蜂巢当代艺术中心/彭达中国建筑

蜂巢当代艺术中心/彭达中国建筑
Hive Center for Contemporary Art / Penda China Architecture

空间重塑与功能优化：蜂巢当代艺术中心的改造是一次全面的空间重塑。从立面到内部的展厅、办公区、贵宾室等，都经过精心重新设计。新增的景观桥走廊和阅读区，不仅丰富了空间层次，还增加了互动性和观赏性。功能上，重新规划的办公区和仓库，以及开放式办公空间布局，提升了空间的使用效率和工作氛围。这种全方位的功能优化，使得艺术中心在满足展览需求的同时，也为工作人员和访客提供了更舒适便捷的环境。

设计理念与文化内涵：建筑师孙大勇的设计理念深刻而富有内涵。三个“W”——“白色”“重量”“意志”，贯穿整个设计。白色空间的纯净，让人专注于艺术品本身；门厅的大柱子设计，借鉴卡纳克神庙，营造出庄严神圣的氛围；网格状屋顶结构和光影效果，引导人们在艺术殿堂中感受精神的对话。这种设计理念不仅体现了对艺术的尊重，也融入了对历史文化的深刻理解，使建筑本身成为一种文化符号。

建筑美学与情感表达：从美学角度看，蜂巢当代艺术中心是一次成功的极简主义实践。整体建筑像一座巨大的极简主义雕塑，白色主色调与原始红砖纹理形成对比，既现代又不失历史感。入口处的四根柱子，灵感来自卡纳克神庙，强调了空间的仪式感。孙大勇将自己在罗马万神殿的体验融入设计，通过光影和空间的变化，传递出平静与感动。这种情感的传递，使建筑不仅是物理空间的存在，更是情感和精神的载体，让访客在其中能够感受到超越物质的精神享受。

建筑师提供的文字描述经过100天的翻修，蜂巢当代艺术中心于11月正式揭幕。改造任务由建筑师孙大勇承担，他对3300平方米的画廊空间进行了整体设计和改造。作为798艺术区最大的单体建筑画廊，蜂巢当代艺术中心近年来备受关注。17年前，它从一家工厂转变为非营利组织伊比利亚当代艺术中心（ICCA），后来被蜂巢当代艺术中心接管。俗话说，没有最好的时间，最好的时间就是现在。在最近的经济衰退时期，Hive希望通过2024年的翻修来提高自身和行业的标准。此次翻新可视为798艺术区的3.0版本。798已经从最早的1.0版工厂发展到2.0版具有工业风格特色的艺术空间。如今，798已成为具有全球影响力的国际当代艺术聚集地，3.0版本的艺术空间更加注重艺术品本身，为艺术品提供了最佳的展览环境。展望未来和世界，蜂巢当代艺术中心的翻修抹去了工业工厂的痕迹，创造了一个更具国际性和当代性的纯白盒子空间。
Text description provided by the architects. After 100 days of renovation, the Hive Center for Contemporary Art was officially unveiled in November. The renovation task was undertaken by architect Sun Dayong, who designed and renovated the 3,300-square-meter gallery space as a whole. As the largest single-building gallery in the 798 Art District, the Hive Center for Contemporary Art has attracted much attention in recent years. 17 years ago, it was transformed from a factory into the Iberia Center for Contemporary Art (ICCA), a non-profit organization, and was later taken over by the Hive Center for Contemporary Art. As the saying goes, there is never a best time, and the best time is now. In a time of recent economic recession, the Hive hopes to improve its own and the industry's standards by means of this renovation in 2024. This renovation can be interpreted as the 3.0 version of the 798 Art District. 798 has developed from the earliest 1.0 version of the factories to the 2.0 version of the art spaces with industrial style characteristics. Today, 798 has become a globally influential gathering place for international contemporary art, so the 3.0 version of the art space pays more attention to the artwork itself and provides the best exhibition environment for the artwork. Looking to the future and the world, the renovation of the Hive Center for Contemporary Art erased the traces of industrial factories and instead created a pure white box space that is more international and contemporary.

