展馆是建筑的奇观，是过去对未来的憧憬的遗物。纽约国家馆作为竞技场和展览空间而设计，是博览会上最大和最高的展馆之一，也是现存的两座建筑之一。经过数十年的忽视和恶化，这种现代废墟的未来是脆弱的，因为官员和公众正在考虑拆除或再利用的选择。

The Pavilion is architecture as spectacle, and a relic of a past vision for the future. Designed as an amphitheater and exhibition space, the New York State Pavilion was the largest and tallest at the fair, and is one of only two structures still standing. After decades of neglect and deterioration, the future of this modern ruin is tenuous as officials and the public consider options for demolition or reuse.

 © Will Ellis

c.威尔·埃利斯

以“人类在不断扩大的宇宙中的缩小的地球上取得的成就”为主题，1964-65年的世界博览会占据了几乎一平方英里的场地。皇后区法拉盛草甸花冠公园的场地曾是1939-40年世界博览会的所在地。虽然所有展馆都是新的，但基础设施和总体规划仍然保留。纽约州馆居住在为联邦和州展馆指定的主题区的一个地点。

With the theme of “Man’s Achievement on a Shrinking Globe in an Expanding Universe,” the 1964-65 World’s Fair occupied a site of almost a square mile. The grounds in Flushing Meadows Corona Park, Queens had been the site of the 1939-40 World’s Fair. While all pavilions were new, the infrastructure and overall plan were retained. The New York State Pavilion inhabited a site in a thematic zone designated for Federal and State pavilions.

 Official World's Fair map

世界博览会官方地图

 Map of State and Federal pavilions

国家和联邦展馆地图

州长纳尔逊洛克菲勒委托菲利普约翰逊设计纽约州的展馆在游乐场。约翰逊最近在林肯中心设计了纽约州中心，这是纽约市芭蕾舞团的所在地。

Governor Nelson Rockefeller commissioned Philip Johnson to design New York State’s pavilion on the fairgrounds. Johnson had recently designed the New York State Center at Lincoln Center, home to the New York City Ballet.

菲利普·约翰逊是二十世纪最著名的建筑界实践者和批评家之一，他多产且不断发展。他在哈佛大学接受经典和建筑学教育，他最出名的可能是担任现代艺术博物馆建筑系主任和他的住所玻璃屋。虽然约翰逊早期的项目与现代信条紧密结合，但在20世纪60年代，他开始探索一种更个人化、有时更有参考意义的风格。他为世界博览会设计的未来主义美学反映了“古奇”建筑的发展趋势，其中包含了空间时代的意象，如飞碟。

Prolific and ever evolving, Philip Johnson was one of the foremost architectural practitioners and critics of the twentieth century. Educated at Harvard in both the classics and architecture, he is perhaps best known for his role as director of the Department of Architecture at the Museum of Modern Art and his residence The Glass House. While Johnson’s earlier projects aligned closely with Modern tenets, during the 1960s he began to explore a more individual and sometimes referential style. The futuristic aesthetic of his design for the World’s Fair reflects the trend of “Googie” architecture, which embraced space-age imagery such as the flying saucer.

约翰逊在世界博览会上的意图是创造一个“不参与的自由空间，作为纽约伟大的例子，而不是一个装满展览材料的仓库”。[2]为此，约翰逊设计了三个主要组成部分：一个露天的“明天的帐篷”，一个由三座“天文观景”观景塔组成的集群，还有一个圆柱形的“剧院”

Johnson’s intent for the World’s Fair was to create “an unengaged free space as an example of the greatness of New York, rather than as a warehouse full of exhibit material.” [2] To this end, Johnson designed three main components: an open-air “Tent of Tomorrow,” a cluster of three “Astro-View” observation towers, and a cylindrical “Theaterama.”

“明天的帐篷”，一个具有讽刺意味的马戏团帐篷，包围了一个350‘乘250’椭圆形区域，这一形式受他对意大利巴洛克的欣赏影响[3]。在博览会期间，这个巨大的卵形圆形剧场举办了时装秀、儿童游乐会、艺术展和非正式的娱乐活动。

The “Tent of Tomorrow”, an ironic circus tent, encloses a  350’ by 250’ elliptical area, a form influenced by his appreciation for the Italian Baroque [3]. During the fair, this grand ovoid amphitheater hosted fashion shows, children’s rides, art shows, and informal entertainers.

 the Tent of Tomorrow during the fair. Image via People for the Pavillion website

明天的帐篷在集市上。展馆网站的人物形象

进入帐篷后，游客穿过一张巨大的Terrazzo路线图，上面显示了纽约的城市、地形、公园和自然景观，以及公司赞助商德士古加油站的每一个地点的标志。沿着较低的墙壁涂上红白相间的条纹，莫名其妙地强化了马戏团的暗示。

Upon entering the Tent, visitors traversed an enormous terrazzo road map showing New York’s cities, topography, parks and natural features, along with a marker for each location of corporate sponsor Texaco’s gas stations. Painted red and white stripes along the lower walls whimsically reinforce the circus allusion.

