伯克改造纽约州立大学艺术中心，旧建筑焕发新活力_教育空间_设计案例作品

发布时间：2018-05-18 12:36:00 {{ caseViews }} {{ caseCollects }}

设计亮点

伯克利用微妙的对比策略，更新了原有的混凝土建筑，使其满足当代需求，同时加强了建筑与校园的联系，突显了艺术在学校中的重要性。

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架构师提供的文本描述。纽约州立大学建设基金(State University Construction Fund)聘请黛博拉·伯克合作伙伴(Deborah Berke Partners)为1968年纽约州立大学弗里多尼亚分校(State University Of New York)弗里多尼亚分校(Fredonia University Of New York)的弗里多尼亚分校(Fredonia建筑师们在西面创造了一个线性的附加部分，使前一个建筑的后背和服务侧成为新的主要入口。这加强了建筑与校园的联系，加强了艺术在学校中的作用。

Text description provided by the architects. The New York’s State University Construction Fund hired Deborah Berke Partners to design a significant addition to and a dramatic reconception of a 1968 I.M. Pei arts complex on the State University of New York’s Fredonia campus. The architects created a linear addition at the west façade, allowing the former back and service side of the building to become the new primary entrance. This strengthens the building’s connection to the campus and reinforces the role of the arts at the institution.

Axonometric

他说：“这实在是一幢新落成的建筑物，与一幢旧的建筑物正好相反，两者都有相同的目的：教育年轻艺术家学习应用艺术、美术和表演艺术。”因此，我们实际上是在与贝合作，把自己定位在他旁边，“黛博拉·伯克(Deborah Berke)说。

“This is really a new building laid right up against an old one, with both serving the same purpose: the education of young artists in the applied arts, the fine arts, and the performing arts. So we were collaborating with Pei, in effect, by positioning ourselves right next to him,” said Deborah Berke.

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该设计尊重朴素的建筑，但使用微妙的对比战略，以更新它，以满足当代的需要。DeborahBerkePartners通过使用带有混凝土细节口音的锌、金属和玻璃墙的调色板，颠倒了现有混凝土长墙的材料语言。金属鳍提供遮阳和增加纹理和正面的深度。认识到校园内浇筑混凝土施工的历史，建筑师们与当地承包商合作，开发出具有对角线条纹的独特板形。这种模式区分了Deborah Berke Partners和Pei的工作。

The design respects the austerity of Pei’s building but uses a strategy of subtle contrast to update it to meet contemporary needs. Deborah Berke Partners inverted the existing material language of long concrete walls by employing a palette of zinc metal and glass walls with accents of concrete details. Metal fins provide sun shading and add texture and depth to the facades. Recognizing the history of cast-in-place concrete construction on campus, the architects worked with local contractors to develop distinctive board forms with diagonal striations. This pattern differentiates Deborah Berke Partners’ work from Pei’s.

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Deborah Berke Partners的校长诺亚·比克伦(NovaBiklen)说：“1968年的校园展示了该地区混凝土领域的真正专长，我们能够利用这一点。”“我们想表明，这些新的建筑混凝土墙都是贝楼的，但却是新的，所以我们开发了带有对角线图案的模板。”60，000平方英尺的额外设施包括教室、雕塑和陶瓷工作室、音乐和舞蹈表演空间，以及各种商店和其他共享设施，包括成套设计和建筑区域。

“The 1968 campus showcased a real expertise in concrete in the area, and we were able to take advantage of that,” said Noah Biklen, a principal at Deborah Berke Partners. “We wanted to signal that these new architectural concrete walls were both of the Pei building, but new, so we developed formwork with a diagonal pattern.” The 60,000-square-foot addition includes classrooms, sculpture and ceramics studios, performance spaces for music and dance, and a variety of shops and other shared facilities, including areas for set design and construction.

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Ground floor plan

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“我们设计了许多用于多种功能和功能的建筑。对于艺术学校来说，这比较容易一些，因为你有一层混凝土地板和一堵空白的白色墙，一般都是白色的。我们找出了高磨损的区域，并找到了可以保护的区域，比如锌面。我们从努力工作的建筑中学到的一件事是，经过深思熟虑，你可以拥有一个优雅的调色板，它看上去是深思熟虑的，而且设计的价格也是任意的，“Deborah Berke Partners的合伙人梅特兰·琼斯(Maitland Jones)说。

“We’ve designed a lot of buildings that serve multiple duties and constituents. It’s a little easier with art schools, because you’ve got a concrete floor and blank, white walls, generally. We identified areas of high-wear and we found areas for refinement that could be protected, like the zinc façade. One thing we’ve learned from doing hard-working buildings is that with forethought, you can have an elegant palette that looks deliberate and designed at any price point,” said Maitland Jones, a partner at Deborah Berke Partners.

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Facade Axonometric

立面轴测

这座大楼充满阳光的舞蹈室有从地板到天花板的窗墙，这使得校园可以看到彩排，并在晚上把大楼变成灯塔。走廊两旁都是木板表面，所以它们成了批评空间和非正式展厅的两倍。陶瓷工作室和作坊都是朴素的，专为艺术的大量使用而设计的。

The building’s sun-filled dance studio has floor to ceiling window walls, which allow rehearsals to be visible to the campus, and turn the building into a beacon at night. Corridors are lined with tackboard surfaces, so they double as critique spaces and informal galleries. Ceramics studios and workshops are unadorned and designed for the heavy use of art making.

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