耶魯大學(xué)魯?shù)婪驑?/h1>
2018-01-03 10:43黛博拉伯克
世界建筑 2017年8期
黛博拉·伯克
耶魯大學(xué)魯?shù)婪驑?/p>
黛博拉·伯克
本文探討了魯?shù)婪驑堑臍v史，詳細(xì)論述了保羅·魯?shù)婪虻脑O(shè)計(jì)如何應(yīng)對國際式風(fēng)格的挑戰(zhàn)。魯?shù)婪驑窃?963年建成，對外開放后即受到贊揚(yáng)和宣傳，卻在5年后被忽視，經(jīng)歷學(xué)生起義，又被大火損毀。2008年，經(jīng)精心改造后，魯?shù)婪驑窃俅我蚱淇臻g的復(fù)雜性、豐富的物質(zhì)性及精妙的城市化受到稱贊。
保羅·魯?shù)婪?，耶魯，建筑，粗野主義
魯?shù)婪驑鞘且敶髮W(xué)建筑學(xué)院所在地，擁有一段迷人、波折的歷史，如今它也為處在其質(zhì)感獨(dú)特的混凝土墻面內(nèi)的建筑學(xué)及建筑歷史學(xué)子帶去啟示。保羅·魯?shù)婪蜊`行了建筑學(xué)院院長在塑造大學(xué)物質(zhì)環(huán)境時(shí)發(fā)揮的躬親之職，設(shè)計(jì)了當(dāng)時(shí)尚未分離的藝術(shù)與建筑系的系館，意在體現(xiàn)耶魯大學(xué)在當(dāng)代設(shè)計(jì)中應(yīng)有的地位。
1960年代，國際式設(shè)計(jì)風(fēng)格變得愈發(fā)標(biāo)準(zhǔn)化、去場所化，而魯?shù)婪騾s采取了一套與耶魯大學(xué)校園及紐黑文市文脈深深交融的建筑語言及城市設(shè)計(jì)方法。他設(shè)計(jì)的高聳塔樓作為校園藝術(shù)區(qū)的收尾，另一端則毗鄰斯特利特樓——即學(xué)院原來的維多利亞風(fēng)格系館（筆者創(chuàng)立的黛博拉·伯克及合伙人事務(wù)所后來擴(kuò)建了這個區(qū)域，為耶魯大學(xué)藝術(shù)學(xué)院設(shè)計(jì)了一棟新系館）。當(dāng)時(shí)這棟建筑稱作藝術(shù)與建筑系館，它的燈芯絨混凝土材質(zhì)令人聯(lián)想到耶魯大學(xué)的哥特式石材學(xué)院建筑，以及校園中同樣重要的現(xiàn)代建筑——如路易·康的耶魯大學(xué)美術(shù)館新館。屋頂平臺可盡攬紐黑文和臨近的東石山及西石山風(fēng)景。在魯?shù)婪虻氖种校F(xiàn)代主義變得果敢而自信，同時(shí)糅合了歷史和所處的城市文脈。
建筑室內(nèi)更加令人眼花繚亂。建筑共9層，有37個標(biāo)高，呈螺旋形平面，環(huán)繞著一個多層通高空間，這里原本是建筑設(shè)計(jì)專教。充滿生機(jī)的橙/紅“辣椒”色地毯為粗獷的混凝土墻面帶來反差性的溫暖。建筑中遍布著經(jīng)典雕塑作品的石膏件。一尊古老的密涅瓦石像俯視著空間中的建筑學(xué)子——這樣一種戲劇化手法完全屬于魯?shù)婪颉＝ㄖ矫骟w現(xiàn)了耶魯大學(xué)作為某種意義上的“美國包豪斯”的定位，將建筑作為“藝術(shù)之母”位于空間的中心，周圍環(huán)繞著繪畫、雕塑、平面設(shè)計(jì)、攝影和城市規(guī)劃。
建筑在1963年開幕時(shí)引起了評論界轟動，成為媒體的寵兒，出現(xiàn)在《進(jìn)步建筑》的封面上，并獲得了《紐約時(shí)報(bào)》《建筑論壇》《建筑評論》等雜志的熱情報(bào)道。后來它被視為粗野主義建筑的代表作。
1 魯?shù)婪驑峭饩?Exterior views of Rudolph Hall（攝影/Photos: Richard Barnes）
2 魯?shù)婪驑峭饩?Exterior views of Rudolph Hall（攝影/Photos: Richard Barnes）
Rudolph Hall, the home of the Yale School of Architecture, has a fascinating and fractious history, which today offers lessons to the students of architecture and architectural history that study within its textured concrete walls. Reflecting the hands-on role that the Dean of Architecture plays in the shaping of the physical campus of the University, Dean Paul Rudolph designed a building to house the then-united art and architecture departments that was intended to articulate Yale's position on the state of contemporary design.
