斯蒂文霍爾建筑師事務(wù)所

客戶：肯尼迪表演藝術(shù)中心

建筑師：斯蒂文霍爾建筑師事務(wù)所｜Steven Holl,Chris Mcvoy,Garrick Ambrose,Magdalena Naydekova,Bell Ying Yi Cai,Kimberley Chew,J.Leehong Kim,Martin Kropac,Elise Riley,Yun Shi,Dominik Sigg,Jongseo Lee,Alfonso Simelio；皺褶混凝土開(kāi)發(fā)團(tuán)隊(duì)｜Garrick Ambrose,Chris Mcvoy,Magdalena Naydekova

助理建筑師：BNIM

施工圖設(shè)計(jì)：BNIM

項(xiàng)目經(jīng)理：Paratus Group

結(jié)構(gòu)工程師：Silman

MEP工程師：ARUP

土木工程師：Langan

氣候工程師：Transsolar

照明顧問(wèn)：L'Observatoire International

混凝土顧問(wèn)：Reg Hough Associates

成本估算師：Stuart Lyn公司

規(guī)范顧問(wèn):Protection Engineering Group

Client:John F.Kennedy Center For The Performing Arts

Architects:Steven Holl Architects | Steven Holl,Chris Mcvoy,Garrick Ambrose,Magdalena Naydekova,Bell Ying Yi Cai,Kimberley Chew,J.Leehong Kim,Martin Kropac,Elise Riley,Yun Shi,Dominik Sigg,Jongseo Lee,Alfonso Simelio;Crinkle Concrete Development Team | Garrick Ambrose,Chris Mcvoy,Magdalena Naydekova

Associate Architects: BNIM

Architect of record:BNIM

Project Manager: Paratus Group

Structural Engineers:Silman

MEP Engineer:ARUP

Civil Engineers:Langan

Climate Engineers:Transsolar

Lighting Consultant:L’Observatoire International

肯尼迪表演藝術(shù)中心作為約翰·肯尼迪總統(tǒng)的“在生紀(jì)念館”，矗立在華盛頓特區(qū)的大型總統(tǒng)紀(jì)念碑之中。通過(guò)公共活動(dòng)和振奮人心的藝術(shù)，肯尼迪中心讓公眾與藝術(shù)家在整個(gè)創(chuàng)作過(guò)程中交流、互動(dòng)。The REACH 擴(kuò)建項(xiàng)目由斯蒂文霍爾建筑師事務(wù)所設(shè)計(jì)，增加了臨時(shí)排練室、教育空間以及一系列靈活的室內(nèi)和室外空間，進(jìn)一步鞏固了肯尼迪中心在藝術(shù)、文化和機(jī)遇方面的領(lǐng)導(dǎo)地位。

The REACH 的設(shè)計(jì)將建筑與景觀融為一體，擴(kuò)展了紀(jì)念項(xiàng)目的維度。該景觀設(shè)計(jì)還映射了肯尼迪總統(tǒng)的生平事跡：35 棵銀杏樹(shù)象征著約翰·肯尼迪為美國(guó)第 35 任總統(tǒng)，于11 月末落下金黃的秋葉；而倒影池和紅木景觀臺(tái)則采用了與肯尼迪的二戰(zhàn)魚(yú)雷艇PT109 相同的尺寸與材料。

The REACH 的3 座展館與周?chē)坝^融為一爐，這與愛(ài)德華·杜雷爾·斯通早年設(shè)計(jì)的肯尼迪中心形成了鮮明的對(duì)比。展館之間形成了室外空間，并框出了華盛頓紀(jì)念碑、林肯紀(jì)念堂和波托馬克河沿岸的景致。3 棟建筑在綠色屋頂下相互連接，使得肯尼迪中心的室內(nèi)空間擴(kuò)展至6689m2，其中包含開(kāi)放工作室、排練室和表演空間以及專(zhuān)門(mén)的藝術(shù)學(xué)習(xí)空間。大部分?jǐn)U建區(qū)域均嵌于公共景觀之下，為游客打造了最大程度的綠色空間，也為室內(nèi)提供了景觀。

開(kāi)放式景觀提供了舒適的大型空間，方便公眾隨時(shí)來(lái)此聚會(huì)或參觀。肯尼迪中心內(nèi)的現(xiàn)場(chǎng)表演將被同步投影在寬闊草坪前那座最大展館的北墻上。這片景觀區(qū)近6410m2——規(guī)模為華盛頓特區(qū)之最，被設(shè)計(jì)成下方室內(nèi)空間的綠色屋頂。各式各樣的花園為非正式演出和活動(dòng)提供了舞臺(tái)，而其他靈活空間也提高了公眾參與度，進(jìn)一步讓該中心成為未來(lái)幾年內(nèi)藝術(shù)、學(xué)習(xí)與文化的紐帶。

As a "living memorial" for President John F.Kennedy,the Kennedy Center for the Performing Arts takes an active position among the great presidential monuments in Washington,D.C.Through public events and stimulating art,the Kennedy Center offers a place where the community can engage and interact with artists across the full spectrum of the creative process.The REACH expansion,designed by Steven Holl Architects,adds much-needed rehearsal,education,and a range of flexible indoor and outdoor spaces to allow the Kennedy Centre to continue to play a leadership role in providing artistic,cultural,and enrichment opportunities.