本次改造包括立面、大厅、展厅、办公区、贵宾室，甚至厕所和储物间的重新设计，以及配套的中央空调、照明系统、水电网络等。此外，大堂还设有阅读区，二楼还增加了一条作为景观桥的走廊。站在这个区域，你可以俯瞰主展厅的内部，也可以看到空间的外部。翻修后，整个建筑就像一座巨大的极简主义雕塑。
This renovation includes the redesign of the facade, lobby, exhibition hall, office area, VIP room, and even toilets and storage, as well as the supporting central air conditioning, lighting system, water and electricity network, etc. In addition, a reading area is set up in the lobby, and a corridor functioning as a landscape bridge has been added on the second floor. Standing in this area, you can overlook the interior of the main exhibition hall， and also see the exterior of the space. After the renovation, the overall building is like a huge minimalist sculpture.

Floor plan

建筑师的设计理念可以概括为三个“W”。第一个是“白色”。白盒子是艺术空间的理想原型。第二个是“重量”。渐进的线性空间序列让建筑师想起了一座寺庙，因此在门厅设计了一组大柱子，就像卡纳克神庙的柱廊一样，给人一种庄严神圣的感觉。第三个W是“Will”。人们可以在建筑中找到权力和精神之间的对话。主展厅的网格状屋顶结构建立了严谨的空间秩序。光从上面照下来，人们似乎与现实世界分离，在艺术的殿堂里。
The architect's design concept can be summarized as three "W"s. The first is "White". The white box is the ideal prototype of an art space. The second is "Weight". The progressive linear spatial sequence reminds the architect of a temple, so a group of large columns is designed in the foyer, just like the colonnade in the Karnak Temple, giving people a solemn and sacred feeling. The third W is "Will". People can find a dialogue between power and spirituality in architecture. The grid-shaped roof structure of the main exhibition hall establishes a rigorous spatial order. The light shines down from above, and people seem to be separated from the real world and are in the temple of art.

“当我第一次来到蜂巢时，我走进一扇低矮的门，看到一个又高又窄的大厅。打开一扇5米高的滑动门后，我看到了一个规模宏大的巨大展览馆，给人留下了深刻的印象。这让我想起了我在罗马万神殿的第一次经历。我穿过柱廊和门厅，进入了直径43米的圆顶大厅。阳光洒在圆顶上的方形壁龛上，阴影以凹凸阶梯沉箱的形状慢慢移动。我躺在椅子上，抬头看着中心直径8.9米的圆孔。我感到非常平静和感动。我希望把这种平静和情感传递给更多的人。翻新后的蜂巢当代艺术中心是我心中的万神殿。”——孙大勇说。
"When I first came to the Hive, I entered a low gate and saw a tall and narrow lobby. After opening a 5-meter-high sliding door, I saw a huge exhibition hall with a grand scale, and it was very impressive. This reminded me of my first experience in the Pantheon in Rome. I walked through the colonnade and the foyer and entered the dome hall with a diameter of 43 meters. The sunlight sprinkled in the square niches on the dome, and the shadows moved slowly in the concave and convex stepped caisson shape. I lay on a chair and looked up at the 8.9-meter-diameter round hole in the center. I felt extremely calm and moved. I hope to pass on this peace and emotion to more people. The renovated Hive Center for Contemporary Art is the Pantheon in my heart." - Sun Dayong said.

Functional analysis diagram

这次翻修不仅是对内部空间的重塑，也是对建筑立面的重新设计。在原始建筑的红砖纹理前，中央大厅以简单的立方体形式从建筑中脱颖而出。白色的装饰混凝土赋予了该建筑手工制作的纹理，与原始建筑相呼应。与此同时，白色从环境中脱颖而出。嵌入式柱廊似乎受到了古典现代主义大师阿道夫·洛斯的影响。Loos的“装饰即犯罪”思想也影响了后来的建筑师。孙大勇在现代主义强调功能性的基础上提出了“少即是爱”的理念，增加了东方的温暖和对可持续性的考虑。
This renovation is not only a reshaping of the interior space but also a redesign of the building's facade. In front of the red brick texture of the original building, the central lobby stands out from the building in a simple cubic form. The white decorative concrete gives the block a handmade texture that echoes the original building. At the same time, the white color stands out from the environment. The embedded colonnade seems to trace the influence of Adolf Loos, the classic modernist master. Loos's idea of "ornament is crime" has also influenced later architects. Sun Dayong proposed the idea of "less is love" on the basis of modernism's emphasis on functionality and added oriental warmth and consideration for sustainability.

