波士頓藝術(shù)博物館，波士頓，美國(guó)

建筑設(shè)計(jì)：福斯特及合伙人事務(wù)所

ARCHITECTS: Foster + Partners

波士頓藝術(shù)博物館成立于1870年，是美國(guó)最大、世界上最好的博物館之一，每年有超過(guò)100萬(wàn)的參觀(guān)者。但是，同其他許多此類(lèi)機(jī)構(gòu)一樣，觀(guān)眾的規(guī)模導(dǎo)致了博物館設(shè)施被過(guò)度使用。在建筑上，這個(gè)項(xiàng)目重復(fù)了德國(guó)議會(huì)大廈和大英博物館的大廳所探討的主題，結(jié)合了新舊元素，并且通過(guò)讓博物館變得更為開(kāi)放和易達(dá)來(lái)加強(qiáng)同社區(qū)的聯(lián)系。

博物館總體設(shè)計(jì)的核心是對(duì)建筑的鮑扎平面的邏輯性進(jìn)行修復(fù)，原建筑由建筑師蓋伊·洛厄爾設(shè)計(jì)于1907年。通過(guò)再次引入亨廷頓大道上的南面主入口并重新開(kāi)放北面的入口，再次強(qiáng)調(diào)了中軸線(xiàn)。軸線(xiàn)的中心部分是一個(gè)新的信息中心，游客們從這里開(kāi)始他們的藝術(shù)長(zhǎng)廊之旅。一個(gè)獨(dú)立的玻璃結(jié)構(gòu)——“水晶的脊柱”被插入在大樓的兩個(gè)主要的體塊中，創(chuàng)造出美洲藝術(shù)的側(cè)翼。新的翼樓被布置在4層樓之上，提供了53間畫(huà)廊，顯著地增加了博物館的展覽空間， 5 000份收集來(lái)的作品能被安置在永久性展廳里。在水晶脊柱和中軸線(xiàn)相交的地方，一個(gè)現(xiàn)有的院子被包圍在一個(gè)玻璃“珠寶盒”中，創(chuàng)造了游客問(wèn)詢(xún)處、一個(gè)咖啡廳以及下方用于特殊展覽的新畫(huà)廊的空間。

為實(shí)現(xiàn)高能效的設(shè)計(jì)，院子是自然采光的，所有的新畫(huà)廊都有最先進(jìn)的氣候控制系統(tǒng)。畫(huà)廊空間的布置使藝術(shù)品能在有更高的清晰度和亮度的環(huán)境下展示。圍繞博物館的新的景觀(guān)設(shè)計(jì)，加強(qiáng)了與后灣沼澤公園的聯(lián)系，公園的獨(dú)特布局是由紐約中央公園的建筑師弗雷德里克·勞·奧姆斯特德設(shè)計(jì)的。景觀(guān)設(shè)計(jì)遵從了奧姆斯特德的寬闊路徑和不規(guī)則種植的浪漫主義傳統(tǒng)，把沼澤地的綠色植被引入建筑?！酰ㄅ硇鞘| 譯）

業(yè)主/Client: 波士頓藝術(shù)博物館/Museum of Fine Arts, Boston

設(shè)計(jì)團(tuán)隊(duì)/Design Team: Norman Foster, Spencer de Grey, Michael Jones, William Castagna, Kate Murphy,Carol Patterson, Robin Blanchard, Kristin Fox, Herbert Gsottbauer, Anthony Guma, Yat Lun Ng, Mathis Osterhage, Silvia Peredes, Michael Pelken, Sean Hanna,Ismael Juan Khan, Abel Maciel, Peter Matcham, Pablo Menendez Paz, Michael Richter, Katherine Ridley,Kinna Stallard, Matthew Stokes, Oliver Wong, Aiden Monaghan, Ingrid Solken, John Small, Benedicte Artault, Judith Kernt, Alexis Williams, Diego Suarez,James Edwards, Chris Connell, Morgan Fleming

結(jié)構(gòu)/Structural: Weidlinger Associates

造價(jià)/Cost: Davis Langdon

機(jī)電工程/ME: Shooshanian Engineering Inc.

