柏林美国学院由理查德-C-霍尔布鲁克、亨利-A-基辛格和理查德-冯-魏茨泽克于1994年创立，是一个为美国学者、作家、政策制定者和艺术家提供住宿奖学金的重要且不断增长的中心，其中包括校友阿瑟-米勒、乔纳森-弗兰岑、珍妮-霍尔泽、杰弗里-欧根尼德、哈尔-福斯特和乔纳森-萨弗兰-福尔。学院设在汉斯-阿恩霍尔德中心，这是一座风景如画的19世纪的别墅，位于万西河边的一大片土地上。
The American Academy in Berlin, founded in 1994 by Richard C. Holbrooke, Henry A. Kissinger, and Richard von Weizsäcker, is a vital and growing center for residential fellowships for American scholars, writers, policymakers, and artists, among them alumni Arthur Miller, Jonathan Franzen, Jenny Holzer, Jeffrey Eugenides, Hal Foster, and Jonathan Safran Foer. The Academy is housed in the Hans Arnhold Center, a picturesque 19th-century villa on a large parcel of land directly on the Wannsee.
学院项目的成功导致了可用空间的匮乏，因此开始计划建造一个花园亭子，为常驻研究员提供更多的学习空间。一个废弃的澡堂，位于学院宽阔的院子左侧，坐落在一堵旧砖石墙边，提供了理想的场地。Georg Kolbe的一个现有雕塑 “Verkündigung”（1937年）向这个新馆示意，让人想起Kolbe在Mies van der Rohe的巴塞罗那馆的 “Der Morgen”（1925年）。
The success of the Academy’s program has led to a dearth of available space, so plans for a garden pavilion were initiated to provide more study space for resident fellows. A disused bathhouse, located on the left side of the Academy’s expansive yard and nestled along an old masonry wall, provided the ideal site. An existing sculpture by Georg Kolbe, “Verkündigung” (1937), gestures to this new pavilion, recalling Kolbe‘s “Der Morgen” (1925) at Mies van der Rohe‘s Barcelona Pavilion.
Barkow Leibinger设想了一个轻质的玻璃和钢结构，让人想起早期的实践原型–例如2012年马拉喀什双年展上的 “织布机双曲 “装置–以及20世纪的展馆历史。七个研究室和一个小厨房的封闭空间的中心是一个由钢梁组成的屋顶，它形成了一个双曲线的表面，似乎漂浮在低层空间上。
Reminiscent of earlier practice prototypes—such as the “Loom Hyperbolic” installation at the 2012 Marrakesh Biennale—as well as the history of 20th century pavilions, Barkow Leibinger conceived a lightweight glass and steel structure. Central to the enclosed space of seven study carrels and a small kitchen is a roof of steel beams that forms a double-curved surface, which appears to float over the lower spaces.
亭子屋顶的形式是 “规则几何 “的结果：偏移的直线旋转产生四个双曲线抛物面，这种形状既抽象又熟悉，因为它反映了历史上的别墅的坡顶，即使只是在立面上。亭子的独特之处进一步得到加强，因为它似乎 “漂浮 “在花园的绿色草坪上，而且其主要的白色。位于桶壁顶部的LED照明，在夜间通过照亮天花板进一步强调了这种效果，这时天花板似乎漂浮在结构本身之上。
The form of the pavilion’s roof is a result of “ruled geometry”: offset straight lines rotated to produce four hyperbolic paraboloids, a shape that is both abstract and familiar, since it reflects, if only in elevation, the gabled roof of the historical villa. The distinctness of the pavilion is further enhanced by both its seeming to “float” above the garden’s green lawn, and its dominant white color. LED lighting, located at the top of the carrel walls, further emphasizes this effect at night by illuminating the ceiling, which appears then to float above the structure itself.
屋顶在四角由四根工字钢柱支撑，这四根柱子也作为雨水排水管。一个橡木板包覆的钢平台略高于地面，是外部和内部空间的主要表面。由推拉门和玻璃组成的玻璃立面位于建筑周边，在整个结构周围形成一个连续的门廊区域，并允许增加进入和离开展馆的透明度。
The roof is supported at the corners by four I-beam columns, which also serve as rainwater drains. An oak-plank-clad steel platform sits slightly above the ground and is the primary surface for both exterior and interior spaces. A glass façade of sliding doors and glazing sits back from the building’s perimeter, which creates a continuous porch area around the entire structure and allows for increased transparency into and from the pavilion.
在内部，7平方米的学习空间被高达天花板的墙壁分割，由玻璃、橡木和钢构建。各个空间通过玻璃门通向内部走廊，并通过大型玻璃推拉门进入花园区域，推拉门可以用窗帘遮挡以保护隐私。每个办公室都配备了内置金属架、抽屉和办公桌，并辅以Vitra的独立家具。三层玻璃、地板和墙壁的加热、以及隔热性能良好的地板和屋顶，都有助于实现节能结构。
Inside, the 7m2 study spaces are divided by ceiling-high walls, constructed of glass, oak, and steel. The individual spaces open to an internal corridor via glass doors, and into the garden area via large glass sliding-doors, which may be shuttered by curtains for privacy. Each office is outfitted with built-in metal shelves, drawers, and a desk, complemented by freestanding furniture from Vitra. The three-layer glazing, floor and wall heating, and well-insulated floors and roof contribute to the energy efficient structure.
“一个展馆既不是一个建筑，也不完全是一个实验。它徘徊在投机性和实用性之间。对我们来说，它是一个挑衅性的工具（原型或样品），用于测试投机性工作的极限和能力。它为那些可能仍处于潜伏状态但不完整的工作提供了方向。一个展馆，在这里充当了一个标尺或过滤器，使我们的研究合法化并理解其价值。”
“A pavilion is neither a building nor exclusively an experiment. It hovers between the speculative and the pragmatic. For us, it is a provocative vehicle (prototype or sample) for testing the limits and capacities of speculative work. It gives direction to work that might remain latent but incomplete. A pavilion, here acts as a gauge or filter to both legitimize and understand the value of our research.”
Architects: Barkow Leibinger
Area: 85 m²
Year: 2015
Photographs: Stefan Müller, Simon Menges
Manufacturers: Muller – BMM
Landscape Architect: Capatti Staubach
Mechanical Engineer: HDH – Ingenieurgesellschaft für technische Gebäudeausrüstung mbH
Structural Engineer: Hörnicke-Hock-Thieroff (HHT)
Project Team:Gustav Düsing, Ulrich Fuchs, Annette Wagne
Project Architect:Tobias Wenz
City:Berlin
Country:Germany