世界美术大师作品鉴赏(美术鉴赏家)

AD经典：耶鲁大学美术馆AD Classics: Yale University Art Gallery / Louis Kahn路易•康（Louis Kahn）于1947年加入了耶鲁大学建筑学院，二战之后，耶鲁大学建筑学院的院长是建筑大师George Howe，该院还有诸如康、菲利普•约翰逊（Philip Johnson）、约瑟夫•亚伯斯（Josef Albers）等现代主义代表人物在此任教，因此学院的发展逐渐从美术方向转向了先锋主义。
在1950年学校要求将艺术、建筑、艺术历史专业合并在一座新建筑之中时，一座现代主义风格的设计方案便应运而生。
[1]该项目于1953年完成，在路易•康的耶鲁大学美术馆建筑中包含有展厅、教室、办公场所，同时，这也是康的建筑生涯中第一个重要突破。
Yale University’s School of Architecture was in the midst of pedagogical upheaval when Louis Kahn joined the faculty in 1947. With skyscraper architect George Howe as dean and modernists like Kahn, Philip Johnson, and Josef Albers as lecturers, the post-war years at Yale trended away from the school’s Beaux-Arts lineage towards the avant-garde. And so, when the consolidation of the university’s art, architecture, and art history departments in 1950 demanded a new building, a modernist structure was the natural choice to concretize an instructional and stylistic departure from historicism.[1] Completed in 1953, Louis Kahn’s Yale University Art Gallery building would provide flexible gallery, classroom, and office space for the changing school; at the same time, Kahn’s first significant commission signaled a breakthrough in his own architectural career—a career now among the most celebrated of the second half of the twentieth century.当时学校对这座美术馆和设计中心有着明确的要求，为此，康设计了开放式阁楼——这个空间既可以用作教室，也可以用作展览。
[2]康的最初构想是通过中央服务空间来满足学校的需求。
这个服务空间包含有楼梯、卫生间，以及公共部分，从而能够在这个空间的两侧形成连贯的实用场所。
再后来，人们将这个理念区分为“服务”与“被服务”空间，这也是路易•康作品中的常见处理手法。
[3]耶鲁大学校友兼教师Alexander Purves认为：“这样的排布方式明确地区分了建筑的主要功能与次要功能，同时二者相辅相成，相互呼应。
”[4]这样一来，展览空间和教学区域则被放在了同一个水平空间之中，其下部则是一些公众使用的区域。
总的来说，康并没有把那些附属设施放置于角落，则是直接将它们设置于中央，在他的建筑中，每个空间都非常重要。
The university clearly articulated a program for the new gallery and design center (as it was then called): Kahn was to create open lofts that could convert easily from classroom to gallery space and vice versa.[2] Kahn’s early plans responded to the university’s wishes by centralizing a core service area—home to the stairwell, bathrooms, and utility shafts—in order to open up uninterrupted space on either side of the core. Critics have interpreted this scheme as a means of differentiating “service” and “served” space, a dichotomy that Kahn would express often later in his career.[3] As Alexander Purves, Yale School of Architecture alumnus and faculty member, writes of the gallery, “This kind of plan clearly distinguishes between those spaces that ... house the building's major functions and those that are subordinated to the major spaces but are necessary to support them.”[4] As such, the spaces of the gallery dedicated to art exhibition and instruction are placed atop a functional hierarchy, above the building’s utilitarian realms; still, in refusing to hide—and indeed, centralizing—the less glamorous functions of the building, Kahn acknowledged all levels of the hierarchy as necessary to his building’s vitality.在中央核心的部分，康采用了空间框架的概念。
他和长期合作伙伴Anne Tyng共同创造，设计灵感