The design for The REACH merges architecture with the landscape to expand the dimensions of a living memorial.The landscape design includes a narrative reflection on the life of President Kennedy:a grove of 35 gingko trees,which will drop their golden autumn leaves in late November,acknowledges John F.Kennedy’s position as the 35th President of the United States;and a reflecting pool and mahogany landscape deck are built in the same dimensions and mahogany boards of Kennedy's WWII boat,the PT109.

In complementar y/contrast to the monumental original Kennedy Center building by Edward Durell Stone,The REACH's three pavilions are fused with the landscape.They shape outdoor spaces between them,and frame views to the Washington Monument,Lincoln Memorial and Potomac riverfront.The three pavilions are interconnected below green roofs to expand the Kennedy Center's interior space with 72,000 ft2 of open studios,rehearsal and performance spaces,and dedicated arts learning spaces.Embedding much of the expansion under a public landscape offers maximum green space to the community and gives landscape views from the interior spaces.

1 外景Exterior view

2 水彩草圖Watercolour sketch

3 軸測(cè)圖示Axonometric diagram

聲學(xué)顧問(wèn):Harvey Marshall Berling Associates

項(xiàng)目經(jīng)理：Paratus Group

建筑面積：6689m2

景觀區(qū)面積：12,077m2有反射池和連接河邊的人行橋的花園

施工時(shí)間：2015.11-2019.09

繪圖：斯蒂文霍爾建筑師事務(wù)所

攝影：Richard Barnes,Iwan Baan

Concrete Consultant:Reg Hough Associates

Cost Estimator:Stuart Lynn Company

Code Consultant:Protection Engineering Group

Acoustical Consultants:Harvey Marshall Berling Associates

Project Manager:Paratus Group

Building Area:6689 m2interior space

Landscape Area:12,077 m2of gardens with reflecting pools and pedestrian bridge connection to river front

Construction Period:2015.11–2019.09

Drawings:Steven Holl Architecture

Photos:Richard Barnes,Iwan Baan

4 露臺(tái)層平面Terrace level plan

5 地上層平面Upper level plan

6 地下層平面Lower level plan

鈦白色板構(gòu)建的混凝土展館與景觀水乳交融，柔美的曲線為室內(nèi)引入了自然光線?；炷溜椕嬗?0.16cm 的榫槽花旗松板組成，內(nèi)襯數(shù)控膠合板。從遠(yuǎn)處看，這種混凝土似乎渾然一體，但走近細(xì)觀，則有如同人體尺度大小的木板，仿佛是建造過(guò)程的一種見(jiàn)證。

盡管3 棟展館的形態(tài)各不相同，也沒(méi)有任何清晰的幾何特征，但它們卻經(jīng)由各自的直紋曲面幾何相互關(guān)聯(lián)。這樣的設(shè)計(jì)策略創(chuàng)造出了一系列形式語(yǔ)言——從圓錐截面到雙曲拋物面，視覺(jué)聲學(xué)在展館之間回響，交織出室外空間，也讓聲音在內(nèi)部均勻分散。在建筑物內(nèi)部，新研發(fā)的褶皺狀混凝土紋理被應(yīng)用在排練及表演空間的墻壁上，將聲學(xué)效果直接整合進(jìn)結(jié)構(gòu)性現(xiàn)澆混凝土墻內(nèi)。自然光線透過(guò)半透明的明凈弧形玻璃灑進(jìn)所有空間。發(fā)光表面通過(guò)蝕刻玻璃以及層與層之間的白色半透明薄膜，將光線散入室內(nèi)深處，并在夜間向外泛光。開(kāi)窗的位置讓整個(gè)室內(nèi)均享有景觀視野，從入口大廳到排練及活動(dòng)空間，再至河流與遠(yuǎn)處的景致，激發(fā)創(chuàng)作的好奇心和活力互動(dòng)。

