执行委员会顾问比尔莱西建筑经理贝克集团结构工程Guy Nordenson and Associates建筑经理结构顾问Brockette，Davis，Drake，Inc.照明Arup照明MEP工程Arup

Executive Committee Advisor Bill Lacy Construction Manager The Beck Group Structural Engineering Guy Nordenson and Associates Construction Manager Structural Consultant Brockette, Davis, Drake, Inc. Lighting Arup Lighting MEP Engineering Arup & Summit Consultants Civil Engineering Huitt-Zollars Façade Consultant Front Landscape Architects Michael Morgan Landscape Architecture and Pond & Company Concrete Consultant Dottor Group, Reg Hough, Capform Graphic Design Pentagram Acoustical / Audiovisual Consultant Harvey Marshall Berling Associates Inc Geotechnical Engineering Henley-Johnston Associates Wind Engineering Rowan Williams Davies & Irwin Secutiry Architects Security Group Design team M.Carroll (partner in charge), O.Teke with S.Ishida (partner), Sh. Ishida, M. Orlandi, S. Polotti, D. Hammerman, F. Spadini, E. Moore, A. Morselli, S. Ishida, D. Piano, D. Reimers, E. Santiago; F. Cappellini, F. Terranova (models) Owner Kimbell Art Foundation Cost U$135 Million Manufacturers Loading... More Specs Less Specs

 © Nic Lehoux

C.Nic Lehoux

架构师提供的文本描述。金贝尔艺术博物馆最初的建筑是由路易斯·卡恩在1972年设计的。RPBW公司的新大楼最近落成，并与这座强大而精致的老建筑建立了密切、尊重和坦率的对话。新的钢琴展馆容纳了博物馆不断增长的展览和教育项目，使原来的卡恩大楼得以恢复展示博物馆的永久藏品。

Text description provided by the architects. The Kimbell Art Museum’s original building was designed by Louis Kahn in 1972. The new building by RPBW was recently inaugurated and establishes a close, respectful and frank dialogue with this powerful yet delicate older building.The new Piano Pavilion 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.

 Level B1 Plan

B1级计划

最近几年，金钟乐艺术博物馆的节目和藏品急剧增长，远远超出了该博物馆在1970年代所设想的范围。由于博物馆的展览和教育活动严重缺乏空间，新的钢琴展馆为博物馆教育部门提供了临时展览、教室和工作室、一个拥有298个座位的大型礼堂、一个扩大的图书馆和地下停车场。这一扩建大约使博物馆的画廊空间翻了一番。此外，新大楼的选址，以及从停车场进入博物馆的通道，将纠正大多数游客通过卡恩认为后入口处进入博物馆原址的倾向，从而自然地将他们引向西面的正门。

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 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 facade.

 © Aerial Photography, Inc.

航空摄影公司

巧妙地与卡恩的建筑在高度、规模和总体布局上相呼应，RPBW建筑具有更开放、更透明的特点。轻，谨慎(一半的足迹隐藏在地下)，但有它自己的性格，建立了新旧之间的对话。

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.

这座新建筑物由两个相连的结构组成。正面部分-面向卡恩建筑西面的“飞行馆”，横跨景观美化的场地-有一个三部分的正面，指的是里面的活动。它的中心是一个轻巧、透明、有玻璃的部分，作为新的博物馆入口。

The new building consists of two connected structures. The front section ­– the ‘Flying pavilion’ facing the west façade of Kahn’s building across landscaped grounds – has a three-part facade, referencing the activities inside. At its centre a lightweight, transparent, glazed section serves as the new museum entrance.

 © Nic Lehoux

C.Nic Lehoux

 © Nic Lehoux

C.Nic Lehoux

在两边，浅色混凝土墙后面都有两个供临时展览使用的画廊空间。一系列方形混凝土柱包裹在建筑物的两侧，支撑实心木梁和玻璃屋顶突出的屋檐，为朝北和向南的琉璃幕墙提供遮荫。

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 facades facing north and south.

在画廊里，复杂的屋顶系统层层展开，木质横梁、玻璃、铝百叶窗(和光伏电池)，创造了一个受控制的白天照明环境。这可以辅之以隐藏在抄袭织物后面的照明。

In the galleries, a sophisticated roof system layers stretched fabric, the wooden beams, glass, aluminium louvers (and photovoltaic cells), to create a controlled day-lit environment. This can be supplemented by lighting hidden behind the scrim fabric.

 © Nic Lehoux

C.Nic Lehoux

一条玻璃通道通向大楼的第二层建筑。隔热屋顶隐藏在草坪下，有第三个展厅供光敏作品、礼堂和博物馆教育设施使用。

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.

 Gallery Facade Section Detail

画廊正面部分细节

玻璃、混凝土和木材是新建筑使用的主要材料，与原建筑中使用的材料相呼应。通过新大楼向景观和卡恩大楼以外的观点强调透明度和公开性的关键主题。

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.

 © Robert Laprelle

罗伯特·拉普雷勒

 © Nic Lehoux

C.Nic Lehoux

Architects Kendall/Heaton Associates, Renzo Piano Building Workshop

Location Kimbell Art Museum, 3333 Camp Bowie Boulevard, Fort Worth, TX 76107, USA

Category Pavillion

Project Manager Paratus Group

Area 101130.0 ft2

Project Year 2013

Photographs Nic Lehoux, Robert Laprelle, Robert Polidori, Aerial Photography, Inc.

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