© Samuel Ludwig

塞缪尔·路德维希

该大学明确阐述了新画廊和设计中心(当时的名称)的一个项目：卡恩将创建一个开放的阁楼，可以轻松地从教室转换到画廊空间，反之亦然。[2]卡恩的早期计划回应了学校的愿望，将一个核心服务区-楼梯间、卫生间的家-集中起来。和公用轴-为了打开不间断的空间，在任何一方的核心。批评人士将这一计划解释为区分“服务”和“服务”空间的一种手段，这是卡恩在职业生涯后期经常表达的二分法。[3]正如耶鲁建筑学院校友和教员亚历山大·普维斯(Alexander Purves)在谈到画廊时所写的那样，“这种计划清楚地区分了那些.[4]建筑物的主要功能和附属于主要空间但为支持这些功能所必需的功能。[4]因此，专门用于艺术展览和指导的画廊空间置于功能等级之上，高于建筑物的功利性领域；尽管如此，卡恩拒绝隐藏-实际上是集中-这座建筑不那么迷人的功能，他承认各个层次的等级都是他的建筑活力所必需的。

The university clearly articulated a program for the new gallery and design center (as it was then called): Kahn was to create open lofts that could convert easily from classroom to gallery space and vice versa.[2] Kahn’s early plans responded to the university’s wishes by centralizing a core service area—home to the stairwell, bathrooms, and utility shafts—in order to open up uninterrupted space on either side of the core. Critics have interpreted this scheme as a means of differentiating “service” and “served” space, a dichotomy that Kahn would express often later in his career.[3] As Alexander Purves, Yale School of Architecture alumnus and faculty member, writes of the gallery, “This kind of plan clearly distinguishes between those spaces that ... house the building's major functions and those that are subordinated to the major spaces but are necessary to support them.”[4] As such, the spaces of the gallery dedicated to art exhibition and instruction are placed atop a functional hierarchy, above the building’s utilitarian realms; still, in refusing to hide—and indeed, centralizing—the less glamorous functions of the building, Kahn acknowledged all levels of the hierarchy as necessary to his building’s vitality.

 © Samuel Ludwig

塞缪尔·路德维希

 Reflected ceiling plan

反射上限计划

在开放空间的中心核心，卡恩发挥了空间框架的概念。他和长期的合作者安妮·廷格(Anne Tyng)受到巴克明斯特·富勒(Buckminster Fuller)几何形式的启发。他在宾夕法尼亚大学(University of宾西法尼亚)学习巴克明斯特·富勒(Buckminster Fuller)，而卡恩在耶鲁大学任教时也曾与他合作。[5]正是考虑到富勒标志性的几何结构，卡恩和廷格创造了耶鲁美术馆最具创新性的元素：混凝土四面体板天花板。建筑物的结构工程师亨利·a·普菲斯特(Henry A.Pfisterer)解释了这种安排：“一个连续的平面单元被固定在开口、空心、等边四面体的顶端，连接在下平面三角形的顶点上。”[6]在实践中，三维四面体系统足够强大，足以支持开放的工作室空间-不受柱子限制-而多角度形式邀请在转换时安装画廊面板。

Within the open spaces enabled by the central core, Kahn played with the concept of a space frame. He and longtime collaborator Anne Tyng had been inspired by the geometric forms of Buckminster Fuller, whom Tyng studied under at the University of Pennsylvania and with whom Kahn had corresponded while teaching at Yale.[5] It was with Fuller’s iconic geometric structures in mind that Kahn and Tyng created the most innovative element of the Yale Art Gallery: the concrete tetrahedral slab ceiling. Henry A. Pfisterer, the building’s structural engineer, explains the arrangement: "a continuous plane element was fastened to the apices of open-base, hollow, equilateral tetrahedrons, joined at the vertices of the triangles in the lower plane.”[6] In practice, the system of three-dimensional tetrahedrons was strong enough to support open studio space—unencumbered by columns—while the multi-angular forms invited installation of gallery panels in times of conversion.

