現(xiàn)代藝術博物館（皇后區(qū)），紐約，美國

1 屋頂夜景/Roof at night（攝影/Photo:Christian Richters）

1999年，現(xiàn)代藝術博物館對其位于曼哈頓的設施進行了大規(guī)模的擴建，在擴建期間，博物館花費3 500萬美金將位于皇后區(qū)的Swingline訂書機工廠改造成了臨時展覽場所——皇后區(qū)現(xiàn)代藝術博物館（MoMA QNS）。

動態(tài)中的設施

MoMA QNS建成于2002年，規(guī)模14 307m2，在設計中有如下考慮。首先是博物館與周邊環(huán)境間的景觀過渡。建筑形式處于城市和鄉(xiāng)村的交界處——周邊環(huán)境既不具有傳統(tǒng)的市中心的特質，也不像一般的郊區(qū)景觀。重要的是，這里的景觀作為必要和基本的空間理所當然地存在于這里，形成城鄉(xiāng)兩種特質交換的場所。因為一直處于變化中，MoMA QNS的周邊環(huán)境看上去并不成型，而是一直在流動。這種變動的環(huán)境為博物館展示的當代文化、藝術和精神提供了重要背景。工廠原來的淺藍色表皮在這不可辨識的環(huán)境中提供了強大的可識別性，因此不僅被保留下來，還得到了強化，形成一種既熟悉又陌生的效果。博物館的外表與其尺度和規(guī)模一起，形成既具有諷刺性又具抽象感的特質，與周邊環(huán)境異常豐富的多樣性一起，構成復雜的視覺關系。

與材質相伴的形象

其次，這片郊區(qū)的場地上需要設計的不僅是即將改造的市中心的MoMA博物館的一鱗半爪。相反，動態(tài)的特質應該是MoMA QNS的性格的一部分。在到達博物館的途中，尤其在架空的7號輕軌線路上，列車從一棟大樓駛往車站的途中將有15秒時間路過這座建筑。在這個過程中，博物館的新形象將逐步展現(xiàn)：它首先是一系列黑盒子般的屋頂上的抽象的形象，之后，這些形象糅合在一起形成了MoMA高識別度的標志性形象，最后，又再次溶解在環(huán)境中。

空間編排上的變化感

將博物館的臨時性特質融入它最重要的核心價值也是重要的設計要素之一。在傳統(tǒng)的建筑或文化設計中，公共機構必須以會在社會中長期存在的形象示人。這種靜態(tài)的公共性特質通常以公共大臺階的形式呈現(xiàn)。鑒于MoMA QNS具有更動感的特質，訪客在進入博物館前就進入?yún)⒂^動線中，并延伸至各展館之間。這種順序感讓到達展館時的感受得以加強，讓MoMA QNS的入口不僅僅是跨越的邊界線，而是由動態(tài)感受定義、并充滿動感的空間的延伸。

雖然面臨有限的預算和不明確的日程安排，MoMA QNS仍然在原本變化的周邊環(huán)境中創(chuàng)造出獨特的空間感受，讓臨時的博物館能融入具有臨時性和當代感的環(huán)境之中?！酰ㄋ抉R蕾 譯）

2 入口/Entrance（攝影/Photo:Christian Richters）

3 入口/Entrance（攝影/Photo:Christian Richters）

4 一層平面/First floor plan

5 夾層平面/Mezzanine plan

In 1999, the Museum of Modern art undertook a major expansion of its historic Manhattan facilities; in the interim a＄35 million renovation of a Swingline Staples factory in Queens would become the Museum's home: MoMA QNS.

An Infrastructure of Movement

Completed in 2002, MoMA QNS’ 154,000 sf design can be seen as developing along three primary avenues of investigation. The first is an examination the museum's context within a transitional middle landscape, a condition between the urban and suburban which has neither the traditional identity of the urban center nor of the suburban landscape. Importantly, they exist,almost pathologically, as a necessary and essential zone: a place of exchange. In a constant state of becoming, MoMA QNS’ context is never fully formed but is instead in a permanent state of flux.This propelling condition constitutes an important context for contemporary culture, art, and understanding. As a result, the factory's original light blue color, which had a strong recognition value in an otherwise unremarkable context, was not simply maintained but was instead intensified,creating an amalgam at once familiar and unfamiliar. Coupled with the size and scale of the building, the Museum's presence, simultaneously iconic and abstract, could create a complex series of visual relationships within the context's overwhelming heterogeneity.

An Icon Engaged with Its Fabric

Second, the satellite site required the invention of an identity which was not a mere foreshadowing of the soon-to-be-remade midtown MoMA. Instead, the experience of movement came to constitute MoMA QNS’ identity. The journey to the Museum, primarily on the elevated No. 7 subway line, first engages the building above the street for a 15-second window as the train moves between an existing building and the station.Through this aperture the Museum's new identity appears: first as a series of abstract patterns across the rooftop's black boxes which then combine to form a legible reading of the MoMA logo before dissolving again.

6 從鐵路看遠景/Distant view from the front rail（攝影/Photo:Christian Richters）

Choreographing Change

Of critical significance was the transformation of the Museum's temporary nature into its most important asset. In a traditional architectural or cultural practice, to represent an institution is to assert their permanence within society. This static public identity, typically fixed in the form of a grand public stair, gives way to MoMA QNS' more dynamic identity, created by an extended procession which begins even before visitors arrive and continues through each of the Museum's galleries. This sequence extends the moment of arrival, rendering MoMA QNS' entry threshold not simply as a line to cross over, but instead as an expanded space of experience occupied and defined through movement.

Facing the challenges of a modest budget and an ambitious and inviolate schedule, MoMA QNS creates an extended choreography in what is otherwise a transitional zone, where the temporary is re-situated within a temporal, contemporary context.□

類型/Type:臨時美術館，劇場，咖啡店/Contemporary art museum, theater, & cafe

面積/Size: 14 307m2/154 000 sf

造價/Cost: ＄35 M

狀態(tài)/Status: 2002年建成/Completed 2002

7 內(nèi)景/Interior view（攝影/Photo:Christian Richters）

8 內(nèi)景/Interior view（攝影/Photo:Christian Richters）