设计伊始，我们并不知道该如何为这个新的联合办公项目注上代号，或许只是挑选几 个朗朗上口的音节，使其叫出来显得洋气。

When we first started, we really did not know what to call this new project of co-working design. We were just thinking about selecting a few catchy syllables, to make the name sound “trendy”.

        直到有一天，我们从一本书上看到了一篇关于 Nelson Mandela 的传记，以及这一 句: We can change the world and make it a better place. It is in your hands to make a difference.

Until one day，we read an article from the biography of Nelson Mandela, and it’s from this following sentence that we got the inspiration, “We can change the world and make it a better place. It is in your hands to make a difference.”

自由与光

FREEDOM AND LIGHT

        “自由”成为了裸筑在设计、规划“曼德拉”项目时的核心关键词。在建筑学中，自由往往通过光线的物理特征得以体现。而光如同空间中的魔法师，切换、转逆着空间的调性，代表着场域的精神。

“Freedom”is the key word in ROARC’s “Mandela” Project design and plan. Physical characteristics of lighting in the space help to materialize the “Freedom” concept in architecture design. Lighting is the magician, who turns and spins the space, representing a spatial spirit. 

动线 

THE CIRCULATION

        在“曼德拉”四层的厂房空间中，其内部情况是，29m×40m长宽。东西两侧两条消防楼梯以及西侧一部电梯作为垂直交通动线。

The inner space of Mandela’s four-story warehouse is 40 meters long, 29 meters wide. 

        上海太阳高度角计算，中心线南北7.5米处，阳光无法直射，日照时间不足0.1小时。经这两点因素综合考虑，平均直径3.6米圆光筒从四层引入一层，照亮了原本中间无法得到日照的区域。同时，中庭弧形楼梯与光筒呼应，将整个室内空间分割成东中西部三个主要区域。东西部为主要工位区，中部楼梯作为主要交通动线以及整个场所光环境中心。

With the Shanghai solar altitude angle calculated, we concluded the direct sunshine can neither reach the north nor south area within 7.5- meters towards the center axis and the average daily sunlight received in this area is less than 0.1 hour. Considering these two factors, we inserted a vertical light shaft with the diameter of 3.6 meters all the way down from the forth floor to the ground floor, which lights up the area that the sunshine could not reach before. Meantime, the curved staircase in the atrium supports the light shaft, dividing the interior into three major sections, the east, the central and the west. The east and the west are mainly used for working space, while the central  facilitates the major traffic flow and serves as the lighted environment. 

精神指向 

DIRECTING THE SPIRIT

         除了功能平面逻辑之外，裸筑更关注空间的精神指向。

Apart from organizing the logistics on the floor plan, ROARC also emphasizes on bringing a spirit to the space design.

         原本建筑构件的尊重，是我们对场域精神探索的第一步。本案的建筑在八十年代时被翻修，砖混结构式厂房。在2014年被翻修新增钢结构并加固。原始混凝土墙及修补的建筑肌理被完整保留下来，并以清玻璃作为遮罩层，得到两种材质碰撞的效果。梯子作为空间中情感与功能的媒介，成为了交通以及社交的最重要的场所。

To discover the space spirit, we start from analyzing the existing structures and components. The building in project has a brick-concrete structured warehouse and was renovated in the 1980s.  In 2014, it was again renovated and reinforced with additional steel structures. The original concrete walls and its patched texture have been well preserved and covered with clear glass, which created an effect of two textures collage. The staircase, as the media for emotional and functional interactions, becomes the most important element in this whole space.

         此外，四层的中庭挑空是对场域中空间神性的解释。弧形楼梯上旋的路径指向天窗的洞口，犹如在《圣经》里雅各的天阶，将人们引向自由与光。

In addition, the atrium part, four-story tall,  epitomizes the divinity of the holy space. The rising pathway of the arc stair points directly to the skylight opening, which is just like the Jacob’s ladder in the Bible, leading people to the freedom and light.

