中兴工厂 re_Gartory / KDS architects

ZTE Factory re_Garty/KDS Architects
中兴工厂 re_Gartory / KDS architects

项目愿景与创新模式：该项目最引人注目的地方在于其对传统建筑与商业模式的颠覆性探索。它并非仅仅是一个工厂的改造，而是一个以植物为核心，融合空间、品牌和生活方式的复合型微型创业基地。项目通过“改变一个街角”的微观策略，试图对城市空间产生积极影响，体现了设计师对城市更新的深刻思考。这种以植物为媒介，结合“市集”概念，提供创业者和创作者展示平台的模式，打破了传统工厂的单一功能，赋予了建筑新的生命力与社会价值，开创了一种全新的商业模式，值得肯定。

空间设计与建筑语言：建筑设计在狭窄的基地上展现了卓越的空间利用和创新思维。垂直堆叠和横向展开的设计手法，使得建筑在有限的空间内实现了多功能复合。立面如同剖面图，所有功能陈列其中，赋予了建筑独特的展示性，宛如一个精致的艺术展览空间。阳台的运用，既是立面造型的特色，也体现了台湾都市阳台的特色，为建筑增添了实用性和美学价值。此外，以希腊字母为灵感的曲木装置，巧妙地将“欢迎”的寓意融入到公共空间，强化了建筑的开放性和公共性，体现了设计师对细节的精心打磨。

尺度与城市影响：项目对建筑尺度与城市影响力的关系进行了深刻的思考。在有限的空间内，设计师没有局限于单体建筑的传统语言，而是通过精心的规划和设计，实现了对城市环境的积极影响。项目呼应了库哈斯关于“庞大”建筑的思考，即使在微小的基地上，也能对城市产生深远的影响。这体现了设计师对建筑与城市关系的深刻理解，以及对建筑师社会责任的担当。通过创造性的空间布局和公共艺术的融入，项目不仅赋予了建筑新的功能，也提升了街区的活力，为城市注入了新的生命力。

Starting from plants, we seek a new business model that integrates space, brand, and lifestyle. It's difficult to change a city, but we can start by changing a street corner "- that's how we think.
以植物为出发点，找寻空间、品牌、生活之间的新型经营模式。“改变一座城市很难，但可以从改变一个街角开始”——我们是这样想的。

Although named a factory, the ZTE factory is actually a composite micro entrepreneurship base with plants as the main character. The two founders each have backgrounds in urban planning and architectural design, and use their leisure time to create using plants as materials, thus establishing the "Jianxue Plant Management Institute".
中兴工厂虽然名为工厂，实际上是一个以植物为主角的复合式微型创业基地。两位创办人分别具有城市规划及建筑设计专业背景，利用闲暇时间以植物为素材进行创作，进而成立“弍学植务所”。

立面图

At that time, there was an old family style tin factory that had been over half a century old, re_Gartory， It is to place the Garden into the Factory and redefine it after a qualitative change. We continue the concept of "marketplace" and consider the model of brand and cross industry cooperation. Starting from the concept of micro mall, we provide a practice field for entrepreneurs and creators.
当时有一栋已超过半世纪的老旧家庭式铁皮工厂，re_Gartory，就是将 Garden 置入 Factory，产生质变后的重新定义。我们延续“市集”的概念，思考品牌、跨业合作的模式，以微型商场概念出发，为创业者、创作者提供一个练习的场域。

The planning of the entire building seems to have been carefully curated, squeezed and displayed on an extremely narrow site, vertically stacked and horizontally unfolded. The building facade is a cross-section, with all functions arranged in a row, just like the display in an art museum. Beyond the facade layer, it can only be connected by a balcony to form a distinctive design, which is also the urban balcony of Taiwan. A curved wooden device inspired by the Greek letters α and σ, made into a chair and a table respectively, symbolizing "please come in" and "please sit down". This device creates an image of welcoming people to enter the public space on the first floor, and the building is also a street furniture and public art, showcasing its public nature!
整个建筑的规划如同经过仔细“策展”，被挤压并陈列在极其狭窄的基地上，垂直堆叠，横向展开，建筑立面就是剖面，所有功能鳞次栉比，正如美术馆的展示。立面皮层之外，只能以阳台连接，形成造型特色，也正是台湾的都市阳台。以 α 和 σ 两个希腊字母为发想的曲木装置，分别做成椅子及桌子，寓意请进、请坐。这个装置在一楼公共空间里形成欢迎往来的人进入这个空间的意象，建筑同时也是一个街道家具、公共艺术，展示了公共性！

The architectural language developed at the scale of traditional individual buildings appears inadequate in addressing urban issues. In 1995, Koolhaas mentioned in his book "S, M, L, XL": "Above a certain scale, a building must possess the characteristic of being massive, and Bigness is ultimate architecture. However, in a very small building on this site, it is still possible to achieve great influence on the city
传统单体建筑尺度上发展出的建筑语言，在应对城市问题时显得力不从心。1995 年库哈斯在《S, M, L, XL》一书中提到：“到了某一个规模以上，建筑就必须具备庞大的特质，庞大就是建筑（Bigness is ultimate architecture）。但在这个基地非常小的建筑中，却也可以达到对这个城市有极大的影响力。”