架构师提供的文本描述。街对面是路易·卡恩的第一座重要建筑，这是他的最后一座建筑。耶鲁英国艺术中心建成于1974年，也就是卡恩去世的那一年，也就是它的邻居耶鲁大学美术馆结束23年之后。在整个职业生涯中，一种风格和理论上的变化在一个场景中是可见的。

Text description provided by the architects. Across the street from Louis Kahn’s first significant piece of architecture stands his last. The Yale Center for British Art was completed in 1974, the year of Kahn’s death and 23 years after its neighbor, The Yale University Art Gallery was finished. A style and theoretical change throughout a career is visible in one scene.

与大多数画廊不同，耶鲁英国美术馆的设计提示要求满足非常特殊的需求。作为教育机构的一部分，议程要求有几个以学习为导向的空间。

Unlike most galleries, the design prompt for the Yale’s British Art Gallery called for very specific needs. Being part of an educational institution the agenda called for several learning oriented spaces. 

该方案包括对绘画、雕塑、绘画和版画的展览空间和存储空间的规定；珍稀藏书；研究图书馆；照片档案；礼堂；教室；车间和办公室；以及保护设施。

The program consisted of stipulations for exhibition space and storage space for paintings, sculpture, drawings and prints; a rare book collection; a research library; a photograph archive; an auditorium; classrooms; workshops and offices; and conservation facilities.

该结构的外部是包覆钝金属，间歇性地穿透釉孔。这给了外部表面一种严峻的感觉，但它仍然平静地与其体制环境融合在一起。

The exterior of the structure is clad in dull metal with intermittently penetrated by glazed openings. This gives the external surface an austere feel yet it still blends serenely with its institutional surroundings.

向内部的过渡是由元素、空间和物质的混合演化来实现的。入口序列从室外延伸到一个有盖的外部空间，进入一个有着广阔天花板的内部庭院。

The transition to the interior is met by a mix of elemental spatial and material evolutions. The entrance sequence proceeds from outdoor expanse through a covered exterior space and into an interior courtyard with expansive ceilings.

温暖的刷金属面板携带到内部，但与温暖的木包层混合在一个发光的顶部照明空间。

The warm brushed metal panels carry to the interior but are mingled with warm wooden cladding in a glowing top-lit space.

从这个自由的空间分配，居住者是通过一个更大的洞穴空间，以到达画廊内。一直向前是一个圆柱封闭的楼梯，这似乎是合乎逻辑的循环路径。然而，在这个中央楼梯周围的循环，导致一个中央无保留和开放的空间。

From this liberal space allotment the occupant is sent through a much more cavernous space in order to reach the galleries within. Straight ahead is a cylindrically enclosed staircase which seems the logical circulation path. However a circulation around this central stair leads to a central unreserved and open space.

典型的卡纳现代主义的结构方案是建立在一个20英尺的方格。这个网格是用来创建一系列的长方形和方形画廊互联和俯瞰中央庭院空间。

Typical of Kahnian modernism the plan of the structure is based on a 20 foot square grid. This grid is used to create a series of rectangular and square galleries interconnected and overlooking a central courtyard space.

内部庭院和上面的画廊自然是从一个系统的网格天窗照明。

The inner courtyards and upper galleries are naturally lit from by a system of gridded skylights.

卡恩的画廊思想是在机构设计的整个职业生涯中发展起来的。他认为博物馆应该是艺术作品背后的次要实体。它应该对其持有的资产表示敬意，并把它们表现得很好。

Kahn’s thoughts on galleries had been developed throughout a career of institutional design. He believed that museums should be secondary entity that fades behind the artwork. It should pay homage to its holdings and display them well. 

博物馆应该散开，完全免费。

The museum should be spread out and be completely free.