建筑师  Steven Holl Architects (SHA), BNIM

材料  褶皱混凝土 玻璃支撑 

面积  6689㎡

The Kennedy Center celebrates the opening of its $250 million expansion, the REACH, with a 16-day festival of music, dance, and performing arts events starting this weekend. The REACH — an acronym made up of aspirational verbs: renew, experience, activate, create, and honour — adds 72,000 sq ft of interior space within and below 4.6 acres of landscape, all of which audiences and performers will activate, board members of the Kennedy Center hope, with their arrival on 7 September.

Designed by a team comprising Steven Holl Architects (SHA), BNIM, and Hollander Design Landscape Architects, the expansion rises triumphantly from the irregular leftover space between the Potomac and the highway that crosses it in an area formerly dedicated to the original 1971 Edward Durrell Stone building’s garage entry and bus parking. With the metaphor of an iceberg in mind, three white pavilions float above the new, artificial ground plane as the triangles to Stone’s bombastic timpani. These pavilions connect below ground to the larger mass of flexible rehearsal and performance spaces spread over two levels. Along the western edge of the expansion, thick glazing affords river views to the multi-use studios while limiting outdoor noise. Parking is still a consideration, but now one that is tucked out of sight beneath an undulating green roof of reflecting pools, lawn, and a Ginkgo grove.

If only the same consideration were applied to the knot of highway infrastructure surrounding the site. The opening festival promises roughly one thousand artists in more than 500 events, many of which will be outdoor performances, and the future possibility of shows being live-streamed and projected onto the exterior of one of the pavilions has also been floated. But it’s hard to imagine those experiences not being drowned out by the near-constant din of automotive and airplane traffic overhead.

These are, of course, conditions the design team has done its best to mitigate. In terms of outdoor treatments, the pavilions also eschew parallel surfaces, with the largest, dubbed the Skylight Pavilion, featuring a concave concrete wall footed by curving glass. The Ginkgo grove attempts to buffer the lawn from roadway noise, and a reflecting pool offers further noise dampening through sound absorption.

SHA partner Chris McVoy describes the outdoor space as surprisingly quiet given the movement around the site. ‘It’s situated, in section, in an ideal acoustic zone’, he says. ‘We’re below the onramp to the Memorial Bridge, so that there’s no direct line of hearing from the wheels of cars, and we’re above the traffic on the parkway.’ Simulcasts, he explains, will be screened on the northern side of the Skylight Pavilion, thus using that structure itself as an acoustic barrier between audiences and traffic on the Memorial Bridge to the south. The River Pavilion likewise shields the lower lawn from parkway traffic noise, and in many places, the landscape gently rises up the outside of the pavilions, in what McVoy terms ‘sedum swoops’, that soften hard surfaces.

On the interior, the team’s efforts include invention of a new material application, ‘crinkle concrete’, that performs both acoustically and structurally. Based upon the principle of reducing parallel planes and developed in-house at SHA by Garrick Ambrose with acoustician David Harvey, the technique for creating crinkle concrete involves pounding thin sheet metal until it becomes a surface of high-relief dents and mounds, then coating it in rubber to serve as the textured formwork for in situ concrete pours. In addition to that visible acoustic treatment, the combination of low-velocity forced-air handling and radiant floors connected to an extensive geothermal well system promises noiseless temperature control.

肯尼迪中心(Kennedy Center)耗资2.5亿美元扩建项目The REACH将于本周末开幕，届时将举办为期16天的音乐节、舞蹈节和表演艺术节。梦寐以求的范围——一个缩写由动词:更新,经验,激活、创建、尊荣-增加72000平方英尺的室内空间内,低于4.6英亩的风景,所有的观众和表演者将激活,肯尼迪中心的董事会成员希望,9月7日到达。

由一个团队组成的史蒂文?霍尔设计架构师(SHA) BNIM,和荷兰人设计景观建筑师,得意地扩张上升不规则波托马可河之间剩下的空间和高速公路穿过它的面积曾致力于原1971爱德华·德雷尔石头建筑的车库入口和大巴停车场。考虑到冰山的隐喻，三个白色的亭子漂浮在新的人造地面之上，就像斯通夸张的定音鼓上的三角形。这些亭子连接着地下更大的体量，灵活的排练和表演空间分布在两层。沿着扩建的西部边缘，厚厚的玻璃为多功能工作室提供了河景，同时限制了室外噪音。停车仍然是一个考虑因素，但现在是一个隐藏在起伏的绿色屋顶下的倒影池，草坪，和银杏树。

如果将同样的考虑应用到场地周围的公路基础设施节点上就好了。开幕式承诺将有大约1000名艺术家参加500多场活动，其中许多活动将是户外表演，未来还将有可能在其中一个展馆的外部进行现场直播和投影。但是很难想象这些经历不会被头顶上汽车和飞机的嘈杂声所淹没。当然，设计团队已经尽了最大努力来缓解这些情况。在室外处理方面，这些展馆也避开了平行的表面，其中最大的一个被称为天窗展馆，它的特色是一面由弯曲玻璃支撑的凹形混凝土墙。银杏树试图缓冲草坪从道路噪音，和一个反射池提供进一步的噪音抑制通过吸声。

SHA的合伙人克里斯·麦克沃伊(Chris McVoy)说，考虑到场地周围的动静，户外空间出奇地安静。他说:“它位于一个理想的声区。”“我们在通往纪念大桥的入口坡道下面，所以没有汽车车轮发出的直接声音，我们在公园路上的车流上方。”他解释说，同时播放的节目将在天窗亭的北侧播放，这样就利用了这个结构本身作为观众和南面纪念桥上交通的隔音屏障。河亭同样保护了较低的草坪不受公园道路交通噪音的影响，在许多地方，景观从亭外缓缓升起，用McVoy的话说就是“景天”，软化了坚硬的表面。

在室内，团队的努力包括发明一种新的材料应用，“褶皱混凝土”，在声学和结构上都表现出色。基于减少并行飞机和内部开发的原则在沙灰吕安布罗斯和声学家大卫?哈维创建卷曲的技术具体包括冲击薄金属板,直到它成为一个高浮雕表面凹痕和成堆,然后涂在橡胶作为现浇混凝土倒的变形模板。除了可见的声学处理，低速强制空气处理和辐射地板连接到一个广泛的地热井系统的组合承诺无噪音的温度控制。

长期以来，该公司的魅力之一就是建筑与光线的相互作用，对于一个体量位于地下的建筑来说，它成功地将日光引入地下。低层西侧的窗户墙壁允许充足的自然光，在沿这条边排列的工作室中，纹理混凝土也被染成白色，以进一步将光线反射到空间中。在亭子升起的地方，它们也把光线引向下方;一个战略性的三角形天窗照亮了后面的楼梯。麦克沃说:“我们占用了排练的空间，我们把它变成了一个美丽的空间，有很棒的视野和光线。”“艺术家们有时一天工作八小时。所以，通过光线看到一天的进程发生了变化，真的很鼓舞人心。”

虽然艺术家们在这样明亮的空间里排练无疑会看到好处，但游客们也可以享受到其中的乐趣，这要感谢一个可以看到下面工作室夹层景色的流动空间。解决肯尼迪中心的相对隔离,因为它是在公路交换和独立的水门事件复杂,设计者采用一个更明显的比喻,文字的越过岩石溪百汇桥形式,邀请行人和骑自行车的人从水边散步到中心。有明显的非正式-和公众尖锐地布局,达到试图覆盖任何文化精英主义的观念可能煽动在肯尼迪中心的最后五年,促进推广和开放给下一代的建筑师考虑生活纪念尊敬约翰·f·肯尼迪。