入口处的四根柱子是建筑师有意添加的。建筑师说，这些柱子的灵感来自卡纳克神庙的柱廊，突出了规模的对比，让人们在进入的道路上感受到空间节奏的变化，营造出庄严的空间氛围和仪式感。柱子中央是接待台，充满了礼节。服务台上方是一条穿过柱廊的走廊。二楼的人在柱廊之间水平行走，就像镶框窗户里的风景。未来，前厅、右侧副厅和二楼走廊桥将作为公开展览免费向公众开放，体现艺术机构的社会服务属性。一楼还设有阅读区，供人们休息和阅读。
The four columns at the entrance were added intentionally by the architect. The architect said that these columns were inspired by the colonnade of the Karnak Temple, highlighting the contrast of scale, allowing people to feel the change of spatial rhythm in the path of entry, creating a solemn spatial atmosphere and a sense of ritual. In the center of the column is the reception desk, full of rituality. Above the service desk is a corridor that crosses the colonnade. People on the second floor walk horizontally between the colonnades, just like the scenery in a framed window. The front hall, the deputy hall on the right, and the corridor bridge on the second floor will be open to the public free of charge as an open exhibition in the future, reflecting the social service attributes of art institutions. A reading area is also set up on the first floor for people to rest and read.

主展厅的空间被屋顶的网格划分为18个相等的部分。每个网格的中心都有一个发光膜来模拟天窗，光束下方有光轨和空调通风口。发光天花板可以整体或单独点亮。它为整个展厅提供了均匀的照明。方梁为空间建立了新的秩序，并为空间提供了参考坐标。后面的办公区也进行了重新规划，增加了物流流通和通道，仓库也进行了扩建。二楼办公空间采用开放式空间布局，鼓励交流，为Hive员工营造和谐的工作氛围。三楼释放了天花板空间和天窗，重新打开了外墙上的窗户，扩大了展览空间的秩序。三楼用作大型会议室和行政办公室。后院的VIP区也进行了整体升级，强调了雕塑设计以及庭院与建筑之间的互动关系。
The space of the main exhibition hall is divided into 18 equal parts by grids of the roof. In the center of each grid is a luminous film to simulate skylight, and light tracks and air-conditioning vents are situated under the beams. The luminous ceiling can be lit up as a whole or individually. It provides even lighting for the entire exhibition hall. The square beams build a new order for the space and provide reference coordinates for the space. The office area at the back has also been re-planned, with logistics circulation and access added, and the storage has also been expanded. The second-floor office space adopts an open space layout to encourage communication, creating a harmonious working atmosphere for the Hive staff. The third floor releases the ceiling space and skylight and re-opens windows on the exterior wall to extend the order of the exhibition space. The third floor is used as a large conference room and administration office. The VIP area in the backyard has also been upgraded as a whole, emphasizing the sculptural design and the interactive relationship between the courtyard and the building.

蜂巢的整体空间以白色为主，干净纯净。这与建筑师孙大勇的个人经历有关。2018年，应肯尼亚哈拉邀请参加“中国之家愿景”活动时，孙大勇与肯尼亚哈拉进行了密切交流和沟通。孙大勇深受肯尼亚哈拉的影响，他也喜欢哈拉的书《白色》。在白色的世界里，虚无感和抽象美让他着迷。十年前，孙大勇的著名作品《鸿坤美术馆》在业内引起了广泛关注，拱形元素至今仍记忆犹新。十年后，在蜂巢当代艺术中心，孙大勇去掉了令人愉悦的形式，用白色覆盖了一切。正如孙大勇坚信精神是建筑的终极追求一样，建筑也是对光的致敬。
The overall space of the Hive is dominated by white tones, clean and pure. This is related to the personal experience of architect Sun Dayong. When invited by Kenya Hara to participate in the China House Vision in 2018, Sun Dayong exchanged and communicated closely with Kenya Hara. Sun Dayong was deeply influenced by Kenya Hara, and he also loved Hara's book "White". In the white world, the sense of nothingness and abstract beauty fascinated him. Ten years ago, Sun Dayong's famous work Hongkun Art Gallery received widespread attention in the industry, and the arched elements are still fresh in people's memory. Ten years later, in the Hive Center for Contemporary Art, Sun Dayong removed the pleasing form and covered everything in white. Just as Sun Dayong firmly believes that spirituality is the ultimate pursuit of architecture, architecture is a tribute to light.