新的南希和里奇金德博物馆大楼的特点是多孔，在所有高度都打开底层。七个花园切割周边，标记入口点并标出海拔。最大的花园庭院位于 Bissonnet 和 Main Street 的拐角处，标志着休斯顿新校区美术博物馆的中心入口。

站在金德大厦的新入口大厅，可以从四个方向看到花园和茂密的休斯顿植被，感受到一种新的社区开放感的诱人能量。德克萨斯州的天空在覆盖新建筑的发光天篷上方打开 180°。

从云圈中想象出来的凹曲线向下推动屋顶的几何形状，让自然光以精确的尺寸和质量进入，非常适合顶部照明的画廊。所有的画廊都水平组织在两个层次上，自然采光，灵活开放。弧形天花板的底面成为反光板，捕捉光线并在每个独特的画廊体验中滑动。

这些弯曲的光线以一种独特的方式塑造了画廊空间，与新校园特有的茂密植被和水的有机品质相关。光线不是机械的和重复的，而是流动的，通过画廊与运动相呼应。穿过画廊的开放式流动被七个花园的景色打断，绿色格子提供遮光效果。

画廊以一个开放的论坛为中心。中央画廊中庭为艺术展览和上层的垂直流通提供了宽敞的空间。金德大楼在博物馆收藏的石头（1924 年）、钢和玻璃（1958 年、1974 年）和石头（2000 年）建筑的收藏中增加了半透明玻璃的水平建筑。

其创新的玻璃管立面具有柔软的雪花石膏般的质地。30 英寸的玻璃管在顶部和底部打开，提供了一个“冷套”，通过空气循环的烟囱效应将外墙的太阳能增益减少了 70%。到了晚上，发光的半透明立面倒映在水上花园中，并提供了进入博物馆的公开邀请。

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.

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.

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.

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.

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.

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.