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罗宇杰工作室：“在中国的地方实践中，地方设计尚属于一个进化中的概念。它既包括了地方景观和产品的外在设计，也指向对地方物质文化和精神气象的凝聚、留存和发扬。”这是左靖工作室关于“地方设计（Local Design）”的释义。2022年5月，左靖及团队牵头并邀请空间设计团队（场域建筑）在湖北荆门完成了从空间、展览、产品的一系列关于当地农业物产的地方设计和实践。这样的前序工作之后，罗宇杰工作室受左靖邀请，对当地沙洋油菜博物馆既有空间及场地的改造。
LUO studio：”Within the regional practices in China, regional design is still an evolving concept. It includes the formal design of local landscapes and products, as well as the cohesion, retention, and development of local material culture heritage and spiritual vibe”. Interpreted by Zuo Jing Studio in May 2022. Zuo Jing and his team invited Approach Architecture Studio and completed a series of regional design practices of space, exhibitions, and products related to the local agriculture industry of Jingmen, Hubei Province. It is after such work as a preface, LUO Studio was invited by Zuo Jing to transform the existing space of the Shayang Rapeseed Museum and renovated its site.
▽傍晚的建筑局部 Part of the building in the evening
▽北廊外 Outside north Corridor
▽北廊望向展厅 The north gallery looks out onto the exhibition hall
现状问题及改造策略 Existing problems and transformation strategies
原沙洋油菜博物馆，并不只是一个建筑，它包括：主馆、副馆（现为博物馆商店）、回香坊（现为文献馆）等三个建筑空间，其中主馆、回香坊是独立的建筑，副馆则为附属于荆品油脂公司大厦一层的东端。这些不同区域的场馆空间是不断扩建、无序增加的结果，它们之间相连的场地是城市的公共道路绿化与工厂围墙的夹缝地带。由于很多特殊原因，在博物馆加建、拓大的过程中，都以一种粗放的方式进行着无规划性蔓延，建设缺乏整体性，建筑之间、建筑内部都产生了很多拼接、碎断的空间。
Not as a single building, the original Shayang Rapeseed Museum comprised three architectural spaces – the Main Building, the Auxiliary Building (currently a Museum Shop), and Hui Xiang Fang (Archives). The Main Building and Hui Xiang Fang were independent buildings, and the Auxiliary Building was the east wing of the Jingpin Oil Company building. As a result of continuous expansion and disorderly construction, the connecting space between the buildings was the public roadside greening and gaps between the factory walls. The original site of the museum grew extensively and randomly without a plan. Hence, it lacked structural integrity and cohesion, consisting of many splicing and broken spaces between and within the buildings.
▽改造前场地现状 Current situation of the site before transformation
文献馆及其场地处于沙洋油菜博物馆三个建筑的中间区域，是非常重要的过渡区域，建筑与场所也更为松散，为了解决整体展陈空间脱节等问题，以串连、接续的方式进行建筑内外空间的梳理，在增设必要功能、解决防渗隔热等修缮工作外，捋顺建筑内部的空间转、承，对建筑之间无规则的各种边角景观进行有机的流线组织，梳理出不同功能类型但彼此关联并序的小园、院，最终将碎片式毫无关联的建筑体之间、内部空间融成一个完整的有机、连续、统一体。
The Archives and its site is a vital transitional area in the middle of the three, its building and site are also looser. To solve the problem of the overall disconnection of the exhibition space, the design team rearranged the interior and exterior in a connected and continuous way. In addition to adding the necessary functions, plus repairing the anti-seepage and heat insulation, the designers organically organized the interior spatial relations and the various irregular landscapes at the corners between the buildings to sort out the small gardens and courtyards with different function types related to each other. Thus, integrating the unrelated fragments and the internal space into an organic and continuous unity.
