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作為一家非營利性生產(chǎn)設施，藝術發(fā)電廠位于紐約布魯克林的戈瓦納斯和雷德胡克，致力于為藝術類的創(chuàng)作和就業(yè)搭建一個有力的平臺。這一更新開發(fā)項目由170,000 平方英尺的車間組成，用于制造木材、金屬、陶瓷、紡織品和印刷制品。這片被污染的場地上的廢棄建筑，被改造成為藝術家、制造商和其他工人的中心，場地的工業(yè)遺產(chǎn)也隨之延續(xù)到新的世紀。項目將擁有115年悠久歷史的發(fā)電廠重新打造為現(xiàn)代化的生產(chǎn)設施，旨在保持布魯克林作為歷史工業(yè)區(qū)的制造傳統(tǒng)。通過保留、恢復和重建原電站的基本結(jié)構，項目突顯了建筑的工業(yè)特征及其與城市肌理的直接關系。

Photography: Albert Vecerka/ESTO

項目傍依戈瓦努斯運河，坐落于西側(cè)的雷德胡克、Carroll Gardens社區(qū)及東側(cè)Park Slope社區(qū)間的一處天然低處。1904年，由托馬斯·愛德華·默里 (Thomas Edward Murray) 設計的布魯克林快速交通發(fā)電站在這里竣工，服務于布魯克林不斷擴大的交通系統(tǒng)。發(fā)電站于20世紀50年代結(jié)束運轉(zhuǎn)，一半建筑（鍋爐房）被拆除，僅留下渦輪大廳。20世紀末，余下的建筑成為當?shù)赝盔f藝術家的目的地，并獲得了“蝙蝠洞”的別稱。隨后在2010年，戈瓦納斯運河被美國環(huán)境保護署指定為超級基金場地，將其列為待修復地。在施工之前，紐約州棕地清理計劃解決了場地的污染問題。2016年4月，在對場地概念設計等內(nèi)容進行初步評選后，Herzog & de Meuron受到委托成為項目的設計顧問。

Photography: Albert Vecerka/ESTO

項目所在社區(qū)遍布儲藏棚、倉庫和多功能商業(yè)建筑，正在迅速地高檔化。既有建筑是自戈瓦努斯運河邊緣向西退界，北至第一街，南至第二街，東至第三大道沿線的大型倉儲建筑。渦輪機大廳的體量及其相對較高的地勢在視覺上賦予其社區(qū)中的突出地位。

場地的工業(yè)景觀及歷史在設計方案中發(fā)揮著關鍵作用，通過恢復歷史悠久的鍋爐房的體量并重建其與原渦輪大廳的關系予以重新詮釋。保留后的渦輪大廳進行了策略性修復和加固處理，歷史性構成則被整合到新的制造設施中。

Photography: Albert Vecerka/ESTO

依托現(xiàn)有的歷史基底，恢復后的鍋爐房最大程度上減少了現(xiàn)場的進一步挖掘。混凝土立面與渦輪大廳的磚石外立面互相呼應，并為擴建提供了簡約耐用的圍護結(jié)構?；炷林鍢嫵闪藘?nèi)部的裸露結(jié)構，為車間的使用提供了靈活的空間。在渦輪大廳，歷史悠久的穿孔開口被整合到鍋爐房的圍護結(jié)構中，兩座建筑的開口都以新的窗體來呈現(xiàn)。

