感谢 BUZZ庄子玉工作室 予gooood分享以下内容。更多关于他们：BUZZ Architects on gooood
Appreciations towards BUZZ Architects for providing the following description:

作为最早进驻798艺术区的先锋画廊之一，马刺画廊的发展轨迹与这片艺术区的成长历程深度交织。自2000年代初创立以来，它不仅是798艺术生态的见证者，更以其合作的先锋艺术家群体及以平面艺术、影像作品为主的藏品体系，成为构建中国当代艺术发展的重要视觉档案，是中国当代艺术早期的先锋实验场。在二十年的运营中，马刺画廊记录了中国当代艺术的发展脉络，其本身的变迁便是798艺术区发展史的生动切片——从早期艺术区的开荒拓土，到如今成为国际瞩目的艺术地标，马刺画廊始终以文献性的姿态，留存着当代艺术的多元表达。

As one of the pioneering galleries that first settled in the 798 Art Zone, SPURS Gallery’s development trajectory is deeply intertwined with the growth of this artistic district. Founded in the early 2000s, it has not only witnessed the evolution of the 798 art ecosystem, but also emerged as a pivotal visual archive for the development of Chinese contemporary art, and an avant-garde experimental ground in its early stages, thanks to its collaborations with a community of pioneering artists and its collection system centered on graphic arts and video works. Over two decades of operation, SPURS Gallery has documented the developmental trajectory of Chinese contemporary art, and its own transformation stands as a vivid snapshot of the 798 Art Zone’s history—from the early days of breaking new ground in the art district to its current status as an internationally renowned art landmark. SPURS Gallery has always maintained a documentary stance, preserving the diverse expressions of contemporary art.

▼马刺画廊，SPURS Gallery ©朱雨蒙

然而，时光流转中，原有空间逐渐暴露出诸多亟待优化的问题：首层展厅内的结构柱虽成为固有空间标识，但长期使用后缺乏新鲜感；通行区域闭塞逼仄，导致上下层体验存在明显断档，二层空间利用率持续偏低；首二层之间缺乏有效关联，虽能满足分层独立展览需求，却难以形成整体空间联动，无法适配更大规模、更具叙事性的展陈内容；更值得注意的是，初始建设阶段的细节处理较为粗放，部分优质空间未得到充分利用，储藏空间不足、办公空间局促，接待功能区域也未能有效激活，这些因素共同推动了本次马刺画廊的整体升级改造。

▼改造前的主立面，Main facade before renovation © 马刺画廊

However, as time went by, the original space gradually exposed a host of problems that urgently needed to be addressed. Although the structural columns in the ground-floor exhibition hall had become inherent spatial identifiers, they had lost their novelty after years of use. The circulation areas were cramped and enclosed, resulting in a clear disconnect between the experiences on the ground and upper floors, while the utilization rate of the second-floor space remained persistently low. There was a lack of effective connectivity between the ground and second floors—though the layout met the needs of independent exhibitions on separate levels, it failed to create an integrated spatial interaction, making it incompatible with larger-scale and more narrative exhibition content. More notably, the detailed finishing work during the initial construction phase was relatively shoddy; some premium spaces were not fully utilized, storage space was insufficient, office areas were cramped, and the reception zone failed to serve its function effectively. All these factors together prompted the comprehensive renovation and upgrade of the SPURS Gallery this time.

▼马刺画廊夜景，Night view © 朱雨蒙

从策展视角而言，马刺画廊的核心价值在于其藏品的文献记录属性与艺术史意义。这里的每一件平面作品、每一组影像档案，都承载着特定时期的艺术思考与社会语境，策展工作的关键在于让这些作品“活起来”——不仅是物理层面的陈列，更要构建作品与观众、作品与空间、作品与时代的深层对话。原有空间“平铺直叙”的单一模式，使得展览缺乏叙事节奏，作品的文献价值难以充分释放。因此，策展人期待的改造，是能够跳出单一平面陈列逻辑，形成兼具灵活性与叙事性的空间载体，既为多元艺术形式提供适配的展示土壤，也能引导观众以更沉浸的方式阅读艺术史的片段。

▼原建筑空间示意图，Original building spatial diagram © BUZZ

From a curatorial perspective, the core value of SPURS Gallery lies in the archival nature and art-historical significance of its collection. Every graphic work and every set of video archives here carries the artistic thoughts and social contexts of specific eras. The key to curatorial practice is to bring these works to life—not merely through physical display, but more importantly by forging in-depth dialogues between works and audiences, between works and space, and between works and their times. The original space’s straightforward, single-mode layout resulted in a lack of narrative rhythm in exhibitions, making it difficult to fully unleash the archival value of the works. Therefore, the curators’ expectation for the renovation is to break free from the constraints of a single-dimensional display logic, and create a spatial carrier that balances flexibility and narrativity. This new space will not only provide a suitable platform for diverse art forms, but also guide audiences to engage with fragments of art history in a more immersive way.

