蜂巢当代艺术中心改造丨中国北京丨Penda China,槃达建筑

2024/12/17 00:00:00

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蜂巢当代艺术中心历经 100 天的改造，于 11 月正式揭幕。改造由建筑师孙大勇操刀，对 3300 平的展览空间整体设计改造。

蜂巢当代艺术中心作为拥有 798 最大的单体建筑空间的画廊近年备受瞩目。17 年前，这里从厂房改造为非营利机构伊比利亚当代艺术中心，后来由蜂巢当代艺术中心接手。

俗话说从来不存在最好的时机，最好的时机就是现在，在这个经济普遍下行的环境中，2024 年的这次改造，蜂巢希望借此提升一下自身以及行业的标准。

这次改造可以说是 798 艺术空间的 3.0 版本，798 从最早 1.0 版本的工厂，发展为具有工业风特征的 2.0 版本艺术空间，如今的 798 已经是具有世界影响力的国际当代艺术聚集地，所以 3.0 版本的艺术空间更加关注艺术品本身，为艺术品提供最佳的展陈环境。

放眼未来和世界，蜂巢当代艺术中心的改造消减掉了工业厂房的痕迹，而是营造了一个纯粹的白盒子空间，更具国际性和当代性。

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 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.

▼立面概览，facade overview © 夏至

▼入口门廊，foyer© 夏至

本次改造包括外立面、前厅、展厅、办公区、VIP 室甚至卫生间和库房也做了重新规划，以及与之配套的中央空调、照明系统、水电网络等。此外，在前厅设置了一个文献阅览区，二楼增加了一个具有景观意味的廊桥区，站在这个区域既可以俯瞰主展厅的内部，也可以观看空间的外部。改造后的整体建筑就像一件巨大无比的极简主义风格的雕塑作品。

▼功能分析图，function diagram© 槃达建筑

This renovation includes the redesign of the facade, lobby, exhibition hall, office area, VIP room, and even toilets and storages, 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.

▼前厅，hall© 夏至

▼前厅展览入口，entrance hall to the exhibition©董琳

建筑师的设计理念概括为三个 W，第一个是“White”白，白盒子是理想的艺术空间原型。第二个是“Weight”重量，逐层递进的线性空间序列让建筑师联想到了神庙，所以在门厅处设计了一组硕大体量的立柱，就像是卡纳克神庙中的柱廊，给人一种庄严肃穆的神圣感。第三个 W 是“Will”意志，在建筑中人能找到力量和精神性的对话。主展厅方格状的屋顶结构建立了严谨的空间秩序，光从上面洒下来，人仿佛与现实世界剥离，至身于艺术的圣殿之中。

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 are 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. Light shines down from above, and people seem to be separated from the real world and are in the temple of art.

▼二层廊道，upper floor bridge© 夏至

▼二层廊道，upper floor bridge© 夏至

我第一次来到蜂巢时，进入低矮的大门后是一个高挑狭长的前厅空间，拉开一扇 5 米高的推拉门后是一个硕大的展厅，尺度恢弘，十分震撼。这让我想起了第一次去罗马万神殿时候的体验，穿过柱廊、门厅，进入直径 43 米的穹顶大厅，日光洒在穹顶上方形的凹龛里，影子在凹凸的阶梯状藻井造型中徐徐移动，我躺在椅子上仰望中央那个直径 8.9 米的圆洞，内心无比的平静而感动。我希望把这份平静和感动传递给更多的人，改造后的蜂巢当代艺术中心就是我心中的万神殿。——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.

▼主展厅概览，main exhibition room© 夏至

▼主展厅一角，main exhibition room corner© 夏至

▼展览现场，exhibition on show©董琳

▼展览空间概览，exhibition room overview©董琳

这次改造不仅是室内空间的重新塑造，建筑的外立面也一并重新设计。在原建筑红砖的肌理前，中央部分的门厅以简洁的立方体形态突出于建筑。白色的装饰混凝土赋予了体块手工的肌理，和原始的建筑形成呼应。同时白色又跳脱于环境，十分醒目。内嵌的柱廊仿佛看到了经典的现代主义大师阿道夫·路斯的影子，路斯主张“装饰即是罪恶”的理念也影响了后辈建筑师，孙大勇提出“少既是爱”的理念，在现代主义强调功能性的基础上，又增加了东方的温度和可持续性的考虑。

▼入口立面分析图，entrance facade analysis©槃达建筑

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.

▼门厅以简洁的立方体形态突出于建筑，central lobby stands out from the building in a simple cubic form© 董琳

入口的四根柱子是建筑师有意增加的。建筑师说这些柱子灵感源于卡纳克神庙的柱廊，突出尺度的对比，让人在进入的路径中感受到空间节奏的变化，营造出庄重的空间气氛和崇高的仪式感。柱子中央是接待问询前台，仪式感满满。服务台上方是连廊，横穿柱廊，二层人在柱廊间横向穿行游走，宛如橱窗中的风景。前厅与右侧的副厅和二层的廊桥未来作为开放展览对外免费开放，首层还设置了资料浏览区，供人休息阅读。充分体现出艺术机构的社会性。

▼前厅分析图，entrance hall analysis©槃达建筑

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 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.

▼入口的四根柱子，the four columns at the entrance©夏至

主厅的空间被屋顶的网格等分成 18 份，每个网格中央是发光膜模拟天光，梁下预留射灯轨道和空调风口。发光天花可以整体亮起，也可以单独亮起，为整个展厅提供了均匀的照明。方格的梁构建了空间新的秩序，为空间提供了参照的坐标。后面的办公区也做了空间梳理，增加了后勤动线和出入口，扩大了库房。二层办公空间采用开放式的空间布局，增加蜂巢团队的高效交流及和谐的工作氛围。三层释放吊顶空间和天光，重新在外墙上开窗，延续空间的秩序，三层作为大会议室和管理层办公室。后院的 VIP 区域也进行整体升级设计，强调雕塑感和庭院与建筑的互动关系。

▼顶部概念分析图，top ceiling analysis©槃达建筑

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.

▼网格中央发光膜模拟天光，a luminous film in the grid center to simulate skylight©夏至

▼阅览区，reading area©夏至

▼楼梯，staircase©夏至

▼楼梯和交通空间，staircase and circulation space©夏至

蜂巢整体空间以白色调为主，干净纯粹。这一点不得不提起建筑师孙大勇的经历。2018 年受原研哉邀请参加理想家中国大展——China House Vision 时，孙大勇近距离和原研哉先生工作讨论方案，孙大勇深深受原研哉先生影响，原研哉的著作《白》也让他爱不释手。在白色的世界里，虚无感和抽象的美让他着迷。在蜂巢当代艺术中心中，一切都笼罩在白色之下。正如孙大勇坚信的，精神性是建筑的终极追求，建筑是对光的礼赞。

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.

▼后院入口，backyard entrance©夏至