金貝爾美術(shù)館擴(kuò)建，德克薩斯，美國(guó)

建筑設(shè)計(jì)：倫佐·皮亞諾建筑工作室

1 外景/Exterior views

金貝爾美術(shù)館原作舊館由路易·康于1972年設(shè)計(jì)。倫佐·皮亞諾工作室新建的部分與這座既粗獷有力又精致柔美的舊建筑建立起一種親密、謙恭而坦率的對(duì)話。這座新的“倫佐·皮亞諾館”（由建筑所有人命名）可容納博物館日益增多的展陳和教育功能，從而將路易·康的舊館恢復(fù)為博物館永久館藏陳列的用途。

近年來(lái)，金貝爾美術(shù)館的功能和館藏都以戲劇化的速度增長(zhǎng)，遠(yuǎn)遠(yuǎn)超出了博物館在1970年代時(shí)所設(shè)想的規(guī)模?？紤]到博物館在展陳和教育功能空間的嚴(yán)重缺失，新的倫佐·皮亞諾館提供了用于臨時(shí)展覽的展廊空間、用于博物館教育部門的教室和工作室、一間298座的大型禮堂、一個(gè)擴(kuò)大的圖書館以及地下停車空間。擴(kuò)建部分令博物館的展廊空間幾乎翻了一番。此外，新建筑的落位及其自停車場(chǎng)進(jìn)入的到達(dá)路徑，將會(huì)修正大多數(shù)訪客從前傾向于選擇的博物館舊館入口——這一入口實(shí)際上是康在設(shè)計(jì)時(shí)布置為背向入口的，并順其自然地將人們引向位于西立面的正向主入口。

盡管在高度、尺度與總體布局上都巧妙呼應(yīng)了路易·康的舊館，皮亞諾工作室的新建筑卻彰顯出更加開放、通透的特征。整個(gè)建筑操作是輕巧而嚴(yán)謹(jǐn)?shù)模ò霐?shù)建筑體量隱藏于地下），卻表現(xiàn)出了獨(dú)有的性格，成功構(gòu)建起新與舊的對(duì)話。

新建筑由兩個(gè)相互連接的部分構(gòu)成。前半部——面向被景觀場(chǎng)地隔開的舊館西立面的“飛翼亭”——立面有3個(gè)部分，分別反映了其內(nèi)部所承載的活動(dòng)。中央部分，輕盈、通透的玻璃立面成為了新館的入口。而兩側(cè)，在素混凝土墻面背后隱藏了兩處用于臨時(shí)展覽的展廊空間。方形混凝土柱廊序列圍繞著建筑四周展開，這些柱支撐著上方的木梁與玻璃屋頂?shù)奶糸埽瑸槟媳眱蓚?cè)的玻璃立面提供遮陽(yáng)。展廊空間中使用了由張拉織物、木梁、玻璃、鋁制百葉（以及光伏電池）多層次疊加構(gòu)成的復(fù)雜屋頂系統(tǒng)，從而實(shí)現(xiàn)了可控的日光照明環(huán)境。隱藏在織物面背后的照明設(shè)備可以對(duì)此進(jìn)行照明補(bǔ)充。

一處玻璃連廊提供了通往建筑后半部分的連接。這部分體量隱匿于隔熱的植草屋面下方，包含了陳列光敏感作品的第三展廳、禮堂以及博物館的教育設(shè)施。

玻璃、混凝土與木材作為新建筑當(dāng)中使用的主要材料，也與舊館中使用的材料相呼應(yīng)。自新館中穿透室外景觀望向遠(yuǎn)處路易·康舊館的視角，強(qiáng)調(diào)了作品中關(guān)于透明性與開放性的關(guān)鍵母題。（陳茜 譯）

2 外景/Exterior views

The Kimbell Art Museum's original building was designed by Louis Kahn in 1972. The new building by Renzo Piano Building Workshop establishes a close, respectful and frank dialogue with this powerful yet delicate older building. The new Renzo Piano Pavilion (named by the building's owner) accommodates the museum's growing exhibition and education programmes, allowing the original Kahn building to revert to the display of the museum's permanent collection.

