架构师提供的文本描述。项目组：劳伦斯·斯卡帕，FAIA；史蒂夫舒斯特，FAIA，马克巴克兰和乔恩Zellweger，AIA-项目建筑师，安吉拉布鲁克斯，AIA，布拉德布特，赛克克莱门斯，丹尼尔卡珀，乔登Gearhart，Ching Luk，Matthew Majack，Sarah Dickerson，Brandy Thompson，AIA，Fred Belledin，AIA，Christian Karkow，John Reese，AIA，Thomas Sayre，Michael Dosier，Jedidiah Gant。

Text description provided by the architects. Project Team: Lawrence Scarpa, FAIA; Steve Schuster, FAIA, Mark Buckland and Jon Zellweger, AIA-Project Architects, Angela Brooks, AIA, Brad Buter, Silke Clemens, Daniel Carper, Jordon Gearhart, Ching Luk, Matthew Majack, Sarah Dickerson, Brandy Thompson , AIA, Fred Belledin , AIA, Christian Karkow, John Reese, AIA, Thomas Sayre, Michael Dosier, Jedidiah Gant.

 elevations

位于罗利复兴的历史仓库区，一只不太可能出现的蝴蝶已经从它长达数十年的茧中浮出水面。历史悠久的1910年为艾伦·福格建造的两层砖结构

Located in Raleigh’s revitalizing Historic Depot District, an unlikely butterfly has emerged from its decades-long cocoon. The historic 1910 two-story brick structure built for Allen Forge & Welding Company and enlarged around 1927 for the Brogden Produce Company — and more recently home to longtime occupant Cal-Tone Paints — has emerged from its asbestos clad sheathing into a new incarnation as the home of Raleigh’s Contemporary Art Museum (CAM).

 © John Edward Linden

约翰·爱德华·林登

火车站区包含罗利唯一与首都城市铁路运输和航运全盛时期相关的重要建筑。通过对这座重要建筑的回收利用，CAM保留了罗利历史的一个重要部分，并表明了它对历史保护的可持续性和领导能力的承诺。

The Depot District contains Raleigh’s only significant collection of buildings related to the heyday of railroad transportation and shipping in the Capital City. By recycling this important building, CAM preserves an important part of Raleigh’s history and demonstrates its commitment to sustainability and leadership in historic preservation.

 floor plans

楼面布置图

对保留现有结构同样重要的是增加了新的900平方英尺的入口结构。戏剧性的大厅是一个玻璃封闭的空间，设置在一个壮观的折叠面板屋顶，延伸到入口的雕塑花园，形成一种欢迎的前廊。座落在现有建筑东侧的大堂，是一座现代重新诠释的老装货码头，将人、物和艺术深深地带入了主展览空间的中心核心。这个不对称的交叉轴是为了配合和补充这座古老的历史建筑的对称性而创建的。这两座建筑物一起倒塌，并融合成一个结构。新旧结合。这一空间激发了一种不可磨灭的奇迹，同时也为来访的人们提供了传统的价值观。

Equally important to the preservation of the existing structure was the addition of the new 900 square foot entry structure. The dramatic lobby is a glass-enclosed space set beneath a spectacular folded-panel roof that extends over the entry’s sculpture garden to form a kind of welcoming front porch. Located on the east side of the existing building, the lobby is a modern re-interpretation of the old loading dock, moving people, goods and art deep into the central core of the main exhibition space. This asymmetrical cross axis was created to juxtapose and complement the symmetry of the old historic building. The two buildings collapse together and fuse into one structure. Old and new become one. The space provokes a kind of indelible wonder while still affording traditional values to the people who visit.

 © John Edward Linden

约翰·爱德华·林登

“这栋建筑本身就是一件艺术品，”软件工程师、摄影师和作家约翰·莫里斯(JohnMorris)说。“它记载了罗利的红砖过去的坚实功用。这是一座有新用途的旧建筑，一座有未来派天篷屋顶的新内部建筑，非常好地实现了这一目标。“

“The building itself is a work of art”, says John Morris, a software engineer, photographer and writer. “It chronicles the solid utility of Raleigh's red-brick past. It's an old building with a new purpose, a new interior with a futuristic canopy roof that pulls it off really, really well."