         《雅各布之梦》也叫《雅各布天梯》（Jacob‘s Ladder）。 布莱特的弟弟罗伯特死的时候，悲痛的布莱克看见他弟弟的灵魂穿过屋顶冉冉上升，“欢乐地拍着手”。他得到灵感将圣经旧约里雅各布做梦登天梯的故事画出来。不同于其他许多天梯是直上直下的画，布莱特的天梯是意味深长地螺旋上升的，形成一个三维圆锥螺旋线。

Jacob’s dream, is also called Jacob’s Ladder. When Blake’s brother, Robert passed way, sad Blake saw Robert’s spirit rising up slowly, all the way through the roof,  clapping his hands in joy. Blake was inspired and painted Jacob’s dream of climbing the ladder. Different from straight ramps, Blake’s ladder is rising significantly in a spiral, which develops a conical helix in three dimensions.

        什么是雅各的梯子？梯子让人看到的是什么？顺便说一句，这是圣经里唯一用“梯子”一词的地方。梯子是派什么用处的？梯子是用来让你到达本来你到达不了的地方。 你够不着的，就用梯子，对吗？就这么简单。那么我们是否能从这里建立起一个神学概念，说神满有恩典地提供了梯子。他在顶上，我们所需要做的，就是爬上去就行了？假如真的是这样，那么神所在的地方有多高？我们所需要爬多少格才能到他那里？那首著名的儿童主日学诗歌这样唱“我爬啊、爬啊、爬，我爬上雅各的梯子。”孩子们要爬多久才能爬到顶上？也因此， “梯子”这样一种建筑样式，在空间里被多次使用。

What is Jacob’s ladder and its purpose? What does the ladder bring people to see? Indeed, this is the only “ladder” appeared in the Bible.  Conventionally,  a ladder is for you to reach a spot that you could not get before. If It’s out of your reach, then use a ladder, simple as that. So, could we set up a theological concept  that God graces us with the ladder and he is on top, all we need to do is to climb up. If so, howhigh do we need to climb to reach him? The children’s Sunday-School Hymn goes, “We are climbing Jacob's ladder；We are climbing Jacob's ladder；We are climbing Jacob's ladder”. How long it will take the children to climb up to the top?

与历史对话

A CONVERSATION WITH THE HISTORY

         对历史的敬畏与尊重是我们设计时的出发点。优秀的建筑不应该在一次次的翻新更迭中被推到，反而更应“顺流而上”，在新的语境中重获“自由”。因此，在“曼德拉”的项目中，老混凝土墙的斑驳被完整地保留下来了，我们选择了12mm钢化夹角的清玻璃，设置在离开老墙20cm的位置，描述这段历史记忆的文字会被贴在清玻璃上，来纪念这几片老墙的过去现在以及未来，也让在此办公的伙伴能自由地穿梭在新旧交替的空间中，任凭思想流转。

Our starting point of design was the fear and respect for the history. A beautiful building should not be pulled down but constantly renovated,developed with whole new methods, while gaining new spirits from the  changing context. Thus, in “Mandela” Project, crumbling concrete walls were completely preserved. We fixed 12mm laminated glass at a distance of 20cm from the preserved walls, and posted texts which document the history on the glass. Like this, the past, the present and the future of these walls coexist here, inspiring and stimulating flows of ideas for people who use the space and they     can enjoy unrestricted moves in between the old and new spaces.

交互 

INTERACTIONS

        原本桁架屋面区域是一块挑高空间。整体建筑平面排完之后我们关注到一个轻松小憩空间的缺失。因此，一个以“乐园”形式的空间定义被用在了该夹层空间。小型刚楼梯以及弧形滑梯成为了上下该空间的主要手段。桁架这样的结构语言在人所能触及的尺度产生了一种戏剧性的效果，空间中三角的秩序性成为了一种软隔断，分割区块。

Underneath the existing truss, there is a space from the raised ceiling. After finishing the whole floor plan design, we noticed the missing of a space for rest and naps For which reason, we created a “playground” on the mezzanine floor. A small steel staircase and one arc slide became the major pathway to link the space above and below. The truss, the structure element produces a dramatic effect in the scale that people could reach. The order of triangles in the space turns into soft partitions, serves to divide regions. 