In the 1960s, with the International Style becoming increasingly corporate and placeless, Rudolph developed an architectural language and urbanistic approach engaged deeply with the campus and the city of New Haven. His towering building bookends the campus arts district, with the other side formed by Street Hall, the school's original Victorian home (The author's firm, Deborah Berke Partners, eventually extended that district further with a new home for the Yale School of Art). Then known as the Art & Architecture (A&A) building, its corduroy-patterned concrete forms relate to Yale's masonry collegiate gothic colleges, as well as the campus' stock of modern buildings, like Louis Kahn's extension to the Yale Art Gallery. A roof terrace offers sweeping views of New Haven and the nearby East and West Rock hills. Modernism, in Rudolph's hands, was bold and assertive but also layered with history and embedded in its urban context.
3 剖面/Section
不過這種轟動并不持久，因?yàn)榻ㄖ褂眠^程中的現(xiàn)實(shí)問題逐漸凸顯出來。將繪畫專教安排在層高很低的七層、將雕塑專教安排在地下室，都被證明是有問題的，藝術(shù)系學(xué)生憤怒不已?？照{(diào)系統(tǒng)和光線控制的不足使建筑空間在一年中大多數(shù)時(shí)候都很不舒適。魯?shù)婪蛟洪L的繼任者查爾斯·摩爾用淺黃色替換了辣椒色地毯，并做了其他一系列不留情面的調(diào)整。建筑系學(xué)生在優(yōu)雅的多層專教中支起隔墻、織物結(jié)構(gòu)等臨時(shí)設(shè)施，使其被嘲諷為“貧民窟”。最終，在1968年學(xué)生暴亂期間，一場大火席卷大樓，燒毀了學(xué)生作業(yè)，吞噬了建筑的3層樓。由于處在學(xué)校內(nèi)部的騷亂和耶魯及紐黑文不斷加深的矛盾沖突之間，這場大火的原因——意外、激進(jìn)主義還是惡意縱火——終不得知，對它的猜測延續(xù)至今。僅僅5年間，魯?shù)婪虻挠⑿蹌?chuàng)舉就幾乎付之一炬了。
這場大火開啟了學(xué)院及藝術(shù)與建筑系館的新篇章。校領(lǐng)導(dǎo)發(fā)現(xiàn)魯?shù)婪驑且堰^于擁擠，于是決定將建筑學(xué)院與藝術(shù)學(xué)院分離，這一舉措于1971年完成。同一年，藝術(shù)與建筑系館在經(jīng)過謙卑、簡單的修繕后，重新為建筑學(xué)院所使用。
4 各層平面/Visiters plan
如今，1960-1970年代的騷動已漸行漸遠(yuǎn)，而藝術(shù)與建筑系館已成為耶魯大學(xué)不可分割的身份標(biāo)識。它豐富的材料質(zhì)感、空間復(fù)雜度和令人激動的城市形式如今都是學(xué)生們心中的驕傲，同時(shí)也是學(xué)院教師、講師和評論者的教育工具。2008年，建筑在經(jīng)過格瓦斯梅·西格爾一絲不茍的修復(fù)工作之后恢復(fù)了曾經(jīng)的榮光，并重新命名為魯?shù)婪驑?，以紀(jì)念其建筑師。原先的通高專教成為了集教育、評圖和會議等多種功能為一體的空間（有時(shí)還可作為羽毛球場）。設(shè)計(jì)工作臺環(huán)繞著這一空間的邊緣，它不僅是學(xué)院的核心，也是魯?shù)婪虻脑O(shè)計(jì)天才最生動的展示之地。在諾爾公司的贊助下，耶魯大學(xué)最近又添置了伊夫斯廳（得名于平面設(shè)計(jì)師諾曼·伊夫斯，他的巨幅抽象壁畫裝點(diǎn)著空間中的一面墻）。伊夫斯廳也成了一處熱門的會面和聚會場所，這體現(xiàn)了將學(xué)習(xí)、社交與合作相融合的當(dāng)下趨勢。
Inside, the building was even more dazzling. With nine floors, including a dizzying 37 levels, the spaces are arranged in a pinwheel plan around a multistory space that originally served as the architecture studio. Vibrant orange/red "paprika" – coloured carpeting added warmth and contrast to the rough, ridged concrete walls, and plaster casts of classical statuary were