X博物馆/工作室NOR

X博物馆/工作室NOR
X Museum / Studio NOR

创新的空间理念：X博物馆的设计理念极具创新性，将旧仓库改造为一个充满活力的艺术空间。通过保留红砖外立面和钢结构，设计团队巧妙地将历史遗迹与现代功能相结合。这种新旧融合不仅体现了对历史的尊重，还为博物馆赋予了独特的空间气质。此外，设计从剖面入手，创造出“山谷”概念，利用天窗引入自然光，营造出一种介于室内外的空间体验，为访客带来全新的观展感受。

功能与灵活性：博物馆的功能布局充分考虑了多样性和灵活性。除了展览空间外，还包括礼品店、咖啡馆和餐厅等商业区域，这些空间可以独立运营，不受博物馆开放时间限制。这种设计不仅满足了艺术展览的需求，还为举办各种活动提供了可能，如讲座、工作坊和社交聚会。同时，“山谷”和“山岩”的空间划分，进一步增强了空间的层次感和趣味性，为访客提供了丰富的探索体验。

视觉与互动性：X博物馆的外立面设计极具视觉冲击力，通过设置“框架”和“展览壁龛”，将街道转变为一个“户外画廊”。这种设计不仅满足了客户对“更嘈杂”立面的要求，还为博物馆与外界的互动创造了机会。此外，博物馆内部的空间设计也注重访客的参与和互动，通过复杂的流线和多样化的空间形式，激发访客的探索欲望。这种设计策略使博物馆成为一个充满活力的社交场所，而不仅仅是一个展示艺术品的空间。

01。X博物馆由两位出生于20世纪90年代的年轻收藏家创立，专门从年轻人的角度关注新一代艺术家和多元文化主义。新博物馆的选址是位于郎园站的一个旧仓库，郎园站是一个“网络名人校园”，充满了创意专业人士、精品店和时尚餐厅。设计纲要要求新的博物馆空间不仅要满足艺术展览的需求，还要具有举办各种活动的灵活性，并为社交媒体宣传创造“可在Instagram上分享”的空间场景。除了展览馆，简报还列出了三个商业项目，作为博物馆内的主要公共空间，无论博物馆开放时间如何，都可以独立运营：礼品店、咖啡馆和餐厅。创始人对新博物馆的期望是“一个凉爽、全面的生活方式场所，拥抱各种可能性。
01. A Special Design Brief
X Museum was founded by two young collectors born in the 1990s, focusing specifically on new generation of artists and multiculturalism from a young perspective. The site for its new museum is an old warehouse located in Langyuan Station, an "Internet celebrity campus" filled with creative professionals, boutique stores and trendy restaurants. The design brief requires the new museum space should not only fulfill art exhibition needs, but also have the flexibility to hold various events and create "Instagrammable" spatial scenarios for social media publicity. Besides exhibition galleries, the brief also listed three commercial programs as major public spaces within the musuem that can be independently operated regardless of the museum opening hours: a gift shop, a café and a restaurant. The founders' expectation for the new museum is "a cool, comprehensive lifestyle place to embrace diverse possibilities.

X博物馆对拥抱当代生活方式和探索未来的强烈意愿非常特别。在过去的30年里，随着人们获取新信息方式的多样化，博物馆已经将与游客的关系从“单向教育”转变为“双向互动”。艺术博物馆的建筑也从严肃、自给自足的“白盒子”刻板印象转变为更具包容性和开放性的空间，为游客提供独特的空间体验。显然，X博物馆对其位置和愿景的精心选择正试图将艺术机构进一步融入大众的日常生活和社交媒体的流行中。这种对“趋势”的毫无保留的拥抱使该项目从设计过程开始就具有流行风格的批判性。
X Museums' strong willingness to embrace contemporary lifestyle and explore the future is quite special. In the past 30 years, with the diversification of the way people access to new information, museums have already changed their relationship with the visitors from "one-way education" to "two-way interaction". The architecture of art museums has also changed from serious, self-contained "white box" stereotype to more inclusive and open spaces providing visitors with unique spatial experiences. Clearly, X Museum's careful selection of its location and vision is trying to interweave art institutions further into the daily life of the mass public and social media popularity. This unreserved embrace of "Trend" renders the project with a Pop-style critical touch since the beginning of the design process.

