© Ezra Stoller/Esto

Ezra Stoller/Esto

耶鲁大学收集的珍贵手稿始于1701年，当时有十位部长在康涅狄格殖民地成立了一所学院。在接下来的三个世纪里，他们捐赠的书籍是随后的许多礼物中的第一本，包括神秘的沃尼希手稿和已知存在的21本古腾堡圣经中的一本。古腾堡圣经是1926年送给该校的。[1]最初，这些珍贵的藏书被存放在德怀特大厅的特别书架上，直到19世纪末，那里一直是一个图书馆；20世纪30年代，它被搬到斯特林图书馆的珍稀书房。两位耶鲁校友弗雷德里克和埃德温？拜内克赠送的礼物，使该校得以建造一座有意义的图书馆大楼，供其在60年代不断增加的藏书之用。[2，3]

Yale’s collection of rare manuscripts began in 1701, when ten ministers met to found a college in Connecticut Colony. The books they donated were the first of many gifts to follow over the next three centuries, including the cryptic Voynich Manuscript and one of the twenty one original Gutenberg Bibles known to exist, which was given to the university in 1926.[1] Originally, the rare books collection was stored on special shelving in Dwight Hall, which served as a library until the late 19th Century; in the 1930’s, it was moved to the Rare Book Room in the Sterling Library. A gift from Frederick and Edwin Beinecke, a pair of Yale alumni, allowed the university to construct a purpose-built library building for its growing collection in the 1960’s.[2,3]

 © Ezra Stoller/Esto

Ezra Stoller/Esto

保罗鲁道夫，当时的耶鲁建筑学院院长，决定举行四家公司之间的竞争，以获得设计比尼克图书馆的特权。他邀请的建筑师之一是奥温斯斯基德莫尔的戈登·邦希勒。

Paul Rudolph, the then Dean of the Yale School of Architecture, decided to hold a competition between four firms for the privilege to design the Beinecke Library. One of the architects he invited to participate was Gordon Bunshaft of Skidmore, Owings & Merrill (SOM), who refused. His reasoning, as he explained to Yale’s provost, convinced the university to award him the job:

“说你很幸运，你就赢得了比赛。然后你开始和将要使用这座建筑的人交谈和工作，你知道这个设计是行不通的，因为你在了解这些人的过程中学到了很多东西。所以你开始做改变，而最终的事情是妥协。我认为，做一座大楼最重要的事情之一就是编写一个程序，这意味着几乎要和将要使用这座大楼的人一起生活，找出他们希望如何在大楼里工作，而不是倾听他们的解决方案，而是倾听他们的需求。“

“Say you’re lucky and you win the competition. You then start to talk and work with the people who are going to use the building, and you know the design doesn’t work because of what you’ve learned in getting acquainted with the people. So you start making alterations, and the ultimate thing is a compromise. I believe one of the most important things in doing a building is writing a program, and that entails almost living with the people who are going to use the building, finding out how they hope to work in it, not listening to their solutions but listening to their needs.”[4]

图书馆设计中的一个主要问题是对光线的控制。建筑需要充足的环境照明，使其成为学习和阅读的场所；然而，暴露在阳光下可能会损坏藏书中保存得仔细的文字。邦哈勒的妥协是建造大理石面板的外墙，它的厚度只有1/4英寸(约3厘米)，允许光线在不破坏收藏的情况下扩散到内部。[5]从外面看，灰色脉的白色大理石看上去既冷又难穿透，但从内部看，阳光使石头发出令人惊讶的温暖。

A primary concern in the design of the library was the control of light. Sufficient ambient lighting was required to enable the building to serve as a place for study and reading; however, exposure to sunlight could damage the carefully-preserved texts of the collection. Bunshaft’s compromise was to construct the façade of panes of marble which, at a thickness of only 1¼” (roughly 3 cm), allow for some light to diffuse into the interior without damaging the collection.[5] From the outside, the gray-veined white marble appears cold and impenetrable, but from within, the sunlight causes the stone to glow with a surprising level of warmth.[6]

 © Ezra Stoller/Esto

Ezra Stoller/Esto

大理石面板被放置在一个由浅灰色佛蒙特州花岗岩组成的网格框架中。一个预制钢桁架系统隐藏在花岗岩中，将外墙的重量转移到四个巨大的混凝土桥墩上，这四个桥墩分别矗立在四个角落。这一结构体系使底层大厅几乎完全是玻璃化的，使图书馆前广场上的人能瞥见藏匿在盒子里的宝藏。

 The marble panels are placed into a gridded frame of light gray Vermont granite. A system of prefabricated steel trusses is hidden within the granite, transferring the weight of the façade to the four enormous concrete piers that stand at each of its four corners. This structural system allows for the ground floor lobby to be almost entirely glazed, giving those in the plaza before the library a glimpse of the treasure trove hidden within the box.[7]

