架构师提供的文本描述。佛光艺术大学是北莱茵河威斯特伐利亚的艺术和音乐学院。它的主要校园坐落在埃森-沃顿的圣·路德赫鲁斯的前本笃会修道院，位于鲁尔山谷南部。这个小的8世纪的遗址在18世纪被扩展成一座王子式的巴洛克式住宅，围绕着一个宏伟的庭院(库尔·达恩努尔)。建筑师马克斯·杜德勒在庭院南侧建造的新图书馆取代了1969年拆除的19世纪军事医院建筑。2006年，马克斯·杜德勒赢得了由北莱茵威斯特伐利亚建筑和房地产管理局杜伊斯堡分部组织的设计竞赛。该项目得到了AlfriedKruppvonBohlen和Halbach基金会的慷慨支持。

Text description provided by the architects. Folkwang University of the Arts is North Rhine Westphalia’s college of art and music. Its main campus is housed in the former Benedictine abbey of St. Ludgerus in Essen-Werden, situated in the southern Ruhr Valley. The small 8th century site was extended into a princely baroque residence in the 18th century, arranged around a magnificent courtyard (Cour d’honneur). The construction of the new library on the south side of the courtyard by the architect Max Dudler replaces a 19th century military hospital building demolished in 1969. In 2006 Max Dudler won the design competition organised by the Duisburg branch of the Building and Real Estate Management Authority, North Rhine Westphalia. The project was generously supported by the Alfried Krupp von Bohlen und Halbach Foundation.

 © Stefan Müller

斯特凡·穆勒

1811年，在法国占领下，在沃顿修道院设立了一所监狱。普鲁士人扩大了这个范围，在院子的南边建起了一座医院。在拆除医院大楼后，其余的建筑组合看上去不平衡。新建筑没有复制监狱的原始形状，而是用它庞大的水晶结构包围了院子的这一边。新楼的东侧毗邻这座旧修道院的所谓行政大楼.这座新建筑的体积与庭院对面普鲁士机翼的体积大致相当。

In 1811, while under French occupation, a prison was set up in Werden Abbey. The Prussians extended this and erected a hospital building on the south side of the courtyard. Upon the demolition of the hospital building, the remaining ensemble of buildings looked unbalanced. Without reproducing the original shape of the prison, the new building encloses this side of the courtyard with its voluminous crystalline structure. The new building’s eastern side adjoins the so-called administrative wing of the old abbey. The volume of the new building corresponds approximately to that of the Prussian wing across the courtyard.

 © Stefan Müller

斯特凡·穆勒

佛光图书馆被认为是一个整体，建在一个古老粗糙的石墙的水平基础之上。马克斯·达德勒(MaxDudler)的建筑理念是基于“博物馆展示”的理念：一个保护里面珍贵内容的外壳。功能区域集中在阅览室周围，阅览室位于大楼的中心。书架在这个房间周围排列得很整齐，从而使整个建筑的规模和结构得以扩大。图书馆有两个入口处：正门是通过一系列外部台阶从庭院进入的，其设计目的是与从院落通往其他建筑物的入口的风格近似。图书馆在克伦斯伯恩的另一个入口是一个紧急出口。借阅桌、媒体隔间、行政区域和衣帽间位于一楼；阅览室在一楼。紧凑型档案存放在图书馆的地下室里。

Folkwang Library was conceived as a monolithic body built atop the level base of an old rough stone wall. Max Dudler’s concept for the building is based on the idea of the ‘museum showcase’: An exterior shell protecting the valuable contents within. The functional areas are grouped around the reading room, which lies at the centre of the building. The book shelves are arranged in strict order around this room, thereby lending scale and structure to the building as a whole. There are two entrances to the library: The main entrance is from the courtyard via a flight of external steps, designed to approximate the style of the entrances to the other buildings leading off from the courtyard. The library’s other entrance on the Klemensborn serves as an emergency exit. Lending desks, media cubicles, an administration area and cloakroom are situated on the ground floor; the reading room on the first floor. The compact archives are housed in the library’s basement.

 © Stefan Müller

斯特凡·穆勒

建筑物正面的设计是与摄影师Stefan Müller合作开发的。墙面上的每一块玻璃都描绘了一个采石场的大尺寸特写。这些照片复制了未凿成的石头的原始大小。用一种特殊的技术将摄影作品直接涂在玻璃上。为了与音乐中十二这个数字的基本含义保持一致，十二个动机被拼凑成一个整体的构图。就像文艺复兴时期用来制造灰泥大理石花纹的浮雕技术一样，这种特殊的摄影技术创造了一种假象，即正面是由石材本身塑造而成的。同时，质感石的图像与玻璃的平面表面之间产生了张力，这让人想起了历史上的涂鸦技术，即将图形浮雕刻在光滑的石膏表面上。新建筑物的光滑玻璃表面创造了完美的印象，一个抛光的独角石。但这一点受到质疑，因为建筑外部的半透明，从而有趣地打破了边界，从里面和外面。人们的轮廓可以从正面看到。室内沐浴在柔和的过滤光中。晚上，大楼照亮了外面的庭院。

The design of the building’s facade was developed in collaboration with the photographer Stefan Müller. Every pane of glass in the facade depicts a large format close-up of a quarry. These photographs reproduce the unhewn stone in its original size. The photographic works were applied directly onto the glazing using a special technique. In keeping with the elemental meaning of the number twelve in music, twelve motives were pieced together into an overall composition. As with the scagliola technique of the Renaissance used to create stucco marbling, this special photographic technique creates the illusion of the facade being fashioned from the stone material itself. At the same time, a tension is created between the imagery of the textured stone and the flat surface of the glass, reminiscent of the historical sgraffito technique, whereby a graphic embossing is etched into a smooth plaster surface. The new building’s smooth glass surfaces create the perfect impression of a polished monolith. But this is called into question by the translucency of the building’s exterior, thereby playfully breaking the boundaries both from inside and out. Silhouettes of people can be seen beyond the facade. The interior is bathed in a soft, filtered light. In the evening, the building illuminates the courtyard outside.

 © Stefan Müller

斯特凡·穆勒

该建筑由钢筋混凝土骨架和混凝土核心组成，以提供加固。玻璃外墙是连接到建筑物的突出结构板使用多个横梁系统。混凝土柱子的形状和位置根据书架的尺寸。柱子上铺着樱桃木，这也是阅览室的架子。不是所有的柱子都是承重的。其中一些被用作“惰性”空调系统的一部分。随着通风管道直接通过钢筋混凝土天花板，这种建筑材料作为散热器的潜力得到了很好的利用。通过与热交换器的耦合，实现了对能源效率的创新贡献。

The building comprises a reinforced concrete skeleton with concrete cores to provide stiffening. The glass facade is attached to the building’s projecting structural slabs using the mullion-transom system. The concrete pillars are shaped and positioned according to the dimensions of the book shelves. The pillars are clad in cherry wood, which is also used for the shelving in the reading room. Not all the pillars are load-bearing. Some are used as part of an ‘inert’ air-conditioning system. With the ventilation pipes being channelled directly through the reinforced concrete ceilings, this building material’s potential as a heat sink is thereby put to good use. Through coupling this with a heat exchanger, an innovative contribution to energy efficiency is achieved.