Photography: Albert Vecerka/ESTO

多個領域的生產(chǎn)車間呈豎向分布，這在工業(yè)類項目中并不常見，因此裝載區(qū)域的設計需要進行清晰的高度計算和最優(yōu)的路徑規(guī)劃。對排放標準較為嚴格的金屬車間和木材車間位于底層，印刷、紡織和陶瓷車間被設置在鍋爐房上方的樓層。通過與多位專家協(xié)商完善，并遵循生產(chǎn)衛(wèi)生的最優(yōu)做法，建筑需排放大量的空氣，以確保制造過程中產(chǎn)生的污染物不會危害到內(nèi)部的工作環(huán)境。為了實現(xiàn)這一目標，所有車間共用一個大型的垂直服務墻，其中集合了豎向循環(huán)結(jié)構、樓梯電梯以及衛(wèi)生間管道設備。在既有建筑和新建筑之間，這些垂直元素的整合進一步加強了兩座建筑的水平結(jié)構的穩(wěn)定性，并為鍋爐房中剩余區(qū)域的布局提供了必要的靈活性。屋頂上兩個大型的艙壁體量詮釋了機械、電氣、管道和消防系統(tǒng)在工業(yè)空間中的主要地位，并讓人聯(lián)想起鍋爐房建筑中歷史悠久的煙囪。項目的彈性設計也得到彰顯，考慮到未來可能發(fā)生的洪水和海平面的上升，建筑物的底部未安裝任何設備。

Photography: Albert Vecerka/ESTO

在項目西側(cè)沿戈瓦努斯運河處，前廣場提供了靈活戶外辦公空間、儲存空間以及材料運輸?shù)难b載區(qū)域。在項目的東邊，鄰近公共交通系統(tǒng)通道處，渦輪大廳的磚石圍護結(jié)構上新的開口成為了主要的公共入口。進入建筑后，訪者會看到混凝土拱頂、磚砌槽和琉璃瓦等歷史元素，以及殘留的涂鴉和新的建筑元素。巨大的混凝土剪力墻在入口大廳之外形成了一個垂直空間，金屬樓梯將人們的注意力引至上方的大廳，這里也是建筑中主要的公共設施。在渦輪大廳，建筑的整個上層空間均保留了歷史建筑的原始構成。翻新后的鋼桁架裸露在人們頭頂，為展覽和活動提供了多功能空間。作為建筑內(nèi)公共功能和車間功能的交匯處，附近的雙層通高空間在鍋爐房中提供了額外空間，方便展覽、活動、舞臺和集會的開展。

Photography: Albert Vecerka/ESTO

Powerhouse Arts is a not-for-profit manufacturing facility based in Gowanus and Red Hook, Brooklyn, New York, established to create a robust platform for art production and employment in the arts. Consisting of 170,000 square feet of workshop space for fabrication in wood, metal, ceramics, textile and print, the redevelopment project transforms an existing, derelict structure on a contaminated site into a hub for artists, fabricators and other workers and ensures that the industrial legacy of the site will extend into the next century. Reimagining a 115-year-old power plant as a modern production facility, the project aims to maintain a manufacturing presence in a historically industrial part of Brooklyn. By preserving, restoring, and reconstructing essential elements of the original power station, the project strengthens the building's industrial character and its relationship to the immediate urban context.

Photography: Albert Vecerka/ESTO

The project is situated along the Gowanus Canal, a natural low point between the neighborhoods of Red Hook and Carroll Gardens to the west and Park Slope to the east. In 1904, the Brooklyn Rapid Transit Power Station, designed by Thomas Edward Murray, was completed on the site to serve the expanding transit system of Brooklyn.

Decommissioned in the 1950s, half of the original structure – the Boiler House – was demolished, leaving the Turbine Hall to stand by itself. In the late twentieth century, the remaining structure became a destination for local graffiti artists, and it earned the nickname of "The Batcave." Subsequently, the Gowanus Canal was designated a Superfund site in 2010 by the United States Environmental Protection Agency, identifying it as a candidate for remediation. Prior to the start of construction, the site contamination was resolved through completion of the New York State Brownfield Cleanup Program. In April 2016 – after an initial selection process that included a concept design for the site – Herzog & de Meuron was appointed as design consultant for the project.

Photography: Albert Vecerka/ESTO

A mix of storage sheds, warehouses, and mixed-use, commercial buildings, the neighborhood is rapidly gentrifying. The existing building is set back from the edge of the Gowanus Canal to the west and bound at the north by First Street, at the south by Second Street, and at the east by a large storage building along Third Avenue. The scale of the Turbine Hall and its location atop relatively high ground give it a visual prominence in the neighborhood.

The industrial landscape and history of the site play a pivotal role in the design proposal. It reinterprets the historic Boiler House by reinstating its mass and re-establishing its relationship with the existing Turbine Hall. The Turbine Hall is preserved – stabilized and strategically repaired – and its historical layers are integrated into the new manufacturing facility.