placed throughout the building. An ancient stone figure of Minerva peers down over the architecture students – a touch of drama that was pure Rudolph. The building's plan reflected Yale's identity as a kind of American Bauhaus, with architecture as the "mother of the arts" at its centre and painting, sculpture, graphic design, photography, and city planning playing supporting roles.
A critical hit and media darling when it opened in 1963, the building appeared on the cover ofProgressive Architectureand receiving glowing coverage in outlets including theNew York Times,Architectural Forum,The Architectural Review, and many other publications. It would later come to be considered a masterwork of Brutalism.
5 內(nèi)景/Interior views
6 內(nèi)景/Interior views
7 內(nèi)景/Interior views
8 內(nèi)景/Interior views
魯?shù)婪驑堑霓Z動出現(xiàn)、快速衰落和最終復(fù)興，體現(xiàn)了建筑塑造生活經(jīng)驗(yàn)的力量，以及建筑師創(chuàng)造人性化、有意義的場所的責(zé)任——這些場所應(yīng)為所有使用者服務(wù)，即便其一開始未能如此。在建成54年之后，魯?shù)婪驑墙K究找到了自己。□（黃華青 譯）
9 靈活的評圖空間/Flexible review spaces
10 靈活的評圖空間/Flexible review spaces
The fan-fare proved to be short-lived, as the realities of working in the building became apparent. The placement of the painting studios in the low-ceilinged seventh floor and the basement sculpture studios proved problematic; the art students were outraged. A lack of air conditioning and proper light controls made the building uncomfortable for much of the year. Rudolph's successor, Dean Charles Moore, replaced the paprika carpeting with beige and made a series of other unsympathetic alterations. The architecture students built dividers, fabric structures, and other temporary constructions in the elegant multistory studio, which was then dubbed "the favela." Finally, amid the student uprisings of 1968, a fire ripped through the building, destroying student work, gutting three floors of the building. Amid the tumult on campus and the increasing tension between Yale and New Haven, the cause of the fire – accident, activism, or arson – was never determined; speculation about its origins continue to this day. Within five years, much of Rudolph's heroic creation had been reduced to ash.
The fire began a new chapter for the school and the A&A. Recognizing that Rudolph's building was already overcrowded, the University divided the Architecture School and the Art School into separate entities, a process completed in 1971. That same year the A&A building was reoccupied by the Architecture School with a modest, prosaic renovation.