▽文献馆改造前与围墙关系&主馆步出后的场地 The relationship between the Wall and the Library before renovation & the site after the main library stepped out
1. 观展次序“梳理”——场地平面的组织 Curating the order of exhibition route — Reorganizing site plan
从“主馆”-“文献馆”-“博物馆商店”是既定观展动线，文献馆及其周边场地狭长，观展者由主馆建筑出口步出，穿过一片场地至文献馆，再经过一片场地，最后到博物馆商店。这文献馆以及两边场地位于城市干道和油脂工厂的夹缝地带，狭窄绵长，工厂围墙边界轮廓与城市干道景观的边界轮廓又呈现出毫无关系的非平行折线，两个界面相夹使得文献馆所处场地边界异常错接茬缝，是消极的边界空间。如何将“主馆”到“博物馆商店”之间的区域进行合理组织，统筹和激活这些细碎错愕的空间边界，至关重要。
以“人”的观展行进路径作为重要线索，将现有场地内景观要素统筹纳入：一簇竹林、名人塑像、几棵大樟树、巨形圆碾等等，在这狭长的场地里，在转折之处设置1.4米高屏风砌体透墙，切分出很多个彼此连贯的方形场地，弱化总体场地的狭窄感，并根据观展先后顺序梳理出总体平面（观展行进、布局逻辑）：主馆步出后的竹院-名人塑像园-文献馆入口区-文献馆展厅-中央绿地-樟树长凳区-圆碾坐观区。
From the Main Building to the Archives and then to the Museum Shop, this is the established exhibition route. The Archives and its surrounding areas were narrow and long. Visitors had to leave from the exit of the Main Building, pass through the field to the Archives, then through another field to the Museum Shop. The Archives and the spaces on both sides were in the gap between the city road and the oil factory, narrow and long. The contours of the factory wall and the urban road landscape established a set of unrelated non-parallel polylines, between which the Archives had an abnormally staggered and negative spatial boundary. It is crucial to rationally organize the area between the Main Building and the Museum Shop to coordinate and revitalize these fragmented spatial boundaries.
Using the visiting route of people as a clue, the existing landscape elements such as the bamboo grove, celebrity statues, large camphor trees, and enormous round mills are integrated into the design of this narrow site. A 1.4-meter tall masonry screen wall is constructed at the turning point to divide and establish multiple interconnected square spaces, weakening the sense of narrowness of the original site. A master plan (including exhibition route and layout logic) is formed based on the visiting order; Starting from the bamboo courtyard after exiting the Main Building, to the celebrity statue garden. Entering the Archives to its exhibition hall, and exit to the central green space. Followed by the camphor tree bench area, end at the round mill for sitting and viewing”.
▽设计草图 Design sketch
▽空间概念草图 Spatial concept sketch
▽总体场地模型 Overall site model
▽场地与建筑模型 Site and building model
2. 以“小”营“大”——围墙纳为内壁、室内家具外延 Establish big through small — The enclosure walls inseret inwards, and the furniture extends outwards
由于所处的场地为边角夹缝空间，原文献馆内部空间狭小，文献馆与工厂相邻有一处窄通道，与城市道路相邻有另一处更宽的通道，通过积极的空间考量，决定将与工厂相隔的窄通道收纳归于文献馆展陈的内部空间，通过这个空间动作，使得文献馆内部展陈空间扩大，观展动线更从容，并自然产生出退让、转折的入口区，让进入文献馆更具礼仪性，也让本不充裕的场地内相互干扰的两个路径得以合并为一，利于展陈流线的组织，这是以小营大方式之一；另一个方式是在原有大窗扇的窗台上，安设一个内外相连的大坐凳，此处是文献馆内部观展流线中的空间转折点，利用原有窗台进行坐靠停留，一旁也设了可供取阅的文献书籍，从视觉上来看，这个连续长凳的设定使得室外的草坪成为内部空间的延续，原来逼仄的建筑空间有了更大的宽阔视域感。
Due to the cornered and gaped condition of the site, the original Archives were small, with one narrow passage adjacent to the factory, and another wider passage adjacent to the road. Through positive space strategies, the narrow passage adjacent to the factory was redesigned as part of the Archives’ interior space. This spatial maneuver allowed the internal exhibition space to be expanded as a result. The increasingly leisurely circulation for visiting is accompanied by naturally generated entrances for turning and retreating. Entering the exhibition is now ceremonial, and the two narrow interfering visiting routes are now united into one. This is one way of establishing big through small. Another way is by installing a bench on what was originally a windowsill, that bridges the internal to external. Here is the turning point of the visiting route. Utilized as a resting and reading space, provided with books and information. From a visual perspective, this continuous bench turns the outdoor lawn into a continuation of the internal space, giving a visual sense of broadness to the originally cramped space.