▼兼具灵活性与叙事性的空间载体，A spatial carrier that balances flexibility and narrativity © 朱雨蒙

同时，马刺画廊所在的街道位于798核心画廊聚集带，与当代唐人艺术中心、颂艺术中心等新老艺术空间共同构成了具有强烈城市界面特质的艺术街区。如何在呼应周边场域、延续798街区艺术记忆的基础上，形成兼具对话性与一致性的街道界面，让马刺画廊既保留自身辨识度，又融入整体艺术生态，成为本次改造需考量的核心前提之一。

Meanwhile, the street where SPURS Gallery is located sits in the core gallery cluster of the 798 Art Zone. Together with established and emerging art spaces such as Tang Contemporary Art and Song Art Center, it forms an art district with a distinct urban facade character. How to create a street facade that is both dialogical and coherent, on the basis of echoing the surrounding context and preserving the artistic memory of the 798 district—thereby allowing SPURS Gallery to retain its own identity while integrating into the overall art ecosystem—has become one of the core premises to be considered in this renovation.

▼展厅概览，Overview of exhibition hall © 朱雨蒙

基于对画廊历史价值、空间痛点与策展需求的深度理解，本次改造设计围绕四大核心目标展开：
其一，结合平面艺术与影像作品的展示需求，构建立体游园式空间体验。以移步异景的叙事逻辑，让每一幅作品与空间场景深度融合，营造类似园林观景的沉浸式氛围，使观众在行走中逐步进入艺术叙事，而非被动接收信息；
其二，提升空间灵活度，为策展人与艺术家提供更多元的创作与呈现可能。打破固定空间格局的束缚，赋予空间重新定义的开放性，让不同风格、不同规模的展览都能找到适配的呈现方式；

Based on an in-depth understanding of the gallery’s historical value, spatial pain points and curatorial needs, the design of this renovation revolves around four core objectives:
First, integrating the display requirements of graphic arts and video works to create a three-dimensional garden-style spatial experience. Following the narrative logic of changing views with every step, each work is deeply integrated with its spatial setting, fostering an immersive atmosphere akin to appreciating scenery in a traditional garden. This allows audiences to gradually engage with the artistic narrative as they move through the space, rather than passively receiving information.
Second, enhancing spatial flexibility to provide curators and artists with more diverse possibilities for creation and presentation. Breaking free from the constraints of a fixed spatial layout, the renovated space is endowed with an openness that allows for redefinition, enabling exhibitions of varying styles and scales to find their tailored forms of presentation.

▼Rm68，Rm68 © 朱雨蒙

▼二层展厅，Second-floor exhibition hall © 朱雨蒙

其三，强化首二层空间联动，有效利用顶层高窗将天光引入室内。原本被忽视的自然光线，将成为新马刺画廊的标志性空间特质，为展陈增添更多光影层次与情绪表达；
其四，延续画廊的经典性基因。通过内敛式的空间节奏设计，实现“既似原有、又焕新生”的体验——让空间既消隐于艺术作品之后，仿佛本就该如此存在，又通过轻重缓急的节奏变化，既有开敞通透的区域，亦有紧凑围合的场景，使展览能够自然徐徐展开。

▼改造后首层体量生成分析图，Post-renovation ground-floor massing generation analysis diagram © BUZZ

Third, strengthening the spatial connection between the ground and second floors, and effectively utilizing the high-top windows to channel natural daylight into the interior. Natural light, once overlooked, will become a defining spatial feature of the renewed SPURS Gallery, adding richer layers of light and shadow as well as emotional resonance to the exhibitions.
Fourth, preserving the gallery’s timeless core identity. Through a restrained spatial rhythm design, the renovation achieves an experience of “familiar yet renewed”—the space recedes into the background of the artworks, as if it has always been this way. Meanwhile, the well-calibrated shifts in spatial rhythm, alternating between open, transparent areas and compact, enclosed settings, allow exhibitions to unfold naturally and unhurriedly.

