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#老寿读图#第234集从另一个角度看看密丹公寓

 徐汇老寿oykxhg 2024-05-10 发布于上海
  精彩部分都在视频内,插图就不发了。

  目前假日中在网红武康路上都会看到乌泱泱的人流从武康路的这一端走到另一端,这中间有大部分人都是随大流般的看热闹,而那些戴着耳麦的CityWalk团队则会对一栋栋建筑进行详细的讲解,而武康路中段的密丹公寓就是其中的一栋建筑。

  在上海市文化广播影视管理局、上海市文物局编,上海世纪出版股份有限公司上海书店出版社出版 的《上海百处名人故居品鉴》这本书中我们可以看到相关的介绍:武康路 115 号住宅名密丹公寓,位于武康路与湖南路相交处的东北转角,地块呈梯形,占地面积仅90余平方米,不适宜建造多层住宅。该公寓属万国储蓄会名下产业,由法商赖安工程师行(Leonord-Veysseyre-Kruze)设计为五层公寓。二至五层各有小型的住宅一套,每套建筑面积约 80 余平方米,实际使用面积就更小了,为克服和解决住户住宅的使用面积不足,将底层设计为附属的辅助用房,即公寓住户的公共用房。密丹公寓的英文名为 Midget Apartmens,就是微型公寓迷你公寓,但建筑的外观总体像大象,于是从视觉上有“庞然大物”之感,这也是上海为数不多的“仿生”建筑之一。该公寓为五层钢筋混凝土结构,装饰艺术派风格,平面呈梯形,立面竖向构图,二层处局部逐层收缩,在转角处构筑一对锥角造型,窗裙板有贝壳纹饰浮雕,顶层斜面以多重涡卷式线脚压檐。底层外墙为青色水泥砂浆,二层以上为深色水泥拉毛外墙,装饰艺术的特征明显。

电子地图上你看不出刀片楼的迹象

  当然仅凭文字很难理解这栋建筑真正有趣的地方,于是我们可以通过不同的拍摄手段来了解到它的“仿生学”形态和“Atr Deco”(装饰主义)风格,还有就是要用多角度的拍摄来看看这个路口所相对应的刀片楼真实面貌。

  我们再看看方世忠主编、中华书局出版发行的《海上遗珍 武康路》一书中介绍的密丹公寓过往住户有哪些:密丹公寓的早期住户主要是侨民。在一份 1937年的住户登记中,各层的住户分别为:1室的住户是R.F.Pirard 夫妇,男主人是美国美孚行Standard-Vacuum Oil Company, 即美孚石油公司)设在中国的主要进口润滑油以及工业油脂的贸易公司——Sterns Ltd. China Agency(没有查到中文行名,公司在四川路 670号)的部门负责人;2室的住户是F.T.Skov美孚行的部门经理;3室和4室分别是Dr.M.MartinA. R.  Lusey,他们都是美孚行”的普通员工。由此推断,密丹公寓是由“美孚行”整幢租赁后,提供给公司员工使用的员工住宅。

  当然还有我们这代人熟悉的电影明星孙道临、王文娟夫妇,他们是在1960年后曾经居住在这里,至于什么时候离开住到武康大楼,则没有相关介绍。

  其实密丹公寓和武康大楼有一点命运相同,也就是早年只租不售,租客都是有来头的外企高管,等到太平洋战争爆发后,租客的命运一落千丈,高端房源被抛弃,以至于到了抗战胜利后都无法恢复元气,于是该公寓像武康大楼一样被南京国民政府收买,作为政府官员宿舍。政权更替后还是作了相类似的安排,同时高收入的文艺界人士也会是租客的其中之一。

  相邻的另一栋武康路上的刀片楼我也写过:#老寿读图#第192集武康路上刀片楼。武康路上更多精彩图片都可以在《老寿带侬兜马路》一书中浏览到。

A Fresh Perspective on Midget Apartments on Wukang Road

During the holidays, the bustling thoroughfare of Wukang Road in Shanghai attracts a sea of people, with many merely drifting along to soak in the vibrant atmosphere. Amidst this crowd, the CityWalk team, donned in headphones, stands out as they meticulously narrate the stories behind each architectural gem lining the street. Nestled within the heart of Wukang Road lies the enigmatic Midget Apartments, a subject of their insightful commentary.