 © Flickr user Patrick H. Lauke

c Flickr用户Patrick H.Lauke

上升100英尺，16个滑移成型空心混凝土柱，直径12‘8“，支撑一个”自行车车轮“屋顶外钢制压缩环和内拉环。

Rising 100 feet, sixteen slip-formed hollow concrete columns, 12’8” in diameter, support a “bicycle wheel” roof with outer steel compression ring and inner tension ring.

 © Marco Catini

c.马尔科·卡蒂尼

双横隔膜钢索斜率缓缓下降到一个较小的中心环，使屋顶有一个凸的形状。

A double-diaphragm of steel cables slope gently down to a smaller central ring, giving the roof a convex shape. 

在交易会上，电缆支撑着彩色塑料卡瓦板，屋顶被组装在地上，然后悬挂起来。滑模混凝土的使用和屋面的施工都是施工时的新创新。

At the time of the fair, the cables supported colorful plastic Kalwall sheeting.  The roof was assembled on the ground and then hoisted into place.  Both the use of slip-form concrete and the roof construction were novel innovations at the time of construction.

三座圆盘状的观景塔高达226英尺，第二十二次乘坐玻璃“天空条纹”电梯提供了一幅不断扩大的全景图，并将游客带到最上面的观景台。下一层平台也起着同样的作用，最低的人则拿着一条零食。对于认为电梯是破坏游行经验的必然恶行的约翰尼来说，这是他们唯一令人愉快的应用[4]。

Three disk shaped observation towers reach a height of 226 feet.  A twenty second ride in a glass “Sky Streak” elevators provided an ever expanding panorama and brought visitors to the uppermost observation deck.  The next lower platform served the same function, and the lowest held a snackbar.  To Johnon, who regarded elevators as necessary evils that destroyed one’s experience of procession,  this was their only pleasant application [4]. 

 © Marco Catini

c.马尔科·卡蒂尼

戏院是现场唯一的封闭建筑，以360度的图片项目为特色。当代流行艺术由著名艺术家，如罗伊利希滕斯坦，安迪沃霍尔和詹姆斯罗森奎斯特装饰外墙。

The Theatreama, the only enclosed building onsite, featured a slide show panorama of images projects in 360 degrees.  Contemporary pop art by famous artists such as Roy Lichtenstein, Andy Warhol, and James Rosenquist adorned the exterior walls.

总体而言，批评人士对展会的沉重影响和缺乏统一的建筑方案反应消极.约翰逊的展馆是个例外，受到了当时批评人士的积极评价，他们注意到这位建筑师成功地将轻松的景观与庄重的景观结合在一起。“纽约时报”作家AdaLouisHuxtable称这座展馆为“日夜失控的…”。复杂轻浮的…建筑得既严肃又漂亮。这是与班级的‘狂欢节’。

Overall, critics reacted negatively to the fair’s heavy-handed corporate influence and lack of unifying architectural scheme. Johnson’s pavilion was an exception, receiving positive reviews from critics of the day who noted the architect’s successful marriage of lighthearted spectacle with gravitas. New York Times writer Ada Louis Huxtable called the Pavilion “a runaway success, day or night…. a sophisticated frivolity… seriously and beautifully constructed. This is ‘carnival’ with class.” [5]

交易会之后的几年里，“明天的帐篷”举办了艺术展和音乐会。1970年，这里被改建成了一个溜冰场，但直到几年后，当卡尔沃尔(Kalwall)面板被发现从建筑中掉下来时，它才被关闭。建筑部门下令拆除所有面板，从那以后，所有的建筑都被废弃了。

For several years after the fair, the Tent of Tomorrow housed art shows and music concerts.  In 1970 is was converted to a roller skating rink, but only a few years later was closed when Kalwall panels were found to be falling from the structure.  The building department ordered all panels be removed, and the structure has been abandoned every since.

 © Marco Catini

c.马尔科·卡蒂尼

约翰逊/伯吉建筑师于1982年受聘对展馆进行内部装修。剧院于20世纪80年代翻修，并作为公园中的皇后区而蓬勃发展。加州杰斐逊建筑师在2010年完成的螺旋玻璃加装，提供了一个接待区和一个额外的歌舞塔脚下的观景塔。

Johnson/Burgee architects were engaged for an interior renovation of the Pavilion in 1982. The Theaterama was renovated in the 1980s and thrives as the Queens Theater in the Park. A spiraling glass addition by Caples Jefferson Architects completed in 2010 provides a reception area and an additional cabaret at the foot of the observation towers.