Today the tumult of the 1960s and 1970s seems a distant memory, and the A&A building is an indelible part of Yale's identity. Its rich materiality, spatial complexity, and thrilling urban form is now a point of pride for our students, and the building serves as a pedagogical tool for our professors, instructors, and critics. In 2008, building was returned to its full glory with a meticulous renovation by Gwathmey Siegel and renamed Rudolph Hall in honor of its architect. The multi-story studio space now functions as a multipurpose teaching, critique, and meeting space (and sometimes badminton court). With the studio desks ringing its perimeter, this space is the heart of the school and is the place where Rudolph's genius is on most vivid display. With the support of Knoll, Yale recently created the Ives Lounge (for the graphic designer Norman Ives, whose supergraphic mural adorns one wall). The lounge is a popular meeting point and hangout area, reflecting current attitudes about mixing studying, socializing, and collaboration.
The remarkable rise, rapid fall, and ultimate resurrection of Rudolph Hall speaks to the power of architecture in shaping experience, and the responsibility architects carry to make humane, meaningful places that honor all their users, even if they fail at first. Fiftyfour years after it opened, Rudolph Hall is just right.□
11 靈活的公共空間/Flexible public spaces（本文未標(biāo)注照片均由耶魯大學(xué)建筑學(xué)院提供/All unmarked photos are provided by Department of Architecture, Yale University）
12 靈活的公共空間/Flexible public spaces（本文未標(biāo)注照片均由耶魯大學(xué)建筑學(xué)院提供/All unmarked photos are provided by Department of Architecture, Yale University）
Rudolph Hall at Yale University
Deborah Berke
This paper explores the history of Rudolph Hall and the school's iconic home designed by Paul Rudolph, in details how Rudolph's design challenged the norms of the International Style. Rudolph Hall was completed in 1963, building opened to praise and fanfare, but within five years it fell into neglect, faced student revolts, and was gutted by a fire. Following a meticulous renovation in 2008, Rudolph Hall is now appreciated for its spatial complexity, rich materiality, and sophisticated urbanism.
Paul Rudolph, Yale, architecture, Brutalism
耶魯大學(xué)建筑學(xué)院
2017-07-11
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黛博拉·伯克
耶魯大學(xué)魯?shù)婪驑?/p>
黛博拉·伯克
本文探討了魯?shù)婪驑堑臍v史，詳細(xì)論述了保羅·魯?shù)婪虻脑O(shè)計(jì)如何應(yīng)對國際式風(fēng)格的挑戰(zhàn)。魯?shù)婪驑窃?963年建成，對外開放后即受到贊揚(yáng)和宣傳，卻在5年后被忽視，經(jīng)歷學(xué)生起義，又被大火損毀。2008年，經(jīng)精心改造后，魯?shù)婪驑窃俅我蚱淇臻g的復(fù)雜性、豐富的物質(zhì)性及精妙的城市化受到稱贊。
保羅·魯?shù)婪?，耶魯，建筑，粗野主義
