s concrete floor opening restricted the possibilities for modifying the building. On the opposite side, far from the alley, the visitor area, work area, and sleeping area were arranged, with the two sides connected by a small bridge crossing the polycarbonate atrium.

▼休闲区，Leisure © 存在建筑

▼厨房操作台，Kitchen © 存在建筑

▼从厨房看向中庭，View from the kitchen © 存在建筑

▼通向屋顶露台，Way to the terrace © 存在建筑

除以上临建筑边界的空间之外，剩余空间被定义为一个挑高的四处开洞的中庭空间。因中庭空间的边界被其他空间所限制，且没有具体功能，因此其尺度其实具有一定的容错性。设计师在此处以阳光板包裹中庭，希望由其他空间射入的光在中庭形成朦胧的效果。

▼中庭剖透视，Sectional perspective © 灰空间

Aside from the spaces along the building’s boundaries, the remaining area is defined as a high-ceilinged atrium with openings on all four sides. Since the boundaries of the atrium are constrained by other spaces and it does not have a specific function, its dimensions actually allow for some flexibility. The designer chose to wrap the atrium with polycarbonate panels, hoping that the light entering from other spaces would create a soft, diffused effect within the atrium.

▼中庭仰视，Look up to the atrium © 存在建筑

▼底层中庭视角，Look up to the atrium © 存在建筑

▼底层中庭视角，Look up to the atrium © 颜翘楚

▼桥上中庭视角，Look to the atrium from the bridge © 存在建筑

▼桥上中庭视角，Look to the atrium from the bridge © 存在建筑

原建筑外轮廓并不是精确的矩形，最大偏差有200mm，施工过程中所有的误差均被留在了建筑的尽端，以保证其他部分尺寸的精确性。新增的钢框架系统也将原有非正交的系统精确化。

The original building’s outer outline is not an exact rectangle, with a maximum deviation of 200mm. During construction, all the errors were left at the building’s extremities to ensure the accuracy of the dimensions in the rest of the structure. The newly added steel frame system also refined the original non-orthogonal system.

▼卧室洞口，Look from the bedroom © 颜翘楚

▼楼梯，Staircase © 颜翘楚

▼洞口，Hole © 存在建筑

事实上，很多展陈空间的搭建也是在建造过程中逐步成型的。如为了给厚度100mm的阳光板做收边，设计师选用了200宽的金属条，剩余的宽度正好作为窄边的陶艺展示平台。施工边角料的玻璃钢格栅及桦木多层板则有一部分制成的外部座椅，另一部分在空间中搭建了局部的展架。这些模糊而冗余的空间和建筑材料，最终成为定义清晰的展陈空间，也有赖于艺术家与建筑师在策展前期的紧密配合。

▼可变展架设计，Adjustable Display Stand © 灰空间

In fact, many of the exhibition spaces were gradually formed during the construction process. For instance, to finish the edges of the 100mm-thick polycarbonate panels, the designer selected 200mm-wide metal strips, and the remaining width was just right for a narrow ceramic art display platform. Some of the leftover fiberglass grating and birch plywood from the construction were used to make external seating, while the rest was used to build partial display racks within the space. These blurred and redundant spaces and building materials ultimately became clearly defined exhibition spaces, thanks in part to the close collaboration between the artist and the architect during the curatorial process.

▼空间展陈，Exhibition © 存在建筑

后记
Afterword

愚园路宏业花园艺术工作室作为城市旮旯计划的第二个落成项目，建筑师继续关注城市空间里原本未得到充分重视的小角落，希望通过建筑改造提升空间品质，以局部激活城市空间。在这个项目中，建筑师积极寻求与艺术家合作植入运营内容，希望能从更多元的视角对城市空间活力做出点贡献。

The Yuyuan Road Hongye Garden Art Studio, as the second completed project of the Urban Nooks and Corners Plan, continues the architects’ focus on the small, often overlooked corners of urban spaces. The goal is to enhance the quality of these spaces through architectural renovation and to activate urban areas in a more localized manner. In this project, the architects actively sought collaboration with artists and integrated operational content, hoping to make a contribution to the vitality of urban spaces from a broader perspective.

▼项目总平面图，General layout © 灰空间

▼各层平面，Plan © 灰空间

项目完整信息
项目名称：愚园路“城市旮旯”空间改造
项目类型：建筑/室内
项目地点：上海市愚园路宏业花园
策划人：李见深国际陶艺工作室、灰空间建筑事务所、宋佳威
设计单位：灰空间建筑事务所
主持建筑师：刘漠烟、苏鹏
设计团队：琚安琪、李园园、雁森、马玥扬、张逸君（实习）、刘俊豪（实习）
建设状态：建成
设计时间：2023年6月-2024年6月
建设时间：2023年10月-2024年12月
占地面积：27㎡
建筑面积：54㎡
结构顾问：iStructure结构事务所
施工：上海煜榫装饰工程有限公司
材料：桦木多层板、法拉利膜、阳光板、玻璃钢格栅
摄影：存在建筑、颜翘楚、刘漠烟

Project Full Information
Project Name: Renovation of the “Nooks and Corners” Space in Hongye Garden, Yuyuan Road
Project Type: Architecture/Interior
Project Location: Hongye Garden, Yuyuan Road, Shanghai
Planners: LI Jianshen Ceramics Studio, Gray Space Architects, SONG Jiawei
Design Firm: Gray Space Architecture Studio
Leading Architects: LIU Moyan, SU Peng
Design Team: JU Anqi, LI Yuanyuan, YAN Sen, MA Yueyang, ZHANG Yijun (Intern), LIU Junhao (Intern)
Completion Status: Completed
Design Duration: June 2023 – June 2024
Construction Duration: October 2023 – December 2024
Site Area: 27㎡
Building Area: 54㎡
Structural Consultant: iStructure
Contractor: Shanghai Yusun Decoration Engineering Co., Ltd.
Materials: Birch Plywood, Ferrari Membrane, Polycarbonate Panels, FRP Grating
Photography: arch-exist, YAN Qiaozhu, LIU Moyan

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