麻省理工学院建筑学院院长与萨里宁的办公室合作，设计了一个礼堂、一个非教派礼拜堂、一个学生会和一个连接在剑桥马萨诸塞大道上的广场。其目标是在校园内确定一个鼓励学生组织会议、宗教仪式和艺术表演或展览的区域。学生会的设计本可以垂直于弥撒大道，为广场创造一堵边界墙，但这种设计从未实现过。萨里宁对广场本身的设计-在停车场下面铺上三角形的铺路和草地-被拒绝了，取而代之的是一片简单的草坪。这两个建筑项目-Kresge礼堂和MIT礼拜堂-大胆而简单的几何形式在宽敞的空地上面对面。在物质上和形式上，每一个都是为了反映其功能而设计的。向内看的礼拜堂是一个没有窗户的砖块挤压，相比之下，向外推力和透明度的礼堂。

The Dean of MIT’s architecture school engaged Saarinen’s office to design an auditorium, a non-denominational chapel, a student union, and a connecting plaza on a site on Massachusetts Avenue in Cambridge. The goal was to define an area on campus that would encourage students to organize meetings, religious services, and art performances or exhibitions. The student union design, which would have run perpendicular to Mass Ave to create a boundary wall for the plaza, was never realized. Saarinen’s design for the plaza itself, with triangular swatches of paving and grass atop below grade parking, was rejected in favor of a simple lawn. The bold yet simple geometric forms of the two built projects- Kresge Auditorium and the MIT Chapel- face each other across an ample open space. Materially and formally each is crafted to reflect its function. The inward-looking chapel is a windowless brick extrusion in contrast to the outward thrust and transparency of the auditorium.

 via Library of Congress, Prints & Photographs Division, Balthazar Korab Archive at the Library of Congress LC-DIG-krb-00237 (digital file from original)

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Eero Saarinen(1910-1961)，一位著名的战后设计师，无论是崇高的还是日常的，都吸引了公众，并通过他设计的诸如TWA航站楼、杜勒斯国际机场和圣路易斯网关拱门这样的高调项目改变了建筑行业。与查尔斯和雷·埃姆斯合作开发的家具产品，以及他为诺尔公司的作品，改变了工业设计的技术和视觉语言，至今仍广受欢迎。虽然他最著名的是他高耸的雕塑形式，但他的作品的美学却各不相同，他的许多作品都受到国际风格的强烈影响。在他的父亲和合作者伊莱尔·萨里宁(ElielSaarinen)于1950年去世后，Eero开始了他自己的建筑实践，并在他51岁去世之前完成了许多著名的项目。在他的整个职业生涯中，萨里宁认为“建筑的目的是为了庇护和提升人类在地球上的生活，并实现他对其存在的高贵的信念”[1]。

Eero Saarinen (1910-1961), a renowned post-war designer of both the sublime and the everyday, captivated the public and transformed the architectural profession with his designs of high profile projects such as TWA terminal, Dulles International Airport and the St. Louis Gateway Arch. Furniture products created in collaboration with Charles and Ray Eames, as well as his work for Knoll, changed the technology and visual language of industrial design and are still popular today. Although best known for his soaring sculptural forms, the aesthetic of his work varied, with a number of his projects strongly influenced by the International Style. After his father and collaborator, Eliel Saarinen, passed away in 1950, Eero opened his own architecture practice and completed many notable projects before his untimely death at the age of 51. Throughout his career, Saarinen believed “the purpose of architecture is to shelter and enhance man’s life on Earth and to fulfill his belief in the nobility of his existence.” [1]

 via Wikipedia Commons

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虽然这项技术是从20世纪20年代开始从欧洲传入的，但克雷什礼堂是美国第一座大型薄壳混凝土建筑之一。优雅的钢筋混凝土穹顶由球体表面的八分之一组成，主要由三个吊索支撑。截断的穹顶包围了一个三角形的空间，面积约半英亩，达到50英尺的高度。主结构屋顶只有3到7英寸厚，跨度为113英尺。加厚的边缘加劲梁沿周长确定屋顶和包扎大透明的正面。第二层2 1/2“厚的轻质混凝土非结构层作为屋面的基材。