 © John Edward Linden

约翰·爱德华·林登

卡姆的开发总监罗斯玛丽·怀切(Rosemary Wyche)指出，这栋建筑的大部分原始结构基本上完好无损，包括从露天楼梯到博物馆主层的货运电梯的原始设备。该大楼是一个农产品仓库，有卡车装载处，并与铁路支线相连。在那里，主画廊展示了一个戏剧性的空间，高耸的天花板，原有的金属桁架暴露，以及一排类似门洞的细节，这些都是新的通风、供暖和空调系统的一部分。一扇原始的午餐店窗户充满了光线，光线穿透了新的地下室走廊，割入了下面的地板。较低层次的画廊的方形铸-就地砖石柱与独特的爆发首都和剪帽有自己的微妙，以补充主要的展览空间以上。较低职等还设有行政办公室、储存和准备区以及餐饮厨房。行政区域的定义是半堵墙，给地下室一种开放的感觉。这一级别还容纳了一个更多的展览空间，媒体实验室，或黑盒室，旨在展示数字艺术和其他技术。

CAM’s director of development, Rosemary Wyche points out that much of the original fabric of the building, a produce warehouse with loading bays for trucks and a connection to a railroad spur, is largely intact, including the original apparatus for the freight elevator visible from the open stair to the museum’s main level. There the Main Gallery is revealed as a dramatic space with tall ceilings with the original metal trusses exposed and a row of porthole-like details that are part of the new ventilation and heating and air conditioning system. An original lunette window floods the space with light penetrating deep into the new basement gallery cut into the floor below. The lower level gallery’s square cast-in-place masonry columns with distinctive flared capitals and sheared caps have a delicacy of their own to complement to main exhibition space above. The lower level is also home to administrative offices, storage and preparation areas and the catering kitchen. The administrative area is defined by half-walls that give the basement a sense of openness. This level also accommodates one more exhibit space, the Media Lab, or Black Box Room, intended to display digital art and other technology.

 © Nick Pironio

尼克·皮罗尼奥

“我们有三个画廊，”怀奇说。“主画廊是我们最大的展览馆，可容纳499人参加各种活动。第二间画廊-“街廊”，因其邻近西马丁街而得名，位于主画廊附近，但与混凝土地板上有意切割的缝隙隔开，形成一条深沟，将地下室层暴露在主画廊的外面。街道画廊可以通过一座横跨沟渠的玻璃和金属桥到达，可以看到下面的第三座画廊。这允许地下室，传统上分离与上层，视觉融合到画廊空间上方。建筑的每一个特征都是多价的，具有丰富的意义-在功能上、形式上和经验上都发挥了多种作用。这种新旧结合，对历史的尊重，同时带来了全新的、令人兴奋的东西，使这座建筑与该地区的历史密不可分。Brogden产品公司的出现，从一个匿名石棉覆盖块，到一个视觉刺激和功能强大的艺术空间，在罗利的仓库历史街区，是一个显著的转变。就像蝴蝶一样，经过漫长的等待，CAM正在展翅。

“We have three galleries,” says Wyche. “The Main Gallery is our largest and can accommodate 499 people for a variety of events. A second gallery, the Street Gallery, appropriately named for its proximity to West Martin Street, is located adjacent to the Main Gallery but separated by the intentional slot cut in the concrete floor to create a deep trench to expose the basement level to the main gallery. The Street Gallery is accessible by a glass and metal bridge spanning the trench, providing views down into the third gallery below. This allows the basement, traditionally separated from the upper levels, to be visually fused into the gallery space above. Every feature of the building is multivalent and rich with meaning—performing several roles for functional, formal and experiential effect. This marriage of the old and new, respect for history, while bringing something entirely new and exciting makes this building inseparable from the history of the region. The emergence of the Brogden Produce Company, from an anonymous asbestos-covered block to a visually exciting and functional art space in the midst of Raleigh’s Depot Historic District, is a remarkable transition. Like the butterfly, CAM is spreading its wings after a long wait.

 © John Edward Linden

约翰·爱德华·林登