MWPAI成立于1919年，住在19世纪维多利亚时代的几座大厦里，直到1957年董事会决定在同一房产上委托一个新的设施。在著名建筑历史学家和评论家亨利-罗素·希区柯克的建议下，该研究所考虑了几位建筑师：皮埃特罗·贝卢斯基、保罗·鲁道夫、埃罗·萨里宁、爱德华·杜雷尔·斯通和菲利普·约翰逊。尽管这个项目将是约翰逊设计独立艺术博物馆的第一次机会，但他以前担任现代艺术馆建筑和设计部主任的经验使他对类型学有了宝贵的见解和敏感性。

The MWPAI was established in 1919 and housed in several 19th Century Victorian mansions until the Board of Trustees decided in 1957 to commission a new facility on the same property. Under the advisement of notable architectural historian and critic Henry-Russell Hitchcock, the Institute considered several architects: Pietro Belluschi, Paul Rudolph, Eero Saarinen, Edward Durell Stone, and Philip Johnson. Despite the fact that this project would be Johnson’s first opportunity to design a freestanding art museum, his previous experience as the Director of the Department of Architecture and Design at the Museum of Modern Art provided him with valuable insights and sensitivities to the typology.

新的博物馆项目包括艺术画廊和电影放映空间、音乐表演、艺术课程和讲座。由于项目的多样性，约翰逊将最初的设计重点放在解决循环、照明和适应性等问题上。初步设计模型在1958年布鲁塞尔世界博览会的美国馆展出，在那里受到了好评。

The new museum program included art galleries and spaces for film screenings, musical performances, art classes, and lectures. Due to the diverse program, Johnson focused his initial design on resolving issues of circulation, lighting, and adaptability. The preliminary design model was displayed in the US Pavilion at the 1958 Brussels World’s Fair, where it received much praise.

 © Ezra Stoller/Esto

Ezra Stoller/Esto

艺术博物馆是一个三层楼高的对称结构，镶嵌在一个向后倾斜的地方，外观令人印象深刻。一个整体立方体包裹在深灰色加拿大花岗岩浮在一个连续的幕墙之上。独特的结构概念-两根被挤压的青铜包覆的铁混凝土柱附在每个门面上-特别突出。屋顶由上方的交叉梁支撑，这些梁位于下面的柱子上。

The Museum of Art stands as a three-story symmetrical structure, embedded into a site that slopes down towards its rear.  The exterior is visually striking. A monolithic cubic mass wrapped in dark grey Canadian granite floats above a continuous curtain wall.  The unique structural concept—two extruded bronze-clad ferroconcrete pillars attached to each façade—is particularly prominent.  The roof is supported by intersecting girders above, which rest on the pillars below.

 © Ezra Stoller/Esto

Ezra Stoller/Esto

吉尼斯街(Genesse Street)的主要入口是经过一座横跨干渠的小桥，将参观者连接到中层。博物馆的布局是围绕着一座中央、双高的雕塑画廊布置的，从上方的深盒子天窗接收阳光。露天展厅周围是规模和形状都不同的较小展览空间，利用白炽灯照明。上面，上面的楼层悬挂在屋顶上，环绕着中央法院。镜面，悬臂剪刀楼梯提供从下面。地下室层模拟整体空间布局。相对于幕墙，办公室环绕着一个中心的271个座位的礼堂。这层楼的后部符合倾斜的等级，并提供通往停车场的通道。室内装修-石灰华地板和深色柚木墙-显示出约翰逊对奢华、丰富的材料的偏爱。

The main entry on Genesse Street is approached via a small bridge spanning a dry moat, connecting visitors to the middle level.  The museum layout is arranged around a central, double-height sculpture gallery that receives daylight from deep box skylights above.  Surrounding the open gallery are smaller exhibition spaces of varying shapes and sizes that utilize incandescent lighting. Above, the upper floor is suspended from the roof and wraps around the central court.  Mirrored, cantilevered scissor stairs provide access from below. The basement level mimics the overall spatial layout.  Against the curtain wall, offices surround a central 271-seat auditorium.  The rear of this level meets the sloped grade and offers access to the parking lot.  The interior finishes—travertine floors and dark teak walls—show Johnson’s preference for extravagant, rich materials.