Although the technology had arrived from Europe beginning in the 1920s, Kresge Auditorium was the one of United State’s first large scale thin-shell concrete buildings. The elegant reinforced concrete dome comprises one eighth of the surface of a sphere and is primarily supported by three pendentives. The truncated dome encloses a triangular space approximately a half acre in area that the reaches a height of fifty feet. With the primary structural roof varying between only 3 and 7 inches thick, the span is 113 feet. Thickened edge-stiffening beams along the perimeter define the roof and bound large transparent facades. A second 2 1/2" thick nonstructural layer of lightweight concrete was applied as a substrate for roofing.  

 © Massachusetts Institute of Technology

麻省理工学院

该试验项目在施工期间和之后进行了多次试验。边缘梁的挠度比预期的要大得多，因此必须在窗户后面增加结构的垂直支撑。将传统的屋顶覆层材料专用于这种创新的双曲面也证明是一个挑战。大理石瓦和镀铅铜板被认为是屋顶材料，但由于成本或性能问题而被拒绝。在液体丙烯酸聚合物粘结剂中，最终选择了一种细石灰石屑体系来包覆外壳，形成了一个原始的、光滑的白色外壳。到1963年，差异热运动导致了原屋顶系统的开裂、分层和最终失效。安装了方铅板。由于冻融循环，通过铅包层的水渗透导致了严重的劣化.1979年，更换了各主要支座边梁的混凝土和钢筋。同时，立缝铜屋顶已经到位，并一直保持到今天。[2]

The experimental project faced numerous trials during and after construction. Originally intended to be sustained entirely on the three main supports, the deflection of edge beams was larger than anticipated and necessitated the addition of structural vertical mullions behind the windows. Appropriating conventional roof cladding material to this innovative double curved surface also proved a challenge. Marble tiles and lead-coated copper sheets were considered for the roofing material but rejected due to cost or performance issues. A system of fine limestone chips in a liquid acrylic polymer binder was eventually selected to coat the shell resulting in a pristine, smooth white casing. By 1963 differential thermal movements had led to cracking, delamination, and finally failure of the original roof system. Square lead sheets were installed. Water infiltration through the lead cladding precipitated severe deterioration due to the freeze-thaw cycle. In 1979 concrete and reinforcement of edge beams near each main support was replaced. At the same time standing seam copper roofing was put in place and remains to this day. [2]

 © Flickr user Nimay Shah

c Flickr用户Nimay Shah

从眼睛的水平，形式的衰减到三个点给出一个细长读数的膨胀容器。入口处让游客进入一个拉长的大厅，大厅位于主礼堂和下面较小的剧院之间的中间层。较低层的额外空间包括排练区、休息室、更衣室和木匠店。

From eye level, the attenuation of the form to three points gives a slender reading to the expansive container. The entry brings visitors into an elongated lobby on the level midway between the main auditorium and the smaller theater below. Additional spaces on the lower level include rehearsal areas, a lounge, dressing rooms, and a carpenter shop.

 via Library of Congress, Prints & Photographs Division, Balthazar Korab Archive at the Library of Congress LC-DIG-krb-00248 (digital file from original)

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虽然声学并没有驱动Kresge的整体形式，但它塑造了内部的修改，优化了表演的经验，并允许同时进行活动。主礼堂的舞台漂浮在玻璃纤维垫上，它能抑制潜在的破坏性振动，使其无法转移到下面的剧院。橡木墙格栅与吸收背，多铬织物座椅和一系列曲线悬挂板校准声环境。即使有了这些干预措施，穹顶的形状也可以从内部看得很清楚。

Though acoustics did not drive the overall form of Kresge, it shaped interior modifications that optimize the experience of performances and allow simultaneous events. The stage in the main auditorium floats on a fiberglass pad that deadens potentially disruptive vibrations from transferring to the theater below. Oak wall grating with absorptive backing, polychrome fabric seats and an array of curvilinear suspended panels calibrate the sonic environment. Even with these interventions, the domed form is legible from the interior. 