魯?shù)婪驑鞘且敶髮W(xué)建筑學(xué)院所在地，擁有一段迷人、波折的歷史，如今它也為處在其質(zhì)感獨(dú)特的混凝土墻面內(nèi)的建筑學(xué)及建筑歷史學(xué)子帶去啟示。保羅·魯?shù)婪蜊`行了建筑學(xué)院院長在塑造大學(xué)物質(zhì)環(huán)境時(shí)發(fā)揮的躬親之職，設(shè)計(jì)了當(dāng)時(shí)尚未分離的藝術(shù)與建筑系的系館，意在體現(xiàn)耶魯大學(xué)在當(dāng)代設(shè)計(jì)中應(yīng)有的地位。
1960年代，國際式設(shè)計(jì)風(fēng)格變得愈發(fā)標(biāo)準(zhǔn)化、去場所化，而魯?shù)婪騾s采取了一套與耶魯大學(xué)校園及紐黑文市文脈深深交融的建筑語言及城市設(shè)計(jì)方法。他設(shè)計(jì)的高聳塔樓作為校園藝術(shù)區(qū)的收尾，另一端則毗鄰斯特利特樓——即學(xué)院原來的維多利亞風(fēng)格系館（筆者創(chuàng)立的黛博拉·伯克及合伙人事務(wù)所后來擴(kuò)建了這個區(qū)域，為耶魯大學(xué)藝術(shù)學(xué)院設(shè)計(jì)了一棟新系館）。當(dāng)時(shí)這棟建筑稱作藝術(shù)與建筑系館，它的燈芯絨混凝土材質(zhì)令人聯(lián)想到耶魯大學(xué)的哥特式石材學(xué)院建筑，以及校園中同樣重要的現(xiàn)代建筑——如路易·康的耶魯大學(xué)美術(shù)館新館。屋頂平臺可盡攬紐黑文和臨近的東石山及西石山風(fēng)景。在魯?shù)婪虻氖种校F(xiàn)代主義變得果敢而自信，同時(shí)糅合了歷史和所處的城市文脈。
建筑室內(nèi)更加令人眼花繚亂。建筑共9層，有37個標(biāo)高，呈螺旋形平面，環(huán)繞著一個多層通高空間，這里原本是建筑設(shè)計(jì)專教。充滿生機(jī)的橙/紅“辣椒”色地毯為粗獷的混凝土墻面帶來反差性的溫暖。建筑中遍布著經(jīng)典雕塑作品的石膏件。一尊古老的密涅瓦石像俯視著空間中的建筑學(xué)子——這樣一種戲劇化手法完全屬于魯?shù)婪颉＝ㄖ矫骟w現(xiàn)了耶魯大學(xué)作為某種意義上的“美國包豪斯”的定位，將建筑作為“藝術(shù)之母”位于空間的中心，周圍環(huán)繞著繪畫、雕塑、平面設(shè)計(jì)、攝影和城市規(guī)劃。
建筑在1963年開幕時(shí)引起了評論界轟動，成為媒體的寵兒，出現(xiàn)在《進(jìn)步建筑》的封面上，并獲得了《紐約時(shí)報(bào)》《建筑論壇》《建筑評論》等雜志的熱情報(bào)道。后來它被視為粗野主義建筑的代表作。
1 魯?shù)婪驑峭饩?Exterior views of Rudolph Hall（攝影/Photos: Richard Barnes）
2 魯?shù)婪驑峭饩?Exterior views of Rudolph Hall（攝影/Photos: Richard Barnes）
Rudolph Hall, the home of the Yale School of Architecture, has a fascinating and fractious history, which today offers lessons to the students of architecture and architectural history that study within its textured concrete walls. Reflecting the hands-on role that the Dean of Architecture plays in the shaping of the physical campus of the University, Dean Paul Rudolph designed a building to house the then-united art and architecture departments that was intended to articulate Yale's position on the state of contemporary design.
In the 1960s, with the International Style becoming increasingly corporate and placeless, Rudolph developed an architectural language and urbanistic approach engaged deeply with the campus and the city of New Haven. His towering building bookends the campus arts district, with the other side formed by Street Hall, the school's original Victorian home (The author's firm, Deborah Berke Partners, eventually extended that district further with a new home for the Yale School of Art). Then known as the Art & Architecture (A&A) building, its corduroy-patterned concrete forms relate to Yale's masonry collegiate gothic colleges, as well as the campus' stock of modern buildings, like Louis Kahn's extension to the Yale Art Gallery. A roof terrace offers sweeping views of New Haven and the nearby East and West Rock hills. Modernism, in Rudolph's hands, was bold and assertive but also layered with history and embedded in its urban context.