The reinstated Boiler House bears on the existing, historic foundations, minimizing further site excavations. Its concrete fa?ade responds to the existing masonry shell of the Turbine Hall and provides a durable and straightforward envelope for the addition. The exposed structure at the interior, comprising concrete columns and slabs, provides flexible spaces for workshop use. The historic, punched openings of the Turbine Hall are incorporated into the Boiler House envelope, and the openings of both buildings are filled with new windows.

Photography: Albert Vecerka/ESTO

Atypically for an industrial project, the respective fabrication shops are stacked vertically with the disciplines requiring the most clear height and best access to the loading areas – that is, the metal and wood workshops – located on the ground floor, while the disciplines with the most stringent exhaust requirements – print, textile and ceramics – are located at the top floors of the Boiler House. Adhering to the best practices of industrial hygiene (refined through consultation with several specialists), a large amount of air is exhausted from the building to ensure contaminates from the manufacturing processes do not adversely affect the interior work environment. To that end, the workshops share a common, large vertical service wall that also contains the vertical circulation elements, stairs and elevators, as well as the restroom plumbing stack. The consolidation of these vertical elements between the existing and the new building provides additional lateral, structural stability for both buildings and creates the flexibility required for workshop programming within the remainder of the Boiler House floor slab. Two large bulkhead volumes at the roof express the primacy of the mechanical, electrical, plumbing, and fire protection systems in the project and recall the historic smokestacks of the original Boiler House building. They also illustrate the resiliency of the facility, as no equipment has been installed at the base of the building given the potential for flooding and sea level rise in the future.

Photography: Albert Vecerka/ESTO

To the west of the project along the Gowanus Canal, a forecourt provides flexible outdoor work and storage space as well as loading for material deliveries. To the east of the project, closer to the approach to the site from public transit, a new opening into the masonry envelope of the Turbine Hall serves as the primary public entrance. Upon entering the building, the visitor is confronted with the juxtaposition of historic details – concrete vaults, brick chases, and glazed tilework – residual graffiti and the new architectural elements. A large, concrete shear wall forms a vertical space beyond the entrance lobby and a metal stair draws attention upward to the grand hall, the main public feature within the building. The entire upper level of the Turbine Hall building preserves the original spatial composition of the historic structure, exposing the refurbished, steel trusses overhead, and providing a multifunctional space for exhibitions and events. An adjacent, double-height volume in the Boiler House serves as the intersection of the public and workshop functions in the building, providing additional room for exhibitions, events, staging, and assembly.

Photography: Albert Vecerka/ESTO

Project Official Name:?Powerhouse Arts

Location:?322 Third Avenue Brooklyn, New York, USA

Project Phases

Concept Study Jan 2016 - Nov 2016

Schematic Design Nov 2016 - Jun 2017

Design Development Jun 2017 - Feb 2018

Construction Documents Mar 2018 - Dec 2018

Construction Administration Jan 2019 - Mar 2022

Milestones

Construction Start 27 Dec 2018

Topping Out 21 Apr 2020

Permit:?Foundation & Partial Alt 1 Permit 09 Jan 2019

Client:?Powerhouse Arts, Brooklyn, New York, USA

Client Representative:?Colliers International, New York, New York, USA

Herzog & de Meuron

Partners:?Jacques Herzog, Pierre de Meuron, Ascan Mergenthaler (Partner in Charge)

Project Team:?Philip Schmerbeck (Associate, Project Director), Jack Brough (Project Manager, SD - CA), Raha Talebi (Project Manager, Competition - Pre-SD)

Farhad Ahmad, Bruno de Almeida Martins, Iwona Boguslawska, Christopher Cornecelli, Lasse Deichmann, Muriz Djurdjevic, Nazli Ergani, Florian Frank, Fabiola Guzman-Rivera, Josh Helin, Magnus Overby, Pedro Pe?a Jurado, Martin Jonathan Raub, Rebecca Roberts, Emma Thomas, Pimchanok Wangveeramit, Samuels Zeif

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