建筑学外文翻译—罗森塔尔当代艺术中心

广西科技大学

Zaha Hadid Architects 2003

Rosenthal Center for Contemporary Art

Cincinnati, Ohio USA

The Rosenthal Center for Contemporary Art is Prize-winning architect Zaha Hadid’s first building in the United States,and the first major American museum designed by a woman. It is also notable for its sophisticated interior spaces and the warm embrace of environment---all achieved for the relatively modest price of $20.5 million.—The center is not a collecting institution: It organizes and displays temporary exhibitions,installations, and performances. The institution had rented space in unceremonious locations throughout the city since its founding in 1939 as the Modern Art Society. Its new location on a prime corner in downtown Cincinnati—across the street from Cesdar Pelli’s Aronoff Center for the Arts—was a chance to increse its profile in city._Hadid wanted to draw the energy and activity of the city into the lobby and up into its galleries. To that end, she created an “urban carpet,” a concrete floor that sweeps in from the sidewalk through the lobby and folds up like a skateboarding ramp to frame the backdrop of a dramatic atrium. The skylit atrium, exending the full six-story height of building, features a kinetic, self-contained circulation spine. Ramplike stairs wrapped in steel box-beams energetically zigzag their way up through the skylit space to reach galleries on four floors._Hadid’s intent was to put everyone who uses the circulation spine in contact with all of the 87,500-square-foot(8,113-square-meter) building’s functions. The ground floor contains the lobby, reception area, and museum shop; an underground level houses a black-box performance space. The third floor and part of the fourth are given over to the museum’s offices and a staff lounge. The building’s uppermost level contains a children’s space, called the UnMuseum. The rest of the floors contain a variety of galleries-from double-height spaces to small and intimate rooms._The exterior elevations revesl the building’s interior organization. Hadid orchestrated volumes clad in precast concrete and anodized black aluminum into a dynamic massing of overlapping and intersecting blocks that stands out among Cincinnati’s staid downtown buildings. On the south facade each floor level is clearly articulated with bands of precast concrete, glass, or anodized steel. The long,striated blocks align respectfully with the cornices and floor lines of an adjacent historic building. Hadid challenged the logic of gravty by placing blocks of steel and concrete above bands of glass. On the building’s short side elevation, the exterior explodes with an energetic push-and-pull. The cantilevered ends of the individual volumes projecting begond each other and over the street create a sculptural urban bas-relief. The upward thrust