3 剖面/Section
不過這種轟動并不持久，因?yàn)榻ㄖ褂眠^程中的現(xiàn)實(shí)問題逐漸凸顯出來。將繪畫專教安排在層高很低的七層、將雕塑專教安排在地下室，都被證明是有問題的，藝術(shù)系學(xué)生憤怒不已?？照{(diào)系統(tǒng)和光線控制的不足使建筑空間在一年中大多數(shù)時(shí)候都很不舒適。魯?shù)婪蛟洪L的繼任者查爾斯·摩爾用淺黃色替換了辣椒色地毯，并做了其他一系列不留情面的調(diào)整。建筑系學(xué)生在優(yōu)雅的多層專教中支起隔墻、織物結(jié)構(gòu)等臨時(shí)設(shè)施，使其被嘲諷為“貧民窟”。最終，在1968年學(xué)生暴亂期間，一場大火席卷大樓，燒毀了學(xué)生作業(yè)，吞噬了建筑的3層樓。由于處在學(xué)校內(nèi)部的騷亂和耶魯及紐黑文不斷加深的矛盾沖突之間，這場大火的原因——意外、激進(jìn)主義還是惡意縱火——終不得知，對它的猜測延續(xù)至今。僅僅5年間，魯?shù)婪虻挠⑿蹌?chuàng)舉就幾乎付之一炬了。
這場大火開啟了學(xué)院及藝術(shù)與建筑系館的新篇章。校領(lǐng)導(dǎo)發(fā)現(xiàn)魯?shù)婪驑且堰^于擁擠，于是決定將建筑學(xué)院與藝術(shù)學(xué)院分離，這一舉措于1971年完成。同一年，藝術(shù)與建筑系館在經(jīng)過謙卑、簡單的修繕后，重新為建筑學(xué)院所使用。
4 各層平面/Visiters plan
如今，1960-1970年代的騷動已漸行漸遠(yuǎn)，而藝術(shù)與建筑系館已成為耶魯大學(xué)不可分割的身份標(biāo)識。它豐富的材料質(zhì)感、空間復(fù)雜度和令人激動的城市形式如今都是學(xué)生們心中的驕傲，同時(shí)也是學(xué)院教師、講師和評論者的教育工具。2008年，建筑在經(jīng)過格瓦斯梅·西格爾一絲不茍的修復(fù)工作之后恢復(fù)了曾經(jīng)的榮光，并重新命名為魯?shù)婪驑?，以紀(jì)念其建筑師。原先的通高專教成為了集教育、評圖和會議等多種功能為一體的空間（有時(shí)還可作為羽毛球場）。設(shè)計(jì)工作臺環(huán)繞著這一空間的邊緣，它不僅是學(xué)院的核心，也是魯?shù)婪虻脑O(shè)計(jì)天才最生動的展示之地。在諾爾公司的贊助下，耶魯大學(xué)最近又添置了伊夫斯廳（得名于平面設(shè)計(jì)師諾曼·伊夫斯，他的巨幅抽象壁畫裝點(diǎn)著空間中的一面墻）。伊夫斯廳也成了一處熱門的會面和聚會場所，這體現(xiàn)了將學(xué)習(xí)、社交與合作相融合的當(dāng)下趨勢。
Inside, the building was even more dazzling. With nine floors, including a dizzying 37 levels, the spaces are arranged in a pinwheel plan around a multistory space that originally served as the architecture studio. Vibrant orange/red "paprika" – coloured carpeting added warmth and contrast to the rough, ridged concrete walls, and plaster casts of classical statuary were placed throughout the building. An ancient stone figure of Minerva peers down over the architecture students – a touch of drama that was pure Rudolph. The building's plan reflected Yale's identity as a kind of American Bauhaus, with architecture as the "mother of the arts" at its centre and painting, sculpture, graphic design, photography, and city planning playing supporting roles.
A critical hit and media darling when it opened in 1963, the building appeared on the cover ofProgressive Architectureand receiving glowing coverage in outlets including theNew York Times,Architectural Forum,The Architectural Review, and many other publications. It would later come to be considered a masterwork of Brutalism.
