新的南希和里奇金德博物館大樓的特點(diǎn)是多孔，在所有高度都打開(kāi)底層。七個(gè)花園切割周邊，標(biāo)記入口點(diǎn)并標(biāo)出海拔。最大的花園庭院位于 Bissonnet 和 Main Street 的拐角處，標(biāo)志著休斯頓新校區(qū)美術(shù)博物館的中心入口。

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站在金德大廈的新入口大廳，可以從四個(gè)方向看到花園和茂密的休斯頓植被，感受到一種新的社區(qū)開(kāi)放感的誘人能量。德克薩斯州的天空在覆蓋新建筑的發(fā)光天篷上方打開(kāi) 180°。

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從云圈中想象出來(lái)的凹曲線向下推動(dòng)屋頂?shù)膸缀涡螤?，讓自然光以精確的尺寸和質(zhì)量進(jìn)入，非常適合頂部照明的畫廊。所有的畫廊都水平組織在兩個(gè)層次上，自然采光，靈活開(kāi)放?；⌒翁旎ò宓牡酌娉蔀榉垂獍?，捕捉光線并在每個(gè)獨(dú)特的畫廊體驗(yàn)中滑動(dòng)。

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這些彎曲的光線以一種獨(dú)特的方式塑造了畫廊空間，與新校園特有的茂密植被和水的有機(jī)品質(zhì)相關(guān)。光線不是機(jī)械的和重復(fù)的，而是流動(dòng)的，通過(guò)畫廊與運(yùn)動(dòng)相呼應(yīng)。穿過(guò)畫廊的開(kāi)放式流動(dòng)被七個(gè)花園的景色打斷，綠色格子提供遮光效果。

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畫廊以一個(gè)開(kāi)放的論壇為中心。中央畫廊中庭為藝術(shù)展覽和上層的垂直流通提供了寬敞的空間。金德大樓在博物館收藏的石頭（1924 年）、鋼和玻璃（1958 年、1974 年）和石頭（2000 年）建筑的收藏中增加了半透明玻璃的水平建筑。

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其創(chuàng)新的玻璃管立面具有柔軟的雪花石膏般的質(zhì)地。30 英寸的玻璃管在頂部和底部打開(kāi)，提供了一個(gè)“冷套”，通過(guò)空氣循環(huán)的煙囪效應(yīng)將外墻的太陽(yáng)能增益減少了 70%。到了晚上，發(fā)光的半透明立面倒映在水上花園中，并提供了進(jìn)入博物館的公開(kāi)邀請(qǐng)。

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英文版

The new Nancy and Rich Kinder Museum Building is characterized by porosity, opening the ground floor at all elevations. Seven gardens slice the perimeter, marking points of entry and punctuating the elevations. The largest garden court, at the corner of Bissonnet and Main Street, marks a central entry point on the new Museum of Fine Arts, Houston campus.

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When standing in the new entrance lobby of the Kinder Building, one can see gardens and lush Houston vegetation in four directions and feel the inviting energy of a new sense of openness to the community. The Texas sky opens 180° overhead above a luminous canopy covering the new building.

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Concave curves, imagined from cloud circles, push down on the roof geometry, allowing natural light to slip in with precise measure and quality, perfect for top-lit galleries. Organized horizontally on two levels, all galleries have natural light and are flexible with open flow. The undersides of the curved ceiling become light reflectors, catching and sliding the light across each distinct gallery experience.

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These curved slices of light shape the gallery spaces in a unique way related to the organic qualities of the lush vegetation and water that characterize the new campus. Rather than mechanical and repetitive, the light is flowing, echoing the movement through the galleries. The open flow through galleries is punctuated by views into the seven gardens with green trellises offering shade from glare.

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The galleries are centered around an open forum. The central gallery atrium provides generous spaces for the exhibition of art and vertical circulation to the upper floors. The Kinder Building adds a horizontal architecture in translucent glass to the museum’s collection of stone (1924), steel and glass (1958, 1974), and stone (2000) buildings.

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Its innovative glass-tube facade has a soft, alabaster-like texture. The 30-inch tubes of glass open at the top and bottom, providing a “cold jacket” which reduces solar gain by 70% on the facades via the chimney effect of air circulation. At night, the glowing translucent facade is reflected in the water gardens and provides an open invitation to enter the museum.

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