Plan - First floor

02。一座翻新的旧仓库
博物馆所在的红砖建筑最初是北京纺织仓库的10号仓库。它建于20世纪60年代，在计划经济时代用于储存棉花和其他战略物资。在2018年之前，该网站一直在进行小规模的更改和翻修，当时该网站发生了重大变化。原来的建筑几乎被拆除，只留下红砖外立面，窗户被新砖填满。在这个保留下来的立面内，一个巨大的钢结构和特拉斯天窗屋顶被搭建起来。新旧墙体之间的空腔用于机械导管和管道。在新钢结构的中间建造了一个新的混凝土平台作为功能空间，通过两座桥梁连接到一个新室外出口坡道。
02. A Renovated Old Warehouse
The red brick building where the museum is located was originally the No. 10 warehouse of the Beijing Textile Warehouse. It was built in the 1960s and was used to store cotton and other strategic supplies during the planned economy era. Small changes and renovations took place along the time until 2018, when the site underwent major changes. The original building was almost demolished, leaving only the red brick exterior facade with window openings filled by new bricks. Within this remained facade, a huge steel structure with a truss skylight roof was erected. The cavity between the old and new walls was used for mechanical conduits and pipelines. A new concrete platform was built in the middle of the new steel structure as functional space, connecting to a new outdoor egress ramp by two bridges.

当我们参与该项目时，我们面对的是上述经过大规模翻修并混合了不同时代痕迹的遗址，郎园站还有许多更激进的翻修案例。一方面，在处理这样一个工业文物改造项目时，原始建筑的最小遗迹减轻了我们对历史保护的压力；然而，另一方面，我们不想盲目忽视已经对网站做了什么。从预算、可持续性和诚实尊重历史的角度来看，我们希望尽可能地保留之前翻修的结果。
When we got involved in the project, we were faced with the above-mentioned site that had been drastically renovated and mixed with traces from different times, and there are many even more radical renewal cases in Langyuan Station. On the one hand, the minimal remains of the original building reduced our pressure on historical preservation when dealing with such an industrial relic renovation project; on the other hand however, we didn't want to blindly ignore what had already been done to the site. From the perspective of budget, sustainability and honest respect to history, we hope to keep the results of previous renovations along the way as much as possible.

03。山谷制造
设计从剖面开始。之前的翻新使具有纪念意义的新特拉斯天窗屋顶成为唯一的自然光源，再加上仓库的线性体量和近端主入口位置，我们自然将该场地与“山谷”的理念联系在一起。由于占据整个内部的混凝土平台不符合展览馆的天花板高度要求，并堵塞了通往一楼的天窗，以及游客对场地实际规模的感知，我们决定将其拆除，并保留过去的其余装修遗迹。博物馆设计简介所需的程序卷沿着两条长边墙排列，在中间留下一个狭窄的天窗空间“山谷”，作为主要的流通通道和展览空间。这些分段空间布局使两层楼都可以进入天窗，并利用了13米高的地板到天花板高度的强大视觉冲击力。同时，上次翻修的机械腔可以保留下来供新的程序卷使用，“山谷”为每个展览馆独立管理创造了可能性。
03. Valley Making
The design started from section. The prior renovation resulted in the monumental new truss skylight roof to be the only natural light source, plus the linear massing and short-end main entrance location of the warehouse, we naturally associated the site with the idea of a "valley". Since the concrete platform that occupied the entire interior did not meet the ceiling height requirements of exhibition galleries and blocked the skylight to the first floor as well as visitors' perception of the actual scale of the site, we decided to dismantle it and keep the rest of the past renovation remnants. The programed volumes required by the museum's design brief were arranged along the two long side walls, leaving a narrow skylit space-the "Valley"-in the middle as both a main circulation path and an exhibition space. These sectional spatial arrangements allow both the two floors to have access to the skylight, and take advantage of the powerful visual impact of the 13-meter-high floor to ceiling height. Meanwhile, the mechanical cavity from the last renovation can be kept for use by the new programmed volumes, and the "Valley" creates possibility for each exhibition gallery to be managed independently.

