虽然佩雷拉经常被认为是20世纪美国建筑中被低估的塑造者之一，但在20世纪60和70年代，佩雷拉在整个美国享有巨大的影响力。1965年，他被授予在可持续发展大学建造图书馆的委员会，部分原因是他令人印象深刻的引人入胜和创造性设计的历史。这座建筑位于圣地亚哥校区的几何中心，位于一个小峡谷的顶端，可以说是该校最突出的一块房地产。设计必须是一个视觉上稳健的声明，值得位置，而佩雷拉似乎是合适的人的工作。

While he is often stylized as one of the more under-appreciated shapers of 20th century American architecture, Pereira enjoyed tremendous influence throughout the United States in the 1960s and 1970s. In 1965, he was awarded the commission to build the library at UCSD due in part to his impressive history of eye-catching and inventive designs. The building was to be located at geometric center of the San Diego campus at the crest of a small canyon, arguably the university’s most prominent piece of real estate. The design needed to be a visually robust statement worthy of the location, and Pereira seemed to be the right man for the job.

 Clockwise from left: Pereira's Transamerica Pyramid, Langson Library at UC Irvine, and Theme Building at LAX. Image © Flickr users SnaPsi, UC Irvine, and Thomas Hawk

从左起顺时针方向：佩雷拉的Transamerica金字塔，加州大学欧文分校的兰森图书馆，洛杉矶国际机场的主题大楼。图片c Flickr用户SnaPsi，UC Irvine和Thomas Hawk

 © Flickr user brazilfox

c Flickr用户brazilFox

为了发展图书馆的原理图设计，佩雷拉分析和分类了几十个大学图书馆的集合、流通和规划安排。他从理论上论证了哪些形式比其他形式更有效地提供了他所看重的某些功能，比如堆栈中的日光、浏览货架的能力以及未来扩展的潜力。

To develop the schematic design for the library, Pereira analyzed and categorized dozens of university libraries by their massing, circulation, and programmatic arrangements. He theorized about which forms were more effective than others at providing certain functions that he valued, such as daylight in the stacks, the ability to browse the shelves, and the potential for future expansion.

 © Flickr user dankit

c Flickr用户dankit

他以基本图表作为他设计的基础，他认为，部分淹没图书馆将允许最大限度地扩大潜力，并将掩埋图书馆中不需要在地面上进行的元素。对于地上部分，他希望从地面上的一个奇异点发出信号，并有一个中央核心连接不同的楼层。因此，他总结说，图书馆最合乎逻辑的形状是一个球体，它可以最大限度地利用地板的日光，提供各种灵活的地板布置，并保持一个理想的中央循环系统。虽然球形外观最终被放弃了这个项目，佩雷拉保留了一个大的中间层与锥形，较小的楼层和以上的基本概念。

Using rudimentary diagrams as the basis of his design, he theorized that partially submerging the library would allow maximum potential for expansion and would bury the elements of the library that were not necessary above ground. For the aboveground portion, he wanted access to emanate from a singular point at the ground level, with a central core connecting the different floors. The most logical shape for a library, he concluded, would therefore be a sphere, which could maximize daylight to the floors, provide a variety of flexible floor arrangements, and maintain an ideal central circulation system. Even though the spherical exterior was ultimately abandoned for this project, Periera preserved the underlying concept of a large middle floor with tapered, smaller floors below and above.

 © Flickr user kevinsm329

c Flickr用户kevinsm329

由此产生的建筑是一个八层结构，有两层沉入层和六层大小不同的地面以上。最宽的地面水平发生在第六层，这是超过200英尺宽。包括楼梯、电梯和机械轴在内的坚固的核心贯穿整个建筑物。虽然“主”层被认为是第一个淹没层，但在论坛层，建筑物的体验中心就在它的上方，在那里，建筑物是最薄的，上面的楼层的巨大悬垂在室外广场上投下了浓重的阴影。

The resulting building is an eight-story structure with two submerged floors and six floors of varying sizes above ground level. The widest of the above ground levels occurs at the sixth floor, which is over two hundred feet wide. A solid core containing the stairs, elevators, and mechanical shafts runs throughout the building. While the “main” level is considered the first submerged level, the experiential center of the building is immediately above it at the forum level, where the building is at its thinnest and the massive overhangs of the floors above cast a heavy shadow over the outdoor plaza.

 South Elevation

广场上方的锥形悬臂由一个简单但巧妙的结构体系支撑，该体系由16个巨型混凝土桥墩组成，这些桥墩从论坛水平向上延伸，以45度的角度向外延伸。他们延伸到第六层的全部宽度和桥梁的锯齿状边缘封闭空间与一个连续的，对角线运动，满足地板在他们的底部边缘。为了防止它们在地板传递给它们的应力作用下向外屈曲，每个桥墩与其对立面连接着超过四分之三英寸的钢制拉杆，以抵消重力的影响。

The tapered cantilevers above the plaza are supported by a simple but ingenious structural system consisting of sixteen massive concrete piers that rise out of the forum level and branch outward at 45-degree angles. They extend past the full width of the sixth floor and bridge the jagged edges of the enclosed spaces with a continuous, diagonal motion that meets the floor plates at their bottom edge. To prevent them from buckling outward under the stress transferred to them by the floors, each pier is connected to its opposite by over three hundred quarter-inch steel tie rods that counteract the gravitational forces.