In the book "Appreciating Famous Residences in Shanghai," published by the Shanghai Municipal Administration of Culture, Radio, Film, and Television, the Shanghai Cultural Relics Bureau, and Shanghai Century Publishing Co., Ltd., we find a detailed account of this residential marvel. Located at 115 Wukang Road on the northeast corner where it intersects with Hunan Road, the Midget Apartments stand on a trapezoidal plot spanning a mere 90 square meters. Unsuitable for multi-story construction, this apartment complex was designed by the French firm Leonard-Veysseyre-Kruze for the Banque de l'Indochine. Comprising five floors, each floor houses a set of small apartments, approximately 80 square meters in size, with even smaller actual living spaces. To address the issue of limited living space for residents, the ground floor was ingeniously designed as auxiliary rooms for communal use by the apartment dwellers.

The English name "Midget Apartments" aptly describes these compact living spaces, yet the building's exterior bears a striking resemblance to an elephant, exuding a sense of grandeur and magnificence. This architectural marvel is one of the rare examples of biomimicry in Shanghai. Constructed with a five-story reinforced concrete structure, adorned in the decorative Art Deco style, the building's trapezoidal plan and vertical facade composition create a visually striking presence. Notable features include the gradual tapering of the structure from the second floor upwards, the creation of conical shapes at the corners, and intricate seashell-patterned relief decorations on the window sills. The top floor boasts a multi-curved eave design, adding a touch of elegance to the structure.

With its distinctive aesthetics and thoughtful design, the Midget Apartments stand as a testament to the innovative spirit of architectural creativity in Shanghai, inviting admiration and intrigue from all who pass by.

Exploring the Intriguing History of Midget Apartments on Wukang Road

To truly grasp the fascinating essence of this architectural marvel, one must delve beyond mere words and embrace different filming techniques that capture its biomimetic form and Art Deco style. Additionally, a multifaceted approach is essential to unveil the authentic facade of the nearby Blade Building at this intersection.

Turning to the insights provided in the book "Wukang Road: A Treasury of Shanghai Heritage," edited by Fang Shizhong and published by Zhonghua Book Company, we uncover a rich tapestry of past inhabitants who once called the Midget Apartments their home. In the early days, the occupants of Midget Apartments were primarily expatriates. A 1937 resident registration document reveals the following residents on each floor: the occupants of Room 1 were Mr. and Mrs. R.F. Pirard, with Mr. Pirard serving as the head of Sterns Ltd. China Agency, a subsidiary of the American "Standard-Vacuum Oil Company" dealing in lubricants and industrial oils in China; Room 2 was occupied by F.T. Skov, the department manager of "Standard-Vacuum Oil Company"; Rooms 3 and 4 were occupied by Dr. M. Martin and A.R. Lusey, both ordinary employees of the same company. From this, it can be inferred that the Midget Apartments were leased in their entirety by the "Standard-Vacuum Oil Company" to provide employee housing.

Among the more contemporary residents were the renowned film stars Sun Daolin and Wang Wenjuan, who resided in the apartments post-1960. Unfortunately, details regarding their departure to Wukang Building remain elusive.

Interestingly, both Midget Apartments and Wukang Building shared a similar fate in their early years, being available solely for lease to distinguished expatriate executives. However, with the outbreak of the Pacific War, the fortunes of the tenants took a downward spiral. These upscale residences were abandoned, unable to regain their former glory even after the victory of the War of Resistance Against Japan. Consequently, akin to Wukang Building, Midget Apartments were acquired by the Nationalist Government of Nanjing and repurposed as official residences for government officials. Following subsequent regime changes, a similar arrangement persisted, with affluent figures from the artistic community also finding tenancy within its walls.

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