编程体积最初设计为堆叠在一起的独立箱子，指的是仓库货物堆叠。然而，随着设计过程中设计大纲的调整，每个程序所需的面积逐渐增加，导致盒子相互挤压和融合，最终不得不完全连接成一个。我们发现这种合并过程与地质变化非常相似，与“山谷”概念相呼应。因此，在保持分段策略不变的同时，我们“允许”盒子的形式独立性降级为仅由几面微妙倾斜的墙壁暗示。因此，“山谷”两侧的程序卷变成了由许多原本独立的碎片组成的连续有趣的“山岩”。这些同构形式之间没有空间层次，它们虽然不同，但混合在一起。参观者很难捕捉到博物馆空间的整体图像或代表性角度，但链接碎片的材料和形式的同质性仍然可以呈现出某种模糊统一的空间体验。
The programmed volumes were originally designed as independent boxes stacked together, referring to the warehouse cargo stacking. However, as the design brief was adjusted during the design process, the area needed for each program gradually increased, resulted in the boxes squeezing and merging with each other, and ultimately had to be completely connected into one. We find this merging process is quite similar to geological changes that echoes the "Valley" concept. Therefore, while maintaining the sectional strategy unchanged, we "allowed" the formal independency of the boxes to degrade to only hinted by a few subtly tilted walls. Thus, the programed volumes on both sides of the "Valley" became continuous intriguing "mountain rocks" composed of many originally independent fragments. There is no spatial hierarchy among these isomorphic forms, they are different yet mixed into one. It's not easy for visitors to capture an overall image or representative angle of the museum space, but the homogeneity of materials and forms of the linked fragments can still present a certain vaguely unified spatial experience.

“山谷”和“山岩”的二元划分在内部创造了一种新的“外部”和“内部”的空间层次，并隐喻地将游客在X博物馆的体验与在自然界中真实山谷的体验并置在一起——这与中国传统园林和绘画所采用的隐喻叙事不同：大厅是一个用于活动和大型装置的双层开放式中庭，是进入“山谷”所必须穿过的“湖泊”；3号展厅顶部的员工办公室是整个博物馆中体积最大的，是“山脉”的“顶峰”；六扇镀锌钢推拉门，最高8米高，悬挂在特殊的仓库大门轨道上，是“瀑布”。进入“山谷”后，游客将通过一系列的孔、楼梯和桥梁在“山谷”和“山脉”之间来回穿梭。虽然在室内空间中蜿蜒曲折，但空间体验就像室外环境一样。
The binary division of the "Valley" and the "Mountain Rocks" creates a new spatial layering of "outside" and "inside" within the interior, and metaphorically juxtapose the experience that visitors will have in X Museum to one would experiencing in a real valley in the nature - not unlike the metaphorical narrative adopted by traditional Chinese gardens and paintings: the lobby, a double-height open atrium for events and large installations, is the "lake" that one have to cross to enter the "Valley"; the staff office on top of Gallery No.3, as the highest volume in the whole museum, is the "peak" of the "mountains"; six galvanized steel sliding doors - the highest being 8 meters tall - hanging on special warehouse gate tracks, are "waterfalls". After entering the "Valley", visitors will shuttle back and forth between the "valley" and the "mountain" via a series of apertures, stairs and bridges. Although meandering in an interior space, the spatial experience is like that of an outdoor environment.

04。悬挂式框架
客户明确要求我们设计一个“更嘈杂”的立面，以吸引公众进入视觉超载的朗园站校园，校园里充满了夸张的立面设计。这一要求让我们想起了“沙龙挂”，这是一种源自巴黎沙龙的展览展示风格，墙上挂满了层层拥挤的画作，争相炫耀自己以吸引公众的注意力——本质上是将画廊的墙壁变成了艺术家和观众互动的大众媒体。我们还回忆起许多类型上相似的形式，从中国传统的摩崖铭文、寺庙牌匾、卷轴书画上的收藏印章，到街头广告牌、网页的“砖石布局”，甚至是网络视频的丹玛库字幕。所有这些交流形式都以集体的方式传达了不同个体的信息，通过片段的并置呈现出强烈的视觉张力。
04. Hanging Frames
The client clearly required us to design a "more noisy" facade in order to attract public in the visually overload Langyuan Station campus, which filled with exaggerated facade designs. This request reminded us of the "Salon Hang", an exhibition display style originated from the Paris Salon, featuring with layers of crowded paintings on a wall, competing to show off themselves for public attention – essentially transforming a gallery wall into a mass media for the artists and viewers to interact with each other. We also recalled many typologically similar forms, from traditional Chinese cliff inscriptions, temple plaques, and collection seals on scroll paintings and calligraphies, to the street billboards, the "Masonry Layouts" of webpage, and even the Danmaku subtitle of online videos. All of these communicating forms convey information of differentiated individuals in a collective way, presenting powerful visual tensions through the juxtaposition of fragments.