▼首层售卖空间，Ground-floor retail space © 朱雨蒙

▼前台，Reception desk © 朱雨蒙

从建筑师视角出发，改造的核心是通过结构优化与空间重构，将上述目标落地为可感知的物理空间。首先对原有结构进行系统梳理，在确认承重可行性的基础上，移除了首层展厅中间的结构柱——这一举措在保持原有层高不变的前提下，彻底放开了首层展陈空间，为通透开放的空间体验奠定基础。入口处营造无遮挡的通透界面，同时保留了入口左侧的独立Rm68小展厅（其专属独立内容属性得以延续），通过立面的虚实处理形成大小洞口的组合关系，构建出第一重空间层次。

▼改造后二层体量生成分析图，Post-renovation second-floor massing generation analysis diagram © BUZZ

From an architect’s perspective, the core of the renovation lies in translating the aforementioned objectives into a tangible physical space through structural optimization and spatial reconstruction. First, a systematic review was conducted on the original structure. On the premise of confirming the feasibility of load-bearing capacity, the structural columns in the middle of the ground-floor exhibition hall were removed. This measure completely freed up the ground-floor exhibition space while maintaining the original floor height, laying the foundation for an open and transparent spatial experience. An unobstructed, transparent facade was created at the entrance, and the independent Rm68 Small Exhibition Hall on the left side of the entrance was retained—preserving its distinctive attribute of hosting exclusive, independent content. Through the combination of solid and void treatments on the facade, a composition of large and small openings was formed, creating the first layer of spatial hierarchy.

▼主入口夜景，Main entrance night view © 朱雨蒙

▼入口处灯光，Entrance lightning © 朱雨蒙

入口内侧设置衍生品售卖空间，以通高的壁龛式形态赋予空间仪式感与归属感，既满足功能需求，又成为空间叙事的过渡节点。设计巧妙利用空间转折、小型洞口及展墙结构的呼应关系，形成厚实台口与错落空间的多重对话；结合通高空间与干净清透的上行阶梯，通过垂直向设计塑造出当代艺术的殿堂感，同时进一步强化了前场空间的层次与纵深感。针对原有空间缺乏序厅的问题，首层新增引言区域，以温和的引导性设计，将观众自然导入主展区，完善了展览的叙事开篇。

▼主入口立面图，Main entrance elevation © BUZZ

A merchandise sales area is set up just inside the entrance, shaped as a full-height niche that endows the space with a sense of ritual and belonging. It not only meets functional needs but also serves as a transitional node in the spatial narrative. The design cleverly leverages spatial turns, small openings and the corresponding relationship of exhibition wall structures to create multiple dialogues between solid prosceniums and staggered spaces. Combined with the double-height space and the clean, transparent ascending staircase, the vertical design fosters a sense of monumentality befitting a contemporary art hall, while further enhancing the layering and depth of the front space. To address the lack of a foyer in the original layout, an introductory area has been added on the ground floor. With its gentle and guiding design, it naturally leads visitors into the main exhibition zone, completing the narrative opening of the exhibition.

▼画廊首层，Gallery ground floor © 朱雨蒙

二层主展厅经重构后，呈现出高敞通透的空间特质，充分呼应原有建筑的屋顶结构与采光条件，与首层相对低矮规整的空间形成鲜明对比。这种空间差异不仅丰富了体验层次，更让策展人可根据艺术风格与展陈需求灵活选择——光线强烈、空间高挑的区域适合大型装置或需要突出视觉冲击的作品，而光线稍暗、更为规整的空间则适配细腻的平面艺术与影像展陈。同时，二层高空间也为多元活动提供了可能，无论是开业酒会、艺术论坛，还是校际交流联展（如与耶鲁大学的学生联展），都能在此找到合适的呈现形式。

▼首层轴测图，Ground-floor axonometric diagram © BUZZ

After reconstruction, the main exhibition hall on the second floor boasts an open and transparent spatial quality, which fully echoes the roof structure and lighting conditions of the original building, forming a striking contrast with the relatively low and regular space on the ground floor. This spatial difference not only enriches the experiential layers, but also allows curators to make flexible choices based on artistic styles and exhibition needs—the brightly lit, lofty areas are suited for large-scale installations or works requiring strong visual impact, while the dimmer, more regular spaces are ideal for delicate graphic arts and video exhibitions. Meanwhile, the high ceiling space on the second floor also enables a diverse range of events, whether it is an opening reception, an art forum, or an intercollegiate exchange exhibition (such as the student joint exhibition with Yale University), all can find an appropriate form of presentation here.