在斯通最初的設(shè)計(jì)中缺失了50 多年后，肯尼迪中心終于通過(guò)The REACH 項(xiàng)目與波托馬克河相連了。新建的人行橋仿佛漂浮在公園小路上，方便游客輕松來(lái)往于巖溪小徑和喬治城的海濱。新擴(kuò)建的校園將肯尼迪中心定位成21 世紀(jì)面向未來(lái)的藝術(shù)機(jī)構(gòu)，頌揚(yáng)著肯尼迪總統(tǒng)及其對(duì)藝術(shù)和美國(guó)文化的重大貢獻(xiàn)?！酰ㄍ鯁螁?譯）

評(píng)審評(píng)語(yǔ)

該項(xiàng)目關(guān)注新老建筑之間的延續(xù)和協(xié)調(diào)，在空間維度上延伸和拓展了肯尼迪中心的紀(jì)念意義。擴(kuò)建部分的3 個(gè)構(gòu)筑物，地面上各自獨(dú)立，以減小其體量，在綠化地下則是互相聯(lián)通的各類(lèi)功能空間，成為華盛頓特區(qū)最大的地下景觀空間。新老建筑之間一組35 棵銀杏組成的小樹(shù)林景觀象征著肯尼迪曾為美國(guó)第35任總統(tǒng)。在立面材料的復(fù)合運(yùn)用上，遠(yuǎn)眺時(shí)是整體的混凝土材料，近看則可以感受到人體尺度的飾面木板。在開(kāi)放草坪前方最大的構(gòu)筑物的立面上，將藝術(shù)中心內(nèi)部的實(shí)時(shí)演出呈現(xiàn)給室外的公眾。建筑在開(kāi)放性、公眾性、紀(jì)念意義的延續(xù)性方面給人留下了深刻的印象，與1960 年代建成的肯尼迪表演中心成為波托馬克河岸標(biāo)志，使肯尼迪表演中心更具有國(guó)家意義上的魅力。

The open landscape provides both large and intimate spaces to gather and visit at all times of the day.Simulcast projections of live performances from within the Kennedy Center will be projected onto the north wall of the largest pavilion in front of a broad lawn.The landscape serves as a green roof over the interior spaces below,the largest in Washington,D.C.at approximately 69,000 ft2.The varied gardens will provide opportunities for casual performances and events and other flexible locations for enhanced engagement,further positioning the Center as a nexus of arts,learning,and culture in the years ahead.

The titanium white board-formed concrete pavilions engage with the landscape,gently curving to catch natural light for the interior.The concrete finish is made up of 4'' tongue and groove Douglas fir boards that lined CNC plywood forms.From a distance the concrete appears monolithic and seamless but when examined up close has the scale of wooden boards that relate to the body and hand,while simultaneously showing an imprint of the building process.

While all different in form,resisting any defined geometric description,the three pavilions are connected through their ruledsurface geometry.This strategy creates a language of forms,from conical sections to hyperbolic paraboloids,a visual acoustics echoing across the pavilions,cupping space between them,and dispersing sound on the inside.Inside the building,a newly developed crinkled concrete texture lines the walls of rehearsal and performance spaces,integrating acoustical qualities directly within the structural cast-inplace concrete walls.Natural light is given to all spaces via translucent,clear and curved glass.Through etching the glass,and sandwiching translucent white films between layers,luminous surfaces diffuse light deep into the interior,and glow outward at night.Windows are positioned to provide views through the full depth of the interior,from the entry lobby though rehearsal and event spaces to the river and landscape beyond,encouraging creative curiosity and dynamic interaction.

11.12 剖面Sections

13.14 內(nèi)景Interior views

With The REACH,the Kennedy Center's direct connection to the Potomac River is finally achieved,more than 50 years after it was lost in Stone's initial design.A new pedestrian bridge,which appears to float over the park way,allows easy access to and from the Rock Creek Trail and the Georgetown waterfront.The newly expanded campus positions the Kennedy Center as a 21st century,future-oriented arts institution,and celebrates President Kennedy and his significant contribution to the arts and American culture.□

Jury Statement

The REACH expansion adds new rehearsal rooms,supporting educational spaces,and a range of flexible indoor and outdoor spaces.Its design focuses on the continuity and coordination between the old and new buildings,expanding the memorial significance of the Kennedy Center in terms of its spatial dimensions.The three pavilions of the expansion are separate on the ground to reduce their volume,while serving as interconnected functional spaces under the greenery,making it the largest underground landscape space in Washington,DC.

Between the old and new buildings is a grove of 35 ginkgo trees symbolising Kennedy as the 35th president.In the composite application of fa?ade materials,it seems an integral concrete material from a distance,whilst the size of the wooden boards can be seen when examined up close.Moreover,on the fa?ade of the largest structure in front of the open lawn,live performances from inside the art center are projected and presented to the public outside.

The expansion's openness,public nature,and continuity of monumental significance leaves a deep impression,becoming the landmarks on the Potomac river bank with the famous Kennedy Center built in the 1960s,making the Kennedy Center even more attractive on a national level.