 The 2010 addition to the Queens Theatre in the Park. Image © Flickr user Nick Lehoux

2010年新增的皇后区剧院在公园。图片c Flickr用户Nick Lehoux

不确定的纽约州馆的未来是一个热门辩论的主题，因为它的五十周年即将来临。皇后区的公园部门委托进行了工程研究，举办了公共讲习班，并与建筑公司合作，对可能发生的情况进行了形象和规划。费用从1，400万美元用于拆除，4，300万美元用于在不允许进入的情况下稳定建筑物，5，200万美元用于恢复其1964年的计划，7，200万美元用于实现Perkins Will设想的再利用计划(无偿)。[6]截至2010年6月，它被列入国家和国家历史名胜古迹登记册。

The uncertain future of the New York State Pavilion is a topic of hot debate as its fiftieth anniversary looms. The parks department in Queens has commissioned engineering studies, held public workshops, and worked with architecture firms to image and plan for possible scenarios. Costs range from $14 million for demolition, $43 million to stabilize the structures without allowing access, $52 million to restore it to it’s 1964 program, and $72 million to realize the reuse plan envisioned (pro-bono) by Perkins + Will. [6] It was listed on the State and National Registers of Historic Places as of June 2010.

自2009年以来，一组志愿者每年都会花时间重新粉刷外观和内部，把原来的红白条纹涂成黄色装饰。另一个名为“展馆的人”的组织通过项目、活动和在线努力提高了人们的认识。该小组由SalmaanKhan和马修席尔瓦(MatthewSilva)创建，后者与“高线之友”合作，马修·席尔瓦正在制作一部关于约翰逊项目的纪录片。

A group of volunteers has dedicated time each year since 2009 to repaint the exterior and interior to the original red and white stripes with yellow trim. Another group called People for the Pavilion raises awareness through programs, events and online efforts. The group was founded by Salmaan Khan, who works with Friends of the High Line, and Matthew Silva, who is working on a documentary on Johnson’s project.

有关纽约州馆的更多信息，请访问该展馆的“人民”网站，或在Facebook上找到它们。欲了解更多关于菲利普·约翰逊的信息，请看他在“建筑日报”上的其他作品。

For more information on the New York State Pavilion, see the website of the People for the Pavilion or find them on Facebook. For more on Philip Johnson, check out his other works featured on ArchDaily here.

 © Marco Catini

c.马尔科·卡蒂尼

[1]在世界博览会之后，展馆在1970年代被用作大型音乐会和溜冰场几年。这一设计已被纳入几部电影中：“威兹”(1978年)、“黑衣人”(1997年)和“钢铁侠2”(2010-以数字方式和模特儿再现)，不得在现场拍摄)。

[1] After the World’s Fair the Pavilion was used for large concerts and as a roller skating rink for several years during the 1970s.  The design has been incorporated into several movies:  “The Wiz” (1978), “Men in Black” (1997) and Iron Man 2 (2010- recreated digitally and with models, no filming done onsite).

[2]米尔德里德·F·施默茨，“纽约世界博览会上的建筑”，建筑记录136(1964年7月)：144

[2] Mildred F. Schmertz, “Architecture at the New York World’s Fair,” Architectural Record 136 (July 1964): 144

[3]Hilary Lewis，建筑师，用他自己的话说(Rizzoli国际出版物，1994年)13

[3] Hilary Lewis, The Architect in His Own Words (Rizzoli International Publication, 1994)13

[4]Philip Johnson，“从何而来

[4] Philip Johnson, “Whence & Whither: The Processional Element in Architecture,” Perspecta 9/10 (1969): 168

[5]Ada Louise Huxtable，“建筑：好的混乱，不好的，快乐的”，“纽约时报”(1964年4月22日)：25。

[5] Ada Louise Huxtable, “Architecture: Chaos of Good, Bad, and Joyful,” The New York Times (April 22, 1964): 25.

[6]从纽约公园编写的一份PDF报告中摘自“纽约州立馆听力会议-2014年1月”：43

[6] From a PDF of a presentation prepared by NYC Parks, “New York State Pavilion Listening Session – January 2014”: 43

主要来源：

Key Sources:

人民馆网站。http://www.nyspavilion.org/index.html

People of the Pavilion website. http://www.nyspavilion.org/index.html

辛格苏珊。战后临时结构保护的复杂性：1964-65年世界博览会上菲利普·约翰恩的纽约州馆的例子。宾夕法尼亚大学历史保护论文。

Singh, Susan. Complexities in Conservation of a Temporary Post-War Structure: The Case of Philip Johnon’s New York State Pavilion at the 1964-65 World’s Fair. Theses in Historic Preservation at the University of Pennsylvavia.

建筑师菲利普约翰逊地点纽约州立馆，纽约11368，美国类别恢复建筑师主管菲利普约翰逊和理查德福斯特结构工程师列夫泽特林和协会机械工程师西斯卡和轩尼诗景观设计师锡安和布林项目年1964年照片将埃利斯，马尔科卡蒂尼，Flickr用户帕特里克H劳克，Flickr用户Nick Lehoux，Flickr user Pro-Zak

Architects Philip Johnson Location New York State Pavilion, Queens, NY 11368, United States Category Restoration Architect in Charge Philip Johnson and Richard Foster Structural Engineer Lev Zetlin and Associates Mechanical Engineer Syska and Hennessy Landscape Architect Zion and Breen Project Year 1964 Photographs Will Ellis, Marco Catini, Flickr user Patrick H. Lauke, Flickr user Nick Lehoux, Flickr user Pro-Zak