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以年轻视角聚焦新生代艺术家及多元文化 | 北京 X 美术馆

X 美术馆由两位 90 后创立，以年轻视角聚焦新生代艺术家及多元文化。新馆选址在北京新晋「网红园区」朗园 Station 里的一座老仓库，任务书要求，新馆空间既要满足正常展览需求，也要具备举办各类活动的灵活性和便于视觉传播的「场景感」。除展厅外，馆内还要设置可独立对外经营的艺术商店、咖啡店及餐厅。创始人对新馆建筑的定位是「一处很酷的、能容纳各种可能性的综合生活方式场地（lifestyle space）」。

The X Art Museum was founded by two post-90s individuals, focusing on the new generation of artists and multiculturalism from a young perspective. The new venue is located in an old warehouse in Langyuan Station, a new "internet famous park" in Beijing. The task book requires that the space of the new venue should not only meet the normal exhibition needs, but also have the flexibility to hold various activities and a "scene sense" that is conducive to visual communication. In addition to the exhibition hall, there will also be art shops, coffee shops, and restaurants that can operate independently to the outside world inside the museum. The founder's positioning of the new building is "a cool and versatile lifestyle space that can accommodate various possibilities.

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建筑师：不也设计工作室

面积：3000 m²

摄影师：刘松恺, 杨天周

主创设计师：姜伯源，王静雯，杨硕

北京 X 美术馆

Beijing X Art Museum

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馆方在任务书中体现的强烈介入当下、探索未来的意愿颇为特别。过去三十年来，随着人们获取信息渠道的多元化，美术馆行业早已将自身定位从「对观众单向输出」变为「与观众双向互动」，美术馆建筑也从严肃自矜向生动开放转变。X美术馆新馆的选址和定位显然希望在此基础上更进一步，把艺术机构推入更为日常的大众休闲文化生活和网络传播行为之中。这种对「时兴」的无保留拥抱，让项目在设计伊始便带上一抹波普式的批判气质。

The strong willingness of the museum to intervene in the present and explore the future reflected in the task book is quite unique. Over the past thirty years, with the diversification of information channels for people, the art museum industry has shifted its positioning from "one-way output to the audience" to "two-way interaction with the audience", and art museum architecture has also transformed from serious and reserved to vivid and open. The site selection and positioning of the new X Art Museum clearly hope to further promote the art institution into more daily popular leisure cultural life and online communication behavior on this basis. This unreserved embrace of "fashion" gives the project a pop style critical temperament from the beginning of its design.

馆址所在的红砖建筑原为北京纺织仓库的十号库房，始建于 1960 年代，用于储藏棉花等计划经济时代的战略物资。此后几经修葺，至 2018 年时遭遇大改，原建筑几近拆光，仅留下红砖外墙。该次改造中，外立面窗洞均被封堵，库内新建起拥有巨大桁架采光屋面的钢结构「房中房」，并利用新老墙体间的夹层作为设备管线空腔。「房中房」内又新建一座混凝土架空平台作为功能空间，通过两道连桥与一条新建户外疏散坡道连接。

The red brick building where the museum is located was originally the 10th warehouse of Beijing Textile Warehouse, which was built in the 1960s to store strategic materials such as cotton during the planned economy era. After several repairs, it underwent major renovations until 2018, when the original building was almost completely demolished, leaving only the red brick exterior walls. In this renovation, all the windows on the exterior facade were sealed, and a steel structure "room in the room" with a huge truss skylight roof was newly built inside the warehouse. The interlayer between the new and old walls was used as the equipment pipeline cavity. A new concrete elevated platform has been built inside the 'room' as a functional space, connected to a newly constructed outdoor evacuation ramp through two bridges.

我们介入项目时，面对的便是上述被大刀阔斧改造、混杂着不同时代痕迹的基地，而整个园区里还有大量更为激进的更新案例。一方面，所剩无几的原始建筑减轻了我们面对工业遗存时的历史保护压力；另一方面，从成本、可持续性和诚实性角度出发，我们又希望能尽量保留过往历次改造的成果。

When we intervened in the project, we faced the aforementioned base that had been drastically transformed and mixed with traces of different eras, and there were also a large number of more radical updates throughout the entire park. On the one hand, the few remaining primitive buildings alleviate the historical protection pressure we face when dealing with industrial relics; On the other hand, from the perspectives of cost, sustainability, and honesty, we also hope to preserve the results of previous renovations as much as possible.

