冬季视觉艺术大楼——一个研究和展示视觉艺术的新展馆，设计于2016年，并于2020年完成，是宾夕法尼亚兰开斯特富兰克林和马歇尔学院的一部分——是Steven Holl建筑事务所的创意。它坐落在大学的南门，它不仅仅是学校众多建筑中的一座，这些建筑散布在一片广阔的绿地上，就像美国校园通常的结构一样。这也是一项宣言，呼应了该大学著名的座右铭“勒克斯与莱克斯”，据史蒂芬·霍尔自己说，它的设计是为了与富兰克林和马歇尔学院自1787年成立以来的所有其他建筑的砖结构形成对比。Okalux半透明双层玻璃的使用，钢和混凝土的结构和它的正式合成的轻盈，为学院的未来提出了一个相当精确的方向。
新的艺术、艺术史和电影系试图通过建筑与过去区分开来，使其能够融入环境，但不影响其自然环境，同时通过充分利用各种材料实现高水平的能源效率。
The Winter Visual Arts Building - a new pavilion for the study and exhibition of the visual arts, designed in 2016 and completed in 2020 as part of Franklin & Marshall College in Lancaster, Pennsylvania - is the brainchild of Steven Holl Architects. Located at the south entrance of the university, it is not merely one of the institution’s many buildings spread over a vast green area, as American campuses are so often structured. It is also a manifesto, echoing the university’s famous motto “Lux et Lex”, and - according to Steven Holl himself - it was designed to contrast with the brick architecture of all the other buildings at Franklin & Marshall College which have been built since its foundation in 1787. The use of Okalux translucent double glazing, steel and concrete for the structure and the lightness of its formal synthesis suggest quite a precise direction for the future of the college.
The new Department of Art, Art History and Film seeks to distinguish itself from the past by means of an architecture that is able to integrate itself into its setting, but without affecting its natural surroundings, whilst also achieving a high level of energy efficiency by using a variety of materials to their full potential.
对Steven Holl的公司来说，这包括观察设计环境，并尽可能地保护它——考虑到200年前种植的树木构成了学院52英亩的植物园，这是一个更加重要的考虑。所有的植物都是安全的，在整个建造过程中，它们的根都受到保护，以减少场地的维护，尽可能减少对现有生态系统的干扰。这是一个物理上和形式上的出发点，据说设计的灵感来自树上的风筝和本杰明·富兰克林证明闪电中存在电的著名实验。除了这幅图中的某种暗示外，它并不是要复制一种特定的形式，而是暗指它所附带的一系列特征。当然,霍尔还没有实际的图像复制的风筝在树上在大楼的计划,但他利用暗指表明我们的象征一个新的方向,一个封闭的几何建筑砖卷距离:纪念碑传统知识,比如旧主,一个保守派的建筑位于校园的中心。轻盈、开放和尊重:作为风筝的象征，这些都是风筝所体现的特质——但它是斯蒂芬·霍尔(Steven Holl)创作的建筑构成，他的水彩画也表现得如此出色，为我们描绘出了这个世界。
我们无法知道阿尔瓦·阿尔托在设计萨伏伊花瓶时是否真的想到了芬兰的壮丽湖泊，就像我们经常读到的那样:他成功地创造了一种形式，能够唤起一种系统——即自然系统——这种系统属于他用弯曲木创造的许多形状，无论是维布里图书馆礼堂的天花板，还是纽约世博会芬兰馆的波浪墙。冬季视觉艺术建筑让人联想到阿尔瓦·阿尔托的视觉和情感系统，以及他在建筑中使用符号的能力，而不是隐喻或相似之处。
Steven Holl设计了一个由钢管制成的外露结构来支撑木制屋顶和由双层半透明Okalux玻璃制成的幕墙，这是美国建筑师在许多作品中使用的关键工具。两层楼高的“盒子风筝”结构建在一层的混凝土墙上，这意味着周边的其他部分只包括玻璃幕墙;这样做的效果是，从远处看，上部体量悬垂在地面之上。长廊连接着通往老主道的道路，通向夹层层的一个入口，这进一步加深了人们的印象。在这里，房间围绕着楼层的周长布置，围绕着中央区域，被称为“公地”，它位于走道的末端，将不同的工作室彼此连接起来。顶楼也以类似的方式布置，尽管它以一个绿树成荫的露台和低层的许多景色为特色。最后，一层是舞台、电影工作室和展览馆的家，而宽敞的全玻璃中庭让路人可以从外面看到整个建筑，看到几百年的老树，想象它们的树干可能实际上负责“支撑”整个上部体量的重量。
For Steven Holl’s firm, this involves observing the design environment and preserving it as much as possible - an even more important consideration in light of the trees planted 200 years earlier, which make up the college’s 52-acre arboretum. All the plants on site were kept safe and, throughout the entire construction process, their roots were protected with a view to reducing the maintenance of the site, causing as little disturbance as possible to the existing ecosystem. This was the starting point - both physical and formal - for a design path that is said to have been inspired by the image of a kite stuck in the trees and Benjamin Franklin’s famous experiment to prove the presence of electricity in lightning. Beyond a certain suggestiveness in this image, it is not intended to replicate a specific form, but rather allude to a series of characteristics that come with it. Of course, Holl has not replicated the actual image of a kite amidst the trees in the plan of the building, but he has used that allusion to suggest to us the symbol of a new direction, one which distances itself from the geometric construction of enclosed brick volumes: a monument to traditional knowledge, such as that of Old Main, one of the old guard of buildings located in the heart of the campus. Lightness, openness and respect: these are the qualities that the kite, as a symbol, embodies - but it is the architectural composition created by Steven Holl, which is also so well expressed in his watercolours, that conjures up this world for us.
