架构师提供的文本描述。自1973年以来，奥伯林学院爵士研究系的负责人温德尔·洛根(WendellLogan)在科尔大楼(Kohl Building)开业仅仅六周后就去世了。他活着去看他的爵士乐节目，终于离开了校园里一间空荡荡的体育馆更衣室的地下室，搬到了位于世界领先音乐学院之一的新中心的一个原始设施里。

Text description provided by the architects. Wendell Logan, leader of the jazz studies department at Oberlin College since 1973 died just six weeks after the Kohl Building, in many ways his building, opened. He lived to see his jazz program finally leave the basement of a deserted gymnasium locker room across campus and relocate to a pristine facility at the new heart of one of the world’s leading conservatories of music.

 © Nic Lehoux

C.Nic Lehoux

该设施的简介很简单，但却自相矛盾：·为奥伯林著名的爵士乐研究部创建一个转型项目；·设计一座在声学上与世隔绝的建筑，同时保持对自然光的无限访问；·确保与景观有密切的联系，但在停车场(在我们总体规划过程中选择的一个未经考虑的地点)建造一个停车场；·建立一个充满社会活力的空间，将音乐家、教师、学生和社区聚集在一起。

The brief for the facility was simple, but conflicted: • Create a transformational project for the renowned jazz studies department at Oberlin; • Design a building that was acoustically isolated, while maintaining limitless access to natural light; • Ensure an intimate connection with the landscape, but build in a parking lot [an unconsidered site chosen in the course of our master planning effort]; • Establish a socially dynamic space that will bring musicians, faculty, students, and the community together.

 © Kevin G. Reeves

C.Kevin G.Reeves

附加在现有的山崎Minoru音乐学院设计的综合体[1963]，37，000 sf Kohl大楼被安排在4层，包括一个地下室。除了提供爵士乐研究部，它还拥有一个世界级的录音室、灵活的排练和表演空间、教学工作室和练习室、美国最大的私人爵士乐录音收藏的档案馆，以及一批罕见的20世纪50年代的爵士乐照片。这个项目的核心是一个分布式的非正式的、非程序化的公共空间系列.该建筑组织内部和外部，以促进社会参与和创造性交流。

Appended to the existing Minoru Yamasaki designed Conservatory of Music complex [1963], the 37,000sf Kohl Building is arranged on 4 levels including a basement. In addition to housing the jazz studies department, it features a world-class recording studio, flexible rehearsal and performance spaces, teaching studios and practice rooms, an archive for the largest private jazz recording collection in America, and a rare collection of jazz photographs of the 1950’s. At the core of this program is a distributed series of informal, un-programmed public spaces. The building is organized, inside and out, to promote social engagement and creative exchange.

 © Nic Lehoux

C.Nic Lehoux

该项目介于东面一大片沥青与山崎新哥特式现代主义的内在白卷之间。因此，建筑支架是为学院和社区服务的景观，形成了从历史上的城市中心塔潘广场(Tappan Square)向南延伸1/8英里长的轴线。这一轴线成为一个入口广场，画活动到中心的建筑，它分裂，继续向南或上升作为一系列台阶和梯田通向三楼屋顶花园。广场两侧的多层大厅提供垂直进入所有四层的通道。广场下面是学生储物柜和一条公共通道，可以控制仪器从地下室的储存和档案到建筑群中的所有点的移动。上面是天空酒吧，作为音乐学院的新的社会中心。这一系列的空间提供了一个循环的新的城市入口，突出了花园，借来的意见和知识游荡。与建筑一样，景观也挑战了规定性使用的概念。水平、材料和规模的变化发生在建筑物内、上面和周围，可以被看作是雕塑，可以作为座位，也可以被作为表演场所使用。

The project mediates between a vast expanse of asphalt to the East and the internalized white volumes of Yamasaki’s neo-gothic modernism to the West. Consequently the building brackets a landscape that serves both the college and community creating a one-eighth mile long axis extending south from Tappan Square, the historic center of Town. This axis becomes an entry plaza, drawing activity to the center of the building where it splits, continuing south or ascending the building as a series of steps and terraces leading to third floor roof gardens. Multi-story lobbies to either side of the plaza provide vertical access to all four levels. Below the plaza are student lockers and a public way, allowing the controlled movement of instruments from basement storage and archives to all points in the complex. Above is the Sky Bar, serving as the new social hub for the Conservatory and College. Together, this sequence of spaces offer a circulation loop around the new urban entry highlighted variably by gardens, borrowed views and intellectual loitering. The landscape, like the building, challenges notions of prescriptive use. Changes in level, material, and scale occur in, on, and around the building and can be seen as sculpture, function as seating, or be appropriated as performance venues.

 © Nic Lehoux

C.Nic Lehoux

该建筑的环境模型，实现了LEED黄金，发现了程序，使用，和建筑系统之间的协同作用。通过地热加热和冷却系统，辐射式嵌入石膏天花板创造了一个整体质量的隔音层之间的隔音；这减少了所需的管道尺寸和钣金，最大限度地减少了声破裂，并通过更高的天花板增加了房间的体积。一个种植屋顶，花园和活动空间顶部，录音室减少了水的流失，而它的质量消除了潜在的声音传输从航空公司在飞往克利夫兰霍普金斯机场。该项目部署环境系统以满足独特的需求，创造了远远超出LEED标准的机会。这个项目希望重新建立奥伯林丰富的建筑史作为一个新的教育，文化和社会的可能性产生。

The building’s environmental model, which achieved LEED Gold, finds synergies between program, use, and building systems. Fed through a geothermal heating and cooling system, radiant embedded plaster ceilings create a monolithic mass for acoustic isolation between levels; this reduces required duct sizes and sheet metal, minimizing acoustic breaches and increasing room volume through higher ceilings. A planted roof garden and event space atop the recording studio decreases water run-off while its mass eliminates potential sound transmission from airlines on a flight path to Cleveland Hopkins Airport. The project’s deployment of environmental systems to address unique demands establishes opportunities far beyond LEED criteria. This project aspires to re-establish Oberlin’s rich history of architecture as a generator of new educational, cultural and social possibilities.

 First Floor Plan

一层平面图