 Floor Plans (L-R: Lower, Main, Upper)

平面图(L-R：下、主、上)

这座艺术博物馆的最终造价为500万美元，远远高于最初的100万美元预算。尽管总体上参考了国际风格，但MWPAI的灵感主要来自柏林阿尔特斯博物馆(柏林阿尔特斯博物馆)，这是卡尔·弗里德里希·辛克尔(Karl Friedrich Schinkel)于1830年完成的一部新古典主义作品。尽管这两座建筑相隔了130年，但这两座建筑都有着共同的属性，比如中央和天空照明的雕塑庭院，四周都是对称排列的画廊。约翰逊在柏林纪念辛克尔180岁诞辰时，对辛克尔的钦佩变得更加明显，这表明他和其他现代主义者可以向他的新古典主义设计师学习。

The Museum of Art was completed at a final cost was five million dollars, well above the original one million dollar budget.  Despite its overall reference of the International Style, the MWPAI was primarily inspired by the Berlin Altes Museum, a Neo-Classical work of Karl Friedrich Schinkel that was completed in 1830.   Though separated by 130 years, both structures share common attributes, such as the central and sky-lit sculpture court surrounded by symmetrically-arranged galleries.  Johnson’s admiration for Schinkel became more evident when he gave a lecture in Berlin commemorating Schinkel’s 180th birthday, suggesting that he and other Modernists could learn from his Neo-Classicist designs.1   

榆树喷泉是一座维多利亚时代的豪宅，曾是MWPAI装饰艺术藏品的所在地，它的翻新与艺术博物馆的建造同时进行。1995年，这两座建筑连接在一起，2010年，该项目被列入国家历史古迹登记册。

The renovation of Fountain Elms, a Victorian mansion on the site which used to house the Decorative Arts collection of the MWPAI, occurred simultaneous to the construction of the Museum of Art.  In 1995, the two buildings were connected and in 2010 the project was added to the National Register of Historic Places.

 © Ezra Stoller/Esto

Ezra Stoller/Esto

对约翰逊来说，MWPAI艺术博物馆是一个特别有意义的项目，促使他在1960年发表了一份关于博物馆设计的宣言。他的宣言强调的特点，将成为他的建筑风格的关键因素：审美经验和豪华的使用光和空间。约翰逊紧随其后的是类似的项目，比如1961年的阿蒙卡特博物馆(Amon Carter Museum)和1963年的谢尔顿纪念艺术馆-每一种设计都比其前身更具新古典色彩。这些项目为约翰逊在文化设施设计方面的国际领先地位奠定了基础。

The MWPAI Museum of Art was a particularly meaningful project for Johnson, prompting him to produce a 1960 manifesto on museum design.  His manifesto emphasized characteristics that would later become key elements of his architectural style: aesthetic experience and luxurious use of light and space.  Johnson followed the Museum of Art with similar projects, such as the Amon Carter Museum in 1961 and the Sheldon Memorial Art Gallery in 1963—each design becoming slightly more Neo-Classical in character than its predecessor.  These projects served as the foundation for Johnson’s reputation as an international leader in the design of cultural facilities.

尤蒂卡博物馆是约翰逊迷上路德维希·米斯·范德洛的一个时期。约翰逊以前曾在现代艺术博物馆策划过米斯的作品展览，他发现自己和密斯一起在西格拉姆大楼工作，同时也为艺术博物馆设计了作品。但不久之后，约翰逊表达了他的愿望，打破他对米西亚价值观的奉献。约翰逊继续了多产和折中的职业生涯，而MWPAI艺术博物馆是美国博物馆建筑未来的一个有影响力的典范。

The museum in Utica exemplifies a time when Johnson was fascinated by Ludwig Mies Van Der Rohe. Johnson had previously curated an exhibit of Mies’ work at the Museum of Modern Art and found himself working together with Mies on the Seagram Building at the same time he designed of the Museum of Art. Yet shortly afterwards, Johnson expressed his desire to break free from his dedication to Miesian values. Johnson continued a prolific and eclectic career, and the MWPAI Museum of Art served as an influential exemplar for the future of American museum architecture.

参考文献：1卡特，R.，默里，M.寻找美：菲利普·约翰逊和艺术博物馆设计(Utica，纽约：Munson-Williams-Proctor艺术学院，2010年)。福克斯，S.，约翰逊，P.，刘易斯，H.和佩恩，R.菲利普·约翰逊的建筑(波士顿，马萨诸塞州：Bulfinch出版社，2002年)。

References: 1  Carter, R., Murray, M. Look For Beauty: Philip Johnson and Art Museum Design (Utica, New York: Munson-Williams-Proctor Arts Institute, 2010). Fox, S., Johnson, P., Lewis, H., and Payne, R. The Architecture of Philip Johnson (Boston, Massachusetts: Bulfinch Press, 2002).

建筑师Philip Johnson Associates，Bice

Architects Philip Johnson Associates, Bice & Baird Location 310 Genesee Street, Utica, NY 13502, United States Category Gallery Architect in Charge Philip Johnson Structural Engineer Lev Zetlin Mechanical Engineers Fred S. Dubin Associates General Contractor George A. Fuller Acoustical Consultants Bolt, Beranek & Newman Lighting Consultant Richard Kelly Interior Designers Knoll Associates Graphic Designer Elaine Lustig Landscape Architect Charles Middeleer Project Year 1960 Photographs Ezra Stoller/Esto