AXIS Gallery
/ AXIS Gallery
Project : #AXIS_Gallery
Series : #MuseumismSeries
Function：Gallery / 藝廊
Net Area：144m² / 48p
Design Team：Lynch 程禮譽 @studioX4
Project Manager：張耀文
Photography：@YHLAA
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This 1960s Taipower emergency-repair centre was reframed into an exhibition gallery. We kept its bones and changed its language — an aluminum-grid facade, a 21-degree axial pivot, and a minimalism that lowers its voice so the work can speak. The space is a canvas; the building offers itself as a background for art.
這棟由六零年代台電搶修中心改造而成的藝廊，我們保留它的骨、換了它的語言。焊接鋁格立面、21 度的軸線偏轉，極簡並非空無——而是讓建築安靜下來，把舞台讓給作品。空間是一張畫布，建築以背景姿態出現。
夜間建築正立面，一樓展間燈光點亮整棟量體，人影立於藝廊入口。
Night facade; gallery lighting fills the ground floor and a single figure stands at the threshold.
日間外觀，鋁格台階、植栽槽、抬高地板由前景向後延伸。
Daytime exterior — the aluminum-grid stair, planter troughs, and raised platform step back from foreground to core.
The original structure is a 1960s Taipower emergency-repair centre — once a local symbol of progress: raised floors for container trucks, a reinforced-concrete skeleton, and a "two-ding" tile facade mimicking the masonry proportions of an earlier era. We kept its bones. We changed its language.
這棟六零年代遺留下來的房子，前身是台電的搶修中心——那個時代它是進步的象徵：貨櫃車專用的抬高地板、鋼筋混凝土構造、表面仿造磚造時期尺寸的二丁掛磚。我們保留它的骨，換了它的語言。
To an artist, the exhibition space is what the canvas is to paint — it must be a background, a language of inclusion. We chose aluminum for its lower reflectivity and welded it into a primordial grid. The entrance is that subtle shift — an axis pivoted 21 degrees.
展覽空間之於藝術家，如同畫布之於顏料——它應該是背景，是包容的語彙。於是我們找尋中性的材料：不屬於男性的，也不屬於女性的，不搶眼，也不隱藏。我們選擇反射性較低的鋁料，焊接成最原始的方格狀。入口——就是那道微微轉折 21 度的軸線。
AXIS Gallery 平面圖
Plan of AXIS Gallery
Interior — the space as canvas
內部空間 — 作為畫布的建築
夜間入口斜角，人影正步入門洞，鋁格光幕作背景。
Night approach; a figure enters the doorway with the luminous grid as backdrop.
鋁格近景，黑白高反差，人影穿越方格光線。
Close-up of the grid at night, black-and-white — a silhouette threading through a lattice of light.
If the work is exuberant, the space must feel exuberant; if the work is bashful, the space must feel bashful. White walls, white floor, black ceiling, columns in series, and the grid's light drifting along the rear wall — we lowered our own voice so the work could speak.
如果這件藝術品是歡愉的，那空間也該歡愉；如果它是羞赧的，那空間也該羞赧。白牆、白地、黑頂，方柱排列，鋁格光幕游移於後牆——我們把語彙降到最低，讓作品說話。
Minimalism is not emptiness. The curved wall arrives at an arch; beyond the arch, a dark room; deep in the dark room, a single red — the building grants itself one colour, and speaks it in the softest voice.
極簡不是空無。曲牆盡頭有拱門，拱門後有暗室，暗室深處有一抹紅——整棟建築只給自己留這一個顏色，用最靜的方式說話。
主展間空景，四根方柱排列，鋁格光幕投影於後牆，黑白。
Empty main gallery in black-and-white — four square columns in series with the grid's light pattern cast upon the rear wall.
主展間曲牆空景，牆面弧線轉至拱門開口，光線均勻。
Empty curved rear wall of the gallery — the arc resolves into an arched opening under even light.
• 設計面積 Area：144m² / 48p
• 專案類型 Function：Gallery 藝廊
• 設計主持 Director：程禮譽 Lynch
• 專案設計 Project Manager：張耀文
• 空間攝影 Photography：YHLAA, 李易暹 Ethan Lee
Aluminum. Welds. A grid. Twenty-one degrees.
At the end, the building reduces itself to a few words — and that, precisely, is the colour of the canvas.
鋁料、焊接、方格、21 度——
建築的故事，到最後只剩幾個字。畫布的顏色，正是這樣。
#AXIS_Gallery #MuseumismSeries #StudioX4 #乘四建築師事務所
洗手間，深紅色灰泥曲牆，不鏽鋼圓柱立式洗手台，單點照明。
The bathroom — a deep-red lime-plaster curve, a cylindrical stainless basin, a single downlight: the one colour accent in the house.
鋁格門把近景，日光下鋁料光澤，與門扇方格紋理同框。
The same handle in daylight — the metal's muted sheen against the grid behind it, closing the reading.