There is no way of knowing if Alvar Aalto really was thinking of Finland’s majestic lakes when he designed his Savoy vase, as we often read: he certainly managed to create a form capable of evoking a system - namely the system of nature - that belongs to so many of the shapes he created with curved wood, be they the ceiling of the Viipuri library auditorium or the wavy wall of the Finnish pavilion for the New York Expo. The Winter Visual Arts Building is redolent of Alvar Aalto’s visual and sentimental system and his capacity to use symbols in architecture, rather than metaphors or similarities.
As a replacement for a brick building that has now been demolished, Steven Holl has designed an exposed structure made from steel tubes to support the wooden roof and curtain walls made from a double layer of translucent Okalux glass: a key tool employed in many of the American architect’s creations. The two-storey “box-kite” structure rests on a minimal number of concrete walls on the ground floor, meaning that the rest of the perimeter consists only of the glass curtain walls; the effect of this is that from a distance, the upper volume - which is overhanging - is suspended above the ground. This impression is further reinforced by the long walkway which, connecting to the road running towards Old Main, leads to one of the entrances on the mezzanine level. Here, the rooms are arranged around the perimeter of the floor, surrounding a central area known as the “commons” which is located at the end of the walkway and which connects the various studios to one another. The top floor is also laid out in a similar way, though this instead features a tree-lined terrace and numerous views of the lower floor. Finally, the ground level is home to staging and film studios as well as exhibition galleries, whilst the spacious all-glass central atrium allows passers-by to see all the way through the building from the outside and, glimpsing the centuries-old trees, imagine that perhaps their trunks are in fact responsible for “supporting” the weight of the entire upper volume.
建筑师：Steven Holl Architects
史蒂文·霍尔（Steven Holl）（设计建筑师，负责人）
克里斯·麦克沃伊（负责人）
Garrick Ambrose（项目建筑师，高级合伙人）
卡罗莱纳·科恩·弗赖（Carolina Cohen Freue）（助理项目建筑师）
Dominik Sigg，Marcus Carter，Elise Riley，Michael Haddy，Hannah LaSota（项目团队）
Casali Group，Inc.项目经理Thomas Murray
和谢尔顿·温格的富兰克林和马歇尔学院
结构工程师Silman Associates
MEP工程师ICOR Associates
土木工程师David Miller Associates
气候工程师Transsolar
景观设计师Hollander Design
客户：富兰克林与马歇尔学院
外墙顾问：Knippers Helbig Advanced Engineering
照明顾问： L’Observatoire International
声学顾问：Harvey Marshall Berling Associates
泳池顾问：Aqua Design International
建设期：2018-2020
建筑面积33,000总平方英尺
摄影：Paul Warchol
水彩画：史蒂文·霍尔（Steven Holl）Architects: Steven Holl Architects www.stevenholl.com
Steven Holl (design architect, principal)
Chris McVoy (partner in charge)
Garrick Ambrose (project architect, senior associate)
Carolina Cohen Freue (assistant project architect)
Dominik Sigg, Marcus Carter, Elise Riley, Michael Haddy, Hannah LaSota (project team)
project manager Casali Group, Inc, Thomas Murray
and Franklin and Marshall College, Sheldon Wenger
structural engineers Silman Associates
MEP engineers ICOR Associates
civil engineers David Miller Associates
climate engineers Transsolar
landscape architects Hollander Design
Client: Franklin & Marshall College
Façade consultants: Knippers Helbig Advanced Engineering
Lighting consultants: L’Observatoire International
Acoustical consultants: Harvey Marshall Berling Associates
Pool consultants: Aqua Design International
Construction period 2018- 2020
Building area 33,000 gross square feet
Photography: Paul Warchol
Watercolours: Steven Holl
