波士頓藝術(shù)博物館

業(yè)主單位：波士頓藝術(shù)博物館

項(xiàng)目地點(diǎn)：美國(guó)波士頓

建筑設(shè)計(jì)：福斯特建筑事務(wù)所

記錄建筑師：CBT/Childs Bertman Tseckares Inc.

結(jié)構(gòu)/機(jī)電設(shè)計(jì)：Buro Happold

記錄結(jié)構(gòu)設(shè)計(jì)：Weidlinger Associates

記錄機(jī)電設(shè)計(jì)：WSP Flack + Kurtz

景觀設(shè)計(jì)：Gustafson Guthrie Nichol Ltd.

設(shè)計(jì)/建造：1999 / 2010 年

攝影：Nigel Young / 福斯特建筑事務(wù)所

Client: Museum of Fine Arts, Boston

Location: Boston, USA

Architectural Design: Foster + Partners

Architect of Record: CBT/Childs Bertman Tseckares Inc.

Design Structural / MPE Engineers: Buro Happold

Structural Engineers of Record: Weidlinger Associates

MEP Engineers of Record: WSP Flack + Kurtz

Landscape Architect: Gustafson Guthrie Nichol Ltd.

Design / Completion: 1999 / 2010

Photography: Nigel Young / Foster + Partners

? Chuck Choi

波士頓藝術(shù)博物館成立于1870 年，其基礎(chǔ)是建筑師蓋伊洛厄爾（Guy Lowell）的一個(gè)美術(shù)學(xué)校的規(guī)劃?，F(xiàn)方案恢復(fù)原方案的邏輯，建筑物的中軸線一直強(qiáng)調(diào)主要入口，朝向亨廷頓藝術(shù)大道，并重新開(kāi)放北部，朝向State Street Corporation Fenway 入口。軸線的心臟地點(diǎn)是一個(gè)新的信息中心，在那里訪客開(kāi)始他們?cè)诮ㄖ械膮⒂^。

新的波士頓藝術(shù)博物館美國(guó)藝術(shù)展區(qū)，由福斯特建筑事務(wù)所與波士頓的CBT/Childs Bertman Tseckares 合作設(shè)計(jì)。精心設(shè)計(jì)的翼結(jié)構(gòu)增強(qiáng)了游客體驗(yàn)，并強(qiáng)調(diào)了其與流線型巴克貝沼澤公園的聯(lián)系。巴克貝沼澤公園由弗雷德里克·勞·奧姆斯特德（Frederick Law Olmsted）在1877年設(shè)計(jì)。新的翼結(jié)構(gòu)將包含53 個(gè)畫(huà)廊，涵蓋美國(guó)藝術(shù)收藏，它的存在將鞏固美國(guó)最大的五個(gè)收藏，使其成為一個(gè)有凝聚力和可理解的整體。除了獨(dú)立的飾面結(jié)構(gòu)，已建設(shè)的兩大展館之間插入了新翼（Americas Wing），分布在四個(gè)樓層。新翼顯著提升了博物館的展覽空間，使5 000 作品被顯示。該項(xiàng)目是福斯特事務(wù)所第一次全面設(shè)計(jì)了一套完整的畫(huà)廊翼，包括安裝及裝修 - 該計(jì)劃是53 畫(huà)廊與博物館的策展人密切合作的結(jié)果。翼的中央大樓與主樓的軸匯合，運(yùn)用玻璃圍合現(xiàn)有的庭院。這是訪客服務(wù)空間、咖啡廳和特別活動(dòng)、特別展的新畫(huà)廊。

該設(shè)計(jì)高效節(jié)能，庭院自然采光，畫(huà)廊有國(guó)家的最先進(jìn)的氣候控制設(shè)備。畫(huà)廊空間使得藝術(shù)品被清晰感知。周?chē)牟┪镳^，新的景觀設(shè)計(jì)，加強(qiáng)與后灣公園的連接，由奧姆斯特德（紐約中央公園的設(shè)計(jì)師）設(shè)計(jì)。景觀設(shè)計(jì)遵循步移景異和非正式的原則，沼澤區(qū)的綠化延伸到建筑，這是奧姆斯特德的浪漫主義傳統(tǒng)。特別地，沼澤景觀被引入博物館的心臟的新庭院內(nèi)。該設(shè)計(jì)重新解決了博物館的平衡。在其心臟的老院子是玻璃封閉的，以創(chuàng)造新的連接。

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(chǎn) crystal spine’ - has 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.

? Chuck Choi

剖面 Section

立面 Elevation

平面 Plan