▽从工厂区鸟瞰 Aerial view
▽工厂内望向建筑 The factory looks out onto the building
▽入口处望庭院 Entrance overlooking the courtyard
3. “新”与“旧”—— 结构呈现与空间记忆 The new and the old — structural presentation and spatial memory
从统一的角度来看，无论是增加的“新”还是去除的“旧”，都是为了更好地服务展陈内容，比如增的“新”：连续展台、顶部采光、休憩长凳；留下的“旧”：留的展墙、窗改书架。从结构角度来说，是一种以展陈为目的的“解构”拆除，非承重墙的部分根据展陈的需要进行了局部拆除，营造顶光取掉一段结构顶板。将最终剩下的部分：混凝土结构体进行了表面涂层的清除，其他非承重墙体则与新设的墙体统一作成利于展陈的白墙。清除表面涂层的混凝土结构，提示和强调出旧有建筑的存在，将原有建筑的空间记忆延续。
From a unified point of view, whether adding new or removing old, is to serve the exhibition better. Such as the added new continuous display stands, top lighting, resting bench, or the retained old exhibition walls, and window bookshelves. From a structural perspective, this is a deconstructive removal for exhibition, where the non-load-bearing wall is partially demolished according to the needs of the display, and a section of the structural roof slab is removed for the natural skylight. The concrete structure is cleaned from paint. And the remaining old non-load-bearing walls are unified with new structures as the freshly white-coated surfaces for display. By removing the paint, the exposed concrete structure reminds and highlights the presence of the old building to keep the spatial memory of the original building alive.
▽模型概念 Model concept
▽文献馆改造前（西北角） Library before renovation (Northwest corner)
▽西北角看建筑 View the building in the northwest corner
▽入口及展龛 Entrance and niche
▽入口斜望书架区 The entrance angled into the bookshelf area
▽休憩长凳 Rest bench
▽原窗户空间设置的书架 Bookshelves set in the original window space
▽原建筑结构体与长凳 The original building structure and bench
▽展墙局部 Part of the wall
▽展厅望入口方向 The exhibition hall looks towards the entrance
4. “生动”呈现——展陈与自然光 A vivid presentation — exhibition and natural light
原建筑为平屋顶，存在渗漏、隔热差等问题，在原有混凝土屋顶之上架设的钢架金属屋面，一方面解决原平屋面的渗漏问题，另一方面由于架设也获得了保温隔热的空腔层，同时利用解决屋面排水的坡度高差设置采光窗带，使得室内公共空间即使在没有人工照明的情况下也能保持良好的亮度；除了这个顶部自然光以外，放置资料物件的展龛也设有一道自然光的窄缝，协同人工照明对展陈物品进行自然光的补充。恒定的人工光维持和保障着文献和图像、物件的基本照明，而自然光的营造则使得展陈更加生动，也可以看作是与“油菜”这样一种自然农作物所代表的生长性是相关和暗合的。
The original building had a flat roof with leakage and poor heat insulation. Hence the new steel frame roof was installed on the original concrete structure which solved the leakage and thermal insulation problem through the cavity layer of the erection. While using the height difference of the sloped roof to facilitate roof drainage, the skylights are created so that the indoor public space can maintain good lighting conditions even without artificial lights. In addition to the natural light from the rooftop, a narrow slit for natural lighting behind the display niches complements artificial lighting. While the constant artificial light maintains and guarantees the essential illumination of exhibited documents, images, and objects, the natural light makes the display more vivid, a metaphor in line with the growth of natural crops represented by rapeseed.
▽展龛与自然光 Display niche with natural light
▽展厅望向庭院 The exhibition hall looks out onto the courtyard
▽自然光与人工照明的融合 The fusion of natural light and artificial lighting
▽坐着人的长凳 A bench for seating people
后计 Afterword
刘后利、傅廷栋、王汉中、官春云、李培武，是我国油菜科学研究领域的五位代表性人物。他们是油菜科学的先行者、奠基者、育种专家、栽培专家、质量安全学家，正是有了以他们为代表的研究者的辛勤付出，方才推动了我国油菜科学研究持续的高水平发展，油菜杂交利用的技术水平至今居于世界前列。
Liu Houli, Fu Tingdong, Wang Hanzhong, Guan Chunyun, and Li Peiwu, the five representative figures in the scientific research of rapeseed in China, are the pioneers, founders, breeding experts, cultivation experts, quality and safety scientists of rapeseed science. The hard work of the researchers has promoted the continuous high-level development of scientific research on rapeseed in China and maintained the technical level of hybrid rapeseed breeding in China at the forefront of the world.