Collage

因此，我们在外立面上设置了13个“框架”和3个“展览壁龛”，用于展示标志、横幅、图形艺术和装置，将街道变成了一个“户外画廊”，供博物馆外化其内容并与行人互动。经过几轮价值工程后最终实施的8个“框架”集中在立面人口最多的街角。一楼的一个“框架”用作车辆和大型艺术品进入大楼的滑动门，而其余7个“框架“包含LED屏幕、倾斜的镜子壁龛和金属网。至于“展览壁龛”，有一个突出的壁龛和一个雕刻在立面上的壁龛，而第三个也是最大的壁龛悬挑在剩余红砖墙的西南角上方，由两个镜像侧面和一个LED屏幕天花板组成。它有一个巨大的金色X标志，在它的内角有三个X的镜像反射。这个略带超现实主义的装置既是博物馆的主要标志，也是对郎园站校园内许多卡通装饰性立面雕塑的模仿回应。
Therefore, we set up 13 "Frames" and 3 "Exhibition Niches" on the exterior facade to display signs, banners, graphic arts and installations, turning the street into an "outdoor gallery" for the museum to externalize its content and interact with pedestrians. The 8 "Frames" that were eventually implemented after several rounds of value engineering are concentrated on the most populated street corner of the facade. The one "Frame" on the ground floor is used as a sliding gate for vehicles and large art works to enter the building, while the rest 7 "Frames" contain LED screens, slanted mirror niches and expanded metal mesh. As for the "Exhibition Niches", there are one protruding out and one carved into the facade, while the third and largest one being cantilevered above the southwest corner of the remaining red brick wall, consisting of two mirroring side surfaces and a LED screen ceiling. It holds a huge golden X sign as well as three mirrored reflections of the X in its inside corner. This slightly surrealist installation is both the major sign of the museum and a parody response to the many cartoonish decorative facade sculptures in the Langyuan Station campus.

至于现场唯一保留的原始工业遗迹红砖立面，我们以一种微妙的方式做出了回应，在一楼砖墙外增加了一层新的玻璃立面作为门窗。这层玻璃覆盖了开口和砖墙的一部分，将原来的立面变成了一个玻璃展示柜，为路过的行人提供保护，默默地提醒他们这座建筑的过去历史。
As for the red brick facade-the only original industrial relic remained on site, we responded in a subtle way by attaching a new layer of glass facade outside of the first-floor brick wall as windows and doors. This layer of glass covers the openings as well as part of the brick wall, transforming the original facade into an exhibit protected in glass showcase for the pedestrians walking by, silently reminding them of the stie's past history.

05. A space for each and all
The rich forms and diverse paths of X Museum offer an ever-changing yet concise spatial experience, which provides flexibility for curators and artists, as well as possibilities for different kinds of events. Since the opening of the new building, we have been tracking the daily use status and social media exposure of the museum, and are often surprised by how creatively the curation team use the galleries and the visitors interact with certain spaces. The intricacy of the isomorphic "linked fragments" and the dynamic circulation makes our "top-down" design into a loosely structured framework allowing and even inspiring users' spontaneous "bottom-up" interaction. This grants each visitor to find their own "favored space" according to the different state of mind each time they visit, while not feeling segregated from the overall space. This balance may also be a reflection of the entangled mentality of people trying to pursue individual independence and collective consensus at the same time in today's society. Therefore, our ideal spatial image of the X Museum cannot be captured in a specific photo or reflected in a specific visitor's impression, but should be the overlaid, fuzzy-edged intersection of layers of visitors' personal experiences superimposed together.

从严肃的超然祭坛上走下来，一家博物馆正试图吸引公众，挤进人们的日常生活，以一种相当旺盛的方式探索未来的界限——这是最严肃的。一个美术馆应该向年轻一代展示什么样的空间形象？X博物馆的建筑设计试图通过提供一个亲密的日常生活场景来回答这个问题，这种场景具有一种模糊的超然感和纪念性。
Stepping down from the serious aloof altar, a museum is trying to attract the public, squeezing into people's daily life, and exploring the future boundaries in a rather exuberant manner - this could not be more serious. What kind of spatial image should a physical art museum present to the younger generations? The architectural design of X Museum attempts to answer this question by offering an intimate daily life scene with an ambiguous sense of detachment and monumentality.