 Plan showing lobby and lower level

显示大堂及较低层的图则

批判性反应有很强的分歧。大多数国家的设计和建设期刊都遵循着规划的过程，大多数都是以极大的热情。然而，已完成的项目面临着强烈的批评者，他们批评该项目与背景不相关联，存在结构性缺陷，是礼堂的一种不适当的形式[3]。1955年的一篇建筑记录文章解释了这座建筑在功能上的成功，但发现简朴的材料调色板缺乏温暖。然而，1956年的建筑记录将Kresge礼堂列为前一百年来第15座最重要的建筑[5]；2008年，它被列为波士顿十大建筑之一。

Critical response was strongly divided. Most national design and construction periodicals followed the planning process, most with great enthusiasm. Yet the completed project faced strong detractors who criticized it for failing to relate to context, having structural shortcomings, and being an inappropriate form for an auditorium [3]. A 1955 Architectural Record article explicated the functional success of the building but found the austere material palette lacked warmth [4]. Nevertheless, in 1956 Architectural Record listed Kresge Auditorium as the 15th most significant building from the preceding hundred years [5], and in 2008 it was listed by the same periodical as one of Boston’s top ten buildings. 

 © Flickr user WorldofArun http://www.flickr.com/photos/worldofarun/13105999043/

(C)Flickr用户World dofArun http：/www.flickr.com/相册/worlddofarun/13105999043

要获得更多信息，请查看ArchDaily上关于Saarinen工作的众多文章。

For more information, check out the numerous articles on ArchDaily that feature Saarinen's work.

 © Massachusetts Institute of Technology

麻省理工学院

[1]引用Eero Saarinen的话

[1] Quote from Eero Saarinen

[2]Boothby，Thomas；ParFitt，M.Kevin；Roise，Charlene K.，“历史薄壳混凝土结构诊断和修理的案例研究”，“APT公报”，2005年，第36卷，N.2-3，第3至11页。

[2] Boothby, Thomas; Parfitt, M. Kevin; Roise, Charlene K.,  “Case studies in diagnosis and repair of historic thin-shell concrete structures,” APT Bulletin, 2005, v.36, n.2-3, p.3-11

[3]福特，爱德华，“现代建筑的细节”，第2卷。剑桥：麻省理工学院出版社，2003年。第285页

[3] Ford, Edward, Details of Modern Architecture, Volume 2. Cambridge: MIT Press, 2003. Pg 285

[4]“关于查尔斯的蛋白石：[Kresge大礼堂，麻省理工学院]”，建筑记录，1955年7月，诉118，p。一百三十五

[4] “The opal on the Charles : [Kresge Auditorium, Massachusetts Institute of Technology]” Architectural Record, 1955 July, v. 118, p. 135

[5]“百年重大建筑”。建筑记录，1956年11月，p.199-200

[5] “One Hundred Years of Significant Building.” Architectural Record, 1956 Nov., p. 199-200

建筑师Eero Saarinen and Associates位于麻省理工学院马萨诸塞大道48号，麻省理工学院，马萨诸塞州剑桥，02139，负责Eero Saarinen和Associates的美国类别大学建筑师Eero Saarinen and Associates，Eero Saarinen and Associates的助理建筑师兼贝克华声学顾问Bolt，Beranek和Newman咨询工程师安曼和惠特尼总承包商George A.Fuller Company Project 1955年拍摄麻省理工学院，Flickr user Gomattolson，Flickr用户Nimay Shah，Flickr用户World dofArun http：/www.flickr.com/相册/worlddofarun/13105999043

Architects Eero Saarinen and Associates Location 48 Massachusetts Avenue, Massachusetts Institute of Technology, Cambridge, MA 02139, United States Category University Architect in Charge Eero Saarinen and Associates Associate Architect Anderson and Beckwith Acoustical Consultant Bolt, Beranek and Newman Consulting Engineers Amman and Whitney General Contractor George A. Fuller Company Project Year 1955 Photographs Massachusetts Institute of Technology, Flickr user gomattolson, Flickr user Nimay Shah, Flickr user WorldofArun http://www.flickr.com/photos/worldofarun/13105999043/, Flickr user graneits