© Jim Haefner

吉姆·海夫纳

在伊莱尔·萨里宁(ElielSaarinen)的克兰布鲁克学院博物馆(Cranbrook Academy Museum)雄伟的蠕动的两侧，新藏品大楼完成了博物馆总体规划的第二阶段。坐落在卡尔米尔斯的奥菲斯喷泉以东，简单的砖石卷重新定义了博物馆的前厅以一种安静的态度，同时加强其强大的进入顺序。

Flanking the majestic peristyle of Eliel Saarinen’s Cranbrook Academy Museum, the new Collections Building completes the second phase of the museum’s master plan. Sited east of Carl Milles’ Orpheus fountain, the simple masonry volume redefines the museum’s forecourt with a quiet demeanor while reinforcing its powerful entry sequence.

 © Jim Haefner

吉姆·海夫纳

这座三层楼高的建筑提供了7，000平方英尺的艺术藏品储藏空间，为到达博物馆的新藏品创造了一个收纳区，并增加了空间来容纳藏品的实物护理。它还容纳了整个博物馆的主要机械设备和存储空间。该工厂被重新设计成整年保持恒定的温湿度.这些和其他修复和改善工作为博物馆的艺术品创造了一个最先进的保护环境。如果没有这些改进，博物馆就有可能失去美国博物馆协会(AAM)的认证。AAM认证会影响博物馆借出和接收著名展品的能力。

The three-story structure provides 7,000-square feet of art collection storage, creates a receiving area for new pieces arriving at the museum, and adds space to accommodate physical care of the collection. It also houses the main mechanical plant for the entire museum and its storage spaces. The plant was re-designed to regulate temperature and humidity at a constant level year round. These and other restoration and improvement efforts created a state-of-the-art conservation environment for the museum’s artwork. Without these improvements, the museum was as risk of losing its accreditation from the American Association of Museums (AAM). AAM certification impacts a museum’s ability to lend and receive prominent exhibits.

Design Approach

 © Jim Haefner

吉姆·海夫纳

这座31，200平方英尺的收藏品大楼由三个长方形体积组成，高度和宽度随着建筑的北移而逐渐远离博物馆。面对入口处的西面墙面，是一堵连续的砖墙，随着体积的减少，它会缓缓而下。空白开窗砖是一个深，丰富的棕色，清晰的涂层，以提供温和的反射，并与不锈钢的细刀片修整。它唯一的口音是一个单独的不锈钢长凳，标志着大剧院的终结。这个简单的表达方式，与原来的设施隔开，与中国狮梯旁的镀锌板隔开，旨在与萨里宁的博物馆进行一场平静的对话。

The 31,200-square foot Collections Building is composed of three rectangular volumes decreasing in height and width as the building progresses northward away from the museum. The west façade, facing the entry court, is a continuous brick wall that steps down as the volumes recede. Void of fenestration the brick is toned a deep rich brown, clear coated to provide for gentle reflections and trimmed with fine blades of stainless steel. Its only accent is a lone stainless steel bench that marks the termination of the Grand Allee. The simple expression, separated from the original facility by zinc clad panels adjacent to the Chinese Lion stair, is intended to create a serene dialogue with Saarinen’s museum.

 © Jim Haefner

吉姆·海夫纳

馆藏楼的东面是指博物馆的服务区和邻近的演播室大楼的入口处。当博物馆总体规划的最后阶段到位时，这个空间最终将成为新的入口驱动法庭的一部分。

The eastern side of the Collections Building presently denotes the service court for the museum and the entrance court for the adjacent Studio Building. This space is ultimately expected to become part of the new entry drive court when the final phase of the museum master plan is in place.

 © Jim Haefner

吉姆·海夫纳

馆藏楼的阶梯式体积与演播室建筑是同一块砖，简化了整体调色板。此外，锚定这一边缘的结构是一系列12英尺高的镀锌钢板，包围收藏大楼的服务场地。这些面板充当了工作室大楼上镀铅铜板的对立面.完成的组成是一个大的方形不锈钢包层投影窗口。在这里，从西方包裹着结构的深褐色砖与东面上的浅红砖结合在一起，打开窗户，在里面定义了研讨会室。

The stepped volumes of the Collections Building are clad in the same brick as the Studio Building, simplifying the overall palette. Also anchoring this edge of the structure is a series of 12-foot high zinc-clad steel panels that enclose the Collections Building’s service court. The panels act as a counterpoint to the lead-coated copper panels on the Studio Building. Completing the composition is a large square stainless steel clad projected window. Here the deep brown brick wrapping the structure from the west unites with the light red brick on the east façade to engage the window and define the Seminar Room within.

内部细节

Interior Details

 basement level plan

地下室平面图

建筑的内部是一种功利的混凝土砌块建筑的表现，增强了艺术的光芒。标准灰色块的接缝已经被夷为平地，混凝土的软涂层被保留下来，以创造一个微妙的，发光的背景，精心制作的细节贯穿始终。块内的主要开口有不锈钢板环绕，桃花心木板门采用自定义不锈钢推拉所有，以强调跨越每个门槛的行为。循环路径让位于不锈钢和花岗岩的凹槽壁龛，这为艺术展示提供了额外的空间。

The building’s interior is an expression of utilitarian concrete block construction enhanced to an artistic light. The joints of the standard gray block have been raked and the concrete’s soft coating retained to create a subtle, luminous backdrop to finely crafted details throughout. Primary openings within the block have stainless steel plate surrounds and mahogany plank doors are introduced with custom stainless steel push/pulls all to accentuate the act of crossing each threshold. Circulation paths give way to recessed niches of stainless steel and granite, which provide additional spaces for display of art.

 dock level plan

码头平面图

克兰布鲁克艺术学院(Cranbrook Academy Of Art)被称为“美国的包豪斯学院”(American‘s Bauhaus)，以认识到这所学校-美国领先的艺术、建筑和设计研究生院之一-作为艺术创作场所的独特影响。博物馆收藏的艺术和物品包括雕塑、绘画、模型和绘画、陶瓷、玻璃、家具、纺织品和金属制品，它以其多样性、深度和无与伦比的质量而闻名于世。

Cranbrook Academy of Art has been described as “America’s Bauhaus,” in recognition of the singular impact the school – one of the nation’s leading graduate schools of art, architecture, and design – has as a place of artistic creation. The Museum’s collection of art and objects includes sculpture, paintings, models and drawings, ceramics, glass, furniture, textiles, and metalwork, and it is renowned for its variety, depth, and unrivaled quality.

 © SmithGroupJJR

© SmithGroupJJR

馆藏大楼的设想是为了促进对艺术的学习，在一个著名的建筑图标。这一项目的完成将使博物馆的全部设计、纺织品、陶瓷和美术藏品得以展示和查阅，突出了克兰布鲁克的教学使命，为新一代艺术家、学生和游客带来了活力。

The Collections Building is envisioned to promote learning about art within a renowned architectural icon. The completion of this project will allow the museum’s full collection of design, textiles, ceramics and fine art to be displayed and accessed, underscoring the pedagogical mission of Cranbrook by bringing the collection to life for a new generation of artists, students and visitors.