The programmes and collection of the Kimbell Art Museum have grown dramatically in recent years,far beyond anything envisioned by the museum in the 1970s. Addressing the severe lack of space for the museum's exhibition and education programmes,the new Renzo Piano Pavilion provides gallery space for temporary exhibitions, classrooms and studios for the museum's education department, a large 298-seat auditorium, an expanded library and underground parking. The expansion roughly doubles the Museum's gallery space. Furthermore, the siting of the new building, and the access into it from the car park, will correct the tendency of most visitors to enter the museum's original building by what Kahn considered the back entrance, directing them naturally to the front entrance in the west fa?ade.

Subtly echoing Kahn's building in height, scale and general layout, the RPBW building has a more open, transparent character. Light, discreet (half the footprint hidden underground), yet with its own character, setting up a dialogue between old and new.

The new building consists of two connected structures. The front section - the "Flying pavilion"facing the west fa?ade of Kahn's building across landscaped grounds - has a three-part fa?ade,referencing the activities inside. At its centre a lightweight, transparent, glazed section serves as the new museum entrance. On either side, behind pale concrete walls are two gallery spaces for temporary exhibitions. A sequence of square concrete columns wraps around the sides of the building, supporting solid wooden beams and the overhanging eaves of the glass roof, providing shade for the glazed fa?ades facing north and south. In the galleries, a sophisticated roof system layers stretched fabric,the wooden beams, glass, aluminium louvres (and photovoltaic cells), to create a controlled day-lit environment. This can be supplemented by lighting hidden behind the scrim fabric.

3 平面/Plan

4 鳥瞰/Aerial view

5 夜景/Night view

A glazed passageway leads into the building's second structure. Hidden under a turf, insulating roof are a third gallery for light-sensitive works, an auditorium and museum education facilities.

Glass, concrete, and wood are the predominant materials used in the new building, echoing those used in the original. Views through the new building to the landscape and Kahn building beyond emphasise the key motifs of transparency and openness.

項(xiàng)目信息/Credits and Data

客戶/Client: Kimbell Art Foundation

設(shè)計(jì)/Design: Renzo Piano Building Workshop in collaboration with Kendall/Heaton Associates, Inc.(Houston), architects

設(shè)計(jì)團(tuán)隊(duì)/Design Team: M.Carroll (partner in charge),O.Teke with S.Ishida (partner), O.Teke, M.Orlandi,S.Polotti, D.Hammerman, F.Spadini, E.Moore,A.Morselli, Sh.Ishida, D. Piano, D.Reimers, E. Santiago;F.Cappellini, F.Terranova (models)

顧問/Consultants: Guy Nordenson & Associates with Brockette, Davis, Drake Inc (structure); Arup with Summit Consultants (services) Arup (lighting); Front(fa?ade consultant); Pond & Company (landscape),Harvey Marshall Berling Associates Inc. (acoustical/audiovisual), Dottor Group (concrete consultant),Stuart-Lynn Company (cost consultant)

項(xiàng)目經(jīng)理/Project Manager: Paratus Group

繪圖/Drawings: Renzo Piano Building Workshop

攝影/Photos: press office report (fig. 1,2,5-7,9), Aerial Photography Inc (fig. 4)

7 視野通透/Clear sight

8 分析圖/Diagram

評(píng)論

燕達(dá)：由于視野的開闊性越來(lái)越成為影響現(xiàn)代人建筑室內(nèi)體驗(yàn)的重要因素，大玻璃幕墻在建筑中越來(lái)越常見。但大玻璃幕墻往往會(huì)帶來(lái)建筑采光及能耗等方面的問題，該項(xiàng)目中通過與木梁屋頂挑檐的搭配來(lái)解決長(zhǎng)時(shí)間陽(yáng)光直射的問題。另外通過包括百葉、張拉織物等在內(nèi)的多層次疊加的復(fù)雜屋頂盡量多的利用自然光來(lái)營(yíng)造室內(nèi)光環(huán)境，同時(shí)又設(shè)置備用的照明設(shè)備，在自然光無(wú)法滿足照度要求的時(shí)候作為照明補(bǔ)充，極大地提高了室內(nèi)人員的舒適性體驗(yàn)。

