Art and Design: Skylighting Sculpture by ArchitectureWeek

與我有四十幾年交情的謝老師 (初中歷史老師)以前教我:天天要有美....

我知道他可能還有機會看到這些. 所以我要記得天天告訴他一些美好的東西.

http://www.nashersculpturecenter.org/

http://en.wikipedia.org/wiki/Nasher_Sculpture_Center

我由這知道:

Skylighting Sculpture

by ArchitectureWeek

When Texas entrepreneur Raymond Nasher asked for a "roofless museum" for his extensive sculpture collection, his architects and their consultants delivered a unique interpretation. The Nasher Sculpture Center, which opened in downtown Dallas in 2003, is a synthesis of nature and building: a sculpture garden and a building with a roof that's "open" to the light of the sky.

Because the new museum is intended exclusively for sculpture, the designers were not as limited in their treatment of illumination as they would have been for light-sensitive paintings. While Pritzker Prize-winning architect Renzo Piano designed a series of five parallel stone-walled pavilions, engineers at Arup crafted a latitude-specific geometry for a cast-aluminum roof that, without any moving parts, admits daylight while shading the interior spaces from direct sun year-round. Landscape architect Peter Walker designed the two-acre (0.8-hectare) sculpture garden as an oasis amidst skyscrapers.

Nasher Sculpture Center in Dallas, Texas, designed by Renzo Piano Building Workshop.
Photo: Timothy Hursley

Inside one of the galleries, where direct sunlight never enters.
Photo: Timothy Hursley

The 54,000-square-foot (5000-square-meter) museum has two levels. The ground level houses three galleries, offices, a boardroom, and a shop. The lower level houses a single gallery for light sensitive works, "back-of-house" functions, and an auditorium. The garden terraces downward to the auditorium, creating an open air theater.

Geometry of a Shading Device

Arup director Alistair Guthrie says designing the roof for the Nasher Gallery was a challenge for the entire team. "The project has been years in planning and this canopy is unique in its form and unique to this site."

The shading design was programmed on a computer, starting with a horizontal square with corners pointing north, south, east, and west. The engineers established an initial form based on a sine curve, determined by the building's latitude and longitude, passing through the east and west corners.

This form would block direct sunlight coming from south of the east-west axis. However in the summer, early or late in the day, when the sun is to the north of that axis, direct sunlight would not be blocked by that simple shade.

The Arup engineers next assumed the same form of shading on the north side as on the south side and then, simulating the sun's path, cut away the material that did not provide any shading. The lower half of the shade was formed by inverting the top half; this shades the opposite triangle of the original square.

The result of this geometric exercise was a single shell-like element of the roof, which was then repeated over half a million times. The roof was cast in aluminum directly from the original computer programming data. "A design first," according to Guthrie.

Below the matrix of shells is a thin skin of curved glass panels with a low-iron composition for maximum transparency. The effect of this roof construction is that direct solar radiation never penetrates to the building's interior, while maximum exposure to the sky provides ample north light, eliminating hard shadows on the sculptures in the galleries.

The Raymond and Patsy Nasher Collection encompasses more than 300 sculptures, including works by Calder, de Kooning, Giacometti, Picasso, and Rodin, as well as contemporary artists such as James Turrell, Tony Cragg, and Magdalena Abakanowicz.

Nasher Sculpture Center in Dallas, Texas, designed by Renzo Piano Building Workshop.
Photo: Timothy Hursley

Each pavilion is enclosed by low-iron glass facades and roof which permit unobstructed views from the street, through the building, and across the length of the garden.
Photo: Timothy Hursley