 Fourth Floor Plan

四层平面图

 Sixth Floor Plan

六楼图则

在每一个地上的水平，巨大的平板玻璃涂有阳极氧化铝提供光的阅读空间和堆叠在里面。窗户的处理使它们能够反射，有时与后面的天空完美地融合在一起。玻璃的颜色在暗淡的灰色、生机勃勃的蓝色和炽热的黄色之间摇摆，取决于一天中的天气和时间，创造出一种动态和不断变化的外观。这种处理方式还允许巨大的玻璃面积-总共3.8万平方英尺-非物质化进入天空，强化了建筑物非常规配置所产生的悬浮效应。

At each aboveground level, giant sheets of plate glass coated in anodized aluminum provide light to the reading spaces and stacks within. The treatment of the windows allows them to reflect and sometimes blend in perfectly with the sky behind it. The color of the glass oscillates between dull grays, vibrant blues, and fiery yellows depending on the weather and time of day, creating a dynamic and ever-changing appearance. The treatment also allows the vast expanses of glass—38,000 square feet in all—to dematerialize into the sky, intensifying the levitating effect created by the unconventional configuration of the building.

 © Flickr user domc

c Flickr用户domc

作为野蛮的象征，图书馆有时会受到与这场运动如此普遍的尖刻批评，甚至被列入路透社列出的“最丑恶的十大建筑”名单。[1]然而，尽管这座建筑显然完全属于野蛮人的传统，最初的设计实际上需要一种完全由钢铁和玻璃制成的现代主义建筑。虽然考虑到现有建筑物的严重特性，这似乎是不合情理的，但直到采取了削减成本的措施，才重新设计了混凝土结构，并将其重新定位到建筑物外部。在目前的设计中，这种清晰的野蛮语言的成功体现了建筑师独特的材料和句法的多才多艺。这种语言结合了桥墩底部的布鲁尔式照明弹和地板底部复杂的格子系统。

As an icon of brutalism, the library has at times been subjected to the vitriolic criticism so commonly associated with the movement, even being named to a Reuters list of the “Top 10 Ugly Buildings to Visit.” [1] However, while it seems obvious that the building belongs squarely within the brutalist tradition, the original design actually called for a modernist construction made entirely out of steel and glass. While this seems unconscionable given the severe character of the existing building, it wasn’t until cost-cutting measures were introduced that the structure was re-designed with concrete and re-located to the outside of the building. The success of the articulate brutalist language present in the current design, which incorporates Breuer-like flares at the bases of the piers and an intricate lattice system on the underside of the floor plates, reveals a remarkable material and syntactic versatility on the part of the architect.

 © Darren Bradley

c.达伦·布拉德利

 © Flickr user 3n

c Flickr用户3n

尽管这个项目可能会被误解，但对于绝大多数的UCSD社区来说，图书馆是一个珍贵的图标，也是校园的象征。它在大学招聘材料中占据显着地位，甚至被简要地纳入了大学的标志中。1995年，该图书馆更名为奥黛丽·盖塞尔(Audrey Geisel)和西奥多·苏斯·盖塞尔(西奥多·苏斯·盖泽尔)，他们更出名的名字是“苏斯博士”(Dr.Seuss)，他们的遗产和虽然图书馆可能一点也不像“谁之家”的多彩抒情建筑，但佩雷拉的设计表达了同样的想象力，这让许多人爱上了图书馆的新名字。

Although the project may be misunderstood, for the vast majority of the UCSD community, the library is a cherished icon and the symbol of the campus. It is featured prominently on university recruiting materials, and was even briefly incorporated into the university’s logo. In 1995, the library was renamed in honor of Audrey Geisel and Theodor Seuss Geisel, better known as “Dr. Seuss,” following a $20 million gift from their estate and the contents of their archives. And while the library may resemble nothing of colorful, lyrical architecture of the Who Houses, Pereira’s design expresses the same imaginative impulse that made so many people fall in love with the library’s new namesake.

[1]Casciato，Paul。“旅行选择：要参观的十大丑陋建筑”，2012年5月4日。9月29日访问2014年，见http：/www.reuters.com/post/2012/05/04/us-旅游-精选-10强-丑陋的建筑物-idUSTRE84314A20120504。

[1] Casciato, Paul. “Travel picks: Top 10 Ugly Buildings to Visit.” 4 May 2012. Accessed 29 Sept. 2014 from http://www.reuters.com/article/2012/05/04/us-travel-picks-top-10-ugly-buildings-to-idUSTRE84314A20120504.

建筑师William L.Pereira

Architects William L. Pereira & Associates Location 9500 Gilman Drive Category Other Facilities Area 176000.0 ft2 Project Year 1970 Photographs Darren Bradley, Flickr user domc, Flickr user 3n, Flickr user brazilfox, Flickr user kevinsm329, Flickr users SnaPsi, UC Irvine, and Thomas Hawk, Flickr user dankit