TP-RP 2820 ，下诺夫哥罗德 / 工业与灵性的光之融合|rp|tp|下诺夫哥罗德|河港|高尔基

来源：设计先锋队（ID:toot8448）

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TP-RP 2820, once a transformer substation of Nizhny Novgorod’s river port, stands on Strelka—where the Oka and Volga Rivers meet, a land steeped in history. Built around 1930 to serve the Gorky port, it survived the port’s 2010s demolition, along with a few structures like “pakgauzy” pavilions and a filtration station. In 2021, IRGSNO launched the Strelka activation project to open this area to the public, and reviving this substation became part of that vision—turning a forgotten industrial relic into a space that bridges the city’s past and present.

TP-RP 2820 曾是下诺夫哥罗德河港的变电站，坐落于奥卡河与伏尔加河交汇处的斯特列尔卡 —— 一片兼具地理与历史特殊性的土地。它建于 1930 年前后，为高尔基河港服务，在 2010 年代港口拆除后幸存下来，一同保留的还有 “pakgauzy” 金属展馆、过滤站等少数建筑。2021 年，下诺夫哥罗德州城市环境发展研究所（IRGSNO）启动斯特列尔卡活化项目，将这片区域向公众开放，而这座变电站的修复活化正是其中一环 —— 让被遗忘的工业遗迹，成为连接城市过去与现在的纽带。

IRGSNO’s design core lies in merging two seemingly distinct aesthetics: industrial heritage and spiritual grace. This concept pays tribute to both the lost port’s industrial history and Nizhny Novgorod’s icon-painting culture. The team kept the building’s original shape intact and reused interior finds like old posters and tablets. Most walls and ceilings are covered in textured white stucco, while drab concrete floors, scrap steel bar counters, and custom metal lamps highlight the industrial vibe. Every detail tells a dual story—of machines that once hummed here, and the region’s deep spiritual roots.

IRGSNO 的设计核心，在于将两种看似割裂的美学 —— 工业遗产的粗粝与灵性文化的雅致 —— 融为一体。这一理念既是对消失河港工业历史的致敬，也承载着下诺夫哥罗德圣像画文化的底蕴。设计团队完整保留了建筑原有形态，还复用了老海报、标识牌等室内遗存。大部分墙面与天花板覆盖着带肌理的白色灰泥，而暗沉的水泥地面、废钢打造的吧台、定制金属灯具，则凸显着工业质感。每一处细节都在诉说双重叙事：这里曾轰鸣运转的机械记忆，与这片土地深厚的灵性根源。

The space’s layout turns former industrial zones into warm, functional areas. Once-technical alcoves are now single “cells” for quiet moments; a large dining table inlaid with Strelka’s history invites shared meals. The most striking element is a polyptych—created with Nizhny Novgorod’s eparchy icon workshop—depicting the entire icon-painting process, from board preparation to final touches. When sunlight filters in, it first fills the former equipment niches (now open with windows instead of walls), then flows through the central arch to the main entrance’s stained glass, wrapping the space in a soft, sacred glow.

空间布局将昔日的工业区域，转化为温暖的功能性场所。曾经的技术壁龛如今成了供人静思的独立 “小间”；镶嵌着斯特列尔卡历史印记的大型餐桌，可供人们围坐共享餐食。最引人注目的元素，是一幅与下诺夫哥罗德州教区圣像工坊合作创作的多联画 —— 完整呈现了圣像画的制作流程，从木板准备到最终完成。当阳光渗入，会先填满曾放置设备的壁龛（如今墙面被窗户取代，开阔通透），再穿过中央拱门，洒向主入口的彩色玻璃，为空间裹上一层柔和而神圣的光晕。

Light, both natural and artificial, is the invisible thread that binds the space’s dual identities. By day, sunlight shifts through the building, turning industrial corners into warm nooks; by night, adjustable artificial lights take over. The team designed the lighting to adapt to different events—dimming for quiet gatherings, brightening for lively occasions—ensuring every moment feels just right. For visitors, this space is more than a renovated building: it’s a place to touch history (running a hand over scrap steel walls) and feel peace (gazing at the icon polyptych), where industrial grit and spiritual warmth coexist harmoniously.

无论是自然光还是人造光，都是串联起空间双重身份的无形线索。白天，阳光在建筑内流转，将工业感的角落照成温暖的休憩处；夜晚，可调节的人造光接过 “接力棒”。设计团队让灯光能适配不同场景 —— 安静聚会时调暗，热闹活动时提亮 —— 确保每一刻的氛围都恰到好处。对访客而言，这里不只是一座翻新建筑：是触摸历史的地方（指尖划过废钢墙面），也是感受宁静的所在（凝视圣像多联画），工业的粗粝与灵性的温暖在此和谐共生。