我们的设计从剖面开始。前次改造导致基地立面无窗、仅以极具纪念性的桁架天窗采光，再结合仓库的线性体量和端部出入口，我们很自然地联想到「山谷」意向。因占满室内的混凝土平台不符合展厅层高要求，还阻挡了一层的自然采光及访客感知仓库尺度，我们决定将其拆除，并保留其余过往改造成果，然后贴室内两侧长边墙面设置新的展厅等功能体块，将仓库中央留成一条通高的线性空间——「谷」。「谷」既是主要动线路径，也可用作展览空间。这样既能让一、二层同时利用天光，直观呈现出 13 米净高的冲击力，也方便各展厅独立管理，还可继续利用前次改造遗留的管线空腔解决新体块内的机电需求。设计之初，我们本想参考仓库堆垛，将新体块设计为一群堆叠的独立盒子，然而随着任务书在设计过程中调整，盒子面积逐步增加，相互挤压、融合，最终不得不完全连成一体。

Our design starts from the cross-section. The previous renovation resulted in the lack of windows on the facade of the base, with only highly commemorative truss skylights for lighting. Combined with the linear volume and end entrances of the warehouse, we naturally associate it with the intention of a 'valley'. Due to the concrete platform occupying the entire interior not meeting the height requirements of the exhibition hall and obstructing natural lighting and visitors' perception of the warehouse scale on the first floor, we have decided to demolish it and retain the remaining previous renovation results. Then, we will install new exhibition halls and other functional blocks on the long side walls of the interior, leaving a linear space of high height in the center of the warehouse - the "valley". The 'valley' serves as both the main route and an exhibition space. This not only allows the first and second floors to simultaneously utilize sunlight, visually presenting a 13 meter net height impact force, but also facilitates independent management of each exhibition hall. It can also continue to use the pipeline cavity left over from the previous renovation to solve the mechanical and electrical needs inside the new block. At the beginning of the design, we wanted to design the new block as a group of stacked independent boxes with reference to the warehouse stacking. However, with the adjustment of the assignment in the design process, the box area gradually increased, squeezed and fused with each other, and finally had to be fully integrated.

我们觉得这个过程颇有地质变迁的意味，恰与「谷」的概念呼应，于是在维持剖面策略不变的前提下，「放任」盒子的形式独立性退化，最后仅由残存在平面上的几处暧昧斜墙与凹凸变化暗示。这样，「谷」两侧的体量就成为由诸多原本各自独立的片段连缀而成的有机而复杂的「山石」，它们平等、同构，既有差异又混同一体。建成后的室内空间没有一个易于捕捉的整体形象或代表性角度，却又因所有片段在材料与形式上的同质性，仍能呈现出某一种浑然的空间体验。

We feel that this process has a geological significance, which corresponds to the concept of "valley". Therefore, while maintaining the same profile strategy, the independence of the "laissez faire" box form deteriorates, and finally is only hinted by a few ambiguous inclined walls and concave convex changes remaining on the plane. In this way, the volume on both sides of the "valley" becomes an organic and complex "mountain stone" composed of many originally independent fragments connected together. They are equal and isomorphic, with both differences and homogeneity. After completion, the indoor space does not have an easily captured overall image or representative angle, but due to the homogeneity of materials and forms in all fragments, it can still present a certain seamless spatial experience.

「谷」与「山石」的对仗把室内又分出了「外」、「内」两层，自然隐喻也贯穿在游走体验中：开阔的通高前厅用于展出大型装置及举办活动，成为访客进「谷」前需穿越的「湖面」；三号展厅上方叠加办公区，是体量最高的「主峰」，也是动线枢纽；六扇镀锌钢板移门悬于大型仓库专用轨道，最高达到 8 米，如同垂挂的「瀑布」。进「谷」后，访客通过一系列洞口、阶梯、连桥，在「谷」与「山」间往复穿梭，虽在室内，宛如游于户外——或两壁夹身、折复通幽，或临崖俯瞰、企台远眺，时而委身窟穴、时而信步栈道。

The confrontation between "valley" and "mountain rocks" divides the interior into two layers, "outer" and "inner", and natural metaphors run through the wandering experience: the open and elevated front hall is used to display large installations and hold events, becoming the "lake" that visitors need to cross before entering the "valley"; Above the third exhibition hall, there is an office area, which is the highest "main peak" in terms of volume and also a hub for transportation; Six galvanized steel sliding doors are suspended on the dedicated track of a large warehouse, reaching a maximum height of 8 meters, like a hanging "waterfall". After entering the "valley", visitors shuttle back and forth between the "valley" and the "mountain" through a series of openings, stairs, and bridges. Although indoors, it feels like they are swimming outdoors - either sandwiched between two walls, folded and secluded, overlooking cliffs or standing on platforms, sometimes immersing themselves in caves, and sometimes strolling on boardwalks.

馆方明确要求我们把外立面设计的「闹一些」，以便在争奇斗艳的园区中吸引公众。这个要求让我们想起布展形式中的「沙龙悬挂（Salon Hang）」——层层叠叠的画作挤在一起，竞相展示自身以求关注——这种源自巴黎沙龙的陈列方法本质上是一种供艺术家和公众相互交流的媒体。我们又联想到一系列类型学上相似的形式，从摩崖石刻、寺庙悬匾、书画鉴藏印，到街道广告牌、网页瀑布流（Masonry Layouts），甚至视频弹幕，它们都将差异化的个体片段以群像方式并置连接后，呈现出高密度的视觉张力。

The museum has explicitly requested that we make the exterior design more "noisy" in order to attract the public in the competitive park. This requirement reminds us of the "Salon Hang" in exhibition forms - layers of paintings crowded together, competing to showcase themselves for attention - this display method originating from Paris salons is essentially a medium for artists and the public to communicate with each other. We also associate a series of typological similarities, from cliff carvings, temple hanging plaques, calligraphy and painting collections, to street billboards, Masonry layouts, and even video barrages, all of which juxtapose and connect differentiated individual fragments in a group image, presenting high-density visual tension.