▽正面全貌 Full frontal view
▽观展出口处 The entrance to the exhibition
▽两重展台 Double stand
▽名人塑像区至文献馆 Celebrity statue section to Library
文献馆主要将目光投向这五位杰出科学家，通过图文档案、田野报告、调研笔记、照片影像、书籍论文等珍贵资料与实物，展示了他们的科研工作与成果。此外，文献馆还收集了来自多国的油菜研究相关著作、期刊、绘本等，开放给学者和公众浏览研究。
The Archives focus on these five outstanding scientists and display their scientific research work and achievements through precious materials and documents such as graphic records, field reports, research notes, photographs, books, and papers. In addition, the archives also collect books, journals, and picture books related to rapeseed research from around the world, which are open to scholars and the public.
▽樟树园与圆碾区之间 Camphor tree garden and round grinding area
▽庭院矮墙&透光的砖墙 Courtyard low wall & transparent brick wall
▽樟树下 Under camphor tree
▽西侧视角 West view
▽西侧庭院 West courtyard
▽西侧停歇坐靠处 West side rest seat
▽西北角鸟瞰 Aerial view
▽总平面图 Plan
▽平面图 Plan
▽立面图 Elevation
▽剖面图 Section
项目名称：沙洋油菜博物馆·文献馆及其场地（改造）
建筑面积：改造后147.82㎡ （原面积57.3㎡）
场地面积：874㎡
建设时间：2022年12月- 2023年3月
地点：湖北省荆门市沙洋县经济开发区启林大道
业主：沙洋县人民政府 湖北农谷实业集团有限责任公司
设计团队：罗宇杰工作室
设计人：罗宇杰 曹玉涛 梁嘉惠 卢焯健
施工方：湖北农谷建设开发有限公司
摄影师：金伟琦
展览信息：
油菜：从全球到地方
地点：沙洋油菜博物馆
开幕时间：2023年3月18日
策展人：左靖
执行策展人：张韵雪
策展小组：冯节 王娜 王彦之 杨希
展览统筹：蒲佳
空间设计：罗宇杰 曹玉涛 王蓓蕾 卢焯健 梁嘉惠
视觉设计：林溪 王宇扬 黄梓哲 苏国人
Project Name: Shayang Rapeseed Museum · Archives and Site Renovation
Building Area: 147.82㎡ after renovation (original area: 57.3㎡)
Site Area：874㎡
Construction Period: December 2022 – March 2023
Location: Qilin Avenue, Shayang Economic Development Zone, Jingmen City, Hubei Province, China
Owner: Shayang People’s Government, Hubei Agricultural Valley Industrial Group Co., Ltd.
Design Firm: LUO studio
Designer Team: Luo Yujie, Cao Yutao, Liang Jiahui, Lu Zhuojian
Construction Firm: Hubei Agricultural Valley Construction and Development Co., Ltd.
Photographer: Jin Weiqi
Exhibition Information:
Rapeseed: From the Global to the Local
Venue: Shayang Rapeseed Museum
Opening Date: March 18, 2023
Curator: Zuo Jing
Executive Curator: Zhang Yunxue
Curatorial Team: Feng Jie, Wang Na, Wang Yanzhi, Yang Xi
Exhibition Coordinator: Pu Jia
Space Design: Luo Yujie, Cao Yutao, Wang Beilei, Lu Zhuojian, Liang Jiahui
Visual Design: Lin Xi, Wang Yuyang, Huang Zizhe, Su Guoren
“ 设计以串连、接续的方式进行建筑内外空间的梳理，在增设必要功能、解决防渗隔热等修缮工作外，捋顺建筑内部的空间转、承，对建筑之间无规则的各种边角景观进行有机的流线组织，使其形成一个完整的有机、连续、统一体。”
审稿编辑 Maggie
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