由专筑网王晓梦，刘庆新编译
民生现代美术馆是对一座20世纪80年代旧工厂改造而成。
Minsheng Contemporary Art Museum is a renovation of an old factory from the 1980s.
First Floor/第一层。Image © Minsheng Art Museum
1F Floor Plan/一层平面图
它的开放性、丰富性和灵活性让它区别于常规单调、封闭的美术馆。对于中国当代艺术来说这也将是专为展览服务的最大的公共空间。
Its openness, diversity, flexibility make it different from typical galleries, which are always monotonous and secluded. It will be the largest public dedicated exhibition space for Chinese contemporary art.
Second Floor Gallery/二层画廊
快速城市化带给我们的不仅是物质文明遗产，还有大量的资源浪费。喜新厌旧的倾向让许多旧建筑被遗弃。798地区的松下工厂就是被摧毁遗弃的一个案例，但是它粗犷、朴素及真实的工业特性与当代艺术的态度不谋而合。
The rapid urbanization brings us not only material heritage, but also a huge amount of wastes. The propensity of love the new and loathe the old causes many old buildings being abandoned. The Panasonic factory at 798 area is devastated and ruined, but its rough, plain and real industrial building features happen to coincide with the attitude of contemporary art.
Section 2-2/剖面图 2-2
民生当代美术馆的概念正是在这种基础上诞生，它尊重工业建筑的质朴和真实，专注于当代艺术空间的未来，挑战着高调的传统美术馆。
The concept of Minsheng Contemporary Art Museum derives from the above, it respects the simplicity and reality of industrial buildings, aiming at the future of contemporary art space, challenging the high-sounding traditional art museum.
Second Floor/第二层
1. 空间的多元化，代替“白盒子”的单一空间模式
与传统艺术相比，当代艺术一个显著的特点就是表达方式的多样性。为了体现这个特点，民生当代美术馆不仅有传统美术馆5米的净高空间，也有其他不同尺寸和规模的空间：大盒子、中盒子、小盒子、传统样式的空间、庭院展示空间、黑盒子（多功能表演、会议、展示空间）。从而满足不同艺术形式的需求。
1. diversity of spaces, replacing single space pattern of "white cube"
Comparing to traditional art, a distinguishing feature of contemporary art is the diversity form of representation. In order to facilitate this, Minsheng Contemporary Art Museum not only has the 5 meters clear height space of traditional art museum, but also has spaces of different sizes and dimensions: big box, middle box, small box, classic space, courtyard exhibition space, black box(multi-function performance, convention, exhibition spaces).
Second Floor & First Floor/第二层和第一层
它们通过极具张力的中心空间有机地组合在一起，加入一些开放性的展示空间，诸如美术馆前的装置公园、屋顶的展示平台、中心庭院，结合不同尺度和形状，来形成一系列形态各异的空间。
They are organized organically by the central space full of tension, combining with open exhibition spaces such as installation park in front of the art museum, exhibition platform on the rooftop, and central courtyard, forming a group of spaces with different dimensions and shapes.
First Floor/第一层。Image © Fang Zhenning
Third Floor/第三层
2. 公众性和灵活性，代替封闭和固态的传统美术馆模式。
未来美术馆应该是公众、艺术作品和艺术家们之间互动交流的充满艺术趣味的空间，而不是一些成功的艺术家展示荣耀的殿堂。
2. publicity and flexibility, replacing traditional mode of closure and solidity
Future art museum should be the art space of interaction and communication among public, art works and artists, rather than the temple of successful artists showing glory.
Second Floor/第二层。Image © Fang Zhenning
艺术作品最具意义的时刻不是它完成之时，而是公众的互动和参与。灵活、实用或者有用无用的空间，都能成为艺术家创造力、特殊场地及环境的动机。因此把艺术品、公众和美术馆当成一个整体来进行思考协调。
The most meaningful moment of art work is the interaction and participation of the public, rather than the moment of its completion. Spaces that are flexible, useful, or even useless, can become the motivation of creativity for artists, of specific site and environment, therefore integrating art works, public and art museum as a whole.
Second Floor/第二层。Image © Fang Zhenning
Third Floor Gallery/三层画廊
Opening Ceremony/开幕式
Tsinghua Studio Visit/清华大学的访问研究。Image © Fang Zhenning
Second Floor/第二层
Exterior/外部
Exterior/外部。Image © Zhu Qingsheng & Entrance/入口。Image © Fang Zhenning
2F Floor Plan/二层平面图
Elevation 1/立面图 1
Elevation 2/立面图 2
建筑设计：朱锫建筑设计事务所
主建筑师：朱锫
设计团队：He Fan, Edwin Lam, Wang Zheng, Damboianu Albert Alexandru, Virginia Melnyk, Guo Nan, Ke Jun, Wang Peng, Li Gao
项目顾问：Thomas Krens / GCAM
项目时间：2015年
摄影：Fang Zhenning, Zhu Qingsheng, Minsheng Art Museum
Architects: Studio Pei-Zhu
Architect in Charge: Zhu Pei
Design Team: He Fan, Edwin Lam, Wang Zheng, Damboianu Albert Alexandru, Virginia Melnyk, Guo Nan, Ke Jun, Wang Peng, Li Gao
Consultants: Thomas Krens / GCAM
Project Year: 2015
Photographs: Fang Zhenning, Zhu Qingsheng, Minsheng Art Museum
出处：本文译自www.archdaily.com/，转载请注明出处。
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