我觉得我对这个博物馆的建设作出了小小的贡献。如果我没有在选举中击败路易斯·费雷，他就不会有足够的闲暇时间投入这个文化项目。

I feel that I have contributed, in my small way, to the building of this museum. Had I not defeated Luis Ferré in the election, he would not have had sufficient leisure time to devote to this cultural project.

 © Mary Ann Sullivan

玛丽·安·苏利文

毫无疑问，这座由爱德华·杜瑞尔·斯通设计并于1965年落成的新建筑，如果没有费雷独特的远见和非凡的慷慨，就不可能存在。斯通为博物馆设计的作品为他赢得了美国建筑师协会(AIA)荣誉奖，再加上费雷坚定不移地致力于该机构的成功，创造了加勒比地区最受认可和最受尊重的文化地标之一。

It is certainly true that this new building, designed by Edward Durell Stone and inaugurated in 1965, would not have existed without Ferré’s singular vision and extraordinary generosity. Stone’s design for the museum earned him an American Institute of Architects (AIA) Honor Award and, together with Ferré’s unwavering commitment to the success of the institution, produced what is now one of the most recognized and respected cultural landmarks in the Caribbean.

 © Mary Ann Sullivan

玛丽·安·苏利文

在从事政治生涯之前，费雷通过工业企业积累了一小笔财富。他把他的大部分财富花在慈善事业上，其中地图是最重要的；在创办博物馆的同时，费雷最初也是它的唯一赞助人。博物馆的原始藏品包括71件艺术品，所有这些作品都是费雷自己购买的。在博物馆成立之时，他的家乡庞塞与首都圣胡安的联系很差，因此没有从国际旅游中获益。费雷决定在他的家乡开设一座大型公共艺术博物馆，部分原因是为了促进首都以外的旅游业，最终使波多黎各的财富分布更加均匀。

Prior to pursuing a political career, Ferré had amassed a small fortune through industrial enterprises. He spent much of his wealth on philanthropic ventures, of which the MAP was the most significant; as well as founding the museum, Ferré was initially its sole patron. The museum’s original collection comprised seventy-one artworks, all of which had been purchased by Ferré himself. At the time of the museum’s founding, his native city of Ponce was poorly connected to the capital city of San Juan, and thus did not benefit from international tourism. Ferré’s decision to open a major public art museum in his hometown was partly driven by a desire to provide a boost to tourism outside the capital and, ultimately, create a more even distribution of wealth across Puerto Rico.[2]

 © Mary Ann Sullivan

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博物馆最初位于一座殖民时代的老房子里，但这些建筑的紧凑规模很快就被费雷雄心勃勃的计划所超越。他扩大了收藏范围，包括其他慈善机构捐赠的艺术品，需要更大的展览空间。美国现代派建筑师爱德华·杜瑞尔·斯通(EdwardDurell Stone)之前的作品包括纽约市的现代艺术博物馆(MoMA)，他受托为这批收藏品设计了一座专门的建筑。费雷对博物馆的设想延伸到了它的建筑，他对设计提出了一些基本要求，即它应该“用简单而沉稳的线条来表达庞塞的高贵精神，在现代的同时，也应该是宁静的古典。”[3]

The museum was initially located in an old colonial house but the compact size of these premises was quickly outstripped by the scale of Ferré’s ambitious plans. His expansion of the collection, which included artworks donated by other charitable organizations, demanded a larger exhibition space. The American Modernist architect Edward Durell Stone, whose previous work included the original Museum of Modern Art (MoMA) building in New York City, was commissioned to design a dedicated building for the collection. Ferré’s vision for the museum extended to its architecture, and he laid out certain basic requirements for the design – namely that it should “express, with simple and sedate lines, the noble spirit of Ponce and, while being modern, should also be serenely classical.”[3]

 © Mary Ann Sullivan

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到了他职业生涯的这个阶段，斯通的建筑风格经历了几次化身。他在20世纪30年代的早期设计是国际风格的，他在欧洲旅行了两年，研究过这种风格。后来，他的作品发现风格过于简朴，开始表现出弗兰克·劳埃德·赖特(Frank Lloyd Wright)的影响。上世纪40年代末，斯通曾在塔里森东区参观过他。[4]到了20世纪50年代末，斯通开发了一种更加独立的建筑风格，他为美国驻新德里大使馆大楼设计的建筑风格独具特色。[5]然而，在他后期的作品中，对他早期风格影响的某些引用仍然存在，他的地图设计就证明了这一点。

By this stage of his career, Stone’s architectural style had evolved through several incarnations. His early designs of the 1930s were in the International Style, which he had studied while spending two years travelling in Europe. Subsequently, having found the style to be overly austere, his work began to display the influence of Frank Lloyd Wright, whom Stone visited at Taliesin East in the 1940s.[4] By the late 1950s, Stone had developed a more independent architectural style, carving a distinctive architectural niche with his design for the U.S. Embassy Building in New Delhi.[5] Nevertheless, certain references to his earlier stylistic influences remain in his later work, as evidenced by his design for the MAP.

