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尤伦斯当代艺术中心（UCCA）是中国第一个私人当代艺术博物馆，它成立于2007年，坐落在北京798艺术区的核心地带，旨在将中国艺术带入世界舞台。在经历了2017年的内部结构调整之后，艺术中心迎来了新一次的翻新，由OMA事务所来为之建立全新的公共身份和视觉形象。

UCCA Center for Contemporary Art was China’s first private museum for contemporary art, founded in 2007 at the heart of the 798 art district in Beijing with the aim to bring Chinese art into global dialogue. Following the center’s internal restructuring in 2017, OMA’s renovation project seeks to give this internationally renowned institution the public image and visual identity it deserves.

▼改造后的建筑外观，exterior view after renovation ©Bian Jie

▼曲线型的玻璃立面揭示出内部的展厅空间，a band of curvilinear glass façade wrapping around the museum store, uncovering the exhibition halls beyond ©Bian Jie

为了重新构建艺术中心与公众之间的互动界面，设计团队在建筑外围打造了一道曲线型的玻璃立面，将博物馆商店、主入口大厅和首层的小咖啡店包含在内，同时揭示出内部的展厅空间。该设计将既有建筑群在空间上的差异重新强调出来（包括两栋1950年代的工厂大厅，以及自1970年代起被用作行政楼的红色板楼），同时将艺术中心的内部空间与798艺术区重新连接起来。

To re-conceptualize its spatial interface with the public, the renovation features a band of curvilinear glass façade wrapping around the museum store, the grand entrance lobby and a small café on the ground floor, uncovering the exhibition halls beyond. The design reinstates the clear difference in spatial qualities between the existing buildings: two 1950s factory halls and the red Slab, a former administrative building from the 1970s, and visually reconnects UCCA’s interior to the 798 art district.

▼轴测图，axon ©OMA

尤伦斯当代艺术中心与北京798艺术区的发展有着密不可分的关系。798园区的前身是一个电子工业综合体，其规模庞大的生产空间和低廉的租金为其在90年代向艺术区的转型带来了优势。尤伦斯当代艺术中心自2007年向公众开放以来，便借着中国经济发展的繁荣势头为该区域赢得了新的资金和国际认可。由于缺乏整体规划，798艺术区逐渐形成了由一系列截然不同的建筑和空间构成的、充斥着临时结构和改造项目的混杂整体。

The development of UCCA and Beijing’s 798 district are closely intertwined. A former industrial complex of electronic appliances, 798 gained momentum as an art district during the 90s owing to its large industrial spaces and affordable rent. Since UCCA opened its doors in 2007 to the public, the economic boom in China has brought new funding and international recognition to the area. Lacking an overall masterplan, the art district has gradually morphed into an ensemble of disparate architectural and programmatic elements, with ad hoc rehabilitations and patchwork renovations.

▼剖面透视图，sectional perspective ©OMA

在这种环境中，OMA希望为位于红色板楼下方的新入口空间赋予一种开放而清晰的特征。既有的立柱和核心筒被保留下来，一层薄薄的曲线型玻璃立面优雅地围合在其外部；该设计摒弃了传统店面的“平整”造型，转而对玻璃的“不完美特性”进行了一系列实验：波纹、折痕、凸起和弯曲，这些元素展现了材料所蕴含的内在力量，并带来一种能够引发错觉的起伏效果。

Within this context, OMA sought instead to create an image of openness and clarity for the new entrance sequence that starts below the red 1970s administrative slab building. Columns and cores remain, while a thin layer of glass elegantly curves and folds around them; not as a traditional flat storefront but as an experiment on different ‘imperfections’ of glass: corrugations, creases, bulges and bends enacting the internal strength of the material and unravelling waves of visual illusions.

▼薄薄的曲线型玻璃立面优雅地围合在建筑外部，a thin layer of glass elegantly curves and folds around the existing building ©Bian Jie

▼波纹、折痕、凸起和弯曲带来独特的起伏效果， corrugations, creases, bulges and bends, the ‘imperfections’ of glass create waves of visual illusions ©Bian Jie

▼立面细部，detailed view ©Bian Jie

玻璃立面揭示出一个清晰的空间序列：从宽阔的景观庭院穿越板楼下方的柱廊，经过位于夹层下方、介于板楼与大厅之间的小径，再穿越大厅的“中殿”，进入既有的展厅空间，最后到达内部的“主展厅”（Great Hall）。

The façade reveals a clear sequence of spatial bands: the new navigation leads from a large landscaped forecourt through the colonnaded space under the slab, passing the alley between the slab and main hall over the aisle underneath a mezzanine floor and through the ‘nave’ of the main hall, to the existing galleries, and ending at the Great Hall.

▼入口区域的大台阶，the grand stair of the entrance area ©Bian Jie

▼首层空间轴测图，axon drawing of the ground floor ©OMA

Status: Completed
Clients: UCCA
Location: Beijing, China
Site: 4 Jiuxianqiao Rd, Chaoyang Qu, Beijing Shi
Program: Regeneration of Entrance Zone, Museum Store, Creative center for children and Café
Partner-in-Charge: Chris van Duijn
Associates-in-charge: Inge Goudsmit
Team: Aishwarya Keshav, Chen Lu, Cecilia Lei, Christina Wilkinson, Connor Sullivan, Hayger Chan, Junsik Oh, Dongmei Yao

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