▼画廊二层，Gallery second floor © 朱雨蒙

此外，通过局部层高变化与内部景墙划分，在规整空间中营造出更丰富的层次。办公与接待功能得到全面优化：切割出不同量级、兼具公共性与私密性的接待空间与办公区域，使其与二层展厅形成有效互动，既满足日常运营需求，又保障了艺术交流的舒适性；首层新增的储藏空间，则完善了馆藏与展示空间的流线关系，让藏品管理与展陈切换更为高效，从根本上提升了画廊的运营效率。

▼二层轴测图，Second-floor axonometric diagram © BUZZ

Furthermore, through partial adjustments to floor heights and divisions by internal feature walls, richer spatial layers have been created within the regular layout. The office and reception functions have been fully optimized: reception spaces and office areas of varying sizes, which balance publicity and privacy, have been delineated. These areas interact effectively with the second-floor exhibition hall, satisfying daily operational needs while ensuring comfort for artistic exchanges. Meanwhile, the newly added storage space on the ground floor has refined the circulation between the collection storage and exhibition areas, making the transition between collection management and exhibition display more efficient, and fundamentally improving the operational efficiency of the gallery.

▼首层序厅，Ground-floor entrance hall © 马刺画廊

▼首层展厅，Ground-floor exhibition hall © 马刺画廊

整个改造始终秉持“放松且消隐”的设计理念——建筑师认为，优秀的艺术空间应将核心话语权交还艺术家与策展人，而非成为建筑师自我表达的舞台。设计以“空间为载体、场域为脉络”，既延续了798的历史积淀与周边场域的能量关联，又保留了原有马刺画廊的空间记忆，更赋予其全新的生命力。

The entire renovation has consistently adhered to the design philosophy of “relaxed restraint and understated integration”—the architects believe that an outstanding art space should return the core right of discourse to artists and curators, rather than serving as a platform for the architects’ self-expression. With the approach of “taking space as the carrier and context as the thread”, the design not only inherits the historical heritage of the 798 Art Zone and maintains the contextual connection with the surrounding area, but also preserves the spatial memory of the original SPURS Gallery, while endowing it with brand-new vitality.

▼二层展厅，Second-floor exhibition hall © 朱雨蒙

▼二层展厅，Second-floor exhibition hall © 朱雨蒙

如今的马刺画廊，在798的艺术脉络中完成了一次温柔而坚定的更新。它既承载着中国当代艺术的过往记忆，又以开放包容的空间基底，适配快速变化的当代艺术语境与时代变迁。作为一块持续生长的“画布”，它将不断承接多元形态的新展览、新表达，为艺术家与策展人的创作提供充沛的可能性，让空间与艺术在相互成就中，持续焕发鲜活的生命力。

Today’s SPURS Gallery has undergone a gentle yet resolute renewal within the artistic fabric of the 798 Art Zone. It not only carries the past memories of Chinese contemporary art, but also, with its open and inclusive spatial foundation, adapts to the rapidly evolving contemporary art context and the changes of the times. As an ever-evolving “canvas”, it will continue to host diverse forms of new exhibitions and expressions, providing abundant possibilities for the creations of artists and curators. In this mutual empowerment of space and art, it will keep radiating vibrant vitality.

▼马刺画廊重装开幕晚宴，Spurs Gallery reopening dinner © 马刺画廊

▼展览照片，Exhibition photo © 马刺画廊

▼首层平面图，Ground-floor plan © BUZZ

▼二层平面图，Second-floor plan © BUZZ

项目地点：中国北京798艺术中心
建筑面积：670㎡
设计时间：2024.12
建成时间：2025.5
业主单位：马刺画廊
建筑改造及室内设计单位：BUZZ建筑事务所
项目主创：庄子玉、李娜
设计团队：（建筑）刘健、（室内）陈阵东、刘月、丁竹靓、高峥
施工单位：思享营造
照明顾问：开阖照明设计（北京）有限公司
主要建筑材料：仿清水漆、木饰面、白色无机涂料、水泥自流平
建筑摄影：朱雨蒙、马刺画廊
出品图制作：陈阵东、刘月
项目文稿：庄子玉、王珊

Location: Beijing, China
Floor Area: 670㎡
Year: 2024.12
Completion: 2025.5
Client: SPURS Gallery
Architectural Renovation and Interior Design: BUZZ Architects
Principal Designer: Ziyu Zhuang, Na Li
Design Team: (Architecture) Jian Liu; (Interior) Zhendong Chen, Yue Liu, Zhujing Ding , Zheng Gao
Construction: TPE Construct
Lighting Consultant: KHD Lighting Design
Main Materials: Fair-Faced Paint, Wood Veneer, White Inorganic Coating, Self-leveling Cement
Photography: Yumeng Zhu, SPURS Gallery
Drawings and Diagrams: Zhendong Chen, Yue Liu
Writing: Ziyu Zhuang, Vanessa Wang

More： BUZZ庄子玉工作室 。更多关于他们：BUZZ Architects on gooood

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