5 內(nèi)景/Interior views
6 內(nèi)景/Interior views
7 內(nèi)景/Interior views
8 內(nèi)景/Interior views
魯?shù)婪驑堑霓Z動出現(xiàn)、快速衰落和最終復(fù)興，體現(xiàn)了建筑塑造生活經(jīng)驗(yàn)的力量，以及建筑師創(chuàng)造人性化、有意義的場所的責(zé)任——這些場所應(yīng)為所有使用者服務(wù)，即便其一開始未能如此。在建成54年之后，魯?shù)婪驑墙K究找到了自己。□（黃華青 譯）
9 靈活的評圖空間/Flexible review spaces
10 靈活的評圖空間/Flexible review spaces
The fan-fare proved to be short-lived, as the realities of working in the building became apparent. The placement of the painting studios in the low-ceilinged seventh floor and the basement sculpture studios proved problematic; the art students were outraged. A lack of air conditioning and proper light controls made the building uncomfortable for much of the year. Rudolph's successor, Dean Charles Moore, replaced the paprika carpeting with beige and made a series of other unsympathetic alterations. The architecture students built dividers, fabric structures, and other temporary constructions in the elegant multistory studio, which was then dubbed "the favela." Finally, amid the student uprisings of 1968, a fire ripped through the building, destroying student work, gutting three floors of the building. Amid the tumult on campus and the increasing tension between Yale and New Haven, the cause of the fire – accident, activism, or arson – was never determined; speculation about its origins continue to this day. Within five years, much of Rudolph's heroic creation had been reduced to ash.
The fire began a new chapter for the school and the A&A. Recognizing that Rudolph's building was already overcrowded, the University divided the Architecture School and the Art School into separate entities, a process completed in 1971. That same year the A&A building was reoccupied by the Architecture School with a modest, prosaic renovation.
Today the tumult of the 1960s and 1970s seems a distant memory, and the A&A building is an indelible part of Yale's identity. Its rich materiality, spatial complexity, and thrilling urban form is now a point of pride for our students, and the building serves as a pedagogical tool for our professors, instructors, and critics. In 2008, building was returned to its full glory with a meticulous renovation by Gwathmey Siegel and renamed Rudolph Hall in honor of its architect. The multi-story studio space now functions as a multipurpose teaching, critique, and meeting space (and sometimes badminton court). With the studio desks ringing its perimeter, this space is the heart of the school and is the place where Rudolph's genius is on most vivid display. With the support of Knoll, Yale recently created the Ives Lounge (for the graphic designer Norman Ives, whose supergraphic mural adorns one wall). The lounge is a popular meeting point and hangout area, reflecting current attitudes about mixing studying, socializing, and collaboration.
The remarkable rise, rapid fall, and ultimate resurrection of Rudolph Hall speaks to the power of architecture in shaping experience, and the responsibility architects carry to make humane, meaningful places that honor all their users, even if they fail at first. Fiftyfour years after it opened, Rudolph Hall is just right.□
11 靈活的公共空間/Flexible public spaces（本文未標(biāo)注照片均由耶魯大學(xué)建筑學(xué)院提供/All unmarked photos are provided by Department of Architecture, Yale University）
12 靈活的公共空間/Flexible public spaces（本文未標(biāo)注照片均由耶魯大學(xué)建筑學(xué)院提供/All unmarked photos are provided by Department of Architecture, Yale University）
Rudolph Hall at Yale University
Deborah Berke
This paper explores the history of Rudolph Hall and the school's iconic home designed by Paul Rudolph, in details how Rudolph's design challenged the norms of the International Style. Rudolph Hall was completed in 1963, building opened to praise and fanfare, but within five years it fell into neglect, faced student revolts, and was gutted by a fire. Following a meticulous renovation in 2008, Rudolph Hall is now appreciated for its spatial complexity, rich materiality, and sophisticated urbanism.
Paul Rudolph, Yale, architecture, Brutalism
耶魯大學(xué)建筑學(xué)院
2017-07-11
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