來(lái)自技術(shù)專家的點(diǎn)評(píng)

馮雅：以輕盈、通透的玻璃立面彰顯出建筑的現(xiàn)代性，兩側(cè)素混凝土墻面背后臨時(shí)展覽廊空間上方的木梁與玻璃屋頂?shù)奶糸?，為南北兩?cè)玻璃立面的遮陽(yáng)表現(xiàn)出近代工業(yè)化時(shí)代遮陽(yáng)特性，使用張拉織物、木梁、玻璃、鋁制百葉（以及光伏電池）多層次疊加，以及織物面背后的人工照明為展廊空間室內(nèi)光環(huán)境提供了補(bǔ)充，構(gòu)成了現(xiàn)代智能化屋頂采光照明系統(tǒng)，實(shí)現(xiàn)采光與照明環(huán)境的可控；同時(shí)采用種植屋面為玻璃連廊室內(nèi)環(huán)境提供了良好的隔熱性能。通過透明圍護(hù)結(jié)構(gòu)完美地體現(xiàn)出建筑的現(xiàn)代性。但還缺乏真正意義上的科學(xué)與藝術(shù)的完美結(jié)合，如何利用透明或半透明材料在不同遮陽(yáng)膜層對(duì)太陽(yáng)紫外光、可見光、近紅外的選擇性，適宜美術(shù)館不同藝術(shù)照明、室內(nèi)熱環(huán)境的需求，以及室內(nèi)光與熱環(huán)境的調(diào)節(jié)和控制，將是建筑師未來(lái)必須面臨的問題。

9 內(nèi)景/Interior view

10 剖面/Section

11剖面/Sections

12 剖面/Sections

13 平面/Plan

Comment

YAN Da:As the openness of the view has become an increasingly important factor which influences people's experience inside modern buildings, large glass curtain wall becomes more and more common in architecture. Nevertheless, this kind of curtain wall often leads to problems in aspects of lighting and energy consumption in architecture. In this project, the problem of longtime direct sunlight is solved by fitting the curtain wall with the overhanging wooden beam roof. Besides, people's indoor comfortableness is greatly improved. This is achieved by creating the multi-level superimposed complex roof consisting of of louvers,tensioned fabrics, etc. to make full use of the natural light for indoor lighting environment, and at the same time installing auxiliary lighting equipment to assume lighting supplement in case that natural lighting cannot meet the illumination requirement by itself. (Translated by CHEN Xi)

From technical expert

FENG Ya:The light and transparent glass fa?ade highlights the modernity of the building. Behind the concrete walls on both sides, the wooden beams above the temporary exhibition gallery space and the cantilever part of the glass roof show the character of the shading system in the time of modern industrialisation for the glass fa?ades on the south and the north sides. The overlapped layers including tension fabrics, wooden beams, glass, aluminum louvers (and photovoltaic cells), together with the artificial lighting behind the fabric surface, complement the indoor lighting environment of the gallery space. They constitute the modern intelligent roof lighting system, making the natural and artificial lighting environment controllable. At the same time, the planting roof ensures qualified insulation effect for the interior environment in the glass corridor.

The modernity of architecture is perfectly reflected by the transparent building envelope.However, there is still no truly perfect combination of science and art. It will be an issue architects must face in the future: how to use transparent or translucent materials to filter the solar ultraviolet light, visible light and near-infrared light in different sunscreen layers, to fulfill different requirements on exhibit lighting and interior thermal environment in art museums, and to achieve fine adjustment and control of the interior lighting and thermal environment. (Translated by CHEN Xi)