景觀(guān)/Landscape: Gustafson Guthrie Nichol Ltd

照明/Lighting: George Sexton Associates

攝影（除標(biāo)注外）/Photos(except as noted): Nigel Young/Foster Partners

1 諾曼·福斯特的草圖：恢復(fù)主要的交通軸線(xiàn)或“水晶脊”/Sketch by Norman Foster showing the restored main circulation axis, or“crystal spine”.（攝影/Photo: Chuck Choi）

2 后灣沼澤公園對(duì)面新的石材表面的美洲藝術(shù)翼樓，中間是玻璃交通空間/New stone clad Art of the Americas Wing opposite the Back Bay Fens park, with glazed circulation in between.

3 新美洲藝術(shù)翼樓外景/Exterior views of the new Art of the Americas Wing.

Founded in 1870, the Museum of Fine Arts,Boston is one of the largest art museums in the United States and among the world's finest, visited by more than one million people every year.However, in common with many such institutions,over time the scale of this audience placed a great strain on its facilities. Architecturally, the project echoes themes explored in the Reichstag and the Great Court at the British Museum, combining elements of old and new and strengthening links with the community by making the museum building more open and accessible.

At the core of the masterplan for the museum is the restoration of the logic of the building's Beaux-Arts plan, devised by the architect Guy Lowell in 1907. The central axis has been reasserted with the reintroduction of the principal entrance to the south on Huntington Avenue and the reopening of that to the north. At the heart of this axis is a new information centre, from where visitors begin their tour of the galleries. A freestanding glazed structure－"a crystal spine"－h(huán)as been inserted between the building's two main volumes to create the Art of the Americas Wing. Arranged over four floors, and providing fifty-three galleries this new wing has increased the museum's exhibition space significantly, enabling some 5,000 works from the collection to be placed on permanent display. Where the crystal spine meets the central axis, it partly encloses an existing courtyard in a glass "jewel box". This creates spaces for visitor orientation and a café, with a new gallery for special exhibitions beneath.

Designed to be highly energy efficient, the courtyard is naturally lit and all the new galleries have state-of-the-art climate control systems.The gallery spaces are configured to allow art to be displayed with a more obvious sense of clarity and light. Surrounding the museum, new landscaping is designed to strengthen links with the Back Bay Fens, originally laid out by Frederick Law Olmsted, architect of New York's Central Park. The landscape design follows Olmsted's Romantic tradition of winding paths and informal planting to draw the greenery of the Fens into the building.□

4 新美洲藝術(shù)翼樓外景/Exterior views of the new Art of the Americas Wing.

5 美洲藝術(shù)翼樓與恢復(fù)的主軸線(xiàn)之間新覆頂庭院內(nèi)景，庭院內(nèi)的樓梯通往新展廳/Interior of new covered courtyard between the Art of the Americas Wing and restored main axis with stairways leading up into the new galleries.

6 一層平面，新美洲藝術(shù)翼樓在右側(cè)/Level one plan with new Art of Americas Wing on right.

7 二層平面/Level two plan

8 鄰接美洲藝術(shù)翼樓的覆頂庭院，用于舉行各種公共活動(dòng)/The covered courtyard adjacent to the Art of the Americas Wing is designed to accommodate different public events.

9 鄰接美洲藝術(shù)翼樓的覆頂庭院，用于舉行各種公共活動(dòng)/The covered courtyard adjacent to the Art of the Americas Wing is designed to accommodate different public events.

10 庭院立面/Courtyard elevation

11 庭院剖面/Courtyard section

12 新翼樓中的玻璃交通空間提供了望向后灣沼澤公園的視野/Glazed circulation spaces in the new wing provide views of the Back Bay Fens.

13 新翼樓中的玻璃交通空間提供了望向后灣沼澤公園的視野/Glazed circulation spaces in the new wing provide views of the Back Bay Fens.

14 沼澤地的景觀(guān)被引入作為玻璃庭院和歷史建筑之間綠化的一部分/The landscape of the Fens is drawn into the museum as strands of greenery between the glazed courtyard and historic buildings.

15 美洲藝術(shù)翼樓局部外景/Part view into the Art of the Americas Wing.

16 長(zhǎng)剖面/Long section

17 新翼樓中的展廳內(nèi)景，室內(nèi)和裝置由福斯特及合伙人事務(wù)所設(shè)計(jì)/Interior of a gallery in the new wing, with interior, casework and fittings designed by Foster + Partners.

18 展廳按年代布置，20世紀(jì)的藝術(shù)品被安排在頂層/The galleries are arranged chronologically, with twentieth century works of art on the top floor.