 © Mary Ann Sullivan

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石头设计了一座两层楼的长方形建筑来容纳博物馆。一楼有一个大厅和七个直线展厅，而第二层有七个六角形画廊，周围环绕着一个露台。这两层楼之间有一个优雅的双层楼梯，位于大厅，作为建筑的中心。另外，这座建筑的北部和东部有两个花园是由斯通的儿子爱德华·杜雷尔·斯通设计的。(1991年增加了第三个花园)。厚重的屋顶，在阳台上形成了很深的屋檐，建筑水平较低，似乎是弗兰克·劳埃德·赖特的草原房屋。然而，材料的选择更接近于国际风格；建筑所用的大理石集料让人想起了欧洲现代主义的形式纯洁性。

Stone designed a rectangular building of two stories to house the museum. The first floor contains a lobby and seven rectilinear galleries, while the second floor houses seven hexagonal galleries encircled by a terrace. The two floors are linked by an elegant double staircase located in the lobby, which acts as an architectural centerpiece for the building. Additionally, two gardens to the north and east of the building were designed by Stone’s son, Edward Durell Stone Jr. (a third garden was added in 1991). The heavy roof, which forms deep eaves over the balcony, and the low horizontal composition of the building appear to reference Frank Lloyd Wright’s Prairie houses. The choice of materials, however, is closer to the International Style; the marble aggregate with which the building is clad recalls the formal purity of European Modernism.

 © Mary Ann Sullivan

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自然采光的使用是斯通作品的特点，他擅长利用纹理的表面来粉碎阳光，因为阳光落在他的建筑里。在地图上，一种由凹槽三角形组成的几何图案构成了悬挂的天花板，在每个上层画廊的中心被天窗刺穿。撇开双楼梯不谈，这些天窗也许是建筑物最引人注目的建筑特色。六角形，天窗分散在严酷的加勒比阳光下，柔和地照亮室内空间和艺术作品。阳光甚至到达较低的楼层，因为它沿着双层楼梯和安装在上面两个画廊的圆形光井流动。更多的自然照明是由狭窄的窗户提供的每一个角落上的画廊，以确保房间是均匀的照明。

The use of natural lighting is characteristic of Stone’s work, and he became adept at using textured surfaces to fragment sunlight as it fell on and into his buildings. At the MAP, a geometric pattern of recessed triangles makes up the hung ceiling, which is punctured by skylights in the center of each upper-story gallery. The double staircase aside, these skylights are perhaps the building’s most visually arresting architectural features. Hexagonal in shape, the skylights diffuse the harsh Caribbean sun to softly light the interior spaces and artworks. The sunlight even reaches the lower floor, as it streams down the double staircase and the circular light-wells installed in two of the upper galleries. Further natural lighting is provided by narrow windows at each corner of the upper galleries, ensuring the rooms are evenly lit.

 © Mary Ann Sullivan

玛丽·安·苏利文

博物馆的各个组成部分被斯通的和谐设计统一起来。例如，六角形天窗与画廊本身的六角形计划相呼应。天花板的镶嵌图案反映在上廊的地板上，在那里三角形是用青铜画出来的。在其他地方，在屋顶的檐上发现的模塑图案在楼梯间和灯光通道的开口上反复出现。地板和天花板的模式继续从画廊到室外露台，创造了一种空间连续性的感觉，模糊了内部和外部的界限。画廊的角落窗户原本是可操作的，允许热带风在画廊周围流动，并将周围的环境进一步拉进大楼。

The various components of the museum are unified by Stone’s harmonious design. The hexagonal skylights, for instance, echo the hexagonal plan of the galleries themselves. The tessellated pattern of the ceiling is mirrored on the floor of the upper galleries, where the triangles are delineated in bronze. Elsewhere, the molding pattern found on the cornice of the roof is repeated on the openings of the stairwell and lightwells. Both the floor and ceiling patterns continue from the galleries to the outdoor terrace, creating a sense of spatial continuity which blurs the boundary between interior and exterior. The corner windows of the galleries were originally operable, allowing a tropical breeze to flow around the galleries and drawing the surrounding environment further into the building.

