架构师提供的文本描述。一个人第一次遇到博物馆是通过一片树木树林和风景优美的前院，这里提供了一个沉思、减压和从博物馆周围城市环境过渡的地方。透过树木，建筑物的结构是可见的，由浇铸的建筑混凝土墙和各种表面浮雕和纹理组成。这座建筑的外墙以破碎、有机和随机的模式从建筑物表面突出的细长、垂直的混凝土线，形成了丰富的表面，在丹佛强烈的阳光下发生变化，并在整个建筑中形成各种阴影。

Text description provided by the architects. One first encounters the museum through a grove of trees and landscaped forecourt, which provides a place of contemplation, decompression, and transition from the museum’s surrounding urban context. Through the trees, the structure of the building is visible, consisting of cast-in-place architectural concrete walls with a variety of surface relief and texture. The façade features thin, vertical lines of concrete that project from the building’s surface in a fractured, organic, and random pattern, creating a rich surface that changes in the intense Denver sunlight and forms varied shadows across the building.

 © Jeremy Bittermann

c.Jeremy Bittermann

入口展示在树冠下，参观者被一个低而长的接待大厅欢迎进入博物馆。游客从大厅和接待区上升到二楼画廊的自然光线。博物馆的第二层有9个光线充足的画廊，总面积约10，000平方英尺.每个画廊是明确的定义和比例，以回应特定的方面和需求的集合，并帮助跟踪不同阶段的静态职业生涯的时间序列。

The entry is revealed beneath a canopy of trees, and visitors are welcomed into the museum by a low, long reception lobby. Visitors rise from the lobby and reception area toward the natural light falling from the galleries on the second floor. The museum’s second level features nine light-filled galleries, totaling approximately 10,000 square feet. Each gallery is distinctly defined and proportioned to respond to specific aspects and needs of the collection and helps trace the different phases of Still’s career in chronological sequence.

 © Jeremy Bittermann

c.Jeremy Bittermann

画廊的高度不同，以适应规模和媒体的变化；那些17英尺，6英寸高的天花板展示的仍然是不朽的抽象表现主义油画，其中一些延伸到超过12英尺高和16英尺长，而更小的画廊12英尺天花板创造了一个更亲密的观看环境，以展示较小规模的绘画和作品的纸张。两个室外露台和一个教育画廊为参观者提供了一个思考和考察画廊序列的时刻，让他们能够重新定位周围和遥远的景观。在画廊之间移动时，游客可以从第一层进入收藏库和解释展览馆。

Gallery heights vary to accommodate changes in scale and media; those with 17-foot, 6-inch-high ceilings showcase Still’s monumental Abstract Expressionist canvases, some of which extend to over 12 feet tall and 16 feet long, while smaller galleries with 12-foot ceilings create a more intimate viewing environment for the presentation of smaller-scale paintings and works on paper. Two outdoor terraces and an education gallery offer visitors a moment of reflection and investigation during the gallery sequence, and allow them to re-orient themselves with the surrounding and distant landscape. Moving between galleries, visitors are provided glimpses down into the collection storage and interpretive galleries on the first level.

 © Jeremy Bittermann

c.Jeremy Bittermann

游客的经验收集是活跃的自然光，进入画廊通过一系列的天窗，在铸造的地方，穿孔混凝土天花板。天花板上开口的几何形状在画廊里创造了一个均匀的、柔和的、不断变化的日光场。扩散玻璃，电动遮阳和电灯给画廊空间提供了博物馆的灵活性，帮助支持不同的画廊配置和博物馆的旋转展览计划。

The visitor’s experience of the collection is enlivened by natural light that enters the galleries through a series of skylights over a cast- in-place, perforated concrete ceiling. The geometry of openings in the ceiling creates an even field of soft and changing daylight in the galleries. Diffusing glass, motorized shades, and electric light give curatorial flexibility to the gallery spaces, helping to support different gallery configurations and the museum’s rotating exhibition program.

 © Jeremy Bittermann

c.Jeremy Bittermann

完成主要的画廊序列后，参观者可以回到博物馆的第一层，探索从上面可以看到的绘画存储、档案和展览空间。一个开放的双层走廊连接这些设施，并作为一个展览大厅，让游客进一步了解克莱福德的历史和生活仍然。走廊的“时间线”部分将艺术家的作品与历史事件和其他艺术运动联系在一起，“档案”走廊展示了艺术家日常生活中的文物以及有关他的绘画技巧和媒体的信息。在这条走廊上，参观者还可以看到藏品储藏室，并评估艺术家在多产职业生涯中创作的绘画数量。一个可见的保护实验室和一个研究中心为游客提供更多的资源，以促进他们对静态职业生涯的了解。这条开放的走廊体现了该机构的创立原则，即向公众展示这一曾经是私人的、非常个人化的藏品，因为它邀请人们逐渐沉浸在静物的作品中。

Upon completing the primary gallery sequence, visitors may descend back to the museum’s first level to explore the painting storage, archive, and exhibition spaces viewable from above. An open double-high corridor connects these facilities and serves as an exhibition hall allowing visitors to further their learning of the history and life of Clyfford Still. A “timeline” section of the corridor places the artist’s work in context with historic events and other artistic movements, and an “archive” hallway presents the everyday artifacts of the artist’s life and information about his painting technique and media. From this corridor, visitors are also able to view the collection storage rooms, and assess the number of paintings produced during the artist’s prolific career. A visible conservation lab and a research center offer visitors additional resources for furthering their knowledge of Still’s career. This open corridor speaks to the institution’s founding principle of unveiling this once-private and very personal collection to the public, as it invites a gradual immersion in the works of Still.

 Ground Floor Plan