入口 

ENTERANCE

        被保留加固的旧铁门依然起着他应有的作用，而没有因为新的装饰而被取代。弧形的混凝土现浇吧台是对我们保留的老墙在材料上的一种致敬。而弧形的视觉将空间流线舒适的引向内部，而吊顶的切割方式呼应吧台的形式。地面的马赛克铺贴方式衔接了树脂清漆地面。

The aged iron gate is preserved and reinforced, and still functioning. The curved bar counter is using the cast-in-place concrete, which shows our homage to the well-preserved wall material. And the visual effect generated from the curved shape smoothly introduces the route into the inner space. The cutting shape of the suspended ceiling works in concert with the bar counter’s. The patterns of mosaic on the floor are well connected to the ground resin varnish. 

区域功能的位置

POSITIONING FUNCTIONS IN AREA

        水吧台，打印机以及单人座位被合并为一个功能模块，其被安置在大楼梯的东西两侧。我们在联合办公的功能定义上会发现，时间及效率在联合办公中的重要性。我们试图为使用者创造一种接水，打印，电话为一条线的行为习惯。在一个功能模块中有效率的解决这三件事情。同时，醒目的位置以及目的地式的可达性将人们聚集在中心楼梯的东西两侧，产生一种在中心空间社交的自主式心理逻辑。

The water bar, the printer and the single seats are combined into one function module, are placed at both east and west sides of the main staircase. The co-working module emphasizes the efficiency in the shared working space. We are trying to minimize  users’effort to get  water, print and reach to the phone line. Within the function module, the user could efficiently get these three things done in one go. At the same time, a visible location and the easy-access to the destination gather people to two regions along the east or west side of the main staircase, which effortlessly work out for people’s propensityof socializing in the center space.  

空间中的黑与白

THE BLACK AND WHITE IN THE SPACE

        特意将白色座位中央区域的主基调。纯净的挑空空间与阳光将场所中的“神性”淋漓尽致的表现出来。工区以黑色为基调，配上2700k的暖灯，试图营造了一种相对安静，稳密的工作环境。办公室内以白墙，黑色条形灯以及原木橡胶木桌位主基调，意图留给入住伙伴更多地空间遐想及再设计的空间。

The center area with white seating is intentionally set up as the main key. The divinity in the place is incisively and vividly revealed by the raised space underneath the ceiling and the lighting. Black is the color for working area,accompanied by the lights with 3700k color temperature, there is this comparatively quite and private working environment. In private offices, clear white walls, black strip lights and authentic rubber wood seats leave the room for tenants to recreate and redesign. 

        光影，老墙，玻璃，旧物，挑高空间的碰撞，这种美术馆的展陈语言被使用在了米域有光联合办公空间，皆是裸筑对空间品质的表述。

The collision between light and shadows, preserved walls, clear glasses, and old items, plus the methodology of museum exhibition display design applied in Mandela’ s lighted co-working space, showed ROARC’s pursuit of  spatial quality.

图解／diagram

主创建筑设计师 Chief Architectural Designer: 柏振琦 Robben Bai 

建筑师 Architects: 薛乐骞，彭慧扬L.Xue, H.Peng 

项目经理 Project Manager: 高观赟  Eva 

产品经理 PM: 冯印陶 Feng Yintao 

地址 Address:

No.23c Lane 833, Zhi Zao Ju Rd., Huang Pu District, Shanghai, China

上海市黄浦区制造局路833弄23号C

结构工程师 Construction Engineer: 许尉华 WeiHua Xu 

机电设计 Mechatronic Design: 陆轶 Lu Yi  

项目年份 Year 2016

设计周期 Design Duration 201607-201608

施工周期 Construction Duration 201608-201611

客户 Client: 米域联合办公 MixPace Coworking 

建筑师事务所 Architect Firm: 裸筑更新 RoarcRenew 

设施 Facilities & Utilities: RoarcRenew Ltd

建设公司 Construction Firm: 澳洋建设 AOYO Construction

Edit by Designwire