于是，我们在外立面设置了 13 个大「画框」与 3 个「展龛」，供馆方展示各类布告、平面艺术及装置作品，也将街道变成美术馆与行人互动的户外展陈空间。成本优化后得以实施的 8 个「画框」集中在街角，其中位于首层的1个作为大型展品及车辆出入口移门，其余 7 个则为 LED 屏、内倾镜面凹龛以及金属拉伸网。

So, we set up 13 large "picture frames" and 3 "exhibition niches" on the exterior for the museum to display various notices, graphic art, and installation works. We also turned the street into an outdoor exhibition space for the art museum to interact with pedestrians. After cost optimization, 8 "picture frames" were implemented and concentrated on the street corner. Among them, 1 on the first floor was used as a large exhibit and vehicle entrance/exit sliding door, while the remaining 7 were LED screens, inward sloping mirror niches, and metal stretch mesh.

3 个「展龛」中，较小的两个一凹一凸穿透红砖立面，较大的一个则架在建筑阳角处的红砖墙上方，由两面映射天空的镜面与一面 LED 屏组成，内凹顶角中悬浮着一个巨大的金色「X」雕塑以及它的三个镜像。这个略带超现实主义色彩的装置，既是美术馆标识，也是我们对园区诸多卡通化立面雕塑的戏仿（parody）回应。对于基地唯一的工业遗存红砖墙，我们则通过首层门窗的特别构造做了克制回应：门窗以幕墙做法罩在红砖墙外、玻璃面积大过洞口，从室外看，局部砖墙就如同博物馆中被玻璃罩保护的展品，默默向路人提示着场地的过往历史。

Among the three "exhibition niches", the smaller two are concave and convex, penetrating the red brick facade, while the larger one is placed above the red brick wall at the external corner of the building, consisting of two mirrors reflecting the sky and an LED screen. A huge golden "X" sculpture and its three mirrors are suspended in the concave top corner. This slightly surrealistic installation serves as both the museum's logo and our response to the many cartoonish facade sculptures in the park. For the only industrial relic of the base, the red brick wall, we responded with restraint through the special construction of the first floor doors and windows: the doors and windows were covered by curtain walls outside the red brick wall, and the glass area was larger than the opening. From the outside, some parts of the brick wall looked like exhibits protected by glass covers in a museum, silently reminding passersby of the site's past history.

X 美术馆丰富的空间形态与多样的动线路径，带来旷奥嶙峋、变而不繁的空间体验，既为策布展及艺术家创作提供了灵活度，也满足了馆方举办各类活动的可能性。新馆启用后，我们持续跟踪建筑的使用及网络传播情况，往往讶异于某个空间以令人意想不到的方式被利用或「打卡」。错综的「连缀片段」和动线通路让「自上而下」的设计成为一种松而不散的框架，能允许甚至激发使用者「自下而上」的创造性互动，让每位观众每次来访都可以根据当下心境找到独属的「自在一隅」，又不至割裂对整体空间的连贯感受。这种平衡或许是今天人们同时追求个体独立与社群共识的纠结心态的时代写照。由此，在我们的理想中，X 美术馆的真实空间形象也无法体现在某张具体照片里或某位具体访客的印象中，而应是由所有访客差异化的个体参观体验叠合出的边界模糊的交集。

The rich spatial forms and diverse flow paths of X Art Museum bring a vast and rugged spatial experience, which not only provides flexibility for curation and artist creation, but also meets the possibilities for the museum to hold various activities. After the new building was put into use, we continued to track the usage and online dissemination of the building, often surprised by how a certain space was utilized or "checked in" in unexpected ways. The intricate "connecting segments" and dynamic pathways make the "top-down" design a loose yet cohesive framework, allowing and even inspiring users to engage in creative interactions from bottom to top. This allows each audience member to find a unique "corner of freedom" based on their current state of mind during each visit, without disrupting their sense of coherence in the overall space. This balance may be a reflection of the conflicted mentality of people pursuing both individual independence and community consensus today. Therefore, in our ideal, the real spatial image of X Art Museum cannot be reflected in a specific photo or the impression of a specific visitor, but should be a blurred intersection of individual visitor experiences that are differentiated by all visitors.

走下严肃高阁的美术馆用略显欢腾的姿态奋力吸引大众、挤入日常、探索边界，这件事其实再严肃不过。今天的实体美术馆应以什么形象出现在年轻一代大众面前？X 美术馆通过为访客提供一种具有暧昧抽离感与纪念性的生活场景，试图作答。

Stepping down from the serious and elevated art museum, with a slightly cheerful posture, it strives to attract the public, squeeze into daily life, and explore boundaries. This matter is actually the most serious. What image should physical art museums present to the younger generation today? The X Art Museum attempts to answer this question by providing visitors with a sense of ambiguous detachment and commemorative life scenes.