拜内克图书馆的参观者通过地面旋转玻璃门进入图书馆。两边的两条楼梯通向阁楼；同时，正前方矗立着图书馆隐藏的心。安放在大理石外壳内的是一座六层高的玻璃塔，里面堆满了珍稀书籍。用皮革装订，在某些情况下，甚至镀金，玻璃竖井内约有180，000本书，尽管图书馆工作人员只能接触到，但仍自豪地陈列在展览上。[8，9]

 Visitors to the Beinecke Library enter by means of a revolving glass door at ground level. Two stairways to either side lead to the mezzanine level; directly ahead, meanwhile, stands the hidden heart of the library. Ensconced safely within the marble shell is a glass tower six stories tall, filled with stacks of rare books. Bound in leather and, in some cases, even gilded, there are roughly 180,000 tomes within the glass shaft, set proudly on display even despite only being accessible to library staff.[8,9]

图书馆广场下面是另外两层楼，里面有藏书的其余部分，其中包括320，000卷书和几百万份手稿。这些地下层也容纳了图书馆的工作区域，包括阅览室、办公室和教室。自然光通过一个沉陷的庭院进入地下室，这让人想起了一个修道院的剧本室。庭院的特色是雕塑家野口正美(Isami Noguchi)设计的一个雕塑花园，他完全按照图书馆本身的几何学使用白色大理石。三种雕刻形式占据了这个无植物的花园：一个金字塔代表地球和过去的几何图形，一个圆盘代表太阳，一个立方体通过骰子的滚动与机会相似。

 Underneath the library’s plaza are two additional floors containing the rest of the collection, which comprises 320,000 volumes and several million manuscripts. These subterranean levels also house the working areas of the library, including a reading room, offices, and classrooms. Natural light enters the basement levels through a sunken court reminiscent of a cloister scriptorium. The courtyard features a sculpture garden designed by sculptor Isami Noguchi, who exclusively used white marble in deference to the geometry of the library itself. Three sculpted forms occupy the plantless garden: a pyramid representing the geometry of the earth and past, a disc representing the sun, and a cube resembling chance via the rolling of dice.[10]

 Plan. Image © Ezra Stoller/Esto

计划。图像(Ezra Stoller/Esto)

 Plan. Image © Ezra Stoller/Esto

计划。图像(Ezra Stoller/Esto)

1963年建成后，Beinecke图书馆受到耶鲁图书馆员的公然蔑视。在现有的新古典主义和大学哥特式建筑的背景下，这个充满幻想的现代主义盒子被认为是一种“飘浮的愚蠢”。图书馆助理馆长唐纳德·荣称这是“建筑师的梦想和我们未来的噩梦”；与此同时，图书馆馆长在大楼的明信片上标出了它的设计缺陷。然而，在图书馆开放后的五十年里，这些抗议活动基本消失了，而Beinecke图书馆已经成为耶鲁大学校园的一个著名组成部分。

Upon its completion in 1963, the Beinecke Library received open scorn from Yale’s librarians. Against the backdrop of existing Neoclassical and Collegiate Gothic buildings, the imposingly Modernist box was unflatteringly deemed a “floating folly.” Assistant Librarian Donald Wing called it “an architect’s dream and our future nightmare”; the library’s director, meanwhile, marked up postcards of the building to point out its design flaws. In the fifty years since the library’s opening, however, these protests have largely faded away, and the Beinecke Library has become a celebrated element of Yale’s campus.[11]

[1]Rierden，Andi。“现代万神殿拯救了历史。”“纽约时报”，1990年7月29日。[进入]。[2]佩雷斯，阿德林。“广告经典：Beinecke珍本手稿图书馆”

[1] Rierden, Andi. “Modern Pantheon Saves History’s Words.” The New York Times, July 29, 1990. [access]. [2] Perez, Adelyn. "AD Classics: Beinecke Rare Book and Manuscript Library / Gordon Bunshaft of Skidmore, Owings, & Merrill." ArchDaily. June 28, 2010. [access]. [3] Rierden. [4] "Beinecke Rare Book and Manuscript Library, Yale University, New Haven, Connecticut (building)." Celsus: A Library Architecture Resource. Accessed April 26, 2017. [access]. [5] "Beinecke Rare Book and Manuscript Library." Amusing Planet. Accessed April 27, 2017. [access]. [6] "About the Building." About the Building | Beinecke Rare Book & Manuscript Library. Accessed April 27, 2017. [access]. [7] Perez. [8] “About the Building.” [9] Klein, Christopher. "Yale’s Beinecke Rare Book and Manuscript Library turns 50." The Boston Globe, April 7, 2013. [access]. [10] “Beinecke Rare Book and Manuscript Library, Yale University.” [11] Klein.

建筑师斯基德莫尔，奥温斯

Architects Skidmore, Owings & Merrill Location 121 Wall St, New Haven, CT 06511, United States Architect in Charge Gordon Bunshaft Client Yale University References Beinecke Rare Book and Manuscript Library and Skidmore, Owings, & Merrill Area 125262.0 ft2 Project Year 1963 Photographs Ezra Stoller/Esto Category University

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