 Ceiling detail

天花板细节

尽管卡恩在耶鲁美术馆进行的结构实验是最前沿的，但他对光线和阴影的仔细关注证明了他对过去的宗教建筑一直感兴趣。与建筑团队密切合作，Kahn和Pfisterer设计了一个系统，在四面体内部运行电子管，允许光从中空的形状中扩散。[7]发出的柔和的环境光唤起了大教堂的光线；那么，卡恩的画廊从它毗邻的19世纪的新哥特式画廊中得到了微妙的灵感。

Though Kahn’s structural experimentation in the Yale Art Gallery was cutting-edge, his careful attention to light and shadow evidences his ever-present interest in the religious architecture of the past. Working closely with the construction team, Kahn and Pfisterer devised a system to run electrical ducts inside the tetrahedrons, allowing light to diffuse from the hollow forms.[7] The soft, ambient light emitted evokes that of a cathedral; Kahn’s gallery, then, takes subtle inspiration from the nineteenth-century neo-Gothic gallery it adjoins.[8]

 © Samuel Ludwig

塞缪尔·路德维希

在三角形的混凝土板天花板上，卡恩说：“它很漂亮，是个电插头。”[9]这个原则-建筑的元素可以是雕塑的，也可以是结构的-被带到画廊的其他区域。中央楼梯井，例如，占据一个空心的，未完成的混凝土圆筒；在其形状和功利主义，楼梯井表明类似功能的农业筒仓。然而，在楼梯井的天花板上，一个装饰性的混凝土三角形被一圈窗户包围着，这些窗户让人联想到一个更高的建筑史遗物：圣索菲亚(Hagia Sophia)。在圆柱体内部，水磨石楼梯形成三角形，模仿画廊的天花板和上面的三角形。[10]在断言楼梯是“设计好让人们愿意使用它们”时，卡恩希望参观者和学生能够参与到这座建筑中来，他经常用拟人化的术语来描述他的形式：“生活”在其适应性中，“呼吸”在其复杂的通风系统中(也包括在混凝土四面体中)。[11][12]

Of the triangulated, concrete slab ceiling, Kahn said “it is beautiful and it serves as an electric plug.”[9] This principle—that a building’s elements can be both sculptural and structural—is carried into other areas of the gallery. The central stairwell, for example, occupies a hollow, unfinished concrete cylinder; in its shape and utilitarianism, the stairwell suggests the similarly functional agricultural silo. On the ceiling of the stairwell, however, an ornamental concrete triangle is surrounded at its circumference by a ring of windows that conjures a more elevated relic of architectural history: the Hagia Sophia. Enclosed within the cylinder, terrazzo stairs form triangles that mimic both the gallery’s ceiling and the triangular form above.[10] In asserting that the stairs “are designed so people will want to use them,” Kahn hoped visitors and students would engage with the building, whose form he often described in anthropomorphic terms: “living” in its adaptability and “breathing” in its complex ventilation system (also encased in the concrete tetrahedrons).[11][12]

 © Samuel Ludwig

塞缪尔·路德维希

 © Samuel Ludwig

塞缪尔·路德维希

鉴于卡恩的天花板和楼梯在结构和美学上的成功，耶鲁美术馆的作品往往集中在建筑的优雅内部，而不是它的正面。但是卡恩对待画廊空间的谨慎也延伸到了外面；建筑物的西面和北面都有玻璃，南面有精心铺设的无窗砖，可以让经过仔细计算的光线进入。[13]回顾欧洲的做法，卡恩在约克街(这座建筑的西面)展示了一个正式的立面，还有一个面向邻近堰ir Hall庭院的花园立面。[14]然而，他对传统的尊重却用现代主义的语言表达了出来。

Given the structural and aesthetic triumphs of Kahn’s ceiling and stair, writing on the Yale Art Gallery tends to focus on the building’s elegant interior rather than its facade. But the care with which Kahn treats the gallery space extends outside as well; glass on the west and north faces of the building and meticulously laid, windowless brick on the south allow carefully calculated amounts of light to enter.[13] Recalling the European practice, Kahn presents a formal facade on York Street—the building’s western frontage—and a garden facade facing neighboring Weir Hall’s courtyard.[14] His respect for tradition is nevertheless articulated in modernist language.