 © Mary Ann Sullivan

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斯通的设计不仅顺应了当地的气候，也向当地的乡土建筑致敬，将这个项目与美国建筑师的作品区别开来。圣胡安因其殖民历史而被西班牙复兴建筑所统治，但在庞塞，一种独特的建筑风格已经发展起来，被称为庞塞克里奥尔。从多个来源借鉴和混合设计元素，庞塞克里奥尔的特点是使用新古典柱，艺术装饰细节，和法国克里奥尔长阳台-风格的同名。这些特征都可以在地图上找到，在那里，巨大的阳台伸展着建筑物的长度，一排细长的柱子支撑着悬空的屋顶。对称的艺术装饰图案，同时，是由上画廊窗户的外部格栅和檐状造型形成的。

Not only did Stone’s design respond to the local climate, it also paid homage to local vernacular architecture, differentiating this project from the architect’s work in America. While San Juan was dominated by Spanish Revival architecture as a result of its colonial history, in Ponce a unique style of architecture had developed, known as Ponce Creole. Borrowing and blending design elements from multiple sources, Ponce Creole is characterized by the use of Neoclassical columns, Art Deco detailing, and the long balconies of French Creole – the style’s namesake. These features can all be found at the MAP, where the monumental balcony stretches the length of the building and a row of slender columns support the overhanging roof. Symmetrical Art Deco patterns, meanwhile, are formed by the exterior grills of the upper gallery windows and by the cornice moldings.

 © Mary Ann Sullivan

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关于费雷吸引国际游客到庞塞的目标，该地图取得了巨大的成功；2011年，博物馆接待了七万多名游客，其中将近九千名来自海外的游客。[6]由于博物馆越来越受欢迎，2010年增加了大规模扩建，石碑的原始建筑，经过多年的风化，被精心修复。博物馆不断扩大的藏品包括4，500件作品，前拉斐尔人、文艺复兴时期和西班牙黄金时代的绘画作品与波多黎各艺术家的作品一起展出。

With regard to Ferré’s goal of attracting international tourists to Ponce, the MAP has been a resounding success; in 2011 the museum welcomed over seventy thousand visitors, of which almost nine thousand were tourists from overseas.[6] Due to the growing popularity of the museum, in 2010 a large-scale extension was added and Stone’s original building, which had weathered over the years, was carefully restored. The ever-expanding collection of the museum now comprises 4,500 works, with Pre-Raphaelite, Renaissance and Spanish Golden Age paintings presented alongside the work of Puerto Rican artists.

博物馆藏品的多样性体现在建筑的特点上，石材的设计虽然具有国际影响，但仍植根于当地的视觉文化和遗产之中。斯通借鉴传统庞塞尼亚建筑，并将加勒比气候融入建筑，创造了一种独特的设计，并在他的作品中独树一帜。

The diversity of the museum’s collection is reflected in the character of its architecture; though Stone’s design shows international influences, it remains rooted in the visual culture and heritage of its locality. By referencing traditional Ponceñan architecture and incorporating the Caribbean climate into the building, Stone created a design specific to its context and unique within his body of work.

玛丽·安·沙利文的数字影像项目(布拉夫顿大学)分享了这一项目的照片，该项目包含了越来越多的24，000多幅雕塑和建筑图像档案。

Photography of this project has been shared by Mary Ann Sullivan's Digital Imaging Project (Bluffton University), which contains a growing archive of more than 24,000 images of sculpture and architecture.

参考文献[1]灰，阿格尼，“新艺术博物馆吸引游客到Ponce一次”。《纽约时报》，1966年1月23日，p.358[2]同上。[3]“EdeloEdwardDurellStone”。MuseodeArtedePonce。翻译作者自己。2016年7月12日访问。[访问][4]James,ElizabethA.“历史地点国家登记册中的阿肯色州名单：爱德华·德雷尔·石建(EdwardDurellStone)”。阿肯色州历史季刊，66：1，2007。P.61[5]同上。詹姆斯。P.63[6]“2011-2012年信息”。MuseodeArtedePonce。2016年7月12日访问。[访问]

References [1] Ash, Agnes. “New Art Museum Attracts Tourists to Ponce”. New York Times, Jan 23, 1966, p. 358 [2] Ibid. [3] “Edificio Edward Durell Stone”. Museo de Arte de Ponce. Translation author’s own. Accessed 12 July, 2016. [access] [4] James, Elizabeth A. “Arkansas Listings in the National Register of Historic Places: Edward Durrell Stone Buildings”. The Arkansas Historical Quarterly, 66:1, 2007. p.61 [5] Ibid. James. p.63 [6] “Informe Annual 2011-2012”. Museo de Arte de Ponce. Accessed 12 July, 2016. [access]

建筑师爱德华·杜瑞尔·斯通位于2325大道路易斯·A·费雷·阿瓜约，庞塞，波多黎各类别画廊建筑师爱德华·杜雷尔·斯通创始人路易斯·A·费雷地区40000.0英尺2工程年1965年

Architects Edward Durell Stone Location 2325 Boulevard Luis A. Ferre Aguayo, Ponce, Puerto Rico Category Gallery Architect Edward Durell Stone Founder Luis A. Ferré Area 40000.0 ft2 Project Year 1965