 © Samuel Ludwig

塞缪尔·路德维希

尽管在视觉上精益求精，但画廊玻璃幕墙所用的材料几乎立刻证明是不切实际的。窗户捕捉到了凝结，破坏了卡恩可读的正面。Ennead建筑公司(当时的Pol石伙伴关系)于2006年进行了一次修复工作，使用现代材料取代窗户，并整合了更新后的气候控制。该项目还扭转了上世纪60年代用石膏隔墙覆盖窗户、墙壁和筒仓楼梯的广泛尝试。15该建筑的精确修复为保护美国现代主义-一个年轻但至关重要的领域-设定了一个高标准，同时在耶鲁复兴的校园里建立了一座竞争激烈的现代化建筑，认为值得拯救。

Despite their visual refinement, the materials used in the gallery’s glass curtain walls proved almost immediately impractical. The windows captured condensation and marred Kahn’s readable facade. A restoration undertaken in 2006 by Ennead Architects (then Polshek Partnership) used modern materials to replace the windows and integrate updated climate control. The project also reversed extensive attempts made in the sixties to cover the windows, walls, and silo staircase with plaster partitions.[15] The precise restoration of the building set a high standard for preservation of American modernism—a young but vital field—while establishing the contentiously modern building on Yale’s revivalist campus as worth saving.[16]

 © Samuel Ludwig

塞缪尔·路德维希

尽管表面已经恢复了原状，卡恩的内部仍然取得了胜利。最终，这是一座为用户建造的建筑-今天，那些在精心制作的灯光下观看艺术的游客，以及那些在50年代开始在卡恩的空间接受建筑教育的学生。珀维斯在四楼的起草室里度过了无数个小时，他坚持认为，一个在这个空间工作的学生“可以看到卡恩有点挣扎，并且可以认同这场斗争”。建筑评论家保罗·戈德伯格(Paul Goldberger)在卡恩的画廊落成十年后在耶鲁大学学习，他对这座建筑进行了类似的评估-许多经常光顾这座建筑的学生也对此表示赞同：“它的美不是乍一看就显现出来的，而是在花了时间之后才出现的。”

Even with a pristinely restored facade, Kahn’s interior still triumphs. Ultimately, it is a building for its users—those visitors who, today, view art under carefully crafted light and those students who, in the fifties, began their architectural education in Kahn’s space. Purves, who spent countless hours in the fourth-floor drafting room as an undergraduate, maintains that a student working in the space “can see Kahn struggling a bit and can identify with that struggle.” Architecture critic Paul Goldberger, who studied at Yale a decade after Kahn’s gallery was completed, offers a similar evaluation of the building—one echoed by many students who frequented the space: “its beauty does not emerge at first glance but comes only after time spent within it.”

 © Samuel Ludwig

塞缪尔·路德维希

帕特里夏·卡明斯和迈克尔·P·梅扎特斯塔。路易斯·I·卡恩的艺术博物馆。杜伦，NC：杜克大学出版社与杜克大学艺术博物馆联合出版，1989年。52-57。声音很大，59。珀维斯亚历山大。“耶鲁大学美术馆，路易斯·I·卡恩(LouisI.Kahn)著。”耶鲁大学美术馆公报(2000年)：108。同上。大声，68。卡恩，路易斯和鲍里斯·普什卡列夫。“命令和形式”Perspecta 3(1955)：51 Loud，73。大声，54个响亮，82-83。珀维斯，111声音很大，84。卡恩49岁珀维斯·卢德，80岁。大声，91。德斯布里赛劳埃德。路易·卡恩(LouisKahn)耶鲁大学艺术中心的翻新：建筑保护的一个重要时刻。建筑日报。2018年1月19日戈德伯格保罗。“挑战和安慰”肯扬评论31，第4期(2009年秋季)：23。

Loud, Patricia Cummings and Michael P Mezzatesta. The Art Museums of Louis I. Kahn. Durham, NC: Published by Duke University Press in association with the Duke University Museum of Art, 1989. 52-57. Loud, 59. Purves, Alexander. “The Yale University Art Gallery by Louis I. Kahn.” Yale University Art Gallery Bulletin (2000): 108. Ibid. Loud, 68. Kahn, Louis and Boris Pushkarev. “Order and Form.” Perspecta 3 (1955): 51 Loud, 73. Loud, 54 Loud, 82-83. Purves, 111. Loud, 84. Kahn, 49. Purves Loud, 80. Loud, 91. DesBrisay, Lloyd. "The Renovation of Louis Kahn's Yale University Art Center: A Significant Moment for Architectural Preservation." ArchDaily. January 19, 2018. Goldberger, Paul. “Challenge and Comfort.” The Kenyon Review 31, no. 4 (Fall 2009): 23.

建筑师路易斯卡恩地点1111教堂，纽黑文，CT 06510，美国项目年1953年照片塞缪尔路德维希

Architects Louis Kahn Location 1111 Chapel St, New Haven, CT 06510, USA Project Year 1953 Photographs Samuel Ludwig